What? evaluate myself?
I changed my study a bit and wrote more about my mom and her death, rather than creativity in general or spirituality and creativity. After losing her during the semester, they kind of felt like the same thing. I am ever so thankful that I had that outlet of writing the process of her death as part of my study. It is probably how I got through the semester.
Areas of inquiry.
Sculpture/Studio art
Technology
Writing
1. Overall, how did your creative and intellectual work evolve this semester? What were your goals and how well did you meet them? How has your work this semester affected your art practice and how you see yourself as an artist?
My work both creatively and intellectually continued to evolve over this semester.
WRITING
My creative writing focused on memoir and emotion prompting me to explore my surroundings and experiences and continue in a daily writing practice of expression. Focusing on symbolism and character in nonfiction, I explored the relationships with the books to my own experiences and emotion. With the creative writing, I felt I have more than met the goals that I set out for myself this semester.
TECHNOLOGY AND TRADITIONAL ART STUDIO
This part of my study has affected my art practice greatly and in fact is continuing to do so. By immersing myself in a different type of sculpture process and the technology, and by making myself more aware of the interaction between art, science, and technology, it is not only affecting how I create or may create in the future, but also how I think about inspiration and the process. As a figurative artist it has been difficult for me to find value in other types of sculpture, but this study has shown me a different way of looking at the creations.
My goals for research were met, but since bridging the gap between the traditional sculptor and the technology is really a new process as far as the technology goes and the fact that technology is changing drastically and daily, I feel that I am just getting started in my research and understanding. I felt that I met my goals through this part of my study and that it is emerging, growing, and enlightening other areas. I can see that it is much deeper than I first anticipated and am excited about pursuing it.
2. What creative projects did you undertake this semester and what did you discover as a result? In what ways was the work experimental; did you explore any new processes, materials, contexts or goals this semester? Describe both the intentions and the outcomes of this work. What learning, new possibilities, products or other results emerged from these activities?
I had a few creative projects during this semester.
WRITING
In writing it was the writing itself. Reading other writers memoirs and spiritual journeys helped me to be able to be more blunt about my own. My original intention of this part of my study was to focus on creativity and spirituality, but after my mother’s death, which occurred just after residency, I realized that it was really just a journey of self-discovery. I felt comfortable with the adjustment of the process and direction. There was much that emerged from the writing. The writing seemed to open up my eyes to so much more than just writing. It helped me to be more observant of my surroundings and my own interior life. I have at least 100 other pages of writing that were done that were never shown to my instructor and several new writing directions I hope to explore.
TECHNOLOGY AND THE TRADITIONAL STUDIO
Much of my work this semester was spent immersing myself into the technology and the research that has been done, as well as the art as it pertains to the traditional and digital studio. I had two creative project, one where I took the traditional process of sculpting and translated it to digital and wrote a tutorial, another where I was learning and experimenting with scanning and retoplogizing of a traditional sculpture to put the sculpture into digital format for further exploration with digital design and output. All the work I am doing in this field is new and experimental. Bridging the gap between traditional and digital studio is also a matter of training the brain to view things and create differently. This is my learning curve. I want to meld the traditional and digital, and it is taking some consistent effort.
3. What critical discourses and theoretical concepts did you engage with this semester? What artists; theorists; movements; fields of study; cultural, social and political frameworks; or other areas of knowledge did you explore? What products (including but not limited to critical writing, essays, annotations, etc.), new connections and learning outcomes emerged from this work? How does this learning contribute to your overall creative practice?
The more I learned about the process and new technology the more questions I had. Each question lead to another revelation and the wonderful intuitive and enlightening educational journey of research and creativity continued. Within my study I tried to write about some of my exploration. For example, I wrote an article about what I call tra/digi art using traditional and digital means to create, and I interviewed those in research and wrote about their projects.
I explored so many different artists and viewed a great deal of traditional and digital art, as well as, exploring the history of the technology as it pertaining to the traditional studio. I think one of my favorites would be Robert Lazzarini. My mind can accept the artwork more readily as two-dimensional images, though it is three-dimensional. I wish I could see it in a gallery. Viewing it creates “issues of phenomenology.” It is especially intriguing to know that these works are often created in their corresponding material. A skewed wooden table is created in wood. It is not just the technology or the new technology that we need to focus on in these new works but how the artist creates them and the ingenuity of the artwork itself.
I have especially been interested in discovering the relationship of art, technology, and science. After spending some time focusing on rapid prototyping, which is printing physical objects from 3D images in the computer ,I was thrilled to find the research Sebastien Dion from Bowling Green State University and Solheim Rapid Prototyping /Rapid Manufacturing Lab at the University of Washington’s Mechanical Engineering Department. I conducted an interview with Sebastien Dion and wrote an article about the ceramic tea pot. Both Bowling Green and Solheim were able to convert the 3D printer so that it could digitally print ceramic. It is good to find others who want to push the boundaries of creativity and explore the technology as it relates to traditional art.
Then I posed a question, though I was a little hesitant to ask it, thinking others might laugh at me, “If it is all about the “mix” that is put into the rapid prototyping printer, can they utilize this process to print living organisms?” To my surprise they are doing and exploring just that. They are actually using digital printers to print bone, skin, even organs. That was fascinating. I wrote about the process exploring the different uses of rapid prototyping as it relates to this subject.
The other rather interesting element of my study was exploring how the collection of data can be used in art. Nathalie Miebach collects data on different things such as weather or tides and than lets that data dictate her weaving. Then I found the artwork of Dave Beck. His work is rather interesting. It, at first glance, looks like pieces of yarn glued on a table. It is instead digitally printed data. The data is gathered from GPS devices that he had his friends put on. The data was then printed with a rapid prototype machine. They are “data portraits” of individuals with the art titled such things as John (planting soybeans,) Bob (Mowing Arbor Mansions Lawn) or Mike (Delivering Pizzas).
Throughout my study several questions or underlying elements seem to reoccur.
1. Is 3D printed art accepted as “fine art?”
2. What barriers are there for traditional artists to overcome and use, as well as accept the new technology?
Though these questions were explored by others or touched on by many of the writers in the research that I pursued, I am presently working on creating a sort of questionnaire to further explore this information form both museums, galleries, and individual artists. I have also put together a list of those professors and universities who are conducting research and will be interviewing them or talking to them in future semesters.
This entire study not only contributes to my creative practice but is changing it, morphing, it as well as morphing my process, my concept of art, and causing me to be more observant as to where art can be found. I believe it will help me to be informed in my own field in the future. The process of creating bronze sculpture will eventually change. The technology that is occurring now will affect the lost wax method of bronze casting as the digital photography affected photography and photographers as a whole. My study not only helps me to be able to embrace those changes, but I hope to assist others in the future to understand them and embrace them as well.
4. What resources did you use this semester? Include a complete bibliography. In addition, please discuss your participation in peer-learning opportunities.
My list of resources and my bibliography is extensive.
• Attended lectures, workshops or conferences -12
• Gallery shows, museum or design exhibits 13
• Online research including journal articles, website articles, websites and blogs to further explore and facilitate my research, as well as personal interviews. 47
• Books- 13
For the creative writing section of my semester I read quite a few books that were memoir or about the spiritual journey of individuals. For the sculpture/technology I utilized a tremendous amount of online research. This type of research is important as the technology is changing and advancing at such a rate that by the time something is published in book format it is outdated. I enjoyed researching online, through journal articles, and lectures. I also had the opportunity to attend two major conferences that furthered my research and gave me connections and other resources. These conferences also gave me opportunities to learn amongst my peers and share information.
SIGGRAPH Conference. 5 Aug.- 8 Aug. 2009, Ernest N. Morial Convention Center. New Orleans. 2009.
3D Camp Houston. Nov. 14, 2009. Houston Technology Center. Houston. 2009.
A conference featuring a variety of speakers and demonstrations all pertaining to 3D.
“3D Printing for Art and Visualization”. SIGGRAPH. New Orleans Convention Center, New Orleans, L.A. 5 Aug. 2009.
In this lecture those interested in 3D digital printing met to discuss the advances of digital printing. Those in medicine expressed their thankfulness that they can print out proteins and play with them seeing how they fit together, which leads to new discoveries in medicine. Fine artists and digital artists as well as vendors shared their knowledge of digital printing and advancements in rapid prototype
“Celebrating the Special Issue of Leonardo and SIGGRAPH 2009 Art & Design Galleries”. SIGGRAPH. New Orleans Convention Center, New Orleans, L.A. 4 Aug. 2009.
Leonardo is a magazine of art papers on the digital arts and interactive techniques. Many of the artists who were in the two gallery shows at SIGGRAPH had papers that were accepted into the 2009 issues of Leonardo. The magazine honors the art, the process, and the arts’ place in society.
Clendaniel, William. "Mount Auburn Cemetery's 175th Anniversary: William Clendaniel Opens the Ceremony." Forum-Network. 24 Oct. 2009.
A wonderful lecture about the art, history and culture of the Mount Auburn cemetery in Cambridge, Massachusetts. It is one of the first large scale designed landscapes open to the public. The lecture spoke about the process of creating the cemetery, the collection of deceased, as well as the plants and the design concepts. As a lover of cemeteries and someone who tries to tour as many as possible, this one is going to be on my list of must visit cemeteries.
“Interdisciplinary Computer Graphics Education.” SIGGRAPH. New Orleans Convention Center. New Orleans, L.A. 5 Aug. 2009.
This was a lecture on the importance of having interdisciplinary study as it pertains to digital art. Though specialization is important in the creative process and in education. The disciplines of creating art, lighting, sound, math, and fine art cross over each other. This makes it a challenge for educators to offer all that is necessary to students.
Miebach, Nathalie "Weaving Science into Sculpture." Forum-Network. Web. 22 Oct. 2009.
Though Nathalie Miebach does not necessarily use digital printing or milling as her process, I was fascinated that she weaves data. The online lecture, was long, but I learned that Miebach does the same thing that printing in 3D does. By taking data and creating it into a form, you can see things about that data as one portion relates to the other that someone might not see in numbers.
Burns, Stephen. Introduction to Photoshop CS4 and animation. SIGGRAPH. 5, Aug. 2009.
This was a beginning workshop for those interested in learning how to use animation with Photoshop CS4. The workshop was put on at SIGGRAPH by Stephen Burns and geared to those beginning in CS4. Though I am not sure animation within Photoshop is something that I will use, I wanted to expose myself to more advance tools in Photoshop.
Gibson, Adam. Sculpting a Creative in ZBrush Part 1. Kurv Studios. 1, Aug. 2009.
Gibson, Adam. Sculpting a Creative in ZBrush Part 2. Kurv Studios. 2, Aug. 2009.
These workshop brought the attendee through an introductory tutorial of the Zbrush sculpting program. It focused on the tools, zspheres, and positioning of the model. The workshop was a great introduction for me into the competition software of Mudbox. It helped me to become more aware of the plus and minuses of each program.
Huber, Johannes. Photoshop and ZBrush. 11 Nov. HAL-PC. Houston. 2009.
A Personal demonstration of the 3D modeling tool ZBrush.
Thompson, Ian "Illustration: Sketching Concepts and Cartoons." Kurv Studios. 22 2009.
This was a two hour workshop on sketching cartoons. As a realistic artist it is difficult for me to draw cartoons. I had hoped that participating in the workshop would assist in helping me loosen up my drawing skills.
BioLogic: A Natural History of Digital Life. 2009. SIGGRAPH. New Orleans.
BioLogic: A Natural History of Digital Life is an exhibit that explores what happens when nature and technology are combined. This exhibit was a fantastic experience of movement sound and growth. My absolute favorite sculpture in this exhibition was Hylozoic Soil by artist and Professor of Architecture at the University of Waterloo, Philip Beesley. This large installation was alive as sensors picked up movement and cause the sculpture to wave, shake or change shape in response to the audience.
Generative Fabrication. 2009. SIGGRAPH. New Orleans.
Generative Fabrication was an exhibition of art, architecture and design that explored non-linear and biological process of design and digital fabrication. This part of the exhibition always intrigues me as the use of digital printing is often incorporated with the design or the art. Shapes that are found in nature or through algorithms are used into the design and output.
“Arts of Ancient Viet Nam: From River Plain to Open Sea”. Museum of Fine Arts. Audrey Jones Beck Building. Houston. 12, Oct. 2009.
This is a collection of ancient Vietnamese art. Exhibition included ritual bronzes, sculptures, ornaments and burial wares.
Callan FineArt. New Orleans. 4 Aug. 2009.
This gallery was the beginning of our gallery excursions. The paintings in this gallery spanned 1830-1950 and included academic, pastoral, neo-classic, impressionist, modern, and contemporary. It whet our appetite and delighted us with the caliber of art that could be found in the New Orleans French Quarter and Gallery Area.
Casterline, Rose Thome, Soren Christene Gallery. New Orleans. 5 Aug. 2009.
Rose Casterline had many different paintings that were figurative but in a very lose style. Figurative work always catches my attention and I appreciated her deliberate but free style.
Gunning, Simon. Arthur Roger Gallery. New Orleans. 5 Aug. 2009.
Simon Gunning’s painting of the natural Louisiana habitat seemed busy with life. It was not the oils on canvas that intrigued me, but his simple pastel sketches of herons found tucked in the back room that let my eye rest and enjoy the nature on paper.
“Lake, Miranda”. Jonathan Ferrara Art Gallery. New Orleans. 5 Aug. 2009.
The show of Miranda Lake was composed of many different colleges that exhibited a dream like state or seemed to resemble children’s illustrations.
“Ludwig, Deedra”. Le Mieu Gallery. New Orleans. 5 Aug. 2009.
Dedra Ludwig’s canvases of oil resin, soil and organic pigment were mystical creations.
“Recent Accessions in Design”. Museum of Fine Arts. Caroline Wiess Law Building. Houston Oct. 12, 2009.
International Designers feature their furniture and design collection in this show. I especially like Mathia Bengtson’s “Slice” Armchair.
“Scullly, Regina”. Heriard-Cimino Gallery. New Orleans. 5 Aug. 2009.
Once again the very busy canvases created by this artist were not something that I wanted to study, however, in the back room Jose Bedia had several pieces including Alter ego al distancia, which I found intriguing.
Windsor Fine Art Gallery. New Orleans. 5 Aug. 2009.
This gallery located in The French Quarter of New Orleans was one of our favorites. The small space contained a cornucopia of art, including Rembrandt, Toulouse Lautrec and Henri Matisse. My favorite work of art was the sculpture work of Martin Eichinger whose gallery biography states, "I am a narrative artist. The language I use is form and anatomy, but what I try to sculpt is emotion and motion." Since I am drawn to emotion in art, it is no wonder that I was attracted to his work, but above and beyond the incredible anatomy. and wonderful gestures was the patina on the bronzes that was made to resemble marble. Martin Eichinger’s patinas are something I would really like to look into. The Dance of Yes and No standing 5’ 6” performed in the window of the Windsor Gallery and was exquisite.
WRITING
Guth, Hans Paul, and Gabriele L. Rico. Discovering Fiction. Englewood Cliffs, NJ: Prentice Hall, 1993.
It seems strange that as a nonfiction writer I would add “Discovering Fiction” to my bibliography. I include it because I absolutely adore Gabriele Rico and have learned so much from her. I read Rico’s books over 20 years ago and they changed my life drastically, as well as my writing. I was always intrigued with how she could introduce the writers to readers. When discovering that she had collaborated on this book I had to have it. This book is an academic book on writing fiction. Reading the words of color and texture, and being encouraged in observation are all the things I am trying to do in my present writing. Though it will take me a while to get through this large book, I believe it is important. Maybe even to study it more than once. It is a welcome addition to my bibliography.
Isaacs, Susan. Angry Conversations with God: A Snarky but Authentic Spiritual Memoir. NY: FaithWord, 2009.
The author takes God through marriage counseling and figures out why her perspective of God is the way it is.
Kolodiejchuk, Brian. Mother Teresa: Come Be My Light- The Private Writings of the Saint of Calcutta. New York: Random House, 2007.
Mother Teresa’s writings are deeply personal. They have reflections of the yearning and love that I have found in my own mothers writings, along with the suffering.
Lamott, Anne. Bird by Bird: Some Instructions on Writing and Life. 1st Anchor Books ed. New York: Anchor Books, 1995.
This is unlike the other books in my bibliography by Ann Lamott. This book contains her thoughts about her creative process and the process of writing. She gives some great insight into developing characters, plot, etc., and she shares the tidbits of knowledge that she has gleaned from others. Lamott, Anne. Plan B : Further Thoughts on Faith. New York: Riverhead Books, 2005. This book is a continuation of Traveling Mercies. Lamott’s books coincidentally were not just books about a faith journey, but about the relationship between she and her parents. How they contributed to the creation of who she is, how she relished in it and despised it. The words that she massaged onto the page caused me to take pause. How would I describe my family, I wondered how could I describe my mother or such and such place?
Lamott, Anne. Traveling Mercies: Some Thoughts on Faith. 1st ed. New York: Pantheon Books, 1999.
I enjoyed reading about Lamott’s journey of faith. Listening to her words helped me paint my own pictures and string my own words together. This book encouraged me to see the texture, taste, and sound of life and to reproduce it on the paper.
Lawrence, of the Resurrection, Brother, and Inc. NetLibrary. The Practice of the Presence of God the Best Rule of a Holy Life: Being Conversations and Letters of Brother Lawrence. Grand Rapids, Mich.: Christian Classics Ethereal Library; Boulder, Colo. : NetLibrary. 1990s.
This book was Added to my bibliography because it was considered by one reviewer as a must read for those who were looking for books on faith journey’s. Brother Lawrence is actually a cook in a monastery in the 1600’s. While there he learned and taught the practice of the presence of God. At first I thought the book was not going to apply to my study or my writing, but I began to see an image of those things I was writing about—my faith, my mother’s pain and death and I was glad that it was a part of my study.
Miller, Donald. Blue Like Jazz : Nonreligious Thoughts on Christian Spirituality. Nashville: T. Nelson, 2003.
Don Miller does an excellent job of being real and not sugar coating Christianity. His writing is like Anne Lamotte’s; a sort of “tell it like it is.” For example, Miller commenting that he spent time living in the woods with hippies and would prefer it to the pretentiousness of those found in church is a bold thing to say. I only hope that I can be that honest with my faith and writing. It was an excellent book, yes, written like Lamotte, which is what the author strived for but in his own voice and quite a lot less whiney.
Young, William P. The Shack. Windblown Media, 2008.
This is another book that I picked to read, because we were supposed to interview the author. However, The Shack began my reading of books that described a faith journey. I believe this will be a classic one-day, as Eugene Peterson, Professor of Spiritual Theology, Regent College Vancouver, BC, puts it, “This book has the potential to do for our generation what John Bunyan’s Pilgrim’s Progress did for his. It’s that good!” The book caused me to consider Young’s description of God, Jesus, and the Holy Spirit and encourage me to create my separate from the “formal” viewpoint of Christianity.
SCULPTURE & TECHNOLOGY
"AICT 3D Printer- Project Sampler." Academic ICT. 09 04 2008. University of Alberta, Web. 26 Oct 2009.
This website discusses various technology that utilizes 3d printing including space physics simulations molecular models, data from Medical Imagers( Cat scans, MRIs) Fossils, Biomedical Engineering, Rehabilitation Engineering. Archaeological Reconstructions, historical Preservation, art, Mining engineering and set design.
Baker, Steve. “The History of the Teapot”. Wikiid. 12 Aug 2009. SJ Baker. 10 Sept. 2009.
This website had information about the teapot as well as the data set and photographs used in creating the Newell Teapot. It documents the history of this icon.
Balistreri, John. “Ceramic Arts”. 2008. 10 Sept. 2009.
This is the website of the professor at Bowling Green who worked with Sebastien Dion on the 3D ceramic printer. Unfortunately the site is disappointing concerning information on the topic. It appears that digital work is not the focus of this artist.
Bartolo, P.J.S. , H. Almeida, and T. Laoui. Int. Journal Computer Applications in Technology, 2009, 36, 1-9. “Rapid Prototyping and Manufacturing for Tissue Engineering Scaffolds”. Sept. 2009.
Teams in Portugal and the UK are using rapid prototyping to develop scaffolding where live tissue and organs can be grown. This new technology could actually assist in creating “natural artificial organs.”
Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. The Art History Archive-Modern Art. 1935.
Interestingly enough many of the contemporary articles on digital art, rapid prototyping and technology in the studio referred to this article. It was not an easy article to read, and in fact I had to read it three times. The Work of Art in the Age of Mechanical Reproduction reflects on the change of art as compared to its output and “mass production”, from lithography to film. Brown attests that in true art, the “original” can be tested and proven to be the original, which is impossible to do on a reproduction. Brown discusses work originally made for two purposes, “cult value” and “exhibition value” and also that the “aura” of a work withers in reproductions. Perhaps this article is used in conjunction with digital technology and rapid prototyping in that this new technology puts manufacturing, whether in limited editions or mass production, into the hands of the creator. This article poses a philosophical discussion as we compare rapid prototyping and the old ways of reproducing and the “value” set upon the work.
Brayman, Andy. Ceramic Arts Daily. “The New Factory”. 1 Feb. 2009.
This web site introduces ceramic 3d digital printing and refers to Shapeways. It is good to see that industry consumer magazines are now reporting on this new technology. It also tries to break the thought pattern of “manufactured” and the negative idea of advancements in technology as it pertains to a craft.
“Brown, Keith”. International Sculpture Center. Sept. 2009.
Here is a bio and information on a man that is doing what I am attempting to do—research and establishing a presence of the joining of sculpture and technology. He “is establishing a Research Unit for Sculpture and Technology to include Rapid Prototyping facilities within the Department of Fine Arts at Manchester Metropolitan University.” He is also the founder of FasT-uk (Fine Art Sculptors & Technology in the UK)
Camber, Rebecca. "Tailor-made skin from 'ink' printer." Manchester Online 19 January 2005: Web. 26 Oct 2009.
Scientists at Manchester University develop a printer to produce human skin.
Christensen, Bill. "3D Bone Printer Uses Your Cells." Technovelgy.com. Web. 26 Oct. 2009.
This article describes how Christian Weinand of the Insel Hospital in Berne, Switzerland has developed a 3D printer for human bones.
Damian, Joseph. “3d Printing... As Art” BusinessWeek 15 May. 17 Nov. 2009. http://www.businessweek.com/innovate/next/archives/2009/05/3d_printing_as.html.
This blog post talks about the Esther M. Klein Art Gallery in Philadelphia and the “FAB Show” Featuring the work of artists, designers, mathematicians utilizing 3d digital printing/rapid prototyping.
“Design and the Elastic Mind: Introduction.” Museum of Modern Art. 10 Nov. 2009. http://www.moma.org/explore/multimedia/videos/12/123 .
In this short video Curator Paola Antonelli introduces the Design and innovation those involved in “Design and the Elastic Mind” are taking science and technology and incorporating them into art in many different size, not physical sizes but informational sizes. from nano particles, biological molecular particles, human scale and even up to the universe. Antonelli explains that we have to “stretch our minds every day to cope with so many different changes in pace rhythm in scale in time zones in resolution of screen you name it in our relationship with groups of peoples and individuals and really highlight how design helps us cope with all of these different changes.”
“Design and the Elastic Mind: Nanodesign.” Museum of Modern Art. 10 Nov. 2009. http://www.moma.org/explore/multimedia/videos/12/124 .
In this short video Curator Paola Antonelli discusses features several of the pieces of art within the show, such as scientist who does origami on strands of DNA. By making familiar perceptions of scientific data. The entire show entices an artist to think differently to collaborate with those things outside of the familiar.
“Design and the Elastic Mind:Organic Design.” Museum of Modern Art. 10 Nov. 2009. http://www.moma.org/explore/multimedia/videos/12/125 .
In this short video Curator Paola Antonelli discusses features several of the pieces of art within the show as it pertains to nature. How nature can work with design and help us to understand engineering and design such a a vase created by Bees, Once again exploring bioengineering and art or fascinating algorithms of nature translated into art.
“Design and the Elastic mind: 3d-Sketch.” Museum of Modern Art. 10 Nov. 2009.
http://www.moma.org/explore/multimedia/videos/12/126.
In this short video Curator Paola Antonelli discusses the importance of 3d rapid prototype printing. She states, “The most interesting and most important technological innovations in the field of design and the field of manufacturing is 3d printing.”
“Design and the Elastic mind: visualization.” Museum of Modern Art. 10 Nov. 2009.
http://www.moma.org/explore/multimedia/videos/12.
In this short video curator Paola Antonelli talks about how design in large scale, as far as the complexity of information. For example, taking information and making it visual helps to bring the artists point home. Though many of these items in this portion of the show are not 3D physical object they are based on technology information. Some are even virtual exhibits. Antonelli states, Designers are “the interpreter of complexity.”
Dion, Sebastien. Personal Interview. 17 Sept. 2009.
An interview with Dion Sebastien was done over skype. We discussed the technology of 3D printing in ceramics, his professor and what he thinks will happen in the future.
Dion, Sebastien. “Sebastien Dion”. 10 Sept. 2009.
Dion has a few papers and several photographs that I used in creating my article on the teapot and 3D printing. It was an informative site and helped to back up the discussion we had in the personal interview.
Fifield, George. “Printing in 3D: Digital Sculpture.” Sculpture Magazine. May/june 1998 Vol. 17. No. 5. 10 Nov. 2009. http://www.sculpture.org/documents/scmag98/3dprnt/sm-3prnt.shtml.
it seems that sculpture org had a surge of articles on the what was very new processes of using digital scanning and also printing. This article discusses the different uses as well as the process of using Z corporation machine.
Ganis, W. V. “Digital Sculpture :Ars Ex Machina:” International Sculpture Center Sculpture. 23.8 2004: 28-33.
Though written in 2004, this article describes the introduction to Computer Numerical Control (CNC) milling and Rapid Prototype printing (RP) as it is used in fine art. The article lists several artists that I would like to research further including Robert Lazarini. The article also mentions both Universities that are already bridging the gap between the traditional studio and the new technology as well as exhibitions that are specifically created for RP and CNC.
Ganter, Mark, Duane Sorti, and Ben Utela. Ceramic Arts Daily. “The Printed Pot”. Feb. 1, 2009.
The Solheim Rapid Manufacturing laboratory in the University of Washington in Seattle was also working on the 3D digital printer for ceramics. This is a very informative article. It not only discusses their process but also the ease of use and the low cost of this material as compared to the typical material provided by the 3D printer. It also posts their recipe right on the website. These people are to be watched and interviewed at a later date.
Grenda, Ed. “Printing The Future”. 3rd. Castle Island Co., 2009.
Print.
This is an in-depth book about digital printing and manufacturing. It will not only help me to clarify my study but will give me leads on further research.
Gibson, Todd. “Discussion with Robert Lazarini.” 28 Oct. 2004.
This article/interview is of an incredibly creative artist, Robert Lazarini. Lazarini is noted for his 3D artwork that is distorted. The process of creation is described within the article beginning with distorting the image in Photoshop and then bringing it into a CAD system so that it can be fabricated in different materials. The artwork creates a sort of “vertigo, ” a “special paradox” in the viewer and is described as having “issues of phenomenology.” Lazarini was one of the first to begin using digital means to create fine art. I was excited to learn about Compwood, a wood that can be bent and is used in Lanzini’s piece, Table, Notebook and Pencil. Compwood is something that I hope to experiment with.
Lavigne, Christian. “Digital Sculpture”. International Sculpture Center May/June 1998. 23 Nov. http://www.sculpture.org/documents/webspec/magazine/wsenglis.shtml.
This article focuses on the works of many different artists. The article was originally published in a french magazine “ computer Arts 1998. IT is translated by Marie Paule Jiccio and Robert Michael Smith. originally title La Sculpture Numerque. Though the article is old in comparison to the newer technology it is a good resource of artists who started using technology years ago, and how they applied it to their work. It has been a great place to launch on search for the works and also the research of many artists with the same interests and passion as myself.
Mellon’s, Carnegie. The Robotics Institute. “The Shape Deposition Manufacturing Process”. Sept. 2009.
This article expands and explains the Shape Deposition Manufacturing process as it is compared to Solid Freeform Fabrication ( SFF) and Computer numerically controlled ( CNC) milling.
Mironov, V, T Boland, T Trusk, G Forgacs, and RR Markwald. "Organ Printing: Computer-aided Jet-based 3D Tissue Engineering.." Trends Biotechnol (2003): 157-61. Web. 26 Oct. 2009.
A journal article about the printing of organs from the department of Cell biology and anatomy, medical university of South Carolina, Charleston, SC.
.MGX by Materialise. Materialise MGX. 2006.
Materialise is a worldwide leader in rapid prototyping in which they combine art and technology in stereolithography, selective laser sintering and fused deposition modeling. This book features many different artists. Individuals working in product or furniture design, lighting, and fine art created not solely as art, but often use technology and algorithms to form design. Much of the design that is created are things that could not be manufactured until the process of rapid prototyping and computer or algorithmic art came into being. I was glad to find this book at SIGGRAPH as there are very few books printed on the subject of taking digital art out of the computer and into physical form.
Moffat, Charles Alexander. “The Work of Art in the Age of Digital Reproduction”. Version Art History Archive. 2.0 Feb. 2005.
Though I thought this article could contain further information on digital art; it instead focused on the change of exhibition of art from traditional gallery to online marketing, and was really not relevant to my research.
"Next World Superhuman." Organ Printing. 26 Oct. 2009.
An incredible video from the Discovery Channel featuring researcher Dr. Gabor Fargacs and his work with a bio printer. Fargacs prints out living cell clusters drop by drop that fuse together to create tissue structures.
"Organ Printing." 2007. University of Missouri, Web. 26 Oct 2009.
A comprehensive website on the 3D printing of Organs. The cite is put together by the University of Missouri and features projects, news and education on the subject of 3D printing of organs.
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital Sculpture—A Trojan Horse?”. Sept. 2009.
This is a multi-part article that has a tremendous amount of information. The introduction to artists who have been working in digital technology and teaching digital technology as it relates to the fine art studio has been very helpful, especially when these artists have been doing this since 1999! The artists listed; Robert Michael Smith, Keith Brown, Michael Rees, Derrick Woodham, Dan Collins, Christian Lavigne. The article introduces the concept of digital production. Two areas are discussed. Digital art that is created in a physical form with the use of CAD/CAM CNC Milling rapid prototyping, as compared to the work that exists only in cyberspace as in virtual reality or 3D animation. The article focuses on the acceptance of digital art as compared to traditional art and its merit in the art community. Keith Brown says, “art should, in any case, transcend the medium.” He also states, “Technique always has been and probably always will be confused with art.” It must be decided, is the “wow” factor because of the technology or is it the art? This is something that I will have to evaluate further in my own study and creations. It is only now as I begin to see what others are creating that I can allow myself to formulate creations that I must crate. The question is how? How can I combine the technologies I am learning to create what I want to create? As I discover the new technology and the possibilities, I can only guess what it will do for my future artwork.
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital Sculpture—Status and Value?”. Sept. 2009.
This article asks, “What is the status and value of a digital creation in the fine art world.” The writer reports that it should have a status and value comparable to traditional forms of sculpture, but Lavigne states that sculpture and creation is part of an evolution. The author states that digital art “entails radically new elements that require a reconsideration of previous values.” At the writing of this article (not listed, but it is inferred that it is before 1999), it is reported that the status and value of art in the traditional sculpture community is low and depends on “the education of critics, curators, and connoisseurs, and collectors.” It is speculated that the “resistance and suspicion” of the art world is in reaction to the “infinite reproduction of digital work” which brings up the problem—what is the original and what is the copy? A question that many seem stuck on. It is reported that the majority of the art market is “hostile… partly due to ignorance.” Woodham points out that the educational system in the Unite States is accelerating digital sculpture production, which leads to proliferation, accessibility, and acceptance.
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital Sculpture—New Dimensions?”. Sept. 2009.
This article first explores the concept that some digital sculpture exists only in a cyber environment and “defy natural laws.” This changes the traditional notions of what sculpture is. Yet many artists strive to bridge the gap, just as I am, between the digital and physical world. Size also becomes nonexistent in some cases, because “nano scale or even cosmic macro structures,” now can be realized and seen with the eye.
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital Sculpture—Crossing Disciplines”. Sept. 2009.
With the incorporation of technology into art, this article discusses a crossing of disciplines. Art mingles with science, medicine, archaeology, etc. We can pull on the information that is known but not yet seen such as a cell or a mathematical equation, and we create “outside of our experiences.”
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital Sculpture—Developments, Access and Availability”. Sept. 2009.
This article definitely depicts its age, though many of the thoughts are still very timely. It reinforces what my research is showing in that technology is affording artists the opportunity to realize art that up until this point could never be created traditionally. This in turn “Gives rise to new possibilities of thinking.” The availability of the tools and the amount of people that use them has changed drastically since this article was first published in the 90’s. Robert Michael Smith talks about alpha testing a new computer program that allows you to sculpt in the computer. This was most likely Z brush put out in 2002. As technology advances and users increase, the cost of printing and affording this technology will go down. The article talked about a 3d Kinko’s, which I have said for a few years should be a possibility and begins to take place with the new Shapeways Service Bureau. Artists, by their use, have some affect on the technology as it is created and developed. Of course, I must add to this that the advance of hardware, such as computers that have the power and graphics cards that can crunch the output are as important as the software. This too is advancing with demand.
Paul, Christiane. International Sculpture Center. “Fluid Borders: The Aesthetic Evolution of Digital sSculpture—Telemanufacturing and Networked Sculpture”. Sept. 2009.
“Telemanufacturing” is something that is an opportunity with digital art. One no longer has to depend on the manufacture, shipping, customs, inventory, maintenance, of creating art. You simply send a file to a place that can digitally print the art. This is discussed in this article, however, one thing it fails to mention is that when using any end of the line vendor, whether it be a bronze foundry or a digital printer, one must be able to depend on the quality of the vendor at the end of the line. If an artist cannot “see” the output of the artwork, how can they be assured it was as they created it?
Peels, Joris. International Sculpture Center. “Shapeways Community Member Interviews: Bathsheba Grossman. 30, June 2009.” <>.
Shapeways is leading the digital community in creating an affordable output solution for rapid prototyping. In 2009 they added printing in metal. I interviewed Bathsheba Grossman and found her mathematical algorithmic sculptures fascinating. Being a part of the digital community for a long time, she has her hands on the pulse of new technology. She is definitely someone to watch and keep in contact with.
Portal. “Martin Newell’s Original Teapot”. ACM SIGGRAPH 2006. 10 Sept. 2009.
A further look into the icon of the Newell teapot and its importance in computer graphics.
Siggraph 2006. “From Digital to Analogue, or the Rebirth of a Teapot”. 10 Sept. 2009.
Siggraph 2006 focuses on Sebastien Dion and Bowling Green University’s work with 3D printing in ceramics.
Slamin, John. "A Knee Implant Just For You ." Medical Design. 1 11 208. Engineering ConforMIS , Web. 26 Oct 2009.
With a CT scan a customized knee implant can be printed using 3D processes.
Smith, Robert Michael. “Sculpture, 3-D Digital Art, Web Design and Broadcast.” International Sculpture Center. Sept. 2009.
This article is an introduction to Robert Michael Smith, the artist and his work. The work is often found in conjunction with articles about digital reproduction.
University of Washington. “3-D Printing Hits Rock-bottom Prices With Homemade Ceramics Mix”. ScienceDaily 10 April 2009. 19 September 2009
Vitols, Marisa. "3D Organ Printing Break-Through." Future Blogger. 23 03 2008. Web. 26 Oct 2009.
More information about Gabor Forgacs work at the university of Missouri in Columbia concerning the printing of organs. It discusses the success of printing a cardiac and endothelial cells fused into tissue after 70 hours and actually began beating like a natural heart in 90 hours. Perhaps in the future we will have our organs digitally printed within our body during surgery.
Wang, Carol Y. “Rapid Manufacturing.” Pro Quest. Sept. 2002. Sept. 2009.
This is a wonderful and very informative article on the process and types of digital printing. It had many links and I spent hours following all of them. It was an excellent addition to this bibliography.
Wholers, Terry. “Rapid Tech: Industry’s Best kept Secret.” Time Compression. Sept/October 2009.
I first learned about the National Center for Rapid Technologies through one of my contacts who told me about a program developed at Saddleback College by a grant from the National Science Foundation. The purpose is to support programs that work with teaching additive manufacturing (AM) or rapid prototyping. It is noted that this program develops financial support for the institution as it provides manufacturing and prototype projects for industry. I was interested in finding this article as I have passed it on to my own local community colleges. It is also encouraging to see that the area of technology that is bridging the gap of the fine arts has multiple uses, which I believe, in turn, makes sculptors with this knowledge more valuable commodities.
Wholers, Terry. “A Low-volume Production Site: Coming to a Garage Near You.” Time Compression. July/Aug 2009.
Keeping his hand on the pulse of Additive Manufacturing, Wohlers expounds on the excitement of “Service Bureaus” beginning with the Rapid prototyping process. Focusing once again on Shapeways, the first service bureau of this sort offers affordable reproduction of computer-aided design. I don’t know how or have the software to do so. They have software on their storefront. They work with fused deposition modeling, laser sintering, and poly jet.
Wholers, Terry. “What Do You Call It?” Time Compression. May/June 2009.
What do you call it? This is a question that I have asked myself. In my own research on rapid prototyping or additive manufacturing, there are so many terms it leaves me wondering, “are these parts of the same process or different names for the same process?” When polled there were 20 different terms from 114 countries. The term that is most popular is 3D printing. With new technology comes new committees and organizations to assist with “standards” for the technology. Enter the “ASTM Standards Committee F42 on Additive Manufacturing Technologies which was formed in January 2009.” Enter also Roadmap for Additive Manufacturing (RAM) workshop held in March 2009 in Washington DC. They are working in conjunction with the National Science Foundation and the Office of Naval Research as sponsors. They hope to create a “roadmap” concerning additive manufacturing for the next 10-12 years.
You Tube. “Z Corp. ZPrinter 450 Introduction.”
A You Tube video that shows the process of a Z Corp printer in action. Seeing is far better than trying to explain this process in words.
5. If you engaged in a Practicum this semester describe it briefly (where, when, what, who) and summarize your central learning outcomes and insights from this project. Address how the project may have expanded the contexts, sites and/or audiences for your creative practice. If the practicum will be continuing or there is more work to complete for it, please indicate. (Please be reminded that you will also write a full Practicum Report for your final Portfolio.)
Does not apply
6. How do you see yourself progressing towards fulfillment of the degree criteria, which includes building a fully developed and documented personal practice, an ability to articulate the contexts for your work, an understanding of the nature of art and an understanding of interdisciplinarity? Please describe which areas you still need to address and how you intend to do this in coming semesters.
My study of writing and bridging the gap between traditional studio practices and digital technology is in its very nature interdisciplinary. The research and incorporation of utilizing science and technology, watching the technology float from sculpture to architecture to design makes it even more so.
Though the research and the practice of using these tools that I am discovering as well as knowing and becoming known by those who are also doing similar research is just beginning. I feel that the direction and the process of my study is inline with the degree criteria that is specified by Goddard College.
Even though I have researched the areas of the psychological aspects and barriers of artists beginning to use digital technology, I would like to write an article on this subject. I would also like to write an article about the galleries that accept digital art as fine art and why they do or those that reject it and why.
My exploration and understanding of the process of digital milling and printing are just beginning. I would like to be able to not only explore them in depth, along with the universities that are doing research on this and the art that is being created through these processes, but next semester I would like to document some of this information in technical writing. I see the up and coming semester seeped in research and technical writing and hope that I can soon pull these tools into my own practice in up and coming semesters taking the tools and technology and exploring them more deeply in my own art.
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