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🎨 One tweet, hundreds of artists lining up: The debate sparked by NFTs’ “New Medici”
There’s been a little stir in the NFT world lately.
Well-known on-chain art collector Cozomo de' Medici (famous for his extensive collection and for donating works to the Los Angeles County Museum of Art) announced his latest acquisition list, #ArtTank , and thanked crypto casino Rollbit for its support. ArtTank is his weekly initiative to buy works from emerging creators.
The comments ended up splitting into two camps:
🔹 On one side, artists were lining up to “submit their résumés.” Browse the replies to his tweet and you’ll find almost nothing but artists posting their work, starting with “GM Cozomo” and followed by a price: 35 XTZ, 0.3 ETH, or 1.11 SOL.
🔹 On the other side, artists like OSSEN were being sarcastic: Weren’t NFTs supposed to bypass traditional galleries and power structures? How did they end up chasing the attention of big collectors, with casino money behind them?
Some people defended the model: emerging artists can’t find buyers without exposure, and having someone willing to spend money and bring in an audience is better than having no one notice your work.
My take:
Both sides have a point, but the problem isn’t really Cozomo. Decentralization solves the question of “who can publish,” but not “who gets seen.” Attention naturally concentrates, and the same is true on-chain—the gatekeepers have simply changed from gallery owners to big-name collectors and their sponsors.
For creators, it’s great when a major collector buys a piece. But if a work’s value is only validated by being selected by a particular person, then the market is pretty shallow. Real confidence comes from having a community of collectors of your own.
And a reminder for buyers: “A big-name collector has bought from the same artist” doesn’t mean the piece you buy will go up in value.
What do you think? Does NFT art need this “curator + sponsor” model, or does it go against the original spirit of Web3? Join the conversation in the comments 👇
#NFT #数字艺术 #Web3 #CryptoCulture
🎨 One tweet, hundreds of artists lining up: The debate sparked by NFTs’ “New Medici”
There’s been a little stir in the NFT world lately.
Well-known on-chain art collector Cozomo de' Medici (famous for his extensive collection and for donating works to the Los Angeles County Museum of Art) announced his latest acquisition list, #ArtTank , and thanked crypto casino Rollbit for its support. ArtTank is his weekly initiative to buy works from emerging creators.
The comments ended up splitting into two camps:
🔹 On one side, artists were lining up to “submit their résumés.” Browse the replies to his tweet and you’ll find almost nothing but artists posting their work, starting with “GM Cozomo” and followed by a price: 35 XTZ, 0.3 ETH, or 1.11 SOL.
🔹 On the other side, artists like OSSEN were being sarcastic: Weren’t NFTs supposed to bypass traditional galleries and power structures? How did they end up chasing the attention of big collectors, with casino money behind them?
Some people defended the model: emerging artists can’t find buyers without exposure, and having someone willing to spend money and bring in an audience is better than having no one notice your work.
My take:
Both sides have a point, but the problem isn’t really Cozomo. Decentralization solves the question of “who can publish,” but not “who gets seen.” Attention naturally concentrates, and the same is true on-chain—the gatekeepers have simply changed from gallery owners to big-name collectors and their sponsors.
For creators, it’s great when a major collector buys a piece. But if a work’s value is only validated by being selected by a particular person, then the market is pretty shallow. Real confidence comes from having a community of collectors of your own.
And a reminder for buyers: “A big-name collector has bought from the same artist” doesn’t mean the piece you buy will go up in value.
What do you think? Does NFT art need this “curator + sponsor” model, or does it go against the original spirit of Web3? Join the conversation in the comments 👇
#NFT #数字艺术 #Web3 #CryptoCulture
There’s been a little stir in the NFT world lately.
Well-known on-chain art collector Cozomo de' Medici (famous for his extensive collection and for donating works to the Los Angeles County Museum of Art) announced his latest acquisition list, #ArtTank , and thanked crypto casino Rollbit for its support. ArtTank is his weekly initiative to buy works from emerging creators.
The comments ended up splitting into two camps:
🔹 On one side, artists were lining up to “submit their résumés.” Browse the replies to his tweet and you’ll find almost nothing but artists posting their work, starting with “GM Cozomo” and followed by a price: 35 XTZ, 0.3 ETH, or 1.11 SOL.
🔹 On the other side, artists like OSSEN were being sarcastic: Weren’t NFTs supposed to bypass traditional galleries and power structures? How did they end up chasing the attention of big collectors, with casino money behind them?
Some people defended the model: emerging artists can’t find buyers without exposure, and having someone willing to spend money and bring in an audience is better than having no one notice your work.
My take:
Both sides have a point, but the problem isn’t really Cozomo. Decentralization solves the question of “who can publish,” but not “who gets seen.” Attention naturally concentrates, and the same is true on-chain—the gatekeepers have simply changed from gallery owners to big-name collectors and their sponsors.
For creators, it’s great when a major collector buys a piece. But if a work’s value is only validated by being selected by a particular person, then the market is pretty shallow. Real confidence comes from having a community of collectors of your own.
And a reminder for buyers: “A big-name collector has bought from the same artist” doesn’t mean the piece you buy will go up in value.
What do you think? Does NFT art need this “curator + sponsor” model, or does it go against the original spirit of Web3? Join the conversation in the comments 👇
#NFT #数字艺术 #Web3 #CryptoCulture
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