August 5th, 2022

The Grand Illusion

Anyway, if fraud is a form of art, then art is a form of fraud. It always has been, and no one would have it any other way. After all, art is the only consumption good that consumers don’t understand. Hell, artists usually don’t understand it either, they just wave their hands and put on a good show. It’s the blind leading the naked, which is always amusing.

But everyone understands money, so they inevitably use it as a proxy. How do we know art is good? Everyone wants to buy it. Why do they want to buy it? Because everyone else does, obviously. Art has always been about power. After all, it is ostentatiously pointless. Only those with money to burn are willing to pay for it, and only holy fools create it, unless they are being paid. The art market is just a way of reifying power in peculiarly convenient morsels, which are shared with everyone, in order to make them even more powerful. Whatever doesn’t bore you makes you richer.

Fine. But modernism complicated the model, especially when artists started questioning the relationship between art and the objects that embody it. Duchamp’s readymades teed up the challenge by styling household trash as art objects. And postmodernism ran with it, enabling artists to sell cans of shit, abstract ideas, or literally nothing.

May 25th, 2022

How craftsmanship & “total design” can inform the need for diversity within the on-chain creator economy.

The relationship between craftsmanship, design & art has been the focal point of historical movements like the Arts and Crafts and its descendant, the Bauhaus. At the opening of the Bauhaus institution Walter Gropius read his manifesto which declared in part:

“there is no essential difference between the artist and the craftsman”