History of Spamart

History of SpamArt

"Spam has no beginning, no end." — The SPAMart Continuum

SpamArt is a uniquely irreverent and visually chaotic evolution of digital and blockchain-based art. It emerged from a lineage of glitch art, trash art, and net art, mutating further with the infusion of generative AI and the freewheeling dynamics of decentralized technology. Rejecting convention, SpamArt privileges absurdity, repetition, collaboration, and an anarchic sense of humor, often functioning as a critique of the art world itself.

Origins (2019–2020)

SpamArt's origin can be traced to late 2019 or early 2020, when the artist Jay Delay reportedly created what may be the first AI-generated spamart. This early intervention on the Ethereum blockchain blurred the lines between automated generation and intentional artistic disruption.

In February 2020, Jay Delay inadvertently sent a piece titled “HEY_CRYPTOART_THIS_IS_SPAM” to the collector Whale Shark. The gesture, accidental or not, sparked a strong public reaction, marking the first widely acknowledged confrontation between traditional cryptoart sensibilities and the emerging SpamArt ethos.

Early Activism and Voting (2020)

SpamArt quickly evolved into a mode of participatory commentary. In 2020, an event known as "SPAM WALLET SPAMS THE VOTE" demonstrated the medium’s potential for democratic action. Cryptochild (a.k.a. Dr. No, or temporarily Dr. Yes) cast the first vote in an NFT governance decision. This vote, styled as a satirical affirmation of freedom, aimed to save an NFT mistakenly sent to a burn wallet, thereby setting the tone for SpamArt as an artform that values persistence, survival, and digital resurrection.

The Tezos Era and TezTrash (2021)

SpamArt solidified its presence on the Tezos blockchain during the second #TezTrash event in 2021. A group led by The Perfesser used the now-defunct savethetrash.xyz platform to distribute SpamArt directly to blockchain wallet holders. These actions formalized SpamArt’s strategy of unsolicited distribution, turning spam into both medium and message.

During this period, The Perfesser released “Magic SPAM Ride,” recognized as the first mint on Objkt to use the #spamart hashtag. The work was immediately included in the collaborative gif project “hetragif_02.gif,” which cemented its place in early Tezos-based spamart history.

Expansion and Series (2022)

In 2022, the SpamArt narrative broadened significantly. In August, Jay Delay released the first issue of “Spam Comics” titled “GUT PUNCH.” Later that year, he launched the “SPAM PUNKS” collection on Tezos, a garage-noir flavored series that became both the first SpamArt profile picture (PFP) collection and a cult hit.

By the end of 2022, more artists began to explore the SpamArt space, including Ernesto Asch, FtrSaroth, Berkanas, KBO, Bard Ionson, Santiago Itzcoatl, and Marcotic. These creators contributed to a flood of new work on Objkt and other platforms.

A symbolic figure known as “Spammin’ Sam” was born during this period. Embodied by multiple artists, Spammin’ Sam emerged as an unofficial mascot and enduring symbol of SpamArt's defiant, protean spirit.

Bots, Bans, and Propaganda (Late 2022)

In December 2022, MODF TASP released anti-spamart propaganda under slogans like “AI IS FRAUD” and “MEATART IS MURDER.” These satirical posters critiqued not only SpamArt, but also the larger discourse around AI-generated art.

At the same time, @MeatArtBot was launched as a successor to @trashartbot, retweeting spamart-related content to amplify the movement’s digital footprint. The bot was soon banned by Twitter. Its death was commemorated by The Perfesser with a minted artwork titled “SPAM_BOT.RIP.”

Formation of the SpamArt Party (2023)

In January 2023, the SPAM ART PARTY formally emerged. The Perfesser created a shared Tezos wallet and posted its private key publicly. Artists began minting collaboratively and chaotically from this communal wallet, an echo of analog-era telephone party lines.

Around the same time, Collin Dyer unveiled the Spam Flag, further cementing the group's symbolic identity. Late-night Twitter Spaces became jam sessions where artists discussed strategy, aired grievances, and refined their spam-fueled vision.

Discord erupted when the SpamArt Party infiltrated the TrashArt Chat in an effort dubbed “Bad Vibes Only.” The confrontation sparked a two-year conflict between creative factions. Tensions eventually eased thanks to the behind-the-scenes mediation of curator Vandal Ruins, later revealed to be a covert ally known as “The Mole.”

Memes and Digital Infrastructure (2023)

A variety of memes and rituals emerged during this period, including the viral “SPAM COPS” series and the mantra “BE THE LAST,” which encouraged artists to value longevity over novelty. “Spamgagement,” a subgenre focused on viral social media interaction, was pioneered by the artist Web Gurl, who also rose to prominence as a queen of Spam meme culture.

The community undertook large-scale digital projects, most notably the “SPAMART Voxels Build Party,” during which dozens of artists created an expansive, immersive virtual gallery in Voxels. Features included the Spam Yeti Boogie Floor, the Spam Elevator, and installations by artists like Mohini.

Institutional Pushback and Global Reach (2023–2024)

SpamArt clashed with corporate and institutional entities. Hormel Foods issued a cease-and-desist to SpamArt-affiliated artists using branded SPAM imagery. In response, artists with legal expertise, including Collin Dyer, Eric Rhodes, and Cryptochild, drafted a collective rebuttal.

SpamArt was censored by major NFT platforms, including Rarible, SuperRare, and Opensea. One particularly severe consequence involved Bittty Gordon, whose account was banned following a SpamArt-themed post referencing legacy net art group JODI. The fallout included the hacking of a legacy wallet containing historically significant works.

Nevertheless, SpamArt expanded its global footprint. Events like SPAMiami (a parallel event to Miami Basel), NFT.NYC installations, and a 360° immersive gallery in Rome's NFTCC event signaled its growing legitimacy and influence.

Multimedia and Exploits (2023–2024)

Artists began to fuse audio-visual narratives into SpamArt. The Perfesser released “Spam Portraits of the Old West” and “Spam Art Greatest Hits,” blending storytelling, music, and absurdity into multifaceted works.

“SpamTV,” a multimedia SpamArt channel, debuted with support from Rarible and featured programming from multiple artists. Highlights included Jay Delay’s grotesque newscasts and Mohini’s “Spam Toaster TV,” a fictional appliance parodying consumer culture.

The “Battle of Longart” unfolded on the Zeroone platform, where spamartists exploited an unfinished vertical scaling feature to flood the feed with absurdly tall artworks. Platform founder Colborn Bell ultimately supported the movement, recognizing its creative force.

Conclusion

SpamArt resists clear definition. It exists somewhere between protest, parody, and postmodern play, continuously reasserting itself through satire, collaboration, and a persistent desire to spam its way into digital art history. It is not first. It is not last. It is eternal.