Great piece. Figuring out the relationship, a healthy one, to have with social media in an age dominated by its presence, power, and ability to connect…fucking near impossible. Only people who seem to enjoy it are the ones who are succeeding at it, until the alto changes and suddenly it’s hell again😆
I like how you shake up things, Maxwell. We have little self criticism in the crypto art scene, and in the BTC corner it is completely absent. NFT.NYC said in their newsletter that there was great news, among which that trump came to BTC Nashvile. I wonder what's so great about that, knowing the track record of that man ?
I think there's just still so much desperation to be accepted by mainstream institutions, like being noticed by the popular kids. That sounds trite, but I really have no better analogy.
I think people see that kind of acceptance as a floor for the market, and also a seemingly attainable goal for artists. You know, "success" for a crypto artist feels so abstract right now, but if you have acceptance by museums and art institutions, then presence in those places, in certain galleries, invitations into the canon, that becomes doable. I think many artists still have this fear that even massive crypto art success will amount to little more than an art history footnote.
Great piece. Figuring out the relationship, a healthy one, to have with social media in an age dominated by its presence, power, and ability to connect…fucking near impossible. Only people who seem to enjoy it are the ones who are succeeding at it, until the alto changes and suddenly it’s hell again😆
I like how you shake up things, Maxwell. We have little self criticism in the crypto art scene, and in the BTC corner it is completely absent. NFT.NYC said in their newsletter that there was great news, among which that trump came to BTC Nashvile. I wonder what's so great about that, knowing the track record of that man ?
I think there's just still so much desperation to be accepted by mainstream institutions, like being noticed by the popular kids. That sounds trite, but I really have no better analogy.
I think it is getting worse. A curator of Tezos spoke yesterday of "the need to be accepted by museums and art institutions".
I think people see that kind of acceptance as a floor for the market, and also a seemingly attainable goal for artists. You know, "success" for a crypto artist feels so abstract right now, but if you have acceptance by museums and art institutions, then presence in those places, in certain galleries, invitations into the canon, that becomes doable. I think many artists still have this fear that even massive crypto art success will amount to little more than an art history footnote.