He is Robbie Barrat, on his Videodrome profiles: he is esteemed for his research and vision in the crypto environment, but since 2018 he has become the outsider of the NFT world because he has not made any more.
The number of Barrat’s NFTs now amounts to 41; these have recorded trading volumes of 3,405,147 ETH corresponding to about $14,815,828.65.
A number equal to 30 of the series “AI Generated Nude Portrait” has been – and still is – at the center of the biggest “NFT hunt” that gave birth to the case of the “Lost Robbies” so-called by Zack Yanger in an editorial for SuperRare.
But let’s take a step back a few years; it’s 2018: a new term “Blockchain” is starting to spread more and more in the art market and among players.
To take stock among industry players, one of the largest auction houses – Christie’s – organizes the first Christie’s Art and Tech Summit, a conference focused on exploring emerging technologies and their potential impact on the art world.
That year’s theme is Blockchain and its possible applications to art.
“The NFT market is still in its infancy: SuperRare had opened only three months earlier, MakersPlace later that year, and the NiftyGateway marketplace arrived more than a year later.
That’s when the figure of Jason Bailey, founder of the Artnome blog and a figure of reference for many OG crypto artists emerged, who had a mission: “Driven to use technology and data to improve the world’s art historical record and to bring attention to artists working at the intersection of art and technology.”
As an expert, he suggests creating, in collaboration with a crypto artist, a series of only 300 NFTs to be distributed randomly inside the goodie bags for the summit participants in the form of a gift card with two identification codes: a crypto wallet and a private key.
Photo Credits: Robbie Barrat, AI Generated Nude Portrait
