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x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></div><span class="font-sans-regular capitalize block">comment</span></div></div></div><div class="mb-lg lg:mb-xl grid-in-headline"><h1 class="font-display-medium text-3xl sm:text-4xl leading-none max-w-col-3 print-max-w-full" itemProp="headline">'The NFT bubble has popped, but there’s still untapped potential in digital art'</h1></div><div class="mb-xl md:mb-2xl grid-in-standfirst"><h2 class="font-sans-regular text-lg sm:text-xl leading-tighter tracking-wider max-w-col-3 print-max-w-full" itemProp="about">Artists have long mined cyberspace for inspiration, as two current exhibitions underscore </h2></div><div class="leading-0 lg:max-w-col-1 mb-md grid-in-byline"><div class="font-sans-regular text-base leading-tight text-gray-800 max-w-col-2"><a class="font-sans-bold shadow-link transition-all duration-default hover:shadow-internalLink hover:text-red-900" data-tracking-role="material-byline-author" href="/authors/ben-luke">Ben Luke</a></div></div><div class="leading-0 lg:max-w-col-1 mb-base grid-in-dateline"><div class="font-sans-regular text-base leading-tight inline-block">10 March 2023</div></div><div class="mb-2xl grid-in-toolbar border-t border-gray-300"><div class="min-w-col-1 max-w-col-3 pt-md flex items-center justify-between xs:justify-end lg:justify-between grid-in-toolbar print-hidden"><span class="font-sans-regular text-base sm:text-sm leading-tight ltr:mr-3xl rtl:ml-3xl">Share</span><div class="flex items-center"><span class="text-gray-700 flex items-center select-none transition-colors duration-default hover:text-red-900 ltr:mr-md rtl:ml-md"><span class="w-4 h-4"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" stroke="none" viewBox="0 0 16 16" x="0px" y="0px"><g><path d="M13.686 0H2.18182C0.991736 0 0 1 0 2.2V13.8667C0 15 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5.05228 7.44772 5.5 8 5.5Z"></path></g></svg></div></div></div></div></div><div class="grid-in-media mb-lg"><figure class="max-w-col-3 print-max-w-full"><img alt="Hito Steyerl’s How Not to Be Seen: A Fucking Didactic Educational .MOV File (2013), on show in Fort Worth, Texas, proposes ways to avoid being captured by digital technology Courtesy of the Artist, Andrew Kreps Gallery and Esther Schipper" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/ad0a62a6a9b412fcd6401bc531b03b0cae05e020-1296x729.jpg?w=640&h=360&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/ad0a62a6a9b412fcd6401bc531b03b0cae05e020-1296x729.jpg?w=1200&h=675&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/ad0a62a6a9b412fcd6401bc531b03b0cae05e020-1296x729.jpg?w=1200&h=675&fit=crop&auto=format" width="600" height="337.5" decoding="async" data-nimg="1" class="max-w-col-3 print-max-w-full" loading="lazy" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http%3A//www.w3.org/2000/svg' viewBox='0 0 600 337.5'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeComponentTransfer%3E%3CfeFuncA type='discrete' tableValues='1 1'/%3E%3C/feComponentTransfer%3E%%3C/filter%3E%3Cimage preserveAspectRatio='none' filter='url(%23b)' x='0' y='0' height='100%25' width='100%25' href='data:image/jpeg;base64,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'/%3E%3C/svg%3E")"/><figcaption class="mt-base max-w-col-2 print-max-w-full"><div class="font-sans-regular text-base sm:text-sm leading-tight text-gray-700"><p>Hito Steyerl’s <em class="font-text-light-italic italic">How Not to Be Seen: A Fucking Didactic Educational .MOV File </em>(2013), on show in Fort Worth, Texas, proposes ways to avoid being captured by digital technology</p><p><span class="text-gray-400 block">Courtesy of the Artist, Andrew Kreps Gallery and Esther Schipper</span></p></div></figcaption></figure></div><div class="mb-2xl grid-in-series grid-in-series"><div class="xs:flex xs:max-w-col-4 border-t border-b border-gray-300 py-lg"><div class="w-full max-w-col-1/2 rtl:ml-gutter ltr:mr-gutter mb-base xs:mb-0"><img alt="" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/c39548540ea183e30119f99497d79af6b57a9b8c-3024x4032.jpg?rect=0,1,3024,4028&w=256&h=341&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/c39548540ea183e30119f99497d79af6b57a9b8c-3024x4032.jpg?rect=0,0,3024,4030&w=640&h=853&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/c39548540ea183e30119f99497d79af6b57a9b8c-3024x4032.jpg?rect=0,0,3024,4030&w=640&h=853&fit=crop&auto=format" width="200" height="266.6666666666667" decoding="async" data-nimg="1" loading="lazy" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http%3A//www.w3.org/2000/svg' viewBox='0 0 200 266.6666666666667'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeComponentTransfer%3E%3CfeFuncA type='discrete' tableValues='1 1'/%3E%3C/feComponentTransfer%3E%%3C/filter%3E%3Cimage preserveAspectRatio='none' filter='url(%23b)' x='0' y='0' height='100%25' width='100%25' href='data:image/jpeg;base64,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'/%3E%3C/svg%3E")"/></div><div><a class="font-sans-bold text-lg sm:text-base text-gray-700 leading-tight mb-sm inline-block shadow-underline hover:text-red-900 transition-colors duration-default" href="/series/a-closer-luke">A closer Luke</a><div class="series-description font-sans-regular text-base sm:text-sm text-gray-700 leading-snug"><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Ben Luke, our Contributing Editor and podcast host, weighs in on the pressing issues facing the UK art world and beyond</p></div></div></div></div><div class="grid-in-content"><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_1" style="min-height:250px"></div></div><div><div class="w-full"><div class="mb-2xl" itemProp="articleBody"><div><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">So, NFTs have gone speedily from boom to predictable bust. By the end of 2022, around 18 months after the explosion began, marketplaces had folded or lost almost all their value. The Art Basel Miami Beach fair—thronging with NFT evangelism just 12 months earlier—had, by last December, lost the faith.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Like many of us, I was glad, not only because my email inbox might now regain equilibrium after being choked with news of Z-list celebrities and washed-up artists minting their tawdry, aesthetically impoverished, conceptually thin NFT project. But also because it was dismaying how the hype around NFTs had led to their frequent use as a shorthand for digital art generally, allowing the tech bros and speculators who entered the field in shameless search of a quick buck to cry revolution, and art world insiders who should have known better to greedily indulge them.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">But the NFT crash doesn’t negate the blockchain—the underlying technology that makes NFTs unique and traceable—as an artistic space. It existed before and will be explored by artists in the future. In 2018, Ruth Catlow, co-author of <em class="font-text-light-italic italic">Artists Re:Thinking the Blockchain</em>, likened then-nascent blockchain art to early Net Art—the first online art movement—in the possibilities it provided to respond critically to systems of power as well as being a space for experimentation and co-operation. For example, Jonas Lund has issued tokens that allow you to participate in decisions concerning his life, while Sarah Friend’s <em class="font-text-light-italic italic">Clickmine</em> is a satire of crypto which generates useless wealth via a clicking game</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">So now might be a good time to remind ourselves of the decades-long history of digital art. Two current exhibitions—<em class="font-text-light-italic italic">Coded: Art Enters the Computer Age, 1952-1982 </em>at the Los Angeles County Museum of Art (until 2 July), and <em class="font-text-light-italic italic">I’ll Be Your Mirror: Art and the Digital Screen </em>at the Modern Art Museum of Fort Worth, Texas (until 30 April)—offer just such an opportunity.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic italic">Coded</em> begins with the first purely aesthetic image made on a computer and ends at the point where personal computers took their place at the centre of our homes. It shows how artists—including key Conceptual art figures such as Stanley Brouwn, Charles Gaines and Fluxus artist Emmett Williams—grappled with computers in these early years. Often they never returned to them as a medium. But their experiments were “essential as an origin story for the art and culture of the internet”, the show’s curator, Hannah Higgins, writes in the preface to its catalogue.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic italic">I’ll Be Your Mirror </em>explores the use of the screen in art from 1969 to now, through early digital pioneers such as Lynn Hershman Leeson, key Net Art figures such as Eva and Franco Mattes, and artists continuing to push the medium in recent years, including Hito Steyerl.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">What links many of these artists, however different their aesthetics, is a balance of curiosity and scepticism about the digital field—a quality absent amid the NFT excesses. As Higgins puts it in relation to those early digital trailblazers, “artists bend rules, they play, they experiment with new solutions to old questions and find new questions”. These are good principles for the artists who might help blockchain art to rise from the NFT ashes.</p><p class="pt-dp-p font-text-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">• <a class="transition-colors duration-default shadow-externalLink hover:text-blue-900" href="https://www.lacma.org/art/exhibition/coded-art-enters-computer-age-1952-1982" target="_blank">Coded: Art Enters the Computer Age,<span class="inline-block text-blue-900" style="height:0.6em;margin-left:0.2em;width:0.6em"><svg class="" fill="currentColor" stroke="none" stroke-linecap="round" stroke-linejoin="round" viewBox="0 0 24 24" x="0px" y="0px"><g><path d="M22.8,0h-7.6c-0.6,0-1.1,0.5-1.1,1.1s0.5,1.1,1.1,1.1h5.1L9.4,13.1c-0.4,0.4-0.4,1.1,0,1.6c0.2,0.2,0.5,0.3,0.8,0.3s0.6-0.1,0.8-0.3L21.7,3.9v4.8c0,0.6,0.5,1.1,1.1,1.1S24,9.4,24,8.8V1.1C24,0.5,23.5,0,22.8,0z"></path><path d="M19,11.2c-0.6,0-1.1,0.5-1.1,1.1V21c0,0.4-0.3,0.7-0.7,0.7H3c-0.4,0-0.7-0.3-0.7-0.7V6.9c0-0.4,0.3-0.7,0.7-0.7h8.8c0.6,0,1.1-0.5,1.1-1.1s-0.5-1.1-1.1-1.1H3c-1.6,0-3,1.3-3,3V21c0,1.6,1.3,3,3,3h14.1c1.6,0,3-1.3,3-3v-8.8C20.1,11.7,19.6,11.2,19,11.2z"></path></g></svg></span></a> <em class="font-text-light-italic italic">Lacma, Los Angeles, until 2 July</em><br/>• <a class="transition-colors duration-default shadow-externalLink hover:text-blue-900" href="https://www.themodern.org/exhibition/ill-be-your-mirror-art-and-digital-screen" target="_blank">I’ll Be Your Mirror: Art and the Digital Screen<span class="inline-block text-blue-900" style="height:0.6em;margin-left:0.2em;width:0.6em"><svg class="" fill="currentColor" stroke="none" stroke-linecap="round" stroke-linejoin="round" viewBox="0 0 24 24" x="0px" y="0px"><g><path d="M22.8,0h-7.6c-0.6,0-1.1,0.5-1.1,1.1s0.5,1.1,1.1,1.1h5.1L9.4,13.1c-0.4,0.4-0.4,1.1,0,1.6c0.2,0.2,0.5,0.3,0.8,0.3s0.6-0.1,0.8-0.3L21.7,3.9v4.8c0,0.6,0.5,1.1,1.1,1.1S24,9.4,24,8.8V1.1C24,0.5,23.5,0,22.8,0z"></path><path d="M19,11.2c-0.6,0-1.1,0.5-1.1,1.1V21c0,0.4-0.3,0.7-0.7,0.7H3c-0.4,0-0.7-0.3-0.7-0.7V6.9c0-0.4,0.3-0.7,0.7-0.7h8.8c0.6,0,1.1-0.5,1.1-1.1s-0.5-1.1-1.1-1.1H3c-1.6,0-3,1.3-3,3V21c0,1.6,1.3,3,3,3h14.1c1.6,0,3-1.3,3-3v-8.8C20.1,11.7,19.6,11.2,19,11.2z"></path></g></svg></span></a>, <em class="font-text-light-italic italic">Modern Art Museum of Fort Worth, Texas, until 30 April</em></p></div></div><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_2" style="min-height:250px"></div></div><div class="w-full max-w-col-3 pt-base flex flex-wrap border-t border-b border-gray-300 print-max-w-full"><a class="font-sans-regular text-base sm:text-sm leading-none tracking-wide text-red-900 px-md sm:px-base py-xs mb-base ltr:mr-sm rtl:ml-sm whitespace-no-wrap 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M1350.2,177.2h-25.5v-0.1v-13.8h-2.1c-6.2,8.9-16.1,16.7-33.8,16.7c-24.3,0-46.1-20.6-46.1-54c0-33.4,21.8-54,46.1-54c17.7,0,27.6,7.8,33.8,16.7h2.1V75h25.5V177.2z"></path></svg></a></div></div></footer></div></div><script id="__NEXT_DATA__" type="application/json">{"props":{"pageProps":{"doc":{"TAG":1,"_0":{"_rev":"kFLWmszFaQIVCVpNKDNdl0","keywords":[{"name":"Contemporary art","permalink":"keywords/contemporary-art","topic":"museums-heritage"},{"name":"NFT","permalink":"keywords/nft","topic":"technology"},{"name":"Digital art","permalink":"keywords/digital-art","topic":"technology"},{"name":"Exhibitions","permalink":"keywords/exhibitions","topic":"museums-heritage"},{"name":"Blockchain","permalink":"keywords/blockchain","topic":"museums-heritage"}],"headline":"'The NFT bubble has popped, but there’s still untapped potential in digital art'","mainMedia":null,"sponsor":null,"body":[{"_key":"666da04867ad","markDefs":[],"children":[{"_type":"span","marks":[],"text":"So, NFTs have gone speedily from boom to predictable bust. By the end of 2022, around 18 months after the explosion began, marketplaces had folded or lost almost all their value. The Art Basel Miami Beach fair—thronging with NFT evangelism just 12 months earlier—had, by last December, lost the faith.","_key":"3d43a0fc6c0c0"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_key":"dff7e06976310","_type":"span","marks":[],"text":"Like many of us, I was glad, not only because my email inbox might now regain equilibrium after being choked with news of Z-list celebrities and washed-up artists minting their tawdry, aesthetically impoverished, conceptually thin NFT project. But also because it was dismaying how the hype around NFTs had led to their frequent use as a shorthand for digital art generally, allowing the tech bros and speculators who entered the field in shameless search of a quick buck to cry revolution, and art world insiders who should have known better to greedily indulge them."}],"_type":"block","style":"normal","_key":"d1212f601d6f"},{"style":"normal","_key":"80f617e150a5","markDefs":[],"children":[{"_key":"833fb3f056490","_type":"span","marks":[],"text":"But the NFT crash doesn’t negate the blockchain—the underlying technology that makes NFTs unique and traceable—as an artistic space. It existed before and will be explored by artists in the future. In 2018, Ruth Catlow, co-author of "},{"_type":"span","marks":["em"],"text":"Artists Re:Thinking the Blockchain","_key":"833fb3f056491"},{"_type":"span","marks":[],"text":", likened then-nascent blockchain art to early Net Art—the first online art movement—in the possibilities it provided to respond critically to systems of power as well as being a space for experimentation and co-operation. For example, Jonas Lund has issued tokens that allow you to participate in decisions concerning his life, while Sarah Friend’s ","_key":"833fb3f056492"},{"_type":"span","marks":["em"],"text":"Clickmine","_key":"833fb3f056493"},{"_key":"833fb3f056494","_type":"span","marks":[],"text":" is a satire of crypto which generates useless wealth via a clicking game"}],"_type":"block"},{"style":"normal","_key":"6ca7a93582ff","markDefs":[],"children":[{"_type":"span","marks":[],"text":"So now might be a good time to remind ourselves of the decades-long history of digital art. Two current exhibitions—","_key":"f98aa95db9780"},{"_type":"span","marks":["em"],"text":"Coded: Art Enters the Computer Age, 1952-1982 ","_key":"f98aa95db9781"},{"text":"at the Los Angeles County Museum of Art (until 2 July), and ","_key":"f98aa95db9782","_type":"span","marks":[]},{"_type":"span","marks":["em"],"text":"I’ll Be Your Mirror: Art and the Digital Screen ","_key":"f98aa95db9783"},{"_type":"span","marks":[],"text":"at the Modern Art Museum of Fort Worth, Texas (until 30 April)—offer just such an opportunity.","_key":"f98aa95db9784"}],"_type":"block"},{"style":"normal","_key":"105afd6b6410","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"Coded","_key":"dcd1f422b31c0"},{"text":" begins with the first purely aesthetic image made on a computer and ends at the point where personal computers took their place at the centre of our homes. It shows how artists—including key Conceptual art figures such as Stanley Brouwn, Charles Gaines and Fluxus artist Emmett Williams—grappled with computers in these early years. Often they never returned to them as a medium. But their experiments were “essential as an origin story for the art and culture of the internet”, the show’s curator, Hannah Higgins, writes in the preface to its catalogue.","_key":"dcd1f422b31c1","_type":"span","marks":[]}],"_type":"block"},{"children":[{"_type":"span","marks":["em"],"text":"I’ll Be Your Mirror ","_key":"08f4e04818300"},{"_type":"span","marks":[],"text":"explores the use of the screen in art from 1969 to now, through early digital pioneers such as Lynn Hershman Leeson, key Net Art figures such as Eva and Franco Mattes, and artists continuing to push the medium in recent years, including Hito Steyerl.","_key":"08f4e04818301"}],"_type":"block","style":"normal","_key":"2e90c77bdb22","markDefs":[]},{"_type":"block","style":"normal","_key":"9504f6acea43","markDefs":[],"children":[{"_key":"e81fb521b9e70","_type":"span","marks":[],"text":"What links many of these artists, however different their aesthetics, is a balance of curiosity and scepticism about the digital field—a quality absent amid the NFT excesses. As Higgins puts it in relation to those early digital trailblazers, “artists bend rules, they play, they experiment with new solutions to old questions and find new questions”. These are good principles for the artists who might help blockchain art to rise from the NFT ashes."}]},{"_type":"block","style":"normal","_key":"d332cf91cab8","markDefs":[{"_type":"link","href":"https://www.lacma.org/art/exhibition/coded-art-enters-computer-age-1952-1982","_key":"2142a83a58d8"},{"_type":"link","href":"https://www.themodern.org/exhibition/ill-be-your-mirror-art-and-digital-screen","_key":"e68018182673"}],"children":[{"_type":"span","marks":[],"text":"• ","_key":"3120eff074750"},{"marks":["2142a83a58d8"],"text":"Coded: Art Enters the Computer Age,","_key":"9502f64ac57f","_type":"span"},{"_type":"span","marks":[],"text":" ","_key":"6c84eed5f277"},{"_key":"3120eff074751","_type":"span","marks":["em"],"text":"Lacma, Los Angeles, until 2 July"},{"_type":"span","marks":[],"text":"\n• ","_key":"3120eff074752"},{"text":"I’ll Be Your Mirror: Art and the Digital Screen","_key":"82b45bb424e2","_type":"span","marks":["e68018182673"]},{"_type":"span","marks":[],"text":", ","_key":"d1347cd52d24"},{"_type":"span","marks":["em"],"text":"Modern Art Museum of Fort Worth, Texas, until 30 April","_key":"3120eff074753"}]}],"twitterCardType":"SUMMARY_LARGE_IMAGE","toneName":"comment","updatedAt":"2023-03-13T11:27:49Z","standfirst":"Artists have long mined cyberspace for inspiration, as two current exhibitions underscore ","gallery":null,"twitterImage":null,"permalink":"2023/03/10/the-nft-bubble-has-popped-but-theres-still-untapped-potential-in-digital-art","fromPrint":true,"_id":"daaaa3e1-73e7-478d-979c-0dd1f7370172","_updatedAt":"2023-03-13T11:27:49Z","_type":"material","facebookImage":null,"paywallCategory":null,"authors":[{"_type":"author","fullName":"Ben Luke","permalink":"authors/ben-luke"}],"tone":null,"publishedAt":"2023-03-10T10:58:11.714Z","mainImage":{"asset":{"_id":"image-ad0a62a6a9b412fcd6401bc531b03b0cae05e020-1296x729-jpg","_ref":null,"metadata":{"dimensions":{"aspectRatio":1.7777777777777777},"lqip":"data:image/jpeg;base64,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"}},"crop":null,"hotspot":null,"alt":null,"caption":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Hito Steyerl’s 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