First published on Thought Catalogue January 16th, 2018.
In the wave of people speaking out about sexual assault and inequalities in the workplace, the recent launch of the #TimesUp campaign (amongst thousands of others), and epic speeches at the Golden Globes, I’ve been reflecting on my own perceived inability to speak out, stand up, and join “feminist” causes. …
Art asset management has benefitted from a slew of new technology lately. RFID chips, blockchain registration, and databases for artwork have all come into vogue in recent years.
The problem is, no one individual solution addresses the biggest issue still in play — the missing link between the physical work of art and its digital life in a database or on a blockchain. Without that connection, there’s a wide security gap in the system that bad actors can use to their advantage.
Digital information can be changed or erased from a database with surprising ease. …
2018 was a fascinating year for the art world.
On the more traditional side of the space, David Hockney’s Portrait of an Artist (Pool with Two Figures) set a record for a piece sold by a living artist, going for $90.3 million. And the ever reclusive Banksy pulled an elaborate stunt, activating a shredder hidden in the frame of one of his paintings just moments after it was sold for $1.4 million at Sotheby’s.
There was also intriguing news coming from more cutting-edge areas of the art world.
Take the now-famous example of an AI-generated painting selling for $432,000 at Christie’s. Or the companies that released dapps, like DADA, to make it easier than ever to buy digital art. Meanwhile, at the Blockchain Art Collective, we launched our Certificates of Authenticity for artists looking to create a secure physical-digital link for their works. …
I was at a conference recently, and I ended up in a conversation with someone from the Institute of Electrical and Electronics Engineers (IEEE).
As we were talking, he shared his view that the original goal of the internet was to help people, but in his mind, it’s clear the technology has done just as much harm as good.
I think that’s partly because people now have all the power of the internet at their fingertips, but there haven’t been many accountability measures put in place. …
Since the Blockchain Art Collective’s (BAC) app and products launched a few months ago, we’ve been hearing from artists and institutions who want to use the platform to authenticate artwork.
It’s been a great response, but we have been fielding questions about how it works for both for current artists and for institutions who may have artwork from deceased artists’ estates.
The two tracks — one for living artists and the other for the secondary market — are similar. But both do bear some explaining. …
People often want to assign a hierarchy to art.
This need to classify is clearly evident in new and transitional styles like crypto and blockchain art. With so much innovative and unusual work out there, people are ready to nail down some sort of ranking.
The thing is, not all art is intended for the same purpose.
That makes it hard to compare work side-by-side and then hold up a “winner.” If two artists are trying to evoke different emotions or serve particular purposes, then it’s impossible to compare the pieces to each other. …