Here you have a Greek tragedy of a downward spiral in art,
culminating in a work being sold by a horse-era institution,
propped up by 100 years of destructive philosophy, confirmed shadow
games since the 1940s, recent inflationary money printing, and
blatant one-sided activism. It’s worth stepping back to see the big
picture. A shiny new web3 house on the hill then asks new-era
artists to conform to the old setting by becoming vehicles to sell
even worse garbage, while leaving out the OGs of the scene—ensuring
the products can’t outshine the primary idiocracy… or so it might
seem at first. Maybe there is more to it all. Something even those
directly involved are not even considering to be a thing. This
“full circle” above refers to how seemingly progressive ideas are
actually about selling the future in a desperate attempt to save
the past, and control the present. Much like printing money at the
expense of future generations, the fiat era of money is still in
full swing in art. The Great Contemporary Art Bubble was a
revelation when I first saw it at the start of my career in art in
2008. This article offers an alternative perspective to the popular
banana show recently dominating the web3 art internet. It’s a big
“what if”? If you can be truthful, brave, and funny—say, in the
spirit of Joe Rogan—you might get some things wrong, but this
article have plenty most have never considered to be a part of the
art world. My intent is to be as fair as possible, and to continue
saving art from the last hundred years of agendas that no longer
serve it, especially in today’s world where decentralisation tools
can invite everyone excluded into the party-this being nearly the
whole population of the earth right now. Setting the stage: First
off, SuperRare has done a great service to the digital art
community in impressive numbers of art sold, and development in the
scene through their DAO, up keeping the creator resale ryoalties,
and fighting for the scene to become a thing among the first in the
game. Watch this interview by the founders to get a deep dive into
their perspective on the Dinis Guarda show. Thousands of artists
will likely speak positively about the whole thing. So what gives?
In short, the corporate mindset leading art, once again. This is
not about SuperRare alone, but the whole company scene that
emerged, but something that is personal to me about it all as well.
As per the selected fifteen bananas, the dilemma of SuperRare is
obvious. You can’t outshine the lame duck pre-internet paradigm
banana, and the bureaucratic class, so their curator team is stuck
choosing the upper end of what can be politically business wise
tolerated. That ends up being not much, while they sell the future
down the polluted river. “A tragedy is a literary,
theatrical, or dramatic work that typically depicts the downfall of
a central character, often due to a combination of their own flaws
(such as hubris, greed, or ambition) and external forces (such as
fate, societal pressures, or the actions of others). Tragedy is
characterized by serious themes and often evokes feelings of pity
and fear in the audience, culminating in catharsis—a purging or
emotional release.” Or actually just.. (Art) Threat To Our
Bureaucracy The SuperRare competition held in sync with Sotheby’s
upcoming auction of a famous banana marked a new low in substance
for the NFT scene, and there’s plenty to reflect on from before.
Not because the art was the worst—that standard is impossible to
set in NFTs anymore—but because of the combination of pleasing an
old player while simultaneously sidelining the OGs – for the sake
of engagement farming and money. The essence of crypto art—the
rugged band of true avant-garde artists who took on the central
banking system—has now been mostly washed away from sight. Events
like this banana show, where they could have shone brightly to the
world, instead pushed them further into the shadows. The watering
down the Vodka of this scene is now an equivalent of a frozen
bottle in the freezer. The more partnerships formed with
pre-internet and web2 companies in hopes of “reputational gain,”
the more a promising beginning started to vanish before our eyes.
Very soon, the scene began to resemble the old one the pioneers had
been trying to escape. The clearer the communication challenging
the status quo in the art world at large, the more certain you
became of hearing, “You weren’t selected this time,”, if you heard
anything at all in the web3 scene as well. The curatorial team is
hidden, so the community can only fight a symbol like SR, while
those responsible for the heat generated remain protected. “I’m
afraid I can’t explain myself, sir. Because I am not myself, you
see?” ― Lewis Carroll, Alice in Wonderland Is art free? If art
is truly free, where are the visual artist equivalents of Jordan
Peterson, Thomas Sowell, Eric & Bret Weinstein, Gad Saad,
Camille Paglia, Joe Rogan, Jonathan Haidt, Graham Hancock, Patrick
Bet-David, Coleman Hughes, Yeonmi Park, Casey & Calley Means,
Christina Hoff Sommers, Michael Malice, Mike Baker, Matt Taibbi,
Matt Walsh, Matt Taibbi, Tucker Carlson, Annie Jacobsen, Ben
Shapiro, Candace Owens, Andrew Huberman, Ayaan Hirsi Ali, and an
abundance of others? This list includes credentialed academics,
surgeons, scientists, religious and non-religious figures,
journalists, people from the left and the right, as well as outside
the system. Regardless of what you think of them, together they
reach billions of people across various platforms and tackle a vast
ocean of topics that are absent from the art world. Many even more
provocative voices are deliberately excluded from the list,
highlighting just how low the tolerance for dissenting to the
postmodern monolith viewpoints is. So, are we living in the most
restricted era of art history, or are we just now realizing how
controlled it has always been? It’s becoming increasingly clear
that the culture of convenience in art has overtaken its true
purpose, much like what has happened in food, medicine, media, and
other fields, as illustrated by the podcast guest list above. It
didn’t take long that web3 went down the same stream. This article,
links and all, might just be able to change your whole perception
on what art is today. You will, however, need some courage and
sincerity to get it. As I’ve recently discussed, including in
this Anna Fischer interview, the art world’s cancellation and
selection processes are deeply intertwined with lesser-known
histories and fishy agendas also. These include the interference of
intelligence agencies like the CIA since the 1940s, working
alongside a specific kind of ideological possession—arguably making
art less free than even the corporate scene is now substance wise.
We’ve just had it for so long that people don’t understand being
completely captured by a singular philosophy of postmodernism. You
can read my previous “Free web3” article to get clued up on that
side if unfamiliar. The past to shine light to our current state:
Through declassified documents, investigative journalism and
biographies related to the Congress for Cultural Freedom (CCF), a
CIA-funded organization, revealed that the agency had funded
Jackson Pollock, Rotko, and De Kooning. The Museum of Modern Art
(MoMA) played a pivotal role in the CIA’s cultural strategy. Key
figures like Nelson Rockefeller (a MoMA trustee) were complicit in
promoting Abstract Expressionism as a symbol of American freedom.
MoMA organized exhibitions that were covertly funded by CIA-backed
organizations, ensuring Abstract Expressionism gained prominence
internationally to combat soviet art propaganda. Jackson Pollock in
his studio in 1951 Wait a minute, VESA—are you insinuating that
SuperRare or Sotheby’s are somehow influenced or captured by an
intelligence agency? In short, no not directly, nor do I have any
evidence otherwise. Direct involvement is not how these agencies
work anymore. Most people would never know if they were behind
something. However, it’s impossible to claim they haven’t been
influenced indirectly, given what we know about the past For better
or worse, we’ve all been influenced by these forces. The question
is, did CIA leave the space after the 50’s, which is unlikely, and
how many other agencies have entered, and from which countries
since? Undoubtedly this is part of how we’ve arrived at where we
are today, and I’ll unpack that as best I can below. A scene from
1740’s London Sotheby’s was founded in 1744 and has long been one
of the rubber stamps of perceived quality. Much like the media,
they underwent a strange transformation during COVID, embracing
their metaverse and digital assets phase. It was as if, suddenly,
serving Big Mac-level artworks in a three Michelin-star restaurant
was considered cool. To me, it felt like they were burning down
their own house and hosing it with petrol to speed up the process.
A similar trend emerged with SuperRare, which increasingly
alienated itself from its origins, throwing out OGs like Robness
and Max Osiris. These were contrarians, for sure, but contrarians
have always been a crucial part of the game. They fought for
freedom of expression—annoying to the founders, perhaps—but they
were powerful in their expression and represented the core of what
this scene was supposed to be about. In essence, they weren’t doing
anything Duchamp, Pollock, or even Basquiat wouldn’t have done. I
say this, having endured a few unprovoked tirades from Max myself,
but keep being on his side. If you are against free speech, you are
anti-art The talented rarely align with corporate agendas over art.
While I was courteous to the early scene people involved, I was
merciless in my expression of what this scene was truly about. You
can find that in pieces like “Selling banks their fat asses back”
or “The Br8ve“. The corportes had clenched assholes just by knowing
I existed, especially after taking a freedom of speech stance
during Covid. Many platforms didn’t accept my applications in web3,
so kudos for SuperRare for keeping me. I said I was going to be
fair. The free speech alone was enough to get me sidelined to the
tune of tens of millions so far. Freedom of speech of course is
another way of saying freedom of expression aka art. The artists
with the greatest potential and the most original expressions found
themselves relegated to the outskirts of the pump. Meanwhile, what
thrived were imitations of previously made masterworks, done to
death concepts from decades back, meaningless glitch art, and
whatever iteration of abstract impressionism was f l y i n g. I had
some cool ones too along those veins, but crickets. Seemed everyone
and their uncles were on Sotheby’s and Christie’s – but not me. To
share some of the load, this was going on for me ever since the
beginning. Artnome was among the first three people I contacted in
2017, and he took an active role in making sure I was nowhere to be
found in his curation or circle. I contacted him directly, so there
is little doubt. Everyone in the early scene was aware of everyone
else. Can only imagine what kind of things he has said behind
closed DMs. To me, Artnome represents crypto art much like Flint
Dibble represents archeology. Many from the early scene felt the
same. Not mentioning names as I am not in the habit of throwing
people under a bus, nor were they shy to say so either. The
personal responsibility part Back in the day in 2017, when there
were very few of us crypto artists indeed, it was the SuperRare
guys who reached out to me to join their platform. It was my
relative mistake back then to join Four Park and Orion Vault
instead, as my ten-year efforts could be priced at $50K there,
while SR was averaging $50 per piece in 2017 and 2018. My works
were heavy effort and just making one was 5x more expensive than
what I could have gotten out of them in SR. Also the quality of the
works was some cool stuff but mostly kids throwing shit on a wall
and seeing what sticks with a glitch effect. By glitch effect I am
not talking about cool stuff like Xcopy or A.L Grego later, but
truly amateurish “wtf is this?” stuff. I thought I’ve actually
exhibited in reputable galleries and received major press coverage
reaching hundreds of millions. Joining this could look bad for me
on many levels. VESA and CTO of SuperRare Jonathan Perkins at the
Museum of the Future in Dubai in 2022. My bad, of course, since I
sold nothing through the former two and was priced out of reach for
the SR crowd at the start. The bear market and non-existent high
level collector base wiped out both Four Park and Orion Vault. It
wasn’t long, that things looked different on SR, and I did hop on
board already in 2019, which I thought was early enough, but then
nearly nothing happened no matter what price or kind of work I
uploaded. I thought it very strange, as there was things flying off
the digital shelves for more money and less, objectively deserving
it much less on the basis of story, aesthetics, CV, reach, process
& critical acclaim. Primarily, art matters, and that didn’t
suck. So,again, wtf? The works were being sold for crazy money
consistently by others. You could basically literally put out a
line of colour and be an artist that started that year, and sell.
It was the boom of 2021. Somehow, this was not the case for me in
NFTs, despite being here and very visible almost before anyone
else. “The Beginning of a new era” artwork by VESA, a digital
original from 2013 made with a Bollywood star, reaching about 300m
people when published. The Shiny New Web3 Art House On The Hill
SuperRare quickly became a standard for collectors, most of whom,
for the most part, had little understanding of art. The founders
had backgrounds in architecture and new media but lacked direct
experience in fine art. It was a degen scene—focused on crypto
symbols and positive decentralization propaganda—which soon
escalated into pure speculative hype over anything and everything
available. There was some sophistication, too. Expertise was then
soon imported from the legacy scene, which ended up being the
problem. For the most part, collectors sought the curatorial stamp
rather than the substance, career, or depth of the art itself.
However, there were exceptions—artists who truly embodied those
qualities. Meanwhile, platforms like Rarible, OpenSea, and others
turned into a digital Wild West on fire. I’m using Joseph
Desire-Court’s 1826 “Delusion scene” artwork as a meme to help
people understand my relationship with SuperRare since the early
days to now. It is deeply personal, as well as funny, as my real
son was stillborn during the time I realised I was going to be left
behind from the movement in 2021. Losing my son, as well as
simultaneous access to the first NFT run, was a tough pill to
swallow back then. I’m not suggesting this whole situation with
NFTs is SR’s fault, but they seemed to have played a part in my
deboosting—despite them being well aware of me. In the coming
banana show part, I got confirmation of this, as all the founders
were tagged in my post & the accompanying text leaves little
for imagination for the curators. It’s proof of censorship.
Painting by Joseph Desiree-Court meme alteration – 1826 to 2024 “In
the biblical book of Genesis God flooded the earth, sparing only
Noah and his family who had been instructed to build an ark. All
others perished in the great deluge. Instead of illustrating the
life of Noah, Court gives us a scene from the other side of the
story. Here a man has to choose between saving his own son or his
father. He chooses his father who, despite the man’s efforts, has
just slipped out of his grasp. The painting can be read as an
allegory about clinging to the past. If you always look to
traditions and the past, you will miss out on all the possibilities
that the future can bring.” End Stage Postmodernism During the NFT
boom, the Pride LGBTQ+ movement also reached a stratospheric rise,
and overnight, Fewocious became its brightest star. While I think
he is a talented artist, his work was clearly youthful; a
16-year-old simply hasn’t had the time to develop much depth yet.
His pieces sometimes depicted crying, misunderstood figures with a
similar text explanation—if you know what I mean. The cartoonish
style of this young artist was soon hailed as Basquiat-esque, with
the added elements of gender confusion and being on the spectrum.
Altogether, it fit every “tick-a-box” criterion for the emerging
ETH scene, that was enhanced by media, marches and organisations.
There was a heavy government, media and colliding corporate push
for this that came out of seemingly nowhere all of a sudden. During
the NFT run, the Bitcoin culture and the rest of the chains truly
separated. It was all WAGMI and “Gm” for the scene—except, of
course, for many of the artists who had fled the increasingly
absurd woke art world and formed the first wave of crypto art by
critiquing central banking, money printing, and promoting hard
money principles. We were interested in healing society from a very
different set of lenses, and not all that convinced more woke was
what we needed to go into the right direction. On top of that, if
you dared say a word about the “fresh wave” of end stage
postmodernism, you weren’t necessarily cancelled silently, but
certainly considered “out”. I’m Potency No one likes critique it
feels ick, but without it the whole world becomes no rizz. I
haven’t really participated in an ‘art submission competition,’
perhaps ever, as I’m a bit old-school and view it much like Prince
might have viewed the rise of TV singing contests. He felt the
process and commerce of it killed authenticity in the artist,
and wasn’t wrong. In comparison to the music roster we had until
about 2000, we live in a post music world now. However, the endless
corruption symbolised by the duct-taped banana artwork, colliding
with a SR competition, prompted me to enter. “In I’m-Potency,
artist VESA presents a sharp satire on Western society’s spiritual
flaccidity. By replacing Adam’s reaching finger with a limp, taped
banana—a nod to Maurizio Cattelan’s Comedian—this piece reflects
the decay of a culture that once held itself as a beacon of
enlightenment but has now veered into absurdity. Michelangelo’s
Adam famously reaches toward God with a finger that isn’t fully
extended, symbolizing humanity’s hesitation and the delicate gift
of free will. In this reimagining, Adam’s once-restrained reach
becomes even more compromised, transformed into a limp banana
pointing downward. It’s as if Western culture, once brimming with
creative potential, is now resigned to existential apathy, unable
or unwilling to reach for anything beyond itself.” That is just the
start of the text ending in this: The post tagged the new head of
digital assets in Sotheby’s, the auction house, as well as SR. Read
the full context of the submission substance here See the selected,
eventually 15 artworks considered more worthy by the SR curation
team Of course, it was not selectedThe most amazing thing about my
submission piece “I’m Potency” not selected to the SR banana
competition finals was that I am an actually censored artist,
making a case on how art has been censored by the postmodernists
for over a hundred years, writing the whole thing out crystal
clear, but I got censored again out of the show by those who were
meant to build the free infrastructure. What we have here, is an
illusion of choice. A combination of a totalitarian philosophy,
coupled with an illusion of options. This is made obvious by the
objectively much less substance or vision pieces selected over mine
with a topic of censorship. More on this a bit later, but you will
see it at the very least, vindicates my point that shadow games
beyond merit and substance are going on inside of the web3 art
world, much like in the legacy art as well. Pissing on traditional
values for a hundred years In the art world, the war on
conservatism began over a century ago with Duchamp’s satire and
shock artwork, The Fountain (1917). Duchamp claimed his six-dollar
urinal entry piece singled how “art has lost all of its
credibility.” Ironically, it sank art even lower from a certain
perspective. Fast-forward a hundred years to The Comedian and it
seems no amount of bubble gum in the form of “substance” can
satiate the post-MTV generations. If something had already been
done with far more punch a century ago, eroding standards in a
meaningful way at the time, then today’s attempts are pure LARPing.
Sotheby’s, in this context, is not worthy of the reverence it once
commanded—especially when their head of digital assets, Michael
Bouhanna, calls The Comedian “the most significant work of the 21st
century.” Very little of course about this is about art, as most of
it is money, power and potentially continued societal agency
subversion. Jonathan Haidt’s research on disgust sensitivity is
fascinating. He discovered that conservatives have a much more
heightened sense of disgust when boundaries are broken, as well as
a greater need for physical cleanliness. In contrast, this is not a
high priority for liberals or libertarians. Naturally, those with
no boundaries are easier to subvert for whatever cause. Fobia means
An intense, irrational fear or aversion to a specific object,
situation, or activity that is often disproportionate to the actual
danger posed. This is not the same as disgust, which is an
emotional response of strong aversion or revulsion to something
perceived as unpleasant, offensive, or morally unacceptable. This
part is less discussed in this context. “KISS” My second inspired
banana, which I did not submit to the contest. So returning to the
Pollock paradigm and how he was a darling of the alphabet agencies,
with the CIA entering the art world as far back as the 1940s to
combat the rise of communism. Leftist artists were propped up to
showcase American exceptionalism. Selling the idea of a
cocaine-laced drink and “do what you feel like” freedom to American
youth and elites wasn’t a hard pitch compared to glorifying Soviet
despots who demanded hard work as well as to be elevated to Godlike
status. Read the full context of the “Kiss” artwork Most
know of course the famous Kiss by Gustav Klimt, and how combining
the CIA logo and the idiot banana in this context is at least a
chuckle, if not a profound question mark on the last 80 years of
our understanding of art. This isn’t conspiracy theory—it’s
conspiracy fact. It’s also worth noting that the term “conspiracy
theorist” was invented by the CIA as a derogatory label to
discredit those questioning their activities, a tactic that gained
traction after the JFK assassination. This will be relevant later
when discussing how RFK has now been elected as part of the new
U.S. cabinet. Conspiracy theories have been around pre-internet,
took the internet by storm, and are completely invisible to the art
world. This is because there is no right wing thought in the space
what so ever. Sure there is cooky thing from flat earth to what
ever, but there are legitimate conspiracies proven true that are
fascinating. There are no gallery artworks making any waves? Not a
single openly conservative artist anyone knows? Seems natural. Some
of you might also be familiar with the famous interviews of Yuri
Bezmenov, the defected KGB spy, who outlined how demoralization was
part of their plan to take down the U.S. government. If you ask me,
the demoralization he described has only ramped up since the 1980s,
fueled by postmodern values and the fiat-funded war on conservative
ideals and God—or whatever God represents as a symbol of natural
order to be discovered rather than manipulated into existence. His
“useful idiot” term helps us see many players in art in a different
light. Eric Weinstein gives some indication with his Kayfabe
concept to where we might be today. Here are parts 2 & 3
Home of DAF The art world, which has been playing with our
collective subconscious for a 100 years, is in deep need of an
audit by a character like Elon Musk with his DOGE crew of Vivek,
RFK and Trump. Wouldn’t that be something? You also need me on
Rogan going a three hour round to talk about this all. This is why
I made the Department of Artistic Freedom. It’s an open invitation
to the first 100 builders resonating with this idea, and available
on Ador for 369k sats- a nod to Tesla. Buy it if you want to
support the cause like that, but I care mostly that the mentality
spreads. You don’t have to join to start making the new direction
happen. Just choose to do your own exploration without censoring
yourself constantly. It will be a think tank for liberty minded
artists, and the function will first be to come to the aid of
artists who are being ignored despite obvious merit and substance,
as well as facing some form of cancellation for BS reasons. Given
the massive push by governments, media, and activists for the LGBT+
community not long ago, how can we be certain that the art aspect
wasn’t a similar operation to the one carried out with Jackson
Pollock back in the day? Be so free that no boundary of physical
reality can hold you back. Simultaneously, everyone raising their
voice will be canceled, and most will be incentivized to stay
quiet. I’m not saying it was—I’m saying that, knowing all we now
know, we can’t be sure. And those involved publicly might not have
any idea this was the case. Least of all Fewocious, so crytal
clear, I am not accusing Fewo, SupeRare, nor Sotheby’s of anything.
This is about something much bigger and the sum of the parts.
Beeple’s “Cross Road” sold for 6.6M at Sothebys earlier $17 Million
Realized in Sotheby’s First NFT Sale with Digital Creator Pak
Postmodern pump: The same question certainly applies to Pak,
Beeple, and many others who used late-stage postmodernism
expressions as their vehicle of communication. Much was fitting to
the agenda of end stage postmodernism in NFTs. From the Twitter
files, we know for a fact that deboosting and amplifying messages
were actively managed, and merit was certainly not at the top of
the food chain in the selection process. The real question seemed
to be: What can we push and get away with? This approach fit the
degen agenda perfectly. It is difficult to sell high level art to
an audience that can’t read it. This has been the argument of
culture critic Camille Paglia. Again, I am not accusing any artist,
gallery or auction house. This is mere opinion and speculation on
big philosophy waves as well as the continued erosion of substance
in art. In podcasting, this kind of speculation has been normal for
a long time, but not in art, for some reason. Also, this has
nothing to do with hating any group within postmodernism. It has
everything to do with the manipulative individuals working behind
the scenes to activate and suppress ideas according to power plays
and political agendas. People like James Lindsay have committed
significant parts of their lives to try to figure this all out.
Some will accuse me of being jealous of other people’s success.
While I certainly feel that more financial success would help, if
finances were my first priority, this would not have consistently
been my focus—to save art from postmodernism—for seven years
publicly now. Otherwise, we have continued regress as progress, and
a world in general, in inverse mode. When any artist does well, I’m
genuinely happy for them. Artists aren’t usually known for
achieving major success, as megastardom has often required aligning
with various agendas rather than relying solely on the strength of
the art itself to reach stratospheric heights. We can’t fix any of
this unless it’s at least discussed. How differently does this all
make us view what was going on before, as well as what might be
going on now? The dignified bananas. Here are also some other
entries that I figured were worthy of attention. Some not submitted
to the competition, as understandably people with dignity don’t
submit work to be evaluated by clowns, and they have been
increasingly disappointed by the quality of curation since the
early days. My post started with how I don’t do this, and unleashed
as much fire as I can toward the whole system, stress testing it to
see if I was correct – and it absolutely turned out to be the case.
Banana Zone by Norman Harman Norman Harman is one of the most
interesting voices in web3. To me, the consumerist era has been
gone for 20 years already, but his critique of the bureaucratic
class with his new series, as well as an avalanche of dirty little
bitch slaps to the auction champagne crew, has been a breath of
fresh air in the scene. The new AI motion work is dope too. Both
capture perfectly the orgiastic degeneracy scene of this auction
vibe. Norman, like many other OGs, wouldn’t “submit” work to a
contest like this anymore, having been disillusioned from the scene
already many times over. “RARE In The Machine” by Spaced Painter
Spaced Painter did her literal submission with this piece, in which
the banana fucks her into oblivion, and she metaphorically gives up
due to being sidelined and ignored. That makes her Rare. It was
visionary, as her being left out of the ten selected, gave her
exactly that. The piece illustrates well on how the demoralising
effect of 100 years of postmodernism is having on the spiritually
minded, and just anyone with common sense anymore, and it is so
obvious that we can make super predictive art about it. ROBNESS – I
AM BANANA The “I Am Banana” by Robness is a parody take of Kevin
Abosch’s I Am a Coin project already from 2019 minted on Superrare.
How can you go lower than the banana? Well just put tape on tape
and watch the yellow paint dry. At least that’s my interpretation.
The competition set up by another crypto art enfant terrible, Maxis
Osiris, has put together a parody auction competition to parody the
parody auction competition parodying the parody auction. Alotta
Money would be proud. Like Alan Watts said earlier that academia
and religion has become but a foot note on a foot note, the direct
experience is “access denied”, so the Farisejan and the money
changers can keep doing their thing. “I’ll die on this lid” by Max
Osiris We had a nice convo with my friend Nicolaas on all the of
above and more on Bitcoin LIVE, but I wasn’t yet unfortunately
aware of the selected bananas then. What ever last remaining hopium
I had for the early stage platforms died the next day, hence I got
motivated to write this article. Artist extraordinaire ANDRÉS DEL
VECCHIO curated a much better selection of bananas from the litter
on his X, so leaving that here for you to evaluate in case you
don’t have time to go thought the 1100 entries yourself. It
took a child to point to the nude emperor that he had been conned.
In art, it has lasted a hundred years. The measure of
intelligence is the ability to change. – Albert Einstein They are
laughing at us. Our creative generative power. We need to
understand this. While an Einstein quote is a tough one to do
without seeming pretentious, in the above context it works. If you
work with truth, even the setbacks help you rise. We need to stop
focusing on the fall. Artists are creators, and we are currently
being completely under served by trying to be under the thumb of
the destroyers. This is all the postmodernists can do, and by doing
garbage bananas, you are submitting to being reduced further and
further. Start building the future. Make your own gallery. Band
together. Don’t submit to the bureaucrats that run the
establishment. We are artists. We are powerful. it’s cool. Old
things and people die. Let them. As you can tell, there has been a
lot of wtf going on here. Remember, I was building this, this and
this, as well as speaking on big stages when everything flies off
the shelves and for me nothing moved. Despite it all, find
gratitude. It’s a lifeline. There is plenty to be grateful for, but
step out of harms way. Remember why you got into this in the first
place. If you want to support my efforts, do consider
collecting these pieces from my SR page. It’s unlikely that they
will age badly. I’m happy to give the platform fee back to SR, as
those guys, despite my poor sales, still airdropped me comfort
tokens when SUPR was launched for being there early. There was some
respect there at least still then. Unfortunately, I can’t help but
wonder, in recent light, how much my art not reaching people there
despite significant effort, was artificially suppressed. Maybe not
at all by them, but who knows. I still have a bunch of art there
that cost me a bomb to mint, so hoping all my efforts with SR and
for this scene will be acknowledged at some point. Writing and
researching this article took a week, and I was not paid to do it.
I’m either brave and pricipled, or a complete idiot. Hard to tell
which one sometimes. Bit of both, I guess. Collect I’m potency The
NFT includes a physical canvas print, painted on top with acrylics,
and it launches an AR animation. Available for 3 ETH Kiss The NFT
includes a physical canvas print, painted on top with acrylics, and
it launches an AR animation. Available for 3 ETH Stay cool, VESA
Crypto Artist, Speaker, Consultant, Writer All links to physical,
NFTs, and more below http://linktr.ee/ArtByVesa
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