Curating Digital Art and Blockchain Art
summary
Museums report buying NFTs on Tezos for collections, commissioning web3 works and testing Tezos-only acquisitions; one retrospective ran a parallel, time‑limited Cryptovoxels space on Ethereum so the virtual Francisco Carolina is on‑chain and disappears when taken down. Institutions pilot DAOs (HEK plans a HEK DAO), Refraction runs drops and IRL events, and curators track the post‑merge emissions drop as it shifts choices about where to mint. Expect concrete museum workflows, platform tradeoffs, and proof‑of‑concept outcomes rather than abstract promises.
AI-written summary · about
chapters (17)
- 0:00Curating digital art in web3
- 2:11Web3 threat to mediators
- 3:35Digital art before and after NFTs
- 6:06New media curation in web3
- 8:56Refraction DAO curation principles
- 10:23First crypto art museum retrospective
- 16:27Hybridity in digital art
- 19:45Institutions adapting to web3
- 21:31Digital art after Ethereum Merge
- 24:21Value of curation after NFT crash
- 26:52Post-anthropocentric generative art
- 31:34Post-reality curatorial approaches
- 36:10Ethical opportunities in web3 curation
- 38:18Decolonizing web3 structures
- 40:51Institutions shaping web3 futures
- 41:13NFTs in institutional engagement
- 44:46Financialization challenges for institutions
related talks
25mArt on Tezos: The future of digital creativity
45mBringing Digital Art to Life
57mThe Digital Art Market
44mFrom On-site Exhibitions to Digital Art, a Journey Through Different Dimensions
03mTezos x SXSW 2022 - Micol Ap
05mTezos x SXSW 2022 - Julie Walsh
31mDecentralized Art and Culture in the Virtual Realm
45mThe Art of the NFT