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As An NFT Artist, Here Are My Thoughts On The Token Art Market

Bored Ape GWOP Club

So what are Non-Fungible Tokens? They are a new cryptocurrency asset that is only available on the Ethereum blockchain — The first use cases of Ethereum. To put it simply, NFTs represent an asset that is created in a fixed amount and can be traded with other people.

NFT stands for “Non-Fungible Token.” NFTs are unique digital assets stored on the blockchain — the same technology that drives the Bitcoin network.

NFT, or Non-Fungible Tokens, are virtual tokens that are non-interchangeable, meaning each token is unique. NFTs represent ownership of a digital or physical asset. The etymology of non-fungible is derived from the “fungible” term in finance and economics — an asset or commodity that can be freely exchanged for another identical asset or commodity of similar value.

The NFT Artist Project combines blockchain technology with generative art to create digital assets that can be traded. Digital Art is cool, but it’s hard to store for long periods of time, and even harder to trade because of the cost associated with verifying the authenticity of a piece. NFT solves this by layering a blockchain network on top of digital art, while creating a community driven visual artwork registry by exhibiting and cataloging the works in physical spaces around the world. As an added bonus, NFT provides an easy-to-use toolkit for generating your own art.

Get onboard the cryptocurrency train and join the NFT art movement. You can now create digital assets — legendary pieces of art that are valued through expert evaluation and collector interest.

NFTs share a unique advantage over physical art, they can be sold to anyone in the world with a stable internet connection knowing that it’s authenticity and ownership are verifiably provable through blockchain technology. This is also true for physical works of art as well, but when you consider shipping and insurance costs these adds up to a level that puts it outside of most people’s reach.

The Truth about Art and NFTs: How the artists will actually make money. This is an article showcasing Real art that uses blockchain technology. Alternatives to bitcoin and alt coins. Not a scam at all, Generative art is different.

New technologies are changing the art world. Now, artists can create digital artwork and upload it to a blockchain for easy trading. The rich are trading non-fungible tokens (NFTs) for fun, but what about the rest of us?

I think NFTs are great, but they’re expensive and only the rich can trade them. In my opinion, we should create a community and build utility by creating quality art that’s also useful. That way people can buy and sell it at any price without worrying about a bubble.

I’m an artist, and I’m in love with the possibilities that blockchain is bringing to art.

The digitization of art assets allows art to be truly owned by the creator, without any additional restrictions. This also means that there are no barriers to entry — anyone can participate!

It’s also a new way to build community around art, not just owning it. The sheer number of different digital art assets that are being traded on the blockchain means that you can find people who share your taste and create art together. And if you create something amazing that sparks someone else’s imagination and inspires them to create something amazing in return? Well, now you’re part of a larger community!

I think NFTs are a great avenue for artists to make their work more accessible. Because they’re not limited in any way (other than by the rules of the contract), it’s easy for anyone to pick up and play with them. You don’t need to know how to use a computer or have any special skills. The barrier-to-entry is so low that even kids could play with them!

With all the hype surrounding NFT art, we can’t help but feel like there are some challenges ahead for its commercial adoption. It seems likely that these issues will become even more pressing as the technology behind NFT art continues to advance. But we still hold hope that this technology could lead to new forms of online art — and its monetization.

Artists with NFTs can now be paid directly by their fans, without having to rely on galleries or other intermediaries.

Even if you’re not an artist, there are many other benefits to using NFTs. For example, they can give you access to tickets and merchandise that would otherwise have been unavailable.

If you’re interested in buying art for the first time, NFTs are a great place to start because you don’t have to worry about the overhead associated with physical art. You can also buy from artists who might not otherwise be accessible.

NFTs are a new way for artists to create value in their work, and a way for people who appreciate that work to support it.

Bored Ape GWOP Club NFT Gallery:

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Pablo Picasso “A Girl Reading a Book” 📸

Andy Warhol “Mao” (1972)

Artist: Andy Warhol (1928-1987)

Mao (Mao Tse Tung) 1972

Screenprint printed in color ink on wove paper 36×36

Kim Bell

Basquiat “Skull” (1982)

Many of Jean-Michel Basquiat’s paintings are in some way autobiographical, and Untitled may be considered a form of self-portraiture. The skull here exists somewhere between life and death. The eyes are listless, the face is sunken in, and the head looks lobotomized and subdued. Yet there are wild colors and spirited marks that suggest a surfeit of internal activity. Developing his own personal iconography, in this early work Basquiat both alludes to modernist appropriation of African masks and employs the mask as a means of exploring identity. Basquiat labored over this painting for months — evident in the worked surface and imagery — while most of his pieces were completed with bursts of energy over just a few days. The intensity of the painting, which was presented at his debut solo gallery exhibition in New York City, may also represent Basquiat’s anxieties surrounding the pressures of becoming a commercially successful artist.

Photo 📸 Kim Bell

Shepard Fairey “Salad Days, 1989-1999”

Cranbrook Art Museum

Influential street artist Shepard Fairey has been a consistent presence in national and international art scenes since the 1990s. The LA-based artist is perhaps best known locally through his downtown Detroit mural at One Campus Martius, his ubiquitous Hope image created originally as a grassroots activism tool to support Barack Obama’s 2008 presidential campaign, and the pervasive We the People poster series for the 2017 Women’s March and beyond.

Shepard Fairey: Salad Days, 1989-1999, considers the first 10 years of Fairey’s artistic practice, and its roots in the graphic language and philosophies of the punk scene. Punk’s ethos played a decisive role in the artist’s early work. “When I discovered punk rock, and realized that music could have an attitude in its style but a specific point of view in its lyrics,” states Fairey, “I became even more interested in how it works as a way of shaping attitudes and culture.”

From 1989 to 1999, the artist adopted many of punk’s biting and playful graphic strategies, as well as its low-tech methods of production and distribution. Fairey created his first Andre the Giant has a Possesticker in a spontaneous DIY manner, appropriating an image of professional wrestler André René Roussimoff (aka André the Giant) from a newspaper. The image would gain iconic status when it spread via friends and fans to city streets across the United States and eventually around the world. The Andre the Giant campaign and image would transform in the mid-1990s into the Obey Giant series, which was inspired by John Carpenter’s sci-fi horror film, They Live (1988) and its plot about subliminal messages implanted in a society in order to control its inhabitants. Taking inspiration from early Russian Constructivist poster designs in particular and from revolutionary propaganda posters in general, Obey Giant prints were posted unsolicited on billboards, buildings, and other parts of the city.

“In Fairey’s earliest works we can see the inheritance of the punk ethos: the satirical impulse, the guerilla-style poster sniping, the oblique references to pop culture, and the very public stage of the street as a place for unapologetic individual expression,” states Blauvelt, Director of the Cranbrook Art Museum. He continues, “Shepard Fairey is a perfect bridge to connect the history of punk graphics that we are also exhibiting at the same time to his seminal work from the 1990s.”

Shepard Fairey: Salad Days, 1989-1999 showcases the artist’s formative years through a variety of posters, stickers, and archival documents showing his engagement with punk. It will also feature a new installation in Cranbrook Art Museum’s galleries created by the artist.