Artykuły

Tom 29 Nr 1 (2025)

Between sales mechanism and medium: Art in the age of blockchain and NFT

Strony: 11-18

PDF (English)

Abstrakt

The text considers the status of NFT artwork and how it is affected by its close relationship with blockchain. Doubts about the media character of NFT art are raised. Two perspectives are juxtaposed: one that denies NFT art the status of a medium and treats it as a certificate of authenticity and ownership for sales purposes (Richard Vigniel, Dave Krugman), and another according to which the meaning and value of NFT art can only emerge when the NFT is not solely a sales mechanism but becomes a medium of art (Christiane Paul). In the former case, the media and artistic nature of NFT-related works will be determined outside the blockchain platform and the NFT. The author, referring to the selected works of Eve Sussman and Masaki Fujihata, points out that the two aspects can be combined, and the deconstructed sales mechanism can become a medium for NFT art. The question of whether this is the only possible kind of NFT media art remains open.

Bibliografia

Adam G., “Interested in a square inch of a Warhol? Fractional ownership hits the art market,” The Art Newspaper, October 4, 2018, https://www.theartnewspaper.com/2018/10/04/interestedin-a-square-inch-of-a-warhol-fractional-ownership-hits-the-art-market.

AlterHEN, https://alterhen.art.

Artists Re:Thinking the Blockchain, eds. R. Catlow, S. Skinner, M. Garrett, N.A. Jones, Liverpool 2017.

Bailey J., “Autoglyphs, generative art born on the blockchain,” Artnome, April 8, 2019, https://www.artnome.com/news/2019/4/08/autoglyphs-generative-art-born-on-the-blockchain?rq=generativeart-born-on-the-blockchain.

Block R., O próbach demokratyzacji rynku sztuki / Reminiscences of Attempts to Democratize the Art. Market, transl. I. Ziętkiewicz, Gdańsk 2013 (Zeszyt Wydawniczy [ASP w Gdańsku] 10).

Brown K., “Hito Steyerl on why NFTs and A.I. image generators are really just ‘onboarding tools’ for tech conglomerates,” Artnet News, https://news.artnet.com/art-world/these-renderings-do-notrelate-to-reality-hito-steyerl-on-the-ideologies-embedded-in-a-i-image-generators-2264692.

Fujihata M., “Brave New Commons,” [in:] CyberArts 2022: Prix Ars Electronica, eds. G. Stocker, M. Jandl, Berlin 2022, pp. 72–73.

Jebb L., “As winner of renamed ABS Digital Art Prize is announced, have we reached a turning point for conversations around NFTs and culture?,” The Art Newspaper, June 24, 2024, https://www.theartnewspaper.com/2024/06/24/as-winner-of-renamed-abs-digital-art-prize-is-announcedhave-we-reached-a-turning-point-for-conversations-around-nfts-and-culture.

“John F. Simon Jr. ‘Every Icon’ (2021),” E.A.T_Works, https://www.eatworks.xyz/blog/john-fsimon-jr-every-icon-2021/.

Kluszczyński R.W., “The work of art as a collection: Violence, death, and loss in the art of Luz María Sánchez,” Art Inquiry 23, 2021, pp. 279–299.

Oracle, “Czym jest blockchain?,” https://www.oracle.com/pl/blockchain/what-is-blockchain/.

Paul Ch., “NFT art—a sales mechanism or a medium,” The Art Newspaper, February 18, 2022, https://www.theartnewspaper.com/2022/02/18/nfts-are-a-sales-mechanism-not-a-mediumftsare-a-sales-mechanism-not-a-medium.

Scope A., “Museums would be smart to incorporate NFT art in their collection,” CIMAM, May 10, 2022, https://www.cimam.org/news-archive/museums-would-be-smart-to-incorporate-nft-artin-their-collection/.

Shikata Y., “Can NFTs be used to build (more-than-human) communities? Artist experiments from Japan,” Makery, February 28, 2022, https://www.makery.info/en/2022/02/28/english-fromcommons-to-nfts-to-more-than-human-commons-emergent-interventions/.

Sollfrank C., “My first NFT, and why it was not a life-changing experience,” Makery, May 31, 2022, https://www.makery.info/en/2022/05/31/english-my-first-nft-and-why-it-was-not-a-life-changingexperience/.

Whitaker A., “Art and blockchain: A primer, history, and taxonomy of blockchain use cases in the arts,” Artivate: A Journal of Entrepreneurship in the Arts 8, 2019, no. 2, pp. 21–46.

Licencja

Creative Commons License

Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe.