The British Museum’s new N.F.T. offerings attempt to appeal to a new generation of collectors. Can the same people chasing cryptocurrency fads be trusted as stewards of something as enduring as art?
Last month, during a stroll through the cavernous, glass-ceilinged rotunda of the British Museum, I wandered into the gift shop and saw something that made me do a double take. Amid the souvenir umbrellas and postcards was a sign suggesting “Visit our NFT store” and providing a QR code. Near the coat-check line, I encountered vitrines holding prints by Katsushika Hokusai, the revered nineteenth-century Japanese artist.
It goes without saying that Hokusai never made digital art. Nor did J. M. W. Turner or Giovanni Battista Piranesi, who memorialized ancient Rome in his famous etchings and died in 1778. Yet, through the British Museum’s offerings, all have become part of new efforts to capitalize on artists’ work posthumously by embracing the fad for N.F.T. collecting among the cryptocurrency nouveau riche. Last year, digital art work originally created by Andy Warhol was made into N.F.T.
Julian Sander, a great-grandson of the German photographer August Sander, sees things even more starkly. “I am against the idea that the N.F.T. itself is something that’s valuable,” he said. “It’s effectively worthless; it’s literally just a bookmark for information.” Nonetheless, in February of this year, Julian began what amounts to an experiment in digital, collective archiving, when he gave away ten thousand N.F.T.s of contact prints of his ancestor’s work.
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