Visionary abstract artist Hilma af Klint will be immortalized on the blockchain
In Web3, everyone is building towards the future. As an internet ecosystem centered around cryptography and decentralization, blockchain has become a hotbed of forward-thinking innovation. The NFT space itself, which exists at the intersection of finance, art and technology, is proof enough of this fact.
A great abundance of digital and generative artists exist near Web3, and their efforts to curate blockchain-based works are both forward-looking and a logical next step for careers in the arts. But for the established, revered, and often older artists beyond the reach of the blockchain, NFTs can feel elusive, volatile, and perhaps even unrealistic.
But some seem to exist on the fringes of the conventional common areas of artistic industries. For them, time and existence are seen through a different lens: Hilma af Klint (1862-1944) was such a person. An enigmatic artist who was unknown until the 1980s, she remained outside the art world mainstream, despite her pioneering work in abstract art.
However, this was on purpose. Amazingly, af Klint dictated that her paintings should not be shown until at least 20 years had passed since her death. In this way, her art was real and by definition future-oriented. And her pieces have entered the most futuristic development possible: her scarce and coveted catalog will be minted and thus immortalized on the blockchain, thanks to the Gallery of Digital Assets (GODA).
The Hilma af Klint NFT drop
From November 14 to 17, an NFT series of 193 VR and AR renderings by Hilma af Klints Paintings for the temple series will be put on Dutch auction. As a digital continuation of the official af Klint catalogue, each artwork will live as one of two editions. The first will be non-commercial and remain with the publisher. But the second edition will be for sale.
The paintings in this collection are produced by Stolpe Publishing with support from the Hilma af Klint Foundation, are presented by Acute Art, and will be available on the GODA platform. Don’t let the many groups behind the effort confuse you, as on release day GODA will present an easy way for all collectors to place a bid. At the end of the auction, the lowest of the 193 best bids will be implemented as the final selling price for each NFT.
Stewarding Hilma af Klint into the future
It is heartwarming to know that an artist of af Klint’s caliber is entering the NFT world. Throughout history, artists like hers disappeared, some who may never be rediscovered. This is of course in stark contrast to what blockchain technology can do for artists today, as it acts as a public ledger for all to see.
Given the secretive nature of af Klint’s work, her legacy is an ideal one for blockchain, as blockchain is built for cryptography, decentralization, and even anonymity—all values that speak to the nature of af Klint’s work.
“In this new era and this new medium of cryptography and blockchain, I feel like she would be the type of artist [who] would be first in line to do something like that [venture into NFTs]”, said Andrew Drayton, GODA’s NFT/Web3 advisor in an interview with nft now. “We can talk about her like she’s an artist now, in this day and age. Because her art – everything is just so relevant.”
For Drayton and his peers at GODA, bringing af Klint’s work onto the blockchain was crucial. And given her catalog and GODA’s nature as a trusted and curated source for leading contemporary NFT artists, it’s clear to see why the collaboration was met with the greatest attention.
“To me, it’s absolutely amazing that this woman had this foresight to create paintings for the future. They really hold up today, as if she made them become NFTs,” GODA co-founder Todd Kramer said in a interview with nft now. “Having these pieces immortalized on the blockchain really taps into her dream of painting for the future.”
To learn more about the upcoming Hilma af Klint collection and how it aligns with current developments in the contemporary art world, visit the official GODA website here.
