As if 2020 wasn’t weird enough, a Japanese company is now selling hyper-realistic 3D-printed masks that allow you to practically wear someone else’s face.
In conjunction with Creative Commons and museums like the Smithsonian Institute, Sketchfab launched a virtual collection of rare and mesmerizing artifacts.
After the Trump administration balked on plans to put the abolitionist on the $20 bill, Dano Wall took matters into his own hands.
Austin-based startup ICON revealed an extremely ambitious plan to build a community of 3D-printed houses in El Salvador. (And, hopefully later, in space.)
While in prison, Manning mailed cheek swabs and hair clippings to artist Heather Dewey-Hagborg, who used them to algorithmically generate portraits.
For its current exhibition on the Renaissance artists, the National Gallery collaborated with Factum Arte to create a complex reproduction of one of their most famous collaborations.
Over the course of 2017, Chris Templeman’s “Make and Take” installation in Boston’s Rose Kennedy Greenway is 3D printing over 2,000 free roosters to celebrate the Year of the Rooster.
A 9,500-year-old human skull at the British Museum may help visitors connect to our human ancestors.
Over the past two years, Japanese artist Megumi Igarashi has faced charges for distributing data that could be used to make 3D models of her vagina and for creating a yellow, yonic kayak, as well as small vagina-shaped plaster figurines, that she displayed in a Tokyo sex shop.
Since 3D printing went mainstream, there’s been much buzz about a future filled with 3D printed buildings, cars, and airplanes.
In recent years, as 3D printers have become more affordable and mass-produceable, they’ve become commonplace in schools, homes, and creative studios.
Morehshin Allahyari and Daniel Rourke’s expansive project #Additivism is a call for the radical rethinking of new technologies like 3D printing, the plastification of the world, and the position of humans within it.