Premultiply 2019

Editor: Here we have Beeple's "Premultiply" from 2019, a digital artwork. It has such a cool, futuristic vibe! I’m drawn to how the figures are placed against the cosmos, like they're stepping into a new world. What stands out to you about it? Curator: Immediately, I think of the labor involved in its production. It’s digital, yes, but that doesn't erase the hours, the keystrokes, the computational power required to render such detail. We need to acknowledge this intensive process and question how that labor is valued in today's digital art market. Also, notice the rocks—simulated natural materials achieved through digital means. Editor: So, it's not just about the finished product, but the entire process and how it exists in a digital marketplace? Curator: Precisely. Think about the software used, the electricity consumed, the infrastructure supporting the entire operation. It begs the question: are we really decoupling from physical resources, or simply shifting them to less visible, often more impactful, means of production and consumption? Consider too how the figures mirror traditional landscape painting, a deliberate nod using contemporary technology. Editor: I never really considered all those layers before, focusing more on just the aesthetic appeal. It makes you think about the ecological footprint of digital art, not just its visual impact. Curator: Exactly. And think about Beeple’s massive success with NFTs; the artwork becomes inextricably linked to blockchain technology and its environmental impacts, something not immediately visible but crucial to understanding the artwork’s complete context. How does that affect our reception of something we initially perceived as beautiful or futuristic? Editor: It really shifts the whole perspective. I’m leaving here wondering if there is true "detachment" from material means, or if it's simply a veiled dependency. Curator: Absolutely, questioning those assumptions is crucial. That intersection of artistic expression and its material consequences—that's where the real dialogue begins.