Generative Art Sensation Tyler Hobbs Has Filled His Debut London Show With Old-Fashioned Paintings—Painted by a Robot, That Is

Inside a Mayfair gallery earlier this week, a gathering of London’s cognoscenti raised colorful textured glasses along a well-appointed table stretching the length of the room. Glamorous as it was, the scene was a typical enough art world gallery dinner, except for the fact that the usual attendees, who included magazine critics and an art historian from the Courtauld gallery, were toasting an artist whose star ascended during NFT mania, and they were clinking glasses across the table with people named things like “blockbird” and “shamrock.”

It was at Unit London, where generative artist Tyler Hobbs was inaugurating his first solo exhibition in the U.K. On view through April 6, “Mechanical Hand” includes three paintings on canvas, and 17 works on paper. Real canvas and real paper, that is. 

Hobbs became a sensation during the NFT bubble in 2021, best known for his highly sought-after “Fidenza” NFTs—a series of 999 algorithmically produced and randomized grids of color. In 2023, he remains a breakout as his market is one of few that appears to have survived the crypto crash. One of these pieces hammered down at Christie’s evening sale in London last week at £290,000 ($348,667). 

But the focus of the evening was definitely on IRL art. The artist, who studied computer science at university, made the works on view using algorithms, codes, and plotters—a sort of robotic arm directed by a computer—to create aesthetic compositions, which he then embellished by hand, either painting or drawing on the surface. 

Tyler Hobbs, Delicate Futures (2022). Courtesy the artist and Unit London.

Tyler Hobbs, Delicate Futures (2022). Courtesy the artist and Unit London.

Hobbs relates his work to the system-based practices of artists like Sol LeWitt and Agnes Martin, who took similarly methodical approaches to mark-making. Speaking to the room, Hobbs said that this type of work “can only be experienced in person.” And while sales of these physical works were indeed encoded on the blockchain, and there were two NFTs also displayed in the gallery on screens, there was little to no mention of the now-poisoned word “NFT.”

This detail didn’t deter the OG NFT collectors from feting Hobbs’s success. “I loved the work, and Tyler’s explanations for each piece made it all the richer,” Hobbs fan and NFT collector, blockbird, told me of the work. “I think this venture into the physical is a great move as it really helps explain and bridge the qualities of his algorithmic work to a new audience. For me as a digital-first collector, it still holds great appeal. I would love one of these in my home.”

And if celebrating, even in a whisper, an NFT artist was unusual for many of the esteemed art world guests, the state of affairs was new to the artist, too, who professed that he had never sat around a dinner table “in the middle of a gallery like this.”

Describing the exhibition, Hobbs said it aims to ask questions about the “adolescent relationship between humans and machines.”

“Computers and machines deeply influence our aesthetics, and I want to observe how that happens,” Hobbs said in a statement. “What implicit skew does the computer have, and what tell-tale signs does the hand leave?” 

The questions lend conceptual depth to the work, as they certainly feel very relevant as algorithm-assisted text and image generators increasingly take over many of our daily tasks, and we collectively ask how we can move forward using a combination of both physical and digital tools. 

Tyler Hobbs, Return One [Red] (2022). Courtesy the artist and Unit London.

Tyler Hobbs, Return One [Red] (2021–2022). Courtesy the artist and Unit London.

Of the works on view, the works on paper shone the most. The earthen-toned gouache of Aligned Movement recall an ancient Roman mosaic or an Aboriginal dot painting. The pastel-smeared paper grids appear as if generative art pioneer Vera Molnár had a baby with a Rothko color field. The pale pink and purple hued watercolor of Delicate Futures has something in it of Helen Frankenthaler’s soak-stained paintings. The larger works on canvas, such as the primely hung at the back of the room, Return One [Red], are markedly less successful. That one, in particular, I thought looked like a D-version Kusama painting. Like much machine-generated art, it was all very good at looking like something else, and not very good at looking like nothing else. 

But what do I know? Unit London director and cofounder Joe Kennedy told me the following day that the show had “pretty much sold out.” The show at Unit London is the beginning of a landmark season for the artist who will open another solo exhibition later this month at Pace Gallery in New York, coinciding with NFT.NYC. Prices for the works in the show start at £25,000 (around $30,000), going up to £300,000 ($360,000) for the red painting at the back of the room, which had sold to a Hong Kong-based collector by the end of the evening.

Tyler Hobbs: Mechanical Hand” is on view through April 6 at Unit London. See more of the works below.

Detail. Tyler Hobbs, Fulfilling System 1 (2020). Courtesy the artist and Unit London.

Detail. Tyler Hobbs, Fulfilling System 1 (2020). Courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Tyler Hobbs, user_space, 36 (2022). Courtesy the artist and Unit London.

Tyler Hobbs, user_space (2022). Courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Tyler Hobbs, Aligned Movement (2020). Courtesy the artist and Unit London.

Tyler Hobbs, Aligned Movement (2020). Courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Installation view, "Tyler Hobbs: Mechanical Hand" at Unit London. Photo by Marcus Peel courtesy the artist and Unit London.

Installation view, “Tyler Hobbs: Mechanical Hand” at Unit London. Photo: Marcus Peel, courtesy the artist and Unit London.

Tyler Hobbs, By Proxy Yellow 1 (2021). Courtesy the artist and Unit London.

Tyler Hobbs, By Proxy Yellow 1 (2021). Courtesy the artist and Unit London.

Follow Midnight Publishing Group News on Facebook:

Pioneering NFT Bitchcoin Is Entering the Centre Pompidou’s Collection in a Landmark Acquisition of Digital Works

In 2015, five months before the emergence of Ethereum, Sarah Meyohas minted her first 200 Bitchcoins. The blockchain-verified tokens were intended to operate as art as much as digital currency, which collectors could hold, sell, or trade for art by Meyohas—a conceptual transaction that tied the speculative worth of cryptocurrency with the subjective value of art. The young artist (and Wharton Business School grad) launched Bitchcoin at a gallery show where visitors could drop Bitcoin for her photographic works, with a press release that cheekily trumpeted: “Investing in Bitchcoin is investing in Meyohas.”

However incisive, Bitchcoin could very well have been a low-key conceptual endeavor, if not for the sensation NFTs set off in 2020. Then again, amid the resurfacing of historic blockchain-backed works, Meyohas’s name was rarely invoked in a space and marketplace dominated by top-selling, always-online male artists such as Beeple.

Sarah Meyohas. Photo: Steve Benisty.

But no more. Last month, the Centre Pompidou announced the acquisition of two Bitchcoins, which are joining 17 other NFTs being acquired by the institution in the first-ever such acquisition by a French national museum. These other works include an Autoglyph, a CryptoPunk, new works by Jill Magid and Jonas Lund, and historic digital art by Robness and Fred Forest. 

“It’s doubly exciting that my first museum acquisition can also be a historic one,” Meyohas told Midnight Publishing Group News. “I’m thrilled for each of the 12 other artists involved as well.”

The crypto artworks join the contemporary art museum’s sizable collection of new-media works, which the Pompidou has been amassing since the 1970s. For curators Macella Lista and Philippe Bettinelli, who are overseeing the Pompidou’s NFT endeavors, the acquisition entirely squares with a museum dedicated to “addressing the impulses of innovation,” they told Midnight Publishing Group News over email.

Larva Labs, CryptoPunk #110 (2017). Photo: © Larva Labs

“It is interesting to see how [this] creativity started from outside of the art world, or from the specialized domain of digital arts, before slowly echoing among the general landscape of contemporary art,” they said in a joint statement. “Artworks related to the blockchain are moving many lines and provide a critical appreciation of what is going on today.”

The museum plans to present the works as part of its permanent collection in spring this year (an online exhibition is also being gamed out for a later phase, possibly within “a specifically conceived digital space”). This showcase will occupy the fourth floor of the Pompidou where crypto art will be framed as part of the Conceptual and Minimal art traditions. As Lista and Bettinelli emphasized, “NFTs didn’t come ‘out of the blue.’”

Agnieszka Kurant, Sentimentite-Mt Gox Hack (2022). Photo: Kunstgiesserei St Gallen AG, courtesy of the artist and Zien.

While the acquisition is heavy on new projects—ranging from the conceptual, such as  Agnieszka Kurant’s Sentimentite-Mt. Gox. Hack (2022), to the accessible, namely CryptoPunk #110, donated as part of Yuga Labs’s Punks Legacy Project—pioneering NFTs are represented too.

Most prominently, there’s John F. Simon Jr.’s Every Icon (1997), Emilie Brout and Maxime Marion’s Nakamoto (The Proof) (2014), and of course, Bitchcoin. 

Sarah Meyohas, Bitchcoin #1.282 (2015 – 2021). Photo: © Sarah Meyohas, courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Notably, the Pompidou’s acquisition further nods to Meyohas’s 2017 project, Cloud of Petals, which was backed by Bitchcoins. That year, the artist released reserved Bitchcoins on the occasion of her “Cloud of Petals” exhibition at Red Bull Arts in New York. There, the 3,291 tokens were linked to a similar number of physical rose petals, each meticulously plucked, photographed, and fed into an A.I. dataset capable of generating yet more images of petals. Holders could “burn” their Bitchcoin to claim its unique petal.

Again, the work explored the tension in tying a cryptocurrency to an entirely subjective view of beauty, though this time, deployed digital technologies to further examine what human labor might mean in an era of automation.

Cloud of Petals is a conceptual body of work that spans film, artificial intelligence, virtual reality, performance, data science, and photography,” said Meyohas. “It’s wonderful to see this work enter the Centre Pompidou’s collection alongside Bitchcoin, a project that proves blockchain-based work can encompass each of those and more.”

Sarah Meyohas, Cloud of Petals (2017). Photo: © Sarah Meyohas, courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

With its two Bitchcoins, the Pompidou intends to keep one token and exchange the other for a preserved rose petal. To Lista and Bettinelli, the project stands as “a seminal piece that touches on the core of what is at stake, which is the complete interlocking of symbolic, cultural, and financial values.” 

Indeed, while it’s taken almost a decade for her trailblazing project to receive institutional recognition, Meyohas, it seems, has been content to let Bitchcoin’s footprint do the talking.

“Sometimes the projects that don’t tweet the loudest are the most thoughtful ones,” she said. “I’m thankful that the curators at the Pompidou have the critical judgment to differentiate.”

Follow Midnight Publishing Group News on Facebook:

The Open Edition Is the Hot New Ticket on the NFT Market—Here’s What You Need to Know About the Format Renewing Collector Interest

Amid the ongoing crypto winter (will it eventually become an ice age?), one pocket of the Web3 world isn’t just thawing, it’s thriving. Meet open editions, a way of dropping NFTs that has welcomed in a fresh wave of artists and renewed enthusiasm among collectors.

Open editions aren’t new but after leading crypto art creators turned to them in 2022, their popularity duly boomed. Aided by the emergence of new NFT platforms designed to provide easy use and creative flexibility, popular open edition projects by the likes of Jack Butcher, Marcel Deneuve, and Terrell Jones pushed the trend further.

By the end of January, the overall NFT sales volume had grown more than 40 percent by some estimates. A bull run was being whispered about quite loudly in some of the internet. Kevin Abosch, who launched his first open editions on February 11 to very warm reception, offered the friendly advice: “please don’t FOMO into it… Don’t spend more than you can afford to lose!”

Here we break down what an open edition is, why they’re proving popular, and some of the landmark projects from recent years.


What’s an open edition?

An NFT with no limit to the number of editions that can be minted. This contrasts to a limited edition, which sets a cap on how many NFTs can be minted. Limited editions can range from one-of-ones to 10,000 or more editions.

Think of them as prints or photographs in traditional art-world terms, wherein editions or iterations allow for multiple collectors, while maintaining the value and uniqueness of each individual work.

Open editions (or OE in cryptoslang) aren’t, however, a limitless free-for-all. Creators usually control the time frame in which the NFT can be minted (typically a span of 24 to 72 hours). Once that time elapses, no more editions can be minted. The number of mints allowed per crypto wallet can also be capped.


Why are open editions popular?

Open editions aren’t new, Beeple dropped three way back in 2020 and NFT platform Nifty Gateway embraced them to gain stature and grow its audience. The current surge in popularity can partly be explained by a democratization push from within the NFT sphere. This movement has two main protagonists, platforms and big-name NFT artists.

New platforms, such as Zora and Manifold, have promoted open editions and prioritized making it easy for rookie NFT artists to release work with little technical know-how.

Major NFT names are drawn to the accessibility and affordability of open editions. An open edition NFT could be had for $10 or less, allowing community fans, often priced out of limited-edition collections, to get their hands (the digital kind) on work. By expanding their collector pool, artists can follow up by offering NFT holders benefits such as access to exclusive experiences, content, or further NFTs.


What do the detractors say?

The flood of creators that have entered the NFT space has provoked some snobbish ire from OG creators and collectors, particularly when newer artists with low demand are seen as trying to make quick money.

On the collector’s side, some worry that artists selling too many editions serves to deflate prices by undermining any sense of scarcity surrounding their work. Some argue it is more beneficial to release a high number of low-priced limited editions than run an open edition collection.


What are some of the most notable open editions?

Beeple’s 2020 trio of open edition NFTs (Bull Run, Infected, and Into the Ether) dropped on Nifty Gateway were priced at $969 each (he sold 601 of them), setting a precedent for big-name creator breaking from the conventional practice of limited editions.

In 2021, XCOPY, a leading crypto artist who creates glitchy and dystopic work, dropped a 90-minute-long open edition of three works (Traitors, Afterburn, and Guzzler) and raised more than $2 million. This was topped in 2022 in Max Pain, which raised $23 million in 10 minutes.

In April 2022, Drift, a NFT photographer who scales buildings and then photographs his shoes from delirious heights, minted an open edition in recognition of having being released from prison a year earlier. First Day Out sold 10,351 editions at 0.2 ETH ($6.8 million at the time).


More Trending Stories:

Archaeologists Have Discovered an Ancient Fort—Complete With Wooden Spikes—Built by the Romans to Protect Their Silver Mines

Marginalia Uncovered in Leonardo’s Famous Codex Arundel Suggests the Renaissance Polymath Theorized Gravity Before Galileo

‘Affecting’ or ‘Passionless’? Critics Are Divided on David Hockney’s Newly Opened Immersive Light Show

More Details on Peter Doig’s Defection from Michael Werner Gallery, the Rubells’ Next Artist in Residence Revealed, and More Juicy Art World Gossip

In Pictures: See Every Single Artwork in the Rijksmuseum’s Vermeer Show, a Once-in-a-Lifetime Exhibition That Is Already Sold Out

The National Museum of Asian Art Will Hold on to Looted Artifacts Intended to Return to Yemen to Protect Them From Conflict

A Cabinetmaker Spent 30 Years Trying to Prove a Painting He Bought at an Antique Shop Is a Raphael. A.I. May Have Just Done It for Him

5 Breakout Artists We Discovered at the Los Angeles Art Fairs Whose Work Stopped Us in Our Tracks

Kenny Schachter Hits Frieze L.A.—or Does He?—and Digs Up Scoops on Peter Doig’s New Mastermind, Mark Grotjahn’s Dine-and-Dash, and Bad Art-Market Behavior Galore

Madagascan Artist Joël Andrianomearisoa Has Quietly Honed His Practice for Decades. Why Is He Suddenly Everywhere?

Here Are 8 Mythic Artist Studios to Visit Across America, From Georgia O’Keeffe’s Desert Retreat to Winslow Homer’s Ocean-Sprayed Bungalow

Follow Midnight Publishing Group News on Facebook:

Hermès Wins Its Lawsuit Against the Digital Artist Who Made ‘MetaBirkins,’ Setting a Precedent for NFT Copyright Cases

Hermès, the French luxury brand behind the famously pricey Birkin handbag, scored a legal victory today over a digital artist known as Mason Rothschild, who produced an NFT titled MetaBirkin.

A federal jury returned a verdict against the artist today, following a five-day trial, deciding that the artist violated Hermès’s Birkin trademark rights.

“Great day for big brands. Terrible day for artists and the First Amendment,” said the artist’s lead counsel Rhett Millsaps in a statement.

“This is not the end of this case,” he told Midnight Publishing Group News in an email.

Rothschild, referring to the jurors, said: “Take nine people off the street right now and ask them to tell you what art is but the kicker is whatever they say will now become the undisputed truth. That’s what happened today.”

The jury awarded Hermès $133,000 in damages and also found the artist’s NFTs aren’t protected speech under the First Amendment.

Attorneys and a representative for Hermès did not comment following the verdict. 

The case was closely watched since it is the first major test of how NFTs, which have exploded in popularity in recent years, should be considered in the context of copyright law. One expert predicted “a chilling effect on NFT artists,” as a result of the decision, according to Bloomberg News.

As Midnight Publishing Group News reported earlier this year, similar disputes surrounding ownership have popped up over a series of unauthorized NFT photos of Olive Garden restaurants and Quentin Tarantino’s NFTs from Pulp Fiction.

In December 2021, Hermès sent the artist a cease and desist letter. The MetaBirkins were removed from OpenSea’s primary market around the same time.

In the MetaBirkin project, the artist reimagined the designer bags with dyed fake fur—a move that, according to the MetaBirkins website, was “inspired by the acceleration of fashion’s ‘fur free’ initiatives and embrace of alternative textiles.”

A disclaimer at the bottom of the site read: “We are not affiliated, associated, authorized, endorsed by, or in any way officially connected with the HERMES, or any of its subsidiaries or its affiliates.” In the lawsuit it eventually filed, Hermès asserted that the disclaimer actually made matters worse by “excessively” using the brand’s name and “unnecessarily” linking to its website.

Rothschild’s post-verdict statement continued: “A multibillion-dollar luxury fashion house who says they ‘care’ about art and artists but feel they have the right to choose what art IS and who IS an artist. Not because of what they create but because their CV doesn’t scream artist with a pedigree from a world-class art school. That’s what happened today.

A broken justice system that doesn’t allow an art expert to speak on art but allows economists to speak on it. That’s what happened today.

What happened today was wrong. What happened today will continue to happen if we don’t continue to fight. This is far from over.”

Follow Midnight Publishing Group News on Facebook:

These Six Works Available in the Midnight Publishing Group Auctions Sale ‘ArtNFT: Beginnings’ Are Redefining Generative Art

Generative and Artificial Intelligence art might sound like something straight out of a science fiction film. However, the idea that an artwork can be created by a machine, devoid of the human hand, or created by autonomous and algorithmic systems, isn’t far-fetched at all. For the past six decades, artists have been experimenting with technology, creating computer art, media art, video art, and digital art, and eventually tokenizing artworks on the blockchain.

Now, Midnight Publishing Group’s first NFT auction, “ArtNFT: Beginnings,” is centered on the historical trajectory of digital art and its touch points with the development of NFTs. Read on to learn about seven artists, including Dmitri Cherniak, Vuk Ćosić, and Georg Nees, who have been at the forefront of Generative and A.I. art movements, and whose works are live for bidding through December 21 in “ArtNFT: Beginnings.”


Dmitri Cherniak
Ringers #887 (2021)

Dmitri Cherniak, Ringers #887, (2021). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 70-90 ETH ($272,000-349,000).

“Automation is my artistic medium. Hand coded goods,” Dmitri Cherniak has written. On January 31, 2021 the Canadian artist made a splash with the launch of his “Ringers” project on Artblocks, a program that hosts generative content on the Ethereum blockchain.

The series, which is capped at 1,000 unique NFTs, is based on the premise that there are an almost infinite number of ways to wrap a string around a set of pegs. “Ringers” are a computer-generated algorithmic series, created from Javascript code, and each work has its own unique transaction hash. Minimal in their aesthetics, “Ringers” are valued for qualities such as peg count, sizing, layout, background, wrap orientation, wrap style, scaling, body color, peg style, and extra color. Ringers #887 has a woven wrap style and a solid-filled black body which accentuates its visually striking, angular pattern. Notably, Ringer #109 sold for 2,100 ETH ($6.9 million at the time), making it the most expensive Art Blocks NFT sold to date.

Cherniak got his start in crypto in 2014, and while he has been probing the implications of blockchain-based generative art for years, it was not until 2019 that he began sharing his own work, remaining dedicated to algorithmic diversity in his practice.


Vuk Ćosić
Deep ASCII (1998)

Vuk Ćosić, Deep ASCII (1998). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 12-15 ETH. ($46,600-$58,300).

Slovenian artist Vuk Ćosić is best known for his role as a founding pioneer of, an internet art movement that started in 1994, and for his early application of encoding technology to visual graphics. Ćosić seeks to sidestep the traditional methods of creating art by utilizing the digital sphere, however he emphasizes that the most high-tech technologies need not be applied. This artistic approach drove many of his projects, including the ASCII Art Ensemble, which features various moving images and videos in the American Standard Code for Information Interchange (ASCII) characteristically formed by numbered coding patterns.

Emblematic of Ćosić’s pioneering spirit, Deep ASCII is an NFT conversion of his 1998 work of the same title, which depicts a scene from the pornographic film Deep Throat rendered in ASCII. 


Kevin and Jennifer McCoy
Quantum Leap (Primordial Star 2) (2021)

Jennifer and Kevin McCoy, Quantum Leap (Primordial Star 2) (2021). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 40-60 ETH ($155,374-233,060).

Quantum Leap by Jennifer and Kevin McCoy is the longest-term generative artwork, evolving over a three year cycle. The code-based NFT is inspired by the artists’ 2014 work Quantum, the first ever artwork to be tokenized on the blockchain. 

Constantly moving through changing states, the NFT draws upon art-historical and scientific theories to evolve and spawn new versions of itself in real time, multiplying in a manner akin to the current ecosystem of social and technological innovation. Fast-paced and unpredictable, the work’s title refers to a physics theory that strives to answer questions about the initial phases of the universe. 

Primordial Star 2 is the second from a series of eight unique tokens which involve layers of code-based systems that interact to produce an expanding mandala-like digital animation, inspired by the consistently shifting life cycle of stars. Over the token’s three-year cycle, it will spawn offspring—new stars and descendant tokens that will possess their own parameters and unique visual rendering software patterns. 


PP_F_024_2 (2015-21)

Quayola, PP_F_024_2 (2015-21). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 8-12 ETH ($31,000-$46,600).

Italian artist Davide Quayola sees technology as complementary to classical religious iconography and traditional landscape imagery. Most often referred to as Quayola, the artist works with many mediums, including audiovisual performance, video, sculpture, and works on paper. PP_F_024_2 is an NFT that draws inspiration from Impressionism and suggests a new understanding of the natural world through collaboration with technology. The work is an algorithmic composition that blends opposite realms: nature and technology, representation and abstraction, and, ultimately, the human and machine. 

Inspired by the work of Vincent Van Gogh, Quayola visited the countryside in Provence some 130 years after the Dutch artist to capture some of the same iconic natural compositions. Quayola uses custom software to transform his source videos into algorithmic animations resembling real paint. PP_F_024_2, for example, was generated by the analysis of ultra-high-definition videos. 


Pindar Van Arman
Emerging Faces (2020)

Pindar Van Arman, Emerging Faces (2020). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 60-80 ETH ($233,000-$310,800).

Pindar Van Arman is an American artist, roboticist, and pioneer of digital art. Van Arman has been building robots for use in his artistic practice since 2015, and he has programmed software applications such as CrowdPainter, bitPaintr and CloudPainter. Using Artificial Intelligence (AI) software, Van Arman’s robots hold a brush and paint patterns directed by an algorithm. 

 A pioneer of digital art, Pindar Van Arman is an American artist and roboticist. Van Arman has been building robots for use in his artistic practice since 2005 and has programmed CrowdPainter, bitPaintr and CloudPainter. All based on Artificial Intelligence software, Van Arman directs his robots to hold a brush and paint a pattern directed by an algorithm. 

Emerging Faces is the product of a collaboration between Van Arman and Robert “3D” Del Naja, a British street artist and a member of the electronic band Massive Attack. This work—an NFT accompanied by a physical work—combines Del Naja’s signature style with Van Arman’s technical coding abilities. A.I. layered the textures and colors of Del Naja’s paintings to create a composite idea of its dominant characteristics, as an exploration of facial recognition software. 


Desmond Paul Henry
#287 (1963)

Desmond Paul Henry, #287 (1963). Available now in “ArtNFT: Beginnings” on Midnight Publishing Group Auctions. Est.: 2.5-3 ETH ($9,700-$11,700).

Desmond Paul Henry is among the greatest pioneers in early computer art, now critically digested as a paramount predecessor of Generative art. In the 1960s, he constructed three mechanical drawing machines, with technology based on the analogue bomb-sight computers used during World War II aircrafts. Inspired by the “peerless parabolas” of the computers’ inner mechanisms, Henry attempted to recreate the mechanical motions using biro pens, tube pens, ink pens to create abstract, curvilinear, repetitive line drawings on paper.

#287 is a physical artwork, created by one of Henry’s drawing machines in multi-colored biros on paper.

Follow Midnight Publishing Group News on Facebook: