Daily is an experimental art program supporting artists who work with new technologies. Daily is a Fellowship project.
Joined February 2023
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Jun 12
ATTENTION VALUED EMPLOYEES, CUSTOMERS, CREDITORS, AND REMAINING HUMAN RESOURCES:
all assets must be cleared immediately. Used desks, inactive ambitions, surplus personnel, dead office rituals, minor wear, obsolete authority, and fully functional emotional residue are now available at drastically reduced prices. No reasonable offer will be refused. No memories will be appraised above market value. Everything is operational until proven otherwise. Everything has been depreciated for your convenience. Browse now, before the system shuts down permanently.
↓ The Daily Program Presents: Liquidation, a new collection by @dontbuy_
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gm!
"Liquidation" a new collection by @dontbuy_
Coming soon!
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Available → "#24" from the Pequeñas acumulaciones de aerosoles atmosféricos by @canekzapata
daily.xyz/artwork/canek-zapa…
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#13 from the "Morphland Abstractions" collection by @endless_mazin → Collected by @antagonist4ever
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LIQUIDATION
Three years ago, when I first entered the world of NFTs, I found myself asking a question I couldn't answer.
Why do we collect digital objects?
A file can be copied endlessly.
An image can be saved in seconds.
Nothing physically changes hands.
For a long time, I thought I was trying to understand digital art.
Eventually I realized I was asking the wrong question.
The real question wasn't why people collect digital objects.
It was...
Why do we collect anything at all?
Some objects survive.
Others disappear.
A museum carefully preserves a chair because it once belonged to someone important.
Another identical chair ends up in a landfill.
One keyboard becomes a historical artifact.
Thousands of others become electronic waste.
The object is almost never what changes.
The story does.
"Liquidation" began as an attempt to explore that idea.
The collection recreates the inventory of a fictional office that is quietly dismantling itself.
Every object receives an asset number.
A condition report.
A market value.
A place inside a corporate archive.
Office chairs.
Desk lamps.
Binders.
Printers.
Coffee mugs.
Objects that were never meant to be admired.
Only used.
Some remain completely ordinary.
Others begin to malfunction in impossible ways.
A chair twists into itself.
A microwave inflates like a balloon.
Window blinds swallow an employee.
A power adapter slowly fills with air.
The office starts behaving like a dream that still insists on calling itself documentation.
The visual language comes from the early internet.
A time when websites weren't beautiful.
They simply worked.
Function mattered more than appearance.
That forgotten design language became the perfect home for a company that no longer exists.
At first glance, this collection looks like an archive.
But archives preserve things we are afraid to lose.
Liquidation exists because someone decided these things no longer mattered.
And yet...
Here they are again.
Catalogued.
Priced.
Collected.
Perhaps that's what art has always done.
It takes the ordinary.
Removes its function.
Gives it a story.
And suddenly we begin looking at it differently.
Maybe value has never belonged to the object itself.
Maybe value belongs to the attention we choose to give it.
Liquidation isn't really about office furniture.
Or nostalgia.
Or the early internet.
It's about the strange moment when something stops being useful...
...and starts becoming worth remembering.
Liquidation
Launching June 23.
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FellowshipAI retweeted
Jun 12
sound on
so far today has been not the greatest
maybe tomorrow will be better 🤷♀️
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FellowshipAI retweeted
Morphland Abstractions #19
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Jun 12
Available → #1 from the "Hunting" collection by @loved_orleer
🔗daily.xyz/artwork//0x8DddD7f…
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Jun 12
ATTENTION VALUED EMPLOYEES, CUSTOMERS, CREDITORS, AND REMAINING HUMAN RESOURCES:
all assets must be cleared immediately. Used desks, inactive ambitions, surplus personnel, dead office rituals, minor wear, obsolete authority, and fully functional emotional residue are now available at drastically reduced prices. No reasonable offer will be refused. No memories will be appraised above market value. Everything is operational until proven otherwise. Everything has been depreciated for your convenience. Browse now, before the system shuts down permanently.
↓ The Daily Program Presents: Liquidation, a new collection by @dontbuy_
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Jun 12
He is also a contributor to The Daily Program, with pieces featured across Seasons 1, 2, and 3.
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Jun 12
Available → "back again" From the Missing Link collection by Frank Manzano
🔗daily.xyz/artwork//0x79e6358…
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Jun 11
Daily Timeline: @bbeetthh
Over the past three years, The Daily Program has become a survey of artists exploring new narratives and formal ideas using digital and AI tools.
Beth Frey has been building her absurdist universe for a while. Her background spans painting, drawing, video, sculpture, and installation, with an MFA from Concordia University and a BFA from the University of Victoria, and exhibitions across Canada, Mexico, the UK, and the US. That analog foundation shows up in how she approaches AI tools: with a painter's eye for composition, but a deliberate willingness to let the machine get confused.
A lot of her work starts with the self. Working from a personal bank of images, early AI-generated pieces and studio photographs of herself, Frey feeds disparate, mismatched source material into the generator, intentionally destabilizing its logic to produce something genuinely unsettling. The body becomes both raw material and active player.
Sentient Muppet Factory, which launched as part of the Post Photographic Perspectives II Program back in 2023, is the clearest expression of this. Presented as invented film stills from a time that is both past and future, the series stages Muppet-like figures within compositions that echo Renaissance portraiture, formal arrangements, artificial backgrounds, tangled figurative forms, while filling that sacred visual language with subject matter that is purely kitsch. The cognitive dissonance is the point.
The project wears its references openly. Inspired by Laurie Anderson's use of puppets as an analogy for new technologies, and by the spectacle of The Muppet Show's original late-1970s run, Frey occupies a space where wacky children's television collides with the seriousness of auteur cinema. These generated bodies are abnormal, yet somehow feel at home in their inhabited spaces.
The humor is never decoration. Like her analog work, it's the mechanism through which she draws out contradictions, the beautiful and the grotesque, the innocent and the perverse, the handmade and the mechanized. The "factory" in the title is both a joke and a thesis: AI as industrialized image production, churning out new characters with the efficiency of an assembly line, filtered through the sensibility of a painter who knows exactly how strange that is.
Her contributions to the Post Photographic Perspectives program remain a sharp early marker of what this moment in AI art could look like, irreverent, formally rigorous, and stranger than it first appears.
↓ Here are some pieces from that collection
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