Re-figuring: A 3D modeling workshop – Gray Area Festival Workshop
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Re-figuring: A 3D modeling workshop – Gray Area Festival Workshop
Learn basic photogrammetry and digital sculptural production while you create meaningful work with creative technologies. This is a 3D modeling workshop that teaches not only technical skills, but also examines our relationship to objects, technology, and the material world through a critical lens.
Marking Gray Area’s 15th anniversary, this year’s Gray Area Festival highlights in-progress cultural experiments from our Creative Research and Development Labs, Cultural Incubator, and Education programs in collaboration with community and industry partners.
C/Change is a joint initiative by Goethe-Institut San Francisco and Gray Area, exploring ways emerging technologies can shape and support digital cultural exchange.
We also offer Diversity Scholarships, find out more and apply here.
Experience level: Beginner
Course Requirements: No prerequisites or prior knowledge is necessary.
Participants should bring their iPhone 11 (or above), or their iPads to the workshop. If they can, please install the Luma AI app on their iPhones in advance to ensure a seamless scanning experience. We will bring some iPads for those participants who can’t install Luma AI on their devices.
Please bring a small object that is meaningful to you and that you would like to recreate in a digital form.
Course Outline
Introductions
Presentation: the Missing Objects Library and Historical Curiosity Cabinets
Photogrammetry using Luma AI
Basic 3D model viewing, editng, and sharing using Sketchfab
Final reflections on the workshop
Education Goals
This is a 3D model production workshop using photogrammetry, but our goal is to also engender critical thinking about creative technologies. We will approach digital production through the lens of activism and a socially engaged praxis that creates opportunities for conversations about our political and ecological realities.
Technologies
In the workshop, participants will be introduced to the technique of photogrammetry, enabling them to create 3D models of small objects they bring in. They will also learn how to upload these 3D models to platforms like the Missing Objects Library or Sketchfab. Additionally, participants will gain skills in viewing, editing, and sharing the 3D models they scan using Luma AI. However, please note that Luma AI is only accessible to iPhone 11 or above users, and it is not available for Android users.
About the Project
Missing Objects Library
Missing Object Library (MOL) is a curated, web-based repository of handmade 3D objects that are designed with an intersectional, feminist lens. MOL offers an alternative to commercial, status quo storefronts that provide digital assets for game design and special effects. Objects sold in these spaces are typically devoid of provenance, and they continually re-inscribe false notions of neutrality while privileging a white, cis, heteronormative dominance. In contrast, MOL is an open platform with downloadable models that accurately represent the world we inhabit. MOL disrupts historical gatekeeping performed by “neutral” marketplaces by offering 3D modeled objects that span a wide range of identities, abilities, and affinities. In addition to critiquing existing 3D model storefronts, MOL builds community by offering an economic system of reciprocity, where technological representations of things are exchanged to produce meaningful relations and effects
Jill Miller is a visual artist and a professor in the Department of Art Practice at UC Berkeley. She works across a wide range of media, from video installation to public practices (and many hybrids in between). She often collaborates with individuals and local communities in the form of public interventions, workshops, and participatory community projects. She describes humor as “the greatest social lubricant” for opening up meaningful conversations about difficult subjects. In past work, she: lived in the remote wilderness in search of sasquatch (Waiting for Bigfoot), assisted mothers who were harassed for breastfeeding in public (The Milk Truck), and organized teenage girls who were closing the gender gap by learning to edit Wikipedia (WOW! Editing Group). Miller is on the Executive Committee at Berkeley Center for New Media. She is affiliated faculty at the Berkeley Food Institute and Global Urban Humanities, and she is the Area Head for Public Practices in the Department of Art Practice at UC Berkeley.
Miller’s selected exhibitions include: the Palo Alto Art Center, California; AMP Art Fair, San Francisco; Woods Art Museum, Hamburg, Germany; FAB Art Gallery, University of Alberta, Canada; Kibbutzim College of Education Art Gallery, Tel Aviv, Israel; Institute of Contemporary Art, San Francisco; Czong Institute for Contemporary Art, Korea; California Museum of Photography, UC Riverside; CMU Miller Institute for Contemporary Art, Pittsburgh, PA; National Museum of Fine Arts, Santiago, Chile; Sesnon Gallery, UC Santa Cruz; Petach Tikva Museum of Art, Israel; Erman B. White Gallery, Bethel University, Kansas; United Art Fair, Pragati Maidan, New Delhi, India; Mercer Union Centre for Contemporary Art, Toronto, Canada; Pittsburgh Biennial, Andy Warhol Museum, Pittsburgh, PA; Galerie Christophe Gaillard, Paris; Musée d'Art Contemporain du Val-de-Marne (MAC/VAL), France; MAK Center for Art and Architecture, Los Angeles; CA2M Centro de Arte Dos de Mayo, Madrid; National Museum of Modern Art, Tokyo; de Siasset Museum, Santa Clara, California; Musee Ingres, Montauban, France; Lord Hall Gallery, University of Maine; Walter and McBean Galleries, San Francisco Art Institute; The Menil Collection, Aurora Picture Show, Houston, TX; The Hirshhorn Museum, Washington D.C.; Musée d'Art Moderne de la Ville de Paris, Paris, France; Centre National d'Art Contemporain, France; British Film Institute, London, England; National Center for Contemporary Arts, Moscow, Russia.
She is the recipient of many grants including: C/Change grant by the Goethe Institute and Gray Area Art Center, Arts Council England Award, California Arts Council ‘Artists in Communities’ Grant; Wikimedia Individual Engagement Grant; STUDIO for Creative Inquiry Grant; Berkeley Center for New Media Seed Award; Regents Junior Faculty Fellowship, and Creative Discovery Grant.
ASMA KAZMI’s large scale installations blend physical and virtual spaces. Her sculptures, connoting materiality, cultural lineage, and craft are juxtaposed with virtual and augmented reality models of art historical objects and particular geographies. Taking an expansive approach to installation art, she researches and reassesses the intertwining histories of Western colonialism and her diasporic Muslim culture.
Using transgressive curatorial tactics, she combines visual and textual detritus from historical manuscripts, photographs, archival material, fragments of locations, and mixes them with her own “critical fabulation.” Drawing on her own history as a third generation émigré, migrating across continents, Kazmi’s installations are experimental museums that make use of Islamic display devices and strategies to address colonial and indigenous technologies and knowledge systems, global flows of people and commodities, and interspecies entanglements.
Kazmi was born in Quetta, a city in Pakistan, near the border with Afghanistan. She works between the US, India, Pakistan, China, Europe, and the Middle East to create installations that are legible in various cultural contexts.
Asma Kazmi’s selected exhibitions include: Galerie Cité internationale des arts, Paris, France; Bi-City Biennale of Urbanism/Architecture, Shenzhen, China; San Francisco Art Commission Gallery, San Francisco; the Espacio Laraña, University of Seville, Spain; the Commons Gallery, University of Hawaii in Honolulu; Faraar Gallery, Karachi, Pakistan; Elaine L. Jacob Gallery, Wayne State University, Detroit; Wattis Institute of Contemporary Art, San Francisco; San Jose Institute of Contemporary Art, San Jose, CA; Utah Museum of Contemporary Art, Salt Lake City; Queens Museum of Art, NY; H&R Block Space, Kansas City; The Guild Gallery, New York; and Galerie Sans Titre, Brussels, Belgium; LACE (Los Angeles Contemporary Exhibitions); 18th Street Arts Center, Santa Monica; Contemporary Art Museum, St. Louis; Gallery 210, University of Missouri St Louis; MassArt Film Society, Boston; Hunt Gallery, Webster University, St Louis; and Gallery 400, University of Illinois in Chicago.
Kazmi is the recipient of many grants including the C/Change Creative R&D Lab, Goethe Institut and Gray Area, San Francisco; Vagner Mendonça-Whitehead Microgrant, New Media Caucus, Halifax, Nova Scotia, Canada; Townsend Fellowship; the Hellman Fellow Fund award; the BCNM Seed Grant; Al-Falah Grant; the Fulbright to India; Faculty Research Grant, CalArts; the Great Rivers Biennial Grant, Contemporary Art Museum St. Louis; the Rocket Grant, Spencer Museum of Art at the University of Kansas; and the At the Edge: Innovative Art in Chicago, Gallery 400, University of Illinois in Chicago.
Kazmi is currently an associate professor in the Department of Art Practice and the Berkeley Center for New Media (BCNM) at UC Berkeley.
Kathy Wang is a talented designer and creative technologist, specializing in AR/VR and AI to create captivating human-computer interactions. Passionate about feminist technologies, she addresses bias in digital art. She inspires others to explore their potential with these tools, pushing boundaries and fostering a dynamic, diverse, and audacious art community. Through collaboration with other artists and technologists, she continually experiments to create innovative art that embraces the infinite possibilities of emerging technologies.
Course Schedule
Date & Time
Sunday October 22, 2023 10am – 1pm
Price
$10
Experience Level: Beginner to Advanced. Language: English Length: 3h
