Without setting foot inside a museum, 3D printer owners can now recreate some of the most recognizable items from institutions around the world. In conjunction with Creative Commons and museums like the Smithsonian Institute, Sketchfab has launched a virtual collection of 3D models free and available to the public in an effort to promote open access to cultural heritage items.
The first wave of models will offer 1,700 3D scans from 27 organizations in 12 countries. The program is ongoing, so there are plans to add 3D models to the collection. With the help of Creative Commons, the models will be published with the license of CC0 Public Domain, available everywhere and anywhere for free.
The 3D models range from fossils to artifacts, samples from the natural and ancient worlds. You can reprint a model of the Apollo 11 capsule from the Smithsonian Institute, opera glasses from the virtual museum Morbase, a Greek amphora from the Cleveland Museum of Art, or the skull of a T-Rex from the Digital Atlas of Ancient Life.
The participating organizations have pooled together items from museums as varied as Minneapolis Institute of Art and Cleveland Museum of Art, international affiliates like the Museus de Sitges in Spain, Scottish Maritime Museum, Museo Nacional de Historia Natural de Chile, National Gallery of Denmark, and Musée Saint-Raymond in France, as well as digital-first organizations like Digital Atlas of Ancient Life at the Paleontological Research Institution and Digital Heritage Age.
As for creators who would like to reuse and remake these 3D scans in their own vision, the models are free to use without prior attribution or credit. The model files are imported with the help of software and made ready to use for most major 3D programs. If museums are interested in contributing to the growing collection, Sketchfab has invited interested organizations to contact them.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.
Shiv would definitely have a Chihuly chandelier.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
“[The art market] provides an opportunity for people to move money in a way that they can’t with other commodities,” says FBI Special Agent Chris McKeogh.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.