HISTORY OF GENERATIVE ART - Generative Music

Aaron Penne and Boreta, Rituals - Venice #874 & #384, 2021, Source: ritualsalbum.xyz

In today’s History of Generative Art series, we explore a fascinating genre, generative music. Unlike traditional composition, generative music is created through algorithmic or rule-based systems that enable continuous variation and non-repetitive structures. Its development has closely followed technological advancements, from early computer music experiments to contemporary AI-generated works.

The tables of Wolfgang Mozart's 'Musikalisches Würfelspiel’, Source: ai.gopubby.com

Max Mathews, Pioneer in Making Computer Music, Source: nytimes.com

The idea of musical randomization dates back to the 18th century with the Musikalisches Würfelspiel, which allowed composers to create pieces by rolling dice. As technology advanced, music’s mathematical nature made it ideal for computational approaches. Unlike visual media, audio data requires significantly less computational power, enabling digital manipulation well before real-time video processing became feasible.

The first breakthrough came in 1956, when Max V. Mathews developed MUSIC I, the first digital audio synthesis program at Bell Laboratories. In the 1980s and 1990s, David Cope created Experiments in Musical Intelligence (EMI), a system that analyzed and recomposed music in the styles of Bach, Mozart, and Rachmaninov. The results were so convincing that some listeners mistook them for human compositions.

Lejaren Hiller at the Experimental Music Studio, Source: burchfieldpenney.org

While scientists were developing computational approaches, several composers had already begun experimenting with algorithmic and self-generating musical processes. Lejaren Hiller composed the “Illiac Suite” (1957), the first complete work generated by a computer algorithm, using stochastic methods and rule-based selection.

The term “generative music” was popularized by Brian Eno in 1995, when he collaborated with SSEYO’s Koan software to create music that continuously evolved based on predefined rules. Eno described this genre as an ever-changing system rather than a fixed composition. His 1996 release “Generative Music 1” demonstrated these principles, by showcasing tracks generated using the software. In 2024, a documentary about him, Eno, was released, following a similar approach, it uniquely re-edits itself for each screening. Trailer.

Brian Eno, Generative Music 1, 1996, Source: progarchives.com

Artists now use programming languages and algorithms to create rule-based systems, sometimes combining their generative visuals with generative sound. “Rituals – Venice” (2021) is an audiovisual work that merges Aaron Penne's visuals with Boreta's meditative music. The calming, immersive experience was released on Art Blocks. Its code generates a continuous, non-repeating output for over 9 million years.

AI has also influenced generative music. Deep learning techniques, such as those used in DeepMind WaveNet (2016), have enabled realistic neural synthesis of sound. In 2023, Patten released “Mirage FM”, one of the first full-length albums composed entirely with Riffusion, a new advanced technology. The album transforms written descriptions into dreamlike compositions that blend pop, techno, hip-hop, R&B, and ambient.

AI and blockchain have enabled new methods of composition, distribution, and interaction in generative music. While the field faces challenges in areas such as creative control, authorship, and long-term viability, the genre remains a subject of study and experimentation in both artistic and technological contexts.

COLLECTOR’S CHOICE - Mistaken Identity by Mario Klingemann

Mistaken Identity by Mario Klingemann represents a complex exploration of neural networks through the deliberate manipulation of their internal structures. This work consists of three videos created using generative adversarial networks (GANs) and neural networks. Exhibited at the ZKM in Karlsruhe during the Beyond Festival in October 2018, the triptych investigates how neural networks interpret visual information.

Mario Klingemann, Mistaken Identity, 2018, a video triptych

Mario Klingemann is known for his pioneering work in generative and AI art, with preferred tools including neural networks, code, and algorithms. His artistic practice reflects a systematic approach and curiosity about understanding complex systems. Klingemann often dissects systems such as neural networks, analyzes their components, and reconstructs them to explore patterns and to recreate and understand the system’s behaviors.

Portrait of Mario Klingemann

The approach of deconstructing and reconstructing forms to understand underlying structures and patterns has historical precedents in art. Classical painters such as Leonardo da Vinci conducted anatomical dissections to gain a deeper understanding of the human form. Similarly, Cubist artists such as Pablo Picasso and Georges Braque fragmented objects into geometric components, breaking them down and reassembling the forms to depict multiple perspectives.

Mistaken Identity, 2018 at ZKM in Karlsruhe during the Beyond Festival in October 2018

To understand how AI functions and perceives human forms, Klingemann developed a method called "neural glitch”. This technique involves deliberately introducing errors into fully trained GAN models. Initially, GANs are trained to generate realistic human faces. Once the models achieve a near-perfect state, Klingemann disrupts key neural components.

Mario Klingemann, Mistaken Identity – Chapter #1, 2018

These disruptions include small changes, such as altering, deleting, or exchanging the training weights, which impact the numerical values that determine how the model synthesizes images. These changes result in significant and often unpredictable alterations to the output.

Mistaken Identity, 2018 at ZKM in Karlsruhe during the Beyond Festival in October 2018

They affect both texture and semantic levels, changing the arrangement of facial features and altering finer details, such as skin tone or shading. These changes produce outputs ranging from slightly altered portraits to entirely abstract forms. This process represents how neural networks work, interpreting and perceiving human faces differently than humans.

Mistaken Identity, 2018 at Future U exhibition at RMIT Gallery, Swanston Street, Melbourne, Australia in 2021

The final result consists of three nearly two-hour-long videos, presented as a triptych for the first time at ZKM in Karlsruhe in 2018 and the Future U exhibition at RMIT Gallery, Swanston Street, Melbourne, Australia in 2021

The first chapter of the series, Mistaken Identity - Chapter #1, is part of the Seedphrase collection.

HISTORY OF GENERATIVE ART - Metaverse

Krista Kim, Mars House, 2020, Source: sothebys.com

The concept of virtual worlds and digital identities existed long before the term 'metaverse' became widely recognized. The origins can be traced back to early science fiction, which later inspired practical applications like gaming, virtual reality, and social digital spaces. Today, the rise of Web3 culture, including decentralized platforms, blockchain-based digital assets, and interactive virtual experiences, further integrates these virtual worlds into everyday life.

The metaverse refers to a network of virtual spaces where users interact through digital avatars. These environments support social interaction, digital economies, gaming, education, and more. It incorporates technologies such as virtual reality (VR), augmented reality (AR), blockchain, and traditional online platforms to create digital worlds.

Ivan Sutherland, Sword of Damocles, 1968, Source: researchgate.net

The foundations of virtual reality were laid in the 19th and 20th centuries with early discussions about immersive artificial environments. In 1938, French playwright Antonin Artaud described the illusory nature of theater as 'virtual reality' in his collection of essays, “The Theater and Its Double”. Another early theoretical concept is found in the writings of Stanley G. Weinbaum, whose 1935 short story “Pygmalion’s Spectacles” envisioned a pair of goggles that could transport users into an interactive world.

Stanley G. Weinbaum, Pygmalion’s Spectacles, 1935, Source: sothebys.com

By the 1960s, technology began catching up with these ideas. In 1962, Morton Heilig developed the Sensorama, an early immersive multimedia machine simulating a motorcycle ride with 3D visuals, sound, vibrations, and scents.. Later, in the 1960s, Ivan Sutherland created the first VR headset, the "Sword of Damocles", which featured mechanical tracking and wireframe graphics.

Morton Heilig, Sensorama, 1962, Source: historyofinformation.com

Neal Stephenson, Snow Crash, 1992, Source: goodreads.com

In the 1980s, the idea of simulated realities appeared more frequently in literature. In 1981, Vernor Vinge’s novella "True Names" introduced a virtual world accessible through a computer interface. In 1984, William Gibson’s "Neuromancer" described a digital space called "The Matrix", where users could navigate a connected network. These books, along with films like "Tron" (1982), and "Ready Player One" (2018) further explored these themes.

 The term "metaverse" was first introduced in Neal Stephenson’s 1992 novel, "Snow Crash”. In this book, the metaverse was a virtual space where people could escape from reality and interact in a 3D environment using avatars.

As virtual worlds evolved, artists and scientists explored their artistic potential. Active Worlds, launched in 1995, was an early online 3D platform where users could navigate virtual spaces, interact through avatars, and build their own environments. In 2005, @HerbertWFranke created the Z-Galaxy within Active Worlds. Unlike most virtual spaces, it featured mathematically generated structures, galleries, and a sculpture park. It first showcased Franke’s own work but later included exhibitions by other artists and scientists.

Herbert W. Franke, Z-Galaxy, 2005, Source: art-meets-science.io

Around the same time, video game developers experimented with multiplayer virtual spaces. In 1986, LucasArts released "Habitat", an early example of a graphical multiplayer virtual world that allowed users to interact using digital avatars. In 2003, the launch of "Second Life" brought the metaverse concept closer to reality. Users could create digital identities, purchase virtual land, and engage in social and economic activities.

Linden Lab, Second Life, 2003, Source: indiatimes.com

Steven Lisberger, Tron, 1982, Source: theguardian.com

The industry gained new momentum in the 2010s, with advances in computing power and graphics. In 2011, Palmer Luckey developed the Oculus Rift prototype, reigniting interest in VR. Companies like Oculus, Microsoft, Sony, and HTC introduced VR headsets that expanded the use of virtual reality beyond gaming, including business, education, and industry applications.

In 2021, Facebook rebranded as Meta to focus on metaverse development. Around the same time, Web3 technologies like decentralized finance (DeFi), NFTs, and blockchain governance were gaining traction. Companies and creators explored NFT-based digital ownership, driving interest in virtual land and new digital economies.

As technology advances, the metaverse has the potential to reshape how we connect, create, and experience digital life.

COLLECTOR’S CHOICE - Early AI video Works by Memo Akten

“We are all connected. To each other, biologically. To the earth, chemically. To the rest of the universe atomically.” – Neil deGrasse Tyson

Between 2018 and 2020, Memo Akten produced two early AI series: the "BigGAN Study" and "We Are All Connected", both representing his early explorations with generative adversarial networks. Both series feature audio-reactive visual compositions that respond to original music composed by the artist himself without the use of AI. The work reflects the interconnectedness of all forms of life and matter, from microcosm to macrocosm.

We are all connected #04 - Underworld, 2018-2020 by Memo Akten

For more than a decade, Memo Akten has been working with various AI models in his art. His works often focus on intelligence in nature, intelligence in machines, perception, consciousness, neuroscience, ritual, and religion. This interdisciplinary approach allows him to connect technology, science, and spirituality in his moving images, sounds, large-scale responsive installations, performances and audio-reactive visual compositions.

Portrait of Memo Akten

The history of audio-reactive visuals originates in the early 20th century, when experimental filmmakers began exploring methods to visually represent sound. Oskar Fischinger and Mary Ellen Bute developed early abstract animations synchronized with classical and experimental music. In the 1960s and 1970s, John Whitney further pioneered this field through the use of analog and digital computers to generate real-time synchronized visuals, where visual patterns corresponded directly to sound input.

BigGAN Study #2 - It's more fun to compute, 2018 by Memo Akten

Memo Akten’s practice builds on this tradition. "BigGAN Study" is one of his first projects where he combined video with audio, producing audio-reactive visual compositions. Akten began working on this series in 2018, using an AI model known as BigGAN, developed by Google DeepMind. Compared to earlier GAN models, BigGAN had the capability to generate more detailed and diverse images due to its use of larger datasets and high-dimensional latent spaces.

BigGAN Study #4 - BigGAN Madness, 2018 by Memo Akten

BigGAN had the downside of relying on a large-scale dataset sourced from the internet. As Memo Akten became concerned about the legal and ethical implications of using inputs without consent, he began building and training his own AI models in 2017, sourcing images from the public domain, CC0 licenses, and his personal archive to ensure compliance with ethical standards. His second series, “We Are All Connected”, was created using this custom model between 2018 and 2020.

We are all connected #05 - Mad World, 2018-2020 by Memo Akten

The uniqueness of these series is that Memo Akten later revisited the videos, dubbing the visuals with original music he composed. For some of the videos, he created the music in the 1990s as a teenager using a 486 or Pentium computer, a 14-inch CRT monitor, FX pedals, an electric guitar, and Cakewalk software. The moving images in the works are synchronized to match the tempo and feel of these compositions.

We are all connected #06 - Plug me in, 2018-2020 by Memo Akten 

Both series reflect Memo Akten’s philosophical concerns, emphasizing the interconnectedness of all forms of life and matter, from microbes to galaxies. The works are presented as continuously evolving images accompanied by Akten's own music. In both series, rather than relying on random latent walks, he employed deliberate, controlled explorations of the latent space.

We are all connected #08 - Avril 14, 2018-2020 by Memo Akten

The resulting works serve as meditative audiovisual experiences, that reflect the complex, interconnected nature of existence.

We are all connected #05 – Mad World is part of the Delronde collection.

COLLECTOR’S CHOICE: Letter Readers by Osinachi

Letter Readers (2024) by Osinachi is the artist's first-ever triptych, a choice that adds further significance to the piece, examining the transformation of communication and reading in the digital era.

The work reflects on both the advancements and the losses that have emerged from the shift from handwritten letters to instantaneous digital messaging. By selecting this format, Osinachi underscores the importance of the message and enhances its thematic weight, drawing on the triptych's historical and symbolic associations.

Historically, the triptych format was widely used in Christian art, particularly for altarpieces during the Middle Ages and the Renaissance. Triptychs often carry deep symbolic meaning, with the number three representing the Holy Trinity in Christian theology—symbolizing divine harmony and completeness. It is also seen as a representation of the passage of time—past, present, and future—or as a metaphor for the stages of existence: birth, life, and death. Through this format, Osinachi invites viewers to consider the enduring relevance of communication in all its forms.

Robert Campin, The Merode Altarpiece, c. 1427–32, Source: metmuseum.org

By reinterpreting the traditional three-paneled layout, Osinachi’s work reflects on the fading tradition of reading in the digital age. The triptych connects the past, when reading was a focused, tangible act, with our present and future, when these practices are slowly disappearing. Each panel shows an individual figure seated on a bench, absorbed in reading a long letter, evoking a quiet moment of attention that contrasts with today’s fast-paced, image-driven communication. Like many medieval triptychs, the work incorporates symbolism: the scroll-like letters, the repeated gestures, and the shared background all serve as visual metaphors.

 Antonello da Messina, Saint Jerome in His Study, 1474–1474, Source: nationalgallery.org.uk

The long letters held by each figure resemble historical scrolls or parchment, suggesting a form of communication that requires focused attention. This stands in contrast to contemporary modes of information consumption, which prioritize speed and visual content over extended text. The format of the letter may also allude to the long threads we encounter while scrolling on social media. Despite the formal similarity, the experience is different: engaging with physical letters or books encourages sustained focus, while digital scrolling often results in fragmented attention.

Osinachi, Letter Readers 1, 2024

Although the figures are physically separated across the panels, the shared background and unified activity establish a visual and thematic connection. This shared focus highlights the complex relationship between connection and loneliness in modern life, where individuals are often alone yet continuously connected through the digital world. The natural surroundings, with its trimmed hedges and a clear blue sky, reflects how we are not only moving away from the tangible world, from analog communication and from reading but also from direct engagement with nature.

 Osinachi, Letter Readers 2, 2024

Elements of Nigerian cultural heritage are also present in the work. While Osinachi’s figures represent contemporary individuals, dressed in hoodies, backpacks, sunglasses, and sneakers, the use of bold, patterned trousers draws on African textile traditions. This stylistic choice adds another layer to the narrative between past and present, connecting tradition with contemporary identity.

  Osinachi, Letter Readers 3, 2024

The work makes use of the traditional triptych format in a contemporary context while also encouraging a slower, more intentional form of engagement. As the figures are shown absorbed in reading, the viewer is similarly invited to pause, take in the details, and reflect on the composition and its underlying themes.

Osinachi’s works can be found in the collections of museums such as Buffalo AKG Art Museum and Museum of Art + Light, as well as in private collections including Colborn Bell, SuperRareJohn, TokenAngels, and many others.

 Osinachi, Letter Readers, 2024

The Interview I Art Collector @NGMIoutalive

"If you don't enjoy making your own decisions, you're never going to be much of a collector." – Charles Saatchi

Kate Vass continues her exploration of the perspectives of a new generation of art collectors. During our interview with @NGMIoutalive, the above quote came to mind, as it resonated with our conversation. Our guest reflects on how digital art connects to his values, lifestyle, and taste, emphasizing that for him, collecting is primarily about "having fun."

The conversation explores further the importance of community, with Bright Moments playing a significant role in merging digital and physical experiences, as well as the evolution of trends in digital art and the most cherished artworks from the collection.

It’s truly impressive that, through this playful approach, our guest has built a remarkable collection, including early GAN works, pieces from iconic artists, and captivating works by XCOPY. Perhaps "having fun" and "enjoying making your own decisions" are the secrets to staying perpetually connected to and excited about your collection.

We hope this interview provides further insight into @NGMIoutalive's journey. We hope you enjoy reading it as much as we enjoyed conducting the conversation.

Artonymous, ON FIRE, 2020

KV: Can you tell us a bit about your background? How did you first get into collecting digital art? Were you already involved in art collecting before discovering digital art?

N: I have been involved with blockchains on the infrastructure side and try to balance that by building things with my hands that might actually be useful to someone. For the most part I have lived a nomadic lifestyle going back to my early childhood. My parents had a small art collection which they took along wherever we moved. So, although I grew up around art, it was not until my early thirties that I became interested in collecting myself. Discovering NFTs played well into my lifestyle preferences, as I really enjoy being able to own something without having to amass physical items. That being said, my desire for more physical art and the concordant wish for having more wall space to enjoy it have unfortunately also increased since I have grown older.  

Robbie Barrat and Ronan Barrot, Infinite Skulls, 2019

KV: Your collection includes crypto art, generative art, and AI art. Do you find yourself drawn to one of these more than the others?

N: I don’t have any preferences there. However, I do recognize that they each have their own narratives to which I relate in a particular way. I love generative art because I can appreciate how difficult it is for a computational system to creatively explore the randomness and grit inherent in the natural world. I love crypto art for introducing an emotive and human connection aspect to sovereign digital ownership, that was hitherto unimaginable in the digital asset context and I love AI art for challenging our ideas around aesthetics and what is considered to be “real”.

William Mapan, Naufrage II, 2022

KV: What do you look for when deciding to acquire a new piece?

N: I think the main underlying thing I am looking for when buying art is a connection. An aesthetic connection, a connection to the story of a particular work, or of a particular artist, and now with digital collecting also the connection to a particular community. I don’t have a specific strategy or end game in my mind when I buy art. It is an evolving process where I often end up surprising myself. I kind of hope it will always stay that way.

Max Osiris, Point of Contact, 2020

KV: You mentioned that, at first, you didn’t quite understand the appeal of GAN art but eventually grew to appreciate it. What was the turning point for you?

N: I guess the real turning point came with me spending more time reading about the ideas and processes behind how these works were created.  Looking purely at the aesthetics, I often found them tough to swallow.  They didn’t readily fit into my pre-conceived ideas of what art is or should be. They rubbed me up the wrong way if you will, and I wanted to understand why that was the case. When I realized the major technical breakthrough behind them, I became fascinated. People had created a synthetic neural network that was able to represent categories through an abstraction, rather than images themselves and utilized this as an artistic tool. It was a very brief moment in time that is somehow appreciated by a few for its significance.

DeepBlack #5388, 2019

KV: You now own quite a few AI-generated works, including early pieces by David Young, which often feature elements from nature. What is it about GANs’ interpretation of nature that resonates with you? Do you think AI can enhance our perception of the natural world?

N: The reason I like GAN art is because it often highlights a lack or “misinterprets” something that our visual conditioning would ordinarily take for granted to be represented in a particular way. Nothing is so close and familiar to us as the random complexity of the natural world.  Experiencing a disruption of that can make us take a step back and re-evaluate our point of view. We are generally very quick to think that we have understood something or know something, but if we get a chance to take a different perspective, we can discover worlds hidden within worlds. So, what I think we can say is that the alchemical process of dissolving and coagulating that happens in machine learning is ultimately a diminished reflection of our own neural processes and can give us some interesting clues about how we operate.  

David Young, Learning Nature (b63h,4000-19,4,9,8,16,17), 2019

KV: You also own several pieces by XCOPY. What is it about his work that stands out to you?

N: I think XCOPY understood very early on how powerful memes can be. His decision to store and proliferate his work, in what back then was still a very much anarchic and disintermediated context of the blockchain, was nothing short of revolutionary. His brilliance lies in capturing some of the ideas that users of a highly interconnected, online-society mutually believe in, while simultaneously putting them up on the stake. The hypnotic loops hold a mirror to our face and say: “Take a look”, without necessarily passing judgment and it is hard to look away when we find ourselves reflected so clearly in our wanton state. Besides all that, I just find the aesthetics of much of his work incredibly captivating and unique.

XCOPY, Deathless, 2020

KV: You’ve been part of TheDoomed DAO. How has participating in these communities, as well as engaging with other collectors or figures in the space, shaped your perspective on digital art and collecting?

N: I think one of the key differentiators with digital art is the networked aspect. Although I have collected physical work by well known artists, I do not know anyone else who has, let alone have any insight into what other art they have collected, what interests them, for what particular reasons, etc. Even being loosely part of a community, like this one, creates the sense of sharing a passion or interest that appears hard to replicate in a trad art context.

XCOPY, Grifter #400, 2021

KV: How important is the physical aspect of blockchain-based art to you? Do you see a growing role for hybrid experiences in digital art collecting? Have you collected physical works alongside digital ones?

N: If I am perfectly honest a lot of my favorite pieces that I collected during the last years sit somewhere at the crossroads of digital and physical art. That has perhaps also something to do with the fact that I truly enjoy creating physical objects myself. In terms of blockchain-based hybrid experiences, Bright Moments has done some pioneering work, which I was lucky enough to attend on several occasions, at some truly spectacular locations around the world. I think there is still a lot more potential to create a unique sense of value for people, by combining the excitement of digital ownership with physical pieces and extraordinary IRL experiences.

OxDEAFBEEF, Hashmarks #90, 2023

KV: You're quite active on X, sharing your thoughts on art and the pieces in your collection. Do you think collectors play a broader role in shaping the digital art space?

N: I do find it very special to engage with other collectors on socials and feel that the public forum represents a great opportunity for sharing the stories of art, artists and collectors in a defining way. On the flip side, that can also accentuate the same social power laws under which we are used to operate IRL, where influential figures are able to dictate tastes and preferences. While there is nothing unusual in that per se, the nature and speed with which socials operate can make people vulnerable to manipulation and impulsiveness and I am not one to be immune to that myself.    

Harvey Rayner, Fontana #128, 2022

KV: Which artworks in your collection do you consider the most iconic, and why?

N: If I had to pick three it would probably have to be:

1. NO FAVOUR (COLD) by XCOPY

2. Meridian #87 by Matt des Lauriers

3. Head in the Metaverse by Popwonder

The first, because it is such a quintessential example of XCOPY’s work that has its origin in the Tumblr days and has 1/1 incarnation on Superrare. The second, because Meridians to me are just one of the most beautiful examples of blockchain-based generative art and this particular one has been featured at several Exhibitions in London and Taipei, and finally the Popwonder piece because it captures the vibes of JPEG summer like a few other pieces out there.

Matt des Lauriers, Meridian #87, 2021

KV: If you had to describe your collection in three words, what would they be?

N: Me having fun.

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

@NGMIoutalive on X: @NGMIoutalive

@NGMIoutalive’s collection link: https://opensea.io/0x5078d1e25a84a3aa133c9c5de5c46c84384ddd93

The Interview I Art Collector Coldie

In the latest edition of our ongoing interview series with art collectors, Kate Vass had the opportunity to speak with Coldie, an artist and a collector who has become an influential figure in the space. As both a creator and a collector, Coldie offers a unique perspective on the intersection of art, technology, and the crypto space. Over the years, he has amassed a collection that not only represents the early days of blockchain-based art but also reflects his personal evolution as a collector. Coldie has been involved with the scene since 2018, and his approach to collecting is driven by more than just financial gain—it’s about supporting fellow artists, nurturing the growth of digital art, and contributing to the broader cultural conversation within the crypto community.

In this conversation, Coldie shares insights into his philosophy on collecting, the artists and works that have shaped his journey, and the transformative role of blockchain technology in the art world.

We hope you enjoy the conversation and find inspiration in Coldie’s approach to both collecting and creating art.

KV: In the early days of blockchain art, did you feel like you were part of something revolutionary, a new model challenging the traditional art world? How did that sense of pioneering shape your approach to collecting?

C: I knew that what I was getting into was going to be important for digital artists. As an artist, I was minting my artworks that I had been showing at regional art galleries, but now I was able to share them globally 24/7. 

Soon after minting my own art and seeing what the market was offering for works, I knew that my art was worth more than what I was selling it for, but that wasn’t up to me to decide what ‘market rate’ was at the time. With this thought, I realized that early collectors with a savvy eye were going to be the big winners. I began taking 30% of my art sales and reinvesting in digital art. I was only spending about $30 per piece, but looking at what I have collected in that period 2018-2020, I am quite proud of.

Larva Labs, CryptoPunk #7933, 2017

KV: Do you relate to the expression by Andy Warhol - "Being good in business is the most fascinating kind of art." Warhol saw business as a kind of art. Do you see this in crypto art, where art, value, and market overlap? How much does the business side shape your collecting? 

C: I believe there are different reasons that each collector aligns with art. Some are gravitated to the image alone. Others are looking for a deep story. Others want to be part of a larger ecosystem or community. Others want to play games. 

When I examine art that I am considering collecting, my first gut check is the “ok, so what?” test. Does this artwork strike me in a special way? Is there a message that I pull from it? Is it just a neat ‘3D bouncing ball’ or is there context and thought that adds to the artwork? Is this a business with the intent on maximum revenue generation, but lacking in artistic merit? What do I think this artist will be doing in 20 years? My time horizon for art collecting is multiple years, some pieces forever. Trying to figure out if I can 2x in a month is not the way I operate with collecting. If I wanted that, I would just shitcoin.

Osinachi, A Taxi Driver on a Sunday, 2020

KV: Can you tell us about your very first acquisition? How did you decide it was worth collecting? Was a support to your fellow artist or someone you came across for the first time and felt compelled to collect the work?

C: Pinpointing my VERY first token collected is easier said than done. I have looked back at my earliest SuperRare collected pieces and one that is in the ballpark  “The unknowns 6.9” by artonymousartifakt. Collected on November 9, 2018.

It took me a few months to collect my first piece, but I remember instantly being interested in AI art, especially because it was so abstract but able to hold deep meaning. This piece in particular struck me because I felt like the top left person was Mark Twain, but at the same time, it could be anyone. Each character “could be” a certain person from history, but that is also the point of it, to me, was that these general portraits are in fact any number of people throughout history. That self-created narrative is what drove my purchase.

Artonymousartifakt, The unknowns 6.9, 2018

KV: How has your collecting philosophy evolved since you began? Have certain experiences or trends influenced the way you approach collecting now?

C: When collecting an artwork, especially a 1/1, it needs to have the ‘it’ factor. That factor can be from any and all styles of art. I have surprised myself when I am struck by an artwork I never would have expected to collect. 

With so many options of art to collect, it is impossible to buy it all as I am an artist and not running a hedge fund. The discerning eye is my secret weapon that has pulled my interest in areas that were not where ‘the herd’ was collecting at the time. I was very interested in AI art. Got a bunch of really great pieces. I was into metaverse wearables. Got some legendary pieces. Early ArtBlocks was magical and I snagged some amazing pieces. 

My tastes are always evolving. AI art is everywhere, so for an AI piece to have ‘it’ there needs to be narrative and meaning that pushes it above the rest.

MaxOsiris, Right Click Save as "Right-Click-Save-As-Space-Lasagna-Guy.gif”, 2023

KV: Your “Decentral Eyes” series features key figures from the crypto world. What draws you to these individuals, and how do you decide who to represent in the series? Are there specific qualities or contributions you look for when choosing subjects?

C: Decentral Eyes was born out of the goal to contextualize the faces that were shaping the crypto space in real time. I wanted each portrait to be a timely reference to where and what was going on at the time. I have a stance that each person featured ‘raises their own hand’ by doing something noteworthy that is historically relevant to the progress of the space. Vitalik made perfect sense to be the first featured because his technology was powering the very token the art is minted on. Others like Warren Buffett whose statements against crypto were just as crucial at the time. I enjoy taking Warren Buffett’s negative stance and using their wide recognition to start a conversation with those not aware of what crypto is about. This series is meant to be educational and historical by nature so that in 10 years when we look back, we have a visual scrapbook of these influential people. There have also been A LOT of people I chose not to include in the series because I also feel that doing a portrait of someone personifies that energy into the universal consciousness and I do not want to give them that power.

Coldie, DEyes #083, 2021 

KV: How important is the artist's story, process, or connection to the crypto space in your decision to collect a work?

C: It is very important. In a space full of grifting and artists who disappear except for when the market gets hot, having a deeper connneciton to the overal digital art space is important not only for those I support, but also for the investment of what I hope they do over the span of their artistic career.

XCOPY, No Favour (cold), 2019

KV: The early space has seen explosive growth—are there artists or artworks you feel are often overlooked or misunderstood? And why? if you can give an example of any now? 

C: Explosive growth has a way of pushing a select few to the top, while most are buried in the noise. The jury is still out on a lot of art I have purchased between 2021-now. Many of the artists and projects are early in their journey. I will keep watching for these artists to grow and evolve. Art is a forever journey. Putting in the time and creating art and being experimental to grow is a key distinguishing factor to pieces I collect. I love seeing artists take risks outside of what they are expected to create. Through this process there is huge growth.

Helena Sarin, an eternal tangle of what ifs, 2018

KV: What were the early days of blockchain art collecting like? Any particularly unforgettable moments or surprise stories?

C: The early days were a lot more holistic. Collectors had an understanding back then to allow others to get pieces and not hoard them for themselves. It was smart because it created a larger varied collector base. One of the most heartwarming experiences was when Tokenangels and I were in a bidding war for a Robbie Barrat AI Generated Nude as part of a charity art auction by XCopy. TA obviously had a lot more money than me to bid. I had saved up 6 months worth of sales and went all in. After a manual bidding war held by XCopy, I placed a bid at the exact moment that XCopy and TA thought was final and TA would win. When he clicked the button intending for TA to win, my bid slid in, and was awarded the art. I had a call with TA and told him that I was a man and would forfeit the token to him. He told me that he was willing to have bid a lot more for the piece, but also he was OK with me winning the piece as he held another in his collection. I will never forget that kind gesture.  

This is a screenshot that was taken of me while gazing at the Robbie that I would later win. These metaverse memories are just as real as real life.

Screenshot of Robbie Barrat, AI Generated Nude Portrait #7 Frame #153, 2018 in the metaverse

KV: Are there artworks you own that have become especially meaningful or valuable over time, both personally and in terms of market significance?

C: One of my favorite series that I minted was Matt Kane’s Gazers. I have always been a huge supporter of Matt’s creativity and minted based on what I know about him as a very thoughtful artist, not fully understanding the depth of the series until later. The RNG gods were on my side when I minted (Gazer #812) and turns out to be one of the Gazers that is often spoken about as one of the most sought-after.

Matt Kane, Gazers #812, 2021

KV: What do you think the future holds for blockchain-based art? Where do you see this movement in five or ten years for you as collector and artist?

C: In time the world will more and more be turned into a society that inherently values and holds assets that are digital. I believe this will start with a broad understanding of Bitcoin’s value proposition and will extend into rare digital assets including art. While not every art piece will be deemed ‘valuable’ there are artists who have been minting over the past 10+ years as well as art being minted moving forward that will capture the collecting communities psyche as being truely rare and value will be derived from that. There are thesis that today will grow in understanding as well as many that will prove to not stand the test of time. In the end, it is the collective demand for rare assets that will drive price discovery.

It is equally interesting to watch those who have deep conviction for artworks and artists and how this plays out over time. I believe all art has different horizons of realization and it’s fascinating to see how time affects the demand for artworks and when each collector decides to make artworks available for purchase.

Beeple, BULL RUN #105/271, 2020

KV: Do you believe that digital art can only stay digital, or how do you display works from your collection at home? (any artifacts, prints or else)

C: Digital art is digital by nature. I think there are ways to collect digital pieces in physical form if the artist created a physical version that is signed/numbered. I have some physical counterparts that I love, including my “Baby Maker” Ringer #997 print I purchased from Dmitri Cherniak.

Over the years I have come up on some amazing artifacts from my journey. Many of them are physical pieces that were gifts from artists and I love displaying them around my studio and at home. They mean so much to me as they are relics of a time and place that I was directly connected to. 

I also have several digital screens that I have the cycle artworks at home. Its wonderful when a cool piece pops us and my family asks more about it. That is what its about. So much more rewarding than doom scrolling my wallet. That is not how art is supposed to be experienced.

Dmitri Cherniak, Ringers #997, 2021

KV: How do you see the role of DAOs or community initiatives in the future of digital art collecting?

C: I believe community is the lifeblood of all cultural movements. There are any number of ways to harness this collective energy. I have seen some beautiful initiatives happen in my own community by collectors who have ideas and get excited to take my artworks and get them out into the larger world around us. 

As a collector, I appreciate the ability to have a direct contact with artists. Often times its just cool to say “what’s up” in a group chat and to tell them how their art affects me. Paying it forward is a highly under utilized energy in society and I have seen first hand how a kind gesture or words of encouragement can really help someone. Sometimes it hits so hard for reasons unknown and it propels them to break through to their next big idea. That is what we can do for those around us, whether it is here in the crypto art community, or in our daily lives with people we interact with. 

Espen Kluge, cruise ships and police cars, 2019

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Coldie on X: @Coldie

Coldie’s collection link: https://opensea.io/Coldie and https://opensea.io/ColdieVault

The Interview I Art Collector NIFTYNAUT

As we step into a new year, we continue the ongoing series of interviews with some of the most fascinating voices in the digital art space. Kate Vass is excited to kick off with the first of this year's interview with collector NiftyNaut.

NiftyNaut’s collection spans historical milestones like CryptoPunks and Autoglyphs, as well as emerging projects and experimental works that challenge traditional definitions of art. What sets NiftyNaut apart is a thoughtful approach to collecting—one that prioritizes storytelling, innovation, and a deep connection to the artist's journey over hype or market trends.

As Charles Saatchi once said, "The role of the artist is to ask questions, not answer them, and the role of the collector is to ensure those questions continue to be asked." Visionaries like NiftyNaut play a crucial role in supporting emerging movements and amplifying the voices of digital creators, ensuring the space continues to evolve and inspire.

In our conversation, we dive into what makes a piece culturally significant, the evolving role of NFTs in art history, and his vision for redefining how digital art is experienced. Whether you're an art collector, creator, or curious observer, this dialogue offers a rare glimpse into the mind of someone shaping the future of art in the digital age.

Larva Labs, CryptoPunk #2460, 2017

KV: What was the first digital art piece you collected, and why did it resonate with you? 

NN: It was CryptoPunks. When I stumbled across them I thought it was different - I am one of the 267 wallets that actually claimed them. I recognised it as something pioneering as you could suddenly proof ownership of digital items. That was a game changer for me and I went down the rabbit hole.

Larva Labs, Autoglyph #173, 2019

KV: Your collection includes notable works like CryptoPunks and Autoglyphs. What draws you to these iconic series, and what role do you think they play in art history? 

NN: Two angles that really interest me: what constitutes art in our digital(-native) world and the technical nerdy nitty gritty parts to make digital art. I’m captivated by how Punks challenge our traditional notions of art. Those 24x24 pixels combine simplicity and cultural impact and became symbols of digital identity. They are basically reducing art to its essential digital elements. From a tech POV it is the pioneering, kicking-the-can kind of stuff I appreciate. Punks pushed the enveloped and introduced verifiable digital scarcity with a simple original implementation that ended up inspiring the entire NFT / tokenisation-of-everything movement. What makes Autoglyphs remarkable is that they were the first project to generate and store their art entirely on-chain. Simply put: LarvaLabs created with Punks and Glyphs something aesthetically and technically meaningful that met community adaptation and let to subsequent innovations. 

Larva Labs, CryptoPunk #3288, 2017

KV: Are there any lesser-known artists or collections in the NFT space that you’re particularly passionate about? 

NN: Two in particular: MCSK (@mcsikic) and Material Protocol Arts (@material_work). MCSK is such a versatile artist who is exploring the concept of time in his works. He is incredibly talented, loves tinkering and is using different media and tools. I started my own art residency with hon.art, with him as the first artist in 2024, and he just created those incredible sculptures to display digital art. Material Protocol is a studio that is pushing the boundaries with 'Cycles’. Their project uses the blockchain as its canvas, it is interactive and creates an evolving digital sculpture that records its own history and changes over time. Both MCSK and Material Protocol experiment with and explore the concepts I am interested in.

MCSK, Gameboy, 2024

KV: How do you stay ahead of trends in the rapidly evolving NFT and digital art space? 

NN: I don't. It was manageable when the space was smaller and 'NFT' was synonymous with digital art. But now NFTs have become an umbrella term, with platforms popping up everywhere tokenizing everything - it's impossible to stay ahead, and I don't try to. Instead, I move at my own pace, exploring things I like and what friends share with me. Stepping back from the constant rush helps me focus on the bigger picture and avoid the fallacy that you always need to be first. Besides, most trends end up being overhyped and overpriced anyway. 

Pxlq1, Dynamic Slices #488, 2022

KV: What’s your approach to evaluating the long-term cultural or financial value of a piece? 

NN: I am really bad in evaluating the future value of a piece. I collect them because I like them. In my experience the things that aggregate value over time are the ones that don’t live on hype or utility as both will eventually fade. Take Punks as an example, it took some years before they moved to where they are. In my experience, innovative ideas are normally not necessarily understood in the beginning and it takes time to being adopted by a broader audience.

Ivona Tau, The cycle of night (lat. Nocte Cursus), 2021

KV: What personal philosophy guides your collection? Are you focused on investment, curation, or storytelling? 

NN: While I was driven during the art blocks peaks from a gaming / competitive pov -I need to have a full curated set- I am nowadays somewhere between curation and storytelling. Curation in a sense of what pieces do I want to have in my wallet or what I want to share for an exhibition, what would spark a conversation with people that are not in this space and how could this piece convince them to explore digital art. And storytelling from a pov of the artist. I am quick in judging, and sometimes I judge pieces / artist absolutely utterly wrong because I don’t understand their journey or their message. So it takes sometimes a second or third look for me and some talks with family / friends / artists / others to truly understand what is behind a piece. And if I get hooked on a story I want that piece.

John Orion Young , Franny, 2021

KV: Do you see your collection as a legacy project? If so, what story would you like it to tell about this era? 

NN: My collection turned into an attempt to tell the story of what fascinated me most about this era: the intersection of what constitutes art in our digital world and the technical innovation behind it. I'm drawn to works that challenged traditional notions of art - whether it's CryptoPunks showing how 24x24 pixels could become cultural symbols, or artists pushing the boundaries of generative on-chain art. Looking at my collection, I see pieces that forced me to rethink the very essence of digital art and its technical foundations. I hope future viewers will not just see individual pieces, but understand this fundamental shift in how we thought about art, ownership, and digital expression.  

Kim Asendorf, Cargo #588, 2023

KV: How does hon.art redefine the traditional museum experience, and what aspects of Johannes Cladders' anti-museum philosophy were most influential in shaping this digital space? 

NN: hon.art is the spectre of all unfinished ideas I had, that turned into this evolving digital collection and hub. I came across Cladders during some philosophical rabbit hole I went down regarding how to present and display digital art. His anti-museum philosophy just resonated with me: he rejected traditional museum conventions and he was viewing museums as living spaces for dialogue rather than static repositories. I'm still at the beginning with HON but I envision a translation of these principles into the digital age. I want to exploring algorithmic curation to create unexpected juxtapositions, build interactive archives that preserve both artworks and their context, and enable artist collaborations and a residence- something I did a first trial of in 2024. I envision simple systems for visitor-curated exhibitions and ways to show the evolution of digital artworks over time. The core principle remains true to Cladders: art shouldn't be locked in ivory towers - whether physical or digital - but should be an active part of social dialogue and everyday life. In an era of declining trust in traditional media, art remains one of our most powerful tools for confronting and exploring societal issues. Most importantly, institutions should serve art and people, not the other way around. This principle guides how we should approach both physical and digital art spaces today.

Jonathan Chomko, Natural Static #114, 2023

KV: The idea of a boundary-less, ever-evolving space is ambitious. How do you manage the tension between technological constraints and the goal of seamless accessibility for a global audience? 

NN: Ha yes - something I am debating with myself ever since. I would argue that actually more people have access to technology than to a museum. I think the comparison though, shouldn’t be between universal access and limited access, but between different types of limited access, where digital actually provides broader reach. I mean digital distribution has loads of advantages like time flexibility (24/7, no queues), cost efficiency (mostly free, no travel costs, constant access and repeatedly), cultural accessibility (no language barrier), geographic reach. In my opinion, the answer lies not in trying to ensure universal individual access, but in creating new forms of collective engagement. Rethinking what we mean by "digital art" - perhaps it's not just about creating works that exist purely in digital space, but about using digital tools to create experiences that can exist meaningfully across different levels of technological access. 

Harm van den Dorpel, Shasette, 2021

KV: What role do you see technology playing in making art an integral part of daily life, and how does hon.art act as a bridge between art and everyday experiences? 

NN: Let me flip this question on its head for a moment. Rather than asking how technology can make art more integral to daily life, perhaps we should ask how art can make our increasingly technological daily life more human. Look, we're living in this fascinating paradox where technology has made art more accessible than ever - you can literally swipe through any museum during your morning coffee - yet somehow, our relationship with art has become more passive, more consumptive, more Instagram-friendly. Writing this, I think it shouldn’t be about bridging art and everyday experiences - it should be about disrupting the notion that art needs a bridge at all. Technology should be breaking down the white cube mentality, not just creating a digital version of it. Think about it: We're carrying supercomputers in our pockets that can render anything imaginable, yet we're still stuck in this mindset of art as something that happens 'over there,' in galleries or museums. The truth is, if we're doing this right, the line between art and everyday experience should become blurred.

Steve Pikelny, Dopamine Machines #270, 2023

KV: Looking back, is there a specific piece or moment in your collecting journey that stands out as particularly meaningful? 

NN: While claiming Punks was the start, I think the most meaningful shift happened slowly over time. I went in with this completionist / rarity mindset and evolved into something deeper. I started spending more time understanding artists' journeys and messages, having conversations with friends and family about the pieces. That's when collecting became less about having and more about understanding.

Xcopy, ICXN #186, 2024

KV: What advice would you give to someone just starting their digital art collection? 

NN: Buy what you like, not what others tell you.

MCSK, REframe _ III, 2024

KV: If you could add any one piece to your collection—regardless of cost or availability—what would it be and why? 

NN: A piece I have seen at the cavernous exhibition halls of Amos Rex in Finland by Japanese composer and artist Ryoji Ikeda. It was an audiovisual installation on a 5x10m screen called data-verse and it was just stunning.

Ryoji Ikeda, data-verse 2, 2019

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Niftynaut on X: @niftynaut

Hon.art collection link: https://hon.art/

The Interview I Art Collector VonMises

As the year comes to a close, we are excited to share our final interview of the year with a true pioneer in the digital art space, VonMises. A long-time admirer, Kate Vass first encountered his insights during the early days of ArtBlocks.

We are thrilled to share this conversation with VonMises, a prominent collector known for his deep appreciation of digital art. VonMises stands as a testament to the pioneering spirit of collectors who saw the potential of blockchain technology long before it became mainstream. Through our dialogue, we dive into his journey, the inspirations behind his collection, and his insights on the future of digital art.

We hope you enjoy this interview as much as we did.

KV: Could you describe the moment or event that catalyzed your transition from traditional finance to the cryptocurrency world? What initially drew you to Bitcoin as an early adopter?

VM: It was in April of 2011, I was reading up on one of the financial market blogs and saw a story that caught my attention.  It was an article on a new currency called Bitcoin.  As a financial markets nerd, I was immediately interested.  Within a week of reading that article, I had purchased my first bitcoins, from the now defunct Japanese based exchange MTGOX,  and my world began to change in ways I could have never imagined.  

I had felt for a long time that the world needed a digital cash equivalent, something that allowed a person online to transact without the need for an intermediary and in an anonymous way.  While many others had tried, Bitcoin solved a lot of the problems that had caused other digital currencies to fail.  While I wasn't sure at the time that BTC was a game changer, I knew having some exposure to it made sense.  

Dmitri Cherniak, The Eternal Pump #3, 2021

KV: You acquired 60 CryptoPunks within the first month of discovering them. What convinced you that they were worth such a significant early investment?

VM: I've always been into collecting during my life from coins, to sports cards to watches and a few others, but when I came to NFTs and specifically CryptoPunks I knew I was looking at something special.  In a lot of ways, it almost felt like my whole life had prepared me for this moment as CryptoPunks combined trading, collecting and crypto all into one! I remember telling my wife that I thought Punks were the best collectible I'd ever seen and that they would easily go up 10x in short order.  Here's one of my first discord posts from April of 2020.  In April of 2020 you could buy a punk for $150-200.  

@VonMises14’s post on X from 30.04.2020

KV: You use CryptoPunk#1111 as your digital representation. Could you share what this piece personally means to you?

VM: While I have owned many rarer and more valuable punks, when I bought punk #1111 for 1.111 eth in September 2020, he just really resonated with me.  For me repping a punk was never about making a digital flex, it was always about sharing in a community and showing respect to all the builders and true pioneers in the space who also rep a punk.  I also felt like punk #1111 looked like me, as much as a punk can look like someone I suppose, although I don't ever wear a silver chain! Now that I have a following and I'm known in the NFT space, it's me and the face of VonMises.  I can't imagine ever using something else and I hope to pass him and the VonMises "brand" on to my daughter someday.  

Larva Labs, CryptoPunk #1111, 2017

KV: You chose the name Von Mises, inspired by Austrian economist Ludwig von Mises. Can you explain why his views or he himself is important to you?

VM: Most people who study economics are taught "Keynesian" economics, a school of thought based on the ideas of John Maynard Keynes. This approach is widely accepted and taught around the world, and it’s what I was taught when I studied economics. However, I always felt there were gaps in Keynes' explanations of the business cycle and the role of government in the economy. After learning more about Austrian economics, especially the ideas of Ludwig von Mises, many of these gaps started to make sense.

The Austrian School emphasizes the importance of free markets, the distortions caused by central banks, and the real causes of economic recessions. It challenges the Keynesian view that government intervention is the key to economic stability. In fact, Austrian economists believe that such interventions often worsen economic problems by distorting market signals and misallocating resources.

I believe Ludwig von Mises would have strongly supported cryptocurrencies like Bitcoin if he were alive today. Bitcoin is a form of money that is valued by the market, not determined by government decree, which aligns with Mises’ view on the importance of market-driven money and the dangers of central bank control.

DEAFBEEF, Series 0: Synth Poems - Token 124, 2021

KV: How do you balance personal interest with market trends when collecting NFTs? Do you always follow investment principles, or do you sometimes buy purely for enjoyment?

VM: I tend to be a completionist in my collection style, so if I decide I like something I will want to have all or as much of it as possible.  While I try to stick to a relative value framework I do also buy NFTs for personal reasons and enjoyment value.  

Dangiuz, Flyswatter, 2022

KV: Your collection spans CryptoPunks, XCOPY, Beeple, Bored Ape Yacht Club, Tyler Hobbs, and DEAFBEEF. How do you manage such a varied portfolio, and are there specific styles or genres you’re particularly drawn to?  

VM: I'm really trying to assemble a collection of early, historically significant and culturally relevant art and collectibles from this golden era of digital assets.  Many times I'm able to spot which ones will fit this before they run up in price like XCOPY, Punks and Art Blocks, but sometimes I don't see it in time and have to make a decision much later and at a much higher price.  While I try not to chase assets I miss out on early, on occasion I'll pay up to have something I missed that fits my longer term criteria.  

XCOPY, Last Selfie, 2019

KV: You've expressed a general intention to hold onto your collection and mentioned not wanting to sell many items. How do you decide which NFTs to sell? 

VM: For me having one of something is pretty much the same as having none because once I decide to buy I typically won't sell out of it completely.  Thankfully my strategy once I decide I like something is to buy more than one.  This allows me to hold a position and still allow room for some sales if others enter the space and decide they want to own some as well.  

DCA, Genesis #183, 2020 (VonMises’ first Art Blocks mint)

KV: What initially drew you to ArtBlocks, and how did you first connect with Snowfro?

VM: Back in early 2020, the CryptoPunks Discord was a truly special place. There were only about 30 of us actively chatting daily about NFTs, discussing how Punks would one day be recognized as real art, and how museums would eventually own them. The relationships formed during those early days are irreplaceable, as the purity of that moment is something you can't recreate today. When you have a core group of true believers, all obsessively diving into the technology and fully convinced of its future, you create a unique bond based on shared conviction—not on money.

This is where I met Snowfro. He was incredibly generous with his time and knowledge and one of the most honest people I encountered in the space. I was quite active in the Punks Discord, frequently sharing my bullish takes on Punks, and we had many discussions around our shared belief in the future of the space.

Around September or October of 2020, Snowfro began talking about his new generative art platform, Art Blocks, which he was about to launch. As someone I respected and admired, I knew I had to be involved when Art Blocks launched to show my support for Snowfro.

Tyler Hobbs, Fidenza #592, 2021

KV: As an early member and curator of the Art Blocks curation board, what criteria did you use to select and endorse generative art pieces?

VM: In the early days of Art Blocks it was more about how the art felt relative to what I had seen in the past. With Art Blocks still in its infancy there wasn't a lot to go on.  Often my criteria would be something like, would I be willing to hang this piece on my wall? 

Dmitri Cherniak, Ringers #206, 2021

KV: You managed to mint 350 Chromie Squiggles. What attracted you to this project, and how do you decide which pieces to keep and which to sell?

VM: My support for Snowfro was the primary driver. When it comes to selling or trading, I would typically sell my least desirable pieces first and hold on to the better ones.  On occasion I would list better pieces for sale but only if I had multiple examples and only at high prices.  I firmly believe in the old trading mantra "sell when you can, not when you have to"  

Snowfro, Squiggle #463, 2021

KV: You sold one of your Autoglyphs, #392, for 375 ETH, marking a significant transaction. Why did you decide to sell it at that time, and did the sale enable you to acquire other important pieces or invest in new projects within the NFT space?

VM: This sale happened in October 2021, to me the market had begun to feel like it had peaked. It wasn't clear but given how much the value of Autoglyphs had moved up, and given that I still had 2 additional Autoglyphs, it just made sense to let that one go.  I'm sure some of the proceeds made their way into other art pieces, but I don't remember if it went to something specific.

Larva Labs, Autoglyph #392, 2019

KV: When you used 60 BTC for a purchase on Silk Road, did you ever imagine Bitcoin would reach its current valuation? Have you made any trades in your life that you consider mistakes or missed opportunities?

VM: When I was buying BTC in the early days,  I mentioned it to lots and lots of investment professionals.  My sales pitch was something like "there's a 95% probability that you'll lose all or most of your money, but here's why you should still buy it". I then went on to explain how the potential was there for 1000x type returns. While seeing BTC at 100k is well beyond what anyone could have realistically envisioned back in 2011, I did know big moves up were very possible and to reach the level of a true global currency would require more than a 1 trillion dollar market cap. In my opinion there are absolutely scenarios where BTC climbs well above 1 million USD.   When it comes to mistakes or missed opportunities there's not a whole lot I'd change other than buy more of what I bought!  

Hideki Tsukamoto, Singularity #253, 2021

KV: In addition to CryptoPunks, Fidenza, and Autoglyphs, you own works by generative art pioneers like Herbert Franke. What draws you to early generative art, and how do you view its importance in the NFT space?

VM: I feel it's important to pay respect to the pioneers of generative art for sure.  I had the pleasure of meeting Manfred Mohr in NYC after purchasing one of his early works. It was very cool to see his studio and he showed me a lot of his early works and shared his journey as a true pioneer.  He has the first computer hard drive disk he used mounted on his wall.  It's about one meter in diameter and he told me it had a memory of like 5 kilobits! Owning an early Herbert Franke is something on my list, perhaps you can help me out here!  

Herbert W. Franke, Math Art (1980-1995) - Math Art 95 - No. 3, 2022

KV: Having lived through multiple bear markets in both traditional and crypto finance, what strategies have helped you navigate these challenging periods?

VM: I try to always remember that It's never as good at the top as it feels and it's never as bad at the bottom as it feels.  Markets always over react in both directions so try not to be too focused on the short term. I never let short term sentiment skew my longer term view.  During the recent NFT bear market it's natural for people to just straight line extrapolate out the downtrend and assume we are headed to zero.  For this to be true, You would need to accept that NFTs have no future, which to me is just insane to say.   The benefits that blockchain technology brings to art and collectibles is nothing short of revolutionary and with near 100% certainty NFTs have a very bright future.  

I try to always have a well thought out thesis that I can refer back to in times of distress.  If you know what you own and understand why you own it, the short term means a lot less and you can stay in a position without being shook out by bad short term volatility or uncertainty.  

Bryan Brinkman, NimBuds #187, 2021

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

VonMises on X: @VonMises14

Collection link: https://deca.art/VonMises?filters=1&details=1&sort=ACQUIRED_DESC

The Interview I Art Collector Cozomo de' Medici

"Collectors are as responsible for the direction of modern art as the artists themselves." - Peggy Guggenheim

In this spirit, we continue our series of interviews with notable art collectors shaping the digital renaissance. Today, Kate Vass had the pleasure of sitting down with Cozomo de’ Medici.

Known for his sharp insights and bold approach to building a world-class digital art collection, Cozomo has become one of the most influential voices in the NFT space. From championing emerging talent to acquiring works from established digital masters like XCOPY and Beeple, Cozomo reflects on what it takes to define the art movement of our time.

In this exclusive conversation, Cozomo shares his thoughts on the parallels between the Renaissance and today’s digital art revolution, the role of community trends in shaping collections, and his philosophy on building a meaningful and timeless art collection.

Without further ado, we present our interview with Cozomo de’ Medici.

Tyler Hobbs, Fidenza #938, 2021

KV: Can you tell us about your collecting journey? Did you collect physical artworks prior to collecting digital pieces? What inspired you to start collecting digital art?

CM: My collecting journey started by accident.

I had dabbled a little in contemporary art before, but not enough to consider myself a collector.

Then, in 2021, I started hearing from friends about CryptoPunks.

I was intrigued and soon after, I found myself shopping for one. 

But as I dug in through the Discord servers and group chats, I discovered a blossoming digital art community, with artists and patrons from all corners of the world.

A digital renaissance was underway, and I wanted to be a part of it.

And that made my Punk purchase even more important.

The Punk was to be my digital identity, but as you know, there are many in crypto who rep their Punks… so mine had to be unique.

Long story short, this led to my acquisition of a Zombie CryptoPunk in July of 2021. 

What I intended as my first and only major art purchase, turned out to be the birth of The Medici Collection.

KV: How did you come up with the name Cozomo de’ Medici? 

CM: The CryptoPunk I acquired - #3831 - was already known in the community as “CoZom”, for it’s a zombie punk with a COVID mask.

So the name too was partly a coincidence. 

I then felt it was only natural to amend the name a little, to form my digital identity - 

One that pays homage to the revolutionary Medicis of the past, while at the same time looking ahead to the future.

Larva Labs, CryptoPunk #3831, 2017

  KV: What similarities do you see between the Renaissance and today’s digital art revolution?

CM: There’s one big similarity -  

Digital art has long been a thing, since the 1960s. 

But just now, thanks to the blockchain, it’s coming into prominence and reaching its full, groundbreaking potential.

There were plenty of great pictures from before the renaissance. 

But that time brought out the very best of the medium, and masters that went on to define the very word “art”.

I feel we will see a new generation of digital art masters emerge from this renaissance, much like how masters of the physical canvas emerged from the previous one.

Operator, Human Unreadable #259, 2023

KV: As a well-known figure in the NFT and digital art community, how much do you feel the collective sentiment or trends in the community influence your collection choices?

 CM: It impacts every collector, including me.

But here’s what I’ve learned…

Building a collection with a clear mission helps me from being too swayed by what’s happening day-to-day or week-to-week.

I cannot tell you how many artists I’ve chosen not to collect, only to see them completely stop making art or not make any significant progress in their art practice.

The key is - 

You won’t get any kudos for not spending money or choosing not to collect what’s popular.

But making the right choices is what will compound over the long run and unlock what great collectors are really after:

An impeccable collection of art.

I don’t like to demonize following trends or collective sentiments. 

And I feel the strong voice the community has is a great thing. 

A good example is Comedian by the maestro Maurizio Cattelan.

I heard a collector or two say it’s perhaps the most iconic work of 21st century art.

And seeing how the community was really activated by the work, memeing it and even debating its merits - it’s hard to debate against it.

Together with Ryan Zurrer, we were actually the underbidders on the work, when it was sold this week at auction.

Sometimes, what’s popular is popular for a very good reason.

Helena Sarin, #adversarialEtching, after Modigliani, 2020

KV: Have there been moments where you've chosen to go against the grain?

CM: If you are collecting digital, you are going against the grain.

I have plenty of wealthy friends, that simply don’t want to take the risk of collecting digital art.

They have their gallery connections and would rather dabble in what is tried and true. 

Many get lost in the nuances and debate that collecting X digital artists is more “going against the grain” than collecting Y artists. 

But that misses the point. 

So if you’re here acquiring and championing digital art, I salute you. 

When I think of great collections that I admire, like the Rubells of Miami, what they have done is collect from a wide range of artists that represent the art scene of their times. 

They’re painting a picture with their collection. 

And that means striving to acquire the very best works from the masters of today, while also seeking out the next wave of talented artists.

It’s not one or the other… to build a great collection, you must do both.

My collection is a reflection of this core belief I have…. 

I collect works from artists I feel are not appreciated enough, like Goldcat, Jesperish, Niftymonki and many others…  

Just like how I collect works from artists I feel have made a strong case for their place in today's art movement, like Helena Sarin, Sarah Meyohas, Beeple, Sam Spratt and of course… XCOPY.

Sam Spratt, VII. Wormfood, 2022

KV: You have a significant collection of works by XCOPY. When did you start collecting his art, and what drew you to his work?

CM: I started hearing about XCOPY almost immediately after I started collecting. 

After speaking to collectors I deeply respected and artists of high regard, they all echoed the same point:

XCOPY is the defining artist of the crypto art movement. 

He emerged from the Tumblr golden age, after a decade plus of making GIF art.

Then he finds crypto, minting across Ascribe, various now-defunct platforms, and on Ethereum, where he was an early artist minting on SuperRare.

His genre-defining works, his experiments with blockchain as a medium, and his aesthetics have overwhelmingly influenced the genre of crypto art.

I could keep going, but I felt his place in the movement was beyond question.

So then I set off on a quest to acquire what I could of his SuperRare series. 

To be very honest, I never imagined having an XCOPY collection like the one I today have. 

But as it would turn out, I found myself at the right place at the right time. 

And my goal evolved to building a museum quality XCOPY collection.

After diving deep into his entire body of work and relentless research into his Tumblr archives, I realized X would be known for his character works.  

So my first major 1/1 acquisition was his SuperRare genesis character work “Some Asshole”.

Followed by his genre-defining piece “Right-click and Save As guy”.

More recently, I’ve been fortunate to acquire what’s considered one of XCOPY’s best pictures “All Time High in the City.”

One interesting thing about X is that many of his great works are editions, so those too are represented in my collection. 

Everything from his iconic “Last Selfie” to the cult classic “Mortal”, to his lesser known but critically important works like “VOID”, “Dirtbag” and “DE$CEND”

The last few works I mentioned were minted on now-defunct chains and platforms. 

But with Dirtbag and other lost works, tokens still exist, preserving the history. 

Collecting X is an ongoing pursuit, one I’m excited to continue. 

XCOPY, All Time High in the City, 2018

KV: In the “Medici Minutes”, you share your collecting journey and insights. Why do you think it’s important to share these experiences?

CM: One of my favorite quotes about collecting is by  Nasser David Khalili: ‘a true collector must not only collect but conserve, research, publish and exhibit his collection’.

I started the Medici Minutes to create a space to share my thoughts in longer form.  

I wanted it to feel unfiltered, and just be my musing about art, collecting and crypto. 

I also felt email was the best way to talk to tens of thousands of readers, in a personalized way, each week. 

Each person who subscribes to the Minutes has raised their hand and identified themselves as someone who is interested in hearing more about digital art. 

And each week, I try to share with them my learnings, mistakes and musings. 

Claire Silver, complicated, 2021

KV: NFTs have introduced a new way to assess value in art, combining rarity with digital culture. How do you personally navigate between the financial and cultural value of a piece when deciding what to collect?

CM: In many cases, although not always, these two things go hand in hand. 

And that’s a feature of crypto art - that culture that’s long been unable to accumulate value, finally can.

We’ll talk a bit more about this later in the interview, but I feel collecting strictly for financial reasons and building a collection are very different things.  

Goldcat, Promise of Salvation, 2022

KV: In 2023, you donated 22 blockchain artworks to the Los Angeles County Museum of Art. Why do you feel it’s important for these works to be represented by a museum? 

CM: By gifting a well rounded package of artworks, the goal was to seed LACMA’s crypto art collection and help them take the next step in collecting and contextualizing art that is truly of today. 

Since that gift in early 2023, we’ve seen many more museums engage deeply with our art movement.  

Ryan Zurrer, a great digital art collector, has done a fantastic job with the groundbreaking Refik show at MoMA and his global tour of Human One by Beeple. 

Then there’s Deji Museum, which has just put on the first ever solo museum show of Beeple. 

The fact that an American artist is having his first museum solo shown in Nanjing is very telling. 

This movement is global.

And Toledo Museum of Art has set themselves apart with their Digital Artist in Residence Program and exhibit of Yatreda.

Overall, my goal with the gift was to help open the gates for institutional engagement from major museums.

And I feel it’s now well underway. 

Beeple, Start Again, 2023

KV: How do you display your collection? We often see tailor made images of renaissance looking interiors with some cutting-edge digital piece in it? Do you create this yourself? Do you also relate to the space as creative? 

CM: I feel displaying the collection - both online and in person - is important. 

Those scenes you mention were a set of works I commissioned from the artist CharlesAI. I wanted to imagine what these works would look like, if they were hung in the Medici Villa. 

For our Medici Emerging Collection, I loved to see MAB create a magnificent OnCyber gallery… something beyond my abilities and certainly, my wildest imagination. 

Showing art in online galleries and simply also sharing it on social media is important. In a sense, everyone is a gallerist in today's art world. 

But it’s also important to do IRL showcases. 

One such example is, we partnered with W1Curates to do a Beeple exhibition in London back in 2023. 

And it was a blowout success, with many hundreds queuing up for the opening. 

We’ve done other shows with W1Curates, an annual TimeSquare exhibition, showings of the collection in partnership with SuperRare and others…

Today we’re more so working on our long-term exhibition programming, which includes institutional shows that take years to plan.

Niftymonki, Departure, 2023

KV: As someone with a platform, how do you decide which artists to support publicly? Do you ever feel the weight of responsibility in potentially elevating or overshadowing certain artists with your endorsement?

CM: I feel it’s important to support artists I collect from and those I don’t. 

There are many great artists I admire, but I’ve missed out on works from. 

Maybe I missed a DM from them or lost an auction for their work. 

Or maybe it’s just an artist I don’t feel compelled to collect, but I feel is still stellar. 

Whatever the case, it doesn’t hold me back from appreciating great artists and their work. 

We run a weekly “Art Tank” where we acquire and showcase the next wave of promising artists.

And my team does a lot of work behind the scenes as well, giving advice and guidance.

I feel the success of an artist in our scene - whether it’s someone I collect or not - is good for our ecosystem. 

DeeKay Motion, Life & Death, 2022

KV: With your visibility and influence, do you feel a sense of responsibility to shape the perception of NFT art in the broader art world? 

CM: Not just me, I feel we all do. 

No matter the size of following or depth of collection, I feel every collector and artist here feels a deep sense of mission to make sure the art of today is represented in the historical art canon. 

And what’s special is that we’re all on this mission, together, to help these artists take their place in the history books.

Joe Pease, Open The Floodgates, 2022

KV: How do you balance personal taste with the role you play in shaping the market?

CM: I feel the market making effects is just that. 

Effects.

It’s a byproduct of my collection building.

So I feel there’s nothing to balance, as it’s mostly something I can’t control.

Earlier this year, I posed this same question to one of the true titans of contemporary art, whose collecting activities also have the market-making effects you speak of.

And I loved his answer so much, that I will just repeat it here.

“Just buy great art at prices you can afford, and the rest will work itself out.”

Entangled Others, sediment nodes #7, 2024

KV: "There is in gardens a plant which one ought to leave dry, although most people water it. It is the weed called envy" (attributed to Cosimo de' Medici) 

In the spirit of Cosimo de' Medici's reflection on the "weed of envy," where he saw art collecting as both a personal pursuit and a symbol of power, how do you navigate the tension between personal enjoyment of your digital art collection and the external perceptions of your wealth and influence within the Web3 space? Do you see envy as an inevitable aspect of digital art patronage today, much like it was in Cosimo's time?

CM: As a rule, I try not to sweat too much of anything I can’t control.

Envy towards you is one such thing.

Now, it’s also normal to feel envious towards others.

For example, there are many great collectors that I “envy”, who have works I wish I could have had.

It’s healthy to acknowledge when others have accomplished something noteworthy. 

But channel it into productive energy and let it fuel your next big project. 

Sandro Botticelli, Primavera or Allegory of Spring, circa 1480

KV: Given the intense highs and lows of the NFT market, how do you approach your public voice in the community during turbulent times? How do you maintain optimism when the market is struggling?

CM: For one, I am fully committed to being here for a long time.

That doesn’t mean I’m not sensitive to the volatility of crypto price movements, but I also appreciate that to some degree, all markets are volatile and over a long time frame, these things tend to resolve itself.

I’m also not a market expert, so I also just don’t know the nuances of all that’s happening in the financial markets. 

It’s also not a point of great interest for me, beyond knowing what I must operate.

I also get great joy from seeing artists I support continue to make progress and break new ground. 

And that progress happens, no matter what is going on in the markets.

Coldie, DEyes #028, 2022

KV: As NFTs straddle the line between art and asset, do you feel there’s a risk of commodifying art to a degree that dilutes its cultural significance? How do you personally navigate collecting as both an investment and as a support of creative expression?

CM: I like this saying from Artnome: 

“Buy art you love, from artists that you want to see succeed, for prices you can afford, with the assumption that you'll never be able to resell it again… and you will always be happy”

I think that about sums it up. 

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Cozomo de’ Medici on X: @CozomoMedici

Collection:  https://www.cozomomedicicollection.com/

The Interview I Art Collector Niwin

“I have forced myself to contradict myself in order to avoid conforming to my own taste.” —Marcel Duchamp

In our series of interviews with digital art collectors, Kate Vass explores the motivations shaping today's digital art scene. This time, we talk with Niwin, a collector whose style resonates with Duchamp’s commitment to experimentation and challenging norms. Duchamp believed in questioning what art could be and supported ideas that broke with tradition. For Niwin, collecting is more than just ownership; it’s about encouraging innovation and supporting artists who push the boundaries of technology and creativity. By embracing works that defy conventional standards, Niwin embodies Duchamp’s ethos.

In this conversation, he shares how the fusion of art and technology captivates him, and why fostering innovation and challenging conventions is central to his collection. We hope you find his insights as inspiring as we did.

Dmitri Cherniak, Ringers #333, 2021

KV: In 2017, you mentioned a pivotal encounter with Ledger. What was your role or connection with Ledger at the time, and how did it shape your entry into the world of cryptocurrencies and NFTs?

N: In 2017, I was working in the tech industry, developing hardware storage products, when I had the opportunity to meet Eric Larchevêque and Joel Pobeda from Ledger. They introduced me to their groundbreaking device for securely storing digital currency. I immediately understood that blockchain was nothing short of revolutionary, a new technological paradigm that would reshape the future of finance and ownership. This encounter ignited my fascination with cryptocurrencies and led me on a path to explore the potential of NFTs, where digital art and technology merge in ways previously unimaginable.

Andreas Gysin, LCD 1 #11/32, 2022

KV: What sparked your journey into the world of generative art? Did you start as a collector, or did your role as a collaborator come first? How have these practices influenced each other?

N: My entry into generative art came after a period of deep immersion in the blockchain world. I had spent three years mining, trading, and investing, and in 2020, I purchased my first NFT on Rarible. Shortly after, I acquired a Cryptopunk, and then several more—instinctively believing this project and community was iconic and would stand the test of time.

It was during a call with Nahiko that I fully grasped the magic of generative art. The idea that art could be algorithmically generated, evolving autonomously yet bound by the constraints of code, felt revolutionary. Although I wasn’t creating the artworks myself, I quickly took on the role of a collaborator, helping artists navigate the then-unknown world of platforms like Artblocks. These two aspects—collecting and collaborating—enhanced each other, as my understanding of the creative and technical processes deepened, and my appreciation for each work grew more personal and emotional.

DEAFBEEF, Series 1 Angular - Token 129, 2021

KV: Many pieces in your collection feature a red and black theme. What personal significance do these colors hold, and how do they guide your choices?

N: Red and black have always held a deep significance for me. Red represents energy, passion, and the relentless drive to push boundaries—qualities that reflect my approach to both technology and art. Black, on the other hand, symbolizes depth, mystery, and the infinite potential of the blockchain and digital art realms. Together, they evoke a sense of intensity and boldness that resonates with the pioneering and disruptive spirit I love.

HACKATAO & Insight, Aleph-0 #382, 2023

KV: What criteria do you prioritize when selecting pieces for your collection—do you lean toward aesthetics, the artist’s vision, or something else?

N: Aesthetics, while important, are just the surface of what I look for in a piece. I’m drawn to works that carry an emotional weight, pieces with a strong vision behind them, where the artist is pushing the boundaries of what’s possible through technology. I seek out creators who are exploring uncharted tech territories, particularly in generative art, where the fusion of code and creativity brings entirely new dimensions to life.

Equally important is my connection with the artist. Understanding their process, their motivations, and their journey adds immense depth to the works I collect. I’m fascinated by how technology—particularly blockchain—enables artists to stretch their imagination in ways that were impossible before. This cultural and technological impact is often what sets a piece apart for me. It’s about supporting innovation, artistic bravery, and the intersection of creativity and technology, where new forms of expression are constantly being born.

Matt DesLauriers, Meridian #815, 2021

KV: As both a collaborator and collector, how does your experience in helping artists inform your approach to collecting? Do your insights shape your choices?

As a collaborator, I’ve had the privilege of guiding artists into the NFT space, particularly in the early days when platforms like Artblocks were still unknown to most. This experience gave me a front-row seat to the complexities of the creative process, understanding how generative art comes to life through algorithms and how blockchain adds layers of permanence, scarcity, and provenance.

This deeper understanding of the process informs how I collect. I look for pieces that reflect the same technical precision, bold innovation, and emotional resonance that I value in my collaborations. It’s not just about owning a piece; it’s about connecting with the artwork and its creator on a much deeper level. My role as a collaborator has sharpened my eye for detail, and my appreciation for how art and technology come together influences every decision I make as a collector.

Snowfro, Chromie Squiggle #446, 2021

KV: What’s been your most rewarding collaboration with Artblocks? How did your relationship with them evolve?

N: The most rewarding collaboration is with the brilliant Italian quantum scientists led by Salvatore Savasta (@insighbart) on a project that used quantum science formulas to render artistic representations of particles. While helping them shape the project for Artblocks, I also contributed with creative ideas. This project is a true fusion of art, science, and technology—a perfect example of how the blockchain can democratize complex concepts like quantum physics through the medium of generative art. The project even gained recognition at a TEDx talk in Italy, such a thrilling moment.

My relationship with Artblocks began through my friendship with Snowfro, the platform’s visionary creator. We’ve remained close, and being part of the early days of Artblocks was an incredible experience. Collaborating with the generative artist ge1doot, we brought three projects to life, including Ignition, which became Project #9 in the founding series of Artblocks. The thrill of launching such groundbreaking work is something I’ll never forget.

Insigħt, Quantum Collapses #59, 2022

KV: Science seems to be a recurring theme in your projects. How does your interest in science influence both your creations and your approach to collecting?

N: I’ve been fascinated by science from a very early age, it has always felt like the ultimate exploration of the unknown. I got my first computer at age six, and it opened new worlds for me, expanding my curiosity and imagination. Science, for me, is deeply intertwined with creativity. It represents both structure and chaos, logic and wonder, and this duality is what excites me in both art and technology.

In my collaborations and my collecting, I’m drawn to projects that blend science with art, where the precision of algorithms meets the unpredictability of creativity. I seek out art that challenges the boundaries of what we know, whether through scientific principles, generative algorithms, or technological innovations.

ge1doot, Ignition #414, 2021

KV: You’re often involved with projects that incorporate cutting-edge technology. Are there any recent tech developments that have particularly excited you or that you think could impact the art world?

N: I’m particularly excited by dynamic and interactive NFTs, which incorporate real-time data from the blockchain to create artworks that evolve and respond to external inputs. This dynamic approach brings a new level of interactivity and unpredictability.

The use of AI in art is another area that fascinates me. AI-generated art can feel like the realization of dreams, creating imaginative, surreal visuals that push the boundaries of creativity. We’re witnessing a transformation where machines are becoming part of the creative process, generating art that feels deeply personal and expressive.

Also artists like Sougwen Chung or Pindar Van Arman, who are pioneering the collaboration with robots in this space, excite me deeply.

Autonomous artistry is perhaps the most thrilling frontier: robots that can create and publish their own work, potentially reaching a point of singularity where they act independently of human creators.

Refik Anadol, MACHINE HALLUCINATIONS - MARS LANDSCAPES - Collector's Edition #13/30, 2020

KV: How do you live with digital art on a daily basis? Do you prefer physical displays or virtual platforms for showcasing your collection?

I enjoy both physical and virtual platforms for showcasing my collection.
In terms of physical displays, I love integrating digital art into my daily environment through mediums like sculptures, prints, or embroidery. I also collaborate with an embroiderer in France, to bring digital art into the physical world and currently looking for artists that have interest in that medium.

At the same time, virtual platforms are indispensable for experiencing the full range of what digital art can offer. The scale, fluidity, and interactivity of virtual environments allow digital art to live in its native form, where it can continually evolve and be experienced from new perspectives. Both physical and virtual spaces have their place in how I engage with art on a daily basis, but I find the interplay between them particularly exciting !

Hermine Bourdin, Christine, 2021

KV: Where do you see the NFT art space heading in the next five years? Do you expect continued evolution, or are there trends you think might fade?

N: In the next five years, I see the NFT space continuing to evolve, with dynamic and interactive NFTs that integrate real-time data, constantly transforming and reacting to the world around them. AI-driven art will also gain prominence, pushing the boundaries of imagination and technical sophistication, creating dream-like landscapes that feel almost ethereal.

Autonomous artistry—where robots collaborate, create, publish, and perhaps even sell their own work—could revolutionize the art world, pushing us closer to a singularity in creative expression.

100% on-chain art will continue gaining significance, offering permanence, provenance, and ownership in ways that no other medium can. And while the noise surrounding multiple blockchains and Layer 2 solutions will likely continue, I expect Layer 1 chains to remain dominant for high-value, grail-level works, ensuring the security and longevity of these pieces.

Vera Molnár & Martin Grasser, Themes and Variations #63, 2023

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Niwin on X: @NiwinEth

Collection:

https://opensea.io/Niwin_Vault

https://opensea.io/Niwin

https://objkt.com/@niwin/owned

The Interview I Art Collector Delronde

Aristotle once said, “The aim of art is to represent not the outward appearance of things, but their inward significance.” This sentiment serves as a powerful reminder that collecting art transcends aesthetics; it’s about capturing meaning and essence.

In this installment of Kate Vass's interview series with digital art collectors, we speak with Delronde. Much like a curator selecting pieces for a museum, Delronde approaches his collection with discernment and a profound appreciation for the narratives embedded in each work. For him, collecting is not a matter of simple acquisition; it’s a mindful process, with each piece thoughtfully chosen for its unique contribution to the collection. His approach is unhurried and intentional, honoring the individuality of each artwork.

Delronde’s philosophy of collecting goes beyond the present moment. Reflecting on Aristotle’s words, he notes, "To me, the 'inward significance' of digital, generative, and AI art all flows back to one thing: human ingenuity. Art that celebrates or pushes beyond technical limitations resonates deeply with me, leaving you breathless, wondering, 'How did they do that?' Silicon chips are the cathedrals of our era, and digital art, the frescoes adorning them."

We hope you find this interview insightful, offering a glimpse into Delronde’s thoughtful perspective.

Learning To See: We are made of star dust #2 by Memo Akten, created 2017, minted in 2024

KV: Can you share some insights into your background and what motivated you to start collecting digital and on-chain art? 

D: I've been tinkering with and programming on computers since I was very young but I had not paid attention to digital art until NFTs. Specifically, ArtBlocks with its marriage of generative art and blockchains made me realize that the same skills required to build the software you're using to read this text now can also be applied to create beautiful art. Software, instead of being purely utilitarian can also create beauty, and blockchains enable you to own and transact these in their native "executable" form. From there I've slowly grown to appreciate all kinds of digital art.

Chromie Squiggle 3009 by Snowfro, 2021

KV: What was the first piece of digital art you acquired, and how did it influence your approach to future purchases?

D: This Colorglyph was one of my first acquisitions, back in October 2020. I knew nothing about art or NFTs at the time. I saw autoglyphs trading for 6e (~2k USD) and thought they were interesting, but way too "expensive". So I bought a colorglyph for 200$ instead. I've kept it to this day as a reminder to trust my instincts, do my research and that sometimes, "cheap" can cost you dearly.

Colorglyph #307 by Larva Labs, 2019

KV: What draws you to collecting historical generative and AI pieces, and how important is their preservation to you?

D: I believe we're in an incredibly special moment in time. Right on the cusp of widespread adoption of two major technologies. AI which promises nearly free and infinite digital content and blockchains which provide provenance, scarcity and ability to transact. Most people are still underestimating how much impact AI is going to have on our lives. The tokenization of digital art and the birth of a new form of intelligence will occur only once. I'm incredibly thankful to have been in the right place and the right time to collect meaningful works of both these significant milestones. 

Early AI art in particular is personally very meaningful to me. It's hard to overstate how big the AI revolution will be and just how fast progress has been made. I keep going back to this to remind myself what used to be considered "impossible". And in 3(!) years, we're well past that. In a span of ~7 years or so we've gone from a highly experimental form of art that only those at the cutting edge of technology and art were capable of creating to something anyone in the world can use. I consider the 2015-2022 period very special, something that cannot be repeated. 

AlignDraw, A stop sign is flying in blue skies #3, by Elman Mansimov (2015), minted in 2023

KV: In your opinion, how does on-chain verification add value to digital artworks beyond establishing provenance? Does the underlying blockchain play a crucial role in the collecting process?

D: I believe blockchains are a 10x improvement in transacting digital art over traditional mechanisms. They provide 24/7 global liquidity, instant settlement, transparent price discovery, and unforgeable provenance. In addition, the collector's collection is public by default. I have discovered so many new artists and works just by browsing the collections of others. It's in stark contrast to most high value traditional art which are locked away inside people's homes only seen by the owner (or worse, not seen at all, in case of freeports). Putting art onchain means that anyone can enjoy it for free while having a single indisputable owner.

As to the blockchain itself, it matters. But it does not matter as much as people think. I do collect on Tezos and other chains. They do deserve a discount because it's unproven if they will stay around as long as ETH, but it probably should not be as severe as it is right now.

#26 - RCSA, LCAO by BoldLeonidas, 2023

KV: You’ve highlighted Deafbeef as the king of on-chain art. What qualities do you think set his work apart from others in this space? 

D: Deafbeef is one of the few cryptoartists who fully utilize and explore the blockchain as a medium. Tokens with user customizable audiovisual outputs, tokens that degrade on transfer, onchain slot machines, innovative ways to tie physicals to disappearing tokens and many others that show deep technical mastery of many fields and serve as astute commentary on the space. 

HASHMARKS #63 by Deafbeef, 2023

KV: Are there certain artworks in your collection that hold a special significance for you or have an interesting story of how it was acquired?

D: As a whole, my early AI art collection is very special to me. Others like JediWolf have a more comprehensive collection, or CyborgDAO have more pieces from significant artists. I've landed somewhere in the middle with at least one piece from every artist and collection that I consider significant. Fellow AI art collectors know how difficult it is already to acquire these works, and I think it is going to get exponentially harder to assemble every subsequent set. 

As an individual work, this piece by Califormetry stands out. A custom commission in his signature "vector hyperrealism" style of a place that I owe a lot to. 

The Golden State by Califormetry, 2023

KV: What criteria do you use to assess an artist or artwork before adding it to your collection?

D: When I collect a work, I ask myself if I'm collecting for the work itself, the artist, the narrative/story or the timestamp. Most works only have one or two elements going for them, but my most prized pieces have all of the elements. For example, a genesis period Botto or an aesthetic "Day 0" squiggle. Recently I've begun to appreciate a fifth factor, which is the community around the artist and their works. The standout example here is XCOPY, the impromptu performance with the "Black Hole" piece was only possible because of the dedicated community.

Communicate Displace by Botto, 2022

KV: How do you incorporate digital art into your daily life? Do you display pieces in your home, or engage with them in other ways? Do you also own traditional artworks, like those by David Young?

D: I focus almost exclusively on digital art. The only exceptions are a few Ukiyo-e prints (Kawase's Meguro Fudō is a personal favorite), or cases where the physical is integral to the NFT like Deafbeef's Hashmarks or the oil painting of David Young's GAN art which is very interesting to me as an early example of human art being influenced by AI art.

It is unfortunate that most of us spend the majority of our waking hours staring into screens and yet the only exposure most people get to digital art is their wallpaper. I greatly enjoy browser extensions like arttab.xyz (or Google Arts and Culture if you prefer traditional art) which show you a new piece of art whenever you open a new tab. 

Meguro Fudo by Hasui Kawase

KV: How do you perceive your role within the digital art ecosystem? What impact do you hope your collection will have on the future ? Do you see it a legacy?

D: I try to keep a low profile, I would rather let my collection speak for itself to those who share similar tastes. I collect for my personal satisfaction, and because I believe some of these works will be almost impossible to acquire for any reasonable price in the future. Time will tell if I'm right on the significance of these works, and I'm willing to be very patient.

AI Generated Nude Portrait #7 Frame #111 by Robbie Barrat, 2018

KV: If you had to describe your collection in three words, what would they be?

D: I can do it in one: Pioneers. I've aimed to collect digital works and artists that broke new ground in some significant way. My first goal when I started building this collection was to acquire a full set of Artblocks Curated Season 1-8, and am now focusing on early AI art. I hope to call it done soon.

Learning Nature (b38,4016,16) by David Young, 2018

KV: Could you tell us the story behind the name Delronde? Does it hold any particular meaning? 

D: Ha ha, it is based on Elrond from Lord of the Rings, and my PFP is a pixel version of Elrond commissioned from thepixelportraits.me. 

Math Art (1980-1995) - Math Art 95 - No. 9 by Herbert W. Franke

KV: Aristotle said, “The aim of art is to represent not the outward appearance of things, but their inward significance.” How do you believe digital art, generative art and AI art reflect this idea?

D: To me, the "inward significance" of digital, generative and ai art all flow back to one thing: Human ingenuity. Art that celebrates or surpasses technical limitations is what resonates with me. Where you are left breathless wondering: How did they do that? Silicon chips are the cathedrals of our era, and digital art the frescoes. 

K-Meanearest Neighbors by Helena Sarin & Dmitri Cherniak, 2021

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Delronde on X: @delronde

Collection: https://opensea.io/0x183AbE67478eB7E87c96CA28E2f63Dec53f22E3A

The Interview I Art Collector Archivist

As the philosopher Walter Benjamin once observed in his Work of Art in the Age of Mechanical Reproduction in 1935: “In even the most perfect reproduction, one thing is lacking: the here and now of the work of art—its unique existence in a particular place.” This notion resonates deeply with Archivist’s mission to preserve the unique stories embedded in each digital artifact, ensuring that the essence of blockchain art is recognized and valued within its specific context.

Kate Vass continues her series of interviews with digital art collectors, and this week, she speaks with Archivist. Much like a paleontologist meticulously unearthing fossils to piece together stories of ancient life, Archivist treats his collection of digital art with the same care and reverence. Each piece he collects is a fragment of history, a clue to the ever-evolving narrative of art on the blockchain. For him, collecting is not about accumulation but about preservation—capturing moments in time and ensuring they endure, both for today and for the future. His role as a collector is akin to that of a fossil hunter, finding rare and meaningful pieces and placing them in a context where their value extends beyond the present moment.

We hope you enjoy reading the interview and finding deeper insights into blockchain art from the Archivist collection as much as we did.

Obvious, Ryan O Reily, 2018

KV: You collect both digital and physical artworks. How do these two forms complement each other in your collection, and what unique qualities does each bring?

A: Honestly, my physical collection is much smaller than my digital one, especially compared to collectors who mainly focus on physical art or collectibles. I’m pretty minimalist and not that materialistic, which means I only have a few physical pieces. That forces me to be really picky and only go for things that deeply resonate with me or that are truly standout. So, in my case, I’m more spontaneous and driven by instinct when it comes to digital art, while I’m super selective about physical pieces. Even though blockchain gives digital art a tangible quality, there’s something irreplaceable about being able to see something physically. Most of my physical pieces are also from periods before blockchain existed or are works that wouldn’t make much sense in a digital format.

Robbie Barrat & Ronan Barrot, Infinite Skull #18, 2018

  KV: You have an impressive fossil collection. What draws you to collecting fossils, and how do they complement your interest in more modern or digital collections?

A: I started drawing dinosaurs when I was about five or six, and by the time I was seven or eight, I was collecting small fossils and stones. Like a lot of kids, I dreamed of becoming an archaeologist or paleontologist. My interest in high-end fossil collecting is more recent, though. It really took off when I became friends with a French paleontologist during the COVID pandemic. Without connections in that world, it’s hard to get started collecting these without either overpaying for hyped-up pieces at auctions or settling for lower-quality ones from the public market. But once you’re close to the source, you get a real sense of how the market works and gain access to significant ones before they hit the public or auctions. Collecting fossils—life testaments that are 65 to 300 million years old—humbles you in a way. These objects come with stories that make you reflect on the world. It also makes me a better collector overall because it teaches me how to track, authenticate, and appreciate truly rare pieces. That focus helps keep me from chasing after every new trend or “next big thing,” as it’s difficult to create more fascination for me than these artifacts.

Hope's Horn

KV: Could you highlight one or two curatorial projects that were particularly meaningful to you? What was the concept behind these projects?

A: To be honest, I tend to avoid collecting things that are already heavily curated. That’s just my personal preference. When I come across something that catches my interest—whether it’s an artist, a technical innovation, or a project—my first instinct is to dig into what was maybe done before and actually not curated nor documented. That’s how I fell into the never-ending rabbit hole of historic blockchain assets, and I haven’t stopped since.

Vogler, Face 5, 2015

KV: You often mention documenting historic assets. Why is documentation a significant aspect of your work, and how does this connect with your pseudonym, "Archivist"?

A: I guess I answered this partially in the previous question. I’m really drawn to the idea of “firsts”—the first of anything, really. These moments often represent rarity, innovation, or historical significance, and sometimes all three. But the more you dig into the history of something, the more you realize that there’s almost always an older or earlier iteration hiding somewhere. That’s what led me to start documenting my discoveries. I realized that if I wanted to label something as a “first” in my public documentations, I had to be as certain as reasonably possible. And the more you research, the more you find, the more you document, the more you need to research to corroborate, and so on. It became this ongoing hobby—researching, documenting, cross-checking—to the point where it just became natural. The thrill comes when you uncover something others haven’t yet, and you get the chance to document it before it becomes widely known. Over time, I’ve come to see education and accuracy as essential, especially in a space where misinformation spreads easily, like with claims about Cryptopunks being the first NFTs. As blockchain becomes more mainstream, understanding the foundation it was built on is crucial. That’s how I ended up with the pseudonym "Archivist"—it just reflects my passion for archiving blockchain history.

 FUCK YEA, 2012 (Namecoin)

KV: You've analyzed the intricacies and misconceptions of digital assets and blockchain technology through articles you've written. What inspires you to explore these complex subjects, and do you believe that education and investigation are essential roles for a collector?

A: My conviction is that the purer your collector spirit is, the more fascinated and passionate you are about what you collect, the more you want to study it and become an expert about it. As you become more knowledgeable and exigent, you realize how important it is to really understand the details. When it comes to blockchain history, it's kind of like traditional history or archaeology. There’s always excitement and debate surrounding new discoveries, with some people getting overly enthusiastic and others being skeptical. You can’t make everyone happy, but in the blockchain space, at least you can document and prove a lot of things with blockchain data and timestamps.

That being said, I don’t think documenting is a requirement to be a collector. But if you’re the kind of collector who discovers or patrons, it’s an important responsibility to give the subject the visibility it deserves and to be accurate and transparent in how you document it.

 Jonathan Monaghan, Mothership, 2013

KV: You have a notable interest in on-chain art. What attracts you to on-chain art, and what potential do you see for it in the art world?

A: Fully on-chain art is the most permanent form of art we’ve ever had, thanks to blockchain. If you look at art throughout history, preservation has always been a major challenge. Imagine if Egyptian art from thousands of years ago was still as fresh as the day it was made—that’s the kind of permanence that fully on-chain art offers. I also see blockchain as a medium in itself, like canvas or paper. Some artists are pushing the boundaries of what’s possible with it, and that’s the type of on-chain art I’m most drawn to—the kind that can only exist because of the blockchain.

I don’t think all art needs to be fully on-chain, though. Sometimes the costs are too high, or it doesn’t make practical sense. But I do encourage artists to consider using the blockchain, even if it’s just for part of the provenance of their work, to partially preserve their art or intent in a more permanent way. We’re still in the early days of blockchain, but if you think about it 100 years from now, a lot of today’s digital art may no longer be accessible. Fully on-chain art, however, will still be there. We have many examples, such as Ascribe or KnownOrigin cases, showing us that onchainness is more and more important to preserve art. The sad reality is that a drawing on paper has a higher chance of lasting longer than most of today’s art NFTs.

Chainleft, Chaos Road #52, 2023

KV: Do you think that in the future, collectors will become chain-agnostic? If so, what leads you to that belief?

A: I think some collectors will definitely become chain-agnostic, especially casual collectors who are more focused on the art than the underlying technology. But for collectors who are really interested in the specifics of the medium, each blockchain will have its own significance. Personally, I appreciate the differences between blockchains, but I also enjoy collecting from different ones. Maximalist or purist collectors will always exist, and that’s not a bad thing—they often bring a lot of knowledge and depth to the space. In short, I think casual collectors will go wherever the trends and artists lead them, while more serious collectors will still have their preferences based on the blockchain technology.

0xfff, You Are Here 42161, 2023

KV: Can you share a story about one of your collected works that was particularly challenging to acquire, or perhaps a piece that has personal significance for you?

A: If you don’t mind, I’ll share two pieces—one digital and one physical—because it’s too hard to pick just one.

The digital piece is called 'SOLD'. I’ll not dig that much into the story of it, as I wrote a dedicated article you can find here: https://archivist-eth.medium.com/sold-stamp-of-the-first-non-fungible-asset-trade-in-history-2011-f8c491a2e78a, but basically, after two months of deep research and investigations into this matter, I managed to identify the first non-fungible asset to ever have been transferred (and traded) on the blockchain. Transferability is such a key aspect of NFTs/blockchain assets, so it was important for me to document this. It turned out to be a Namecoin name called 'd/radio', which was sold for 5 BTC on May 6, 2011. That’s when the original owner marked it as 'SOLD' in the name’s value when they transferred it. I was lucky to track down the current owner in 2022 and acquire it. That was probably my most satisfying acquisition, given the effort involved in finding it and the slim chance of actually being able to own it.

On the physical side, there’s 'Hope’s Horn' (that you can see in questions #2 of this interview), a baby triceratops horn showing healing from a large pathology caused by an adult T-Rex's bite, indicating 'Hope' survived an encounter with Earth's most dangerous predator to date. It’s one of the few pieces of evidence we have proving that T-Rexes were predators, not just scavengers. This piece is unique to me without any doubt, also for sure the most fascinating piece of my entire collection, but also unique and fascinating within the paleontological world, for the few who know about it so far. This piece is incredibly rare and special to me, not just because of its historical significance, but also because I acquired it through a private trade before advanced studies were done on it. I’m currently working with my paleontologist friend to document it further. I even managed to identify another smaller trace of the bite pathology myself on the piece, a dream come true for the dinosaur-loving kid in me.

SOLD, 2011

KV: How do you view your role as a collector in both the digital and analog realms? Do you consider your collection to be a part of your legacy?

A: I see myself, as a collector, as both a custodian and an educator. As I mentioned earlier, collectors have a responsibility to preserve the pieces they own and share knowledge about them. When it comes to passing pieces on, I believe it’s more rewarding to find someone who genuinely appreciates the work rather than simply selling to the highest bidder. This is especially true for artists, where finding the right collector can sometimes bring more long-term value to the work than going with someone who just has the most money or followers.

As for my collection being part of my legacy, I’m still figuring that out. I’m 33, I don’t have kids yet, and I’m not sure if I’ll hold on to everything forever. There’s always the possibility that a piece could go to someone else who’s as passionate about it as I am, especially if it’s the right time for me to let it go. That being said, I do hope that the research and documentation I’ve done over the years will become a small part of blockchain legacy, yes. In that sense, I’d like my contribution to live on, even if I don’t keep every piece in my collection forever. I can also imagine myself writing a book about blockchain early history in the future.

Han, Screensaver, 2023

KV: What advice would you offer to new collectors or those just starting to collect digital art?

A: Avoid FOMO at all costs. Collecting out of fear of missing out usually leads to bad decisions and pieces you don’t truly care about. Before buying anything, ask yourself if you’d still love owning it even if no one else knew about it, or if NFTs and blockchain technology never took off again. You want to collect pieces you’ll treasure regardless of their market value, and ideally, at a price you’re comfortable with.

It’s also a good idea to diversify a bit. That doesn’t mean you have to buy from every medium, but finding three or four areas of interest—like AI art, on-chain art, or historical assets—and spreading your budget across them can help. Overall, the best advice I’ve ever heard came lately from @TokenAngels: “Be your own museum.”

Mathcastles, Terraform #3254, 2021

KV: One of the ongoing challenges is how to display and integrate digital art into our living spaces. How do you approach this? Do you have any digital works displayed in your home? Do you believe it’s important to see art every day?

A: I have to admit, I don’t currently display any of my digital pieces at home. The cost of multiple screens and the energy consumption are real issues. My dream, though, is to one day have my own gallery, where I could display my collection alongside pieces curated from other collectors and creators I respect.

As for seeing art every day, I don’t necessarily feel the need for it. Sometimes, the absence of a piece can make it more powerful when you revisit it after a while—like rediscovering something you love. Just like when you enjoyed taking your binders out of the shelf and opening them to look at your Pokémon cards. Of course, there are exceptions where certain pieces connect with you in a way that makes you want to see them constantly, but I think it really depends on the relationship between the collector and the artwork. And it’s definitely an intimate relationship in the end.

Diid, Machine in the Ghost #1, 2024

***

 *The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Archivist on X: @punk3606

Collections:

https://deca.art/archivist/on-chain%20art%20collection

https://opensea.io/punk3606

https://opensea.io/punk3606_vault

The Interview I Art Collector antagonist4ever

1.     In the world of digital art collecting, it takes a unique vision and a pioneering spirit to commit to build a collection that both embraces the cutting-edge technology, and anticipates the artistic innovations of tomorrow. Through ups and downs of the market cycles, it’s the collector who brings the support of the vision of emerging creators, often before the market catches on. Their role is foundational to fostering new ideas, pushing boundaries, and ensuring that innovative, often challenging works find a place in collections and therefore digital history. In many ways, collectors are collaborators in the cultural narrative, making them indispensable to the progress of art itself.

Kate Vass continues her mission to understand the perspectives of a new generation of collectors. In this interview, Kate speaks with antagonist4ever—a thoughtful art collector who values diversity in both artistic expression and social impact, with a conscious focus on supporting female artists and highlighting underrepresented voices, while maintaining a clear vision.

We hope you find as much insight and inspiration in this conversation as we did learn more about the mindset behind his collection.

100 Series: “Portraits of Imaginary People”, 2017/21 by Mike Tyka

 1. KV: What inspired you to focus on digital art rather than traditional art forms or do you also collect more traditional art?

A4: To answer upfront, art investments were not part of my portfolio before. Since diving deeper into Bitcoin in 2017, I became aware of the significance of digital assets. The basic idea of blockchain, complemented by smart contracts, enabled NFTs to provide a way to verify proof of ownership in the digital world. Whether and how much the art world would be impacted by this and whether artists would benefit from it only became clear to me over the course of 2021. I started researching art genres and artists and created a correspondingly long "buying list" of artists and works – somehow, it keeps getting longer instead of shorter.

Glitch Morning by Itzel Yard, 2022

2. KV: How do you decide which pieces to add to your collection?

A4: As with other investments, in my decision-making process, I incorporate experience, research, as well as my gut feeling.. An artwork must have an impact when viewed. I have a collecting strategy in mind, and depending on the price and the theme I’m currently engaged with, I then make the decision for a particular piece.

OG flowers #10 by Cornelia Sollfrank, 2022

3. KV: What role does personal taste play versus investment potential when acquiring art?

A4: Even in the digital art market on blockchains, it’s all about supply and demand. Fortunately, many of those who shaped the demand in the past were merely monetarily motivated and are now busy with topics other than art. In my opinion, the current environment offers long-term art collectors a great opportunity to combine investment potential with personal taste in art purchases. I wouldn’t acquire a work if it didn’t appeal to me aesthetically. Currently, I believe there is an opportunity to build a significant collection. Art is certainly an asset class, but I have no intention of ever selling the collection. Optimizing it in terms of quality and personal taste is more appealing to me in this context.

[[[vessel_within_vessel_0099]]] by Sofia Crespo, 2019

4. KV: How would you define your collection?

A4: “Diverse” probably describes it best. In the beginning, I was mainly interested in works that were in motion. Later, a specific idea of collecting took the forefront. It was about focusing not just on artists and genres but also on social issues. When I acquire a work of art, I know exactly how it can be presented to the public one day. In the early days, I acquired works by Itzel Yard, Sofia Crespo, Jen Stark, Sarah Zucker, and Sabrina Ratté. Not because I intentionally wanted to focus on works by female artists, but because I liked the art. This naturally led to a more conscious effort to include works by female artists in my collection. I believe it’s important to show that the space is not just dominated by a “bro culture.” It’s about acceptance and appreciation of art, which is why I also made purchases on International Women’s Day (e.g., Helena Sarin) in March this year. Besides that, there are many other wonderful themes and genres I’m passionate about.

Wavelength by Jen Stark, 2021

5. KV: Can you share a story behind one of your most cherished pieces?

A4: I don’t know if it’s one of the most valuable artworks, but it was my first commissioned piece, and it holds a special meaning for me: Interdependence Day by Sarah Zucker. The initial idea came from me asking if Sarah Zucker could create a piece related to one of the UN SDGs. Sarah chose "Life on Land" and interpreted it in her characteristic and, in my opinion, captivating way. We then arranged a minting date – which was very exciting and new for me at the time. 

Interdependence Day by Sarah Zucker,2021

6. KV: How do you evaluate the authenticity and provenance of digital art in your collection?

A4: I believe blockchain is the best proof of authenticity one can imagine. Tokenization of real-world assets and investment funds on the blockchain show that this is just the beginning. On CT, you often see “maxis” of certain blockchain ecosystems; I’m personally not a fan of that. I believe that different blockchains will coexist. In my opinion, many good artists are active on Tezos; anyone interested in art will surely find something there. “Here for the Art” was the slogan for many. I hope that the provenance of Tezos will gain a similar standing as Ethereum’s; it would certainly be a win for the art world. 

Monogrid 1.1 CE, 2022 by Kim Asendorf

7. KV: What trends do you see currently shaping the art market?

A4: Currently, it’s mainly about AI and the marketing of early AI art and bringing it onto the blockchain. Getting into this topic requires a lot of time. Should one start with CNN, RNN, or GAN? Is it about the artists or the creators of the technology? How is the model trained? Which applications are being used? I don’t think there’s a right or wrong here. I’ve found my own path: I like art that is recognizable as such and has a unique character. The art that has its own character and appeals to me. I try to build my own style of collection, which I think I’m doing quite well.

Deeper Meditations #1, 2021 by Memo Akten

8. KV: How do you balance supporting emerging artists with acquiring established works?

A4: If I like something or find it meaningful, I acquire it, regardless of its fame. I believe my portfolio has a healthy mix. I still remember the first purchases of Kim Asendorf or Leander Herzog. Both were special. I could watch Kim Asendorf’s pixel sorting forever; Alps by Leander Herzog also spoke to me as someone who loves the Alps but also minimalism. I think very few people on CT knew these names back then. But were these artists up-and-coming or already established? Perhaps up-and-coming for CT, but already established for some curators. 

Alp 1637543494, 2021 by Leander Herzog

9. KV: How do you see the role of NFTs in the evolution of digital art collecting?

A4: For me, ownership of digital assets is the new zeitgeist that most people haven’t yet grasped—neither with Bitcoin nor with NFTs concerning digital art. I am firmly convinced that traditional art collectors will increasingly engage with this topic. In my opinion, we are still very early in the development phase. The significance and value of a collection acquired today will only become evident in decades. 

The Prophecy, 2020 by Osinachi

10. KV: What challenges have you faced as an art collector?

A4: As I mentioned earlier, many market participants in the past (and CT loudspeakers) presented themselves as purely financially driven. Their passion is not art, but gambling. The current market is thus undergoing a cleansing process. As a result, many artists currently face only a few long-term oriented collectors, whose purchasing power is not unlimited. Neither is mine, which means that I always have to reassess my buying list in terms of the prioritization of works. In my opinion, the digital art market will emerge stronger from this. 

Sun Spot, 2021 by Zach Lieberman

11. KV: How do you see the relationship between digital art and physical spaces, such as galleries or museums, evolving in the future?

A4: I hope that children in schools will be introduced to the blockchain medium at an early stage. This can happen in IT classes, economic policy courses, or even in art classes. Schools as exhibition spaces would be a great first step. It would generate interest and awareness. The more digital our society becomes, the more I see the need for physical spaces to display art. I have no doubt that new museums focusing on digital art will emerge. However, it’s capital-intensive if the presentation is to be appropriate for the occasion. Impressive private collections are currently being assembled and will certainly be presented at some point.

No 700 V.26, 2022 by Krista Kim

12. KV: One last question—what inspired you to come up with the name "antagonist4ever"? Does it hold any special significance related to your collection style or artistic vision? I'd love to hear the story behind it!

A4: I am “antagonist4ever” because I see myself as a quiet yet determined forward-thinker. My decisions don’t have to be loud or dramatic – but they are always thoughtful, focused, and driven by a vision that goes beyond the obvious. Both art and life sometimes require exactly this: the willingness to swim against the current, to be bold, and to walk your own path while thinking in more than just two dimensions, discovering possibilities that others might overlook.  

1111 #0464, 2021 by Kevin Abosch

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

antagonist4ever on X: @antagonist4ever

Collection links:

https://deca.art/Antagonist4ever/1of1

https://deca.art/Antagonist4ever/women4rt

https://deca.art/Antagonist4ever/gen-4rt

https://deca.art/Antagonist4ever/4i-4rt

The Interview I Art Collector seedphrase

Kate Vass is excited to continue her exploration of the evolving role of collectors in the digital art world by sitting down with one of the most prominent figures in the Web3: Daniel Maegaard aka Seedphrase. In this interview, Kate seeks to delve deeper into the shifting landscape of art, where digital identity, ownership, and creativity are being redefined by blockchain technology and NFTs.

Seedphrase, known for his early investment in rare CryptoPunks, has emerged as a leading voice in this movement. His journey began in 2013, and his conviction in NFTs as both art and identity has only grown. One of his most notable acquisitions is the iconic "seven-trait" CryptoPunk, which has become a symbol of his brand. His commitment to the space extends beyond collecting, as he also explores music, gaming, and the fashion world, all connected to his digital presence.

Through this conversation, Kate Vass explores what drives Seedphrase’s passion for NFTs, his views on the cultural significance of digital art, and how he sees the future of Web3 collectors in reshaping the art market

Daniel Maegaard aka Seedphrase

KV: What is your earliest memory of engaging with art, and what motivated you to start collecting?

SP: From a young age, I was deeply captivated by art. I attended art classes in school and made it a priority to visit exhibitions and galleries, which enriched my cultural understanding. However, it wasn’t until late 2018 that I began to see art as more than just a passion—it became an investment. The emergence of digital art on the blockchain opened my eyes to new possibilities beyond traditional canvases. Witnessing the significant appreciation of my digital art investments in the following years inspired me to refine my approach and build a collection that has since become well-known.

“Autoglyph #149” by Larva Labs (Daniel Maegaard's Collection)

KV: When did you begin collecting NFTs, and does it relate to your background in any way?

SP: As a teenager, I spent a lot of time online, often immersed in video games alongside my studies. This naturally led me to discover crypto, especially as Bitcoin started gaining attention in forums and the news in early 2013. By the time Ethereum NFTs emerged in 2017, I was already a seasoned crypto enthusiast with over four years of experience in the space. Initially, I didn’t fully grasp the significance of pixels on the blockchain, as I was more focused on the liquidity and volatility of coins. However, my background in gaming made me keenly aware of the potential for NFTs to gamify digital economies. The realization of how NFTs could leverage their non-fungible nature to build unique digital ecosystems was a lightbulb moment for me. This insight gave me the confidence to start building an NFT collection alongside my crypto portfolio.

KV: What was the first NFT piece that you acquired for your collection, and why that particular one? 

SP: The first NFTs I acquired were Axie Infinity land parcels. My goal was to create a passive revenue stream, and I believed that land ownership within the game would be the most effective way to capitalize on its growth. This decision proved to be pivotal, as I became one of the largest landowners for many years as the game gained popularity. The revenue generated from this investment provided the additional capital needed to expand my digital art collection.

“Fidenza #456” by Tyler Hobbs (Daniel Maegaard's Collection)

KV: Your iconic CryptoPunk headpiece is a significant part of your identity. What does it symbolize in your life? 

SP: Seedphrase is more than just a profile picture; it’s the embodiment of The Maegaard Collection and a reflection of my journey in the Web3 space. It symbolizes the fluid and evolving nature of identity in the digital age—how we can craft and shape our personas in ways that transcend traditional boundaries. Through Seedphrase, I aim to inspire and connect with people both online and offline, using curation and art as the mediums to explore and express these new dimensions of self.

This headpiece serves as a beacon, guiding others into the mysterious and rapidly evolving world of Web3. It’s a reminder that in this space, identity is not fixed but malleable, allowing for endless possibilities of self-expression and creativity. Seedphrase encapsulates the pioneering spirit of the digital revolution, where art, technology, and identity converge to create something truly unique and transformative.

“CryptoPunk #8348” by Larva Labs (Daniel Maegaard's Collection)

KV: Your collection varies greatly in terms of taste and style, incorporating crypto, generative, and AI artworks. What is your main approach when selecting an artwork for purchase?

SP: Having built my career on investing in crypto fundamentals, I’ve applied the same rigorous approach to my digital art collection. My primary focus is on the historical and cultural significance of each piece, as I believe these factors are key to creating a collection that stands the test of time.

For instance, I invested $150,000 in a complete set of 10 Autoglyphs, despite the significant premium at the time. I recognized that owning the first-ever onchain generative art collection was essential for establishing a truly impactful collection. Similarly, I acquired a full set of AlignDraw Paper Prompts, the first-ever text-to-image AI prompts, because I understood their pioneering role in the evolution of AI-driven art.

In essence, my approach is guided by a deep appreciation for the transformative milestones within the digital art space. I seek out artworks that not only resonate with me personally but also hold the potential to shape the future narrative of digital and generative art.

“RAREPEPE #263 - Series 1 Card 1 - The Nakamoto Card” (Daniel Maegaard's Collection)

KV: Could you elaborate on your current 'collecting style' and how it has evolved? Is there a consistent theme, element, or style that ties all the works in your collection together?

SP: My collecting style has evolved significantly, reflecting both market trends and my own expanding interests. Initially, my focus was on gaming-related NFTs, driven by their potential for long-term passive income and the emerging concept of play-to-earn, which I foresaw as a major catalyst for mass adoption in the crypto space. This early investment strategy still generates returns today and laid the foundation for my collection.

As the NFT space evolved, I began to notice the growing trend of using NFTs as profile pictures, which naturally led me to CryptoPunks. Immersing myself in the CryptoPunks community, especially within the early Discord, was pivotal. It was here that I connected with pioneers like Snowfro, VonMises, NateAlex, and others who introduced me to the significance of generative art. This new understanding guided me to Autoglyphs and the early projects on Art Blocks, marking a shift in my focus towards the intersection of art and algorithm.

By the end of 2020, Nifty Gateway was gaining prominence in the digital art space, which inspired me to start collecting works from leading digital artists—those who would go on to define the industry. Around this period, my interest in AI art began to grow as well, leading me to acquire pieces from artists like Refik Anadol and DeepBlack. However, it wasn’t until recently that I experienced another lightbulb moment, prompting me to significantly increase my investments in early AI works, recognizing their potential impact on the world of art.

The consistent thread that ties my collection together is my commitment to pieces that represent significant milestones in the evolution of digital and generative art. Whether it's the early play-to-earn gaming assets, iconic profile picture NFTs, pioneering generative art, or groundbreaking AI creations, each piece in my collection embodies a pivotal moment in the digital art landscape. My collection is a testament to the transformative power of these technologies and their ability to reshape the way we create, collect, and perceive art.

“Winds of Yawanawa #464” by Yawanawa & Refik Anadol (Daniel Maegaard's Collection)

KV: What sparked your new interest in collecting AI art, and why did you decide to start acquiring these pieces?

SP: I initially dabbled in AI art a few years ago, but it remained a relatively small part of my collection. However, everything changed with the release of ChatGPT 3.5. This marked a turning point for me, as I quickly realized that AI is poised to fundamentally alter the fabric of our lives. Whether we embrace it or resist it, AI is going to impact every single person on the planet in some capacity.

Understanding the profound implications of this technology, I began to see AI art not just as an emerging medium but as a historical artifact of a pivotal moment in human evolution. I recognized that future generations will likely look back and ask, "Where did it all begin?" And art, with its timeless ability to capture and reflect societal shifts, will be one of the most powerful ways to trace that history.

This realization compelled me to start heavily investing in AI art. I’m fascinated by how AI can push the boundaries of creativity, offering new forms of expression that were previously unimaginable. By acquiring these pieces, I’m not only supporting the artists who are pioneering this frontier but also preserving a critical chapter in the ongoing story of technology and human creativity. AI art represents the intersection of art and innovation, and I’m excited to be part of its evolution.

KV: Which piece in your collection are you most proud of, and why?

SP: There are a few pieces in my collection that I hold in particularly high regard: CryptoPunk #8348, Autoglyph #149, also known as "The Bear Glyph," Rare Pepe "Nakamoto Card" and my complete set of AlignDraw paper prompts. Each of these pieces represents a significant cultural or technological milestone in the digital art world.

The Rare Pepe "Nakamoto Card" holds profound significance within the digital art and blockchain space. It stands as an early exemplar of the intersection between meme culture and technological innovation. Minted on the Counterparty protocol in 2016, this particular card is both a cultural artifact and a rare collectible; symbolizing Satoshi Nakamoto's legacy while pioneering the concept of digital ownership. Its scarcity, combined with its historical importance, makes it an essential piece in the narrative of NFT evolution and the broader discourse on digital art.

CryptoPunk #8348 is especially meaningful because it was part of the pioneering wave that sparked the entire profile picture (PFP) collection craze. It’s not just a digital avatar; it’s a symbol of the early days of NFTs and the birth of a new cultural movement.

Autoglyph #149, "The Bear Glyph," is another piece I’m immensely proud of. Autoglyphs are the first on-chain generative art series, marking a technological achievement in the art world. The fact that these artworks are created and stored entirely on the blockchain sets them apart as a true innovation in digital art.

Finally, my full set of AlignDraw paper prompts holds a special place in my collection as they represent the earliest examples of text-to-image AI art. These pieces are at the forefront of the intersection between artificial intelligence and creative expression, showcasing the potential for new forms of art that blend technology and imagination.

Together, these works embody the cultural shifts and technological advancements that define the digital art landscape, and I’m proud to be a steward of these pivotal pieces.

"A yellow school bus is flying in blue skies #84" - alignDRAW (Daniel Maegaard's Collection)

KV: As an advocate for musical expression through NFTs, how do you see the potential of music as NFTs in this space? What unique opportunities do NFTs offer to musicians and the music industry?

SP: Music has always been a powerful force for bringing people together, and I believe that music NFTs have the potential to extend this tradition into the digital age in unprecedented ways. Even in a world where music is more accessible than ever, fans still crave deeper connections with their favorite artists. Music NFTs offer a revolutionary way to facilitate these connections, creating new avenues for fan interaction that were previously unimaginable.

With music NFTs, fans can gain exclusive benefits like early access to concerts, limited-edition merchandise, and even opportunities to go backstage or interact directly with the artist. These digital tokens transform the traditional fan-artist relationship, turning it into a more interactive and personalized experience.

For musicians and labels, NFTs offer greater control over their work, bypassing traditional distribution channels and allowing them to directly reach their audience. Beyond monetization, NFTs can be used to build a dedicated community around the artist, fostering a sense of belonging among the most passionate fans. This direct engagement not only enhances the fan experience but also creates a sustainable ecosystem where artists can thrive independently.

In essence, music NFTs are more than just a new format for distributing music—they represent a transformative tool for artists to deepen their connection with their audience, create unique experiences, and ultimately, redefine the way we experience music in the digital world.

KV: What are your thoughts on NFTs that combine visual art with musical elements? Have you invested in any such pieces, and what potential do you see in this type of multimedia NFT?

SP: I'm a strong believer in the power of storytelling and its ability to ignite the imagination. Combining visual art with musical elements creates a richer, more immersive experience that resonates on multiple sensory levels. This fusion is a natural fit for Seedphrase, given my deep involvement in both the digital art world and music.

I’ve been experimenting with audio-visual NFTs for some time now, exploring how these mediums can enhance each other and create a more compelling narrative. One artist who has particularly inspired me is Anyma. His work exemplifies the seamless integration of music and visual art, and I’ve been fortunate to collect his work SuperRare.

I see immense potential in multimedia NFTs. They open up new avenues for artists to express their creativity and for collectors to engage with art in a more dynamic way. As the technology and platforms supporting these NFTs continue to evolve, I believe we’ll see even more innovative and impactful works that push the boundaries of both art and music.

“Gazers #402” by Matt Kane (Daniel Maegaard's Collection)

KV: What inspired the creation of your new song, “ANGELS", and how does this track connect with the Web3 communities and CryptoPunk? 

SP: "ANGELS" was deeply inspired by my formative experiences during my early days in the Web3 scene in Los Angeles. The time I spent there in 2021 and 2022 was pivotal in shaping both my personal journey and the evolution of my Seedphrase persona. Los Angeles became more than just a backdrop; it was the birthplace of my real-life identity as Seedphrase, a persona that bridges the worlds of mainstream culture and the Web3 community.

It was during this period that I had my iconic helmet crafted by the same talented team who created Marshmello's helmet—a symbolic piece that became central to my identity within the CryptoPunk and broader Web3 communities. Additionally, I forged key connections with industry leaders, including the music management team at ThreeSixZero, and signed with an agency, further solidifying my role as a cultural ambassador between traditional and digital worlds.

"ANGELS" captures the essence of this transformative chapter in my life. The track symbolizes the birth of Seedphrase as more than just a digital avatar—it represents the merging of music, art, and technology, embodying the spirit of innovation that drives the Web3 community. This song is a tribute to those early days in Los Angeles, where the vision of Seedphrase began to take shape, and where I first envisioned using music as a medium to connect and inspire both the Web3 community and the world beyond.

“The Answer” by Anyma (Daniel Maegaard's Collection)

KV: What are the biggest challenges you face in advocating for the digitization of high-end luxury goods?

SP: One of the biggest challenges in advocating for the digitization of high-end luxury goods is overcoming the gap in education and technology adoption. Many people still struggle to associate luxury with digital assets, as the concept of luxury has traditionally been tied to physical, tangible items. This is why we often see digital luxury goods paired with physical counterparts, where the digital twin offers additional utility or exclusive access.

However, the process of setting up digital wallets and managing self-custody remains a significant hurdle for many potential adopters. The complexity and unfamiliarity of these technologies can be intimidating, which slows down broader acceptance and integration into the luxury market.

As augmented reality (AR), virtual reality (VR), and other digital innovations continue to evolve, and as a digitally native generation begins to mature, the perception of what constitutes luxury will inevitably shift. While these changes are on the horizon, the current challenge lies in bridging the gap between traditional luxury consumers and the emerging digital landscape. It's a gradual process, but one that is essential for the future of luxury in an increasingly digitized world.

“Anticyclone #470” by William Mapan (Daniel Maegaard's Collection)

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

Seedphrase on X: @seedphrase

Website: https://www.seedphrase.com

Collection link: https://opensea.io/DANNYSECURE

The Interview I Art Collector Zaphodok

In the shifting tides of both contemporary and digital art, one constant remains: the crucial influence of collectors. They are the architects of the ecosystem, molding and guiding its evolution with every acquisition. Their passion, foresight, and unwavering dedication don't just sustain artists—they actively propel the cultural trend. In a series of interviews, Kate Vass seeks to peel back the layers and get to the heart of what drives a new wave of collectors—their connections with artists and the deeper motivations behind their digital art collections.

In this discussion, we had the distinct pleasure of speaking with zaphodok, a passionate art collector who has been pushing the boundaries of art at the intersection of internet culture since the beginning. His collection, a treasure trove of generative and AI-driven works, offers a rare glimpse into the future of art.

We hope you find as much inspiration in this interview as we did in bringing it to you.

'Shower' by neurocolor, 2020

KV: Can you recall your first encounter with art and describe what motivated you to start collecting?

ZP: I'm afraid I cannot; the creative industries have been my natural habitat since a young age, and I am grateful to have been able to turn my innate passions into a career. The motivation to start collecting digital art specifically, stems from the fascination with the revolutionary underlying technology that allows us to do so in a native way.

KV: You began collecting digital art relatively early, starting in 2018. What inspired you to start collecting digital pieces?

ZP: The first non-fungible digital collectible I can think of was a documentation of one of my own analog works, minted on Bitcoin via Ascribe in mid-2015. Having been familiar with the concept of Colored Coins, I was drawn to Ascribe's innovative approach to authenticating creative works of any kind. It ultimately remained a one-time experiment.

Fast forward two years and a few months after going astray in the Cryptokitties craze, I dabbled into SuperRare. A publication platform and marketplace for digital art powered by Ethereum smart contracts with a simple and compelling value proposition for artists and collectors alike. Peer-to-peer trades between artist and collector, permissionless transfer of ownership, instant payments with magic internet money, and baked-in royalties on secondary sales, among other features were, an inspiring vision of a sustainable autonomous zone for art in the digital age.

‘AI Generated Nude Portrait #2’ by Robbie Barrat, 2018

KV: Do you have any formal education in technology, finance or art? Do you collect items other than digital art?

ZP:I am an architect, artist, and educator with over two decades of work experience. In 2020, I left my tenured academic position to prioritize family matters and my newfound passion for art on the blockchain. I do not collect items other than digital art except a few analog companion pieces, oddly labeled as “phygital”.

‘Learning Nature (b59b,8282,15)’ by David Young, 2019

KV: How did you acquire the very first piece in your collection, and what was this work?

ZP: It was on April 28th, 2018, at 4:50 PM UTC (had to look this up on the blockchain), that I was determined to buy a tokenized artwork on SuperRare. Browsing through the nearly one hundred highly diverse pieces available felt like taking a walk on the wild side. Eventually, I left-click-bought a digital painting entitled 'Ship' showing a tanker sinking or cruising in the desert, created by an anonymous internet artist. For a brief moment the surreal subject matter brought to mind 'Aircraft Carrier City in Landscape', a provocative project by Austrian architect Hans Hollein from the early 1960s. But I didn't bother with any further research or classification whatsoever; I was simply relieved that the wallet successfully processed the transaction and that the piece appeared in my wallet address on Etherscan. To be honest, even with a decent understanding of the underlying tech, the notion of spending 0.1 ETH (around $68 at the time) on a JPEG from the internet was quite intimidating.

Aircraft Carrier City in Landscape project, Exterior perspective by Hans Hollein , 1964, copyright @MoMA

KV: What defines your collecting style? Is there a common theme or element that unites your collection?

ZP: I embarked on this journey with an open mind, and no expectations, and allowed myself to be drawn into this new realm of digital collecting. When I approach artworks, I don’t typically experience a strong emotional response or get caught up in introspective contemplation. For the most part, I view them as critical, thought-provoking vessels of encoded knowledge, brought to life through the most radical form of human expression. As Florian Schneider, a former member of the electronic band Kraftwerk, remarked, "If I wasn't making music, I could just say it" highlighting the unique property of artistic practice to convey what ought to be said in a way that language alone cannot. I am currently exploring various thematic avenues, including medium nativity, EVM art, renitent systems, and historical digital art. However, I believe the unifying theme of my collection is the pursuit of art as a catalyst for creating new perceptual and conceptual categories in the digital age.

‘You Are Here 68719476735’ by 0xfff, 2024

KV: How do you see your role as a collector in the space and how did your collecting style evolve over the last 6-7 years?

ZP: As an advocate of cypherpunk values and ideals, I prefer to maintain a low public profile. If cypherpunks are touted to write code, then collecting art is my humble contribution to timestamp the associated ideals on the blockchain. I do not define myself by any specific role. Every now and then, people approach me and credit me with integrity and good instincts, which is more of a compliment than I could wish for.

Just as no man ever steps in the same river twice, collecting is a dynamic and iterative process. It’s a journey that demands curiosity and the courage to evolve and grow. As I encounter new artists, curators, and collectors, I find myself drawn to their unique perspectives and experiences. Throughout this ongoing journey, I strive to keep a balance between open-mindedness, experimentation, and a commitment to the core values of the Cryptoart movement.

KV: If you had to highlight one or two artists or an artwork from your collection, who would they be and why?

ZP: Rhea Myers’ “Is Art” (2014). A piece that represents the epitome of blockchain sculpture, a minimalist test install of Cryptoart, on the test fabric of Ethereum, anticipating the main properties of smart contracts and digital ownership on an open permissionless world computer. All of Rhea's works are, first and foremost, a delight for the synapses.

Anna Ridler’s “Bloemeveiling”(2019). There is nothing to be seen here, nothing to look at or listen to. A series of tokenized, tantalizing AI-generated tulips that wither and die the moment you gaze upon them is just a poor digest of the critical depth, the historical references, and the overall brilliant execution. A masterpiece that I was fortunate enough to witness at the time it took place.

(After watching the Tulip for one week, the smart contract automatically burned the token from the owner's wallet - Burn transaction)

‘Bloemenveiling (Tulip #25)’ by Anna Ridler & David Pfau, 2019

KV: Could you share a memorable story from your collecting experience, perhaps a funny/sad story, or a near miss?

ZP: A memorable story happened during the 2018 Christie's Art+Tech Summit in London. After announcing it on Twitter some weeks prior and twice earlier on the day of the event, Jason Bailey informed the audience during the concluding panel that the gift cards containing the tokenized artworks by Robbie Barrat could be found in the giveaway bags at the entrance—one bag for each participant. As an admirer and early collector of Robbies’ work on SuperRare I looked around the room, but there was zero reaction from the audience. I got up, quietly left the conference room, grabbed my belongings, and hurried down the stairs. The bags were lined up on the counter, with no one else around. I politely asked the receptionist if I could possibly have four of them. She agreed with a smile. I quickly disposed of the unnecessary inserts in a nearby park and rushed back to my hotel room to redeem four frames of “AI Generated Nude Portrait #7” which later became the lore of “The Lost Robbies”.

It wasn't until weeks later, after the initial excitement had faded, that I realized I had claimed more pieces than I should have. To truly preserve the value of an artwork in a decentralized network, its stewardship must also be distributed—one bag, one participant, and one pair of shoulders. With this idealistic conviction, I set out to divest the excess pieces. I donated one to XCOPY's 2019 charity auction through his XERO Gallery and later sold two others for a modest sum to well-known collectors. However, the remaining piece is a permanent fixture in my collection, never to be parted with.

KV: Have you ever collaborated with artists or other collectors in the NFT space? Can you share a particularly meaningful experience?

ZP: Since 2019, I have been involved in various blockchain art projects, both as a member of multidisciplinary teams and as an advisor to curators and institutions. I've also commissioned several pieces from artists. However, I have yet to collaborate with fellow collectors in a way that feels truly meaningful and productive. I plan to prioritize this in the months and years ahead. Nevertheless, the most enduring experiences will always be those in-person occasions when people from the space come together and share a good time.

'@XCOPYART 2021-02-13 13:26:35', 2021

KV: Where do you see the future of the digital art market heading?

ZP: Industry reports indicate that, compared to the traditional art market dominated by analog art forms, media arts remain still niche and insular. How can one expect that the 2021 NFT hype would make any difference in this dynamic? However, the growing awareness of digital assets, demographics, efforts in financial and digital literacy, and innovations in showcasing technologies i.e. are likely to contribute to a broader acceptance of born-digital art forms. It is reasonable to expect the current active web3 user base to increase substantially over the next decade. The writing is on the wall of the Vienna Secession Building "To each age its art, to art its freedom", a reminder of the inevitable evolution of artistic expression alongside human progress.

'CENTS' by Rutherford Chang, 2024

KV: They suggest that the traditional art world's reluctance to embrace digital culture stems from the challenges of integrating digital aspects into everyday life. How do you exhibit your collection? Are there any pieces that are always on display in your home, and if so, how do you present them?

ZP: There is arguably a need for suitable display solutions for native digital art, to evolve beyond its tech-savvy niche status and appeal to a broader audience. The current state of the market, with start-ups experimenting with subpar technology, established screen providers lacking cultural understanding, and high-end products with short lifespans, fails to meet the needs of this space.

In my personal IRL environment, I use a couple of NFT art screens for curated playlists, along with some self-assembled devices for real-time screen-based works, complemented by a few prints and analog collectibles. However, the vast majority of pieces have not had the chance to adequately see the light of day in my home.

‘Tokens Equal Text 21’ by Rhea Myers, 2021

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

zaphodok on X: @zaphodok

Website: https://zaphodok.art

Collection link: https://gallery.so/zaphodok

The Interview I Art Collector TaCyTurn

Collecting art isn't just about acquiring objects; it's about curating stories that enrich our cultural tapestry. Collectors are the custodians of creativity, preserving and promoting the voices of artists who shape our understanding of the world. Their passion fuels a dynamic exchange where art transcends mere decoration to become a reflection of our shared human experience.

Through a series of interviews, Kate Vass seeks to understand the perspectives of a new generation of collectors, the relationships they build with artists, and what drives the formation of their collections.

In this conversation, Kate Vass had the pleasure of speaking with the art collector, aka, TaCyTurn, the degenerative Maths Lover, creator, and member of @fingerprintsDAO.

payaso, 2021 by Manoloide on hicetnunc

KV: What initially sparked your interest in art collecting?

TT: As a young kid in the 80’s, I’ve been fascinated by computers, programming, and graphics.

I started to play around with BASIC language and was triggered by graphics and animation created by demo scene creators, especially on Amiga or Atari…

But for 30 years I built my career and family and although I grew up with the internet, I didn’t pursue that much this path.

Then in 2017, I discovered Bitcoin and blockchains and honestly, I took a slap in my face!

How was it possible I didn’t find out about this earlier!!!

I spent some time in this rabbit hole, fascinated both by the technology but also the opportunity of making big money. sometimes I came across digital Art during this period: Money Alotta, Rare Pepes, Cryptopunks … but didn’t pay attention.

Then in early 2021, Beeple’s infamous sales ignited the NFT mania and then I discovered generative Art ...and took a second slap! I got back the tech, maths, and computer graphics vibes I loved 30 years ago and I happily dived into the so-called “NFT space”, on Ethereum and on Tezos with HicetNunc ( fun fact, I minted myself an artwork before collecting my first … hen #365 ).

KV: How do you decide which pieces to add to your collection?

TT: As a mathematics lover, I’m very attracted by pieces that play, and highlight the beauty of maths, whether the form: geometric, conceptual, or algorithmic, …

But my main interests are experimentation, technology, roughness, and weirdness … and of course my guts!

 CSRSNT-CAAI-066-of-128, 2021 by Caesuras

KV: What role does personal taste play versus investment potential when acquiring art?

TT: Way too much, lol !!!

I mean I collected a lot of pieces only because they are appealing to me, without overthinking.

I rarely buy pieces just for investment potential, although I’m convinced a lot of pieces and artists will become valuable in the long term.

Digital Zone of Immaterial Pictorial Sensibility, Series 3, Edition 54 by Mitchell F Chan

KV: Can you share a story behind one of your most cherished pieces?

TT: In March 2021, I discovered DEAFBEEF’s art @_deafbeef. He was just beginning at the time and not much was known.

I jumped into his discord, and then he organized a giveaway for a SYNTHPOEM. I will always remember that morning when I woke up and saw a discord notification and a new Direct message from Tyler: «  Hey you won, pls send me your ETH add » !!! This SYNTHPOEM allowed me a few times later to collect a GLITCHBOX, which is one of my favorite artworks and I became very involved in DEAFBEEF’s community, using his artworks to make experiments like “the Glitchbox Orchestra”. The story could end there but …

In 2021, I also discovered Mitchell F Chan's Digital Zone of pictorial. Reading the blue essay was a blast and triggered me so much that I translated it into French.  

In November 2022, Mitch announced the release of a gorgeous physical Blue Book for each token holder … Then my goal of acquiring a Digital Zone became an obsession. For 2 years, I asked several owners if they would agree to swap their Digital Zone for my Deafbeef SYNTHPOEM. I was surprised a handful were interested but according to the price gap were asking me to add some ETH …

Finally, in May 2024, another collector agreed to swap 1 vs 1 and with the help of Mitchell himself we processed the deal, and I am finally the proud owner of IKB 54.

I find it very telling and ironic that 2 of my most valuable pieces were gifted to me for free.

Glitchbox 205, 2021 by Deafbeef

KV: How has your collection evolved?

TT: My collecting volume has slowed down in 2023/2024, but I’m happy still to be able to acquire great artworks and opportunities when they appear.
fx(hash) and objkt.com are goldmines and allow me to discover and collect amazing pieces with a low budget. Verse is also a major platform for me.

I’m also more patient and can wait months, or years to collect a piece I’m eyeing. So in a word, I would say I'm more selective.

KV: What trends do you see currently shaping the art market?

TT: AI art, early or recent is a major trend right now, as it accompanies a ground-breaking emerging technology …

Generative Art hype is down from the @artblocks_io  2021 craze, and I feel a lot of collectors feel bored and worn, they believe everything has been made and there are no more surprises or innovations left… I’m convinced that artists will prove them wrong.

Last, I consider « net Art » ( Art that plays with the Internet )  and « blockchain Art » ( Art that plays with blockchains ) are for the moment very sharp niches with few artists and way few collectors but will gain traction and importance over the years.

Dining with Piranhas- All-They-Can-Eat Swimming Pool and Restaurant, 2021 by Helena Sarin

KV: How do you balance supporting emerging artists with acquiring established works?

TT: As a very early bird on Hicetnunc, supporting anonymous/emerging artists has always been part of my collecting habits.

Now, I’m still trying to balance my collection in volume, but the ratio in value is almost established by artists.

KV: How does the digital art world, including Crypto Art, influence your collecting habits?

TT: The main influence on my collecting behavior comes from friends, some artists I love, and a few institutions like LeRandomart, Verse.works, Feral File, Kate Vass Galerie …

In all that abundance of information and noise, they’re lighthouses that help me to keep track of what really cares for me and learn.

Anticyclone #470 by William Mapan (Seedphrase Collection)

KV: What challenges have you faced as an art collector?

TT: Funding is a major challenge as my pockets aren’t that deep and I rarely play the speculation game …

But for me, the main challenge now is to organize, curate, and build a beautiful and meaningful gallery where others could enjoy and appreciate the 20-30% pieces of my collection I want to display.

I know and have tried a lot of platforms: DECA gallery, oncyber, …

But it is really a hard and very time-consuming task to do …

A very good example of a perfectly displayed and organized gallery is @lemonde2d DECA gallery.

I hope I will soon find time and inspiration to pursue my own.

KV: What advice would you give to someone just starting their art collection? Can you recall your first encounter with art and describe what motivated you to start collecting?

TT: I think Artnome's infamous quote perfectly sums it all:

‘BUY ART YOU LOVE, from artists that you want to see succeed, for prices you can afford, with the assumption that you'll never be able to resell it again, and you will always be happy’ - Artnome

Also, I would add to find your thesis, your guiding line (whether it’s a theme, a technology, etc …) that will drive you and help you to grow your collection and stay focused in this ocean of digital art pieces …
For example, I would label mine as «an experimentation in technologies »

Lethologica #2 - There's No Going Back by Ryan Thompson

KV: What matters most to you as a collector? Is it a curated program or clear provenance? Or perhaps the work needs to be on-chain and on a specific blockchain like Ethereum or Tezos?

TT: I value a lot of experiments in the artwork or artist’s process, and for sure the fact that the artwork is on-chain is a major plus for me.

I’d say I'm chain agnostic in theory, but, in reality, it’s so hard and time-consuming to keep track of all platforms and wallets so I‘m mostly collecting only on Ethereum, Tezos, and Bitcoin/Ordinals …

Finally, I would like to mention that a side effect of collecting digital art is that I started to create myself with maths, code and lately code+AI.

I'm very happy and proud to be able to express myself with these artworks.

Also, to experience the joy of being collected by others.

And last, releasing a long-form generative series made me realize even more the difficulty and beauty of such collections: finding, and tweaking the good set of parameters to find the sweet spot where there are consistent outputs but diversity and variance are so too!

***

*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

TaCyTurn on X: @TacyTurnh

The Interview I Art Collector Jediwolf

Truly great collectors don't just aim to make money; they strive to live with major masterpieces, discover the work, and integrate it into their life experiences. The role of the art collector has always been crucial; without them, the art world wouldn't function, and artists wouldn't survive. Even the most impressive art museums owe much of their grandeur to donations from individual collectors.

Through a series of interviews, Kate Vass seeks to understand the perspectives of a new generation of collectors, the relationships they build with artists, and what drives the formation of their collections.

In this discussion, Kate Vass had the privilege to interview Jediwolf, a collector with a vision and dedication to collecting digital art on-chain. Jediwolf has significantly contributed to the provenance of early GANs creations. In a relatively short period, he has built an impressive UnderTheGAN collection, which focuses on early AI artworks verified by their tokenized nature. His influence in the digital art space is notable, particularly for his passion for the artist XCopy and his role in the formation of one of the most successful DAOs, The Doomed DAO.

We are fortunate to be the first to interview Jediwolf, who typically prefers to remain anonymous. Jediwolf describes his early love for art and his journey into collecting digital pieces, as his collection aims to honor the pioneers of AI art, emphasizing the critical need to understand and preserve the origins and evolution of this art form within the digital and blockchain realms. We hope you enjoy the conversation as much as we did.

Robbie Barrat, AI Generated Nude Portrait #7 Frame #163, 2018 ( Jediwolf’s the UnderTheGAN Collection )

KV: What's your earliest memory of art, and what led you to start collecting?

JW: I've been a collector since an early age. As a teenager, I acquired my first oil paintings online. They weren't expensive, but I adored them. Marine art resonated with me the most, and paintings by artists such as J.M.W. Turner and Ivan Aivazovsky were, and still are, breathtaking to me. Although I couldn't afford to buy their works, they were my first true love in the world of art.

Ivan Aivazovsky, The Sea. Koktebel, 1853

KV: What constitutes “art”? What makes a work of art – “art” from your perspective?

JW: You know, art and its perception is totally a personal thing. It's like... imagine you've got this secret, beautiful tune playing in your head when you look at something. The louder that song plays, the more the art hits home. It's tough to put into words, but I think it just clicks on a subconscious level. Everyone has their own 'song', I believe.

KV: How did you acquire the very first piece in your collection?

JW: My collection mainly consists of @XCOPYART art (overeXposed collection) and early AI art (UnderTheGAN collection). The first XCOPY piece in my collection was 'Taxmen' 2019, 20/20 KO edition, acquired in May 2022.

XCOPY, Taxmen, 2019, Edition: 20/20 KO ( Jediwolf’s Collection )

KV: How would you describe yourself as an art collector?

JW: I see myself as a curator-collector and researcher. I'm learning to trust my intuition, especially when it comes to collecting, and not just following the crowd. It's fine to follow others when it helps you discover new things and learn, but if you're doing it just for speculation, there's a good chance it won't work out. After all, the art market is incredibly tough to speculate in.

KV: What defines your collecting style?

JW: I would describe my collecting style as 'counter-intuitive’. Generally, I prefer to buy works that resonate with me but aren't yet in the spotlight. For example, I started collecting XCopy early editions in 2022 (after the NFT bubble burst, and I was the only 'big' buyer for quite a long time) and early AI art in 2023 (probably spending the largest amount of funds in this genre as an individual collector), both of which weren't obvious choices for most participants in the blockchain-based art space.

David Young, Learning Nature (b38,2555,3), 2018 ( Jediwolf’s the UnderTheGAN Collection )

KV: Have your reasons for collecting art evolved over time?

JW: Again, this motivation is hard to explain as, for me, it works on a subconscious level. When I see a piece that resonates with me and fits my collection, it becomes a bit of an obsession. It's something built into me, and I don't think it will ever change. However, curating my own collections, improving them, and supporting others gives me a lot of joy, and it's a somewhat new experience. The Doomed DAO is also a cool example of a mutual initiative where we collect XCOPY art as a group of over 120 people. I was one of the founding members.

KV: Describe your collection in three words.

Built with love.

KV: Is there a common theme or element that unites all the works in your collection?

JW: For my UnderTheGAN collection, I've focused specifically on 'early' AI art, created a few years before Midjourney and Stable Diffusion were released and before this 'genre' exploded beyond imagination. There are absolutely fantastic artists and pioneers who were training their own advanced AI models (2014-2019), putting lots of heart and soul into the process when no one really knew 'AI art' was even possible. I can see and feel it in each of these works.

KV: Do you have relevant education in tech or art? Do you pursue other hobbies or collect other things, and if so, why?

JW: For all my professional life, I've been in tech, and it probably made it a bit easier for me to understand tokenized/blockchain-based art faster than many other trad art collectors out there. I believe that eventually, we will reach a mass adoption where digital / blockchain-based art will be as 'normal' as trad art in the average person's perception. I would even say that youth will enter the art world through digital art, so I expect a major shift here. The reasons are quite obvious, I believe.

KV: What aspect of collecting do you enjoy the most?

JW: Probably the chasing aspect. Once I discover a work I really like, I do the research and conclude that it's something I really want to possess. The chasing part that comes next is definitely the most exciting. The acquisition journey (which can be very long, if it happens at all) brings emotions that will stay with me forever

KV: Can you share a funny/sad story or a “the one that almost got away” story from your collecting experience?

JW: One of the most emotional moments for me was acquiring 'Last Selfie' in 2022. I had been pursuing it for months (with no success), as it was the most coveted XCOPY artwork in my eyes and resonated with me deeply. Then, out of the blue, it was listed at an unimaginable price for a 10/10 edition: 200 ETH (around $700k today). My hands were shaking as I prepared and transferred the funds. An hour later, I discovered it was the very first minted edition of 'Last Selfie' (#1). The joy I felt was indescribable, and even now, that joy remains.

XCOPY, Last Selfie, 2022 ( Jediwolf’s Collection )

KV: Could you tell us more about your UnderTheGAN collection? Do you plan something additional with your collection?

JW: UnderTheGAN isn't just a collection; it's my personal AI art research project, recently brought to life within the early AI art timeline on Ethereum.

Today, AI art has surpassed all our predictions and continues to evolve at a breathtaking pace. But for me, what's truly crucial is understanding its origins - tracing back to where it all began. A small group of AI art pioneers, including Robbie Barrat, Mario Klingemann, David Young, Gene Kogan, Bard Ionson, Pindar Van Arman, Memo Akten, Mike Tyka, Alexander Mordvintsev (and others) were the true godfathers of the AI art revolution we're witnessing today. My mission is to share the knowledge I've accumulated through my research, shining a light on these foundational figures and their groundbreaking work.

The Definitive Timeline of Early AI Art on ETH V1, courtesy of Jediwolf (https://x.com/randomcdog/status/1798340316967116897)

KV: What is the most recent piece of art you added to your collection and why?

JW: My most recent acquisition is 'Cats' by Alex Mordvintsev, the creator of DeepDream. This piece was generated in May 2015, predating the July 2015 open-source release of DeepDream's code. It took nine years to secure Google's permission for Alex to 'release' this artwork, and I'm immensely proud to be its owner.

'Cats' is unique in my collection as a "retroactive mint" - generated in 2015 but only minted in 2024. I typically avoid retroactively minted artworks unless they meet two crucial criteria: historical significance (such as being among the first DeepDream works ever generated) and strong provenance. In this case, both boxes are checked.

Alex Mordvintsev, Cats, 2015 ( Jediwolf’s the UnderTheGAN Collection )

KV: Has digitalization/blockchain changed the way you collect? Can you imagine collecting AI art without blockchain or NFTs?

JW: Yes, I must say I became very spoiled as a collector. The fact that you can trace the artwork from its inception, have 100% guaranteed authenticity, and can trade globally (and instantly) without any third-party risks takes a lot of burden off collectors' shoulders. It's hard to keep buying art IRL when blockchain is an alternative. So, I'd rather avoid it at this point, with some exceptions, of course. IYKYK

Robbie Barrat & Ronan Barrot, Infinite Skulls, 2019 ( Jediwolf’s the UnderTheGAN Collection )

KV: What or who has influenced you as a collector? Are there any collectors you admire or watch out for?

JW: Yes, there are many wonderful collectors whom I admire. If one is interested in early AI art, I recommend Zaphodok, Batsoupyum, WangXiang, Hackatao, 6529, TokenAngels, Coldie, Artonymousartifakt, Colborn and MOCA collections. For XCOPY - Liquid (@l1qu1d_), ModeratsArt, Cozomo, Krybharat and many others. What I appreciate most is their ability not only to appreciate art but also to have the conviction and guts to hold onto it through both good and bad times. All the individuals I've mentioned are remarkable collectors, and some of them are artists as well, which I find absolutely amazing.

KV: What has been your experience with the elitism associated with the art market, particularly in the realm of digital art? Do you believe the market for ‘grails’ is already well-developed?

JW: I must say it's quite well-developed. Many think NFTs are 'dead'. However, when you want to acquire a truly desired work such as a 'Lost Robbie' or one of XCOPY's top editions or 1/1s, you will have to pay Substantially, and there is no chance someone will 'dump it'. Also, the 'grail' buzzword is heavily overused. The number of artworks I personally perceive as grails is tiny and limited to only a few 'names' in the blockchain-based art space today.

KV: Where do you see the future of the digital art market heading?

JW: I believe the digital art market will eventually dwarf the traditional art market. However, this transformation won't happen overnight - it could take years, perhaps even more… The digital art space has its own masters and pioneers, figures who are pushing boundaries and redefining artistic expression. It's perfectly natural that it will take time for the broader world to recognize and appreciate their contributions.

KV: What are your top three pieces of advice for new collectors?

JW: Develop your own opinions. Aim to acquire pieces that are so rare and desirable that once you sell them, the opportunity to repurchase them is almost nonexistent. Acquire what you love and what is truly hard to obtain.

KV: What are your top three pieces of advice for artists?

JW: Sell only what you are proud of. Treat collectors as your ambassadors - there is a great power beneath each artwork held by an engaged collector. Be a collector of your own works.

***

Jediwolf on X: @randomcdog

Collection on Superrare: https://superrare.com/jediwolf

UnderTheGAN Collection: https://opensea.io/UnderTheGAN

The Art and Science of Alexander Mordvintsev

Alexander Mordvintsev is a researcher and artist based in Zurich, Switzerland. He is best known for creating the DeepDream algorithm, which was introduced in 2015 and marks a major milestone in AI image generation. DeepDream demonstrates how machines can assist in creating images that abstract reality in ways humans might not conceive on their own, offering a new way of seeing. It has since inspired a new wave of artists experimenting with AI. Apart from his significant contributions to this technology, Mordvintsev is also an active artist. In our article, we delve into both his invention and the beginning of his artistic journey. As we mark the 5th anniversary of our iconic “Automat und Mensch” exhibition, where we first showcased his creations, we are pleased to present a selection of his early pieces created before DeepDream was open-sourced (2015 July). These works, initially not offered for sale, are now available, providing collectors a rare chance to engage with an important moment in art and technology.

When Alexander was about six years old, father brought home an amazing thing: a computer and a bunch of books full of tiny programs that one could type in. Many of these programs displayed interesting geometric patterns on an old black-and-white TV that served as a monitor. That’s how Alex fell in love with computers and generative art. This was the beginning of an exciting journey full of meeting and learning about great people, discovering great ideas from the past, and observing recent developments. Simulations of emergent phenomena, when simple rules lead to complex and unpredictable behavior, were particularly exciting. Demoscene was another source of inspiration for Alexander and this interest culminated in the display of own work “The Flow” at an Assembly demo party in Helsinki in 2009. Soon after graduation from Saint Petersburg State University of Information Technologies, Mechanics, and Optics Mordvintsev got heavily interested in Computer Vision. The challenge of teaching computers a skill that is so easy for us and so difficult for them was very deeply fascinating. After joining Google in 2014 Alexander got introduced to a modern generation of neural networks, and they certainly exceeded his expectations on what computers are capable of. This opened a new chapter for Alexander, in which he spent several years trying to figure out what’s going on inside. DeepDream happened to be one of the experiments trying to answer that question that got world attention.

Alexander Mordvintsev, Custard Apple, 2015/05

Alexander Mordvintsev Just before DeepDream: fractalization #3, 2015/04

At the time, Google led the field in neural network research with figures like Geoffrey Hinton and Jeff Dean, who headed the teams behind the Google Brain in Mountain View. In Mordvintsev’s initial years at Google, he studied key research papers and experimented with pre-trained recognition systems. He took advantage of Google's policy, which encourages employees to dedicate twenty percent of their work time to personally inspired projects, to delve into reverse-engineering image-trained neural networks. His goal was to unravel and visualize the inner workings of these technologies.

By early 2015, he had achieved some visually interesting results, but the true breakthrough came unexpectedly late on the night of May 18. Awakened from a nightmare at 2:00 am, he was inspired to start an experiment. When the experiment finally succeeded, he immediately shared the results on a company social network and then returned to sleep. The following morning, he received numerous comments from his colleagues at Google who quickly recognized the significance of his work. This initial interest in DeepDream was just the beginning of what would soon become a viral phenomenon.

Alexander Mordvintsev, DeepDream is like looking at the clouds, 2015/05 (Not for sale)

Mordvintsev's innovation allowed the computer some autonomy to "dream", thus revealing the complex and often surreal workings of its data processing. His experiment reversed the standard image recognition process in convolutional neural networks (ConvNets), primarily used for vision. These networks usually process images layer by layer, each interpreting and refining the data to construct a final image from basic shapes to detailed recognitions. Mordvintsev interrupted this forward processing to manipulate the mid-layers, coaxing the network to enhance and generate features from partial data, resulting in bizarre, hybrid creations. This exploration of neural networks' "hidden layers" provided valuable insights into their operation. Mordvintsev's work suggested a parallel between the function of these neural networks and human perception, both capable of identifying shapes and patterns where none explicitly exist. 

Alexander Mordvintsev, Father Cat, 2015/05

Alexander Mordvintsev DeepDream is looking for patterns everywhere #2, 2015/05

The final images that emerge from DeepDream are often characterized by intricate, hallucinogenic patterns and a dreamy, surreal aesthetic. Common visuals include enhanced textures and repetitive patterns, such as eyes or architectural forms, which emerge organically within the image. At the beginning, the system often created images that combined elements of dogs and cats into a fantastical creature. Mordvintsev utilized a pretrained neural network known as ImageNet, which has been a benchmark for image classification since its establishment around 2010. ImageNet is particularly noted for including 120 categories of dog breeds to demonstrate its capability for "fine-grained classification”. Due to this focus, there's a strong bias towards dog breeds in the dataset, which influences the results significantly. For one of his first experiments, he fed ImageNet a digital wallpaper image featuring a beagle and a kitten, each perched on tree stumps in a meadow. Interestingly, the output image was predominantly influenced by the dog category—despite the presence of the kitten in the image. This led to fragments of dog faces appearing in unexpected places throughout the image. The outcome was surreal, resembling something out of a hallucination, though its origins were not psychiatric or psychotropic but purely algorithmic.

Alexander Mordvintsev Just before DeepDream: 1000 classes #3, 2015/01

Alexander Mordvintsev Just before DeepDream: 1000 classes #2, 2015/01

Later, Mordvintsev published his work on DeepDream on Google’s public research blog, alongside his colleagues Christopher Olah, a software engineering intern, and Mike Tyka, a software engineer. The publication quickly captured the internet's attention. Within just a few days, the images were featured in over 100 articles, and spread across countless tweets and Facebook posts. The technology was made accessible to the public through a variety of apps and APIs, allowing anyone interested to create their own DeepDream images. This accessibility helped foster a thriving DeepDream community, significantly influencing public engagement with machine learning and computer vision. The impact of DeepDream extended beyond casual interest, inspiring some individuals to pursue PhDs in related fields and leading notable artists like Mario Klingemann to explore this technology and neural networks more broadly.

Alexander Mordvintsev, Sunset, 2015/05

At that time, Mordvintsev didn’t view himself as an artist and considered these images to be merely byproducts of his research. However, in 2017, encouraged by his wife, he began to produce more art using DeepDream and eventually embraced the title of “artist” alongside his role as a research scientist. Since then, his art has been showcased worldwide in prestigious venues such as the Barbican Centre in London, Art Fair Zurich, and Gray Area in San Francisco, CA.

We are proud to have been among the first to exhibit his artworks in 2019 at our "Automat und Mensch" show, which highlighted the evolution of generative art from the 1960s to the present, featuring both pioneering and contemporary artists. At this exhibition, we displayed “Cats”, one of the first pieces he created using DeepDream in 2015. Initially, his works were not for sale. Now, as we celebrate the five-year anniversary of our landmark show, we are excited to present exclusive early works, giving collectors the opportunity to enrich their collections with these historically significant pieces.

Automat & Mensch 2.0 - 5 years milestone

“The romance of art and science has a long history, albeit a mixed one. Leonardo da Vinci (1452-1519), the artist and polymath active in the Florence of the Renaissance, still serves as the prominent example for the enormous creative potential flowing from the interactions of art and science.”

- Andreas J. Hirsch, The Practice of Art and Science – Experiences and Lessons from the European Digital Art and Science Network

As we walk into Kate Vass Galerie on this nostalgic May 29th, 2024, we feel like we're stepping back in time. It's been five years since the "Automat und Mensch" group exhibition fascinated everyone with its wide retrospective highlighting the history of AI and generative art in its attempt to cover 70 years of history in one location. Now, as we look back on this important milestone, we're taking a journey through how AI and generative art have changed since 2019, with both old favorites as our guides.

The exhibition, titled "Automat und Mensch", was curated with precision and foresight, showcasing a captivating mix of artworks by pioneering artists such as Nicolas Schöffer, Herbert W. Franke (still alive at the age of 91), Frieder Nake, Vera Molnar (still alive at the age of 95), Roman Verostko, Manfred Mohr, Gottfried Jäger, Harold Cohen, Benjamin Heidersberger, Cornelia Sollfrank, and Gottfried Honegger.

The show featured several generative works from the early 1990s by John Maeda, Casey Reas, and Jared S. Tarbell. Works by Matt Hall and John Watkinson, Harm van den Dorpel, Primavera de Filippi and Manoloide were also on display to represent the contemporary scene.

While the show’s focus was on the historical works, taking the name from the eponymous book by K. Steinbuch “Automat und Mensch” that inspired many generative art pioneers from the 60s, the shows also highlighted the wide range of important works by living AI artists like Robbie Barrat, Mario Klingemann, Alex Mordvintsev, Tom White, Helena Sarin, David Young, Kevin Abosch, Sofia Crespo, Memo Akten and Anna Ridler, whose groundbreaking practice has influenced many emerging artists since 2019.

As we journey five years back in time to revisit the show, our aim is to reflect upon the trajectory of AI in art and the evolution of generative art over the past half-decade. We explore the transformative impact of technological advancements, paying homage to pioneering artists who laid the groundwork, while also highlighting new artworks.

The Evolution of AI and Generative Art in a Historical Context.

From the intricate patterns of Manoloide's "Mantel Blue" to the surreal visions of Alex Mordvintsev's "DeepDream" experiments, the generative art scene has been defined by visionary artists expanding the limits of computational creativity for decades. While the fluid, organic imagery marks a shift from geometric abstraction, AI art is a subset of generative art, despite some disagreement that we have heard in recent months. Therefore, knowing the history of evolution is so important.

The commonly told story of AI art history often begins with Harold Cohen's pioneering work and then moves through the development of GANs and DeepDream, but this narrative overlooks several important early chapters. The “Automat und Mensch” exhibition aimed to highlight some parts of generative art history, showcasing the work of mid-20th century artists like Frieder Nake, Vera Molnár, Herbert W. Franke, Georg Nees, Gottfried Jäger, and others, who experimented with algorithmic art long before AI techniques became prominent.

Georg Nees, Support, 1987, Digital print Size: 24,5 x 18 cm

Gottfried Honegger, Ohne Titel, 1975, Mixed technique 50 x 35 cm. Ed Nr. 23/150

Nicolas Schöffer, a pioneering figure, significantly impacted these developments with his works in cybernetic and kinetic art during the 1950s. Drawing inspiration from Norbert Wiener's cybernetic theories of control and feedback, Schöffer conceptualized an artistic process rich with feedback loops, circular causality, and a fundamental emphasis on movement. He created moving, illuminating sculptures and installations that emitted sounds in collaboration with engineers, architects, composers, and dancers. In his “Chronos” series, he designed these sculptures to be characterized by their responsiveness to external stimuli such as light, traffic noise, and ambient sounds, which actively influenced the movement and behavior of the works. Schöffer’s unique approach melded art, technology, and science. His work embodied the foundational principles of generative art by engaging dynamic systems to produce art, and his mechanical systems in artworks forecasted the later use of autonomous systems in art creation.

The 1960s were characterized by a fascination with technology and instant communication, prompting artists to experiment with electronic feedback using new video gear. Pioneers like Steina and Woody Vasulka played with different sounds and visuals. They were joined by others, like Edward Ihnatowicz, Wen Ying-Tsai, Gordon Pask, Robert Breer, and Jean Tinguely, who mixed biology with technology in their art. At the same time, cyborg art became popular, exploring the relationship between humans and machines. Writers like Jonathan Benthall, Gene Youngblood, and William Gibson introduced the term "Cyberpunk”. British artist Roy Ascott and American critic Jack Burnham also developed significant theories on the integration of art and life.

“In conceptual art, the idea is not only starting point and motivation for the material work, it is often considered the work itself. In algorithmic art, thinking the process of generating the image as one instance of an entire class of images becomes the decisive kernel of the creative work.” - Frieder Nake

Frieder Nake, Straight shares series unique, 2018, Fine Art Print inkjet on paper, 32 x 50 cm

Desmond Paul Henry, #829, 1963, Unique work on paper, 20 x 25 cm

With the rapid advancement of computer technology and the influence of Max Bense's information theory artists began leveraging autonomous systems such as computer programs and algorithms for artistic expression. During this period, artists often collaborated with scientists due to the limited availability of computers, which were primarily located in universities, research institutions, or large corporations. Pioneers of this movement, including Frieder Nake, Georg Nees, Vera Molnár, and Manfred Mohr, utilized computational processes to explore new aesthetic territories, each demonstrating the potential for machines to contribute to the creative process. Parallel to the rise of generative art, generative photography emerged, drawing from the experimental photography of the 1920s and concrete photography of the 1950s. This technique involves the systematic creation of visual aesthetics through predefined programs that perform photochemical, photo-optical, or photo-technical operations, merging traditional photographic methods with mathematical algorithms. The first exhibition to showcase these works took place at Kunsthalle Bielefeld in 1968, featuring artists like Hein Gravenhorst and Gottfried Jäger.

While these artists laid the foundation for computer-generated art, Harold Cohen was the first artist to introduce AI into art with AARON, a software considered one of the first AI art systems, which he began developing in the early 1970s. AARON used a series of rules defined by Cohen to autonomously generate images. This allowed the program to independently make decisions about composition. Cohen's software evolved from producing abstract monochrome line drawings, which he initially colored by hand, to creating more complex, colorful, and even representational forms with drawing and painting devices that he engineered.

The development of AI experienced notable fluctuations in progress, leading to periods known as AI winters. The first significant AI winter occurred in the 1970s, prompted by disillusionment due to overhyped expectations and resulting in substantial cuts in funding and critique of the technology. A similar downturn happened again in the late 1980s, marking another AI winter. This second period of stagnation was primarily due to the limitations of the AI technologies of the time and the constraints imposed by the available hardware. Despite these setbacks, interest in AI did not completely vanish. Instead, it veered in new directions as academic researchers and artists found alternative applications and methodologies for the technology.

Nancy Burson, Method and Apparatus For Producing an Image of A Person’s Face at a Different Age, 1978, Fine Art Print (later production) Diptych of 2 stills images, Edition of 5

Nancy Burson, a pioneering artist from the early 1980s, is often overlooked despite her significant contributions to the intersection of art and technology. She is best known for her innovative work in computer morphing technology and is considered the first artist to apply digital technology to the genre of photographic portraiture. Burson’s creations are widely recognizable, even by those unfamiliar with her name. Some of her most notable works include the digitally morphed “Trump/Putin” cover for Time magazine. Burson developed her morphing software in 1981, known as “The Method and Apparatus for Producing an Image of a Person’s Face at a Different Age”, while she was at MIT. This technology was used in her interactive installation, the “Age machine”, which simulates the aging process and offers viewers a glimpse of their future appearance. Through her cutting-edge work, Nancy Burson explores questions about identity and aging, highlighting social, political, and cultural issues, and focusing on societal biases and injustices. Her works will be exhibited at LACMA this year, continuing to underscore her role in shaping how technology is used in artistic practices.

We must also highlight Roman Verostko, another pioneering generative artist from the 1980s. In 1982, he developed "The Hand of Chance", an interactive generative art program that executed his art ideas on a large PC monitor. Later, Verostko's interest shifted toward printed versions of his works. By the late 1980s, he had developed a program that controlled the drawing arm of a pen plotter, enabling it to create intricate and complex drawings that were unprecedented at the time. Using this drawing arm, Verostko was one of the first artists to incorporate brushwork in his computer-generated drawings. He named his software Hodos, which means "path" in Greek, a reference to the methodical way the strokes follow paths determined by the underlying chaotic system. Using this tool, he created several series, such as "Pathway", an exploration of abstract forms plotted by a multi-pen plotter driven by his software. We are excited to feature a few of his early works from the 1980s in this article.

Roman Verostko, Untitled (Code 21) from Pathway Series, 1987, Multi-pen plotter drawing on paper, 22 ½ x 24 inches

Roman Verostko, Christmas from Pathway Series, 1987, Multi-pen plotter drawing on Arches, 22 ½ x 24 ¼ inches

By the 1990s, cybernetics had become firmly entrenched in the industrial landscape of the Western world. Advancements in technology brought about new terminology and interpretations, rendering some fundamental cybernetic concepts outdated. Nonetheless, it would have been beneficial for the “Automat und Mensch” exhibition to showcase artworks and narratives that acknowledge the broader societal and cultural contexts in which AI art has developed. For instance, consider the early pioneer of AI art, Lynn Hershman Leeson, whose interactive installation "Shadow Stalker" (2018–21) employs algorithms, performance, and projections to highlight the biases inherent in private systems like predictive policing, increasingly utilized by law enforcement or “Agent Ruby”, a female chatbot whose mood could be influenced by Web traffic day.

From the conceptual reflections of early AI pioneers to the practical applications of machine learning algorithms, the relationship between AI and art has undergone a remarkable evolution. It started in a lively and experimental environment, where artists and technologists went on a journey to discover the hidden possibilities of computer creativity which led to a mass adaption of open-source AI models, Chats, and generative art by 2024.

“The shift from a mechanical to an information society demands new communication processes, new visual and verbal languages, and new relationships of education, practice, and production.” – Muriel Cooper, Director MIT Press, Founder MIT’s Visual Language Workshop from 1975 (MIT LAB later from 1985).

Casey Reas, Ben Fry, Jared S. Tarbell & Manoloide.

What all the above names have in common?

“I have ideas about how software tools can be improved for myself and communities of other creators. I want to be a part of creating a future that I have experienced only in fits and starts in the recent past and present. I have seen independent creators build local and networked communities to share intellectual resources and tools.” - Casey Reas

The rapid development of computer technology in the late 20th century provided artists with new tools and capabilities to explore complex systems and patterns, creating artworks that reflected intricate interactions between programmed logic and random elements. The introduction of Processing in the early 2000s marked a pivotal moment, revolutionizing the production and proliferation of generative art.

Casey Reas, Process 14 (Software 2), 2012, Unique Software, Mac Mini Computer

Founded by Ben Fry and Casey Reas in the spring of 2001, Processing democratized the creation of generative art, making it accessible to anyone with a computer. In 2012, they, along with Dan Shiffman, established the Processing Foundation. This platform eliminated the need for expensive hardware and extensive programming knowledge, enabling more people to create art through code. Processing is an example of a free, open, and modular software system with a focus on collaboration and community. Processing's influence on an entire generation of artists and programmers is immense, transforming data visualization and generative art. In 2003, Jared S. Tarbell began using Processing to create engaging generative artworks that stood out both conceptually and visually. One of his most iconic works, "Substrate", showcases the brilliance of a simple algorithm: lines grow in a specific direction until they reach the domain's boundary or collide with another line.

When a line stops, it spawns at least one new line perpendicular to it at an arbitrary position. Recreating the city-like structures of "Substrate" is a fascinating exercise. From Tarbell, we can learn three key things: the value of the algorithms he shared, an artistic and exploratory approach to uncovering possibilities in code, and that profound and unexpected results can emerge from following simple rules. We are excited to showcase Substrate Subcenter2024 by Jared S. Tarbell at Kate Vass Galerie.

Jared S Tarbell, Substrate Subcenter AMT, 2024

“A line is a do that goes for a walk” - Autoglyths by John Watkinson & Matt Hall, kleee02 by Johannes Gees & Kelian Maissen.

The introduction of blockchain technology and the founding of Ethereum in 2017 marked another revolutionary shift, impacting not only generative and AI art but also transforming the traditional art market, unleashing the power of community to drive creativity in unprecedented ways.

One of the most iconic projects, “Autoglyphs” by John Watkinson and Matt Hall, debuted at the “Automat und Mensch” show in 2019. As fine art works, “Autoglyphs” are now celebrated as the first on-chain generative art on the Ethereum blockchain. This collection of 512 unique outputs has become a highly coveted set for generative art collectors. Matt and John, enthusiasts of early generative art, have drawn inspiration from the 1960s aesthetic and experimented with the computing and storage challenges faced by pioneers like Michael Noll and Ken Knowlton. Their work reflects a deep respect for the origins of generative art while pushing its boundaries.

John Watkinson and Matt Hall, Autoglyph #77, 2019, 40 x 40 cm, Unique

Ken Knowlton, from the pages of Design Quarterly 66/67, Bell Telephone Labs computer graphics research

Another lesser-known project, “kleee02”, was launched around the same time in Switzerland. It was an unfortunate oversight not to include it in our show. “kleee02”, an art piece by Kelian Maissen and Johannes Gees, had its smart contract verified in April 2019, the same week as “Autoglyphs”. This work offers a contemporary, blockchain-inspired take on conceptual art, inspired by Swiss artist Paul Klee’s famous quote, “A line is a dot that goes for a walk”. The "walk of the dot" is detailed in the “kleee02” smart contract, with each of the 360 non-fungible tokens (NFTs) being unique in shape and color. Uploaded to the Ethereum blockchain on April 10, 2019, “kleee02” emerged as a pioneering project that could have been featured in the "Automat und Mensch" show in May 2019. The project was officially launched on June 3, 2019, with a public laser projection of the first minted NFTs at Johannes’s studio in a park near Zurich, Switzerland.

Since then, the adoption of blockchain, the launch of ArtBlocks in November 2020, and the foundation of so-called “long-form generative” art have transformed the entire landscape of ownership and value. These innovations have enabled the community to better understand and collect generative art as NFTs, fostering a new era of digital creativity for the next five years.

Alex Mordvintsev, Robbie Barrat, Mario Klingemann, and Helena Sarin.

The past five years have witnessed a dramatic leap in AI capabilities, ushering in an era of unprecedented innovation in artistic expression. Deep learning algorithms, Mid Journey, Stable Diffusion, Dall-E, ChatGPT and other open-source models have revolutionized the creative process, enabling artists to transcend traditional boundaries and explore new frontiers of imagination. Nevertheless, we see a set of trends that after the spike of newer tools, the attention of collectors returns to the earlier AI generation, predominantly GANs (generative adversarial networks) artworks, concept based on neural networks that computer scientist Ian Goodfellow introduced in 2014. The greatest attention is also given to contemporary early AI creators such as Mario Klingemann, Robbie Barrat, David Young, Gene Kogan, Memo Akten, Helena Sarin and more, who have been working with AI for decades.

Alexander Mordvintsev, Custard Apple, 2015

Alexander Mordvintsev, Whatever you see there, make more of it!, 2015

One of the earliest and most influential works in this field was created by Alexander Mordvintsev, the inventor of Google DeepDream. Released as open source only in July 2015, DeepDream mesmerized audiences with its psychedelic and surreal imagery. Nearly all contemporary AI artists attribute Mordvintsev's DeepDream as a major source of inspiration for their exploration of machine learning in art. While one of the initial images generated by DeepDream was showcased at the 2019 “Automat und Mensch” exhibition, it was not offered for sale and was displayed as a small physical print.

After DeepDream, many artists began experimenting with incorporating AI technologies, particularly machine learning and neural networks, into their art. One such artist, Robbie Barrat, created works like “Correction after Peter Paul Rubens, Saturn Devouring his Son” (2019), which have gained increased significance from a historical perspective. Robbie Barrat, who was just 19 in 2019, displayed various artworks at “Automat und Mensch”. This piece exemplifies how technology can be harnessed for creative exploration, showcasing the potential of AI in art. Since 2018, Robbie has been collaborating with French painter Ronan Barrot, exploring AI as an artistic tool. "Correction after Peter Paul Rubens, Saturn Devouring his Son" is influenced by Ronan's technique of covering and repainting unsatisfactory parts of his work. Robbie applied this concept to AI by teaching a neural network to repeatedly obscure and reconstruct areas of nude portraits. This process, known as inpainting, aligns the painting with the AI's internal representation, often resulting in a completely transformed image. The term "correction" here reveals the AI's interpretation of the nude body, not an attempt to improve the original works.

Robbie Barrat, Correction of Rubens: Saturn Devouring His Son, 2019

In another notable project, "Neural Network Balenciaga”, Robbie Barrat used fashion images to train his AI model. In a 2019 interview with Jason Bailey, Barrat explained that he combined Pix2Pix technology with DensePose to map the new AI-generated outfits onto models, crediting another established artist, Mario Klingemann, for developing the DensePose + Pix2Pix method.

Mario Klingemann, who won the Lumen Prize in 2018 and had his work auctioned at Sotheby’s in 2019, was one of the known artists featured in the show for his work “Butcher's Son”. Mario continues to produce visually fresh and refined art, experimenting with different technologies, whether using GANs or other tools. His unique artistic style is consistent, recognizable, conceptual, and experimental.

As AI technology becomes more widely accessible, the distinction between exceptional AI artists and those who merely repurpose old work or simplify image creation by pushing the button relies increasingly on vision, fresh ideas, and later innovation. Helena Sarin, for instance, one of the key figures in the AI scene, has maintained her unique style and tools over the last five years, creating art, books and pottery that stand out stylistically among the rest. Her practice underscores the significance of artistry and dedication to the original creativity. Helena Sarin's ethereal compositions, infused with a sense of wonder and mystery, continue to captivate audiences with their poetic resonance. “They don’t do GANs like this anymore” captures the essence of today’s AI art scene.

Mario Klingemann, Deposition #3, 2018

Mario Klingemann, Deposition #1, 2018

Conclusion

While there is a current upswing in interest in AI art, it's difficult to predict whether this trend will continue or if a correction is on the horizon. Nonetheless, digital art undeniably holds a significant and dynamic position in the contemporary art landscape.

Debates about whether AI will dominate the world or if human creativity will diminish in the coming decades are pressing questions of our time. Since the term "artificial intelligence" was coined in the 1950s at the Dartmouth conference, the pursuit of creating artificial general intelligence has been ongoing. Despite this, the concept of "intelligence" remains elusive. Algorithms, while capable of operating independently, do not match the general intelligence of the human mind.

Helena Sarin, They don’t make GANs like that anymore, 2024, NFT and print minted/produced upon request

AI saw significant progress with early systems like ELIZA up until the late 1970s. However, by the early 1980s, interest and funding began to wane, contributing to periods commonly referred to as the AI winters. AI winter reflects a general decline in enthusiasm that paralleled cultural milestones like the release of the original “Blade Runner” in 1982.

Could another AI winter follow the current surge of interest, since we have similar trends in 2020s with multiple wars, economic distress, and world political instability? Initially, technology was intended to support and extend liberal democracy after the Cold War. However, recent developments suggest it might be on the brink of instigating a new era of conflict.

The relationship between human and artificial intelligence might cool for various reasons. If the clash between human and artificial intellect collapses into neglect, another AI winter could ensue. Alternatively, the substantial financial and human investment in AI thus far could lead to a prolonged struggle, potentially triggering a "cold war" with intelligent algorithms too, couldn’t it?

Art, however, has proven to endure and evolve over the past 80 years. We believe that in the next 80 years, some current pioneers will be recognized as cultural icons in the history of generative and AI art. As life progresses, we innovate, trends change, and artists continue to create. Despite these advancements, we have yet to develop “general superintelligence” capable of creating independently from human influence and input. 

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Le Random has released an exclusive interview with Jason Bailey, Georg Bak, and Kate Vass to highlight the show on its 5th anniversary. Read the full article by clicking the button below.