Generative digital art remains in demand, even as the broader NFT market struggles. This summer alone, the medium has garnered eye-popping sales, the doting attention of elite brands and institutions, and the emergence of new platforms. But it wasn’t always that way.
Casey Reas, an artist and software designer who has pioneered the use of automated computer code in creating digital art for over 20 years, recalls how much lonelier—and cumbersome—things used to be prior to the rise of NFTs, which made it much easier to sell original digital artwork.
“If I was showing a piece of generative art in a gallery, the collector base was extremely small,” Reas told Decrypt of the bygone aughts and 2010s. “I would have to produce a documentation box that would include source code, the files on a storage medium, and a lot of documentation credits—all these mechanisms just to make it possible to collect a generative work.”
How things have changed. Next week, Reas will debut “923 Empty Rooms,” a series of just as
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Author: Sander Lutz
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