Posted on May 19, 2023, 10:15 PM, by jfriedman, under
Crypto art.
In economic terms, the purchasers of Trump’s NFTs are not producers but consumers. They play no part in the creation of the cards’ value, which they only enjoy passively. In political terms, they are not citizens but subjects. They do not constitute a self-governing community; they have projected their own power onto an alien idol. In aesthetic terms, they are not critics but fans. Their role is not evaluation but praise, for by praising the product in public they increase its value.
Our third essay on crypto art (co-authored with David Hawkes). The first one “The Marriage of Art & Money” dealt with the financial nature of the digital art NFTs, while the second “The Afterlife of the Aura” took up the thorny subject of materiality in contemporary art. This article explores the significance of Damien Hirst’s […]
Another co-authored article on NFTs—“The Afterlife of the Aura” out on the Atheneum Review website. The “aura” is what makes the experience of viewing Da Vinci’s Mona Lisa in the Louvre, or his drawings at the Met, different from looking at their images in a book. It is inseparable from the viewer’s visceral reaction to […]
Athenaeum Review just published a co-authored article “The Marriage of Art & Money” on the ubiquitous topic of digital art NFTs. The relationship between art and money has always been symbiotic. It has been equally true with papal patronage in sixteenth century, and with the interwar European avant-garde whose fortunes, according to Greenberg, were inexorably […]
Tags:
art auction,
Art History,
art market,
Beeples,
Clement Greenberg,
crypto art,
Damien Hirst,
digital art,
Guy Debord,
Marcel Duchamp,
Marshall McLuhan,
Maurizio Catalan,
NFT,
Piero Manzoni,
society of the spectacle,
Yves Klein Comments Off on The Brave New World of NFT art |
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