In late March, gallery L'Avant Galerie Vossen in Paris opened a show named ‘#TRASHART : NFT Garbology’ showcasing the most notable Art movement to emerge from the Crypto/NFT Art space over the last few years.
Although ‘Trash’ has become apparent as the zeitgeist linchpin of Crypto Art, it has not been taken seriously at all by collectors. And yet in the face of all push-back, and even attempts by some to deliberately undermine it, nevertheless Trash Art has slowly gained traction and credibility over time.
This culminated in ‘64-Gallon Toter’ by Robness selling recently for over a quarter million USD, showcased by an article in Yahoo! In early Feb 2022 and subsequently covered by many other publications. If that is not ‘serious’, then I don’t know what is.
On March 23 well known Artist in the space Max Osiris voiced his objection to inclusion in the genre, as well as the French show, with a couple of expletive-laden yet hilarious Tweets basically rejecting the label of Trash Artist and accusing contemporaries of being sell-outs to the movement manifesto and their own principles.
https://twitter.com/maxosirisart/status/1506397376478646283
https://twitter.com/maxosirisart/status/1506448004626239494
Ironically in doing so Osiris underlines the ‘disruptive element’ of the movement by his very actions.
I considered this event worthy of being recorded as part of Crypto Art history. A sidebar note perhaps, but still history.
Meme made utilizing original CC0 Artwork created and distributed by GT Sewell expressly encouraging remixing and reuse.
Stored permanently on Arweave, minted on Manifold custom contract.