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Sarah Friend, Lifeform Display Surface #3 (first generation), 2021, silicone, iphone, custom webapp, and NFT, 15 x 15 x 10cm, from Lifeforms, Photo: Sarah Friend, Courtesy: Nagel Draxler
An exhibition of NFT art at HEK, Basel pilots a variety of materializations of code-based work while benchmarking how quickly the blockchain genre is changing.
Do bad artists know that they’re bad? Is bad taste, like Ed Hardy, back? In his June column, Dean Kissick explores value and taste by looking at “ultra-modernity,” manufacturing demand, and images that weren’t made by humans.
Crypto-acolytes promise nothing short of utopia – but how do the realities of the NFT art market stand up to this enthusiasm? Domenico Quaranta takes these optimistic claims to task, all without losing sight of the promising potential that remains amidst the contradiction.
Whether you’re totally pilled or an adamant no-coiner, you’ve probably noticed that Web3 has a lexicon all its own. We’ve put together a guide to some of the insider jargon to help you navigate this wild world. Fear, uncertainty, and doubt no more.
Rafaël Rozendaal has been making digital art for two decades, and he’s unfazed by the rise of Web3. In this conversation with Spike, he explores how websites are like poetry, dishes some lessons in exhibiting digital work, and argues in favour of keeping the punk spirit alive in NFTs.
Ready to wade into tokenised waters, but feeilng overwhelmed by the big Open Sea? Let Spike be your guide: here are our favourite marketplaces, platforms, and protocols for cryptoart.
Have we blown past the point of Peak Identity? Continuing on the heels of last month’s column, Dean Kissick considers how memes and masks have superseded the performance of the self.
