In March 2026, artists Holly Herndon and Mat Dryhurst were preparing for an installation at the Venice Biennale, a prominent international art festival. They faced challenges with their concept of suspending sculptures made from 3-D-printed sand from the ceiling of an 18th-century palazzo due to the weight of the material. Herndon and Dryhurst, known for their innovative use of artificial intelligence (AI) in art, proposed an alternative installation featuring an 'upside-down parliament' with benches on the floor and from the ceiling, accompanied by AI-generated voices communicating in a musical language.
Herndon and Dryhurst have gained recognition for their work that integrates AI into artistic expression, despite concerns from many in the cultural community regarding the implications of AI on creativity and authorship. They have participated in significant exhibitions, including the 2024 Whitney Biennial, where they were the only artists using machine learning. Their work has sparked debate over the ethical considerations of AI in art, particularly regarding the training of AI models on human-created content without permission.
The couple's approach is characterized by a belief that engaging with AI can help shape its role in society. They founded a company called Spawning to address data rights issues, allowing content creators to opt-out of having their work used in AI training datasets. However, the company faced challenges and ultimately shut down in 2025.
At the Venice Biennale, their installation, titled 'Attention Guild,' aimed to explore the intersection of AI and public life, inviting visitors to interact with AI agents. Despite logistical challenges, the installation received positive feedback, highlighting the ongoing conversation about the future of art in the age of AI. The couple envisions a future where AI can enhance creativity rather than diminish it, advocating for a collective approach to artistic creation that reflects shared human experiences.