{"id":929,"date":"2022-09-16T11:55:00","date_gmt":"2022-09-16T15:55:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/the-mint\/?p=929"},"modified":"2022-09-16T16:02:49","modified_gmt":"2022-09-16T20:02:49","slug":"baroque-style-nft-art","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/the-mint\/baroque-style-nft-art\/","title":{"rendered":"Why Cutting-Edge Cryptoartists Are Going for Baroque"},"content":{"rendered":"
\n
\"TERRA<\/a>
ACQUA<\/em> by Victoria Fard<\/a><\/figcaption><\/figure><\/div>\n\n\n

Victoria Fard<\/a>\u2019s work is alive with detail. The series of three NFTs now available on 1stDibs \u2014 A\u00cbR<\/a><\/em>, TERRA<\/a><\/em> and ACQUA<\/a><\/em> \u2014 are snapshots of imagined worlds, rendered in 3D. All three share a characteristic intricacy, a building up of ornament in a style that could reasonably called baroque. It\u2019s an association she welcomes: \u201cI love the feeling you get in a cathedral, and you\u2019re just like, \u2018Wow!\u2019 \u201d she says, \u201cI\u2019ve always dreamed of making that experience for people.\u201d<\/p>\n\n\n\n

Just a brief tour of 1stDibs\u2019 NFT marketplace<\/a> demonstrates that Fard is far from the only artist using digital tools to reprise the 17th century<\/a> by way of the 21st. Originally an expression of the power and wealth of the Catholic Church, baroque art<\/a> took the technical discoveries of the Renaissance<\/a> and pushed them to radical conclusions, employing not just mythological subjects but dynamic movement and emotion expressed through boiling clouds and tumbling drapery. Its major works required the marshaling of manpower and resources that stretched the budgets of even the wealthiest patrons.<\/p>\n\n\n\n

Today, however, baroque\u2019s epic style and scale, as well as the costliest (virtual) materials, are within the reach of dedicated individual artists with good graphics cards and software that is readily available on the Internet. It\u2019s little wonder so many artists are turning it up to 11.<\/p>\n\n\n\n

\"A\u00cbR<\/a>
A\u00cbR<\/em> by Victoria Fard<\/a><\/figcaption><\/figure>\n\n\n\n

This is not to say that the processes involved are not time-consuming. Fard, for instance, builds her pieces in an engineering-software environment called Rhinoceros, which requires painstaking attention to detail. The resulting NFTs represent views into virtual spaces with their own physics and presence (this is also why they retain their detail under the most rigorous zoom).<\/p>\n\n\n\n

A qualified architect with a master’s degree from the University of Toronto<\/a>, Fard sees her artistic practice as an expression of her Persian-Filipina identity, drawing on the visual traditions of both cultures. \u201cI started with my roots because I think in order to understand others, I have to know myself. And then, from there, the other pieces sort of bloomed,\u201d she says.<\/p>\n\n\n\n

Her work can be seen as an expression of an inner world in more than the usual sense. Drawing on her understanding of architecture but released from the demands of physical production, she builds her very own cathedrals, single-handedly, albeit in digital form.<\/p>\n\n\n

\n
\"Black<\/a>
Black Boy Joy (The Pursuit of Happyness) <\/em>by Vintagemozart<\/a><\/figcaption><\/figure><\/div>\n\n\n

The exploration of a personal mythology is also central to the project of the artist known as Vintagemozart<\/a>. Originally from Zimbabwe and now based in the United Kingdom, he describes a complex back and forth of influences that resulted in his own take on Afrofuturism.<\/p>\n\n\n\n

Although he first became aware of the movement<\/a> through the visual presentation of American musicians like Janelle Monae<\/a> and Andr\u00e9 3000<\/a>, he quickly realized that their understanding of it was highly U.S.-centric. His own interpretation of Afrofuturism represents a markedly different counter-factual narrative.<\/p>\n\n\n\n

\u201cI\u2019m approaching it not just as if we were never enslaved but as if we didn\u2019t even get colonized and we got to keep our own mythology,\u201d he says. \u201cI started to think that we could have developed like the Greeks<\/a> and Romans<\/a> did.\u201d<\/p>\n\n\n\n

\"Speedin<\/a>
Speedin Bullet To Heaven<\/em> by Vintagemozart<\/a><\/figcaption><\/figure>\n\n\n\n

Vintagemozart\u2019s pieces are exuberant in their detail, with recurrent motifs of Emperor butterflies (\u201cThey were around a lot when I was a kid, before climate change,\u201d he says) and rays of golden light. His figures’ bodies are decorated with relief maps of the many places he\u2019s visited, making them embodiments both of the world and of his personal biography, their ebullient smiles \u2014 as in as in Black Boy Joy (The Pursuit of Happyness<\/em><\/a> \u2014 sometimes reminiscent of Kerry James Marshall<\/a>.<\/p>\n\n\n\n

His work displays a melancholy optimism in its attempt to use digital means to glimpse a history, or even a state of mind, that might have existed were it not for the enduring moral outrage of slavery.<\/p>\n\n\n\n

The arrival of AI<\/a> image platforms like Dall-E<\/a>, Midjourney<\/a> and Stable Diffusion<\/a> may have played a part in the advent of the digital baroque. Since they produce their results by essentially averaging out millions of pictures, they are far better at re-creating an atmosphere or style than they are at arranging individual elements in a picture. Ask Midjourney for something \u201cin the style of Bernini<\/a>,\u201d and the results are eerily accurate. Ask for a \u201cman eating a cheeseburger,\u201d and the results may be genuinely alarming.<\/p>\n\n\n

\n
\"Cathedral<\/a>
Cathedral<\/em> by Unlimited Dream Co.<\/a><\/figcaption><\/figure><\/div>\n\n\n

\u201cIt\u2019s very easy to produce cursed images,\u201d says the digital artist known as Unlimited Dream Co.<\/a>, \u201cbecause the AI has no taste, it has no judgment.\u201d So, he is turning the relationship with the AI into a kind of dance. He makes his pieces by feeding his own drawings into Stable Diffusion alongside art-historical prompts. <\/p>\n\n\n\n

He then repeats the process with the resulting images until he achieves the outcome he\u2019s looking for. \u201cI\u2019m not just typing in a phrase and seeing what pops out. I\u2019m trying to work out how do I guide it,” he says.<\/p>\n\n\n\n

His NFTs, such as Cathedral<\/a><\/em>, are a true collaboration with the AI, or even a kind of communication with something mysterious \u2014 that is, the latent space in the AI\u2019s understanding of art history. \u201cIt has distilled the essence of 200 million images into a probability space, of every image and every image in between,\u201d the artist explains. \u201cSo, it\u2019s very interesting to project yourself into that. To kind of fish around and see what\u2019s in there.\u201d<\/p>\n\n\n

\n
\"Saint
Saint Michael’s Incantations<\/em> by Tetra<\/a><\/figcaption><\/figure><\/div>\n\n\n

For 25-year-old artist Tetra<\/a>, the allusion to the baroque doesn\u2019t come as a surprise. \u201cI\u2019ve been into Caravaggio<\/a> from young,\u201d he says, citing Virgil Abloh<\/a>\u2019s streetwear designs<\/a> as his introduction to the Italian master. A first-generation American of Cuban and Dominican descent, he synthesizes diverse influences in his work, including video games and anime, as well as Renaissance art.<\/p>\n\n\n\n

Working in Photoshop, which he mastered in his teens, Tetra combines these precedents into seamless digital collages. These are notable for their reproduction of painterly effects like brushstrokes and the patina of old canvas, which, in a kind of digital double bluff, he renders in painstaking detail through the application of textures. <\/p>\n\n\n\n

\u201cI try so hard to make my pieces indistinguishable from hand-painted pieces because I want to show all the experiences that I\u2019ve had that go into making them,\u201d Tetra says. He compares his works to the images that accompany a major movie release, \u201cwhen they have a still frame of something grand, something insane happening. That\u2019s what I want my pieces to be.\u201d As a metaphor for the power of the baroque to evoke a broader mythology, the artwork as merely the tip of the iceberg, it’s worthy of Caravaggio himself.<\/p>\n\n\n

\n
\"Nautiluses<\/a>
Nautiluses<\/em> by Unlimited Dream Co.<\/a><\/figcaption><\/figure><\/div>\n\n\n

But just as the baroque was a kind of exponential advance on classical forms of art, so these artists’ digital works push current technologies to maximal effect. As Unlimited Dream Co. puts it, \u201cWe\u2019ve got these new tools. What can we do with them?\u201d<\/p>\n\n\n\n

Nevertheless, these crypto creators retain some of the elements of the original style \u2014 the evocation of awe at the ineffable, the caking on of detail and high-status materiality \u2014 but turn them to more personal ends. Instead of demonstrating the power of a hegemony, they show the power of technologically enabled individuals in their pursuit of a mythology that can express their own inner worlds.<\/p>\n","protected":false},"excerpt":{"rendered":"

Victoria Fard\u2019s work is alive with detail. The series of three NFTs now available on 1stDibs \u2014 A\u00cbR, TERRA and ACQUA \u2014 are snapshots of imagined worlds, rendered in 3D. All three share a characteristic intricacy, a building up of ornament in a style that could reasonably called baroque. It\u2019s an association she welcomes: \u201cI […]<\/p>\n","protected":false},"author":12,"featured_media":1021,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[65],"tags":[],"class_list":["post-929","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-think-piece"],"acf":{"secondary_featured_image":false,"width":false,"post_format":"article","subtitle":"This maximalist art movement isn\u2019t just for post-Renaissance showoffs. Today\u2019s NFT creators are embracing the baroque, and digital tools make it easier (and more affordable) than ever to produce hyper-ornate forms.","contributors":{"hide_byline":false,"columnist":[{"ID":573,"post_author":"12","post_date":"2022-03-31 20:34:14","post_date_gmt":"2022-03-31 20:34:14","post_content":"\n

William Fowler lives and works in California. He has written about art and design since the mid-2000s, with bylines in the Guardian<\/em> and Creative Review<\/em>. He collects contemporary British art, including work by Anne Hardy and Robert Fry. His 2017 novel, Elephant<\/em>, about art, technology and guilt, remains sadly unpublished. Find out more on his website<\/a> and Linkedin<\/a>.<\/p>\n","post_title":"William Fowler","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"william-fowler","to_ping":"","pinged":"","post_modified":"2022-07-25 17:47:22","post_modified_gmt":"2022-07-25 21:47:22","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/the-mint\/\/?post_type=contributors&p=573","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"related_items":[{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/terra\/id-n_g3lGvzP5Ly\/","related_product_title":"TERRA by Victoria Fard","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_g3lGvzP5Ly\/victoria_fard-terra-original.png?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/put-god-on-phone\/id-n_AdZYu3FAM9\/","related_product_title":"Put GOD On The Phone!!! by Vintagemozart ","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_AdZYu3FAM9\/vintagemozart-put_god_on_the_phone-original.jpg?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/ammonites\/id-n_WBhu4WbliD\/","related_product_title":"Ammonites by Unlimited Dream Co.","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_WBhu4WbliD\/unlimited_dream_co.-ammonites-original.jpeg?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/saint-michaels-incantations\/id-n_Wq9YzMwJUR\/","related_product_title":"Saint Michael's Incantations by Tetra","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_Wq9YzMwJUR\/saint_michaels_incantations-original.png?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false}],"interstitial_banners":false,"title":"","text":""},"apple_news_notices":[],"yoast_head":"\nWhy Cutting-Edge Cryptoartists Are Going for Baroque - 1stDibs: The Mint<\/title>\n<meta name=\"description\" content=\"This maximalist art movement isn\u2019t just for post-Renaissance showoffs. 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