Ethereum

RE: ROAD TRIP by Margaret Murphy is a series of 200 AI-generated images reimagining the historically influential photographic genre of the road trip through the perspective of the contemporary female gaze. Murphy considers how this revered category has shaped and defined contemporary fine art photography using style influences, including artists such as Stephen Shore, Ed Ruscha, and Joel Sternfeld.

David Campany writes in his essay from THE OPEN ROAD: PHOTOGRAPHY AND THE AMERICAN ROAD TRIP that photographing by car represented a personal and creative freedom, made possible by the availability of both the automobile and the camera through technical and industrial development in the mid-twentieth century. Murphy’s series posits if and how text-to-image AI will do the same now.

"RE: ROAD TRIP is informed by the history of art that I am so passionate about, my love of technology as self-expression, and the experiences I’ve had as a young artist living her life. I think that’s what every road trip project should strive for, camera or computer-made."

Verisart Certified: https://verisart.com/works/db295a33-ee74-4c52-87cc-92022c94db40

Dusters

Zora Bridge

Thanks! I've Been Working On Myself.

manifold.xyz

IYKYK / ABOSCH / 2023 
synthetic photograph generated from diffusion model trained on artist's custom dataset 
4400x4400 pixels RGB PNG  


IYKYK

PePE postcard is an experience in collective degeneracy on blockchain, inviting anyone to waste their ETH and add some more worthless art to their collection.

Utility: Each token grants its holder the ability to print and send one physical PePE Postcard to the destination of their choice, postage not included

PePE Postcard

F@LL 1NT0 TH3 V01D L1M1N@L W1TCH! 

This work of art is part of “AND”, an exhibition on performance art and blockchain curated by OONA in partnership with the Museum of Cyrpto Art and Zora. Participating artists include: SamJ, Violet Bond, Edgar Fabián Frías, David Henry Nobody Jr, DADAGAN, and OONA.

L1M1N@L W1TCH 61

Whether you choose Coke or Pepsi, the shaky duality is the same: an Echo Chamber- a hair spinning environment where a person only encounters sweaty information or opinions that deflect and reinforce their own dislocated cube. This is why you need the first ever Nobody Diptych, a remedy for the Skism!!!

This work of art is part of “AND”, an exhibition on performance art and blockchain curated by OONA in partnership with the Museum of Cyrpto Art and Zora. Participating artists include: SamJ, Violet Bond, Edgar Fabián Frías, David Henry Nobody Jr, DADAGAN, and OONA.

Echo Chamber  65

- The Queen Painting  -  
oil, acrylic, spray paint & ink on canvas

Queen is quiet dignity and acceptance of the sacrifices required to serve art. I made this painting as a seal to protect the place of giving so that it will not be drained by the force of scarcity.

The Queen Painting unites the threads of my artistic work throughout the year 2022. This canvas was painted on the pavement of the carpark where I made the music film Queensland. The face I wore in that film became OtherFace #23, which now resides in the permanent collection of Pindar Van Arman's Meta Portrait Gallery. I wore The Queen Painting as a dress in the series PAINTED, my first fashion statement in the cryptoart space. Those photographs, as well as The Queen Painting itself are now integrated as training data in my current AI fashion work. Queen is the foundation and the precipice from which my art continues to grow.

I inscribe the divine openness of the Queen into a sovereign contract and offer it to you as an open edition.

We live and we die, our atoms never disappearing just changing form over and over - into the dust under our feet.

Our palaces of stone will not protect us from our death or our bodies decay.  Us mammals covered in hair that rail against our aging, our inevitable death and yet all that came before is already dust and we will go to meet those atoms soon enough.

I once made a ceramic pot and returned it to the wild to be washed away by the rain - a friend said to me “I wonder if that clay will ever remember it was a pot” 

Just dust and hair.

Limn resembles a rough sketch. It is composed of both regular and irregular shapes, combining precise and imperfect elements. The rough outlines and figures imply movement and energy as well as a sense of exploration, as if the piece is still in the process of being created.

Join the Rebel Group of Gyaku at [https://gyaku.space](https://gyaku.space/?source=id) and liberate the City. In the year 2055, the [Gyaku City](https://gyaku.space/?source=id) is ruled by creatures from outer space. Years followed by years of indignity and abasement, the Rebels in Gyaku have finally had enough. Join the Rebel Group and liberate the Gyaku City.

With Doppelgänger, Quantum and Justin Aversano unveil a collection of 1000 unseen outtakes from the healing journey of Twin Flames restructured through code. This collection is a set of 1000 unique animations created in collaboration with Kim Asendorf, known for his Pixel Sorting script. Processed through code, unique variations of the original twins portraits by Justin Aversano become their own glitched alter ego before our eyes.

To view the full resolution artwork,  just go to: https://quantum.mypinata.cloud/ipfs/QmaYZdNv7WbxmGdkYE1Pdr4cM9mKBbYJoiNCDQXpzcH7ya/?token=258

My Therapist Told Me To Hold More Crystals
Erika Weitz
2023
--
AI + 35mm Kodak Tri-X 400 Film
This is the first AI generated image transferred onto film.

SHORT SEASON by Claudia Hart is the NFT of her artwork, THE SEASONS. THE SEASONS portrays a room in which a slowly evolving sculptural figure gradually transforms. In this animated loop, a variety of visual, temporal, and conceptual cycles are offset and overlaid so that their movement is obscured. All is in flux, but time seems to stand still, as in life.

In THE SEASONS, a seated woman in a pose of erotic abandon cycles clockwise on a rotating pedestal. As she cycles, she decomposes, a vine of roses surrounding her, blooming and then fading away. The room also revolves, though counterclockwise, while the animation camera pans back and forth. These movements function in counterpoint, appearing only on the edge of perception. The sound for the piece is crumpling paper. The color scheme is white on white.

THE SEASONS is part of the exhibition A BEATING HEART. FEMALE PIONEERS OF DIGITAL ART presented by EXPANDED.ART on view 17 May to 4 June in Berlin.

Verisart Certified: https://verisart.com/works/73ae07a3-3aa7-4f9b-bd48-5c50ab0fcddc

Most Accidents Happen at Home is a collection of 3D artworks that explores the dissonance between real and imagined physics across both tangible and virtual environments. Each artwork is composed of a series of teetering towers of common household objects arranged in seemingly impossible or maybe just highly improbable balancing configurations. Wading through the tension between perceived improbability, Most Accidents Happen at Home is concerned with finding the boundaries and limits of what we consider real vs. artificial in the world. Each piece is uniquely generated from a broad library of common household items and stand perfectly balanced. However, as soon as the artist (or anyone in his family) drops something at home, one of the stacks topples through an on-chain event. Through the on-chain event the artist will share an image of what was dropped, and its aftermath - was it a cup of tea, perhaps a plate full of food? Most Accidents Happen at Home is positioned as a way to be a bit more mindful about keeping track of things and for the artist do his very best to not accidentally drop things at home.

Modern communications are shaped by invisible links. Wires were the main communication channels between information sources and individuals before they became too small to see. 

Lines are essential to Manuel Rossner's art. They become volumes in his paintings for virtual reality. The majority of the modern digital worlds are defined by lines, much like blueprints. In his plotter drawings, Rossner displays these basic components of this work.

The relevance of the wire in computing and the expressiveness of the lines throughout art history are linked in the “Wires” generative NFT drop. The line has been and continues to be a vital component of art, from Joan Miró to Vera Molnár and Kenneth Martin. 

Move Camera: Right Click & Drag / Move Two Fingers
Rotate Camera: Left Click & Drag / Move One Finger
Zoom: Mousewheel / Pinch

You have received an object from the first level of The Orders, you have made it into the Entered Apprentice. The focus is on the individual or as the Masons describe it, the rough stone from the quarry. This raw form requires shaping and polishing. The tools that are made available to the initiate are those that allow them to work on themselves, their vices, and their self-control.
License: https://artwrld.com/license

This is an entirely generative piece that was created using p5.js and GLSL. Each iteration is an artist's rendition of what could possibly have been happening in some random corner of the universe while it was being formed.

l34v3 m3H 4L0N3 12 4 k0Ll3C710n 0f 10,000 9Rrl2 W17H 4 d351r3 pH0R 4N4rcHY 4Nd m4yH3m

Morningstar (2021) by Marshall Schuettle is the first photobook to be released by KGP NFT.  To view the photobook in the native KGP NFT viewing app, visit https://kgpnft.com and connect your wallet.  Each copy of Morningstar contains 42 standard photographs with unique variations to each digital book. Variations include possible 1 of 1 photographs not included in the standard edition, unique signatures, and other additional content.  Marshall Scheuttle’s Morningstar shows us a Las Vegas in which the sky and the city, both blinkered with stars, stare back at each other impassively. The space between flashes moments which loom on the edge of an impending storm, or stillness in the wake of violent transgression. Caught in the crossfire, the people in Scheuttle’s photographs are alike in one undeniable regard: each, in his and her own way, is shot through with light. For some, that’s Las Vegas’s inescapable and smothering neon. For some, that’s the ominous and ageless light of the desert. And for some it’s the light that comes with the promise of a brand new day—the crisp sunlight that appears in the east once the morningstar has faded from the sky.

Two years (and counting) of Covid and quarantine has allowed us to reevaluate the contours of our lives; where and with whom we live, what institutional systems do or don’t work for us, what we keep and what we discard, both materially and psychologically. Shaking off what was, and embracing what will be, is necessary.

A call for submissions was held and three artists were chosen to drop their collections. Marcin T. Jozefiak, Julia Kafizova, and Margaret Murphy.

I Could Look at You All Day by Margaret Murphy consists of self-portraits made in Murphy’s home. The pictures visualize her interest in self-perception, consider the male gaze and play amongst social media’s influence on contemporary photography.

Elinor Carucci is renowned for sensuous portraits of her family and herself. Closer reveals the breadth of her work, from the erotic to the ethereal, exposing an emotionally honest world flooded with color. Fragments of her life are revealed through family and self-portraits and artful abstractions, making Closer a daring portrayal of the artist's intimate emotional geography.

Carucci's work is first and foremost about the nuclear family, and also touches upon the universality of intimacy and mortality. Her parents, grandparents, and spouse are the central players, each of whom she portrays gently but unflinchingly in her images. Her photographs work with a definite color palette and there is a mesmerizing quality to the serene blues and vivid reds set against the myriad tones of bare skin.

Closer: Photographs by Elinor Carucci is the artist's first monograph. Carucci received the International Center for Photography's Infinity Award for Best Young Photographer in 2001, and earned a Guggenheim Fellowship in 2002.

Swedish-British artist AdeY studies subjects such as human balance, strength and physics. Photographing subjects undressed, AdeY’s non-sexualized representation challenges our perceptions of the body, highlighting our vulnerabilities, loneliness,  and strengths that are central to the human condition.

The 20 unique animations from Marjan Moghaddam’s new collection #GlitchGods are a counterpoint to her project #GlitchGoddesses. With humor, precision, and striking technical skills, the OG female crypto artist reflects on facets of modern male identity.

As a metaphor for the contemporary body that morphs and iterates changing ideas, identities and moods, Marjan Moghaddam carefully shapes post-humanist bodies that resist static sculptural forms. 

Her recognizable figurative style is rooted in her use of 3dCG. She mixes 3d modeling, 2d painting, pose-to-pose 3d animation, procedural animation, motion graphics, simulation, dynamics, and compositing SFX. Additional glitches further articulate the sculptural volumes. 

In their essence, dolls are simultaneously fascinating and controversial. Dolls are known to influence the construction of identities and exploration of various narratives, and are associated with racist and misogynistic stereotypes. In his 1913 essay Dolls, poet Rainer Maria Rilke posits: “We found our orientation through the doll. We could gradually flow down into her and collect ourselves and recognize, although somewhat dimly, our new surrounding world”. We definitely do, and this continues throughout our life: dolls are interwoven into the fabric of our fantasy worlds. And in these worlds, why would dolls be limited to our projections and expectations of them and not be capable of even more than us, humans?

The dolls are here. They observe without affirming good or bad, offering themselves as objects for attachment of all kinds of fantasies. Your invitation to the afternoon doll play has arrived.

Growing up as a Catholic Latina, I was very aware of the desirable attributes prescribed to women of my faith, including chastity. At the time, I did not dare to question them out loud. I adhered to them innocently, thinking that this was the way the world operated. In my practice, I photograph women in order to free myself from that conditioning. In Let It Go, I explore femininity collaboratively, working with close friends and acquaintances in a full, frank, and free way. In moody, narrative-driven compositions, we explore desire and desirability, and question the myriad expectations of women and how we are portrayed. 


smfmoma.eth

$164.96

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