With the price of Bitcoin surging to close out 2020, what better time is there to talk with a pioneer of the art movement that is existentially connected to the cryptocurrency revolution?
Blockchain infrastructure now offers flawless provenance and allows for digital art to be traded person-to-person at the speed of light. Yet the Non-Fungible Token (NFT) ERC-721 technical standard enabling these innovations was only published in 2018. Let’s find out what it’s like to be part of an emerging art movement built on technology invented just a few short years ago…
OLIVE ALLEN is one of the first artists to play a role in shaping the crypto art movement. We discussed her journey in life and art, and hope the conversation will inspire you while shedding some light on her esoteric art form. As it turns out, the crypto art movement is about much more than e-commerce or provenance. The artists involved are crafting a new aesthetic and even pushing the boundaries of what is considered art.
Life of a Crypto Artist
CP: I love your title of Creative Entrepreneur. Can you elaborate on how you synthesize being both artist and an entrepreneur?
OA: I think these titles are interchangeable. To make a living as an artist in today’s world one should be rather entrepreneurial.
CP: You worked in Silicon Valley tech. How was that experience?
OA: I did my time in Silicon Valley 🙂 This experience was challenging but eye-opening at the same time.
CP: When did you first get into crypto?
OA: I bought Bitcoin back in 2013 but didn’t get seriously involved until 2017-2018 which, surprise :), coincided with the ICO boom and the birth of the erc-721 standard.
CP: Do you now consider yourself a crypto artist?
OA: I consider myself AN ARTIST. Yes, I am associated with the crypto art movement but it doesn’t mean that it is something that should define my entire practice. I think both medium and art movement should be complementary to the work and not the permanent labels.
On the Magic of New York City
CP: I see you’re based in NYC now. Is that where you’re from originally?
OA: I’m not, but I consider myself a New Yorker. I’ve lived in the city for almost 10 years — all of my adult life. I’ve always been fascinated by the boundless energy of the city and its people. It is a magical place where everything changes incredibly fast, and the opportunities for growth, success, and adventures are always just around the corner. Many of those Woody Allen type of New York moments have altered the course of my life. The city also fits my personality — I’m a direct person with quite a severe case of ADHD (Lol). I’m rather restless and have a need to constantly learn, see new things, and explore different ideas.
CP: What are some trends in the NYC art scene? Are people embracing crypto and crypto art?
OA: New York’s art scene is very diverse and vibrant — a multitude of conversations are happening at the same time. However, most people haven’t even heard about crypto art. There are some art galleries (particularly those focused on new media art) that are aware of what’s going on in the space. Several particularly open-minded and curious artists and art world personalities, like Kenny Schachter, Michael Kagan, Kenny Scharf, have already released NFTs. But still crypto art scene and New York art world scene barely intersect.
The Business of Crypto Art
CP: An old adage says, “art and commerce should not mix”. While myself and many more think that concept is fundamentally bullshit, most independent artists still struggle today to earn any money for their work. Can crypto art improve things?
OA: As you accurately pointed out — it is an old saying 🙂
CP: Do you see crypto art being disruptive to the conventions of the art world such as brick and mortar art galleries?
OA: I think both can co-exist. I do not see the need to drastically alter or destroy the previous structures to build new. This space is another opportunity to make art more accessible to people and give artists more tools to experiment with and jumpstart their careers.
CP: Where do you see the crypto space in the years to come?
OA: Let me check my crystal ball 🙂
CP: Crypto art is often touted as revolutionary. Do you agree? Where do you see crypto art in the years to come?
OA: While digital art is more of a medium and a much broader term, crypto art is an art movement. I think it fits in the definition of “art movement’ — a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years, or decades).
All artists believed that their movement was revolutionary (and rightfully so): be it impressionism, cubism, or pop art. Crypto artists are not the exception.
I think that not everyone tokenizing their artwork right now should be identified with crypto art movement. It’s a certain ideology, style and symbolism. A lot of the people in the space, unfortunately, just recycle their old client or studio work.
I believe that the movement will be pivotal for some artists and will launch several life-long careers. NFT standard will be accepted by the “traditional” art world as the main standard for digital artwork. Many more innovative platforms and curated marketplaces will emerge. I’m certain that some are already in the works by both art “insiders” and “outsiders”.
As for the near future, we will be seeing some consolidation within the NFT space, because now there are simply waaaaay more artists than collectors in the space and secondary market is almost non-existent. Also are no frameworks on how to properly present and value the artworks.
CP: What opportunities and benefits does crypto art offer independent artists?
OA: The most important thing — the opportunity to actually have a career as an artist. This is everything. It took me a while to realize it, of course, but that’s what ultimately matters the most. Note for the collectors — each time you buy an artist’s work you are in a way “extending” their time as a working artist and allowing this individual to grow and evolve their art practice.
Of course, the sense of community, royalties and various innovative tools are important as well.
CP: Most artists (even digital artists) don’t know a dogecoin from ether. How will the crypto art world convey its worth and achieve widespread adoption in the broader arts community?
OA: It will come or won’t. I don’t think we should worry about that too much. I think artists should focus on the message and quality of their art more so than dogecoin (or any other coin for that matter) price.
CP: Beyond benefiting individual artists, are there crypto art applications for creative corporations in the crypto or art space?
OA: Yes. Galleries that deal with new media art will benefit from a unified system to record the provenance and store their digital art inventory. The main issue now that new media files are often lost because a lot of work was stored on external devices like VHS, CDs, etc. And they can actually “age” and get damaged. When that happens it is really hard to recover the media file. Also, recorded ownership proves to be very handy in establishing new media’s value that has been historically valued way less than traditional mediums like painting and sculpture.
CP: What do you see driving crypto art culture? Is it mostly about the advent of non-fungible tokens (NFTs)? The tech platforms of the ecosystem? The broader community?
OA: Hmm, several things. The newness, greed, excitement, opportunism, egos…
CP: You’re one of the first artists in the world to have your art featured across the bigger crypto art platforms, like SuperRare, Rarible, OpenSea, Async, NiftyGateway, and MakersPlace. How do you compare crypto art platforms? Who is the market leader?
OA: Ha. Never thought about it this way… but yes, I am the one of the early people — both as a founder and an artist. I did my first drop way before drops were a thing — back in October 2019.
I think the actual market leader hasn’t been launched yet and most likely is not even in development as of yet. It is not to say that the existing platforms haven’t done a great job at taking a chance and proving that digital objects can be as valuable as tangible ones.
At the Junction of Tradition and Innovation
CP: Have you had your work in traditional art galleries? How is the experience of interacting with new crypto venues different?
OA: Yes, I had. Oh very different! Art galleries are usually ran by older more mature people who are very knowledgeable about art history and have years of experience of curating and selling artworks. Also it is a completely different level of conversation.
CP: Do you have an education in the arts? Does a formal education in the arts matter?
OA: Even tho I went to school for industrial design and architecture it is still not considered to be the “formal education in the arts”. So, the answer is no. I do not believe it is necessary to have BFA and MFA in your CV to be a working artist. However, I believe it is important to know art history and constantly work on your craft.
CP: Do you have a background as a digital artist pre-crypto?
OA: No. Painting was my preferred medium before.
CP: How has being involved in the crypto art space affected your more recent work?
OA: It seems it’s affecting my work more and more, to be honest…certain themes and aesthetics. I believe it is important to capture the original spirit of the crypto art space. This movement deserves the spotlight.
CP: We’re considering how to expand Culture Pledge into a platform merging traditional crowdfunding and crypto. Have you ever participated in a traditional art crowdfunding campaign? Is that something you’d try?
OA: No, but I’d like to try it in the future.
CP: Have you participated in any VR venues, such as Decentraland or Cryptovoxels?
OA: Not as much as I would like to. But I’m planning to!
CP: Will you do an exhibit with us if we launch a Culture Pledge art gallery in VR?
OA: Yes and yes! I’d be honored to exhibit my works at your VR art gallery!
CP: Thanks Olive!
Did you find this piece interesting? If so, leave a comment and read about another crypto artist shaking up the scene.
