Last week, the Centre Pompidou -- which is Europe's largest modern art museum -- announced that it has acquired its very first NFTs (18 pieces by 13 artists) and that it will be exhibiting the collection this spring. This makes them the first museum in France to own NFT art and, I'm guessing, one of the first in the world. (The Los Angeles County Museum of Art recently got some as well.)
This is fun for a few reasons. The obviously fun reason is that it's good for NFT collectors and people who generally support this space. Big institutions bring legitimacy. It's one thing to say that these JPEGs are stupid while sitting at home on your computer, but it's an entirely different thing to travel to Paris, visit the Centre Pompidou, look at its white gallery walls, and then say that these JPEGs are stupid!
The other fun thing about this is that it shows a continued openness to new ideas and new technologies. Here are
Last week, the Centre Pompidou -- which is Europe's largest modern art museum -- announced that it has acquired its very first NFTs (18 pieces by 13 artists) and that it will be exhibiting the collection this spring. This makes them the first museum in France to own NFT art and, I'm guessing, one of the first in the world. (The Los Angeles County Museum of Art recently got some as well.)
This is fun for a few reasons. The obviously fun reason is that it's good for NFT collectors and people who generally support this space. Big institutions bring legitimacy. It's one thing to say that these JPEGs are stupid while sitting at home on your computer, but it's an entirely different thing to travel to Paris, visit the Centre Pompidou, look at its white gallery walls, and then say that these JPEGs are stupid!
The other fun thing about this is that it shows a continued openness to new ideas and new technologies. Here are
Brandon Donnelly
Daily insights for city builders. Published since 2013 by Toronto-based real estate developer Brandon Donnelly.
Like everyone else, I have started playing around with Midjourney to create AI-generated images. Here are two that I created last night using the prompt: "A silver Land Rover Defender driving through a snowstorm in the mountains of Utah."
Now, you can tell that these are AI-produced images, but it's still wildly impressive that something like this can be easily generated in a matter of a few seconds. And that's the thing about AI: it's easier to get, especially compared to crypto. It's immediately useful and it's immediately clear what this can and will disrupt.
Levis, for example, just announced that it will start using AI-generated photography in lieu of actual fashion photoshoots. This is obviously suboptimal for photographers, models, makeup artists, and so on, but a hell of a lot easier for Levis. I would also imagine that the same thing will happen to real estate renderings and many other things beyond just imagery.
Ben Myers and Steven Cameron recently speculated on their podcast -- Toronto Under Construction -- that AI could be used for reviewing development applications. Imagine how much this would speed up reviews and the delivery of new housing! So there are very good reasons for why the hype cycle has moved over to AI from crypto and NFTs.
However, I'd like to go on the record saying that my gut tells me that this will only make what crypto offers even more important. Permissionless public databases (as opposed to databases controlled by individuals/companies) and the ability to demonstrate authenticity/ownership, feel like two important things to me in a world where computers are constantly generating a flood of new content and nobody knows what is "real" anymore.
It's certainly a lot less tangible than, "hey, check out this badass Defender driving through the snow." But I feel strongly that these two innovations will end up working together.
some words from the Pompidou
(that have been translated, by Google, from French):
The idea was not to be the first, but to bring together a relevant collection, which could testify to a creative and critical appropriation of a new technology by artists, and how this disrupts and displaces the art ecosystem. From its creation, the Center Pompidou has relied on the idea that contemporary technological creation and creativity should be at the heart of the institution. From 1974-1975, therefore even before the opening of the Center, the National Museum of Modern Art acquired major works and installations by Dan Graham and Bruce Naumann. Video installations using real time, and it was the very first institution to do so.
This wasn't always the case in France. One of my favorite art history classes from university was one that covered Impressionism. Partly because I thought their work was cool, but mostly because Impressionist painters were, in a way, early modernists. They rejected the academic approaches to painting and instead decided to make up their own rules.
At the time, in the 19th century, this was seen as entirely radical. And it meant harsh criticism from the established art world and an inability to meaningfully exhibit at the Salon (which was everything at the time). But history has a way of showing us that if something is inherently a good idea, you can only remain stubborn for so long.
The Impressionist painters began hosting their own exhibitions starting in 1874 and, by 1881, the government had withdrawn its official sponsorship of the annual Salon. The jurors wanted to cling to only traditional painting styles and the world wanted to move on. And here it is doing that again, today.
As far as I know, there are now at least two mercury-like and bean-like public art sculptures in the US by Anish Kapoor. The first is, of course, in Chicago's Millennium Park (pictured above). Commonly referred to as just "The Bean", the sculpture was dedicated in 2006 and, since then, has gained international fame as a solid place to take a selfie.
But as of this year, there is now a second "mini-bean" in New York's Tribeca neighborhood. Sitting literally underneath 56 Leonard (a residential tower designed by Herzog & de Meuron), this bean varietal was first announced in 2008, but has taken a few years to be completed. The building itself was completed about 5 five years ago.
It turns out though, that all beans are not made equal. Here's some initial feedback from Bloomberg CityLab's Kristin Capps:
New York’s half-bean feels half-baked: a disappointing imitation for the city and a franchise play by the artist. For New York to install the lesser version of a Chicago icon reeks of second-city status. And while the original sculpture is still a treasure, the second iteration feels like a monument from 20 years ago — because it is.
But it's all perception. If Chicago's bean had never been unveiled in 2006, and this was the first shiny urban selfie bean, then I'm sure we'd all be headed to Lower Manhattan with our phones. But instead, here we are talking about how it "reeks of second-city status" and how it is the "eyesore that no one asked for".
It's all very fascinating if you think about it. And it's a perfect example of why blockchains are proving to be so valuable in the world of art. Because with art, provenance and authenticity are everything. You need to know where it came from, who made it, and that it's scarce. And as we can see here, it can be the difference between loving a bean and hating a bean.
Like everyone else, I have started playing around with Midjourney to create AI-generated images. Here are two that I created last night using the prompt: "A silver Land Rover Defender driving through a snowstorm in the mountains of Utah."
Now, you can tell that these are AI-produced images, but it's still wildly impressive that something like this can be easily generated in a matter of a few seconds. And that's the thing about AI: it's easier to get, especially compared to crypto. It's immediately useful and it's immediately clear what this can and will disrupt.
Levis, for example, just announced that it will start using AI-generated photography in lieu of actual fashion photoshoots. This is obviously suboptimal for photographers, models, makeup artists, and so on, but a hell of a lot easier for Levis. I would also imagine that the same thing will happen to real estate renderings and many other things beyond just imagery.
Ben Myers and Steven Cameron recently speculated on their podcast -- Toronto Under Construction -- that AI could be used for reviewing development applications. Imagine how much this would speed up reviews and the delivery of new housing! So there are very good reasons for why the hype cycle has moved over to AI from crypto and NFTs.
However, I'd like to go on the record saying that my gut tells me that this will only make what crypto offers even more important. Permissionless public databases (as opposed to databases controlled by individuals/companies) and the ability to demonstrate authenticity/ownership, feel like two important things to me in a world where computers are constantly generating a flood of new content and nobody knows what is "real" anymore.
It's certainly a lot less tangible than, "hey, check out this badass Defender driving through the snow." But I feel strongly that these two innovations will end up working together.
some words from the Pompidou
(that have been translated, by Google, from French):
The idea was not to be the first, but to bring together a relevant collection, which could testify to a creative and critical appropriation of a new technology by artists, and how this disrupts and displaces the art ecosystem. From its creation, the Center Pompidou has relied on the idea that contemporary technological creation and creativity should be at the heart of the institution. From 1974-1975, therefore even before the opening of the Center, the National Museum of Modern Art acquired major works and installations by Dan Graham and Bruce Naumann. Video installations using real time, and it was the very first institution to do so.
This wasn't always the case in France. One of my favorite art history classes from university was one that covered Impressionism. Partly because I thought their work was cool, but mostly because Impressionist painters were, in a way, early modernists. They rejected the academic approaches to painting and instead decided to make up their own rules.
At the time, in the 19th century, this was seen as entirely radical. And it meant harsh criticism from the established art world and an inability to meaningfully exhibit at the Salon (which was everything at the time). But history has a way of showing us that if something is inherently a good idea, you can only remain stubborn for so long.
The Impressionist painters began hosting their own exhibitions starting in 1874 and, by 1881, the government had withdrawn its official sponsorship of the annual Salon. The jurors wanted to cling to only traditional painting styles and the world wanted to move on. And here it is doing that again, today.
As far as I know, there are now at least two mercury-like and bean-like public art sculptures in the US by Anish Kapoor. The first is, of course, in Chicago's Millennium Park (pictured above). Commonly referred to as just "The Bean", the sculpture was dedicated in 2006 and, since then, has gained international fame as a solid place to take a selfie.
But as of this year, there is now a second "mini-bean" in New York's Tribeca neighborhood. Sitting literally underneath 56 Leonard (a residential tower designed by Herzog & de Meuron), this bean varietal was first announced in 2008, but has taken a few years to be completed. The building itself was completed about 5 five years ago.
It turns out though, that all beans are not made equal. Here's some initial feedback from Bloomberg CityLab's Kristin Capps:
New York’s half-bean feels half-baked: a disappointing imitation for the city and a franchise play by the artist. For New York to install the lesser version of a Chicago icon reeks of second-city status. And while the original sculpture is still a treasure, the second iteration feels like a monument from 20 years ago — because it is.
But it's all perception. If Chicago's bean had never been unveiled in 2006, and this was the first shiny urban selfie bean, then I'm sure we'd all be headed to Lower Manhattan with our phones. But instead, here we are talking about how it "reeks of second-city status" and how it is the "eyesore that no one asked for".
It's all very fascinating if you think about it. And it's a perfect example of why blockchains are proving to be so valuable in the world of art. Because with art, provenance and authenticity are everything. You need to know where it came from, who made it, and that it's scarce. And as we can see here, it can be the difference between loving a bean and hating a bean.
