It was a heady few weeks for trade and art.
Surely a revolution is afoot and we are too entangled the hot mess to get it right.
With that caveat, here are two comments from the front.
NFTs are cutting edge digital art
Some people say that the non-fungible token (NFT) that allows a digital work of art to be owned solely by a buyer is traceable to the creation of Colored coinsin 2012 – or to CryptoPunks in 2017 – though the this The market just recently exploded.
One side of Jules Antoine LissajousA study on the optical representation of sound vibrations1957
But digital art (DA) self has an older pedigree.
As early as 1857, the French Jules Antoine Lissajous (1822–1880) published pictures of mathematically designed “Lissajous Figures” by recording lines that were created by sound harmonies with a camera. These numbers had been identified by the American 42 years earlier, Nathaniel Bowditch (1773-1838) – Bowditch just didn’t render them as images.
The first work of art to be fully computer-made and therefore recognized as “digital” was Oscillon 1 created in 1950 by the Americans cComputer scientist Ben Laposky (1914-2000). He called these pieces “Oscillons” or “Electrical Compositions”. They were Lissajous figures of a complex type. An exhibition of his work in Cherokee, Iowa in 1953 referred to it as “electronic abstractions.”
Ben Laposky, Oscillon 45, 1952
Laposky inspired other digital artists and produced the medium’s first major show in Stuttgart in 1965 Frieder Nake (born 1938) and the first museum exhibition “Cybernetic Serendipity,” at the London Institute for Contemporary Art Three years later.
DA’s emphasis on geometric abstraction is based on the worldwide craze for Pollock and the swarm of abstract expressionists who haunt the cultural waters of this day. The visual art of play and the clean rendering of DA designs also gave momentum to the early 1960s Op Art.
Op Art: Frank-Stella, Untitled, 1966
DA’s enthusiasm for razor-sharp linearity, geometry and images categorized by numbers continues to this day.
There are large collections of digital art at Whitney, MOMA, the Walker Art Center, and other juggernauts of the art world; There are now over a dozen museums dedicated to digital art – from Zurich’s MuDato Tokyo Mori Museum of Digital Art, to the LA Digital Art Center.
NFT images: easy on the eyes, but not museum-like
Beeple (Mike Winkelmann at beeple-crap.com – the man who made the $ 69 million Every day) said we are witnessing “the next chapter in art history”.
I am different.
New chapters in art history are being written by Artist Manufacturing new art.
But this is a chapter written by artists (and their advocates) who are taking new financial steps.
This is a new chapter in financial history.
Piero Manzoni, Artist’s shit, 1961
It is true Damien Hirst and others performed financial acts as aesthetic. Artists have sold air, Shit, and invisibility as a conceptual advancement, but that’s not what’s happening this month.
If this art is attached to an NFT and sold for crypto stacks, it is not Showcased it as an artistic achievement.
Pile of nNew market fluidity are is used, but not a new aesthetic concepts is are shape the plot.
As of this writing, the vast majority of the images that end up in NFT cinderpiles collections from Ethereum are more like the paperback covers of the 1950s than the digital art productions that have migrated to museums and marquee galleries for years.
Beeple, Infinity and beyond, 2015
Although anime, computer games, and comics are the main inspiration, this NFT drop is sure to stick around in the field of cultural reference for decades, and so do I. will admit there has been an art-historical development here, but I don’t think that’s what Beeple is thinking of.
That moment is an A-bomb blast in the greater fragmentation and recombination of kitsch and high art that has lasted for a long, bloody D-Day since then Andy Warhol’s first art exhibition in 1962.
We can point this out Toulouse Lautrec (1864-1901), Stuart Davis (1892-1964) and the handy Andy (1928-1987) as the first hit guys, but the bomb maker master in today’s broken landscape is certainly Brian Donnelly (born 1974), better known as the comic book character maker , KAWS (… with apologies to Takashi Murakami).
KAWS, Little lies 2020
It’s true this could be a fresh outbreak of the low-brow taste (as people said about the genesis of) KAWs and Warhol), but I don’t think that’s the case.
There’s just an entire tuna school of new money millionaires used to splashing around the planet Neuromancer– –Style pictures – and they buy what they want.
It’s not an art revolution.
The taste doesn’t change.
It’s just the emergence of some glorious new destinations for loads of disposable income.
Nevertheless, I am confident that there will be a cultural counterbalance between historical artists and first-time users of the marquee, such as Kenny Sharp in the NFT market any moment.
At the speed things are moving forward, I’ll bet my lower bitcoin that it’s going to be wild, explosive, and strangely historical weeks out the month, blockchain money will start chasing higher value art objects as it is now chasing CryptoKitties, video snippets and original tweets.