The best ideas are the ones that are called dangerous but inspire hope. Remain open to all possibilities.Continue reading
Takashi Murakami is the latest blue-chip artist to embrace the NFT art craze by releasing a set of 24-by-24-pixel works based on his signature smiley face flowers.Continue reading
Working with Bigshot Toys, English revisits his early career Pop Provocateur persona with American Depress and Uncle Scam. American Depress highlights a certain rodent mascot crucified on a mousetrap cross, and the Uncle Scam series features a downcast and befuddled titan of capitalism on a torched throne.
The exhibition, called “Season 1 Start Pack,” includes NFT work from more than 300 artists (including the one above from artist Falreng), and will be available to view from March 25 to May 25 at 56 East 11th Street in Manhattan. With NFTs being the crypto-related topic du jour, something like this was only a matter of time. What’s remains to be seen is whether Superchief will be able to attract the sort of lavish spending that saw a work full of questionable material from artist Beeple controversially rake in over $69 million at a recent auction at Christie’s.
Since we opened our first digital art gallery in Soho back in 2016, Superchief has held the belief that digital-native artwork was an essential art form to include as part of the larger art movement of our era.
We have had been running our version of a traditional art gallery space since 2012 and by 2016 we knew well that there wasn’t a clear way to monetize digital artwork. But we felt strongly that just because we couldn’t sell it at the present time, didn’t mean it should be kept apart from the art community at large. These are artists we feel are brilliant and exciting, and should be part of the cultural exchange. We continued to champion and push for the digital artists we love, getting them on giant digital billboards around the world and other fun stuff. But that wasn’t really a paycheck. For this artform, there was really only the chance for money and success via commercial projects.
Paul Jackson, an illustrator known for his highly details work, released his first set of NFTs on Nifty Gateway last night. INSIDES included an open timed edition of two different color ways of Paul’s shark-as-a-vehicle as well as six animated versions of pieces from his INSIDES series. Some of these pieces have been previously released as animated lenticular prints (full disclosure: we own one here, and it rules) and its amazing to see these animation expanded for Paul’s first NFT drop.
The timed open edition of both shark pieces sold over 200 copies minting over $220k in just 5 minutes. Amazing.
Click here to view the best NFT art from Paul Jackson
View the INSIDES series on Nifty Gateway
View the INSIDES Open Edition
The recent boom in non-fungible tokens, or NFTs, has been accompanied with controversy and concern over the technology’s environmental impact due to the computational power required.
Out of all transaction types on a blockchain, NFTs are some of the most intensive of them all as they often involve numerous complicated transactions and executions of smart contracts in the minting, bidding, selling, and transferring process. This is sometimes reflected in transaction costs reaching hundreds of times more than that of a simple transaction.
In a previous post I discussed why I think NFT Wearables are the ultimate digital flex. The idea of applying digital scarcity to virtual clothing is a great example of NFT utility. If you’ve not read that article, I think it’s definitely worth your time. You can find that here.
Utility can get lost in all the big money sale headlines, but I think it’s important to highlight some of the usefulness of NFTs, besides simply selling. In the current landscape, there are a few interesting NFT use cases worth noting. I look forward to covering most of them in future posts, but today, I’d like to focus on NFT Art and how these tokens can be used within virtual worlds.
The CryptoArt NFT Market (i.e. selling digital art on the blockchain) is worth at least $150M – and this excludes some of the largest marketplaces like opensea.io, (and this figure is quite heavily skewed of course, with the top artists earning the most).
Selling work on a blockchain can be a technically challenging task. For this reason, many platforms and websites have emerged, aiming to make this process as seamless and easy as possible for artists. Unfortunately, currently many of these websites are based on the Ethereum blockchain, which is very inefficient and ecologically costly by design. E.g. selling just a single-edition artwork on Ethereum has a carbon footprint starting at around 100 KgCO2, which is equivalent to a 1 hour flight (and depending on the platform, can reach a long-haul flight). Selling an edition of 100 works has a carbon footprint of over 10 tonnes CO2, which is more than the per capita annual footprint of someone in the EU – including all emissions from industry and trade.
But there are more sustainable routes emerging. As the CryptoArt NFT market is exploding in a gold-rush style free-for-all, there is a lack of clear information on the ecological impact of different approaches to NFTs. The purpose of this guide is to help CryptoArtists who are interested in exploring more sustainable alternatives. Currently, these more sustainable platforms do not have the volume of their unsustainable counterparts (i.e. the Ethereum-based platforms). For this reason, collectors and sales are likely to be significantly lower too on the more sustainable alternatives. However, hopefully as more artists migrate to these emerging waters, this can encourage platforms, developers, investors and collectors, to bridge to develop more ecologically friendly and transparent platforms.
In this post we’ll point out that while well-intentioned, the argument that NFTs cause carbon emissions is untrue, and is based on a misunderstanding of how Ethereum works.