Discover How Robert Alice Made NFT History And Is Now Penning the Story

In the art world, aliases are not uncommon. British-based artist Robert Alice is one such alias, created for the sole purpose of diving into the emerging world of NFT art. In just a short time, Alice has produced a number of highly acclaimed conceptual art installations, from the micronation of Sealand to the Monnaie de Paris and through generative AI that has analyzed centuries of literary history.

NFTs, or non-fungible tokens, have recently faced financial backlash even as the rest of the crypto industry surges to new highs. Known as the “blue chip” NFT collections, these tokens are still being valued at bear market levels. While many see NFTs as a tool for speculation and quickly selling to the next bidder, Alice views them as a larger part of the decentralized crypto movement.

“As someone deeply interested in art and value systems, there are parallels between the criticism that art has no inherent value and that bitcoin is merely fake money,” Alice shared in an interview with CoinDesk. “But there is real value in what NFTs represent and empower – a disruption of the traditional art industry and the opportunity for anyone to create their own canvas.” While there are undoubtedly obstacles to overcome, NFTs have the potential to level the playing field as no one is born with inherent knowledge of crypto – it is something that is learned and embraced.

Alice has spent the past two years compiling a comprehensive history of NFT art, including pioneering projects like EtherRocks and Bitchcoin, as well as more recent success stories. This collection, entitled “On NFTs,” has been published by renowned art book publisher TASCHEN, making it the first of its kind. As a pioneer in the industry, Alice can also claim the title of the first artist to sell a work at auction at Christie’s, preceding Beeple’s record-breaking $69 million sale by almost a year.

Now, Alice is returning to Christie’s after four years for the launch of his newest series “SOURCE [ON NFTs],” created by a generative machine learning model that he coded himself. In a recent conversation with CoinDesk, Alice discusses the history of NFTs, the impact of blockchain on the traditional art market, and his personal journey into the world of crypto anarchy.

Is Robert Rauschenberg’s punch on Scull justified?

This moment has become iconic in the history of the art market. In 1973, at the first major black-tie evening auction for contemporary art, Scull made millions off of recently acquired pieces. It is uncertain if this event truly took place or if it is just a myth.

I could have sworn I saw a video of it.

There is a video, but it is more of a push than a punch. I prefer to keep it that way as it emphasizes the new world we live in, with crypto, NFTs, and the transparency they bring to the art market. The traditional art market claims to not participate in speculation or trading, but in reality, they do. NFTs expose this imbalance between the value received by the artist versus the value received by the collector.

It is interesting to note that crypto’s first successful application was in the art world. The mass movement towards blockchain for secondary transactions speaks to the significance of art in contemporary society. These are the themes explored in “On NFTs,” the book I edited for TASCHEN, which is the most extensive historical study on NFTs to date.

Are you referring to CryptoKitties?

This was a crucial moment that caused congestion on the Ethereum network and brought widespread attention to NFTs. In the book’s introduction, I reference a post by Hal Finney from 1993, which foreshadowed the emergence of NFTs and emphasized the importance of rarity and collectability, two key elements in this market.

You just released TASCHEN’s “ON NFTs,” the largest historical study of NFTs. Can you tell us more about the production process?

The creation of this book was a beautiful collaboration with TASCHEN, the industry’s leading art book publisher. As an artist, it is always challenging to be satisfied with your own work, but I was blown away by the attention to detail and artistic craft that went into making this book. While the blockchain will always remain the primary source for NFTs, TASCHEN has created a magnificent physical portal into the digital realm.

How did you gain access to the French national mint for your exhibition “BABEL?”

I was connected through the curatorial platform LaCollection. The French are notorious for being provocative and seek out scandal. The Monnaie de Paris, Europe’s longest-running institution, now hosts contemporary art shows. It is interesting to note the close connection between the state and money, and how bitcoin is attempting to disrupt this traditional system. The Monnaie de Paris has survived for over a thousand years, while organized religions and belief systems have come and gone. People may criticize the volatility of bitcoin, but we are not just reinventing food delivery services – we are trying to challenge a 2,000-year-old architecture. NFTs face a similar challenge, as people have been creating cave paintings since ancient times.

(Robert Alice)

That was a surprisingly kind comment about the French, coming from a Brit. There seem to be quite a few micronations, such as Sealand, in and around the U.K. – you recently held an exhibition there, inspired by the pirate radio phenomenon, with a building that declared independence.

Well, the U.K. is an island nation with a long history of eccentricity and seafaring traditions. Historically, it has been impossible for a nation to remain politically neutral and be entirely self-sufficient. The French have a strong sense of independence and tend to gravitate towards scandal. Therefore, it made perfect sense for me to work with a French institution like the Monnaie de Paris.

Sealand: The Crypto-Anarchist Haven

The small micronation of Sealand, located in the North Sea and not much larger than a small boat, has managed to remain unconquered since 1,066 AD. This makes it one of the few countries that has existed in peacetime for a remarkably long time. Sealand boasts a unique flavor of anarchy, and even played a role in the early history of cryptocurrency. When Satoshi Nakamoto published his paper on Bitcoin, Sealand was being used as a crypto-anarchist data center. In fact, a contemporary art exhibition was even held on the island, showcasing the inventive and futuristic history of this micronation.

How do you personally display your NFT collections at home?

Having always been a collector in the NFT space, I am proud to have built up an extensive collection. When displaying it, I use custom screens that match the size of the artwork, treating them as I would any traditional piece of art. I change the display every six months to keep things fresh and interesting. There has always been a tension about how to display NFTs physically, as they are digital artworks that are best experienced in a digital space. It can be challenging to create a sense of scale when looking at a thumbnail image on a marketplace like OpenSea. Additionally, there is a limit to how many screens one can have at home before it resembles a TV store. However, with the evolution of AR and VR experiences, we will soon be able to view digital art in a three-dimensional, algorithmically-generated environment. This will be a powerful and unique experience.

Interestingly, in the recent bear market, I have noticed that more and more collectors are requesting physical prints of NFTs. With the release of my book “Portraits of a Mind” by TASCHEN, which features beautiful illustrations of the NFTs, even non-NFT collectors can appreciate and admire the artworks.

Do you think Dutch auctions will become popular in the traditional art market?

I am currently in talks with Christie’s regarding the auction happening this Friday, and it is an exciting experiment to watch unfold. My first NFT auction with Christie’s, “Portraits of a Mind,” was four years ago, and I have seen how much the infrastructure and market have evolved since then. The initial sale and auction was a crucial moment for bridging the traditional art world with the emerging crypto and NFT space on their terms. Now, traditional auction houses are adopting market mechanics that were originally derived from crypto and have been around for hundreds of years. The Dutch auction, in particular, challenges the traditional notion of value and fairness. This decision shows how much of an impact crypto continues to have on the art world.

Any thoughts on the Google Gemini mishap?

We now live in a world where truth has become political, and the incident with Google Gemini revealing their biases is a clear example. The company’s original mission was to index and organize the world’s knowledge to provide a platform for finding truth. However, adding political guardrails, whether from the left or the right, can obscure this mission.

I like to think of my project “SOURCE [On NFTs],” where I used machine learning to generate text fed on centuries of literary history, as a commentary on this search for truth. This project was inspired by the making of my book and trained an algorithm on a tower of key texts, including philosophy, cryptography, science fiction, and politics. The algorithm found a “soul” in each text by recognizing meaningful keywords and juxtaposing them to create thought-provoking results. By using this form of machine learning in an open, associative way, it generated unique and sometimes provocative outcomes.

Decentraland: overrated or underrated?

I believe it is already overrated, but it is an exciting project that points to an interesting future, as most crypto projects do.

Sotheby’s: overrated or underrated?

I would say neither. However, they are often underrated in terms of their long-term support and impact on the NFT space. While their NFT department is only a small fraction of the entire art institution, it is crucial for onboarding new people into the space. Moreover, they are known for carefully selecting and showcasing high-quality works and bringing artists from the traditional art world into the NFT space. Their presence and services are essential in legitimizing and elevating the NFT market.

Are you planning on producing anything in the future?

The recent controversy around OpenSea removing royalties brought to light an important issue. While it is possible to code royalties into the metadata of a smart contract, it does not guarantee their execution. This issue highlights the tension between the decentralized, open market dynamics of NFTs and the desire for artists to have control and protection over their work. As for my future plans, I am always exploring new ideas and projects, but nothing is set in stone yet.

Lastly, do you consider yourself a crypto-anarchist?

No, I wouldn’t say I identify as a crypto-anarchist. While I am fully committed to the mission and potential of crypto and bitcoin, I am also pragmatic and open to different perspectives and beliefs. I do not believe that a world solely run on crypto would necessarily be a positive outcome.

Anything else you wanted to include in the book?

The book is a representation, not an exhaustive history, of the NFT space. It was challenging to capture everything because history is chaotic and constantly evolving. Small details and missed opportunities can alter the course of events. Therefore, no book can convey the entirety of a story. One of the main themes of my book, “Portraits of a Mind,” is exploring the concept of truth throughout history and its relevance to the NFT space. This topic was also a guiding force behind my project “SOURCE [On NFTs],” which uses a form of machine learning and draws parallels between NFTs and language as a form of power and truth. Ultimately, my goal with these works is to encourage people to question and challenge traditional notions of value and truth and to see the potential for innovation and disruption in the NFT space.AI and the Future of Art

The Evolution of AI and its Impact on the Art World

Artificial intelligence (AI) has been a major driving force in the world of art, particularly in the field of generative art. This has been prominently showcased in various art forms, ranging from paintings to music. The significance of this development cannot be overlooked, and it is why it plays a central role in our book. However, in hindsight, I wish we had given AI and generative art their own dedicated sections, considering the growing importance they have in the art world today.

We were deliberate in our approach to creating this book. We wanted it to be a collective effort, and thus, we implemented a decentralized production process. This involved using a consensus voting model to select the artists featured in the book. Our intention was to give a voice to a wider ecosystem, as opposed to just relying on my own personal opinions.

The crux of this book is to provoke thought and inspire action. It is a call to arms, urging readers to not just passively consume art, but to actively engage with it. If you find yourself disagreeing with something or feeling like there are more important aspects to be highlighted, then take a stand and create your own version. I urge you to not vent your frustrations on social media but instead take a deep dive into this fast-paced world of art. Put in the effort and commit a substantial amount of time to produce your own version of art history. By doing so, you will bring a unique perspective to the table, and contribute to the building of a well-rounded canon.

For those looking to establish themselves as serious players in the art world, it is imperative to have these major cornerstones in your portfolio. As the adage goes, “history is written by the victors,” and in the art world, the victors are those who put in the work to create a meaningful and impactful body of work.

In conclusion, while AI and generative art may have played a significant role in this book, it is ultimately a call to action for everyone to actively participate in shaping the future of art. Let this book serve as a catalyst for your own artistic journey, one that will not only add diversity to the art world but also contribute to its ever-evolving narrative.

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