Increasingly, painters are using digital tools and computer-generated images to capture the tone and texture of reality.
Outland is a new platform dedicated to fostering critical conversations around emerging digital technologies and their connections to contemporary art.
Jonathan Chomko’s pixel-based water simulator critiques the fetishes of randomization and realism in generative art.
Duane King of Highlight and Paul Schmidt of fxhash reflect on the evolving field of code-based art the platforms supporting it.
Founded by Czech entrepreneur Karel Komárek, the Basel-based collection has an explicit focus on digital and new media art.
Generations of artists have experimented with automated handwriting, illustrating the ongoing entanglement of humans and machines.
The significance of contemporary generative art hinges on how it brings disparate kinds of similarity and difference into unreconciled—and productive—tension.
The restoration of Keith Haring’s 1987 computer drawings proposes a new standard for using the blockchain to store and authenticate historical digital art.
A collection of NFTs inhabited by a mysterious, shapeshifting sea creature raises existential questions about the simulation of autonomous life forms.
A longtime admirer (and practioner) of software art has become an avid collector of generative work.
A special issue on generative art features essays by participants in a writing workshop organized with Art Blocks.
Deafbeef’s latest project calls back to Eadweard Muybridge’s nineteenth-century motion studies to meditate on the relationship between media and time on the blockchain.
Two exhibitions that engage with the trendy notion of “worldbuilding” offer different visions of what the role of audiences in artist-conceived worlds can be.
Gabriel Massan’s gorgeous adventure game incorporates NFTs as player souvenirs, rather than using the blockchain to elaborate on the game’s collaborative spirit.
Andreas Gysin and Sidi Vanetti's numerical art, the collaborative generative art project "N=12," Takakura Kazuki's AI installation, and Mark Fingerhut's malware ride reviewed in brief
Does artificial intelligence understand the timeline of its own existence? This simulated exchange, generated almost entirely by a version of GPT-4, probes that question.
Looking at works by Ian Cheng, Refik Anadol, and Jon Rafman involves a sensory awareness of the AI engaged behind the scenes.
A studio visit with the self-described "digital shaman," who uses AI to explore ancient culture and the human psyche
The artists discuss their work made with generative AI—and what the technology can teach us about the human mind.
In this virtual studio visit, the artist shares her ideas about social media's impact on girls, and discusses her use of creative coding.
Alexandra Daisy Ginsberg’s algorithmically designed gardens cater to the needs of insects and plants, rather than the aesthetic preferences of humans.
The tools of web3 tools offer some exciting possibilities for art organizations. But it’s still crucial to build human networks around them.
How is the web3 principle of decentralization changing the way art is funded, produced, collected, and displayed?
Outland’s new guest editor Refraction DAO is creating alternative models for organizing and funding an international network of exhibitions and events.
The community structures of Friends with Benefits and Refraction DAO are informed by web3 tools, but not determined by them.