Rhizome

Tyler HobbsTest Drawing for F(l)ightHand/Generative Design, Plotted Pen and Ink on NewsprintUnframed:24 x 18 inches61 x 46 cm&nbsp;2021Image caption: Tyler Hobbs<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.dropbox.com/scl/fo/3o5shxssxu7cigi7nxe3d/AJDTzrsii6g3lCj3GA6gVZM?rlkey=03supq1a4ulg2j7a1z7l2xv3q&amp;dl=0">https://www.dropbox.com/scl/fo/3o5shxssxu7cigi7nxe3d/AJDTzrsii6g3lCj3GA6gVZM?rlkey=03supq1a4ulg2j7a1z7l2xv3q&amp;dl=0</a>This drawing was created using a plotter as an early preparatory test drawing for F(l)ight, a series that was part of a 2021 exhibition with Feral File called -GRAPH, curated by Casey Reas. The design is a hybrid of hand-drawing and algorithmic manipulation, which Hobbs has experimented with since 2018.Tyler Hobbs is a visual artist from Austin, Texas who works primarily with algorithms, plotters, and paint. His artwork focuses on computational aesthetics, how they are shaped by the biases of modern computer hardware and software, and how they relate to and interact with the natural world around us. Tyler develops and programs custom algorithms that are used to generate visual imagery. Often, these strike a balance between the cold, hard structure that computers excel at, and the messy, organic chaos we can observe in the natural world around us. Recent solo exhibitions include Unit in London, Pace Gallery in New York City. Select auctions include Christie’s, Phillips, and Sotheby’s. His work is included in the collections of the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art.

Tyler Hobbs – Test Drawing for F(l)ight

How Online Bidding Works During the Live AuctionCan't be in the room? You can still bid on every live auction item from wherever you are.On the night of Rhizome's 30th Anniversary Benefit Dinner, the live auction will run in the room and on this site at the same time. A dedicated member of our team will be at a laptop beside the auctioneer, watching this site throughout the auction. When you place a bid online, they will call it out to the auctioneer so it competes right alongside bids from guests in the room. When the room bids higher, the new top bid will be updated here so you always know where things stand.A few tips to make sure your bid counts:- Be logged in and ready before the live auction begins at 9:00p ET on Wednesday, September 23- Keep this page open and refresh often. Bidding in the room moves fast, and each item may close within a few minutes.- Bid decisively. Once the auctioneer calls "sold," bidding on that item is closed, both in the room and online.- Alternatively, if you’re not available during the live auction, please input a max bid and we will bid on your behalf. Note that we will not bid the max bid but will bid the lowest winning amount up to your max bidWinners will be contacted after the event with payment and pickup or delivery details.Every bid supports Rhizome's work for the next 30 years. Thank you for being part of the night!

Casey ReasCENTURY 2052 #39<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/369000039">https://www.artblocks.io/token/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/369000039</a>SoftwareSeries of 50 unique artworksReleased on October 22, 2022CENTURY 2052 #39 is part of an autobiographical series of fifty artworks to represent fifty years of the artist’s life at the time of its making. The original project, CENTURY, is an homage to 20th century artists and a synthesis of their ideas. CENTURY 2052 brings that endeavor into the 21st century. The series features fifty unique squares of intersecting lines ranging in hues of the rainbow. Each iteration uniquely displays lines statically buzzing. As they move slowly across the screen they turn in on each other–their intersection making a symphony of vibrating, colorful grids along each axis. The lifespan of this artwork is finite and will transition from life to death at 6:44pm EST on October 20th 2052.CENTURY 2052 is not a commercial or public release. It’s a gift to others who have shaped the world of art that the artist inhabits. b. 1972 Troy, OH Lives and works in Los Angeles, CAREAS’ software, prints, and installations have been featured in numerous solo and group exhibitions internationally. His work ranges from small works on paper to urban-scale installations, and he balances solo work in the studio with collaborations with architects and musicians. REAS is a professor at the University of California, Los Angeles. With Ben Fry, REAS initiated Processing in 2001; Processing is an open-source programming language and environment for the visual arts.

Casey Reas – CENTURY 2052 #39

LoVidSunny Nights<a target="_blank" rel="noopener noreferrer nofollow" href="https://vimeo.com/1226648302">https://vimeo.com/1226648302</a>2 minutes 31 secondsColor, soundEdition 1 of 3 +AP2006Estimate - $5,000 - $8,000Image caption: Courtesy of LoVid and Galerie Charlot&nbsp;LoVid is an interdisciplinary artist duo formed by Tali Hinkis and Kyle Lapidus in 2000. Sunny Nights is an atmospheric video landscape drawing a connection between signal-based synthesized images and the natural world. The image is generated by manipulating raw electrical current directly through custom-built hardware instruments that have been engineered, constructed, and performed by the artists. Recorded during a Harvestworks studio residency, Sunny Nights is one of the first videos LoVid created with their hand-made audio/video synthesizer Sync Armonica. The electrical currents of these handmade synthesizers are visualized as bright light strips against a black background and become virtual representations of the physical machines. Sunny Nights makes electronic energy and charge into a virtual landscape of vibrant auroras.LoVid (Tali Hinkis and Kyle Lapidus) is a NY-based interdisciplinary artist duo working collaboratively since 2001. Exhibitions and performances include: Galerie Charlot, Picture Theory, OFFSCREEN Paris, Toledo Museum of Art, Nantes Museum of Arts, Buffalo AKG Museum, Museum of the Moving Image, Grand Rapids Museum, Art Blocks Curated, Gazelli Art House, Postmasters Gallery, Honor Fraser Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, MoMA, Issue Project Room, Science Gallery Dublin, The Jewish Museum NY, Daejeon Museum, Butler Institute of American Art, and New Museum. Their work can be seen in the collections of the Whitney Museum of American Art, Allen Memorial Art Museum, Museum of the Moving Image, the Parrish Museum, and the Thoma Foundation.

LoVid - Sunny Nights

Jennifer and Kevin McCoyStarlessInk on paperUnframed:22 3/4 x 30 in57.8 x 76.2 cm2020Image caption: Jennifer and Kevin McCoy, 2020<a target="_blank" rel="noopener noreferrer nofollow" href="https://drive.google.com/file/d/17n8CbO5T5_HD-UfwJ0gLWYAcq4a6GDY2/view?usp=sharing">https://drive.google.com/file/d/17n8CbO5T5_HD-UfwJ0gLWYAcq4a6GDY2/view?usp=sharing</a>Starless is one of the earliest plotter drawings from the McCoy studio. It was created during the Covid-19 pandemic in a time that the artists describe as a “manic&nbsp;period of software development,” leading them to return to the main format for early computer art. The McCoys developed a way to split an image into multiple files using different colors–it was also the first of its kind that used a fountain pen. Originally working from photos, Starless is a depiction of the John Hancock Tower in Boston. Working in collaboration with the interpretations of the algorithm of the plotter, the artists built up layers of lines. Rendered in black and blue ink, the lines condensed around the moon sprawl across the landscape and encase the building in a web of tangential linework. The paper this was drawn on was from a Christmas present to their daughter.&nbsp;Jennifer and Kevin McCoy are media artists whose interdisciplinary practice spans moving image, software, drawing, painting, and installation. Their work combines artistic production with sustained research into how emerging technologies shape cultural narratives, systems of knowledge, and everyday perception. Their work can be seen in the collections of the Museum of Modern Art, The Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Fine Arts Houston. Their current show, "ReLensing," is on view at bitforms gallery, NYC.

Jennifer and Kevin McCoy – Starless

Evil BiscuitCard NFT 2 uncut sheetUV print on holographic cardstockUnframed:24 x 18 in&nbsp;61 x 45.7 cm2026Estimate - $6,000 - $9,000Image caption: Evil Biscuit<a target="_blank" rel="noopener noreferrer nofollow" href="https://drive.google.com/drive/folders/1s25zSqfxkpDSvFQcAmCLYKLAGNomtaBH">https://drive.google.com/drive/folders/1s25zSqfxkpDSvFQcAmCLYKLAGNomtaBH</a>This piece features 45 selected works from Evil Biscuit’s latest trading card collection Card NFT 2. It draws on the tradition of the uncut sheet, a coveted object among card collectors stretching back a century from the first baseball trading cards. Here, the line between factory production, a collectible, and a work of art becomes blurred. Card NFT 2 is a sequel to his first card series and builds on the potential of bridging digital NFTs to physically redeemable collectibles. Containing 11,111 unique designs scanned from original trading cards with select cards stripped with acetone then printed over. This process incorporated agentic AI as a toolset for curation. The collection is an experiment in reductive printmaking, real world assets, Pokemon culture, card vault gacha gambling, and intellectual property.&nbsp;Evil Biscuit works across generative art, digital collage, painting, and trading cards. Since launching Drifella in 2023, he has built an evolving world from internet culture, art history, games, and memes.

Tyler Hobbs – Test Drawing for F(l)ight

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