In the U.S., the National College Athletic Association (NCAA) recently suspended rules that banned amateur athletes from monetizing their “Name, Image and Likeness” (NIL) via such means as product endorsements and merchandise. Those closely following the NFT space rightly recognize the opportunity, but one should not expect an explosion of sports NFTs to follow. There are many more lucrative deals clogging up the pipelines but, long term, the implications of this ruling change are considerable for NFTs especially if the changes are extended to high school athletes.

 

On July the 1st, the NCAA lifted rules stopping college athletes from monetizing their name, image and likeness while maintaining amateur status. Due to a wide range of activity in this area from state laws, some of which were about to come into effect, to proposals in Congress, final clear guidelines are not yet available. The situation for high school athletes is even more confusing with statements that they are not eligible in response to statements that they are and warnings about dropping NFTs too soon after one has graduated from high school.

 

However, unclear cut off dates are not stopping future college athletes from dropping NFTs and signing all sorts of deals. And keep in mind that, in April, University of Iowa basketball’s Luke Garza released his first NFT almost before hitting the showers after his last game in the 2021 NCAA men’s basketball tournament. So, with graduation behind them, we should see a rising tide of former high school athletes attempting to gather some NFT back-to-school money.

 

But can we expect a “flood of college athlete NFTs” to save the day for NFT markets declared dead? Well, yes and no. There will be significant growth in NFTs this year though likely spread over seasons for specific sports. Of course, high-profile athletes are already taking advantage of the shift in rules and releasing NFTs, such as the Kayvon Thibodeaux NFT in partnership with Nike founder Phil Knight and designed by Oregon alum Tinker Hatfield.

 

Keep in mind that the rules change creates new marketing channels of fresh young stars being offered much fancier opportunities than an NFT. So don’t be surprised that NFTs won’t get the same level of sports headlines as deals like:

 

  • Cavinder twins sign with Boost Mobile and Six Star Pro Nutrition
  • McKenzie Milton and D’Eriq King join Dreamfield, a NIL-focused startup, as co-founders
  • Hercy Miller signs a $2 million deal with Web Apps America

 

So this coming year should be big for college sports-focused NFTs but NFTs will not be the biggest news to come from NIL rules changes. Nevertheless, this change comes at a perfect time for NFTs:

 

  • 2021’s strong introduction of sports NFTs from NBA Top Shot to Sorare establishes NFTs as a new element in athlete’s merch bundle. Being on that checklist now means NFTs will become a standard item with which to maximize monetization.
  • College athletics have a huge community element and a family fanbase that is often deeply engaged over generations. Such a dynamic can strongly increase the desirability of identifiable digital collectibles, which will kick in even deeper if high school athletes gain similar rights.
  • Currently, a wide range of NFT platforms and marketplaces are being launched, including many in the sports space. Opening up college and, possibly, high school athletics to NFTs could lead to a wide range of game and marketplace startups centred on amateur athletes.

 

The enthusiastic community support received by amateur athletes makes them a huge target for marketers. Of course, the big bucks will go to the big stars, but everyone can create something unique to memorialize their years in youth athletics. Once the headline endorsement buzz fades into another element of background noise filled with pet foods and hygienic gear, NFTs from one’s days as a young sports star will remain forever on the blockchain of your choice for you and your fans to enjoy.

 

Featured Image via Pixabay

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SUMMARY

Tech Talk Media LLC, an award-winning US production company, announced its production of a new documentary series called NFTme. The series will cover the NFT Digital Art & Cryptocurrency industries, both of which are currently experiencing rapid growth.

 

About Tech Talk Media LLC 

Co-founded by serial entrepreneur and creator Jonny Caplan, the award-winning production company Tech Talk Media is renowned for creating high-production factual TV and film content for tier-one broadcasters. Their programming features technology, innovation, outstanding individuals, and major lifestyle shifts.

 

Photo credit: Tech Talk Media LLC

 

In addition to being a hit Amazon series, Tech Talk Media‘s flagship production, “TechTalk,” may now be viewed on Apple TV, Discovery, Roku, and Peacock (NBC) reaching 500m viewers monthly and broadcasts in 80+ countries. PwC & NASA also signed strategic alliances with the company in 2020, which has received 15 International Film Festival Awards. Moreover, since the series debuted in October 2019, more than $350 million in funds and strategic partnerships have been raised by 50+ under-the-radar tech start-ups on TechTalk.

There are several upcoming productions by Tech Talk Media, including Inside NASA’s Innovations – inside NASA’s US facilities and technology innovation – The Rise of A.I. – a peek into the artificial intelligence industry – The Cannabis Biz – discovering the Cannabis market, innovators, and brands – TechHeroes – a sustainability competition series – and Women in Charge – a docu-series on female entrepreneurship – among others. 

A selection of trailers is available through the Company’s website.

 

Jonny Caplan: The Visionary CEO & Co-founder

Jonny Caplan has a diverse range of talents and skills. In addition to being an architect and multidisciplinary artist, he is also a successful entrepreneur and NFT artist. He was often featured on television and the front page, and social media of major NFT platforms. He was also one of the featured artists in the NFTs.Tips 2021 Miami exhibition.

“Total sales in the online art and antique market worldwide roughly doubled in 2020 over the previous year, as the coronavirus (COVID-19) pandemic forced auction houses and dealers to find alternatives to in-person events. Overall, global online art and antique sales amounted to 12.4 billion U.S. dollars in 2020, rising from six billion U.S. dollars in 2019.” – Statistica

 

Being Executive Director, Producer/Director, CEO, and Co-Founder on most projects, Caplan notes that he is very enthusiastic about the NFT market. After noticing the wealth of activity, innovation, support, and creativity, Once he’d researched the space, Caplan remarked “This is exactly what the world needs right now: an army of creatives and innovators to make a positive impact and global effect. The spirit and unity inside the NFT community is something I haven’t seen before, the sense of community, the supportive nature, generous actions, and commitment are second to none. Frankly, the world is missing these very values, and I am hugely encouraged by what I have witnessed over the last few months.” 

By producing the NFT Documentary Series, Caplan, who was reluctant to share too much information about the Series at this early point in its production, intends to make an important contribution to society. He says, “We are currently in pre-production, with an incredible guest list and spectrum of content. The idea is to educate the masses on the wonderful innovation and community inside this fast-growing industry. I mean, if we can really make a change in the world, it’s to accelerate its exponential growth and transmit all these values across the globe.”

“2020 was undoubtedly a turning point for the online art market. Auction houses and art fairs boosted their digital presence, relying on formats such as Online Viewing Rooms (OVRs) – letting art collectors and enthusiasts experience 3D digital reproductions of artworks – as well as streaming auctions and events. During ONE, a global online auction organized by Christies, a Roy Lichtenstein’s painting was sold for more than 46 million U.S. dollars, making it the most expensive lot sold by Christies in 2020. 2021 also looks to be an important year for online art sales, with non-fungible tokens (NFTs) and crypto art hitting the news when a digital collage by American artist Beeple was sold in an online-only auction by Christies for 69.3 million U.S. dollars.” – Statistica

 

NFTme & its NFT Utility Tokens

The company has stated that they will launch NFT utility tokens alongside the production, connected to the production, and give individuals a chance to collaborate and participate. In short, NFTme Season One will feature 50 Utility NFTs which will be released in July 2021– accessing a share of the profits from the production along with their pro-rata DAO on the content direction. 

In addition to their track record of award-winning productions, Tech Talk Media specializes in business, innovation, technology & media, making it the perfect time to create a documentary series like this. “No doubt can be made on the shift, uptrend and global interest in NFTs, as of June 15, 2021, the aggregated sales value of NFTs over 30 days amounted to approximately 58.4 million” – Statistica 

 

LINKS

Tech Talk Media LLC: www.TechTalkMedia.tv

Jonny Caplan, CEO: https://uk.linkedin.com/in/jonny-caplan-897755a

NFTme Documentary Series:   www.NFTme.tv

Jonny Caplan Art:  www.linktr.ee/futuresurfer

Featured Image: Photo Source: Tech Talk Media LLC – CEO & Co-Founder Jonny Caplan

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Bobby Davidson is a Brooklyn-based artist and cinematographer. Bobby has established himself as an interdisciplinary artist using painting, sculpture, video, and virtual reality. Assembling works from both the physical and digital world, he has sequentially created a lineage of works that navigate beyond a singular dimension, capturing an extension of both the physical and nonphysical world we live in today. Bobby’s series Parasitic Capacitance is currently on view with Launch F18 Gallery in New York City, and he is the first artist to debut his NFT as part of their virtual “Viewing Room” series. 

Bobby Davidson
Bobby Davidson

Much of your recent work comments on technology, old and new, and employs digital manipulation to bend reality with references to art history. Do you feel a viewer must be aware of these processes and concepts to appreciate your work?   

My relationship with art and art history really grew out of a passion for learning about the masters, which lead me to examine my own personal motivations to become an artist, specifically beginning with photography. My interest in technology and the mechanics of how things are created allowed me to experiment and expand in my artistic practice arriving at a place where I feel most comfortable not being defined as an artist only working in any one given medium. 

 

I try to be as enigmatic as possible but for a purpose. My goal is to give a subtle wink to the audience but at the same time have the viewer think beyond their own conventions and sensibilities so they might find greater meaning in their own everyday lives.  

 

Bobby Davidson
Bobby Davidson

 

Who are your biggest influences? 

The Pictures Generation had a huge influence on me. This was the first time I thought outside traditional means of producing. I think this movement really challenges traditional art forms. Ideas like authorship and appropriation really resonated with me, challenging me to start thinking about what can and can’t be art. When image culture and media are your subject matter, all of a sudden, there are limitless possibilities. This was a huge growth period for me as an artist. 

 

Both your digital and physical works push boundaries relating to the limitations of traditional film and photography. What have you discovered about these mediums that you hadn’t considered and/or wish to explore further?  

Using a doorknob as an example…From a utilitarian standpoint, a doorknob serves a purpose; to be used to open and close a door. But the practicality of that doorknob can represent so many other purposes. The ability to recontextualize any object in order to have a dialogue is why I think art is so special. The doorknob can be many different things in this case.  

 

My practice is slowly moving towards simplicity and I’m finding a synthesis in the process of making work, especially with NFTs. I feel like I can explore augmented and virtual reality and find conversation with a community already engaged in these discussions and new ways of creating. 

 

Do you feel more creative freedom as a multidisciplinary artist? How do you define your style as an artist who explores a variety of mediums?  

In a strange way I’ve always wanted my work to come across as author-less, but at the same time still, maintain certain characteristics. I think that’s why my work often takes on a variety of forms. It’s my way of not taking the work so seriously and allows for a bit of mystery and humor. There is always a through-line with my work but with the purpose of not being so rigid or self-conscious.

 

I recently published an interactive augmented reality zine called Ultra HD Premium Features. The zine invigorates the viewing experience through the playful use of augmented reality. Much like photography, cinematography is constantly innovating and evolving and as a result, it’s become a highly scrutinized medium. From dynamic range of an image, resolution size, full-frame versus Super 35mm, anamorphic versus spherical, and signal to noise ratio – the tools are seemingly endless…We have lost sight of what these tools were actually designed to do which is to help us tell a story. These are the methods I used in the zine, teasing out different materials to create a dialogue about a time-based medium that’s also a physical object that you can interact with virtually using a smartphone.  

 

Your current series Parasitic Capacitance is a body of work that explores several mediums including a variety of digital pieces. Can you speak about the genesis of this series and the ideas behind these works? 

This work really grew out of my unending reliance on screens, whether that be on my smartphone or studio workstation. It would be easy for me to say that this daily consumption has had a negative impact on my everyday life. But instead, I feel these tools, which by using on a regular basis, become a performative experience of our everyday screen-based lives where we can begin to consider technology as not in conflict with nature but possibly an extension of the human realm and how we define the authentic connection in these times. I wanted to play with this duality of worlds by creating the architecture of connecting the physical with the non-physical or technological.  It was also a way for me to recontextualize some of my older work but also challenge myself to explore new realms such as virtual and augmented realities.

 

Bobby Davidson

 

What was the inspiration and story behind your current NFT titled New American Landscape? 

New American Landscape is actually based on a Frederic Edwin Church painting titled Twilight. I was drawn to his highly romanticized and oftentimes photorealistic depictions of nature. I found myself seeing deeply into these paintings, falling through the canvas, much like we fall through our screens and devices. I’m interested in how we can communicate, explore, and play with modern-day escapism. 

 

The New American Landscape NFT is a vignette that examines the aberrations of screens and dissection of what is real. It’s the ‘what are we looking at?’ at any given moment that I find to be both uncanny and exciting. Reshaping the conversation around humanity, media consumption, climate change, natural disasters, and how our views can be skewed by experiencing different forms of reality; the limitlessness of digital manipulation coupled with elements of the real world is what I find to be intriguing. 

 

To learn more about Bobby check out his website and follow him online:

 

Bobby Davidson

Website: untitledproof.com

Instagram: @davidson_bobby

Twitter: @BobbyDa71616116

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Anyone who can make a living doing what they love should consider themselves lucky. Yet for blockchain copywriter and Etherpoet Margaret Corvid, also known as MargaretLabour, her luck never stopped, all thanks to her day job. Since selling her Reply Guy NFT for 50Ξ ($110,000), a gift from Twitter for tweeting her NFT poem, it’s back to business as usual for Corvid, whose recent streak of crypto successes is barely luck; not by a longshot.

“I only owned the NFT for I think like an hour, and then I picked up my phone and there was an email from Rarible, and I looked at it, and then I started swearing and shouting at my husband,” Corvid recalls. “And then, obviously, I had questions, so I went to my favorite servers which are Etherpoems and Taylor.wtf’s Discord—they’re full of really wise people—they gave me good advice, so I took the bid,” she said. “And then I looked in my fucking Metamask and there was $110,000 in there.”

While acknowledging that none of this is financial advice, Corvid shared her philosophy about cryptocurrency, which has always been to not use it as a speculative tool primarily, but more so to invest sweat equity—i.e., labor, in exchange for cryptocurrency. 

“I don’t want to be spending this principle really at all,” Corvid said of her cryptocurrency coffer. “I want to be earning crypto through the sweat of my brow,” she emphasized. Corvid is currently taking poetry commissions in addition to her work as a copywriter for NFT artists. Painter and art collector Dario De Siena is among her current contractual and collaborative clients.

“I looked around the markets, like OpenSea, and I immediately saw a need for someone with my skills,” Corvid said. I saw a lot of really talented artists with amazing work, but they don’t necessarily carry the confidence in presenting their work in words and descriptions,” she realized. “This is something that I can do.” Corvid’s way with words helps artists articulate what they want readers to connect with about their art—whether it’s helping to establish their identity and brand story in their artist bios, or crafting the narrative for artist statements, grants, contest submissions, artist residencies, exhibitions, and more. 

Corvid also writes about the creative process and symbolism in an artist’s work, which she is uniquely skilled to articulate. Her role as a writer and poet in collaborations with other artists often serves to connect visual and literary elements. Being involved with a branded content agency in fiat, Corvid knows how to work through the editing process and give the client exactly what they want. Her experience contributing to publications like The Guardian affects her ability to deliver freelance copywriting services at the highest professional standards.

 

 

When you’re working for crypto, you have to be your own bank. That’s the whole point of decentralized finance, which can lead to financial freedom and generational wealth. DeFi isn’t easy to learn, and if it was, everybody would be doing it. It’s a privilege and a given that you’re down for doing your own DeFi when you’re banking on the blockchain. 

 

Remember doing decimals in math class? Did you ever take a home economics class and talk about Compound interest or dollar-cost averaging? That’s the essential math we need to grasp to be our own brokers. Yes, our computers can solve these equations, yet we need to know what to ask them in order to benefit from knowing the answer.

 

Corvid started counting crypto in 2012 when she first bought Bitcoin. Now that NFTs are here, there’s no question where her focus is, and of course, she’s at the forefront of the crypto art movement. One of her clients even pays her in NFT collectibles. “Those NFTs perform better than any currency I got, so yeah, I’ll take ‘em,” Corvid says. She’s doing the math.

 

 

Since becoming 50Ξ richer, Corvid rolled up her sleeves and returned to work as a writer—like her 15 minutes of Twitter fame never happened—except now she’s the proud new owner of a CryptoPunk; one of the very first NFTs minted on the Ethereum blockchain. Corvid’s CryptoPunk purchase for 17.7Ξ has effectively minted her belief in the crypto community she is writing and fighting for every day.

 

 

“Instead of looking in my wallet, and knowing I had $110,000Ξ yesterday, then seeing I have $101,000Ξ today, this CryptoPunk sort of hedges me a little bit and I actually feel a lot calmer about it now,” Corvid reflects. “I’m a lot more confident.” Her CryptoPunk makes her an ambassador for blockchain culture and a visible reminder of stored value. CryptoPunk owners command a level of respect in the crypto hierarchy of notoriety and influence that is immediately bestowed upon their owners. As a cultural status symbol, CryptoPunks enhance the value proposition in every crypto space they occupy. While presenting itself as a privileged asset of choice among a forward-thinking few. CryptoPunk ownership embodies Corvid’s enduring presence in the NFT community even while her immutable legacy is still being written.

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The use of NFTs as futuristic sales tags that automate complex processes is growing not just for physical items but also for more abstract entities such as royalty streams. While this shift may seem to be another logical use of NFTs, taking advantage of blockchains as open ledgers. It will also bring the issues accountants encounter in other fields to the shores of NFT Land. In the case of A Tribe Called Quest, what at first looked like a basic false claim appears to be a legitimate claim to long-forgotten royalty rights that simply caught the artist by surprise. Unfortunately, the resulting headlines will likely increase the growing mental connection between NFTs, and digital crime.

 

Though NFTs have many possible use cases, art and media ownership has received the most attention to date. However, using an NFT for a transaction that not only reassigns royalty rights but provides data for automated distribution of a percentage of those rights at a later date is one of the more widespread use cases currently under development. In the example of music royalties, companies such as Royalty Exchange have been exploring the concept of auctioning music rights for many years, before the popularization of NFTs. Thus, they are well-positioned to develop related NFT use.

 

At the end of June, news spread that Royalty Exchange’s new NFT program was being used to sell a percentage of the rights to early albums from legendary hip hop group A Tribe Called Quest. Within less than a week, the rights sold, A Tribe Called Quest denied the validity of the sale and then, after sorting out the situation, explained the backstory. Definitely worth a read in that it gives one a bit more insight into some of the peculiar arrangements that occur in the music industry, causing problems years later. In this case, the rights ownership appears legit, and the NFT listing is still live on Royalty Exchange’s site. 

 

Another situation giving outsiders a look at the twisted world of music industry deals and disputes as intensified (or illuminated) by NFTs involves the 25th anniversary of Jay-Z’s iconic hip hop album “Reasonable Doubt.” A confusing lawsuit regarding Dame Dash’s activities around a different “Reasonable Doubt” NFT continues to twist and turn with an official Jay-Z directed NFT now in the mix. Note that a related lawsuit involving the original album cover photographer does not involve NFTs and one begins to realize that NFTs may not be the problem here.

 

Ntfs indeed offer quicker resolutions to processes which can also benefit scammers desiring a quick exit. But a certain amount of what NFTfi news hits the press in the coming months and years will be the direct result of NFT and blockchain tech bringing industry-specific issues into the light. Unfortunately, the juxtaposition of “NFT” and “lawsuit” in headlines may cause general readers to assume that the NFTs were part of the problem. When, in fact, they actually may reveal and address issues with already existing standard industry procedures. As difficult as it will be for some to understand, NFTs may not just reveal such problems but sometimes offer solutions as well.

Featured Image Courtesy Vevo

 

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Ishita Banerjee is a Canadian artist and creator. Ishita moved to Canada from India in 2010 to pursue a full-time art career under the name Soul Curry Art. With a specialization in visual narrative art. She trained as a classical fine artist. Her art is an assimilation of her life experiences, largely influenced by her relationship to impatience and impulsivity. Ishita merges imagination and memory to create vivid and bold abstracts, people, faces and non-traditional portraiture, rendered in strong colour, motifs and details. Her work is deeply inspired by the Cubist style of art, unconstrained, and breaking free of traditional rules of perspectives.

Inshita Banerjee
Inshita Banerjee

 

You’ve made a career in the field of broadcast design and book publishing and as a lecturer at the Delhi College of Art. How did you arrive in the visual arts? 

I started my art journey by going down the traditional art school route. Pursuing a Bachelor’s in a Fine Arts degree and then a Masters in Fine Arts […] helped me delve deep into the various techniques, methods and materials of art. Art College helped sharpen my artistic instincts and also helped me understand and accept critique. Working as a lecturer in art and design opened my mind into teaching art, mentoring students and helping them to appreciate and approach design projects with an artistic vision. My many years in the broadcast design space introduced me to design software, motion design, animation and post-production techniques. I was able to visualize art concepts, branding and network designs for some of the world’s largest broadcasters. Through these experiences, I felt my art horizon-broadening and I was able to embrace multimedia experiences in my own art practice in the contemporary art space.

 

How did your journey with cubism begin and what attracted you to this style of art?

My final year MFA dissertation was on the sociology-cultural impacts of the Cubist art movement and that propelled me into learning deeply about the art philosophy of Cubist Art. Drawing upon Paul Cezanne’s emphasis on the underlying architecture of form, Cubists used multiple vantage points to fracture images into geometric forms. Figures were depicted as dynamic arrangements of volumes and planes where background and foreground merged. This was an aspect that fascinated me. Positive and negative spaces were unified and the same objects were broken and represented in multiple vantage points. I loved playing with the human face, breaking it apart, exploring how our narratives as humans and emotions flowed and fit into one another’s. I found myself experiencing and experimenting with this style over and over again until it became my signature style.

 

Where do you draw inspiration from?

Human interactions, emotions, moods, and feelings inspire my work. I love abstracting these feelings and associations. Depicting people and nature in their tempestuous forms plays a big role in my work. Actively seeking out gnarled, broken, rocky, cyclic, layered, and grungy aspects of nature, I try to find the beauty in the bizarre, the unexplained.

 

Through my art, I strive to give tangible forms to complex emotions like grief, longing, loss, love, suffering. The interplay of human relationships, whether with one’s own self or with others is a recurrent theme in the pieces I make. Threading lines, textures and markings in my work tell the story of the passage of time, the inter-connections of forms, both tangible and abstract.

 

As a woman how do you feel about your place in art history being part of an art movement traditionally occupied by men? 

Cubist artwork is often associated with a very “aggressive” style and has long been a space dominated mostly by men. In my early days, working under my brand name of Soul Curry Art, many people often mistook my work to be that of a man’s.  However, the universal feelings of love, longing, and loss that I explore in my artworks are free from the constraints of gender. All-encompassing abstract moods, feelings, and associations, find their way into my artworks and I soften the hard planar angles of this art form. I continue to be fearless in my use of vivid colours, bold faces, and compositional choices. I think my art perhaps is an act of striding confidently and making my presence felt in a male-dominated field. 

 

As you moved into a digital space with your work did your process change? 

I continue to straddle both traditional mediums and digital mediums in my artworks. Most often, my pieces begin on board, canvas, or paper. I work in acrylics, archival ink, gouache, and markers. I love textures, play on light, and the balance of positive and negative spaces. I use collage techniques and layer photography in some of my work as well. Some of my artworks are natively created on Procreate and I love the ease of having my studio at my fingertips with drawing and painting digitally. I’ve been able to push myself creatively after experimenting with uniquely digital artworks. Adding motion, light and music also have been a learning experience and the resulting art pieces have been a sheer joy to create.

 

Inshita Banerjee
Image by Inshita Banerjee

 

What has your experience been so far specifically with your NFT’s featured on several platforms? Do you feel inspired to continue creating in this space?

Recently making my foray into the NFT space, I have been successful at selling my NFT’s on Foundation and OpenSea. My genesis piece “Shiva” was sold within a few days along with a number of other pieces already in the secondary market.

 

Being in the NFT space absolutely inspires me. It fuels a fire not just to create, but to experiment, learn, grow and evolve. Actively seeking out what I can do in this space rather than what this space can do for me, it has been a very rewarding few months, creating, connecting, and building a community. Collaborative projects and bigger ideas are what I’m working on next. Working with other artists, musicians, and developers to realize larger projects. I also want to showcase new and emerging artists from underrepresented communities, work towards curating NFT exhibitions and continue to push boundaries in my own work. I hope to never stop learning and playing through my art.

Inshita Banerjee

 

Ishita Banerjee

Website: soulcurryart.com

Instagram: @soulcurryart

Twitter: @soulcurryart

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The latest addition to Kofi Obuobi’s “3D African Masks” series, a project aiming to reclaim African history via NFTs, dropped on June 30th. The series represents masks that have been stolen from Africa at least since colonial times. Many of these masks today lie in private collections, accessible only to those who pay millions to own them. Obuobi is fighting against this privatization of his heritage by recreating these masks as NFTs, making them and their stories accessible again. Fifty percent of the proceeds collected from the NFT’s sales go toward funding Bezalel Oholiab, an incubator for artists, who can live for free and follow their dreams.

 

Bobo Mask NFT by Kofi Obuobi
Bobo Mask NFT by Kofi Obuobi

 

The Initiator: Kofi Obuobi 

Kofi Obuobi is an artist and activist with a background in product design, a field he sees as a blend of arts and engineering. Obuobi is from Ghana, a country with a stable government that, nonetheless, imposes many limits on opportunities. He has worked on many projects including the BBC Africa Awards held in Kenya on the 26th of May, 2007, and has also taught arts at the Queensland International School in Ghana (2011 – 2017).

 

The Project

Obuobi’s inclination to act came after learning from his mentor, Dr.Malcolm Donald McLeod, about the grand scale of the masks that were taken from Africa. Many remain locked away for only private eyes to behold, thereby distancing descendants of the artists who made them from their roots. Obuobi does not believe this is the proper way to do things.

 

Obuobi stumbled upon NFTs relatively recently, after a chance commission for a sneaker design came his way from Casmir Patterson, at SneakrCred Inc. After immersing himself in the required technology, he realized NFTs could provide the perfect package through which to democratize information while limiting ownership. Obuobi connected this with his ambition to re-appropriate the masks stolen from Africa throughout history. 

 

The match was lit and he began to create stunning representations of many masks, attaching their respective stories to them. A total of 29 masks to date have been made into NFTs, and can be found on Obuobi’s Opensea profile (under the account name, JAYREHMIGADE) .

 

The Drop

Two new mask NFTS were minted on June 30th as additions to the ongoing “3D African Masks” series. They are representations of masks worn by the Bobo tribe of Burkina Faso, and by the Kru–Grebo tribes of Liberia, countries where these tribes have hundreds of years of history.

Photo Credit: Kru-Grebo Mask by Kofi Obuobi
Photo Credit: Kru-Grebo Mask by Kofi Obuobi

 

Bobo Tribe Mask  –  Link to NFT on Opensea

Kru-Grebo Mask   – Link to NFT on Opensea

 

This NFT drop aims to shed light on the stories of these tribes, showcasing the masks that were an essential part of ancient African cultures. The project is successfully re-appropriating the stolen masks that were critical to daily life in these tribes. The impact these masks had is communicated in the story contained within each NFT and is made visible to all, while still allowing ownership by an individual.

 

According to Obuobi, “The BoBo mask was used to ward off bad fortune amongst the people. On days when unused, they were hung in front of homes […] that owned that mask.” The Bobo placed great emphasis on the masks they wore, believing they were essential in maintaining the balance of the universe. 

 

Regarding the Kru-Grebo mask, Obuobi says “The Kru-Grebo Mask on the other hand [was] made by […] privileged craftsmen. The masks were made for Seers of the community. These Seers mediated between the people and God.” In this case, the religious importance is clear, as these masks served as conduits for worship. 

 

Whereas the physical versions of these masks are held in private collections, owned by one person and viewable only to whomever that individual chooses, Obuobi aims to make the masks visible for all to learn from and appreciate while still allowing a lucky collector the chance to own them.

 

Photo Credit: Bwa Mask by Kofi Obuobi
Photo Credit: Bwa Mask by Kofi Obuobi

 

The Impact

Beyond taking back what culturally belongs to him and his community, and by making the information and heritage available for all to experience, Obuobi wants to further maximize his impact. He has two partners, Daniel Ampofo Twum and Joseph Afari,  who are equally convinced of the importance of helping people. Obuobi has experience in education and product and graphic design, while his partners have backgrounds in music production. 

 

The partners have been building Bezalel Oholiab together, having paid start-up fees from their own pockets. Obuobi donates 50% of the proceeds from his NFT sales to the organization for ongoing financing. He envisions Bezalel Oholiab as “a result-oriented talent nurturing and innovative institute,” that will become a “kind of African X-Men with great talent to serve their brothers and sisters on the continent.”

 

Bezalel Oholiab already serves as an incubator for three artists, providing them with free shelter and allowing them to pursue their dreams while providing the tools they need to enhance their craft.

 

Photo Credit: Kofi Obuobi
Photo Credit: Kofi Obuobi

From left to right: Daniel Ampofo Twum, Nii Tetteh Badger, Kofi Obuobi, Kissi Joee, Tino Black

Beyond shelter, Bezalel Oholiab intends to implement a podcast entitled “THINK BIG AFRICA TV” that will “get, grow and retain creatives,” while also supplying content to be monetized on Youtube, Facebook, and other social media platforms. The proceeds collected will also go toward expanding Bezalel Oholiab.

 

Further services provided by the company include Music Business Training, 3D Visualization, Branding, and Design, all of which are taught to the incubatees for free. The financing comes from Obuobi and his partners’ pockets, the monetization of Bezalel Oholiab content, and from the “3D African Masks” NFT sales. 

 

The program is free for the incubatees who live there while learning from experts in art and music. There is hope that they’ll become passionate about the “3D African Masks” project and be inspired to help. Otherwise, they would make incredible art to share with the world that would in turn lend to the promotion of “THINK BIG AFRICA TV” and Bezalel Oholiab.  All art created by incubatees will be owned completely by them.

 

Photo Credit: True Love Mask by Kofi Obuobi
Photo Credit: True Love Mask by Kofi Obuobi

 

Featured Image Credit:  Kifwebe Mask by Kofi Obuobi

Reach out to Kofi Obuobi or check out his art below!

 

Kofi’s Links

Kofi’s Instagram: https://www.instagram.com/kofiobuobi/

Kofi’s Twitter: https://twitter.com/OBJClothing

Kofi’s Opensea: https://opensea.io/accounts/JAYREHMIGADE

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Kira Nam Greene is a New York-based painter. Greene’s paintings explore feminism, materialism and beauty. Her recent series and NFT Women in Possession of Good Fortune was featured as part of the EVERY WOMAN BIENNIAL 2021 at Superchief Gallery in New York City. 

 

You came to painting in a really interesting way, I would love to hear a bit about your artistic background, specifically where and how you grew up and how you feel that shaped you as an artist?

I grew up in Korea in an environment where everyone was very academically oriented with very typical Asian parents. I was expected to become a doctor, a lawyer or a professor but I was already interested in literature and art growing up. I actually studied political science specializing in political economy and then came to the United States to get my Ph.D. Everybody had really high expectations and I was in a field that was dominated by males in Korea. So the expectations were that I would come back and do very meaningful things there. But, somehow, being in America changed my view and after living here for a while I decided I didn’t want to go back to Korea. My background was very academic. I think my approach to art has also been affected by that. I read and I think a lot and that’s kind of my natural inclination to try to combine that natural instinct I have with research, focus, labour and more spontaneous expressions as well.

 

How would you describe your creative process?

I am really connected to materials because I had this very long period of immersion in art. So I would go out of my way to find out more about a new medium that I was interested in by either asking people, watching videos or reading books. The materiality of each medium is very important to me and I have two tracks in terms of material exploration that I’m interested in. One is works on canvas or panels that involve oil painting. But I’m really interested in what other materials I can bring in to make the surface as variable and diverse as possible. I use a lot of acrylic paint, acrylic wash, and mixed media material. Even within oil painting, I use different techniques. I’m invested in realism and I use very traditional mastery techniques with glazing and underpainting. The other track is working on paper. I’m interested in watercolour and coloured pencils, particularly from a feminist point of view because those are the materials that were relegated as “women’s materials.” Of course, it has changed over the years but because of that, I try to use these materials on paper to highlight the inherent beauty of those mediums. Trying to make these works on paper the same scale as the works on canvas so that it’s not a drawing but a painting. Going against the inherent bias that watercolour or colour pencils are more of a “crafty women’s material,” and in hopes to erase that history in a more profound way. 

 

 

What was the genesis of your series Women in Possession of Good Fortune?

The original genesis of this work happened in 2017, after the women’s March and Trump’s election. Like everyone in New York, I was disparaged essentially. I went to the Women’s March as a last resort of ‘what can we do?’ And then I came out of it with a resolve to connect with other women and a venue to meet in collective action. I started thinking more deeply about the power of women and how women are portrayed in society. So I decided to make portraits of the women in my life who are powerful, who are creative and who are in possession of their good fortune. And along the way, when I was trying to figure out how to portray these women as powerful as possible, I drew on art history, specifically the connection to Holbein’s painting The Ambassadors. This portrait of two French ambassadors that Holbein painted in England. There are many portraits of male intellectuals and high-ranking officials of the time where they were shown with symbols and allegories of their professional successes where you would see the scientific instruments and books. Whereas, paintings of women were traditionally done as portraits depicting marriage and presented as trading cards just to show the beauty of the women and to show that they were marriageable. So, I tried to kind of flip that coin and show women in a position of professional success, surrounded by their personal history and put symbols and allegories of their professional successes. All the elements of these paintings are very personally related to who they are as professionals, as human beings, as mothers… Both their professional history and personal history are woven into the painting. 

 

This is where my research comes in because I tried to figure out how to translate their personal history into visual allegories or metaphors or symbols, and I did that research for each painting. The title of the series itself comes from Jane Austen’s novel, Pride and Prejudice, where the first line of the book is “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” Jane Austin was a total feminist in thinking about the situations of women in the 17th and 18th centuries, England. I thought about the men in a position of good fortune, meaning rich men that women have to marry and what that meant to be able to maintain a societal and a professional position. I wanted to flip that on its head and designate that these are women in a position of good fortune and their fortune is not only in their professional successes but also a position of power, possession of personality, and of polish.

 

Do you consider yourself and your work a form of activism?

As a Korean American woman and immigrant, my perspective has always been in the interest of inclusion and diverse representation of power. So defining the term powerful in a different way, because there’s another feminist point of view of power that needs to be expanded, not only residing in the economy and political power but unless you expand that power in other areas, society won’t change as much as we want it to change. So this is one of my endeavours in terms of portraying such a diverse group of women, but it’s also not just women, the piece that was minted for the Every Women Biennial, the subject that was portrayed, they are a gender-fluid person, not a woman, so their pronouns are they/them. I think age is also really important. A lot of painters tend to paint people in their age groups. I wanted to paint a really diverse age group and say that these are all my friends, these are all the people that I care about. I like to think of myself as a cultural worker rather than an activist. I am a person who works to move the culture in a different way than where it is. So in that sense, it includes activism, but I’m not like a vanguard of social activism where I go out on the street and protest and organize events. I participate in marches and organizations when I can, but I’m most invested in ideas and changing culture, which is through my art and trying to move conversations in a way that can make people more aware of what’s going on and expand the conversation.

 

 

I’m curious how you feel about bringing your physical paintings onto an NFT platform, and what your experience has been so far? 

This is kind of a dilemma, a curiosity, and I don’t know what to think of it. This is something very new, so I am curious about the possibility of more democratic distribution of images and the idea of NFTs and cryptocurrency in a utopian interpretation that there is no middle man, you engage directly with your audience and there’s no institutional involvement. This utopian idea is probably not the reality, but the possibility is there. I don’t know where it’s going but I’m curious who might respond to my NFTs versus my physical paintings and how my paintings translate to a digital image.

 

 

Kira Nam Greene

Website: kiranamgreene.com

Instagram: @kiranamgreene

 

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Members of Carbonbase (a climate fintech company based in Hong Kong) founded Project Ark, an organization dedicated to taking effective action against climate change by leveraging data science, blockchain technology, and sustainability.  

In partnership with Carbonbase  and World Wildlife Fund Panda Labs, Project Ark is an innovative new conservation platform, and an online marketplace, which sells rare NFT collectibles, in exchange for funds that support and protect both animals and the environment.

 

Project Ark: A Quick Overview

“At Project Ark, we aim to realize this potential impact by bringing together passionate artists, with purpose-driven collectors, and deserving projects to create a win-win-win situation,” says Jon O’Sullivan, head of Business Development for Carbonbase spearheading Project Ark.

The story of a WWF member holding one of the last rhinos in her palm just before it died in 2020 inspired the team to get involved with protecting the most vulnerable species wherever needed on the planet. As a result, Project Ark was created; a carbon-neutral NFT platform worked on by World Wildlife Fund Panda Labs, that directly funded conservation and animal protection organizations.

 

As part of Project Ark’s mission, the organization seeks to build a market where any artist can participate in whatever conservation project inspires them, in which a portion of the proceeds will go to the partner organizations. “We believe that the NFT space has tremendous potential to raise much needed resources, but also provide emotionally evocative and experiential art that can change the way people view our natural world,” explains Jon O’Sullivan.

 

Additionally, O’Sullivan’s team intends to release its large scale natural endowment funds and create their own Decentralized Autonomous Organization (DAO) token, He adds: “this DAO will create a democratic governance amongst communities, in our mission to protect natural resources that are part of the common good but exploited by private interests.”

 

Staying conscious of sustainability and Carbon emissions, the team decided to go ahead and mint on the Polygon (formerly Matic) Network, “which is PoS (Proof of Stake) based and therefore involves negligible gas fees and Carbon emissions” O’Sullivan argues. “We also partnered with Chainlink (one of the more widely used Oracle Networks) so we can include Verifiable Randomness (VRF), and Dynamic NFTs going forward with the help of their oracles.”

 

Genesis Campaigns/Drops: An Overview

The current Genesis Drop offers 50% of all proceeds to World Wildlife Fund Romania, which supports their efforts to return endangered European Bison to the wild and to engage local communities in the conservation effort. Furthermore, Project Ark has a number of exciting conservation initiatives in the pipeline with which they will partner with creatives across a range of artistic mediums. 

 

The campaign was launched with the release of four NFT Egg tiers (Bronze, Silver, Gold, and Platinum). Romanian instruments are used to create an original soundtrack for each of the Eggs, which represents an aspect of Romanian folklore and culture. Additionally, Project Ark has minted and offered 20 Genesis artworks up for grabs, which can be won by holders of Egg NFTs or purchased individually.

Besides the NFT Eggs, the entire Project Ark community will be able to access the Early Supporter Badge NFT.

 

 

World Wildlife Fund: An Overview 

 

“Our mission is to conserve nature and reduce the most pressing threats to the diversity of life on Earth…At every level, we collaborate with people around the world to develop and deliver innovative solutions that protect communities, wildlife, and the places in which they live.” _  World Wildlife Fund 

 

World Wildlife Fund (WWF)  has been working in its mission to help people and nature thrive for over 60 years working with nearly 100 countries.  

 

As the world’s leading conservation organizationWWF, engages businesses, local communities, academia, and conservation through Panda Laboratories . By attracting partners from various fields and gradually funding prototypes of identified solutions, Panda Labs will become the decentralized accelerator of WWF Romania, devoted to preserving nature and fostering local development.

 

Since 2006, WWF Romania has been dedicated to conserving wildlife in Romania’s Carpathian forests and along the Danube. Home to threatened species like amur leopards, brown bears, the sturgeons and European bison. Additionally, a program for young people to learn about the environment is being incorporated into this project.

WWF Romania started re-wilding the bison in 2014, and is now transforming local communities into conservationists through its extensive conservation program. As a result, bison populations running free in the wild have increased more than 200-fold, providing these communities with new and exciting economic opportunities.

 

 

Project Ark Links

Twitter: https://twitter.com/WeAreProjectArk

Discord: https://discord.com/invite/3DEGTZJ68J

Instagram: https://www.instagram.com/weareprojectark/

Linktree: https://linktr.ee/Project_Ark

To purchase the art: https://opensea.io/collection/genesis-drop-ark

 

Chainlink:

Twitter: https://twitter.com/chainlink

Discord: https://discord.com/invite/aSK4zew

Website: https://chain.link/

 

Polygon:

Twitter: https://twitter.com/0xPolygon

Discord: https://discord.com/invite/polygon

Website: https://polygon.technology/

Main featured image credit: “Back From The Brink” – NFT by @JonnyOhCanada

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Pixel Art has taken the NFT world by storm. With crypto punks, rare pizzas, and other avatars popping up as a semblance of identity for many. NFT artists like Maxwell Step and MirruTatep are finding ways to turn them into surprisingly detailed artistic expressions. And then there’s always the sweet nostalgia they represent. I know whenever I see pixel art, I immediately am brought back to a time where my Nintendo 64 was my metaverse. The games were simpler, and yes, pixelated. No matter what reminiscent thoughts come to mind for you, it’s safe to say that pixels are back with a vengeance. Some even feel that pixel art marks the beginning of NFTs- since so many learned about the blockchain via Cryptopunks. 

 So, how can we enjoy our NFTs to the fullest extent? Well, a good start is with displays allowing us to flaunt them IRL as much as possible. The Divoom company gives us the perfect opportunity to peacock our digital artworks with their unique and novel audio/visual devices. The coolest attribute of these products is the colourful pixel art displays shown on the most adorable gadgets. Combining nostalgic charm with classic gamification – the toymakers have given us a super cute way to show off our non-fungible tokens in style. With backpacks, art frames, boom boxes, and a collaboration with Koi Footwear, Divoom could have some big things coming up on the horizon. They even have cool art drawing boards to inspire budding artists.

 

Photos courtesy of divoominternational.com

 

Their newest release is the adorable Divoom-Ditoo. The Ditoo is modeled to resemble a retro computer and the Tivoo and Tivoo-Max both possess a quaint antique TV likeness. To use the Divoom devices to their fullest potential, download the app and unlock a variety of customizable features. With the app, you can choose from a vast catalogue of different art pieces and gifs. You can pixelate your own pictures to display on your devices and have access to a whole pixel art community. 

Bluetooth and Alexa capabilities allow you to play music, podcasts, and anything else you like, including app-accessed radio stations and audiobooks.  Another win is the remarkable battery life, and products can even be synced with your phone’s notification center. When you get a notification the device lights up with a pixelated picture of whatever app the message is on, turning every message into an adorable work of art. With these gadgets, our NFTs will become more functional than ever before! Some even have clap or snap to wake options you can activate for hands-free use. 

Furthermore, you can use sound sensitivity to create visuals on the device that match the music you play with the DJ feature! Choose from a DJ mixer or several different instruments to create your own custom sounds and light shows. I hope our NFT musicians are taking notes! Within the app, there are settings for white noise amongst other sleep aids, and you can set alarms with gentle wake settings for a more comfortable morning. You can also add reminders in the daily planner feature, and even see a pixelated weather forecast. 

Now let’s talk about the game options, with games like Tetris and Magic 8 Ball already installed, you have to wonder what will evolve as NFT and gaming enthusiasts take hold of the tech. A whole line of retro gaming fashion and fun would be a welcome addition to this fast-paced technological age. These tiny pixel portals share a small piece of history and commemorate the novel roots of digital art while ushering in a new era where fashion, tech, and entertainment converge.

 

 

 

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Pinkwashing: A term used to describe the action of using gay-related issues in positive ways in order to distract attention from negative actions by an organization, country, or government. [ Sarah Schulman, The New York Times, November 23, 2011

Super Rare Pride

 

SuperRare, one of the Largest invite-only NFT marketplaces is quite respected in the metaverse.  Unsurprisingly, earlier this Pride Month, like almost all other companies in the space, SuperRare announced their virtual pride programing. What came as a surprise to myself, and fellow LGBTQ+ folks in the community was that after what most assumed to be their “initial” post, their “pride programming” simply stopped…

Their Instagram post on June 14th, halfway through pride month, mentioned that they would “be donating 100% of [their] commissions earned between June 14-16 to @outintech 🌈.”

Now before getting too deep into analyzing this, I want to mention that I have nothing but respect for Out in Tech and similar international organizations that champion LGBTQ+ working professionals. However, given that this event was and is the only LGBTQ+ fundraising effort made by SuperRare this month, it feels like a quota made to be filled. 

First of all, SuperRare processes millions of dollars in trades annually. Even though they only take a 3% fee on transactions, they recently raised over 9million USD in their series A round alone. While it is “nice” of them to offer a portion of their profits to a queer-centric organization during pride month, it doesn’t feel like enough. Especially considering that it was only for two days out of the month and that this was one of their only pride activations. And the only one with a direct monetary donation or incentive. 

This is extra unfortunate for me, as I previously quite liked SuperRare as a platform despite the exclusive nature of their marketplace. However, as a decentralized organization in the DeFi space, I believe that companies have an obligation to do better. We need to move past the “old boys club” of the traditional art market and put in the work to truly champion diverse artists from around the world. Any platform that hasn’t gone out of its way this month to highlight and champion LGBTQ+ and BIPOC voices, in lieu of Pride Month and Juneteenth, is simply out of touch. And I don’t believe that they have a place in this ecosystem. 

I should mention that this wasn’t the only thing that SuperRare did.  The same day they put out a tweet with a blog post highlighting a few LGBTQ+ artists on their platform and also released a poster celebrating 50 years of pride.  However, it all stopped there – and it’s simply not enough!  These efforts, even in aggregation, are super lacklustre — and seem to be a sheepish attempt to compensate for primarily promoting white cis male artists on their platform. All one needs to do is go to their Instagram profile to see their one single pride-related post followed by going back to regular programming.  They even went so far as to “balance out” their rainbow post with a rainbow piece of art (with no mention of pride month of course).

 

Now am I trying to vilify SuperRare? Not at all. I would just like to issue this as a public statement to SuperRare and all other major players in this space to DO BETTER! We are a decentralized community. We exist internationally and represent a rainbow of races, creeds, gender expressions, sexualities, belief systems, and so much more. This shouldn’t be perceived by big companies as a burden, but an opportunity! And we have already seen it starting. Companies like Decentraland have gone out of their way to create Pride parades, and entire pride month calendars in partial replacement of physical events still closed due to covid restrictions. 

These kinds of large organizations going out of their way to champion marginalized communities is exactly what we need in order to make the decentralized art world a better place to be a part of. I really hope that SuperRare and other organizations take this article to heart and reflect on how they can be better allies to the members of their workforces and communities at large. 

I would love to follow this article up with a conversation with any representative from SuperRare that might be so brave as to hop on a recorded zoom interview with me-

If interested, email me at david@nfts.wtf

 

Happy Pride! 🏳️‍🌈

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Eric Andre has announced his debut into the NFT space with his piece “Nonflushable Turd.” After joining Foundation just this month, Andre’s one and only piece, “Nonflushable Turd,” minted on June 21, 2021, is being auctioned off at noon PST on June 24th. The piece depicts a multi-headed amalgamation of flesh, covered in Andre’s face, amidst a serene backdrop. This audiovisual piece was crafted in collaboration with Maylee Todd (musician), Kyvita (multi-media artist), and Matthewdavid McQueen (music mastering). 

Andre announced his NFT debut via Instagram this past week—but shortly after removed the post. Fans and foes alike have begun to accuse Andre of being a “hypocrite” or a “sellout” for making this move. 

Eric Andre NFT

 

Andre is best known as the creator and host of the “The Eric Andre Show” on Cartoon Network’s late-night program, Adult Swim. Unlike traditional late-night television—constrained by certain etiquette, and oriented towards the comfort and viewing pleasure of its audience—Andre’s show refuses to run smoothly, basks in discomfort, and capitalizes off of the incomprehensible. His transition into the world of NFTs has undoubtedly been no different. 

Some onlookers repudiate Andre’s involvement in this new space, suggesting he is no longer the countercultural icon he used to be; others speculate that Andre may have taken down this Instagram announcement after receiving such backlash. 

I would think it expedient to further examine what this shift into the NFT space means for Andre’s work before jumping to such conclusions. 

 

Eric Andre Show
Eric Andre Show

 

Some critics cite environmental impact. First of all, when compared with almost any other industry, (fashion, food, shopping, internet providers, etc-) the amount of energy being used by the ethereal blockchain is negligible. Current efficiency also has the potential to be ameliorated once Ethereum is able to transfer to a Proof of Stake (POS) system, as opposed to its current proof of work system (POW). Put simply, this would allow for transactions to only be processed by one computer/server at a time, as opposed to multiple. Like in any new industry, efficiency can always be improved. 

Others take the position that transferring to the big-tech, high-capital world of blockchain runs counter to Andre’s “counter-cultural” brand. But, Andre’s work—this piece as no exception—centers upon the unbelievable. The NFT art space, as it currently exists, has constantly embraced the “new”, as a futuristic and extremely iterative space. The unbelievable is a core tenet of this. 

 

 

If we apply the Dadaist objective of “overturning traditional notions” to Andre’s work, his entrance into the world of NFTs starts to make a little bit more sense. The concept of Dada, borne out of the aftermath and socio-political attitudes of the first world war takes on a worldview of nihilism—a surrendering to the absurd. In our contemporary political climate, we begin to see a resurfacing of such attitudes. If reality seems absurd, Dadaism takes it a step further. Today, we exist in an age of limitless information, biological warfare, and increased political polarization—to the point where it seems nearly impossible to consider what our future might look like. We find ourselves, once again, turning towards the absurd because what else is one to do in times like these, but laugh?

“Hypermodernity” describes our current situation in which technology has begun to rapidly outpace expectations, but also describes the new body of multi-media art we see taking form, especially in the NFT space. 

 

 

We may have never expected Eric Andre to put out an NFT, but when has Andre given us what we have expected? The Eric Andre Show takes a sledgehammer to the concept of the traditional talk show and affronts audiences with unexpected expletives, nonsensical narratives, and shock-value comedy. His work in music, under the pseudonym “Blarf,” follows suit with a similar lack of structure. Blarf’s most recent album “Cease and Desist” features a nearly thirteen-minute song entitled “I Worship Satan ” in which car chase sounds and static noise are intermittently cut by samples from Stanley Kubrik’s Paths of Glory. Across genres, Andre has left us with a lot to make sense of, but little to make sense of it. His NFT debut is no exception. 

Ultimately, it’s not supposed to make sense. And it doesn’t.

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