cryptoart, crypto art, values, tokens, non-fungible token (NFT)


The purpose of the article is to consider the current phenomenon of crypto art from an artistic point of view. The research methodology includes historical, art studies, and comparative analysis. The scientific novelty of the article is that the fact of the emergence and development of a new phenomenon that attracts the attention of an increasing number of artists has been established, and a systematic analysis of its existing challenges and advantages over the traditional art market has been carried out. Conclusions. We are at the beginning of a multi-year process. The trend is gaining momentum, increasingly drawing humanity into a technological singularity, where, on the one hand, the war in all its forms and manifestations does not end, and on the other — the synergy of passionaries opens up new unprecedented horizons for joint creative work and monetisation of their artistic skills. The popularisation of NFT by a “magical” force has attracted the attention of independent creators to new communication channels and the formation of new decentralised communities, which usually demonstrate a high level of cooperation and culture in general. Digital art has rarely received as much attention as it does now. The NFTs may disappear, but the critical dialogue they have created will remain in our collective memory, and the value and legitimacy they have brought to digital art through this conversation may have changed their social perception forever. The new paradigm first of all emphasises that “value” as a property and characteristic of objects or phenomena in modern conditions is increasingly determined not by the past, but by the future. This is what determines the “paradigm shift” — the present in the future is much more important than the traditional in the past.

Author Biography

Taras Habrel, Lviv Polytechnic National University, Lviv, Ukraine

PhD in Art Studies


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How to Cite

Habrel, T. (2022). CRYPTO ART: A NEW ERA IN ART VS ADVENTURE CHALLENGE. Culture and Arts in the Modern World, (23), 85–92.