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On NFTs

Edited by Robert Alice. Published by Taschen, edition of 600. 604 pages, €1,500/$1,750

Date:

23rd August 2024

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Now where are we with NFTs? Along with a magisterial assembly of historical masterworks and commentaries from and around the NFT space, Alice’s text is enriched and made more entertaining by seeking out various experts to share their complex and contradictory responses to this question.

A while back we were all asking, “What are NFTs?” And then we were saying, “That much?”, when Beeple sold one for, ooh, squillions. Well, $69 million (we had to look that up). And then, only half-jokingly, we were posing the question, “Are NFTs still a thing?” following one of the many sickening lurches of the crypto market. Not that, by some definition, NFTs are really a thing at all, of course, just the right to the info behind some possible thing.

Or at least that’s the L[A] take today on the subject, which may be different tomorrow. If only because we have better digested something from this truly impressive object, On NFTs, edited by Robert Alice, which, among other things, shows there are a multiplicity of possible interpretations of NFTs, and answers to the question of what exactly they are. So there’s still no answer to that. Make up your own mind.

What we do know is that the somewhat mysterious artist Robert Alice (the self-confessed alias of a UK-based artist) has taken Taschen’s love of creating collectible art books to a new level. There are multiple versions of how you can buy this book, along with various editions of artworks. The “baby sumo” version comes in a lovely stainless steel case. And at a handsome price, too. We suspect editions with more accessible prices are to come. Everything about On NFTs is such a long way from the illusory, Emperor’s New Clothes nature of so much that seems to lurk in the NFT and crypto world.

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Now where are we with NFTs? Along with a magisterial assembly of historical masterworks and commentaries from and around the NFT space, Alice’s text is enriched and made more entertaining by seeking out various experts to share their complex and contradictory responses to this question.

A while back we were all asking, “What are NFTs?” And then we were saying, “That much?”, when Beeple sold one for, ooh, squillions. Well, $69 million (we had to look that up). And then, only half-jokingly, we were posing the question, “Are NFTs still a thing?” following one of the many sickening lurches of the crypto market. Not that, by some definition, NFTs are really a thing at all, of course, just the right to the info behind some possible thing.

Or at least that’s the L[A] take today on the subject, which may be different tomorrow. If only because we have better digested something from this truly impressive object, On NFTs, edited by Robert Alice, which, among other things, shows there are a multiplicity of possible interpretations of NFTs, and answers to the question of what exactly they are. So there’s still no answer to that. Make up your own mind.

What we do know is that the somewhat mysterious artist Robert Alice (the self-confessed alias of a UK-based artist) has taken Taschen’s love of creating collectible art books to a new level. There are multiple versions of how you can buy this book, along with various editions of artworks. The “baby sumo” version comes in a lovely stainless steel case. And at a handsome price, too. We suspect editions with more accessible prices are to come. Everything about On NFTs is such a long way from the illusory, Emperor’s New Clothes nature of so much that seems to lurk in the NFT and crypto world.

Inside, beyond the object-making, there are 101 highly diverse artists featured and essays by 10 academics who may or may not have something to say on the topic that you can understand.

Let’s end with a topical fact derived from looking at the book: we are now celebrating the 10th anniversary of the NFT, which arguably all began with a work called Quantum by Kevin McCoy, in 2014. McCoy utilized blockchain technology in an original way to demonstrate a way of authenticating digital works. At least he didn’t try to then have a piece of every authentication that utilized that kind of technology. Perhaps that’s the difference between art and business.

Image above: Spread from the book showing Osinachi's 'Man in the Window'.

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