The content in this article comes from the archive of my irregular Twitter video series, Crypto Art Question of the Day (#CAQOTD). On February 22, 2021, I broadcasted a video where I asked “What’s one thing you wish someone told you before entering the NFT space?” and these are some of the insights.
More and more artists are discovering the power of NFTs and the promise of CryptoArt. …
An Emerging Digital Genre
Trash Art is a new genre that uses existing media to create new works much in the same way collage and installation works took found or junk objects and incorporated them into a larger piece. Its history of thought and progression is outlined in the text below. This article is the second in a two-part series. The previous article informs the discussion about trash art.
The trash art movement began with a conversation about what defines art; the role of curation on-chain; and the role technology plays in the creation of art. Does a shortcut disqualify…
Found Art and Junk Art — Bucking Tradition
This article covers the origins of trash art, which can be seen in the found art and junk art movements. The thoughts here inform the discussion about trash art in the next article. This article is the first in a two-part series.
In 1917, French artist Marcel Duchamp entered a work into an exhibition put on by the Society of Independent Artists.
Fountain (1917), Duchamp’s entry, is considered the first piece of Found Art; it was not well received at the exhibition. In fact, Duchamp found that his piece — a urinal…
Crypto art has been around since 2011. Mike Caldwell’s Casascius Coins was the first example of crypto-infused art. Each coin “contain[s] an embedded piece of paper with digital Bitcoin value, covered by a tamper-resistant hologram.”¹
You can find their art here:
SuperRare — http://superrare.com/secondrealm
Website — http://secondrealm.com
You can connect with them here:
Twitter — http://twitter.com/secondrealm
Instagram — http://instagram.com/secondrealm.art
Telegram — http://t.me/secondrealm
TATR tech (Ŧ™), led by Second Realm, is launching an experimental protocol formulated at the intersection of decentralized art and decentralized finance.
NFT art collectors are incentivized to share art with other collectors. As a reward, people who successfully transfer and receive “the people’s potato” will earn $TATR tokens. This protocol is known as Social Liquidity Mining.
All revenues obtained from the sale of “the people’s potato” are directly reinvested into TATR tech and used to subsidize gas costs during distribution periods.
The problem with remixes is that they represent a financial threat to galleries via copyright litigation and attrition. This is highlighted by removing Robness’ 64-Gallon Toter from SuperRare and echoed by the challenge of legal remixes across platforms.
In the Decentralized Art (DeArt) space, remixes share the same audience, at scale, as those offended by them. I will argue that this friction is a symptom of a business decision made by SuperRare and adopted by other platforms.