3D printed figure of yourself nyc

Print a 3D mini of yourself at Chelsea Market

Photograph: Courtesy Dopl

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Honey, you shrunk yourself? It's possible, thanks to a new interactive pop-up opening this Friday, October 15 at Chelsea Market.

Through February 14, 2022, New Yorkers can visit Dopl to take a 3D full body scan and receive a true-to-life 3D miniature of themselves. It's a micro doppelgänger!

Dopl, a technology company that specializes in 3D technology, printing and development, just opened a store in Soho. Their unique works aims to capture the essence of how people feel in the moments they want to remember the most. The miniatures, which have been dubbed ‘Dopls’ start with the full 360-degree image captured on-site, which is then crafted in the Dopl production studio located in Brooklyn.

“Dopl celebrates who we are, what we love and is about making a memory of those moments that are most important to you,” says Dopl co-founder Michael Anderson. “Our true-to-life miniatures let each person tell their story in a way that is both meaningful and a lot of fun. Chelsea Market delivers that same connection and excitement to its visitors and brings people together from across NYC and the world, and we’re thrilled to be here.”

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Colorful clothes, particularly ones that express your personal style with texture and patterns are recommended to add vibrancy to mini-you. Creative posing is encouraged, and the entire image capture can take 20-30 minutes, possibly longer for groups.

Ranging in sizes from four to 14 inches (and cost $59 and up), Dopls can be made for everyone, including pets. Dopl will be located in Chelsea Market’s main thoroughfare, and open from 10am–8pm Monday through Saturday and 11am–7pm on Sundays. Walk-ins are welcome or reservations can be made in advance here.

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Street art in the Basquiat era: Jenny Holzer and Lady Pink on Streetwise Feminisms, Satanism, and Reaganomics

The following is part of a series of interviews with key figures in Jean-Michel Basquiat’s downtown New York circle in the 1980s. The interviews were conducted in February by Boston Museum of Fine Arts curator Liz Mansell and writer and musician Greg Tate, who together curated the exhibition Writing for the Future: Basquiat and the Hip-Hop Generation at the IFA through July 25. ARTnews will publish four interviews from this series each day this week.

In the city center, in the center of the Ministry of Foreign Affairs, in the city center .

In downtown New York City in the early 1980s, radical graffiti and post-punk/new wave artists became unlikely allies in a mission to put art on the streets where people from all walks of life could get access to it. On the other hand, graffiti-related artists have demanded and sought access to galleries and exhibited their work in white cubes as part of the post-graffiti movement. In this mix, the cross-sectional collaboration between artists Jenny Holzer and Lady Pink, fueled by feminist values and mutual admiration, broke down the racial, cultural, generational and aesthetic barriers that are erected to this day between the so-called fine art world and the so-called street art. Holzer was a member of the Colab art collective, which created projects in derelict spaces, and an established concept and street artist with a solo practice in media ranging from post-it notes to the Spectacolor Times Square whiteboard. Lady Pink was a talented teenage child who began exhibiting in art galleries at the age of 16, creating wall art on trains. She also studied at New York's prestigious High School of Art and Design, the epicenter for young graffiti writers in the 70s. At 1983 Jenny invited Lady Pink to collaborate on a series of a dozen paintings, the scale of which reflected the muralism that took place on trains. These collaborations were overlaid with lyrics from Jenny's Survival series, which spoke loudly and truthfully about the brutality of a declining New York and the beauty of resilience. This is their first interview in the series since 1983. -Liz Mansell and Greg Tate

Liz Mansell : When and where did you meet?

Jenny Holzer : I was looking for you, probably through the Weird John pet store across the street from where I lived, where Lee [Quinones] worked. Maybe it was the route?

Lady Pink : Yes, I remember those guys, yes. Pet Shop. Yeah.

Jenny Holzer : John's shop had something to do with getting together. In any case, I was very happy when Pink materialized so that the legend was present.

Liz Holzer : Yes, yes.

LIZ MUNSELL : What were your impressions of each other at the time? What were your disagreements? And what united you? Jenny, you mentioned that Pink is a mythical (and possibly strategically evasive) person. Both of you are known to be avid feminists.

Jenny Holzer : Differences: Pink had swagger. I prefer to be at least semi-invisible. Similarities: None of us apologize for women or for being a woman.

Contact list of portraits of Jenny Holzer and Lady Pink, ca. 1980s

LIZ MOUNSELL : Pink, in past interviews you told me that Jenny is one of the only women on stage, if not the only one, working in the public space.

Lady Pink .

LADY PINK : Jenny was the only other woman who went out and did things at night, in foreign territory. I drew, she did the stickers. But she was one of the few... and she got away with it because she was taller, so wearing a big, heavy coat and sweatshirt and all, you could pass yourself off as a big guy. But I have always been very small and petite, and I had to run with a pack of rats to cover my back!

Jenny Holzer : We both made it. We are both good skulkers after midnight.

GREG TATE . You collaborated early in the Reagan presidency. Looking at the feminist message at work, opposing the abuse of women, you are also opposing militarism and imperialism, and as a result, the death rush of murder, massacre, under that administration. And I'm wondering how much you guys talked about the politics of the moment when you discussed your collaboration?

Jenny Holzer : One thing we talked about because it became ubiquitous under Reagan is how Reagan's economic policies got so many people on the street. On the Lower East Side, in a subway station, I remember seeing a woman and her two children sleeping on a subway bench night after night. It was a topic because the evidence was right there, both terrible and growing.

Greg Tate : So there was a dialogue with each other. How was the process going, in terms of you guys generating work?

LADY PINK : I don't remember... I had a lot of freedom to draw whatever I wanted. Jenny applied one of her texts [from Survival Series ] to what I was drawing. Then a sign artist came along who I don't remember ever meeting, but she came and applied the text that Jenny had chosen.

Jenny Holzer : Sometimes Pink came with her huge Amazon figures; giant ladies were always welcome. From time to time I had an idea for a painting. An example would be the creation of a painting based on images by Susan Maiselas [an American documentary photographer who worked in Central America during the Contra War in Nicaragua and the El Salvadoran Civil War]. I had Susan's books, I offered them, and Pink pushed back from them. Other images, I have no idea where they came from, but I'm glad they showed up! Then [artist and illustrator] Ilona Granet would come in to draw the text after Pink had done the images. By the time Ilona arrived, I already knew which text could resonate, or at least become counterpoint. Sometimes Ilona would take suggestions from me about which typeface to use where. In other cases, she contributed her own very good graphical sense and sense of placement. Ilona did it. And so far it is.

LIZ MOUNSELL : This brings us back to Greg's question about the Reagan administration. Can you both talk about your awareness and involvement in any activity against the Reagan administration's intervention in Nicaragua at the time?

Jenny Holzer : I didn't do anything directly about Nicaragua, but maybe the paintings, using Susan's fantastical, scary imagery, offered an awareness that could be of indirect benefit when the works were displayed in front of people. I tried to prevent Reagan from being elected at 1984 with Sign on a Truck [an 18-foot electronic sign on a truck that displayed images, quotes, and statements], but it certainly didn't work.

.

LADY PINK : I didn't have any activism that I was involved in. I participated in several events, but I did not like such things. And I was not even aware of what was happening in politics or in something else.

Jenny Holzer and Lady Pink: Tear canals seem to be text providing grief: Survival , 1983-85.

GREG TATE : So tell us about the inspiration for this recombination of flowers and skulls and death heads in flowers? It's pretty epic... I mean, the two paintings we presented at [MFA Boston] are epic in scope, and really bold and daring and confrontational, I would even say.

GREG TATE .

LADY PINK : I read somewhere that [quoting me in the 80s] I drew skulls in memory of a friend of mine who was arrested with a bag of human skulls in '77. I have no recollection of the motives for writing those paintings.

Jenny Holzer : Skulls make an incredible image and I applaud you for that. And I love the story, whether it's accurate or not, so stick with it.

JENNY HOLZER .

LADY PINK : Well, I guess it is. It was a hard thing. The article mentioned something about voodoo. I think it's wrong; it's more like witchcraft than voodoo. These are white people's things, not voodoo. One of the other paintings was dedicated to the very friend who was killed at 1983 at the age of 24 because he was involved in a witch cult. When he witnessed human sacrifice, he left the witch cult and told the media about it. And they killed him. So, you know, things like that, when you're a kid, they stay with you; these are heavy, strong things. You lose a friend, people die, they get arrested, human skulls, witch cults, human sacrifices; it's pretty deep stuff. So I can understand why that was the motive for some of these paintings.

GREG TATE : Understood. Understood.

LIZ MUNSELL : That's very energizing, Pink. Yes, this quote is from East Village Eye , in '83, from you. And Jenny, let's not get into the dark stuff, but interestingly, in the same article you said...

Jenny Holzer : Wait... wait. I have one happy flower story; let me stop being me for a minute. Apart from the skull area, I once went to the flower shop and returned to the loft with a range of bouquets, including an orchid that was featured in a painting in your exhibition. So, between voodoo, people with kids sleeping on the subway, Reaganomics, murders and everything else, there were bouquets.

LADY PINK : Oh, did I still life? Wow! Good.

Jenny Holzer : Remember? Like a big bouquet of flowers.

Jenny Holzer and Lady Pink: When You Expect Fair Play You Create an Infectious Bubble of Madness, 1983-84.

LADY PINK : I don't remember having a real, real bouquet of flowers; I thought I came up with this image.

GREG TATE : Yes. Yes. I mean, it's very interesting to think about how we put the lens of Reagan and Nicaragua on these works. And you're really dealing with extreme violence that happened very close to home. Which also speaks to New York during that time period and the range of violence that could take place within the city, interacting with all of its various secret societies. I'm curious, however, what was the appropriate response in your communities to your collaboration? What have you heard from your colleagues? What do you remember the reaction of the critics? And so on.

Jenny Holzer : I remember there were several bands, sometimes loose, sometimes tight. [Collab] Colab was a very mixed group of artists who sometimes did things with your people, Pink, graffiti wonders. And then there were older people, now ancient ones like me, who in the 70s were excited about what [Daniel] Buren was doing outdoors and conceptual, text-based work like Larry Weiner's. I especially liked Weiner's work. And then, of course, there was the club scene.

All of these groups were on the move, around and through them. It's been a very, very interesting time, albeit a scary one at times, because of what you're talking about: violence, poverty, being attacked, politics in general, international politics. However, much of the downtown activity was not driven by money, which was a beautiful thing in this part of the art world. When people worked, it was because they were forced to create, they needed to offer, show reality - and better alternatives - to as many people as possible. Not bad.

Photograph (left to right) John Fechner, Jenny Holzer, David Wojnarowicz, Keith Haring, and Michael Smith

LADY PINK : In the early 80s there was a big transition between graffiti "writers" and what we now call street artists: everyone from John Feckner, Jenny Holzer, even Martin Wong, Richard Hambleton, all these guys, Keith Haring, Basquiat, they all worked in different modes than we do. We were a real tribal band that made fonts with spray paint, and we loved to smash things on wheels - trains and anything that moves. And then there were all the other street artists. They always tried to call Keith Haring a graffiti writer, and he always resisted it. He worked with chalk, he was an anomaly. He did not make fonts, letters and his name. But then there was no other name to call him. John Feckner with stencils, and Jenny Holzer with posters, and Richard Hambleton with his painted people. These are not graffiti writers. Now we call them street artists, and now, graffiti writers, we call them that too. Just like how rock and roll is described, [street art] also has its own categories and genres. There's metal and pop, funk and disco, and even hip-hop is rock and roll, it's in the Rock and Roll Hall of Fame. And they are all very different and different from each other, but all this is called rock and roll.

We all have the same grassroots desire - to be arrested for damaging other people's property! The same spirit of vandalism lives in each of us. But there are different means: rubber bands, glass, metal, wood. And old women doing knitted bombs; they get arrested for knitting and put it where it doesn't belong. And now Jenny Holzer can be safely called a street artist. That's what it's called.

Jenny Holzer : Ilona was also a street artist. She drew alternative signs and pasted them on poles.

LADY PINK : How cool! I like it. Yes.

LIZ MOUNSELL : I know Colab was one of the things that inspired Jenny to work in the public space. Jenny, do you think it influenced you to see the culture of graffiti on trains and young people taking over the subway system as one of the largest art circulation systems ever in art history (to paraphrase Rammellzee) ? How do you think graffiti culture influenced you, as well as post-punk, posters, public space takeovers that were happening at that time?

Jenny Holzer : I was certainly inspired by the culture and practice of graffiti. She was exemplary, efficient and ubiquitous in the best sense of the word. I also thought of the people who stood on the soap box in Speakers' Corner in Hyde Park in London, or anyone who proclaimed in any park anywhere. Or about American anarchists who would be forced to say or demonstrate something in public. So I thought about that and what the concept artists were doing, and of course what Colab wanted to do was bring art with content to as many different types of people as possible.

View of the exhibition “Writing the Future: Basquiat and the Hip-Hop Generation,” showing (on the walls) the work of Jenny Holzer and Lady Pink.

LIZ MUNSELL : Let's get back to the turtles - sorry - before we move on to more joyful topics: TEAR DUCTS SEEM TO BE A GRIEF PROVISION , the picture of the skulls seems to have been one of the first you did together , as well as the picture, the text of which reads: "SOME MEN THINK WOMEN ARE EXPENDABLE, THEY FUCK THEM, KILL THEM AND THROW THEM LIKE CANDI WRAPS. " Jenny, can you talk about what inspired the text for this painting?

Jenny Holzer : The inspiration was that I knew too many - forgive me - fucked women. I knew about too many women killed. So it was terribly accessible, this knowledge firsthand, secondhand and acquired.

LADY PINK : Uh-huh [affirmative].

LIZ MOUNSELL : You mentioned the murder of a close friend in the East Village Eye interview, and I'm sorry that context affected this picture. But, obviously, the fact that she became visible… Pink, you said that you are not an activist, but I consider this an absolute form of activism.

Jenny Holzer : State it Pink; you are an activist!

LADY PINK : Good. Good.

GREG TATE : Yes. Yes.

LIZ MUNSELL : So here's the process, for art history buffs: Who prepared the canvases? Who determined the scale of these works? Who brought the paint and other materials and chose the palette?

LADY PINK : Jenny would prepare the canvas.
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