the case for generative art
Generative, a form of digital art, has emerged as a balance of Web3 community and aesthetics. Largely derivative, its function lies not so much concerned with meaning or artistic vision, but on web3 principles, technology and communities.
21st-century digital art is still finding its footing and despite some well-known artists bursting out into the larger public consciousness, due to the extreme valuations paid for works like Beeple, for example.
Despite web3’s positioning as a new digital frontier, with a renewed spirit for community, the art market suffers from some similar problems as the 20th century and earlier - namely: elitism, astounding prices and works that are only accessible and understood by a niche or minority group.
The primary function of generative is randomization - through a technical process, individual works or assets are built using algorithmic layers that introduce rarities and unique combinations of form and color. Form is secondary to function.
Generative editions may be in the thousands, such as (Visualize Value) Jack Butcher’s Opepen series (pictured above) featuring 16,000 works. Other collections have smaller mint counts while some Generative pieces are unique, 1 of 1’s.
While web3 presents a ton of new-ness in technology, marketplaces, ownership and production - Generative art does follow along a tradition established in postmodern art: Warhol, with mechanical repetition and reproduction that is akin to "looks rare" in its variations, very much set the stage here.
Marilyn Diptych
Immediacy is also a factor - as Generative works are completed algorithmically, the actual process or act of creation is immediate. Immediacy is adjacent and related to Generative art’s other features and attributes, and has it’s roots in street art of Keith Haring’s NYC subway creations in the early 1980’s. As Haring’s works were done very quickly - place is paramount to the message or meaning. They were intended for the people, the citizens of New York and appeared in their daily lives, not within a traditional, sterile gallery display environment.
Keith Haring, working on a subway drawing.
Truly, in Generative art - the medium is the message, to borrow an overused (often misquoted) Marshall McLuhan line. Holders of generative works are similar to members of NFT PFP collections, though to a lesser degree.
Generative leans on technological execution - and remains wholly consistent with the medium - but lacks depth of meaning. I’m not to suggest that (any) art ‘need’ to do anything - form, shape and colour can be intrinsically pleasing, of course - but in tying back to the post-modern examples of the late 20th century I have provided here, perhaps generative borrows a bit too much from an exhausted trope, rather than striking out a new idea, concept or presence.
