Thinking 3D is an international initiative which will organise and promote exhibitions in several major institutions.
- Travelling Images: Venetian Illustrated Books at the University of Edinburgh
- Natural Bodies, Ideal Shapes: The Hidden Geometry of Nature
- Our Science and Art: Visualising the Human Body
- An Eye for 3D. Teaching Anatomy at St Andrews
- Thinking 3D from Leonardo to Present
- Thinking 3D: The Geometer’s Library
- Thinking 3D: The Botanist’s Library
Travelling Images: Venetian Illustrated Books at the University of Edinburgh
dates: April-June 2018
The exhibition presented a group of illustrated books printed in Venice in the sixteenth and seventeenth centuries and currently preserved at the Centre for Research Collections, University of Edinburgh. Co-curated by Linda Borean (Università degli Studi di Udine) and Laura Moretti (University of St Andrews), with Elizabeth Quarmby Lawrence (Centre for Research Collections, University of Edinburgh), funded by The Royal Society of Edinburgh, supported by the School of Art History, University of St Andrews, and Thinking 3D.
Natural Bodies, Ideal Shapes: The Hidden Geometry of Nature
dates: June-August 2018
The exhibition, co-curated by Laura Moretti and Anna Venturini, presents a blend of human artefacts and natural elements that illustrate how basic principles of sciences such as Geometry and Mathematics are also to be found in Nature. All the exhibited objects belong to the collections of the University of St Andrews.
Our Science and Art: Visualising the Human Body
dates: September 2018-July 2019
This exhibition looks at how advances in technology and in our knowledge of human anatomy have changed the ways we see (and see inside) the human body. Focusing in turn on medical illustration, microscopy, endoscopy, imaging techniques such as X-ray photography and ultrasonography, and modern digital visualisation, we can see how 5 centuries of scientific and artistic progress have enabled us to better picture the complex 3D body on the 2D page and screen.
An Eye for 3D. Teaching Anatomy at St Andrews
dates: 1-19 October 2018
The exhibition, curated by Laura Moretti, showcases three-dimensional models of the human eye preserved in the University of St Andrews Museums and Collections. These have been used in this institution to teach the anatomy of the eye since the late nineteenth-early twentieth century. The display is completed by the reproductions of Arthur Thomson’s stereoscopic images of the human eye (1912).
Thinking 3D from Leonardo to Present
dates: March 2019-January 2020
The heart of Thinking 3D in Oxford will be the main exhibition at the Bodleian’s Treasury which will tell the over-arching story of the development of three-dimensional communication using the Bodleian’s finest books and manuscripts. This exhibition will run for the entire season of Thinking 3D and will act as a hub for many of the other partner exhibitions across Oxford.
Thinking 3D: The Geometer’s Library
location: Library of Christ Church, Oxford
Geometry was at the core for understanding a wide range of scientific issues in the early modern period. The library and scientific tools of polymath Charles Boyle, 4th Earl of Orrery, will be the focus of an exhibition in the Library of Christ Church displaying the great scientific wealth bequeathed to the institution in 1731.
Thinking 3D: The Botanist’s Library
dates: March-September 2019
Location: Magdalen College Library, Oxford
Botanical sciences have always relied on field observations and descriptions, and the ability to faithfully and scientifically reproduce specimens alongside their descriptions and taxonomies follows the overall narrative of Thinking 3D. To tie in, then, with the Thinking 3D exhibition at Oxford Botanic Garden, The Botanist’s Library will investigate how a prolific working botanist at the end of the 17th century collected botanical and used botanical works. The collection of botanist and physician John Goodyer (c.1592-1664) will be the focus of this exhibition at Magdalen College Library, a unique collection which gathers together most of the botanical works published from the 15th century until his death; many of the editions in Goodyer’s library record when, where and for how much he purchased his books, and a great number of his books feature his marginal commentary, translations, interactions, and colourings.