My main interests lie in the crossroads between modern technology and art. I am focusing on the moral and ethical discussions that arise with the introduction of new technologies within the art world. Furthermore, I am interested in exploring the possibilities technology has to offer for technical art historical research, art conservation, presentation and the creation of contemporary artworks.
Indistinguishable likeness is an in-depth inquiry into the impact of 3D printing in our contemporary digitized society and the importance of this technology for art historical research and the conservation & presentation of artworks. The ever-growing divide between authenticity and reproduction has been a topic of discussion since Walter Benjamin argued (1936) that reproduction strips artworks from their artistic relevance and connections to the past. Although nowadays art reproductions are omnipresent (e.g. on mobile devices and posters) 3D printing offers possibilities hitherto unperceived: artworks can be printed preserving every visual and material detail. Undeniably, 3D printing technology will continue to develop, yet the impact of this technology on how we view authentic artworks and the societal role of museums remains unresearched. This study critically analyzes contemporary ethics in the art world to understand, on the one hand, the way 3D printing challenges the notions of authenticity and copy, and on the other, to grasp the significance of this innovative technology for the appreciation of original artworks. Drawing from the disciplines of (technical) art history, 3D technology and conservation studies, a theoretic framework for a profound study of 3D printing is established. Based on this framework, paintings of Dutch museum collections that are (entirely or partly) 3D printed function as case studies to show the impact and significance of 3D printing for contemporary art theory and practice. Subsequently, this research proposes ways in which 3D printing can attribute to maintaining both museums’ critical function and artworks’ social and material integrity.
Guest PhD Student (Leiden University & Delft University of Technology)
Master Arts & Culture, Leiden University
Conservation & Restoration (minor), University of Amsterdam
Bachelor Art History, Leiden University
Prof.dr. C.J.M. Zijlmans
Prof.dr. J. Dik (3mE – TU Delft)
Leiden Delft Erasmus – Centre for Global Heritage and Development
Netherlands Institute for Conservation+Art+Science+