3D printing is changing art

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3d printing

The Volume lamp designed by Dror Benshetrit was created using 3D printing. Illustrates SCULPTURE (category e), by Mark Jenkins, special to The Washington Post. Moved Wednesday, March 20, 2013. (MUST CREDIT: Dror and .MGX by Materialise.)

John Dreyfuss’ studio is stuffed with his sculptures — some models and some finished, most representational but a few abstract. The studio, a high-ceilinged warehouse in Washington, holds pieces made by traditional means, including maquettes built from layers of wax, a venerable technique.

At the center of the work area, however, is a sleek contemporary device roughly the size of a refrigerator. It’s a Dimension BST 3D printer, made by a Minnesota company, Stratasys.

“Every sculptor I really admire is working on how to use it,” says the gray-goateed Dreyfuss.

“Printer” is a slightly misleading term for the apparatus. It doesn’t spit out paper copies; it slowly builds plastic ones. A nozzle extrudes ivory-colored plastic, layer by sixteenth-of-an-inch layer, to fabricate an item designed with software.

3D printing is becoming bigger in the art community

Whether to create models or finished works, the use of 3D printing in fine-art sculpture is still relatively rare. But those who employ it expect it grow, as the process becomes cheaper, more refined and simply better known. Some advocates of 3D printing extol its ability to let anyone create sculptures, for good or ill. And artists in commercial design see a particularly promising future for it.

Dreyfuss, a onetime architecture student who dropped out of Harvard’s graduate school in the mid-1970s to become a sculptor’s assistant, heard about 3D printing from his architecture contacts. “It seemed perfect for what I do,” says Dreyfuss, whose work relies on elegant, streamlined forms rather than, say, found objects or industrial-style brutalism.

He has used a computer with Rhinoceros 3D software and his printer to make a mold that’s ultimately cast in fiberglass, bronze and aluminum. “Once you cut the shape,” he notes, “you can make [the sculpture] out of any material you want.”

It takes Dreyfuss’s printer about seven hours to construct a piece the printer’s maximum size: 12-inches high by 8-inches wide. If he needs something bigger, he prints multiple pieces and glues them together.

The ability to adjust size is important to Dreyfuss. His studio contains two life-sized fiberglass models of lions, designed to flank the entrance to a condominium building. The sculptor loaned the models to his clients so they could contemplate their form before the final piece was forged in bronze. The condo developers ultimately decided the beasts should be 20 percent larger, which was easily arranged.

The current exhibition at Artisphere in Virginia, “The Next Wave: Industrial Design Innovation in the 21st Century,” showcases a lamp whose honeycombed plastic form popped from a 3D printer. It was made by a Belgian firm with an apt name, Materialize.

3D printing still expensive

“Right now, it is cost-prohibitive to make these products in mass,” notes Douglas Burton, curator of the Artisphere show and co-owner of Apartment Zero, a Washington design incubation organization.

“This piece we’re showing is a $4,000 piece,” he says. “The first time I looked at it, and didn’t realize it was done by 3D printing, I thought, ‘How in the world can this little plastic lamp cost that much?’ But when you understand the technology behind it, it makes sense.”

A Dimension BST printer can cost up to $30,000. “It will take years for this technology to catch on and be used by many more people, and as that happens, it will become more and more affordable,” said Burton.

Currently, 3-D printing is being used to craft one-of-a-kind pieces for medical purposes. Patients who have lost body parts can have them replaced with duplicates. (The printer can also produce parts for firearms, a growing controversy .)

Three-dimensional imaging and printing, Burton says, “opens up the field of what can be designed. Incredibly intricate details can be designed.” In addition, the technology means that “pretty much anybody now could be a designer.”

This is what intrigues Jonathan Monaghan, who uses the process in his video work. “I’m interested in the democratization aspect of it,” says the artist, a 2011 University of Maryland MFA who teaches at the Corcoran School of Art & Design.

Two years ago, Monaghan did a stint as artist-in-residence at MakerBot, a New York firm that makes some of the least expensive 3D printers, selling for less than $2,000. He also participated in a 2012 “hackathon” at the Metropolitan Museum of Art, where participants used consumer-grade 3D devices to make reproductions, interpretations and “remixes” of art from the collection.

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Source: By Mark Jenkins

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