I have a prediction. In the next few years, the art world will be awash in 3D printed objects. I noticed a number this year at the Miami art fairs but they were certainly limited in quantity. There is nothing particularly new about 3D printed objects but their use as “art” that can be sold in the marketplace is something that is not fully established in the field.
Earlier this year I spotted Alfred Steiner’s “Erased Schulnik (Diptych)” (2010), which had already suggested to me that the 3D revolution was upon us, so what I saw in Miami was only further proof that the inevitable flood of printed objects was near.
Tom Burtonwood’s small PEZ dispenser was on display at Front Room Gallery at Fountain Art Fair. A small joke on Marcel Duchamp’s infamous “Fountain” object (not to mention a wink at the art fair itself), the head of the candy dispenser was a well-articulated 3D printed object. If it wasn’t for the small groves on the edges — something most 3D printers haven’t been able to hide — I would’ve never known the urinal was printed and not molded or made using some other process.
But then I saw Micah Ganske’s “Mining Habitat” (2012) at RH Gallery and I was certainly impressed. Using his Makerbot Replicator, Gansky assembled roughly 1,000 different parts and used over 700 hours of print time to create this detailed object on display at the Miami Project art fair. The medium and idea were well-suited for one another. Sci-fi space visions of an industrialized future spit out of a machine seemed like a good fit. It was detailed, textured, and if someone didn’t tell me it was printed, then I doubt I would’ve ever really known.
One of the biggest costs for galleries traveling to Miami — or any art fair — is shipping. The idea that you could conjure up an object without having to ship it (perhaps even melt it down or shred it if it doesn’t sell) sounds like an attractive prospect.
Related: “Digital sculpture as printable graffiti” (Vandalog)
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
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As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.