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NorCal Guy 🎩
@norcalguy
I have seen a lot of talk about which would be your favorite 1/1 on the timeline or list of “the best,” it's laughable. It’s just opinions from people, no one is correct. This 1/1 topic and Rodeo topic becoming more popular at the same time got me thinking, and interested to hear your thoughts as well. I am not saying to do it this way or that, but to think about this.
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NorCal Guy 🎩
@norcalguy
What if there is a shift happening. It’s not about 1/1s anymore. It’s about editions. We are in a digital age after all.
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Zach Lipp
@zachlipp
I have been the biggest proponent of editions since I started collecting art three years ago. From a gallery perspective, as a collector, editions make sense because you can display the artwork whether it's a one-of-one or not. From a cultural relevance perspective, the more people who have skin in the game and care about it, the more relevant it will be down the line. The idea of selling a one-of-one to a collector who then disappears and doesn't honor that artwork seems kind of sad. The reason why I loved editions when I first started collecting was because it was the only place in the photography market on Eth where there was liquidity. Even though I was not planning on selling, it seemed to be a safer purchase when I was just getting my feet wet. I am thinking of Drift, @cathsimard, and @reubenwu who were some of the first artists I collected from who paved the way for the rest of us. They had beautiful editions of around 200 or so which was enough to have liquidity.
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andrew
@awhurst
i agree with getting art out there and having the ability to share it. i do still cherish the thought of keeping some really special pieces as 1/1s … but maybe that is just me being old fashioned 🤣
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Callum Wanderloots ✨
@wanderloots.eth
I think that we’re entering into the age of post tokens, high quantity, low price productions. How that compares to 1/1s or limited editions will vary depending on the artist, and I think we should be open to people finding different styles and distributions that work for their particular art. However, if we start treating all open/timed editions as equivalent to 1/1s, we risk devaluing art in the same way value was destroyed with web2. So I think we have to be careful how we categorize the encapsulation of this value transfer. I wrote an article on it a few months ago, would be curious to hear your thoughts 🫡 Also, nice to see you on fc! https://paragraph.xyz/@wanderloots.eth/post-tokens?referrer=wanderloots.eth
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m/branson
@mbranson
as an artist i just want people to have my art if they want it. i think of how much i enjoy collecting prints of artwork of late artists and how little it matters to me that it wasn’t an “original” or even part of their “limited edition”. i just want it on my wall. how many of these trad artists of the past would’ve produced “in excess” if they had the technological means?
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Mehdi Benembarek
@mehdi-benembarek
Indeed boundaries are getting blurred. Editions, and specially OE’s can be very profitable for “influencers”, people with a large following base. For others, and i might say an unpopular opinion … what will come up from inexpensive art as a commodity, it’s simply depression and artists giving up after a “ potential bull run”. We can do better than this. Yeah … better than this. Wagmi is so 2021
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