Art + Culture

世界のNFT作品70%下落。今日の村上隆:すでに入札をしてくださっていた方々には誠に申し訳ないのですが、より便利に楽しく安心して私のNFT作品を楽しんで頂く為にも、今回の取り下げをご理解頂けますと幸いです。 NFTs prices linked to art down 70%. MURAKAMI Takashi, today: I sincerely apologize to those who have already put in their bids, but I hope you will understand the logic behind this withdrawal, the aim of which is to later allow you to enjoy my NFT works more conveniently and with peace of mind.

Today's screenshot from MURAKAMI Takashi's Instagram account
Today's screenshot from MURAKAMI Takashi's Instagram account

NFT shows the lack of critical behavior amongst artists and wanna-be artists. It was just a matter of time, when Murakami realised, this is not going to work properly. Thank god, he pulled today the rip cord, shortly before the auction-deadline.

Check his digital marketplace @ opensea, apologising.
https://opensea.io/collection/murakami-dot-flowers

screenshot of today’s Murakami Takashi’s opensea digital marketplace account1
screenshot of today’s Murakami Takashi’s opensea digital marketplace account1
screenshot of today’s Murakami Takashi’s opensea digital marketplace account2
screenshot of today’s Murakami Takashi’s opensea digital marketplace account2

London-based NFT agency Lily & Piper: “A drop in value was inevitable. There has been an over-saturation of platforms and it’s getting hard to differentiate and navigate.”
see The Art Newspaper:
Sorry to burst your bubble: NFT prices slump 70%
https://www.theartnewspaper.com/news/sorry-to-burst-your-bubble-nft-prices-slump-70

‘It’s Whiplash’: After a Record-Setting Run, NFT Artwork Prices Have Plummeted Nearly 70 Percent in Four Weeks
Is this the bubble bursting—or is it merely a course correction?
https://news.artnet.com/market/nft-market-1957770

Conversation between curator Michelle Kuo and artist Seth Price on the subject. It turns out that both Price and Beeple use the same 3D movie-making program to create still imagery. “So it’s a use of this extremely complex tool in a very dumb way, and it can be interesting when you misuse a tool,” Price says. When it comes to the rise of NFTs, he argues that “the reason that art is used here is because it, itself, is a good tool to further the larger project, which is developing these new forms of trading, speculation, circulation. Art is just a useful idiot in this scenario.”
https://www.moma.org/magazine/articles/547

We’ll see if Takashi-kun will give it a new try. Stay tuned!

check these links, too:

村上隆とNFT:芸術家は、死ぬまでの短い数十年間で、その後何百年も対応可能な作品を作らねばなりません。(Part 1)(2021/3/30)
MURAKAMI Takashi thinks, to be remembered hundreds of years later, he has to join shitty NFT: “Murakami Flowers” for dumb NFT digital money speculators

quote:

In this sense, dear dumb “Murakami Flower” collector: don’t forget to pay taxes. If you bought a unit of Ether a few years ago for $100, and it’s now worth $1,800, your Tax Office considers Ether a capital asset. So if you use Ether or Bitcoin to purchase an art work by MURAKAMI Takashi with NFT, that means you “created a taxable event”. Stay happy with your Murakami Dotty Flowers!
Don’t forget: NFTs are NOT stored on the blockchain – there is only a link to a web address. And what is there can theoretically be deleted, changed or copied.

Untitled
Ethereum – US Dollar Exchange Rate History

https://art-culture.world/articles/murakami-takashi-村上隆-nft-murakami-flowers/

Up-date version, Murakami’s new try:

村上隆とNFT:芸術家は、死ぬまでの短い数十年間で、その後何百年も対応可能な作品を作らねばなりません。(Part 2)(2022年1月)
MURAKAMI Takashi thinks, to be remembered hundreds of years later, he has to join shitty NFT: “Murakami Flowers” for dumb NFT digital money speculators (Part 2)
https://art-culture.world/articles/murakami-flower-2022/

Murakami Flowers @ opensea digital marketplace, ends 2021:4:12, 12 a.m. JST
Murakami Flowers @ opensea digital marketplace, ends 2021/4/12, 12 a.m. JST
Murakami Flowers @ opensea digital marketplace, ends 2021:4:12 12 a.m. JST.jpg
Murakami Flowers @ opensea digital marketplace, ends 2021/4/12 12 a.m. JST.jpg

クリスティーズ:ビープルのデジタル作品 NFT(非代替性トークン)「The First 5,000 Days 」69.3 Million 米国ドル (2021/3/12)
Beeple “The First 5,000 Days” NFT Fetches US$69.3 Million @ Christie’s
https://art-culture.world/articles/beeple-ビープル/

takashipom
皆様にお知らせがございます。
私はNFTという、電子証明の仕組みを使ったデジタルアートの販売に挑戦しようとしておりました。しかし、以下の理由でNFT作品の販売を延期、再検討する事に致しました。
full text in Japanese:
https://www.instagram.com/p/CNgMbgLlJXX/

takashipom
I have to make an announcement here. I was about to take on a challenge of offering NFTs, digital artworks that use electronic certification mechanism, for sale. For the following reasons, however I have decided to postpone and reexamine the sales.
full text in English:
https://www.instagram.com/p/CNgMKRbl2JJ/

Today’s screenshot from MURAKAMI Takashi’s Instagram account, NFT apology
Today’s screenshot from MURAKAMI Takashi’s Instagram account, NFT apology

About MURAKAMI Takashi, learn more via:

村上隆:「森ビルさんや、協賛のスポンサーさん達にはご迷惑をお掛けしております が、メディアへのインタヴュー一切をお断りしております。」(2021/3/3)
MURAKAMI Takashi Refuses To Give Any Press Interview (repost from the archive 過去サイト・アーカイブの再投稿 2015/10/16)
https://art-culture.world/articles/murakami-takashi-refuses-to-give-any-press-interview-村上隆/

森美術館前なう!日本一美術家、天才村上隆の超ダサい、米国産、金色うんこ自画像!爆笑!!(2020/11/20)
In Front of The Mori Art Museum, NOW! Japan’s No.1 Artist, Genius MURAKAMI Takashi’s, Made in America, Golden Bullshit Self-Portrait Sucks! ROFL!!
https://art-culture.world/articles/genius-murakami-takashi-天才村上隆/

日本の現代アーティスト・トップ 6(2020年)(2020/7/18)
Contemporary artists from Japan, Top 6 (2020)
https://art-culture.world/articles/contemporary-artists-from-japan-top-6-2020-日本の現代アーティスト・トップ-6-2020年/

米国ギャラリー Blum&Poeのアーティスト・リストから外された村上隆 (2019/4/23)
Takashi Murakami Had Been Erased From American Gallery Blum & Poe’s Artists’ List
https://art-culture.world/articles/takashi-murakami-blum-poe-村上隆/

今日のJapan Times。「村上隆:日本のアート・アウトサイダー、平成時代を定義した、’嫌われた’アーティスト 」。不幸な村上隆、、、(2019/3/14)
Today’s Japan Times. “Takashi Murakami: Japan’s art outsider. The ‘hated’ artist who defined the Heisei Era”. An Unhappy MURAKAMI Takashi…
https://art-culture.world/articles/takashi-murakami-japans-art-outsider-the-hated-artist-村上隆/

村上作品の価値?不幸な村上隆、、、(2018/11/16)
The Value of Murakami’s Works? An Unhappy MURAKAMI Takashi…
https://art-culture.world/articles/takashi-murakami-art-works-value/

日本のアート界を駄目にした男? 不幸な村上隆、、、(2018/10/19)
The Man Who Ruined The Japanese Art World? An Unhappy MURAKAMI Takashi…
https://art-culture.world/articles/takashi-murakami-kaikai-kiki-japanese-art-world/

up-date:

Law
A Curator Allegedly Minted Unauthorized NFTs of Art by Anish Kapoor and Others. Now, He May Get Slapped With Lawsuits
A dozen artists are said to be considering legal action.
Eileen Kinsella, November 23, 2021

NFT sale with Art Wars アート・ウォーズ
NFT sale with Art War アート・ウォーズ

Will artists go to war with Art Wars over unauthorized NFT sales?

Ben Moore, a London-based curator, is the founder of Art Wars, a long-running project consisting of an ongoing exhibition of life-size Star Wars stormtrooper helmets that have been custom-painted by artists, including Anish Kapoor, David Bailey, Jake and Dinos Chapman, and Mr. Brainwash. Now Moore has angered many of these artists by moving to sell NFTs derived from photographs of those originals on OpenSea, allegedly without their permission.

“For the first and only time, these iconic images, alongside a new set of interpretations from famous digital artists and our own in-house artists, will be made available as a collection of 1,138 unique and individual ArtWar NFTs. These will be randomly assigned to buyers of the initial mint,” according to a statement on the Art Wars website.

Moore did not immediately respond to Artnet News’s request for comment. Approximately a dozen artists are considering legal action against the project, according to the Financial Times.

An NFT, or non-fungible token, is a unique digital token encrypted with an artist’s signature and individually identified on a blockchain, effectively verifying the rightful owner and authenticity of the creation. Since NFTs took the art world by storm in early 2020, they have also opened the floodgates for potential—and so far, hard-to-police—wrongdoing around issues of authenticity, copyright, and outright theft.

More than 1,600 ETH (close to $7 million) had been transferred since the collection of 1,138 images was put on sale on November 22, the FT reports. One NFT attributed to Kapoor was offered for 1,000 ETH ($4.3 million) but has since been removed from the site. Another work attributed to Bailey was priced at 120 ETH ($517,000).

OpenSea could not be reached for comment but said it had received a copyright infringement notice and complied with it. The Art Wars NFT page on OpenSea was taken down yesterday.

Asked for comment, Kapoor’s studio referred the query to the U.K.’s Design and Artists Copyright Society (DACS), which is handling media requests for the matter.

“DACS is making enquiries on behalf of a number of our artist members to ensure that their rights are upheld and protected,” representative Kate Rosser-Frost wrote in an email to Artnet News.

The DACS statement continued, “As the art market evolves with new and emerging technology such as NFTs, we must ensure that we protect both the creative, intellectual, and moral rights of artists. The minting of NFTs without artists’ permission has the potential to destroy how we as a society value creativity and within this, guarantee that artists are protected through existing intellectual property laws and mechanisms such as the Artist’s Resale Right.”

The same blockchain technology that makes NFTs possible, however, could also provide a solution. DACS noted that resale rights could be used to support artists making NFTs or who have given permission for NFTs of their work. “Crucially, Artist’s Resale Right does not just protect the creativity of the artist or their work, but it helps support artists’ ongoing practice and livelihoods, as well as ensuring that they have a continuing stake in the increasing value of their work. As people in the art market seek to utilize new technology available, we must ask ourselves, ‘How, in an age of NFTs, do we ensure that artists’ rights are maintained for artworks?’”
https://news.artnet.com/art-world/art-wars-unauthorized-nft-sales-2039341


Inside the NFT Rush: Gary Vaynerchuk, the NFT Scene’s Booster-in-Chief, Is Predicting ‘Carnage’—But No One Seems to Care
In the first of a series, our chief art critic embeds himself in an NFT conference in New York City.
Ben Davis, November 24, 2021

quote:

Truth be told, I am still making up my mind on NFTs, aka non-fungible tokens, the digital art phenomenon that has swept across my world like a wave of jolly orcs in the last eight months.
In the end, I realize, there may not be one final take on them, because there is not one issue at play, no single settled technology or protocol. That’s one of the things I took away from NFT.NYC, a three-day conference that came to town in the first week of November, along with its own associated circuit of Art Basel Miami Beach-style parties, with every configuration of A- to Z-list celebrity, brand, and creative media partaking.

On the one hand, I find it indisputable that the NFT/crypto-art space is heavily driven by FOMO, hype, get-rich-quick fantasies, strategic double-speak, and fake-it-til-you-make-it auto-hypnosis. On the other hand, much of the same applies to the worst of the “traditional” art world. Which of the two has the deeper deep end or the shallower shallow end is hard to say.
Personally, I like seeing long-suffering digital artists enjoy their moment. And, for all the silliness inherent in the idea of selling smart-contract-based ownership of jpgs, this idea is not, on reflection, so much sillier than some of the stranger forms in which conceptual art has come to be commercialized. NFT advocates can—and do—point this out by drawing on references from Marcel Duchamp’s Monte Carlo Bond to Sol LeWitt’s instructions-based art to Maurizio Cattelan’s duct-taped banana.

quote:
The event ends with a performance by spoken word artist and NFT advocate doc.PEACE. “This one’s for you, Gary Vee,” she says, before launching into an incantatory poem about her journey from being a girl wanting to be a self-published author, in a household where creativity was discouraged, to today:

fast-forward 20-odd years and to the world of non-fungible tokens
a world where creators create
a space where creativity is celebrated and handsomely rewarded
I said: a new world which celebrates creativity, and handsomely rewards it
a community who wakes up each day with “GM” and actually mean it
“Good Morning My Friends!”

There is a swell of scattered applause and people yell out “Good Morning!”

my word cannot be duplicated
it’s ironic really
I broke free from pharmacy
embraced my creativity
and found freedom
with NFTs
thank you

full text:
https://news.artnet.com/opinion/gary-vaynerchuk-the-nft-scenes-booster-in-chief-is-predicting-carnage-2037829

NFT screenshooting
NFT screenshooting
NFTデジタル・アーティスト ・ビットコイン・イーサリアム・NFT
NFTデジタル・アーティスト ・ビットコイン・イーサリアム・NFT
クリプトアート デジタル資産 PRANKSY イーサリアム
PRANKSY
クリプトアート デジタル資産 XCOPY イーサリアム
XCOPY
クリプトアート デジタル資産 ERICK CALDERON イーサリアム
ERICK CALDERON
クリプトアート デジタル資産 Metakovan イーサリアム
Metakovan
クリプトアート デジタル資産 LARVA LABS イーサリアム
LARVA LABS
クリプトアート デジタル資産 OSINACHI イーサリアム
OSINACHI

up-date 2022/1/21

on crypto art and NFTs, 0xcAb8, January 19th, 2022

quote:
Notice I am generally pointing to digital media—animations, generative art, photography, illustration, graphic design—I feel these digital tokens are not well suited to the authentication, distribution, and transfer of physical artworks such as an oil painting or a sculpture.

quote:
This unfortunately does not mean globally equitable: sales volume tends to concentrate toward artists from the west (often white male), perhaps for a range of reasons including access to hardware and education, language and technical barriers, popularity on social media, discrimination, and sales-centric web interfaces that continue to widen inequality.

quote:
However, on the other edge of the sword, a system with zero moderation leads to rampant spam, illicit content, “copyminting” (plagiarism), phishing, impersonation, and other problems. Open markets like Hic et Nunc and OpenSea are often forced to de-index and remove content that goes against their code of conduct. This would be like Google removing your website from its search results—your site is still present and functioning, but not easily discoverable. Moderation and indexing on these platforms is a massive challenge, essentially a game of whack-a-mole, leading many users to favour curated or established collections.

quote:
Other Concerns
It’s also worth highlighting some of the common critiques of these systems, as they are certainly far from perfect, and can present various issues for artists:
Energy: Ethereum is currently associated with a high energy usage, steering artists toward smaller and less-developed networks like Tezos (where energy usage is negligible). This is likely to change in 2022 with Ethereum’s migration to Proof of Stake, which will reduce the energy usage by 99.95%.
Fees: Ethereum fees can be prohibitive, sometimes hundreds of dollars to mint an artwork. This tends to push action onto alt- and side-chains like Tezos and Polygon (where fees are a fraction of a dollar). Scalability will likely improve in future versions of Ethereum, but this will take some years to fully develop and mature.
Risk: there is an obvious element of risk, both for the artist and collector. A minted work might not sell, tokens might depreciate in value, and there are security risks associated with self-custody of private keys (i.e. if you accidentally share your private key online, you will likely lose all your funds).
Quality: the complete lack of moderation on some platforms leads to a negative perception of the space, as the majority of content minted on markets like OpenSea is low quality or even downright spam, porn, and theft. Garish profile pictures, avatars, and digital collectibles are often thrown into the vast mixing pot of crypto art, and their high sales volumes have a tendency to capture mainstream attention.
Speculation: the extremely high value in many of these markets is often driven by speculation, and can sometimes lead to FOMO-buying, botting, insider trading, pump-and-dump schemes. Given the sheer scale of these permissionless networks, it can be sometimes hard to separate the grift from the rest.
Volatility: tokens may appreciate or depreciate in massive swings on a day-to-day basis; users are regularly encouraged to pull profits, hold stablecoins, and avoid holding any value they are not prepared to lose.
full text:
https://mirror.xyz/mattdesl.eth/eUrK8MrRfKFJYVKTwi5F4mCIBJEBOYkZ1qaAiDNblIs

ここに載せた写真とスクリーンショットは、すべて「好意によりクリエーティブ・コモン・センス」の文脈で、日本美術史の記録の為に発表致します。
Creative Commons Attribution Noncommercial-NoDerivative Works
photos: cccs courtesy creative common sense