On August 15th, Afghanistan fell… right into the hands of the Taliban. After 20 years of war, the Taliban, as reported by The Guardian, began to implement “…the process of forming a government in Afghanistan, after taking control of the capital, Kabul, and declaring that the war is over, as Afghan forces surrendered and President Ashraf Ghani fled the country.”

The Taliban has promised not to kill activists, artists, educators, and journalists. However, according to reports from journalists and activists on the ground, they have already begun to hunt them down. We are bearing witness to a monumental humanitarian crisis unfolding before our eyes. Thousands of civilians are endangered, in need of immediate help. 

Time is of the essence! The next few weeks are critical- We must do what we can to help civilians who are in danger get out right now and persuade countries, institutions, and individuals worldwide to help. Banks have shut down. People no longer have access to money, making it difficult to flee.



Immediate Action Needed: This is quite a grave situation. And I believe the the NFTfi community can help. First, to create a decentralized financial resource using NFT art donations to raise and distribute Emergency Funds that refugees can quickly access for resettlement. And furthermore, to create an awareness campaign for those able to get out, directing them to this aid.

About Stand Up For Unity & Their NFT Fundraiser


Stand Up For Unity began as a campaign launched in the summer of 2015. It has since developed into an international platform and global outreach movement for unity, tolerance, respect, and peace, regardless of religion, race, nationality, colour, or gender. The organization was founded by Canadian/Afghan entrepreneur Nahid Shahalimi, an award-winning filmmaker/producer, author, artist, and human rights advocate.


The platform is supported by world-class personalities, including international figures, entertainers, sports legends, human rights activists, and inspirational people of all ages & walks of life, including H.H.The Dalai Lama.

#StandUpForUnity NFTs is a Global Awareness campaign for Solidarity with Afghanistan: to promote awareness about their growing humanitarian crises. To create a monetary aid fund for resettlement costs using blockchain technology. To mobilize artists, musicians, collectors, and the NFT community to participate by creating/donating NFT art and/or via special events/performances. #StandUpForUnity Ntfs hope to do the following: 

  • Raise awareness and funds to help relocate displaced and persecuted people.
  • Use blockchain technology to transfer mutual aid funds for resettlement.
  • Set up an easily accessible system to distribute funds to those in need.


More About Nahid Shahalimi        

Nahid Shahalimi lives in Munich, Germany, with her two daughters. Forced to leave Afghanistan in 1985, her family moved to Canada, where she was raised. As a young adult in Munich, Shahalimi launched her career as an author, human rights activist, international consultant on Gender, (former) professional athlete, award-winning filmmaker, and one of the most prolific international artists in the art world today. Nahid’s passion for arts and humanitarianism began in her college & university days. She majored in Fine Arts, Politics, and Southeast Asian studies, specializing in Human Rights. However, witnessing the destruction of her country under the Soviet occupation as a child ignited within Nahid the passion for devoting her life to promoting peace, tolerance, respect, and acceptance. The synergy between her various personal and professional experiences is reflected in all that she does.           

Shahalimi is the author of Where Courage Bears the Soul: We the Women of Afghanistan: Tales of Courageous & Inspiring Afghan Women, published in 2017 by Elisabeth Sandmann Publishing. We The Women started as an initiative of collections of inspiring stories of women from around the world, told through 3 creative pillars involving portrait paintings, books, and documentary films. Today We The Women UG/LTD is a social impact enterprise. Shahalimi also created We the Women of Afghanistan: A Silent Revolution, a multiple award-winning documentary film and tour, with a World Premiere screening at the UN German Mission, the United Nations’ headquarters in New York City. 

Furthermore, Shahalimi supports and provides consultations to several international foundations. She is an active member of UNICEF Germany’s National Committee and is the Founder and Chairwoman of Hope Foundation for Women and Children of Afghanistan (active since 2007). Currently, Shahalimi is engaged in the forefront of the cutting-edge digital art revolution, creating NFTs after 30+ years of painting. This experience makes her uniquely qualified to understand how decentralized finance and NFTs can be harnessed to provide immediate aid for humanitarian causes. On top of all of this, she is an incredible friend, mother, and one of our finest staff writers here at WTF.  

Final Thoughts 

I would very much appreciate if everyone reading this took a moment out of their day to look into the resources linked in this article and below.  The situation unfolding in Afghanistan is dire, and there are countless at-risk lives that need to be evacuated from the country immediately. The NFT community is powerful, and I believe that we have the power and capacity to make a difference. If you have a moment of time please make a tweet with #standupforunity – and, if you can, add it to your instagram or twitter bios for the next 24 hours to show solidarity. And if you have the means please feel free to reach out to myself or nahid directly. 

For inquiries, please contact

Stand Up For Unity

Mutschelle Str. 4

81673, Munich – Germany


CC: Luminationbyjj@gmail.com



Facebook: https://www.facebook.com/standupforunity/

Twitter: https://twitter.com/standupforunity

IG: https://www.instagram.com/standupforunity/?hl=en

Website: www.standupforunity.com


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On July 8, fine artist photographer Karen Jerzyk (@KJerzykPhoto Twitter, @karen.jerzyk.photo Instagram) went through a range of powerful emotions when her mother suffered from a stroke. This tragic moment came on the heels of the death of Karen’s dear friend earlier the same week. In 2011, Karen’s father had succumbed to a massive stroke which had a significant impact on Karen’s personal and professional lives. Karen is an only child and her craft has always been influenced and supported by her parents. Karen’s mom has been recovering in hospital, going through rehab, and is destined to return home in the coming days. Having a loved one come home after a stroke is a struggle. Knowing what health insurance will pay for, when they will pay for it, and when equipment can arrive is a disconcerting situation. 


Still, Karen has the need to create as all true artists do. She commented on Thursday that she needed to get back out shooting photos. Looking at her work, one might think it is rendered or heavily Photoshopped. But Karen creates her scenes meticulously in a studio or uses real locations often with a model in an astronaut suit. But the photos are the photos. Her images are like a vision of the future trapped in a memory of the past.


©karen jerzyk x don tyler “America 2078” available on KnowOrigin


Karen is a master at finding interesting locations to shoot photographs. A significant amount of research goes into finding these spots. For example, there is an area in Virginia with large statues of former US Presidents. In Karen’s artful eye, the vision is apocalyptic. In a collaboration with musician and video director Don Tyler (@yodontyler), this vision comes into full relief with the burning embers and haunting score.


The NFT Community is sometimes fractured — collectibles like cryptopunks, rats, apes, and mooncats vs fine artists vs photographers vs scammers vs collectors and so on. This community is as diverse as it is far-flung. Every walk of life from every corner of the world is represented. Yes, there are silos. Underrepresented people. Though sometimes the community can unify in a way not comparable to real life.


The NFT Community has set up many events and features so Karen can earn money to support her mother through sales of her art. Some movements are very public like Eddie Gangland and Stephanie Dillon are featuring Karen’s work in one of their CryptoVoxels galleries (see featured image). Art-Jedi held a two hour Clubhouse room last week to catch up with Karen and hear her story first hand. Behind the scenes, many have given or purchased silently with no fanfare.


While NFT artists continue to find their way in this newfound creative environment, there are many challenges: inequality, heated criticisms about form, invasions from celebrities seeking to make their mark, battles over platforms, gas fees. But more than most, the NFT community has room for everyone. Yes there are flaws. Bad actors. Theft. The digital world is not immune from the real world. But it seems a slightly higher form of community. One without a governance structure, and very little policing. It is almost a peaceful anarchy comprising Twitter, Clubhouse, Instagram, and the dozens of NFT platforms — and there is a sense of accountability that exists amongst artists and collectors. It isn’t perfect. Sexual harassment exists. Scams are prevalent. Incredible artists are being discovered. Not perfect, but a work in progress. 


Artists supporting artists is a thing. And the NFT Community has that going for it.

Karen is scheduled to appear as a speaker at NFT.NYC November 1-3 in Times Square.


GoFundMe for Karen’s Mom



Karen Jerzyk Art

Known Origin




Try Showtime



Main featured image credit: ©karen jerzyk “Everybody Left” available on OpenSea

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David is an actor, indie filmmaker and celebrity spoken word poet who’s exploded on the NFT scene with an entirely new art genre. Boasting over 100 professional film & tv credits, he’s no stranger to the art of film — and now has added an element to his art that is both impactful and unexpected: poetry and…nudity. That’s right, David Bianchi personally poses in the buff to deliver potent doses of perspective and awareness around the racist history of blackface and the 150 years of institutional oppression that was the minstrel show, and the correspondent silencing and mockery of black voices and culture.

The Modern Day Minstrel is a collaboration conceptualized and produced by Bianchi and beautifully lensed by editorial photographer Isaac Alvarez. Each NFT is narrated in Bianchi’s haunting original spoken word poetry. They are expertly animated and subtly brought to life with exquisite score and sound design sonically illuminating the story of each portrait in a beautiful and visceral manner. 


Additionally, In an unprecedented move, he pledged to release the intellectual property rights of his written poetry to the owner of each NFT along with a 24-page luxury book signed by himself and Alvarez. The proprietary spoken-word/cinema hybrid, Spinema, he created over 16 years ago, has been reborn as perspective-packed NFTs. The art has been taking the NFT world by storm with his stunning performances that harness a powerful message and purpose alongside movie-theatre-quality visuals and sound.

The distance between mediocrity and greatness is your perception.” -David Bianchi


Image of David Bianchi’s x Isaac Alvarez’s Modern-Day Minstrel #001 Equality


Perception is what his incredible art form of Spinema™ delivers. He’s using past perceptions and infusing them with contemporary viewpoints, bringing awareness to issues through his own creative and attentive vantage point. When you view his spoken word films, they give you a sense of empowerment, and one can feel the poignance of what they are witnessing. They immerse your senses at a visceral level and take you on a thought-provoking journey through time. 

 Apparently MetaPurse, (buyers of the Beeple NFT,) noticed David’s greatness, as they purchased David’s genesis project, “I Can’t Breathe,” for a cool $18,000.00 in ETH. Keeping his campaign promise, David donated all proceeds from the acquisition to the George Floyd Memorial Foundation, helping them establish a digital wallet to introduce cryptocurrency to the inner city of Minneapolis.

Davids’ Sophmore Spinema™ drop “You Can’t Hear Me” directed by Emmy nominee Christopher Folkens, starring himself and Grammy™ award-winning poet Malcolm-Jamal Warner, and spoken word artist Chris Wood sold out within 22 hours of auction opening. This project donated a combined $6,000 with the partnership of Charitas and Obtainable to the New Earth Foundation for inner-city youth programs.


Image courtesy of Exertion Films


 “My story is just a tremendous amount of desire, self-belief, fortitude, and knowing, knowing, that my art, that what I have, is going to be worth a lot of money someday and is going to change the world.” – David Bianchi


Money certainly isn’t his focus, as he pleads for artists to focus on the things that genuinely inspire and resonate with them. He proclaims that “money follows inspiration, and that’s really the most important thing.” I think he’s right; tapping into your inspiration and allowing that to guide you leads you to the prosperous potential of the universe.


His pieces have been bid on and collected by some of the most important collectors in the space.  Not to mention that the floor for his ‘Modern Day Minstrel’ series is currently at 3.3 ETH (or over $7K USD.) I met David for coffee in LA last week and we spoke about creating a better world through NFTs, his new book, plans for the future, and our molecular level gifts as humans.

Image courtesy of Chris Cuffaro ®


“I believe that every single individual has a molecular level gift that is written on their code all the way down to their genetics, that makes them predisposed to be able to birth something into the world that only they can do, as a result of their genetic code that is coupled with their emotional, physical, and spiritual experiences as they walk this planet.” he mentions while referencing his upcoming book, where you can learn more about what he calls the “molecular level gift.” 

His gift must be for delivering messages in entertaining and valuable ways, because his Spinema is a culmination of top of the line cinematic engineering, poetic messages that rewrite history and performances that reach you viscerally. The art empowers those that have been unjustly robbed of their human rights and voice. I asked David “Why nudity?” His reply was profound:


When we are stripped bare, we are stripped of dignity. This was common during the slave trade, especially on the selling block. So the Minstrel has had his dignity stripped of him, and all he has left are racist and traumatic generational stereotypes burned into him. The minstrel show exacerbated those stereotypes en masse as the National art form for over a century that overtook Opera, and became Vaudeville, then eventually Hollywood films. So when we see him naked, he has no choice but to fight for his dignity despite the racist scars he carries with him.”


He’s definitely using his nudity for a worthy cause, reshaping this particularly cruel art form that existed in the past. If you don’t know, the minstrel was a super fucked up form of historical entertainment, where caucasian actors would dress in blackface and hop around the stage berating black people with horrific “comedy” and songs. This perpetuated a nefarious sentiment that people of colour should be mocked and used for entertainment and profit.


Image of David Bianchi’s x Isaac Alvarez’s Modern-Day Minstrel #002 Possession
Courtesy of Exertion Films


This destructive narrative has done so much harm to beautiful, powerful, and noble humans worldwide. We have a responsibility, and privilege, to rewrite outdated and under-informed societal narratives that were put in place before any of us were born. We can teach people love and worthiness, empower them as the royalty we all are, and give access to the independent ownership of profits made on their behalf using the blockchain. 

I’m so glad that David is revisiting this horrific moment in human history where the power of entertainment was abused and used to misinform. He is shining a whole new light on the issue while creating a new story around once pernicious uses of an entertainer’s influences. In the ‘Modern Day Minstrel’ series, he’s flexing his power as an entertainer too, let’s just take a moment here to appreciate that bod! How could you not get a closer look with that eye candy? You have got to love when an NFT is so attention-grabbing while being loaded with honourable intent!

mage of Bianchi’s x Isaac Alvarez’ss’ Modern Day Minstrel
Courtesy of Exertion Films


All of his beautiful Spinema™ presents eloquent art alongside a message for humanity and an opportunity to make a difference. All it takes is just a few adjustments in perception and the courage to take action. It’s interesting to see so many perspectives coming forth in this growing NFT space, and David Bianchi is undoubtedly someone to keep your eye on, which shouldn’t be hard, as he’s a pro at consistently grabbing our attention with fresh, consistent content. So check out his work on Superrare to join the Spinema™ Movement, and subscribe to NFTs.wtf to keep up with all of the latest NFT projects.







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On July 8th, avatars from around the world gathered in Decentraland (DCL) for ten days of art and music. With numerous galleries already in DCL (Sotheby’s & MOCDA ), this art week welcomed new collections from top NFT platforms and crypto artists as well.

💯xARt and NFTs.tips closed the week with a full day of events curated by David Cash, Glassy Music, and Pilar Côté. In addition, Nix Crypto moderated live discussions throughout the afternoon. 


Here are the best events from DCL Art Week:





With 100 artist-built galleries, the Vegas Arts District was shining bright! Avatars showed off their dance moves in the main square with live music and new art installations. Visit the ongoing exhibitions here.


Philip Colbert worked with the renowned B52’s and DEVO to bring Lobsteropolis to life. A large-scale interactive installation featuring his signature lobster characters. Visit the lobster city here




(Photo by Charles Moriarty)


In the Festival District, Casa Azul displayed an intimate photo series featuring Amy Winehouse. Photographer Charles Moriarty recalls his time with the profound artist before her untimely death.


(Photo courtesy of Festival Land VR)


The event was a mixture of tears and smiles as avatars viewed Moriarty’s work. In addition, unique DCL wearables are available, giving users exclusive access to a live stream of the Back to Amy Benefit Concert on July 23rd. View the exhibition at Casa Azul.


The latest addition to the Voltaire Art District, Portion Auction House exhibits collections of photography, comics, digital arts, and physical arts. There are even a few iconic memes as well. Visit their new gallery here.





It was a wild Playboy party in Crypto Valley. Celebrating their Miami Beach Art Collection, Playboy and SuperRare auctioned several exclusive collaborations and exhibited past iconic cover issues.


See the collection at the Crypto Valley Art Gallery.





KnownOrigin hosted a 3-hour music festival and art showcase. With a new dancefloor and live-stream DJs from around the world, it was one of the most popular events of DCL Art Week.

Visit the KnownOrigin Gallery here.





(Image by Bryan Brinkman)


Hosted in the 100xARt district, Bryan Brinkman deployed his latest digital sculpture of a whale suspended overhead.


See the installation here before it’s gone!





DJ Los Cat and the mysterious avatar Queen Venom wowed Crypto Art Week Asia guests celebrating their first anniversary in Dragon City.


See the impressive Sky City Venue here.




Celebrated artist, Begoña Toledo (aka  Boxhead), presents a large-scale installation of her iconic character featuring three of her latest NFTs on Foundation

See the installation here before it’s gone!





SuperRare is featuring ten Brazilian artists in their expansive gallery in Voltaire Art District.


Visit the ongoing exhibition here.





The Museum of Crypto Art (M○C△) opens its metaverse sculpture garden and hedge maze. Within the winding garden, paths reside ten 3D surrealist objects with Hackatao’s famous ‘Hack of a Bear’ in its center.

Try navigating the hedge maze here.


DAY 10 



NFTs.WTF partners with 💯xARt Community to bring a full day of music, art, panel discussions, and fashion! Be sure to visit the new 100xARt gallery now open.


Here are the community day  highlights:

Architecture Panel

Krista Kim of Mars House discussed the ‘future of spaces’ in architecture and design. Virtual and augmented reality experiences dissolve the limitation of physics. With new metaverse platforms emerging rapidly, it’s clear there will be no shortage of creativity in spatial design.



Krista Kim – Mars House

Eddie Gangland – Artist

Anressa Furletti – Artist

Mark Panckhurst – Artist

Ryan Roybal – Artist, NFT Collective


Evolving Humanity with Tech

As we explore new possibilities with blockchain technologies, how can they be utilized for social good? Nahid Shahalimi of We the Women & Stand up for Unity held a panel to discuss humanitarian efforts in the crypto space.



Nahid Shahalimi – We the Women & Stand up for Unity

Dr. Michael Steffens – European Union

Jeremy Dela Rosa – Leyline

Jon O’Sullivan – Project Ark


Digital Fashion w/ Industry Leaders

David Cash held a panel of the top trailblazers in digital fashion. Wearables in the metaverse have been on the rise. Digital fashion drops are selling out in seconds, with many items worth more than physical luxury brands. As the industry grows, how will fashion and identity evolve with it?



David Cash –  Editor in Chief, NFTs.Tips

Amber Jae Slooten – The Fabricant

Emma-Jane McKinnon-Lee – Digitalax

Dr. Alex Box – Future Beauty Future Body

Alissa Aulbekova – Auroboros

Paula Sello – Auroboros

Natalia Modenova – DressX


Future of Music & NFTs

Glassy Music and Low Sleazy discuss how NFTs can empower musicians and artists. Intellectual property (IP), decentralized finance (DeFi), and collaborations all play a vital part in rewarding creativity in this new territory for music. 



Glassy – Co-founder NFTs.Tips

Low Sleazy – Section Editor NFTs.tips

Pilar Côté – Section Editor NFTs.tips

Omar Vargas – Manager, GusGus

Terra Naomi – Artist/Producer/Songwriter


Film Industry Fireside Chat

Award-winning filmmaker, Jonny Caplan, speaks with NFTs.tips about how blockchain tech can be utilized for film creatives. His latest project, NFTme, is a complete documentary series covering critical developments in the NFT industry. Due for release in late 2021. 


Jonny Caplan – Filmmaker, CEO, Tech Talk Media & Impossible Media

Nahid Shahalimi – Section Editor NFTs.tips

David Cash – Editor in Chief, NFTs.tips

Alberto Polanco –  Project Manager NFTs.tips

Glassy – Co-founder NFTs.Tips


DJ’s & VJ’s in Decentraland


Avatars showed their best moves while special guests blew everyone away with epic audio/visuals on the VR dance floor. 

Audio Visual Sets:

Tom LaRoc

Lisa Leggz

Pilar Côté

DJ Mika Kitten


DJ Orly Gal x Chris Parks



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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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From revolutionary outsider to an entrenched gatekeeper, Jay-Z enters the NFT space like a whale in a Bodega. Litigation, speculation, and recriminations abound as the 25th anniversary of his breakout album Reasonable Doubt rolls around—the leading players involved in the project attempt to reap the whirlwind that is the NFT market today.


There were two NFT offerings slated to celebrate the 25 anniversary of Mr. Carter’s seminal work. Still, earlier this week, a judge halted Damon Dash’s proposed auction of his version of a Commemorative NFT, the specifics of which still remain cloudy. The optics of competing  NFT’s from rival owners of the same intellectual property were enough to set the Twitterverse aflame with wild speculation and lukewarm hot takes.


Reasonable Doubt Image from thesource.com


HOV is most assuredly a zealous protector of the image and reputation that he’s built up over decades of dominating pop culture. And clearly has no problem using the courts to his advantage. The lessons those of us studying the space are learning by watching the things that he’s been able to block from being minted, and the other moves made in the space are invaluable to us as early adopters.


After a lifetime of setting trends, he seems to be playing catchup and overcompensating to the casual observer. Though that belies the fact that with Tidal and Twitter firmly in his corner, Jigga has unparalleled insight into the culture as an aggregate, even if he does seem to be missing some of the finer nuances of the crypto and NFT space as evidenced by changing his avatar to a cryptopunk like this was 2017. Ya gotta get a Bored Ape fam?


Jay Z and Jack Dorsey
Greg Allen/Invision/AP (Jay-Z); AP (Dorsey)


But I digress. lol, the scope of Jay’s influence on the culture can not be overstated. The millions of people discovering NFT’s and crypto due to Jay-Z minting a one-of-one NFT will only lead to a fresh wave of newly minted crypto enthusiasts and NFT noobs. Without a doubt, it would have been better for those of us native to the space if he would have descended onto one of the platforms that could act as a larger onramp to the space than a Sotheby’s, which is the definition of exclusive, and by design seeks to limit the number of people who participate in their auctions. However, access appears to be a blindspot that executive HOV has, which may have developed from having very few doors closed to him. A recent twitter spaces event held by Jack Dorsey with independent artists featured on the Tidal Platform had a lack of access as a recurring theme, from playlist generation to fan engagements. The problems that up and coming artists are facing today no longer seem to be high on the priority list.

I started writing this before a lot of legal issues went down.  In light of all that has happened since– lookout for a follow-up/update article from me next week.

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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 KruGrebo 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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Letter from the Editor #3


A Weekly Roundup: 

This is the first letter from the editor of which we’re going to publish, in part, as an article.


In lieu of this, I’d like to introduce myself and the upcoming direction that the editorial team and myself have in mind for this outlet in the coming months.  My name is David Cash, and I’ve been the active Editor-in-Chief of this exciting new publication for the past month.  Alongside our Managing Director Glassy Music and Web Editor Albert Polanco, we have managed to take this platform from an NFT blog to a functioning news outlet harnessing the power of some of the most incredible writers in the NFTfi space.  


I entered the NFT space back in 2019 when I didn’t even call the images I was minting “NFTs.”  A few years later, and after writing a master’s thesis on the subject, I feel incredibly fortunate to be an active part of this NFTfi world.  This publication has given me the outlet to share many thoughts that, only several months ago, people would have thought that I was crazy to have.  NFTS.wtf is for the early adopters, those who like to be well informed, and those interested in unbiased opinions from key thought leaders in the community.  


We don’t spread FUD just because other news sources pick up on gossip.  Our writers and executive staff extensively research every piece we put out, often going above and beyond to seek the opinions of key community leaders in the process. We are a decentralized community, and in the coming months, we hope to scale our current offerings and introduce some exciting new features, with the ultimate goal to be your voice of truth in NFTs.  


So what’s the plan?  If you are receiving this as an email, you’ll notice the cover image for this newsletter.  Every week we’re releasing a digital cover to accompany our Newsletter, and in the coming months, each of these covers will be made available as NFT collectibles of varying rarity.  This will be facilitated by the launch of a dedicated storefront which will allow our readers to collect the most newsworthy moments happening in the NFT space.  Collectors of multiple covers will eventually unlock access which will allow them first access to our genesis DZine (digital magazine) which will be launching this fall. More information on that is coming soon.


To read the rest of this letter discussing generative art and the current state of NFTS…


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The LGBTQIA+ community has always been known for innovation, so it’s no surprise that there were high-profile auctions and IRL events involving NFT technology during New York City Pride. From the world’s first pride-themed NFT to an expansive “Digi/Physi” drop from wunderkind Fewocious at Christie’s – the NFT community continued to expand its footprint. Here’s a look at some of the NFT showcases that took place in the Big Apple last week – and insight into ongoing/upcoming auctions and events.


FEWOCIOUS x Christie’s

A seven-day auction ended a few days ago at Christie’s, featuring artwork by 18-year-old LGB[T]Q+ community member, Victor aka FEWOCIOUS. The collection features a limited edition of five pieces, which span Victor’s life from ages 14 to 18. The artist candidly documents his life throughout his artwork, including emotional struggles that have matured him way beyond his years. The visceral nature of his story was discussed on Clubhouse with rooms led by resident drop moderator Farokh Sarmad and on Christie’s website.


Fewocious at Christies


One of the most powerful and inspiring pieces in the collection is “Year 5, Age 18 — I Taught Myself How To Fly.” The piece marks the beginning of the next chapter for the young artist. According to Christie’s notes, FEWOCIOUS created the artwork after he had moved from his hometown of Las Vegas to Seattle. The relocation was made possible by his very first drop on Nifty Gateway.


By allowing his community to get up close and personal, FEWOCIOUS has been able to bring his art to life through multiple senses. The inclusion of a physical art piece, physical trunk, and archival drawings was an excellent example of pairing the digital with the physical.


The five pieces in Hello, I’m Victor (FEWOCiOUS) and This Is My Life, which Decrypt is calling crypto art surrealism), sold for a total of $2.16 million.


Christie’s continues to innovate, jumping in early into the NFT space and also redesigning its auction formats. Their ability to reinvent has resulted in a number of record-breaking sales. In fact, their 20th and 21st Evening Sales included bidders from 29 countries and “realized sales of more than $691 million over the course of two nights in New York.

Madame Vivien V at XO Crypto by Fiona Aboud


XO Crypto

What the hell’s an NFT? Luckily some insight was provided to members of the LGBTQIA+ community this pride at the Blockchain Center on the Upper West Side. Although the center isn’t quite open to the public, approximately 150 guests received a sneak peek at this Pride social. The event, in partnership with NFTs.tips and La Casa Arthouse, presented a showcase of 30 LGBTQIA+ artists who are part of the NFT space. The event was billed as an educational social and included information on NFTs for varying knowledge levels. XO Crypto also featured a live raffle done utilizing the POAP (proof-of-attendance protocol) wallet. The prize was a limited edition pride-themed Satoshi is Homeboy shirt from Brooklyn-based Satoshis closet.


Visual Artists featured included David Cash, Handiedan De Verbeelding, Midwestmisfit, Yiliang Yang, Yosnier, Klara Vollstaedt, Diana Sinclair, Ksenia Salion, Sam J, and Brendan Miggins. The artist’s work is on display in a Cryptovoxels gallery provided by Madrid-based Zardoz Club. A closing part for the show is planned for mid-July.



PLAYBOY & NEON GOLD x Nifty Gateway

Playboy also dropped a series of digital art pieces for Pride with Nifty Gateway. In addition to three images of David Bowie that were taken from a 1976 Playboy, there are also collaborative pieces with many prominent LGBTQIA+ musical artists. Troye Sivan and 3D Artist Jason Beyer have collaborated on a digital a/v series entitled BLOOM2021. Charli XCX created 1700 B.C. (XCX) with Australian artist Sewah Attafuah. The Knocks have collaborated with moistbreezy, and Pabllo Vittar’s drop included works made with Nico Panda and Dutch digital fashion house The Fabricant.


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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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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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Coming to Superchief Gallery NFT

New York City (June 24-July 3)


SuperChief NFT Gallery, the world’s first physical exhibition space dedicated solely to NFT artwork, is collaborating with the EVERY WOMAN BIENNIAL, the wildly popular and world’s largest all woman and non-binary art biennial of its kind, to exhibit the NFTs of hundreds of female artists through a digital platform, and on screens within a physical presence at the Superchief Gallery NFT in New York, exhibiting from June 24 – July 3, 2021. 

Originally known as ‘The Whitney Houston Biennial’, founded by C. Finley to empower and celebrate women, femme, and nonbinary artists with biennial shows themed on Whitney Houston song titles, The EVERY WOMAN BIENNIAL is known to be a celebration of the ‘Divine Feminine’ and as one of the leading shows in the art world, it often sets new trends while creating equity in the arts. The EVERY WOMAN BIENNIAL is always dazzling, inclusive, and trendsetting, and this year, founder and curator C. Finley shows us all just how forward-thinking and progressive the Every Woman Biennial is with its stunning debut into the NFT space to tackle the male-dominated “tech bro” scene with a legion of women artists each exploring the curatorial theme ‘My Love is Your Love.’

“The goal is to develop a heightened consciousness in the art world favoring encouragement, connection, inspiration and love. The Every Woman Biennial is our rallying cry which aims to bring together many creative voices to sing a collective song that celebrates the contribution of female artists and marks a moment in our communal trajectory.” -founder/curator C. Finley

The EVERY WOMAN BIENNIAL 2021 brings female and non-binary artists together from across the globe in the spirit of community and collaboration, to investigate themes of inspiration, connection, and love while celebrating the abundance and beauty of Mother Nature and the Divine Feminine within us all. My Love Is Your Love is a startling and refreshing shift in NFT curatorial themes of the past (which, admittedly is quite a short history), and is providing much-needed feminine energy in a space where women and nonbinary artists are still largely underrepresented.

 The Every Woman Biennial is constantly evolving to provide inclusive opportunities to support women and non-binary artists, and the aim or this particular show is to give hundreds of artists who are interested in exploring the new technology and mint NFTs, the opportunity to reach new audiences and sell their art on the Superchief platform –  which is especially important now, in the wake of 2020 – an unprecedented year of isolation, and in this ongoing socially-distanced time, it is refreshing to see the traditional art world embrace NFTs to reimagine what the art world can be and who can be included and celebrated. 

As C. Finley states: ‘Not knowing if we’d be able to get together during the pandemic, we embraced the new NFT platform for our 4th edition in NYC. 600+ emerging female and non-binary artists are coming together across the biennials to exhibit, perform and lift each other up.’

Every Woman Biennial, in collaboration with Superchief Gallery NFT will hold a workshop to walk selected artists through minting their first NFTs. This is a carbon-negative exhibition, in partnership with Pachama.

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