It’s also a chance to take computational, generative art work out of the niche spaces. Now, Greenberg readily admits the NFT world is one of confusing terminology, corruption and scams, but he also says it’s a space in which artists looking to push their practices can thrive and evolve. In short, the exhibit culls from the past five-ish years of Greenberg’s practice across physical and digital mediums, including interactive pieces, possible some 3D printing as well as work he’s done in the NFT space. In other words? He’s a bit of a badass, and he’ll open a show at Strata Gallery next week dubbed Toward a Post-Computational Practice. He also wrote what might be the first book on the topic of coding for fine arts, 2007′s Processing: Creative Coding and Computational Art.
Of course, in those days it wasn’t as simple as enrolling in a coding bootcamp, attending lessons online or even signing up at your local community college-Greenberg forged his own way, which led to his own computing programs through which he continues to create pieces to this day. “I didn’t want to have my work exist on the back of some corporate engineering team.” “What happened was that it sort of bothered me, because I felt like I was using somebody else’s art,” he says of those programs.
#Blue spheres madness software#
Having already trained as a painter and illustrator, Santa Fe/Texas-based artist and educator Ira Greenberg found himself drawn to digital arts and the early-aughts Adobe software programs that made such a practice possible. Ira Greenberg is always looking for something new By Alex De Vore and Taya Demianova Jat 12:00 am MDT Coded
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