John James Marshall thesis.pdf - OpenAIR @ RGU - Robert Gordon ...

technologies and not necessarily the grammar of the objects produced.
Nevertheless, in 1999 the potential for practitioners to work across traditional
disciplines by using common digital tools and the possibility of a new hybrid
model of 3D art and design practice was very much part of the discourse of
‘digital sculpture’ among these practitioners.
2.3.1 CAD/CAM and RP&M in sculpture (beyond practitioner-led
activity)
If we look beyond the ‘digital sculpture’ of artist-led activity discussed in the
previous section, what new kinds of objects are being produced by art and
design practitioners using computer-based design and fabrication tools?
Through reference to key examples this section explores the conditions and
means that contribute to this development. There are artists that make use of
computer-based design and fabrication tools which have gained prominence
beyond artist-led activity and that were exhibited in the high profile museum
exhibitions mentioned previously (in section 2.2.6.)
‘010101 Art in Technological Times’ (San Francisco Museum of Modern Art,
2001) was curated by Aaron Betsky, Janet Bishop, Kathleen Forde, John S.
Weber and Benjamin Weil at SFMOMA in 2001 and ‘BitStreams’ (Whitney
Museum Of American Art, 2001) was curated by Lawrence Rinder and Debra
Singer at the Whitney Museum of American Art New York also in 2001.
Although all the artists in these shows use digital technologies the most relevant
to this study are Roxy Paine and Karin Sander (010101 Art in Technological
Times), Robert Lazzarini and Michael Rees (BitStreams) and Craig Kalpakjian
(both).
Figure 5: ‘SCUMAK’ (Auto Sculpture Maker), 1998. Roxy Paine
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