Alberto Giacometti once said:

The object of art is not to reproduce reality, but to create a reality of the same intensity.

**Citrus** by Grant Yun, a digitally-native artist who pioneered Neo-Precisionism & Vectorized Realism within the crypto art space.

Okay, but can you create a reality of the same intensity through digital means?

It doesn't matter by what means you use to create art. The purpose of creating art is to take inspiration, experiment, pouring your heart and soul into it.

Let's address the elephant in the room.

There's no such thing as a perfect piece, because there's always room to add a little more. And a little more. And a little more.

You could have the best tools known to man, and you'll still fail to achieve perfection. As humans, we are flawed by our nature. Art is a reflection of who we are; and if we aren't perfect, neither will our own creations be. Therefore, it doesn't matter if you create art on a physical canvas or on a digital whiteboard. It's still art.

So, how does this tie into all of this friction between the worlds of physical fine art and digital art?

Digital art destabilizes the boomer-esque and centralized foundation of how art is "supposed" to be. The circle of artists, brokers, and collectors from the traditional fine art scene see digital art as a threat to their ecosystem.

**Right-click and Save As guy** by XCopy, a Tumblr-native digital artist who emphasizes on creating "glitch" works. This piece is one of his most notable works, last purchased in 2021 for 1600 ETH ($4.3 Million).

AND THEY HATE IT.

THEY HATE IT BECAUSE THEY CANNOT CONTROL IT.

THEY LOATHE IT BECAUSE THESE STUPID DEGENERATES THAT KNOW NOTHING ABOUT ART CAN BUY MILLIONS OF DOLLARS WORTH OF DIGITAL WORKS THAT YOU CAN JUST RIGHT CLICK AND SAVE FOR FREE.

They think that by refusing to accept this new concept or to believe that their way is superior, they can escape the inevitable outcome in the cyberspace.

For years, countless articles have undermined digital art while extolling traditional art.

But now, it’s our turn.

This article aims to demonstrate that digital art and NFTs not only expose the corruption within the fine art industry, but also revolutionize the way art is transacted through the power of blockchain technology. This article is not written to put down traditional art nor the artists and collectors who truly value said art (we love physical works!).

Let's dive in.

The Provenance of Digital Art & NFTs

In 2019, Larva Labs created **Autoglyphs**, the first “onchain” generative art on the Ethereum blockchain. They are a completely self-contained mechanism for the creation and ownership of an artwork.

Alright, I'll make this part digestible. Don't fall asleep on me.

Digital art has been around for decades spanning back to the 1960s, and has quickly evolved since then. Algorithms, Pixels, Vector, Animation, 3D Modeling, Photography, and so many more branches of digital art exist and are being created daily on a global scale.

Within the past 20 years or so, people began to sell their digital art and receive commissions. For example, from 2005-2013, YouTube allowed users to decorate their personal channels with a custom template. These designs were outsourced by artists (from DeviantArt, Fiverr, eventually Instagram and Patreon) who specialized in making your channel seem as on-brand as possible, exactly the way you'd want it to look like.

If a social media platform existed, there was opportunities that allowed artists to freelance. You could request for custom emotes on Twitch, or get a new header on Twitter/Facebook, or even ask for a dope logo to increase brand awareness. Hell, you could even ask someone to make you a badass intro/outro for any of the videos you make and upload it to YouTube. Now, these tasks are becoming more and more valuable in the corporate world; I'm sure you've seen plenty of roles open for "Graphic/Product Design".

But this is only one avenue of digital artists making money. Other forms included selling prints, licensing their art, opening a store on platforms like Etsy, streaming, building an art blog, or creating educational content which teaches others how to draw.

Now, let's skip to the history of where NFTs come in.

As early as 2014, NFTs (Non-Fungible Tokens) have existed. But the world became aware of these onchain jpegs around 2017, starting with Larva Labs' CryptoPunks, a collection of 24x24 pixel art characters that were uniquely generated on the Ethereum blockchain.

At release, each Punk was available for purchase at the cost of 0 dollars, and choosing a character with the desired traits was first come first serve.

In 2020, Erick Calderon aka Snowfro created Chromie Squiggles, the first generative art collection that gives the minter a unique output instead of allowing them to choose the traits. In a way, each piece in the collection is a randomized "personal signature" of sorts.

Since the early days of NFTs, an endless amount of digital art pieces have been minted across many different blockchains (Bitcoin, Ethereum, Solana, Tezos, etc.) in different formats (generative art, interactive art, 2D or 3D, GIFs, MP4s, etc.), taking the crypto space by storm.

I could keep talking about different aspects about other collections or artists that have left a digital footprint in the crypto art space, but maybe for another article.

Crypto Art: Unraveling the Truth

**My Way** by RedruM, an artist known for his AI prompts that have a dreamy or nightmare-like aesthetic.

Ownership. Scarcity. Authenticity. Storage. Liquidity. Transferability.

For centuries, these were only applicable for fine art.

However, as time has passed and we have entered a digital age, the blockchain was born. And with the power of technology, you can achieve each one of these variables at an evolved, faster, and more accessible scale.

But here's where things begin to differ. The digital world can execute better than the physical world in many aspects, and it does not allow room for the same amount of error that you experience by traditional means. And with the recent rise of AI, this has resulted in an over-saturation of online artworks, diluting the value of what could be worth something in the future.

This is one of the main reasons why traditional artists and collectors are repulsed by digital art.

If you look at the crypto art space, are people really buying up a piece for high prices because they just enjoy the art? Or are they buying it because it's a potentially good investment vehicle that can provide them a solid return in the future?

In terms of the % of people that focus on art vs finances, I will leave that up for you to decide. Nevertheless, the "player vs player" or the "musical chairs" for exit liquidity ideology that I see in the crypto art world is only symbolism of the traditional art world's dark side, and how many of those collectors don't actually care for or value the pieces they own.

The 7 Deadly Sins: The Sins of Avaritia & Superbia

**Dreamland** by r0yart aka Roya Ghassemi, a figurative artist known for her stunning self-portraits.

I'm sure most of you have heard of the 7 deadly sins (and no, I'm not talking about the anime show). Gula (Gluttony), Luxuria (Lust), Avaritia (Greed), Tristitia (Sorrow), Ira (Wrath), Acedia (Sloth), and Superbia (Pride).

I want to focus on Greed and Pride.

Greed is an insatiable desire for material gain or social value, such as money, status, or power.

Pride is an excessive love of oneself, or an excessive desire for one's own self.

**Love in the Bin** by Banksy, sold at an auction house and then was immediately shredded as part of his plan without anyone's knowledge.

In the fine art industry, these two variables are everything. This explains why it is one of the most corrupt and unrestricted markets in the world.

We're talking about money laundering, tax evasion, theft, deceit, stepping on other people, hype and market manipulation, false-positive reputations, wrongful treatment of assistants, etc.

But you see, the majority of people in these circles thrive in this ecosystem. At the sacrifice of their own morality, they gain the world and everything in it. As long as they have the power and wealth, this oligarchy is willing to invest in anything.

For example. Banksy's auction stunt, where he shredded his piece post-sale, highlights human behavior: will eagerly buy art with demand, confident they can resell it for profit, regardless of its condition. And sure enough, the artwork was re-sold to a new buyer for $25.4 Million. You think they bought it for millions because they enjoy the art?

Ironically, the decentralization and transparency of the blockchain has damaged these immoral ideologies within the fine art world. It's public, visible for all to see. It tracks every transaction, as an artwork is minted and tied to a set of letters and numbers; a digital certificate of authenticity.

No more can the artwork be impersonated. No more will the provenance of the piece collect dust. And no more will there be a need for art brokers that take advantage of so many people.

The Importance of Community

**Into the Unknown** by Joanne Hollings, a professional photographer based out of New Zealand.

Crypto is for the people.

Compared to any industry that exists out there, crypto is the best when it comes to community. From a personal experience, the capability to network with like-minded visionaries from all different backgrounds and wealth statuses.

I don't have to buy into a club worth millions of dollars and act all high and mighty to connect with people who are already wealthy and well connected. I can be myself and have genuine conversations with people through the click of a single button.

People underestimate the true power of community. Because the reality is, you will never meet more down to earth people who believe in something. And by being part of a solid group of ambitious builders, that's all you'll need.

Words from the Heart

Fidenza #971, a 1/1000 generative art piece by Tyler Hobbs, one of the most profound digital artists within the space of crypto art.

One of my favorite parts about writing articles is that I can share different perspectives than just my own. Below are a handful of testimonies from some wonderful and well-known faces within the crypto art space, who truly have a passion for digital art and the way it has impacted their lives.

Let's dive in.

▼SuzanneNFTs

As a university professor specializing in innovation and economics, I've always been intrigued by the transformative power of new technologies. In the early 1990s, I launched my first internet company during the nascent days of the Internet. At that time, the future was uncertain, but my techno-optimism led me to foresee a bright future, much like the early days of blockchain technology. When I purchased my first Bitcoin in 2013, I couldn't have imagined the dramatic evolution of the space over the next decade. The rapid development and potential of this space leave me excited about what the next ten years will bring. I am totally convinced that digital ownership will become significantly more important than it is today.

My fascination with digital art began in 2021 when I started to recognize its potential. As a decentralization maximalist, I fell in love with the perfect intersection of technology, art, and decentralization. Digital art addresses many of the real-world challenges of traditional art, such as verifying authenticity, proving provenance, and overcoming physical wall space limitations. Furthermore, the ease of buying and selling, the rising importance of digital identity, and the necessity for museums to engage younger audiences serve as powerful catalysts for future growth. Digital art also paves the way for emerging art forms such as generative and AI art. Enhancements in digital displays and the ability to share art with a vibrant community of passionate individuals add to its appeal. In my view, the traditional art scene cannot compete with the clear advantages offered by digital art. It's only a matter of time before traditional art collectors, museums, and auction houses pivot towards digital art.

For artists NFTs provide a new avenue to monetize their work directly, bypassing traditional galleries and middlemen. The blockchain ensures that each art piece is unique and cannot be replicated, adding intrinsic value to digital art. Additionally, the decentralized nature of NFTs allows photographers to reach a global audience, expanding their exposure and market potential.

As a collector, my primary interest lies in generative art, and more recently, photography. I find long-form generative art particularly fascinating. Unlike the traditional method where an artist generates numerous outputs and curates them down to a few favorites, long-form generative art involves no artist intervention once the algorithm is launched. Achieving the right balance of variety and consistent quality is exceptionally challenging, with only very few projects successfully hitting that sweet spot. Fidenza is a perfect example, as every piece is both unique and instantly recognizable as a Fidenza.

As a university professor, my passion lies in educating others. I thoroughly enjoy conducting research and writing threads about digital art to raise awareness of the beauty of this space. While many are drawn to this space for financial reasons, I am fortunate to have a large following of art enthusiasts and creators who genuinely appreciate my efforts and who also generously share their knowledge with me.

▼TinoChChan

I've always been passionate about art and eager to explore the creative process and the narratives behind every canvas, sculpture, and artistic medium. I'm fascinated by the novel ideas and visual elements that artists express through their craft, which has made me realize that art is inherently subjective, allowing us to reimagine and generate new thoughts by engaging with it. Art knows no boundaries or limitations, opening doors for us to experience the unknown.

Growing up in Hong Kong, I had the opportunity to encounter various high-profile artworks and be part of the vibrant art scene. Attending auction house previews and gallery exhibitions exposed me to the glamor of the art world, but I soon became disillusioned with the excessive focus on networking rather than genuine appreciation of the art itself. I felt that the curated art experiences often lacked depth and that galleries didn't prioritize fostering meaningful connections between the artwork and the audience.

This experience motivated me to co-found an art curation company called "Artasy" (Art + Ecstasy), as I believe art is a transformative experience that can expand our horizons. We curated and participated in various art exhibitions, but after four years, I had to shift my focus to other priorities in life.

Although I stepped away from the active art scene, I continued to regularly visit galleries, build genuine friendships with gallerists, and expand my personal collection of physical artworks, particularly abstract figurative paintings and landscape scenes, which remain my favorite styles.

It wasn't until I moved to Singapore that I started exploring the world of web3 and digital art. The thriving web3 community in Singapore not only brought me new connections and friendships but also reignited my passion for showcasing and highlighting talented artists and creators. The initial "PFP (profile picture) era" of web3 art focused heavily on speculations and utility, often overlooking the inherent artistic value.

However, my involvement with the RTFKT community, where the legendary artist Takashi Murakami's art is featured in the CloneX project, has been a turning point. The community's dedication to creating and appreciating the art within the project has motivated me to even try my hand at 3D art, despite my limitations. Recognizing the need to amplify the voices of talented web3 artists, I founded "The Omakase Show," a weekly podcast that serves as a platform to share the stories and showcases the works of creators within the digital art spectrum.

Through this podcast, I aim to inspire fellow artists to stay committed to their craft, keep creating, and never lose sight of the passion that initially led them to the world of art and digital expression.

Why do you collect digital art?

I collect digital art for several reasons. Firstly, through hosting the Omakase Show, I've been able to interview my favorite artists and gain firsthand insights into their creative processes, journeys into web3, and what motivates them to continue creating in the web3 space. The more I speak with these artists, the more I become captivated by the digital art medium.

One of the most enjoyable aspects of collecting digital art is the ability to share and connect with a community of art advocates, fellow collectors, and the artists themselves. I've been able to develop personal relationships with the artists I collect from, moving beyond just a collector-artist dynamic to one of mutual support and advice as we navigate this ever-evolving space together. This sense of community and collaboration is vital, as we can celebrate the highs and lows collectively.

In fact, my collecting activities have even led to exciting opportunities to work with and host exhibitions for the artists in my collection through the Omakase Show. Being able to facilitate these kinds of creative collaborations is a dream come true.

Beyond the personal and community-driven aspects, I believe digital art plays an important role in the broader art landscape. As the world becomes increasingly focused on technology, digitalized experiences, and digital lifestyles, the rise of digital art is an inevitable movement. Digital art has the ability to tell stories and connect with people in a more immersive and interactive way, which aligns with the shifting preferences and expectations of modern audiences.

Compared to collecting physical art, I find digital art to be a more convenient and accessible medium. There are fewer logistical concerns, such as finding the right display space, shipping, and the ambiguity around reselling. The transparency provided by blockchain technology also adds an appealing layer of clarity to the collecting process.

In summary, my passion for digital art stems from the deep connections I've developed with artists, the vibrant community I've become a part of, the exciting collaborative opportunities, the strategic importance of digital art in the evolving art landscape, and the practical advantages of collecting in the digital realm. It's a multifaceted and rewarding experience that continues to captivate me.

Importance of Curation on Digital Art

Curation is just as critical in the digital art realm as it is for traditional physical art. Effective curation goes far beyond simply showcasing and arranging art pieces - it plays a vital role in cultivating understanding, appreciation, and connection around digital artworks.

One of the key functions of curation in the digital art space is to help the general public grasp the essence and value of this emerging medium. Digital art, with its intangible, code-based nature, can often seem mysterious or inaccessible to those unfamiliar with it. Skilled curators act as guides, contextualizing the work and illuminating its artistic merit, cultural significance, and innovative qualities. This elevates digital art in the eyes of the broader audience, moving it from the periphery into the mainstream art discourse.

Beyond just showcasing the works, curation is instrumental in establishing provenance and authenticity in the digital art world. By thoroughly documenting the history, origins, and ownership of digital artworks, curators build a sense of legitimacy and transparency that is crucial for the growth of this market. Collectors and enthusiasts can have confidence in the integrity of the pieces they acquire or experience.

Importantly, curation also fosters a sense of community around digital art. Curated exhibitions, collections, and events bring together artists, collectors, and enthusiasts, facilitating valuable dialogue, collaboration, and the cross-pollination of ideas. This cultivates a shared understanding and appreciation for the digital art movement, strengthening its cultural standing.

Perhaps most significantly, thoughtful curation can enable truly transformative art experiences. As you noted, curation has the power to take viewers on emotional and imaginative journeys, allowing them to see the world, and themselves, through new lenses. This aligns perfectly with the unique interactive and immersive capabilities of digital art, elevating the medium's potential to create deeply resonant artistic experiences.

Finally, in an ever-evolving digital landscape, curation plays a vital role in preserving the legacy of important digital art pieces. By carefully documenting and safeguarding these works, curators ensure their longevity, allowing future generations to appreciate the pivotal contributions of digital artists.

In summary, curation is indispensable for the digital art space. It elevates the medium, establishes provenance, fosters community, enables transformative experiences, and preserves cultural legacy - all of which are crucial for the continued growth and acceptance of digital art in our society.

Why do Trad Art platforms need to adapt digits Art, crypto art, and feature testimonials from folks in web3 such as yourself?

Firstly, there is an undeniable surge in demand and interest for these emerging art forms. A recent "Art Collecting Survey" conducted by leading Hong Kong galleries revealed that digital art and NFTs have emerged as top-trending mediums among art collectors in the region. This data point underscores the market's appetite for digital and crypto-based artworks – an appetite that traditional platforms cannot afford to overlook.

However, the challenge lies not merely in catering to this demand, but in fostering a deeper understanding and appreciation for these new artistic expressions. The traditional art world has often been slow to engage in substantive dialogue around the artistic merit, cultural significance, and technical innovations inherent to digital and crypto art. This is where amplifying the perspectives of the Web3 community becomes invaluable.

Artists, collectors, and advocates within the Web3 space possess unique insights that can help bridge the gap between the traditional and the digital realms. By featuring these voices, traditional platforms can facilitate a richer, more inclusive discourse that contextualizes the rise of these emerging art forms and illuminates their artistic legitimacy.

Moreover, the collaborative, community-driven ethos of the Web3 landscape stands in stark contrast to the often insular, competitive nature of the traditional art world. By embracing the Web3 philosophy of collective growth and mutual support, traditional platforms can revitalize their engagement strategies and cultivate a synergistic relationship between analog and digital art ecosystems.

This adaptive approach is not merely a necessity, but an opportunity for traditional platforms to remain relevant and responsive to the evolving art landscape. As prestigious museums and institutions begin to showcase and validate the artistic value of digital and generative art, traditional platforms must evolve to maintain their position and continue providing meaningful experiences for their audiences.

Well-curated exhibitions and immersive engagements that introduce the general public to digital art can be a powerful way for traditional platforms to drive understanding and appreciation. By leveraging their resources and reach, these platforms can facilitate transformative experiences that elevate the digital art movement and bring it into the mainstream.

In essence, the adaptation to digital art, crypto art, and the integration of Web3 perspectives represents a critical juncture for traditional art platforms. It is not merely about keeping pace with trends, but about embracing a collaborative, inclusive, and forward-thinking approach that can revitalize the art world as a whole. This evolution is not only beneficial for traditional platforms but essential for the continued growth and maturation of the digital art space.

▼Daniel100eth

Hi, my name is Daniel Volkov. Like many in the Web3 space, I stumbled into this world unexpectedly. My journey began in early 2021 when markets were choppy, NBA Topshot was booming, and Beeple had just completed his $69 million sale. At the time, I was a high school senior navigating a post-Corona world. I had made some money in options trading but lost it just before March 2021. With college on the horizon, I needed to make money quickly. I finally got off the waitlist for NBA TopShot and tried flipping moments, but I barely broke even.

However, through my options trading and NBA TopShot attempts, I discovered NFTs. I used Twitter for research and followed people like DannyUkes, who discussed Ethereum NFTs. One of their tweets caught my attention, leading me down the NFT rabbit hole. I won a meme contest for my first NFT—a Ghxst from a small art collection of 100 1/1s. I sold it two weeks later for 1.4 ETH ($4k), saved half for college, and used the rest to flip NFTs, turning 0.7 ETH into my first Cryptopunk within two months. I traded 30 Cool Cats, a BAYC, a Fidenza, and a VeeFriend to get it.

After a short stint of major PFP trading/flipping in the summer of 2021, I became interested in photography NFTs by fall. I collected a "Where My Vans Go" by Drifter for less than 3 ETH, talked with Justin Aversano about Twin Flames, and collected works from photographers like Billy Dinh and Monaris. This was my introduction to the art world. The ownership aspect of NFTs drew me in. Growing up in the modern tech era, I realized I didn't truly own anything. Blockchain and NFTs provided the ownership and authenticity layer for digital goods, which was a no-brainer for me. Our world increasingly lives in digital environments, yet there is no ownership within this layer.

Entering the Web3 space was unexpected, but it has been the best thing to happen to me. Before this, I worked as a bagger, cashier, janitor at a grocery store, and as a retail associate at Dick's Sporting Goods. After flipping NFTs and quitting those jobs, I executed my last major trade in January 2022, liquidated all my NFTs before the market dump, and took a break to recover mentally.

By summer 2022, I was ready to return to NFTs. I had one year left until I graduated with a business degree and knew the Web2 corporate path wasn't for me. I realized I had a passion for NFTs and art, so I sought an internship at SuperRare. Though it wasn't a fit, David Feinstein introduced me to Transient Labs. Initially, I had no art background or experience as a curator, but I was passionate about artists and could spot web3 trends. Transient Labs, founded by Ben Strauss and Marco Peyfuss, with Chris Ostoich as COO, needed an extra hand. I joined as an intern, handling miscellaneous tasks, research, and marketing/comms. Over time, I became the primary contact for creators we worked with, solidifying my place in the digital art scene.

NFTs brought ownership, transparent provenance, and dynamic artworks, creating a new medium with technology. Working closely with artists, I saw the effort, care, and detail they put into their work, marketing, communication, and exhibitions. I fell in love with digital art's community, collaboration, and the shared mission to advance the scene and prove its sustainability alongside traditional art. As our digital interactions increase, so will digital art creation, viewing, and interaction.

I began collecting digital art in 2021 to support artists and speculate on their work's value. Over time, my collector's thesis matured, focusing less on speculation and more on supporting creators and their art. My reasons for collecting digital art include:

Supporting Creators: I want to publicly vouch for artists by investing in their work. Most of my purchases stem from my admiration for the art and the artist's approach to the space.
Technical Innovations: I collect art that is only possible digitally, such as pieces reactive to weather or crypto prices, like Josh Pierce’s "Impermanence" or Karborn’s "Rise and Fall". These creative experiences are unique to digital art, enhanced by code.

TLDR:

I like the artwork and love the artist's approach to the space.
Technical innovations enable creative ideas impossible in traditional mediums.

▼UnknownCollector

I was never a big collector. I collected CDs at one point in my life, but that’s about it. I studied psychology in university and always had a strong connection to music, movies, and games. However, I never really connected with visual art until I discovered the web3 scene. When I found it, everything just clicked for me - the impact of art on the mind, the importance of creating for well-being, and the opportunity through crypto and NFTs to help thousands of creators. Everything I wanted to do with my life came together naturally in the web3 space - helping people on a larger scale.

It all started when I wanted to buy a birthday present for a tech-savvy friend in late 2021. I remembered hearing about NFTs and thought they would make a unique gift. I ended up not gifting an NFT because the gas fee was higher than the artwork itself, but this led me down the rabbit hole of understanding why NFTs are important and their potential. I initially gambled a bit unsuccessfully in PFPs because I didn’t understand how markets, community, and products work, but thankfully, after a few weeks, I discovered art on OpenSea and then Foundation.

This experience was like opening a gate to a new understanding of the world through art. I began collecting extensively and learning about the personal connection to art, art markets, the importance of art, art history, curation, networking, community building, and much more. I found myself in a constant stream of learning new things every day without feeling pressured. For the first time in my life, I enjoyed learning independently. I started sharing my thoughts and learnings on Twitter without trying to push an agenda, always making it clear that I’m a noob who loves to grow and discuss. This genuine approach resonated with people. I never thought someone like me, from a small rural city, would connect with such an incredible group of artists, collectors, curators, and builders through a relatively new passion.

For me, the web3 art scene means everything. It shows that with passion, perseverance, and patience, you can find your way and seize opportunities. Every day, I focus on doing what I love - genuinely supporting artists and blocking out the chaos and craziness of the space around us.

Yeah, that’s basically how I ended up being one of the biggest supporters of overlooked artists in this scene. I must still be among the top five all-time in the number of different creators supported on Foundation, despite not having the financial means like the big players. But most importantly I learned to support artists and art also beyond financial support. We need people hopeful about the future of the scene, no matter what happens with the markets and I always want to be that voice among great peers going the same route with me here.

▼Jonooo

I spent the first chapter of my professional career working in the music industry. Originally as a Tour Manager / Manager for artists such as TLC, Charlie Puth and Kali Uchis. With this experience, I understood the value of NFTs as a way for artists to crowd source funds, sustaining their career without having to give up ownership to a major label. It was a true light bulb moment and i've been a part of the Web3 community ever since.

I discovered the digital art scene through platforms like hic et nunc. I could feel a culture of unbridled creativity and soon started to develop my own "taste" for art. I credit the acquisition of "no bad trips" by @adhd143 as the true catalyst for my digital art journey.

I collect digital art as a means of expression and connection. I grew up exposed to the arts and culture but never truly explored my own taste. Having the ability to connect directly with artists through social channels, talk to them about their background and practice, makes the process of experiencing their work much more intimate. I am usually drawn to an artist by their work, but on special occasions, I build a friendship as well. We have an incredible network of artists exploring digital art from all over the world. It brings me immense joy and fulfillment to feel connected to human beings from all over the world through art!

▼OmletteMerve

Hello, I am Merve currently working as curator and artists relations at Transient Labs and studying masters in Computer Engineering in Italy!

Started my NFT journey with organizing digital art exhibitions alongside the biggest DJ events in Türkiye. That time I was only the head of organization and was not in charge of curation but always interested in the art world.

After a year, I started to work in a NFT photography project as head of growth and attended many events all around the world as much as I could to do networking and expand my knowledge. Later, I started to work by myself and do my own curations, I had my own gallery named AVLU on NINFA and have a gallery named Synthetic Mirrors in a marketplace. Since last year, I am working with Transient Labs and try to help artists in their artistic journey. Additionally, I’ve been participating exhibitions as a guest curator for ArtCrush Gallery and SuperChief Gallery.

While curating for an exhibition there are two factors I look into:

Communication with artist since the personality of the artists more valuable than their art to me. You are not talking to with the piece itself yet you are talking with the artist.
The coherence of the pieces together even there is no specific theme. Curation is not a place where you can only curate your family & friends, oh you can however you cannot call it a curation, you can call it coupling some pieces you like(?)

New curation is like a blank canvas for me, I can design in my style and build a new narrative around the different works/ stories.

I really love being in the web3 scene since you can reach anyone even if they are “celebrity” and/or in the other part of the world. Now I have friends from all over the world, and they are super supportive. Feel so lucky!

The market power of the traditional art world is deniable and they slightly started to include digital artworks in their exhibitions and collections but for me, TRACE built by Transient Labs will be a game changer in the future. TRACE stands for Tokenized Records for Artwork Certification and Evolution. A new protocol securing the authenticity of next-generation physical artworks via verifiable records inscribed on-chain. In one word, you can record digital provenance for a physical object! I believe this technology will enable artists/collectors/galleries to track all information about the piece.

We are always trying to onbaord traditional art world to the NFT/Web3 but also we onboarding crypto bros to the art history is crucial. I observe some collectors are lack of knowledge about history of art and this leads to hard to identify authenticity of the art works. While I am collecting, I have a super tiny collection, my priority is the uniqueness of the artworks and how it made me feel.

▼Mcolonna

Art has been a central component of my life, serving as a constant source of inspiration and intellectual stimulation. My journey began with a profound appreciation for traditional art forms, which eventually evolved into a deep fascination with the expansive possibilities offered by digital art and Web3 technologies. As the founder of Colonna Contemporary, I have had the privilege of observing and contributing to the transformative power of art across both physical and digital realms.

The Early Years: Roots in Italy and New York

I was born and raised in Italy, a nation renowned for its rich artistic and cultural heritage. This environment cultivated in me a profound respect for artistic expression from an early age. In the late 1980s, I moved to New York to pursue my higher education. The dynamic and culturally vibrant atmosphere of New York during this period was nothing short of exhilarating, compelling me to make it my permanent home.

Upon completing my education, I embarked on a career in the fashion industry. This field provided a unique intersection of art and commerce, allowing me to indulge in my passion for both. Frequent travels to Italy for fashion shows allowed me to maintain a strong connection to my roots while immersing myself in New York’s innovative environment. My tenure with Calvin Klein, a prominent patron of the arts, afforded me opportunities to work on collaborative projects with the estates of renowned artists such as Dan Flavin, Donald Judd, and Mark Rothko.

Transition to Digital: Embracing New Mediums

The art world is perpetually evolving, and so too are the mediums through which artists convey their visions. My initial exploration into digital art was both intellectually stimulating and challenging. The concept of creating and experiencing art through digital platforms was revolutionary. I delved into these platforms, acquainting myself with the new tools and technologies that artists were employing to create immersive and compelling works.

This exploration coincided with the advent of blockchain technology and the emergence of Web3. The principles of decentralization and enhanced control over artistic distribution resonated deeply with me. It became evident that Web3 represented not merely a technological advancement but a significant cultural shift poised to redefine the art world.

On Collecting Digital Art

Once I understood the underlying technology powering the entire crypto eco-system it was a very easy decision to pivot to digital art collecting. For me it’s like walking past Grey Gallery in NY in 1962 and seeing Brillo boxes and Campbell Soup cans in the window and wondering what the all is that garbage and then realizing 10 years later that I wish I had picked up some of that garbage. I firmly believe that we’ve crossed the digital Rubicon and there’s no turning back.

Founding Colonna Contemporary: Bridging Traditional and Digital

With a vision to integrate the best of traditional and digital art, I established Colonna Contemporary. Our tagline, "From Pigment to Pixel," encapsulates our mission to honor all forms of artistic expression, from classical paintings to avant-garde digital creations. Our gallery has been at the forefront of innovation, being the first to implement digital authentication through Transient Labs T.R.A.C.E. chip technology and to offer a proof of exhibition protocol. We’ve also been the first gallery to implement Atomic Form’s Proof of Exhibition protocol and Social Attestation functionalities.

Our exhibitions and projects embody this synthesis of tradition and innovation. For instance, our “Narratiff" project on Foundation features a curated selection of past and ongoing works presented as unique NFTs, each accompanied by fine art prints. This project, centered on themes of cultural synthesis and creation, reflects our dedication to supporting artists who are deeply committed to their craft.

Embracing Web3: A New Era for Artists and Collectors

Web3 has ushered in unprecedented opportunities for both artists and collectors. The decentralized nature of blockchain technology ensures that artists retain ownership and control over their work, while collectors benefit from a transparent and secure marketplace. Our gallery's AI emerging voices series on Foundation, including "Truth Unveiled: AI Perspectives" and "Cultural Alchemy: Merging Traditions with AI Innovation," celebrates this new era of digital art.

We also leverage platforms such as Twitter Spaces to engage with artists and collectors, fostering a vibrant community around digital art and NFTs. This approach enables us to remain attuned to the latest trends and innovations, ensuring that we stay at the cutting edge of the art world.

Looking Ahead: The Future of Art in a Digital World

As we navigate this evolving landscape, our focus remains steadfast on supporting artists and their creative endeavors. Our forthcoming projects, such as the digital magazine Lore, aim to provide in-depth explorations of different artists each month, beginning with the talented Charlotte-based artist Bhare. By incorporating Atomic Form's key functionalities, we are enhancing the ways in which art is experienced and appreciated.

In conclusion, my journey into digital art and Web3 has been one of continual discovery, innovation, and an unwavering passion for the arts. At Colonna Contemporary, we are committed to bridging the gap between traditional and digital art, creating a space where creativity and technology converge. The future of art is undeniably digital, and we are honored to be at the forefront of this transformative movement.

▼RDToTheMoon

For me to collect digital art, a specific piece, artist, or the overcharging theme within their body of work has to resonate with me. I only collect art that I love or from artists whom I’ve grown to know. And in doing so, I know they are dedicated to their craft and are in web3 for all the right reasons. I don’t always get it right, which is okay. As long as the art speaks to me, then I am happy. If it’s art that I can live with or better yet, can’t live without, then I am happy.

Aside from the sentiment shared before, I collect digital art because I believe in the medium and the opportunities the blockchain offers artists. By collecting digital art, I love that I can directly support artists, which helps them grow and further develop their practice. I love the togetherness that comes with collecting digital art. Collecting digital art and being present in web3 has taken me to places I’ve never imagined. It has allowed me to meet people I’d never thought I’d connect with. And for that, I am forever grateful.

The Finishing Touch

**Low Life** by Dangiuz, a contemporary digital artist who creates dystopian-themed work.

Onchain art is not going anywhere.

From the evolution of digital & crypto art, to unraveling the corruption of the fine art world, to the power of community superseding the oligarch of the wealthy. There's no doubt in my mind that onchain art will pave the way for the trad art industry to embrace blockchain technology, revolutionizing how physical pieces are authenticated and transacted between parties.

Digital artists will continue to create, builders will continue to find ways to help artists grow and showcase their colorful works, collectors will continue to collect art whether they truly have a sentimental tie to it or whether it's for financial reasons, and blockchain will continue to be adopted by the masses, revolutionizing the way we interact with the internet.

To the fine art world. If you're reading this, adapt or fall behind.

**My Anxiety Flows Outward** by Irfaan, a Chicago-based artist who creates art inspired by emotions.

But I'll conclude by saying this.

I LOVE ART. IT'S SO DAMN BEAUTIFUL, EXPRESSIVE, DETAILED AND IMPERFECT.

Whether it's a physical or a digital work, I couldn't care less. It's all about what you see on the canvas, how you interpret what you've downloaded into your mind, and how it impacts your soul.

As Deidara (Naruto) says:

Art is something that blossoms for an instant before withering away. Art is beauty that lasts for just a moment. To me, the essence of art is - an explosion!

I’d like to express my utmost gratitude for the talented artists who permitted their beautiful work in this article; especially Other World, whose art is the poster for this written piece.

Other World’s Dark Art style is truly magnificent, and was chosen as the cover art to illustrate the intensity of the battle between the physical + digital realms, as well as the consumption of humankind’s sinful nature.

A massive thanks to Rob (RDToTheMoon) who took the time to hand-select collectors for testimonials, as well as write his own.

A heartfelt appreciation for Suzanne who provided invaluable feedback on this article before its publication. For more insight on this subject, please check out her thread The Bull case for Digital Art below.

SuzanneNFTs

@nf_suzanne

The Bull case for Digital Art. A thread

1/10

NFTs: The War on the Fine Art World