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The art world's love affair with NFTs may be cooling


Ladies and gentleman, the weekend. I’m
Carolina A. Miranda, arts and design columnist at the Los Angeles Times, with the week’s essential culture news and art historical dog paintings.
You down with NFT?
A single living artist. A major auction house. A sale that represented “a bold challenge to an entrenched system of representation by prominent art dealers.”
I’m not talking about last months’s auction at
Christie’s, in which the artist known as
Beeple (Mike Winkelmann) sold a digital collage linked to an
NFT token for a brain-blasting $69.3 million. (Though I’ll get to that in a minute.) Go back, instead, to the fall of 2008, when Lehman Bros. was disintegrating, the Dow was in freefall and Young British Artist ....

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Before the Boom


For its blockbuster sale of Beeple’s
Everydays: The First 5000 Days, an artwork in the form of an NFT and a digital file comprising thousands of images, Christie’s auction house published an essay including the following dubious claim:
Digital art has an established history dating back to the 1960s. But the ease of duplication traditionally made it near-impossible to assign provenance and value to the medium.
There are quite interesting reasons for artists to explore the use of NFTs, and, clearly, they currently offer a new form of support. But, among other issues, the argument that NFTs have “solved” a long-standing problem of uniqueness and provenance in digital art ignores the fact that they rely on forms of trust and negotiation and authentication that aren’t starkly different from a longer history of digital art markets. Even with NFTs, questions arise, such as: who actually authorized the minting of a work? What license is attached to it? How can thi ....

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