I've been working on a new project called Less Than Reality.
I recreated scenes from Duane Hanson's sculptures using my own body, photographed the results, then used AI to gradually reskin my appearance.
About halfway through, I stopped recognizing myself in the images.
Pushing P
Working on getting back into a groove
Still looking for studio space closer to me with a window. Still interested in printing better for my image transfers. Still interested in what my current process does to the image. Still searching
Asher retweeted
Letters From Marfa
Postcard site is live now
Find a Letter, write a note, send it in the mail
postcards.vinniehager.com/
Asher retweeted
size reference + physical detail vid of
Voicemail From The Deceased
1/1 listed on @SuperRare rn
Love to see it well done to those involved
A major moment for digital art at LACMA.
We're announcing a landmark gift of more than 200 works of digital art, spanning early computer-generated works to contemporary experiments with AI.
Led by LACMA Digital Leaders, the gift includes works by @RefikAnadol, @REAS, @luyangasia, and many more, bringing new perspectives on the intersection of art and technology into our collection. bit.ly/3VOeUPH
Asher retweeted
gm
I have minted 3 of my favorite painting/collage works from recent years. they each come with large archival 1/1 prints that are signed, embossed and fingerprinted with a dated COA.
listed on @SuperRare
0.4269 Ξ to start auction or 1 Ξ buy now <3
feel free to DM questions
God damn does this look good 👌
What Light May Be
@zachlieberman solo exhibition is open!
The show has 9 major printed works, 2 unique looping videos, and a 1/1/56 series. Everything in the show is an eth nft.
Sale of the 56 piece series goes public next wed.
DM us for a catalog, install shots below ↓
Asher retweeted
Growing up in Jerusalem, American artist @asherhoffman_ was familiar with a 1929 tourism poster by Ze'ev Raban. The poster advertised “Tourism in Palestine,” but Hoffman recalls being puzzled by the name. Palestine and Palestinians were rarely discussed at home or in his Jewish school.
Years later, Hoffman's experiences living in Israel and the occupied Palestinian territories led him to question much of what he had learned growing up. He began looking differently at the images and stories that had surrounded him since childhood.
For Tourism in Palestine (Relationship 2000–2026), Hoffman returned to Raban's poster, layering it with family photographs, childhood images from Jerusalem, pictures of himself as a teenager on decommissioned Israeli military tanks, and photographs from pro-Palestinian demonstrations. Presented in Lisbon as part of Still Here, the resulting collage captures the images and experiences that challenged his understanding of Palestine.
































