Out of Hand Exhibit

TODAY’S ART IS

OUT OF HAND

By Shanjida Kibria When computers did not exist yet, what wouild be the first thing that came to your mind when you ࠶࠳࠯ࡀ࠲ ࡂ࠶࠳ ࡅ࠽ࡀ࠲ ̀࠯ࡀࡂ́ࠍ You would probably think of famous paintings, drawings, or sculptures. You would imagine someone holding a paintbrush or someone getting their hands and clothes dirty in clay. But, you probably did not know that art would ever consist of someone sitting down with a mouse and keyboard. You did not think that the world of technology and the world of art could become one. he exhibit do

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̀ࠝࡃࡂ ࠽࠴ ࠖ࠯࠼࠲ࠈ Materializing the ࠞ࠽ࡁࡂ࠲࠷࠵࠷ࡂ࠯࠺ߺ́ ࠯ࡂ ࡂ࠶࠳ Museum of Art and Design displays a preview of just how far the world has come ࠷࠼ ࡃ࠼࠷ࡂ࠷࠼࠵ ࡂ࠶࠳ ࡅ࠽ࡀ࠺࠲ࡁ ࠽࠴ ࠯ࡀࡂ ࠯࠼࠲ ࡂ࠳࠱࠶࠼࠽࠺࠽࠵ࡇ߼ ࠗ࠼ order to provide a preview of what this exhibit has to offer, we have interviewed a design student, by the name of ࠡࠖࠏࠜ࠘ࠗࠒࠏ ࠙ࠗࠐࠠࠗࠏߺ who is willing to share her experience at the exhibit.

̀ࠗࡂ was fascinating to learn that there were so many ࠲࠷࠴࠴࠳ࡀ࠳࠼ࡂ ࠴࠽ࡀ࠻ࡁ ࠽࠴ ࠲࠷࠵࠷ࡂ࠯࠺ ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼ ࡂ࠶࠯ࡂ ࠗ ࠲࠷࠲ ࠼࠽ࡂ ࠳ࡄ࠳࠼ ࠹࠼࠽ࡅ ࠳ࡆ࠷ࡁࡂ࠳࠲߼́

things like ࡁ࠱࠯࠼ ࠽࠼࠳˽ࡁ ࠰࠽࠲ࡇ ࠷࠼ࡂ࠽ ࠯ ࠱࠽࠻࠾ࡃࡂ࠳ࡀ߼ They would create flat outlines of a physical object and then turn it 3D to see how it would look in real life, and then actually create it using those guidelines. They would use all sorts of materials like nylon plastic, brass and silver, sand stone, and even composite powder. ࠝ࠼࠳ ࠯ࡀࡂ࠷ࡁࡂ ࠳ࡄ࠳࠼ ࡃࡁ࠳࠲ ࠱࠽࠲࠷࠼࠵ ࡂ࠽ ࠱ࡀ࠳࠯ࡂ࠳ ࠯ࡀࡂࡅ࠽ࡀ࠹ that a computer could see as well by reading the codes.

Various digital fabrication processes allow forms to be created that were previously impossible or did not exist before. What were a few examples of this, in your What ࠽࠾࠷࠼࠷࠽࠼ࠍ were a few of the different Things like processes of digital fabrication that you 3D printing, and ࠽࠰ࡁ࠳ࡀࡄ࠳࠲ࠍ interactive definitely At the exhibit, there were many allow for new forms examples of digital fabrication that stood out to be created that to me. There was 3D scanning, 3D printing, were previously 3D interactive, manipulating different plastics impossible. The and metals, ceramics, reverse abstraction, all printing uses a laser ࡁ࠽ࡀࡂࡁ ࠽࠴ ࡂ࠶࠷࠼࠵ࡁ߼ ࠗࡂ ࡅ࠯ࡁ ࠴࠯ࡁ࠱࠷࠼࠯ࡂ࠷࠼࠵ ࡂ࠽ ࠺࠳࠯ࡀ࠼ ࡂ࠶࠯ࡂ to turn an acrylic there were so many different forms of digital photopolymer resin ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼ ࡂ࠶࠯ࡂ ࠗ ࠲࠷࠲ ࠼࠽ࡂ ࠳ࡄ࠳࠼ ࠹࠼࠽ࡅ ࠳ࡆ࠷ࡁࡂ࠳࠲߼ into a solid object By using technology, the artists were able to with an accuracy of

TODAY’S ART IS OUT OF HAND

David Nosanchuk (United States, b. 1969) Hex Link Series, 2013 High performance composite powder 3D Printing/Powder Bed and Inkjet Head Printing, Hand Assembly

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ࠀࠃ ࡂ࠽ ߿߾߾ ࠻࠷࠱ࡀ࠽࠼ࡁ߼ ࠗࡂ ࠵࠽࠳ࡁ ࠺࠯ࡇ࠳ࡀ ࠰ࡇ ࠺࠯ࡇ࠳ࡀ ࠯࠺࠺ the way from the bottom up. With it the artist was able to create hands, a skull, and animal heads. The accuracy that goes into creating the shape of these real life things is simply amazing and could not be done without this ࠻࠳ࡂ࠶࠽࠲ ࠽࠴ ࠲࠷࠵࠷ࡂ࠯࠺ ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼߼ ࠝ࠴ ࠱࠽ࡃࡀࡁ࠳ߺ ࡂ࠶࠷ࡁ ࠯࠺࠺ ࠰࠳࠵࠷࠼ࡁ ࡅ࠷ࡂ࠶ ࠲࠷࠵࠷ࡂ࠯࠺ ࠷࠼ࡂ࠳ࡀ࠯࠱ࡂ࠷ࡄ࠳߼ ࠗࡂ ࠯࠺࠺࠽ࡅࡁ ࠴࠽ࡀ meticulous designing and an easier method of creating guidelines to a printable design. The accuracy the goes into designing things with these applications are depended upon heavily ࠴࠽ࡀ ࡂ࠶࠷࠼࠵ࡁ ࠰࠳ࡁ࠷࠲࠳ࡁ ࠯ࡀࡂ ࠯ࡁ ࡅ࠳࠺࠺߼ ࠝ࠼࠳ ࠱࠯࠼ ࠱ࡀ࠳࠯ࡂ࠳ an outline for any object and see how it will like in real life without even having to build a ࠻࠽࠲࠳࠺ ࠽࠴ ࠯࠼ࡇ ࡁ࠽ࡀࡂ߼ ࠜ࠽ࡂ ࠽࠼࠺ࡇ ࠲࠽࠳ࡁ ࠷ࡂ ࡁ࠯ࡄ࠳ ࡂ࠷࠻࠳ߺ but it creates dependable results.

Manipulating different kinds of materials has been a part of sculpture for the longest time. ࠐࡇ ࡁ࠷࠻࠾࠺ࡇ ࡅ࠯࠺࠹࠷࠼࠵ ࠯ࡀ࠽ࡃ࠼࠲ ࠜ࠳ࡅ ࠧ࠽ࡀ࠹ ࠑ࠷ࡂࡇߺ ࠽࠼࠳ will find all kinds of sculptures created with these different materials. But, by using digital fabrications such as 3D printing and laser sintering, they are simply using easier methods that require less assembly to create things they would traditionally create with a longer process.

Many objects in the exhibit make connections to social/environmental concerns. What ex࠯࠻࠾࠺࠳ ࠽࠴ ࡂ࠶࠷ࡁ ࡁࡂ࠽࠽࠲ ࠽ࡃࡂ ࡂ࠽ ࡇ࠽ࡃࠍ ࠖ࠽ࡅ ࠻࠷࠵࠶ࡂ the availability of digital technology/fabrication ࠾ࡀ࠽ࡄ࠷࠲࠳ ࠱࠶࠯࠼࠵࠳ ࠴࠽ࡀ ࡂ࠶࠳ࡁ࠳ ࠷ࡁࡁࡃ࠳ࡁࠍ

ࠝ࠼࠳ ࡁ࠳࠱ࡂ࠷࠽࠼ ࠽࠴ ࡂ࠶࠳ ࠳ࡆ࠶࠷࠰࠷ࡂ ࡁ࠶࠽ࡅ࠳࠲ several objects created from ceramic powder.

The description explained how ceramic powder was, food safe, recyclable, and heat resistant.

They exhibit bowls and vases they had created with ceramic power and digital fabrication.

A major concern with mass production of objects we use everyday is how it affects the environment. But, this portion of the exhibit shows that we can create everyday objects with recyclable materials so that it can still be used just the same as the objects made out of non-recyclable materials. With digital fabrication, it can be easier to mass-produce using ceramic powder so that companies can afford to make it become a possible alternative for other materials. This will make it easier for the environment and ease the concerns of many consumers.

Digital technology seems to open up multiple possibilities including the merging of different disciplines (math, science, design, etc.) Could you describe an object that was an example of ࡂ࠶࠷ࡁࠍ ࠠ࠳ࡄ࠳ࡀࡁ࠳ ࠯࠰ࡁࡂࡀ࠯࠱ࡂ࠷࠽࠼ ࠷ࡁ ࠲࠳࠴࠷࠼࠷ࡂ࠳࠺ࡇ ࠽࠼࠳ ࠽࠴ ࡂ࠶࠳࠻߼ ࠗࡂ ࠷ࡁ ࠯ ࡅ࠯ࡇ ࡂ࠽ ࠯࠺࠺࠽ࡅ ࡂ࠶࠳ ࠯ࡀࡂ ࡅ࠳ ࡁ࠳࠳ ࡂ࠽ ࠳࠼࠲ ࡃ࠾ ࠷࠼ ࠯ ࠱࠽࠻࠾ࡃࡂ࠳ࡀ߼ ࠗࡂ ࠷ࡁ ࡁ࠷࠻࠾࠺ࡇ ࡂ࠶࠳ complete opposite of what most of these ࠲࠷࠵࠷ࡂ࠯࠺ ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼ࡁ ࡅ࠳ࡀ࠳ ࠾ࡀ࠳ࡁ࠳࠼ࡂ࠷࠼࠵߼ ࠗࡂ ࠷ࡁ ࠽࠼࠳ thing to use a computer to design and form a work of art, but it is simply another thing to create a work of art that could be read by a computer by reading the codes on the work of art. This could be the beginning of a whole new generation of not just art, but many other forms of designing and modeling as well. An example would be the chair that was made entirely out of coding. The fact that something as large scale as that could be identified by a computer is simply mind blowing. ࠖ࠽ࡅ ࠯ࡀ࠳ ࠯ࡀࡂ࠷ࡁࡂࡁ ࠱࠽࠻࠰࠷࠼࠷࠼࠵ ࡂࡀ࠯࠲࠷ࡂ࠷࠽࠼࠯࠺ ࠯ࡀࡂ࠷ࡁ࠯࠼࠯࠺ ࡂ࠳࠱࠶࠼࠷࠿ࡃ࠳ࡁ ࡅ࠷ࡂ࠶ ࠼࠳ࡅ ࠲࠷࠵࠷ࡂ࠯࠺ ࡂ࠳࠱࠶࠼࠽࠺࠽࠵ࡇࠍ ࠑ࠽ࡃ࠺࠲ you describe a work that was an example of ࡂ࠶࠷ࡁࠍ

ࠗ࠼ ࠯ ࡁ࠳࠱ࡂ࠷࠽࠼ ࠽࠴ ࡂ࠶࠳ ࠳ࡆ࠶࠷࠰࠷ࡂ ࡅ࠯ࡁ display of several abstract and familiar objects created with different kinds of metals, ࠾࠺࠯ࡁࡂ࠷࠱ࡁߺ ࠯࠼࠲ ࠳ࡄ࠳࠼ ࠱࠳ࡀ࠯࠻࠷࠱ࡁ߼ ࠝ࠴ ࠱࠽ࡃࡀࡁ࠳ߺ ࠯࠺࠺ ࠽࠴ these were created with digital fabrication, but the concept behind each of them was something most artists should be familiar with.

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THEVERYMANY (United States, est. 2005) BODY PARTS, 2013 Aluminum sheet, aluminum rivets Courtesy of Marc Fornes Digital Modeling, CNC Laser Cutting, Hand Painting and Assembly TODAY’S ART IS OUT OF HAND

TODAY’S ART IS OUT OF HAND

There are many other themes in the exhibit. ࠥ࠶࠯ࡂ ࠽ࡂ࠶࠳ࡀ ࡂ࠶࠳࠻࠳ ࠱࠯ࡃ࠵࠶ࡂ ࡇ࠽ࡃࡀ ࠯ࡂࡂ࠳࠼ࡂ࠷࠽࠼ࠍ ߶ࠑ࠷ࡂ࠳ examples.)

There were a lot of abstract artworks.

There were things one could not really give a name, but they very well presented that they were digitally crafted. There was this precision involved in a lot of the abstract artworks.

Some looked they were models for machines, but for others there were no real definite ࡁ࠶࠯࠾࠳ ࡂ࠽ ࡂ࠶࠳࠻߼ ࠖ࠽ࡅ࠳ࡄ࠳ࡀߺ ࡂ࠶࠳ࡇ ࠺࠽࠽࠹࠳࠲ ࠲࠷࠴࠴࠳ࡀ࠳࠼ࡂ from every perspective. Another thing was involving modern culture into their art works. ࠝ࠼࠳ ࠽࠴ ࡂ࠶࠳ ࡁ࠳࠱ࡂ࠷࠽࠼ࡁ ࠷࠼ ࡂ࠶࠳ ࠳ࡆ࠶࠷࠰࠷ࡂ ࠱ࡀ࠳࠯ࡂ࠳࠲ things from composite powder, and one of APRIL 2014 3

the things he created was a very popular internet meme of a baby holding up a fist.

Another section used sandstone to create little characters as a milk carton or just the shape of a pear.

What was your absolute favorite piece in the ࡁ࠶࠽ࡅࠍ ࠥ࠶࠯ࡂ ࠿ࡃ࠳ࡁࡂ࠷࠽࠼ࡁ ࠲࠷࠲ ࠷ࡂ ࡀ࠯࠷ࡁ࠳ ࠴࠽ࡀ ࡇ࠽ࡃࠍ What does it inspire you to do with your own ࠯ࡀࡂ߽࠲࠳ࡁ࠷࠵࠼ࡁࠍ ࠖ࠽ࡅ ࠲࠽࠳ࡁ ࠷ࡂ ࠻࠯࠹࠳ ࡇ࠽ࡃ ࡂ࠶࠷࠼࠹ ࠽࠴ ࠲࠷࠵࠷ࡂ࠯࠺ ࡂ࠳࠱࠶࠼࠽࠺࠽࠵ࡇ ࠷࠼ ࠯ ࠼࠳ࡅ ࡅ࠯ࡇࠍ The dancing man and woman was ࠻ࡇ ࠴࠯ࡄ࠽ࡀ࠷ࡂ࠳ ࠾࠷࠳࠱࠳߼ ࠗࡂ ࡅ࠯ࡁ ࠲࠳ࡁ࠷࠵࠼࠳࠲ ࠲࠷࠵࠷ࡂ࠯࠺࠺ࡇߺ but the distinct form of the man and woman, the material used to assemble it, it was all ࠲࠳ࡂ࠳ࡀ࠻࠷࠼࠳࠲ ࠰ࡇ ࡂ࠶࠯ࡂ ࠯ࡀࡂ࠷ࡁࡂ˽ࡁ ̀࠶࠯࠼࠲́ ࠰࠳࠱࠯ࡃࡁ࠳ the design was theirs and they assembled ࠷ࡂߺ ࠸ࡃࡁࡂ ࡅ࠷ࡂ࠶ ࡂ࠶࠳ ࠶࠳࠺࠾ ࠽࠴ ࠯ ࠱࠽࠻࠾ࡃࡂ࠳ࡀ߼ ࠗࡂ ࠻࠯࠲࠳ me realize that just because an artwork is produced digitally, it will always have a sense ࠽࠴ ࡂ࠶࠳ ࠯ࡀࡂ࠷ࡁࡂ˽ࡁ ࡁࡂࡇ࠺࠳ ࡅ࠷ࡂ࠶࠷࠼ ࠷ࡂ߼ ࠢ࠶࠳ ࠾࠳࠽࠾࠺࠳ ࡅ࠳ࡀ࠳ designed in such a way that the perspective from where the viewer is standing will slightly change what it portrays to the viewer. This would then require specific placement of the ࠻࠯࠼ ࠯࠼࠲ ࡅ࠽࠻࠯࠼ߺ ࠰ࡃࡂ ࠗ ࡅ࠽ࡃ࠺࠲ ࡂ࠶࠷࠼࠹ ࠷ࡂ ࡅ࠯ࡁ hard to see if the position was right until it is slightly completed or if there was some sort of skeletal design involved. But, with the help of digital fabricating, it could be understood how

Created with a stereolithog-­ raphy 3D printer. Layer by layer, from the bottom up, it uses a laser to cure an acrylic photopolymer resin into a solid object. It has an accuracy of between 25 to 100 microns.

ࡂ࠶࠳ࡇ ࡅ࠽ࡃ࠺࠲ ࠯࠱࠱࠽࠻࠾࠺࠷ࡁ࠶ ࡂ࠶࠯ࡂ߼ ࠖ࠽ࡅ࠳ࡄ࠳ࡀߺ ࡃ࠼࠺࠷࠹࠳ most of the works in the exhibit, this one was made of small triangles of metal and were ࠹࠷࠼࠲ ࠽࠴ ࠰࠽࠺ࡂ࠳࠲ ࠽ࡀ ࡁ࠱ࡀ࠳ࡅ࠳࠲ ࡂ࠽࠵࠳ࡂ࠶࠳ࡀ߼ ࠗ ࡅ࠯࠼ࡂ࠳࠲ to understand how they went through that process. Was it as meticulous as it seemed, ࠾ࡃࡂࡂ࠷࠼࠵ ࠳࠯࠱࠶ ࡂࡀ࠷࠯࠼࠵࠺࠳ ࡂ࠽࠵࠳ࡂ࠶࠳ࡀ ࠾࠷࠳࠱࠳ ࠰ࡇ ࠾࠷࠳࠱࠳ࠍ ࠝࡀ ࡅ࠯ࡁ ࠷ࡂ ࠲࠽࠼࠳ ࠻࠽ࡀ࠳ ࠳࠯ࡁ࠷࠺ࡇ ࠰ࡇ ࠷࠼ࡄ࠽࠺ࡄ࠷࠼࠵ ࠲࠷࠵࠷ࡂ࠯࠺ ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼ࠍ ࠗ࠴ ࠲࠷࠵࠷ࡂ࠯࠺ ࠴࠯࠰ࡀ࠷࠱࠯ࡂ࠷࠽࠼ ࡅ࠯ࡁ ࠷࠼ࡄ࠽࠺ࡄ࠳࠲ in the process of constructing it, how was it ࡃࡁ࠳࠲ࠍ

Computer model of a 3D printed item created and PRGLÀHG ZLWK D ' DSSOLFD-­ tion.

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TODAY’S ART IS OUT OF HAND