In the article “HEAR THE DRAWING,” Japanese composer and sound artist Shojiro Nakaoka discusses his journey into digital art, emphasizing his use of tools like Max/MSP, Processing, oscilloscopes, and plotters to create generative art. He explains how he transforms audio signals into visual representations through vector synthesis and Lissajous figures, producing complex shapes and continuous strokes in real time. Nakaoka’s work is characterized by unique textures achieved using noise models and hatch patterns, reflecting his desire to surprise himself with the results. He draws inspiration from artists like Sun Ra, Nam June Paik, Harry Smith, Jordan Belson, and Cornelius Cardew, and his pieces are part of collections held by notable creative coders and collectors. (blog.objkt.com)

In the interview titled “EVERYTHING IS CONNECTED,” artist VERTIGO discusses their artistic journey and the themes behind their latest series, “Everything Connected.” Choosing to remain anonymous, VERTIGO emphasizes the importance of focusing on the art itself rather than the artist’s identity. Their alias, inspired by Alfred Hitchcock’s film “Vertigo,” reflects a connection to themes of suspense and mystery. The “Everything Connected” series delves into the concept of memento mori, exploring the fragile boundary between physical existence and the intangible, using recurring motifs like skulls and halos to symbolize this connection. (blog.objkt.com)

In the article “Digital Dioramas,” artist Paul Prudence discusses his exploration of the intersection between geology and generative art. Prudence’s fascination with geological patterns began in childhood and later merged with his interest in programming, leading him to replicate natural formations through algorithms. His “Microscapes” series exemplifies this fusion, where he photographs minerals from his collection and processes them using height-mapping techniques. The resulting images evoke the surreal landscapes of artists like Yves Tanguy and Georgia O’Keeffe, presenting intricate topographies that invite close examination. (blog.objkt.com)

Kim Asendorf’s “FRATZE” series, created in 2022, comprises 51 black-and-white profile pictures featuring distorted, smiley-like faces. Crafted using a custom software painter app, each piece is presented as a 480×480 PNG with a transparent background. These minimalist images eschew the colorful traits and rarity charts typical of profile picture (PFP) projects, positioning themselves as “anti-PFPs.” Asendorf describes the project succinctly: “Painted with custom software by Kim Asendorf.” He emphasizes that his work is built on spontaneous visions and ideas, offering room for interpretation without conveying a specific message.

In the interview with Leander Herzog, the Swiss artist discusses his evolution from graffiti to generative art, emphasizing the significance of browser-based works that unfold directly on the viewer’s device. He reflects on his early experiences with Processing, influenced by Marius Watz, and his transition to JavaScript and GLSL, highlighting the importance of the medium in his creative process. Herzog’s work, characterized by minimalism and recursion, has been showcased in institutions like HEK Basel and ZKM Karlsruhe, underscoring his impact on the digital art scene. (blog.objkt.com)

Summary of the Blog Article

Michelle Thompson explores the concept of social media as a modern form of collage culture. She highlights how platforms like Instagram and TikTok serve as digital canvases where users curate a multifaceted representation of personal and collective identities. This collage culture is demonstrated through the assembly of various media—text, images, and video—allowing individuals to craft narratives that reflect their personalities and interests. Thompson emphasizes the democratizing power of social media, allowing anyone to become a creator and influencer, crafting their aesthetics and sharing them with global audiences. This new culture respects the historical art form of collage, but its digital manifestation offers unprecedented scale and immediacy.

The New York Historical Museum, the oldest museum in the city, has opened a new wing just in time for the 250th anniversary of American independence on July 4th: the “Tang Wing for American Democracy”. Spread across several floors, the extension presents artworks, photographs, and historical artefacts that illuminate the development of democracy in the United States. A standout exhibit is the simple wooden chair on which George Washington was declared the first President of the United States in 1789. From 2028, the wing will also house the American LGBTQ+ Museum, telling the stories of lesbian, gay, bisexual, transgender, and queer people.

The article announces that under the patronage of Federal President Frank-Walter Steinmeier, Bellevue Palace will host a two-week pop-up gallery from June 13 to 28, 2026, organized by the Academy of Arts. This initiative transforms the official residence into a temporary art space, showcasing works by Academy members such as Rosa Barba, Carola Bauckholt, and Wolfgang Tillmans. The exhibition aims to place artworks in dynamic relationship with the palace, a symbol of liberal democracy, fostering artistic perspectives on societal polarization. (deeds.news)

Lotus Kang’s installation at Bvlgari’s Venice Biennale pavilion explores themes of desire, liminality, and material transformation. She utilizes industrial materials like super joists, rubber, and tarp, alongside organic elements such as light-sensitive film and plaster casts of baby birds. The pavilion’s façade features 35mm unfixed film shot in Korean mudflats, creating a dynamic interplay of light and shadow that changes with the time of day. Inside, sculptures wrapped in industrial materials and cast-aluminum works serve as screens for the filtered light, embodying the fluidity and multiplicity inherent in desire. (theartnewspaper.com)

The recent retrospective at London’s Hayward Gallery featuring Anish Kapoor’s work highlights the artist’s enduring fascination with such themes as materiality, immateriality, and the dichotomy of presence and absence in sculptural forms. Kapoor’s sculptures often use diverse materials like pigment, stone, and metal to evoke emotional and experiential responses that transcend simple visual appreciation, demanding a complex interaction between the artwork and the audience. This exploration of presence and absence resonates with the concepts articulated across numerous NFT artworks, which similarly juxtapose physical absence with digital presence to create evocative experiences.