this is why the future, be it NFTs or Memoji or the howling existential horror of the Metaverse, looks so ugly and boring: it reflects the stunted inner lives of the finance and technology professionals who produced it. As the visual manifestation of cryptocurrency, NFT art combines the nuanced social awareness of computer programmers with the soulful whimsy of hedge fund managers. It is art for people whose imaginations have been absolutely captured by a new kind of money you can do on the computer.
It is also obviously a pyramid scheme, in which the need for a salable commodity is imperative and endlessly renewed, but the commodity itself does not matter because it is useless — not even useless the way all art is useless, because you can get the images and whatever grains of nourishment your hungry little soul might find in them for free, but useless the way a canceled stamp is useless, useless like a receipt or an envelope that has been torn open. NFTs are an occasion for commerce masquerading as art, just as so many ostensibly meaningful experiences of the 21st century turn out to be occasions to spend money masquerading as life.
That’s how they feel to me, anyway. Presumably there is someone out there right now — not [NFT hawker Sean] Lennon but one of this followers, someone who consistently refers to him as “Sean Ono Lennon, whose dad was John Lennon from the Beatles, one of the greatest bands of all time” at a speed 1.5 times faster than normal talking — who saw SkullxNFT and experienced it as some of the most beautiful and emotionally moving art in history, right up there with the Mona Lisa and Avengers: Endgame.