Space Race #1 [Completed - Nov '21]

1. Space name / team name: DMINTI
2. Name of primary contact: QuHarrison Terry
3. Names of additional Space admins: Carola Jain, Beth Fiore, Ilana Wharshavsky and Jason Losh
4. SuperRare username(s) of everyone who will be a Space admin: @quharrison
5. Short bio of you and/or your team: Led by the renowned museum curator Nancy Spector, Chief Strategy Officer QuHarrison Terry, and supported by Artistic Director Colborn Bell, founder of the Museum of Crypto Art, our team brings significant experience across the traditional art world, cryptoart, tech/programming and marketing
6. SuperRare URL: @DMINTI

Founding and Advisory

DMINTI’s founding team and advisory board capture the full range of expertise needed to succeed in the NFT space. Serial entrepreneur Shalom Meckenzie is building on his history of success in the tech world and Richard Rosenblatt brings his extensive knowledge of the media and entertainment industries while Carola Jain adds her comprehensive marketing and strategy background. Jennifer Stockman, Dominique Lévy, and Christopher “CJ” Jones are leveraging their power of lessons learnt in the art world to ensure DMINTI leads by being fully artist-centric. DMINTI’s advisory board includes film producer and cultural commentator Franklin Leonard, Crypto Banter Media founder and host of CNBC’s Crypto Trader series Ran Neuner, and Stanford Law School director and IP expert Mark Lemley.

Curatorial and Technical

DMINTI’s world-class curatorial and technical team is well positioned to execute the mission of the agency, creating an unparalleled array of NFTs that will have an impact in both the legacy and cryptonative art worlds. Our talented team of curators is pushing DMINTIs content production while partnering with leading and emerging artists who are eager to explore the medium.

Led by the renowned museum curator Nancy Spector and Chief Strategy Officer QuHarrison Terry, and supported by Artistic Director Colborn Bell, founder of the Museum of Crypto Art, our team brings significant experience across the traditional art world, cryptoart, tech/programming, and marketing. Our talented Artist Liaisons Beth Fiore and Jason Losh bring their considerable expertise in technology and art production to the process while overseeing the implementation of groundbreaking artists’ NFTs.


Shalom Meckenzie - Tech Entrepreneur

Jennifer Stockman - Film Maker, Museum Board Chair

Dominique Lévy - International Gallerist

Richard Rosenblatt - Tech Entrepreneur

Christopher Jones - Art Dealer

Carola Jain - Marketing Executive


Mark Lemley - Leading IP Expert

Franklin Leonard - Cultural Commentator

Ran Neuner - Crypto Expert

Internal Leadership:

Carola Jain - CEO/Co-Founder

QuHarrison Terry - Chief Strategy Officer

Colborn Bell - Advising Artistic Director

Nancy Spector - Curator

Beth Fiore - Artist Liaison

Jason Losh - Artist Liaison

Rob Anders & Oren Moshe

NIIO Animation and Display Partnership

7. Website & Social Media Links: (will be launched this month) all of our social info will be found there as well

8. Summary/manifesto of your Space. What is the unique value prop/elevator pitch?

DMINTI is a cultural agency that partners with the world’s leading contemporary and emerging artists in the digital and legacy art worlds to curate, produce, and position impactful NFT art. Our projects are unique, highly relevant to key audiences, and significant within this fast-changing cultural context. DMINTI brings NFT art and crypto fluency into the traditional art world, providing white-glove service to legacy art collectors who wish to acquire digital art on the blockchain. DMINTI is also strongly positioned to engage directly with the crypto art community, engendering occasions for creative collaboration between crypto native artists and legacy artists who might be at the beginning of their exploration journey in this new digital realm. Using innovative new protocols such as KSPEC, DMINTI will ensure that the NFTs it creates adhere to museum-level standards for documentation and preservation.

9. What type of art will you focus on? How will your Space stand out among the crowd?

DMINTI is working with some of the most celebrated visual artists and designers in the international contemporary art world today. DMINTI will be producing, displaying, and marketing these artists’ first NFTs, thus bringing a new infusion of creativity (and with that, art collectors) onto the blockchain. The NFTs will range from videos to layered animations to experiments in AR, VR, and AI. No other entity, including that of commercial galleries attempting to mint their own NFTs, has access to such a broad range of talent in the legacy art world.

10. Describe you/your team’s experience curating and promoting artwork:

DMINTI’s curatorial team has over 50 years of collective experience in working with artists within the museum and gallery context, producing major exhibitions, commissions, and publications. DMINTI also has deep knowledge and experience in the production, collection, and display of crypto art.

11. Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

Colborn Bell, Founder of the Museum of Crypto Art is setting new paradigms for the display of NFT-based art in the metaverse.

Nancy Spector, former Artistic Director and Chief Curator of the Guggenheim Museum won five International Art Critic Association awards for her exhibitions and Tribeca Film Festival’s Disruptive Innovation Award for her collaboration with Google/YouTube.

Carola Jain, former Marketing Executive at Spartan and Senior Director at Interbrand, distinguished art collector, philanthropist of guaranteed income, digital ethics, and higher education finance initiatives.

Jennifer Stockman, collector and former President of the Guggenheim Museum’s Board of Trustees, produced the award-winning documentary on the contemporary art market, The Price of Everything.

Dominique Levy, world-renowned gallerist with a rich network of international artists and collectors.

Beth Fiore, founder of an innovative cultural agency working with top-tier and emerging artists. Guest cultural curator at Tumblr contracted advisor for Ebay’s partnership with Sotheby’s.

Jason Losh, Director of Business Development for a top art logistics company, NFT artist, art podcaster, Project Manager for David Zwirner’s online art sales website Platform.

12. Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?

DMINTI is in dialogue with numerous artists and designers about producing NFTS, including David Salle, Richard Prince, Ron Arad, Jacqueline Humphries among others. DMINTI team members have in-depth relationships with artists in both the legacy art world and crypto sphere that we will leverage going forward to continue to innovate in this new space.

13. Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?

DMINTI is committed to cross-cutting collaborations that push the global creative consciousness. We recognize that the incumbents of this space have reimagined the creative economy and sparked a revolution for the benefit of all artists. We invite all parties interested in our work to contact DMINTI to find ways in which they can participate.

14. Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

DMINTI fully intends to create a robust community around our content through our Discord channel and participatory, decentralized engagement with select NFTS. We will hold strategically timed auctions in step with IRL art world business cycles and digitally native events relevant to our artists. We will create social media takeovers for each of our artists, place stories in top news outlets for art and cryptocurrency. We will create promotional video interviews and behind-the-scenes content for each artist in the DMINTI sphere. There will be giveaways, rewards, and an inclusive attitude in messaging across all platforms. The DMINTI website will link to SuperRare and all relevant content will be shared.

15. How do you plan to structure commission rates for the artists who release in your Space?

DMINTI is focused on producing the most impactful work in this new medium. We finance the work of the artists upfront and artists take home the lionshare of the revenue (all projects and commission structure varies by artist and their projects)

To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?

As curators and collectors dedicated to the history of conceptual art, we also see fascinating analogs to the NFT in its function as a “certificate of authenticity,” yet understand its potential for generative art in that it is so much more than a mere identifier. We are here to help usher in a new history, using museum-level protocols and entrepreneurship to support artists in this new, creative ecosphere powered by the blockchain.

A similar area of potential over the next five years is using NFTs for funding artistic projects such as newsletters, movies, comic books, etc.

There are the majorly popular ones like ON1 Force (funded a comic book through NFT characters) and Stoner Cats (funded an animation series through NFT characters).

While ON1 did a great job rallying the NFT community through their roadmap and artwork, Stoner Cats tapped into star power to sell NFTs by featuring the likes of Mila Kunis, Jane Fonda, and the founder of Ethereum, Vitalik, in their animated series.

These projects have shown Hollywood the blueprint for crowdfunding projects via NFTs. And we’re likely to see a lot more like them in the coming months. However, they’ll need to tap into features like rev-share to really entice future collectors.

Similarly, Dirt is the world’s first newsletter funded by an NFT sale. It’s a daily entertainment newsletter that had a solid following but wanted to unlock some funding to continue operating the project.

And so they strategically drop NFTs every 2-3 months to fund a “season” of newsletters. Their first season sold out and raised 12 ETH, which they use to pay writers and designers.

What we love about this model, is that if they don’t perform in the months between drops, people won’t buy the next season of NFTs. It’s a perfect feedback loop for content creators.

We envision a lot of artists leaving their positions to start their own “art companies” funded by their collectors. Furthermore, a very interesting use case we haven’t seen unlocked yet is the idea of a Decentralized Autonomous Studio (DAS).

Similar to a DAO (Decentralized Autonomous Organization) which is essentially a company run entirely by its funders, DAS would allow their funders to dictate what art projects they want to be explored or art they want to be created.

Nonetheless, we are seasoned fine art professionals with deep roots in global artistic communities and we’re bullish on NFT projects that create value through their community.

Yet we are also futurists. Our groundbreaking work in real life would not have had traction had we not constantly experimented and took major risks. NFTs showcase a new frontier for creativity, empowering artists, and reshuffling the art world’s famously stacked deck.

Regardless of medium, in five years art will continue to be art. NFTs will become as common as a paintbrush, just another tool in an artist’s repertoire. We believe in the digital transformation of humanity and recognize the pivotal role that NFTs have already validated a market for digital art. DMINTI will be a support mechanism for artists and collectors, and a bridge to ensure that there is a fluid exchange of ideas, culture, and values between all players.

16. If your Space were a cocktail or a dish, what would it be and why?

Bulgogi Tacos, No one knows how these ingredients linked up, but when they did, umami’s Google Keyword rallied.

Michelada, spicy, good for day and night, only a matter of time before Sam Sifton declares it the new Bloody Mary, here to make you think twice about your self-declared foodie title. If you can’t take the heat, it’s time to expand your palette, not whine about flavorful strong drinks.

The Foundry

MoCDA, The Museum of Contemporary Digital Art

  • Space name / team name:

The Foundry

  • Name of primary contact:

Serena Tabacchi ([email protected])

  • Names of additional Space admins:

Anastasia Pineschi ([email protected])

Bruno Pitzalis ([email protected])

  • SuperRare username(s) of everyone who will be a Space admin: @mocdacollection

  • Short bio of you and/or your team:

Serena Tabacchi: Co-founder and Director at MoCDA. Events coordinator at the Blockchain Game Alliance and Head of Publishing at The Sandbox Game. Curator, entrepreneur, public speaker.

Anastasia Pineschi: Head of Collections at MoCDA, Artist Residency Manager, digital art curator.

Bruno Pitzalis: Auctions coordinator and NFT sale advisor. Communications and brand awareness at MoCDA.

The Museum of Contemporary Digital Art provides digital art and technology education to artists, collectors, institutions and art lovers. First and foremost, MoCDA is a museum that exhibits digital artworks for the purpose of documenting, collecting and advancing the position of digital art.

MoCDA provides a foundation for understanding digital art in its own context, rather than as a mere by-product of the larger art world. The MoCDA platform offers a space for everyone to connect, discover and learn more about digital art. Our focus is on education and the endorsement of contemporary digital art in a way which is inclusive and future-oriented, encouraging engagement from a diverse audience with an artist-first approach.

The MoCDA team is highly experienced in working with art and technology. Our expert team of curators have collaborated with Tate, Sony Entertainment, SuperRare, KnownOrigin, CADAF, the Blockchain Game Alliance, Decentraland, Arium, and The Sandbox Game, among others. We are proud to present the talents of the brightest minds in this emerging sector.

Although the digital art space has seen the development of provenance registries, galleries, and marketplaces, we are yet to see a museum dedicated to educating and curating digital art for a broad audience. This remains a persistent hurdle within both the art sector and the technology sector, as concerns over lack of access, diversity and censorship grow. At MoCDA, we aim to satisfy this need by setting industry standards to make the process of creating, buying, collecting, exhibiting and viewing digital art smoother, safer and more inclusive.

  • Website & Social Media Links:


  • Summary/manifesto of your Space. What is the unique value prop / elevator pitch? What type of art will you focus on? How will your Space stand out among the crowd?:

MoCDA as an organisation is dedicated to the collection, preservation, and promotion of digital art. Through our programming and ongoing projects, we collaborate with artists that have proven themselves visionaries of a new digital age.

The Foundry, as an extension of our organisational practice, will codify our unwavering dedication to an academic understanding of the role that digital art now plays in our world. Set apart from other Spaces through careful curation and a focus on education, the Foundry will not just focus on high-profit artworks; instead, we aim to represent a wide range of perspectives from artists, especially those we feel represent the current and future trends of the industry.

The Foundry will support a monthly digital Artist Residency as part of the MoCDA programme from which artists will be invited to participate. All artists from the Foundry can apply to the residency, and one will be selected each month through the MoCDA DAO. In addition to having their work featured in this SuperRare space, the Artist in Residence will also have their work displayed in a metaverse gallery space, created in collaboration with the Artist in Residence and Arium, as part of a solo show curated by MoCDA or guest curators.

We are confident this residency will encourage artists to develop their practices in new and exciting ways by offering the opportunity to design a custom-made gallery space, utilise tailored curatorial and marketing advice, and promote curated NFT drops.

  • Describe you/your team’s experience curating and promoting artwork:

Our team has curated a number of virtual and IRL art shows since early 2019. MoCDA exhibitions were presented at Tate Modern, CADAF Miami and online, GAD (Giudecca art District) during the Venice Architecture Biennale, Factory Berlin, UCL University College of London and at the MEET Digital Cultural Center in Milan.

The museum has also designed, built and curated exhibitions in the metaverse (Decentraland, Arium and Spatial). In addition, we have supported artists in curating NFT drops and auctions by collaborating with crypto art platforms and established auction houses.

Every exhibition we curate is thought of as a collaborative journey between our curators and the artist. We are known for supporting artists during their creative process, from crafting a concept to implementing the final stage of their creation. For every show we also host, we moderate live talks and tours in conversation with the artist, during which we present their work to the public. Our core activity focuses on the education, promotion and accessibility of digital and crypto art while discovering and consolidating the establishment of talented artists on the market.

For the launch of the Foundry we are creating a gallery space in Arium and in The Sandbox where we are planning to show the artworks, host curatorial tours and events. We aim to present the Foundry art collection to collectors and patrons in the metaverse as well as in IRL to engage with audiences through exhibitions and curatorial insights.

  • Describe you/your team’s experience organising exhibitions, making art sales, running auctions, networking with collectors, etc.:

MoCDA has curated solo exhibitions, retrospectives and collective exhibitions. In our workflow we always intend to create a strong bond with artists that continues beyond each individual exhibition or sale.

The exhibitions we have produced start with a close study of the works we will be showcasing, continue with an exhibition design and research on the body of works of the artist and various references and culminate in the opening of an art show, which may go on tour. In some cases, we also assist with the promotion and sale of the works, both online and IRL.

In March 2021 we curated an exhibition and auction in collaboration with CAMBI auction house in Milan (Italy) and with SuperRare. The collection Dystopian Visions was exhibited both in Milan and in the metaverse and it currently counts a total of $124K in sale.

For Dystopian Visions as well as for other curated drops featured on KnownOrign (Spaced Painter + Crypto Spector) and on Nifty Gateway (Hackatao + Skygolpe, Render Fruit, Frenetik Void, Federico Clapis), we engaged with collectors from the NFT and crypto scene as well as with collectors from more traditional backgrounds.

Through our continued presence in the space, we have built a contact list of collectors and patrons and sponsors who support and have an appetite for digital art. We make sure to share relevant information with our contacts prior to exhibitions and curated drops, connecting audiences that are fond of the art and the artists we present while always respecting the privacy of our collectors and patrons.

  • Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?:

Through this Space, we are interested in working with artists that represent unique perspectives within the digital art world through their identity, practice or worldview. Through interviews, collection building, and other types of public programming, our organisation has already worked with many artists in the digital art scene and, upon the issuance of a new SuperRare space, we would be delighted to contact them with the opportunity to join us on this platform. Adding to their visibility through this space would be an excellent way to encourage diversity within the digital art community and collections all over the world.

Most of the artists we have already shortlisted were selected for their unique perspectives on their art practise, background and innovation. Building upon the partnerships we have created in the digital art community, we have begun conversations with several artists to facilitate the creation of ad hoc works for the Foundry space on SuperRare.

  • Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?:

Our artists selection brings together crypto artists, contemporary digital artists and emerging artists. Our aim is to show, curate and amplify their artistic voices through the museum’s Foundry. We are going to connect established crypto and emerging artists in a virtual hub that provides them with a space to exhibit, explore and discuss their work in context with the audience.

Throughout our projects we have fostered rich partnerships with established and emerging artists, and several have expressed to us interest in deepening their involvement with our organisation. Upon the acceptance of our application, we would begin the process of contacting these artists to invite them to join the Foundry. Then, they will be able to start creating unique digital works for the public to enjoy and collectors to support.

We are going to invite the following artists to join the Foundry and residency in the course of the upcoming months: Mattia Cuttini, Kevin Abosh, Render Fruit, Federico Solmi, Fabio Catapano, Skygolpe, Aurèce Vettier, Manuel Gardina, Hande and Arda (WeAreHaar), Cibelle Cavalli Bastos, Thato Tatai, Gordon Berger, Lenny Forster, Gabriel Rud, Frenetik Void, Lans King, Teresa Manzo, Matt Kane, Nacho Frades, Mari K, Andrea Chiampo, Die with the most Likes, Miss Al Simpson, Sofia Crespo and Feileacan McCormick, Robbie Barrat, Fabiano Speziari, Ola Volo, Giselle Florez, 105 Collective, Daniel Ambrosi, Nacho Frades, Annibale Siconolfi, Caep, Angie Taylor and many others!

  • Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.:

The Foundry is going to have a curated NFT art drop each month. Every drop will consist of 3 to 6 artworks which will be curated and exhibited in the Arium metaverse and open to the public to visit throughout the duration of the month. The artist/s or collective that The Foundry will present for each drop will have the opportunity to work with the MoCDA curators, our communication manager and our auction advisor to best showcase and present their artworks to the audience.

We are looking to develop a tailored auction strategy to introduce collectors and patrons to each artwork, to invite them to join private views and to meet the artist in Arium (or in IRL when possible). The artworks will be 1/1 and accompanied by a curatorial text and art talk. In this way, we hope to provide a unique artistic experience that is an educational and yet commercially viable way to support the museum’s operations.

  • How do you plan to structure commission rates for the artists who release in your Space?:

Our commission rate will be split between the museum and the artists in order to support their creative practise and create sustainability for the museum’s curatorial and exhibition space.

Our commission rate model is:

65% Artist

30% The Foundry

5% SuperRare

  • To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?:

Over the past few years, NFTs have exposed the power of micro-economies and the sustainability of a new artistic system, one that favors the artist’s autonomy over the validation of a slow-moving gallery space. The importance of this autonomy can not be overstated; by democratising access to artistic platforms and providing a built-in model for secondary sales, the CryptoArt scene has introduced a revolutionary way to prioritise the artists of this emerging medium. This shift will likely have knock-on effects in other industries as they adopt new ways of building collections, paying for art, and redefining art as a product of new technology. Additionally, the fact that NFT’s have simplified the concept of digital scarcity is an accomplishment that can not be overlooked. From transparency with the use of blockchain to new forms of governances based on DAOs, the CryptoArt space has ushered in a brave new time for digital art.

  • If your Space were a cocktail or a dish, what would it be and why?:

The Foundry, if compared to a dish, would be close to the Japanese food concept ‘umami’. Recently discovered in the early 20th century, it is the fifth of the basic tastes and is known for its deliciousness. Its extremely balanced savoury flavor is responsible for the production of critical molecules which trigger a pleasurable response in all the receptors of the tongue and mouth. In the same way as our Space, it is a thought-provoking and mouth-watering taste no one can resist.

  • Anything else you’d like the community to consider?

What’s The Foundry:

The Foundry is a community space created for the digital art community by artists and the museum’s curators. The Foundry exists to connect contemporary artists with the digital and crypto art scene with the goal of exploring digital tools and new economies in a creative and meaningful way.

The Foundry community is open to all to join and it lives and connects artists, curators and the public through the MoCDA Discord channel. Everyone can participate in the Foundry and express their interest in taking part in the museum’s artist residency program. During each residency we will be looking to invite guest curators to run a session with the artist/s in residence and to develop artworks and exhibitions together for the Foundry space on SuperRare.

MoCDA in the Press:



I think Chikai is truly deserve to win this space race, he is one of the best collectors and supporters in the community, I don’t know anyone like him, he is just here for us, artist that are trying to fit in this place. And I personally very grateful for his support to me and other artist💙

1 Like

Space name / team name:

Name of primary contact:
Greg Rook

Names of additional Space admins:

SuperRare username(s) of everyone who will be a Space admin:

Short bio of you and/or your team:
I’ve been a practising artist since 2000, enjoying a fair degree of success, with museum group shows and international solo shows, but at the end of 2016, one of my collectors asked me to help him build a collection of contemporary art, and Greg Rook Advisory was born. I have since built a successful art consultancy, working with private collectors and businesses. I’ve also taught Fine Art, consulted for galleries and auction houses and written about contemporary art for newspapers and magazines. Earlier this year I joined SuperRare as an artist and as a curator of featured group shows.

Website & Social Media Links:

Summary/manifesto of your Space. What is the unique value prop / elevator pitch? What type of art will you focus on? How will your Space stand out among the crowd?
I come from the traditional contemporary art world – the world of physical galleries and physical works – paintings and sculptures and videos shown on screens in darkened spaces. And I love that world. I’ve made, taught, written about and sold contemporary art for decades. But now, there are NFTs and a new audience for contemporary digital art and I’m fascinated by the variety and difference and possibilities of this new format, with this new audience.

So, my intentions are twofold: firstly, to bring the best traditional contemporary artists to this new world in order to see what they can do and what creativity they can bring; and secondly to bring all the collectors that I work with (and all the collectors who work with the artists that I bring) to SuperRare and to the world of collecting NFTs.

I am interested in working with artists (whether emerging or established) whose art I admire and respect, who have a thoughtful practise away from the world of digital art, but who are looking to see how to make links across the genres. I fully understand that it is not a given that even the most celebrated traditional contemporary artists will necessarily be successful in making the switch to a digitally native format, or immediately produce work of real significance and interest. And I appreciate that the collector base that has already invested in the NFT space might not be impressed by traditional art world celebrity, but, I’m approaching people who I believe will bring something progressive and idiosyncratic to SuperRare and there is real excitement in this being a forum for brilliant experimentation.

It would be easy to turn old images into jpegs and mint them as NFTs, but as thoughtful contemporary artists, I will work with those who are interested in seeing this as an opportunity to make work that reflects the enormous possibilities of the new tools. Looking around the NFT space and you can see the incredible talent, knowledge and creativity on display, and so we would work hard to make sure that new NFTs are reflecting both the best of the traditional art world and the new tools and format available. They would not be offering digital versions of previous work but would be using the platform to reimagine and to take their work in unexpected directions. On the whole successful traditional contemporary artists are successful because they are thoughtful, bright and creative, and I look forward to seeing what they will produce.

And to the second part – introducing collectors. Most of the pieces minted by artists I have introduced through the two featured SuperRare shows have sold to collectors that I, or the other artists, have introduced to the space. Each time an artist is brought to this world, they bring with them dozens of past collectors – wealthy collectors invested in contemporary art. I look forward to continuing to merge the worlds and bring new investment and enthusiasm to the space.

Describe you/your team’s experience curating and promoting artwork:
In the last five years, I have worked with dozens of emerging and high-profile contemporary artists in the UK and around the world. I have curated nearly two hundred individual artist presentations, and monthly modern and contemporary online art auctions since January 2020. More recently I curated two contemporary art NFT exhibitions on SuperRare.

I have also written extensively on art for newspapers and journals, and I have taught and run a contemporary Fine Art BA degree course since 2003. I am adept at discussing and explaining contemporary art to a wide variety of people. I have used social media (as you can see from my profiles above) to promote the artists I’m working with and to find new collectors.

After 20 years working within the art world as an artist, university lecturer, writer and consultant, I have unique access to artists and their studios, and a deep critical, historical and practical understanding of what constitutes progressive art. As a poacher turned gamekeeper, I have offered collectors intelligent, peer-reviewed art before it has become eye-wateringly expensive.

I promoted all the NFTs and artists in the SuperRare shows I curated, and they all sold those NFTs, as well as most of the subsequent drops.

Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.:
I have been involved in the artworld commercially as an artist since 2000, and since late 2016 with direct contemporary art market experience as an art consultant and dealer. I have built the business from one collector in 2016, to near 60 collectors actively buying or searching now, and just under 1000 on the advisory mailing list.

As an art advisor with a background as an artist and university lecturer, and with no ‘stock’ to sell, I have presented only the art that I know to be critical and from artists of real merit. I have placed over 300 works of credible contemporary art with private collections and businesses during the past five years. Many of the artists that I presented early in their careers are now highly sought after by investors and critically acclaimed with multiple museum shows.

Since January 2020 I have also worked with an online auction house based in New York. I curated and organised half a dozen separate London based auctions as well as working on consignments for their New York auctions. More recently I have also been liaising with collectors on broader websites like 1stDibs and Printed Editions

Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?:
As the months have passed more and more artists have approached me about inclusion in the SuperRare NFT space and I’ve been contacting others who I’d love to work with. As with my advisory, I will always be conscious of ensuring that I’m inclusive and international in my approach.
Just two examples of artists who I’ve had conversations with so far are:

Marcus Harvey gained recognition when his painting of serial killer Myra Hindley was included in the “Sensation” exhibition at the Royal Academy of Arts, London (1997). He has since been classed as a Young British Artist (YBA), though he is driven by his enduring interest in materials and technique, not shock value. Since the YBAs came to prominence, he has continued to pursue painting and sculpture, and, more recently, the crossover between them. As he explains: “There is a [kind of] painting that releases a charge that goes to your thumb. It makes you want to pull the painting into the world. And there are sculptures whose fluidity make you want to celebrate the urge to paint.” Working figuratively, and with subjects ranging from porn to politics, Harvey foregrounds the lush physicality of art making in everything he produces and is now interested in taking this sensibility to a digital format.

Jem Finer (a founding member of the band The Pogues) is an artist, composer and musician with a background in mathematics and computer science, dating back to the ICL 1900 mainframe computers of the early 1970s. An enduring fascination with deep time and space, self-organising systems and long-durational processes has been the impetus behind much of his work including his Artangel commission, Longplayer, a thousand-year-long musical composition playing since the last moments of 1999, Cosmolog, a two-year-long artists residency in the astrophysics department of Oxford University and the 2005 PRSF New Music Award winner, Score For a Hole In the Ground, a permanent, self-sustaining musical installation in a forest in Kent, which relies only on gravity and the elements to be audible. Recent work focuses on these interests and includes Kung Fu Pinball, a pinball machine modified to auto-compose music, Slowplayer, a 3 r.p.m. sound system and Spiegelei, a 360-degree spherical camera obscura. Supercomputer found Finer’s “post-digital” thinking come full circle in the form of a sculptural machine of a computational process, indebted as much to Jean Tinguely’s Métamatics as to John Conway’s Game of Life. Current work includes Sonic Ray, the music of Longplayer encoded in a beam of light and projected across the Thames from Trinity Buoy Wharf lighthouse to Richard Wilson’s Slice of Reality.

Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?
All the artists who participated in the first two shows that I curated on SuperRare will continue to work with me in a new space. Those shows were:

James Scott Brooks

Rebecca Harper

Ansel Krut

Andy Holden

Elizabeth Magill
Instagram @elizabethxmagill

Damien Meade
Instagram @damien_meade

Justin Mortimer

Hannah Murgatroyd

Barry Reigate

Lottie Stoddart

Phoebe Unwin

Douglas White

Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.
My initial approach, taken in the first two curated exhibitions, was to see the exhibitions and my presence on SuperRare as being modelled after a traditional contemporary art gallery and their 8 to 10 a year exhibition programme. Although I think a series of group shows, focused on a particular idea or way of working, occurring every six to eight weeks, would still provide a strong backbone, I would also like to look beyond a traditional programme.

The space should be a forum for experimentation – allowing individual artist’s projects to be showcased in between the group shows. One artist has talked about interactivity and gamification of their NFT drops. Several would like to work more with sound. We have already had some collaborations with musicians, and this seems like rich territory - the constraints of the file size for image and sound are fascinating. As one artist said, working now in the world of NFTs, is a bit like being in at the start of vinyl and the 3-minute pop song. The experimentation and blue sky possibilities are incredibly exciting.

Traditional galleries don’t fully exploit online connectivity yet and we would also look for a way for greater connectivity to be factored in. The traditional gallery model is too static. Maybe a radio station is a better model.

How do you plan to structure commission rates for the artists who release in your Space?
The standard 15% commission - 10% going to the Space and 5% to the SR DAO.

To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?
I have absolutely no doubt that NFTs will soon be ubiquitous. We will carry them with us and interact with them in our public lives, and I think that, as well as being innovative and exciting in their own right, there are opportunities for them to breathe new life into traditional worlds.
As the artist Ansel Krut recently emailed me: “NFTs are going to evolve. They will look very different in just a few years. (No one could even begin to imagine 3D animation when the first animations were hand made in the early part of the last century for example). It’s pretty incredible to be in on the ground floor. And with the chance to participate in, and maybe even help shape, the history of the development of the format. It’s not where I thought I’d end up as a dyed in the wool painter.”
If we are careful to build bridges between the artworlds and ensure that there is cross over and mutual respect, then I think we will find that in five years NFTs and CryptoArt are either considered just one art form equal to all the others, or that they are, very possibly in ten or twenty years, the predominant art form.

If your Space were a cocktail or a dish, what would it be and why?
I’d hope the space to be experimental, exciting, professional, and international – perhaps like a Singapore Gin Sling.

Anything else you’d like the community to consider?
I have worked within the contemporary art world for over 20 years, in all capacities, and I am incredibly excited to bring that experience and knowledge to the world of NFTs. Attached here is a link to a complementary ebook of the publication I produced a year ago on some of the work I placed over the first few years of Greg Rook Advisory: Collecting Contemporary Art Ebook by Greg Rook | Blurb Books UK

In terms of the environmental impact, I have begun to work with Point Advisory, a leading sustainability advisory firm using Gold Standard certified carbon offsets to compensate for each drop.

1 Like

Thank you, SuperRare, for creating SuperRare Spaces. I hope this results in not just more gatekeepers but in more truly open gateways for artists.

I had been drafting a proposal that would promote unknown artists – those who are not already known in the physical art community and those who have not sold more than some to-be-determined value of NFTs. My idea is to have a Space where new artists and their works are promoted in cohorts – perhaps a new group every month – and then remain on the Space if they’d like, but roll off the promotion queue once they’ve achieved a bit – or hopefully, a great deal of – success.

The goal would be to allow enough time to build interest in each cohort while also rotating as many new artists into the Space as possible. In addition, the Space manager (gatekeeper) would be a “layperson” – not an elite art curator or a well-connected industry personality. I confess that I would not have identified a blank white canvas or a banana taped to a wall, as art. It would be great to see someone like myself, who doesn’t accept that just because an already famous artist or curator refers to something as art, it should be highly valued, especially to the exclusion of what most of us would recognize as art only because it was produced by an “undiscovered” artist.

I have decided not to submit my proposal because as I was working on it, I saw @chikai’s. He seems to have a similar goal of promoting undiscovered artists and has already demonstrated terrific support for them and they overwhelmingly support him! I can’t compete with that :blush:.

However, I did want to share these thoughts to highlight to the SuperRare Team, the community & $RARE holders that there is a dire need for Spaces that provide a pathway and exposure for new artists, managed by non-traditional gatekeepers.

Thank You, SuperRare.

Good Luck, @chikai – I have no $RARE to vote for you but I hope you win a Space and I’d be honored to someday join it :blush:!


Wow, this is truly an unexpected post.:pleading_face::pray: I totally support your mission of finding unknown artists and giving them a space to be recognized and celebrated. I’d probably consider myself a “layperson”, since I don’t have any previous experience in the art world, so I hope to bring that perspective and voice to the NFT community.

I humbly accept your support. I hope that I can help fulfill some of your goals if my application for a Space were to be accepted. Please connect with me on Twitter ( and send me a DM!


:pray:t4:, @chikai. Have reached out to you on Twitter.

Where do I vote for Mocda?

1 Like
  1. Space name / team name: The Crypt Gallery

  2. Name of primary contact: King of Midtown (Athanasios Polihronopoylos)

  3. Names of additional Space admins: The Crypt Gal (Vasia Makris), Elti Meshau,

  4. SuperRare username(s) of everyone who will be a Space admin:

K1ngofm1dtown / the_crypt_gallery / Elt

  1. Short bio of you and/or your team:

The Crypt Gallery, founded by King of Midtown, is the first of its kind physical NFT exhibition focused on bringing the digital marketplace to life. With an emphasis on education, we have developed relationships in multiple industries with the aim of increasing mainstream exposure and involvement in the NFT community. Our mission is to unlock the future of human creativity — by hosting live interactive events that bring digital artists, collectors and fans together.

The King of Midtown is a New York City self-funded and self-started collector who has established himself as a major influencer and curator within the space. As his involvement within the industry grew, he also developed a loyalty to the community and interest in educating new fans, as well as bringing NFTs to a physical space for real-world experience.

  1. Website & Social Media Links:

  1. Summary/manifesto of your Space. What is the unique value prop / elevator pitch? What type of art will you focus on? How will your Space stand out among the crowd?

Our space is focused on inclusion and full spectrum representation of the digital art community. This is why our collection will include artists from a variety of mediums including photography, 3D design, traditional art, street graffiti, and more. This authentic snapshot of the digital art space is how we want to introduce a mainstream audience to the community. Our Space is unique because of its emphasis on in person experiences, specifically bringing together artists, collectors, and a new audience. Live events are specifically designed to bring the digital marketplace to life, focusing on connecting the already existing community while expanding to new collectors through education and memorable experiences.

  1. Describe you/your team’s experience curating and promoting artwork:

Our team launched The Crypt Gallery’s first physical location at Dream Hollywood and since then has rotated artwork to reflect new pieces within King of Midtown’s personal collection. As we continue to expand, our team is in the process of curating and promoting artists for future locations. Our increasing line up allows us to promote artists and provide exposure in areas that would normally not showcase digital artwork or bring attention to NFTs.

  1. Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

Our team has organized a 24/7 gallery in Dream Hollywood, which is in the process of changing exhibition displays and will soon be hosting monthly events. We recently also designed, built and curated displays at Christie’s Auction House, located in NYC. The displays showcased Curio Cards and Art Blocks Curated, celebrating Christie’s first auction held only in Ethereum.

In terms of making art sales, The Crypt Gallery held two live auctions at the Hollywood launch. Chad Knight and Yo Brilly were the first two artists to drop at The Crypt Gallery and each auctioned a 1/1 piece, along with two editions from their collection. One of the edition pieces from each artist was sold exclusively in person, prompting movement in the secondary market by collectors unable to attend the live event.

Since our initial launch, King of Midtown held a curated drop on Nifty Gateway which consisted of a diverse lineup of artists and genesis drops on the platform. Not only did King introduce talented artists to a new collector base, but making the introduction to NG allows for artists to now participate in solo drops on the platform. KOM also curated a membership drop to build the community, allowing both small and larger collectors to participate and benefit from IRL + digital utility. This sale broke records in terms of the number of OE sold.

Since then, The Crypt Gallery has hosted 2 verified drops on NG, continuing to onboard new artists to the platform, provide advisement and strategies that generate strong secondary sales, and allow all collectors to participate.

We are also well connected amongst the community, including our vast network of like minded collectors. Overall, we like to align ourselves with collectors that aim to grow the space in a positive manner and use their influence to promote artists and projects.

  1. Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?

Yes! The Crypt Gallery has developed long term relationships with artists and we plan to promote them at our in person venues. We also aim to advise artists that may ask for guidance. As we continue to expand to new locations and meet new artists, our network will also grow and onboarding to our SR Space will only increase.

  1. Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?

Yes and yes. Further details, however, have not yet been publicly announced.

  1. Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

We are planning to use this space to host auctions that are simultaneously held in person at our venue spaces. This Space will reflect the in person experience to provide both live and online participation. We also plan to use this Space to introduce new artists to Super Rare. Promotion will take place through our monthly events at Dream Hotel Group properties, along with any other additional venues/activations we may be involved in.

  1. How do you plan to structure commission rates for the artists who release in your Space?

Because we are hosting live events, The Crypt Gallery has a larger overhead to maintain venue space. Splits will consist of 20% TCG and the remainder to the artist.

  1. To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?

NFTs are of major importance for multiple reasons, specifically due to the authenticity and secondary sales they provide artists. They also introduce a new way to create utility amongst sales and promote a relationship between the creator and collector. Interestingly, many new utility features are linking in person experience/perks to further emphasize a connection between artists and fans, ultimately fostering a community that continues to organically grow.

We see the CryptoArt space expanding into all industries and found amongst daily physical spaces. It is only a matter of time before this technology expands and becomes accepted by the mainstream audience. Our goal is to spearhead this introduction with an emphasis on education and positivity, which will ensure longevity and continued expansion of the industry.

  1. If your Space were a cocktail or a dish, what would it be and why?

Caribbean Rum Punch. Mixture of ingredients, that all come together to make a signature cocktail, similar to the diverse group of artists and members within The Crypt Gallery community. Creating a social environment, connecting people and always has you coming back for more.

Anything else you’d like the community to consider?

King of Midtown has openly advocated for this community, calling artists “the new celebrities”. We aim to take this perspective and share it with the masses, along with highlighting the limitless potential of this industry.


Space name / team name:


Name of primary contact:

Carlos Marcial

Names of additional Space admins:

Alondra Durán

SuperRare username(s) of everyone who will be a Space admin:

  • carlosmarcialt
  • aloalita

Short bio of you and/or your team:

Carlos Marcial is a Mexico City-born Puerto Rican digital artist involved with crypto art since 2019. Before becoming one of the first full-time crypto artists ever in early 2020, Carlos Marcial helped found and creatively direct a studio in Toronto, CA that specialized in design for blockchain projects and companies. It was at this studio that he first found out about NFTs and bought some beautiful and cute CryptoKitties; although his first contact with the blockchain was in 2012 when he read about Bitcoin and bought some, which he unfortunately didn’t hodl.

Alondra Durán is a Mexican sociologist graduated from UNAM (National Autonomous University of Mexico) who has spent the better part of the last 10 years creating public programs in Mexico City aimed at empowering women, specially from impoverished backgrounds, through a wide array of social and cultural initiatives. In the past 3 years, she has also dedicated herself to the better understanding of all the current use cases of blockchain technology through both practical and theoretical means. Her background as a sociologist makes Alondra a powerful advocate for the potential of crypto and NFTs to change the social and economical situations of many people in Latin America, especially its women artists.

Website & Social Media Links:

Carlos Marcial -
Alondra Durán -

Summary/manifesto of your Space

Metafisica will establish itself as the first, and premier, crypto art gallery for Latin American art.

We believe in creating together a new and decentralized art world where more of the cultural capital that is produced in Latin America stays there, instead of being almost completely absorbed by galleries and auction houses located far from where this “capital” is actually produced, as it’s been the case historically.

On Metafisica, both established and emergent LATAM crypto artists will have the opportunity to showcase their works together in an effort to collectively expand the narratives around digital art production and give more context to the wider NFT phenomenon occurring in this region.

What is the unique value prop / elevator pitch?

Metafisica will curate and promote the widest diversity of fine digital art being created in LATAM, all the way from the Río Bravo in Mexico to Patagonia in Argentina, passing through every country and region in between; all the while experimenting and establishing new ways for artists in this region to live off from their artistic production.

What type of art will you focus on?

This space will focus on contemporary Latin American digital arts, in all its diversity and variety; from generative artists in the Andes to 3D artists in the Spanish-speaking Caribbean, just to give a couple of examples. We will also include digital art from all of the Latin American diasporas, with special emphasis in LATAM communities in the USA.

Even though we are committed to the present and future of digital arts in LATAM, and its diasporas, we will make sure to showcase also in future exhibitions the works of some of the most important pioneers of digital and computer-assisted art in this region.

How will your Space stand out among the crowd?

Easy! It will be filled with all the colors, forms, sounds and stories that can only be found in such a vibrant region like Latin America!

Metafisica will also put out a regular newsletter filled with artists bios, video interviews, and well thought out editorial pieces regarding the past, present and future of digital art, NFTs and crypto art in this region of the world.

Metafisica will also build a database around the public blockchain data created through our own smart contract. There will be a way of searching and querying this database on to find out all the sales data from every artist that has created an NFT using Metafisica’s minting contract.

If you are already a SuperRare artist from Latin America, or any of its diasporas, you will be incentivized to drop with Metafisica by receiving the exact 85% of the primary market sales that you would receive if you dropped your NFTs using SuperRare’s standard smart contract, but with the added bonus of receiving our promotional, editorial and curatorial services before, during and after the drop of your artwork.

This space will also use part of its resources to create educational content (videos, articles, etc.) in Spanish and Portuguese regarding crypto art and NFTs.

Describe you/your team’s experience curating and promoting artwork:

Carlos Marcial has been creating and promoting his own NFTs since 2019. In early 2020, he left everything behind to concentrate full-time on his crypto art career. Since then, he has been able to become one of a handful of Latin American artists on the Top 100 list of crypto artists by sales.

Together with Alondra Durán, they have created a structure and workflow that have let them both live off exclusively from crypto art for almost 2 years now.

Carlos and Alondra have helped a considerable amount of artists from all around the world (not only Latin America) to wrap their heads around the concepts and tech behind NFTs, get into some of the most prestigious NFT minting platforms out there right now, and get their first sales.

Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

This has been Carlos and Alondra’s daily bread for the last 2 years. They have been doing most of these activities around Carlos’s own crypto art pieces. And as mentioned above, they have been unofficially helping other artists to learn how to leverage NFT, make crypto art sales and network with other artists and collectors since 2019.

Are there new artists you’d like to bring into the Space in the first six months?

Metafisica has already identified a group of very talented Latin American artists that have been making waves in the NFT world without having had yet the opportunity to drop and exhibit their artworks on a blue-chip platform like SuperRare. In the first phase of this project, we will work mainly with artists already familiar with NFTs and the crypto art cultural scene.

Our thesis is that some of these crypto artists are already on the verge of breaking out and making a bigger splash with their art on the wider NFT scene, but they need our support and push to finally get there.

After this initial phase, we will begin to onboard some of the top digital artists from all over LATAM, but this will take more preparation and resources, since we will probably need to give propaedeutic classes to these artists about how to manage and use cryptocurrencies, mint NFTs, and work their way around Web3.

What is your relationship to them?

Some of them have already become our protegés, colleagues and friends.

Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?

As you will find also in the answer to the question below, we plan on making exhibitions where one already established SuperRare artists from LATAM will invite, with our curatorial help and direction, other emerging artists from the region to establish a dialogue with his or her artworks.

For the established artists, we plan on working with crypto artists at the level of Neurocolor, Moxarra, Ekaitza, Lucas Aguirre, Etienne Crauss, Criptocromo, Oxeegeno, Frenetik Void, Kako, Fakito, Omentejoven, Federico Bona, K0ch, VXN, Milton Sanz, Okytomo, Render Fruit, Panther Xhita, Caramurú Baumgartner, among many others.

Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

Metafisica plans on creating drops/exhibitions where one established crypto artist will invite up to four emerging artists to drop in conjunction with him or her. Ideally, we would in a short amount of time get into the cadence of making one of these drops every month.

We will reach out to as many cultural institutions in LATAM, and other parts of the world, to gauge which ones would be interested in contributing to our efforts to spread the word about our crypto artists and NFTs. We already have some museums and institutions in LATAM and the Caribbean interested in collaborating with us.

How do you plan to structure commission rates for the artists who release in your Space?

Artist: 85%
Metafisica: 10%
SuperRare DAO: 5%

To you, what is the importance of NFTs as a medium/technology?

That they have the potential of turning all the creatives in the World into really self-sovereign artists and human beings.

Where do you see the NFT and CryptoArt space in five years?

Ruling the art world and every other aspect of our cultural lives!

If your Space were a cocktail or a dish, what would it be and why?

It would be a cold beer. No matter where you are in Latin America, and no matter if you are drinking tequila, rum or aguardiente, you are probably accompanying any of these hot elixirs with a beer.

Anything else you’d like the community to consider?

In due time, we will also invite established crypto artists from other regions of the World to open a visual dialogue with emerging crypto artists from our region. For example, an artist from Africa could be invited to collaborate with digital artists from Latin American regions where there’s a very important Afro-Latino presence; or in other instances, an artist from Spain, Portugal or France could be invited also to work with us, because of the historical, social and cultural ties that we share with them here in LATAM.


Great project! Can’t wait to see Moca’s space

1 Like

So impressed with Mocda’s project!

1 Like

This sounds amazing! Thank you both for putting this together! <3


Que viiva el arte Latinoamericano!!!


exciting to see this proposal come through. What an opportunity it could be to bring in some outside of crypto and very local artists into this new global economy.



Nice project! Hope it happens, there are many South American artists with incredible arts.


Space name / team name:

HALOS x gblsts

Name of primary contact:

Gabriel Santos Elizondo

Names of additional Space admins:

Mario Beltran and Felix Zamora

SuperRare username(s) of everyone who will be a Space admin:

@mbeltran @fzamora

Short bio of you and/or your team:

Gabriel Santos

My business background has been in mobile technology and digital advertisement for over 17 years. All of my business ventures since day one have been within the digital space. I, alongside my business partner Mario Beltran, have led a small tight-knit team of senior web developers, whose work is now centered largely around projects on the Ethereum blockchain. While I conduct the concept ideation and business development, my team supports me from a technical standpoint. My team consists of highly professional individuals and even better human beings who help bring my visions (that become our visions) to life. I currently operate as a collector, consultant and promoter within the NFT space. My current collection consists of over 400 works from a diverse array of multidisciplinary artists with a strong inclination for psychodelic art.

I’m proud to say that Mario has been my business partner and friend for more than 10 years.

While I did not have much to offer by means of compensation at the time, Mario took a chance on me because he believed in my vision when it was very difficult to, and for that I am very grateful. He has helped me build and manage my ideas from the ground up and i am extremely lucky and privileged to share this journey with him. He leads and manages our long-standing team of rockstar web developers ensuring a secure and reliable technology environment for our operations. The team definitely looks up to him, something which is absolutely warranted and well deserved.

Website & Social Media Links:

Summary/manifesto of your Space. What is the unique value prop / elevator pitch? What type of art will you focus on? How will your Space stand out among the crowd?

This curated storefront will actively serve to showcase, promote and sell artworks selected by me personally as a continuation of my personal collection which again has a heavy inclination in psychedelic art. I will never promote anything I wouldn’t personally buy and this will be central to my Space. With no main theme in terms of media, the goal is to represent unique souls regardless of their background, technique, subject matter, or stylistic vision. It will serve as the gallery for artists of all shapes and sizes whom i deeply believe in and can truly align with. The uniqueness lies within the artist themselves, each exhibition differing from one another based on the artist featured at any given time. I’m know in it for the right reasons, the goal and driving force behind this Space is to help artists be discovered but also to become better versions of themselves, both personally and professionally. Also, i want to see my artists have fun with the process, art should be a fun journey and that’s what makes it all worthwhile. This is definitely something i value dearly, and i intend to promote it within my Space.

Finally, I want a chance to work professionally with some of the most amazing artists out there. I had actually been searching for something like this for quite some time, yet it wasn’t until SuperRare Spaces came around that I felt I had found the best and most appropriate medium for me. My objective in life is to offer more of myself and the lessons and hardships that i have been lucky enough to learn from with those who are willing and ready to listen. I want an opportunity to share my life’s experiences that have made me the person that i am today.

Describe you/your team’s experience curating and promoting artwork:

I will be leading the Space as Head Curator, however i will work with friends and colleagues in the industry for input and feedback in order to keep things fresh and innovative at all times. Also i would like to have an internship or protege program to help develop the young up and coming curators of the future. In my youth, my mother was a prominent art collector in Mexico throughout the 80’s and 90’s. I think that I’ve been very fortunate to have developed a keen eye for meaningful art from a young age. I know i will always be a work in progress and must keep pushing myself to continue developing my eye for different art forms as best i can in order to keep growing within the art world and beyond. I fully expect to get better with time. My mothers collection consisted of many great artists such as Frida Kahlo, Rufino Tamayo, Maria Izquierdo, Francisco Toledo, and even Jean-Michel Basquiat to name a few greats. It is from this upbringing and background, that my appreciation for the arts is rooted on and has since only grown stronger. It is the energy, message being conveyed and of course aesthetics of any given artwork that peak my initial interest in any one piece. Moving into the current day, my tangible or IRL collection of works has mostly stalled since the beginning of this year 2021 and my spending has since shifted heavily into CryptoArt. To date, I have invested roughly $3,000,000 USD on my collection of digital works, most of which are worth well over their initial investment. Among my current collection I have collected 55 SuperRare artists including Mr. Misang, Jake Fried and Fauves. As an avid collector and lover of the arts, i believe not only in my collection representing a great investment, but also a testament for all these incredible artists that this new medium has uncovered to the world. Additionally, i will develop my strategically located Decentraland lot (3x2) into my Gallery with the entire first level floor being solely dedicated to my Halos x gblsts marketplace and the promotion of its artist. The remaining floors will hold my main collection and different meeting and social spaces.

We are witnessing an art revolution and i feel very fortunate for it. I truly believe art makes the world a better place so i couldnt be more excited to be an active part of it and its future.

Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

I currently promote and showcase my NFT collection on both Twitter and Instagram as well as my Showtime gallery (gblsts | Showtime). I have experience in promoting and consulting with many top name crypto artists on general strategies like pricing, business development and marketing as well as mindset and other issues on a more personal level. It is my genuine passion and interest to work directly with artists and wanting them to succeed both personally and professionally, that makes me a great candidate for a Space. My personal and holistic approach gives me a way to connect with artists in sometimes more meaningful and impactful ways. Some examples of artists I have personally worked with include Fauves, MayaGuy, Caramuru and Andres Zighelboim which are all SuperRare artists.

Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?

I have many artists in mind all to which i am a friend as well as private council to. I plan to continue working with all of the artists i have collected before and which whom i continue to have a good standing relationship with. Also, with the help of the talented Alessio De Vecchi i have been able to onboard artists that have already been doing great on the platform. Some of these amazing artists including Jake Fried, Line Censor and Niro Perrone have all at least 5x their sell price with my guidance and support. I am not and will not be alone on these efforts as i always try to surround myself and the artists with the most greatest minds within the industry that can definitely help propel them even farther. Ultimately it will always be about the artist; first and foremost.

Additionally, i plan on introducing a number of new artists to my Space such as:

OpenSea | Twitter | instagram



Dax Norman
OpenSea | Twitter | Instagram



KnownOrigin | Twitter | Instagram



Mike Irak
OpenSea | Twitter



3land Boy
Foundation | Twitter | Instagram


Also, as something extremely personal to me and also never done before on SuperRare; i will try to inmortalize through his estate one of Mexico’s best contemporary artist of my time, the great Julio Galan. He was first brought to attention by Andy Warhol who printed several of Galán’s works in his Interview magazine. Julio Galán started his career as a painter in my hometown of Monterrey, Mexico, so again, this project is very personal and dear to me. Also, i think it should be a highly marketable business model and project and i if this works i would actually love to keep honoring through this model many deceased artists and their families.

I plan to charge a fee to every Galan IRL collector to digitalize, secure and ofcourse validate their artworks on the blockchain and hopefully create a rejuvenated secondary market for Julio as a result. I think this model could be of great impact for the SuperRare platform as validators moving forward. I most certainly plan to share these fees with the SuperRare DAO. For now im calling this project "Julio Galan Meets the Blockchain" and would love for this model to be a mainstay as the "Meets the Blockchain" series in the future.

It is with great motivation that i strive to continue helping the artists i work with to get what they truly deserve for their work. This in turn grants the artist more time and liberty to work on what is most important to them - which is of course their craft. My drive also comes from the genuine desire to even out the playing field a bit more for many of these artists by having a collector, businessman, and mentor on their side to help them make these sometimes critical decisions throughout their careers. I believe that the emotional and mental aspect of an artist almost always goes unexplored and it can have everything to do with the quality of the work they put out. In me, artists will find this sort of comprehensive support that helps both mentally and emotionally, hopefully resulting in better and more profound work. Finally, from a business strategy standpoint, it is this that truly sets me aside from most gallery curator/directors today.

Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?

Many artists have and continue to make great efforts to be considered for my collection. So, as a continuation of that trend i believe the demand to be a part of my SuperRare Spaces storefront will be even higher. Again, having an extra set of eyes on their work and being supported by a collector with business experience as well as an art background offers a unique opportunity. More and more artists are beginning to see my value in this regard.

Please provide any additional details you can about how you plan to operate this Space, e.g., cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

My team and i have a limited exhibition background, but we have been in the digital advertising sector for over 17 years, which will definitely help for this very important and personal project. My team and i will continue to work tirelessly to better understand the main differences and key steps for us to take within the promotional process within the digital art industry. I really do want to see my artists succeed both personally and professionally so i will be constantly looking for innovative and fun ways to promote them in the right lighting. I envision that my Decentraland Storefront Gallery will be central to these efforts as i plan for this Space to occupy the complete floor level instalations.

“I will handle my exhibition’s similar to how I handle most of the things in life, with great energy, genuine intentions and an open heart.” – @ gblsts

How do you plan to structure commission rates for the artists who release in your Space?

Commission rates will be structured as followed:

Primary sales:

5% SR DAO Commission
10% Storefront Commission
85% Artist Royalty

Secondary Sales:

Any following sale, the collector will receive 90% of the total sale price, paid by the buyer and the original artist will receive 10% as a royalty. (These commission rates for all secondary sales serve as the royalties allocated to the artists).

There is an additional 5% fee added to the total sale price secondary, that is paid to the SuperRare DAO.

To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?

I see CryptoArt as better suited for commercial spaces to be honest. I have a hard time imagining changing the physical paintings in my home for any type of digital panel. The presentation and displays as they exist at present, just do not feel the same for me at this point. However, for commercial spaces the possibilities are endless really, I’m super excited to see where we are at in just a couple of years in that regard. I think that at that point is when CryptoArt could really start to become much more mainstream with the IRL art whale collectors as they continue to start to engage and enter the space.

Additionally, as I have come from a more traditional art space, I am well aware of the challenges faced when handling the imports and exports of art. For that reason and for the ability of automatically establishing provenance through the blockchain is why I think CryptoArt is such a game changer. Furthermore, I have long thought about the unfair nature of artist royalties/ commissions associated with most tangible art market sales. I believe full-heartedly in this life-time revenue stream for artists and their families as established through the current structure of the secondary market artist royalties. Most artists have historically seen little to no return for their work and it is tragic that this has persisted for this long throughout history without much change. So, I am honored and proud to help artists get and continue to get the very well-deserved value of their work. Safekeeping physical artworks is another obstacle and headache needed to be faced by IRL collectors, and while safekeeping digital artworks has its own set of challenges, having enough space is not one of them.

If your Space were a cocktail or a dish, what would it be and why?

“I’m not a drinker anymore but if I have to choose, I’d probably say a Cosmopolitan. A good cocktail stands the test of time and I think it should be the same with art.”

“I’d like my Space to be much closer to mushrooms than a cocktail if im being honest“– Gabriel

Anything else you’d like the community to consider?

The mission behind the Space:

This is a chance for me to continue working with my artists with even more freedom and flexibility. I believe we all want to be discovered in a way, which is why I’m absolutely committed to help shine the sometimes much needed light on many of these hidden gems that are still out there. Many great artists have and will probably continue to go undiscovered, throughout history. It is for this reason that I believe the digital art space still offers and awaits many great discoveries. My Space will be the perfect opportunity and setting for artists to connect and align with my vision as a curator, collector, businessman and mentor. Even some of the best artists needed help promoting their work. It will be a space created with my fullest and most genuine intentions of supporting the lives of artists I believe in and deeply align with. I can’t think of a better brand to make my best curating and consulting efforts under. I am completely committed to give my absolute all in order to continue propelling SuperRare forward as the OG CryotoArt platform that it is. More importantly, I recognize SuperRare as the incredibly beautiful and powerful movement that it has come to be at the hands and foresight of the visionary group of people that make up the founding team.


Space name / team name:

Name of primary contact:
Vinciane Jones

Names of additional Space admins:
Robert Norton, Shelley Mannion

SuperRare username(s) of everyone who will be a Space admin:

Short bio of you and/or your team:
Verisart helps artists sell and protect their works through its patented digital certification service and its newly launched NFT minting platform. Since 2015, Verisart has been one of the leading providers of blockchain certification to the art and collectibles market. We believe in empowering creators to have greater control over their works and connecting them with collectors who love their work and products. Our mission is to treasure creativity by facilitating trusted transactions and to date, we have certified over 50,000 artworks by more than 10,000 artists including Shepard Fairey, Neïl Beloufa, Penny Slinger, Derek Boshier and many others.

We are a team of passionate engineers and art lovers with offices in Los Angeles & London. The company is helmed by Robert Norton, formerly Founder & CEO of Saatchi Art and Sedition Art and curation of the new SuperRare space will be led by Robert and two other members of the curatorial team.

Robert Norton - Robert is the CEO and co-founder of Verisart with a passion for art and technology. Before establishing Verisart, he was the co-founder and CEO of Saatchi Art and Sedition Art. Previously he worked on the executive management team at King. com and AOL Europe. Robert graduated from Oxford University with a Master’s in Modern History.

Shelley Mannion - Shelley is the CPO at Verisart and has over 20 years experience in software engineering and product management. At the British Museum, she pioneered the use of Augmented Reality in digital learning and built the Museum’s first digital product team to deliver its flagship mobile guide. She holds an MSc in Communications from the University of Lugano and a BA in Art History.

Vinciane Jones - As Head of Community at Verisart, Vinciane is passionate about art and advocating for artists. She previously worked as Head of Communications at Artsper, an e-commerce platform for art. Vinciane holds a BA in History of Art from the University of Cambridge and an MA in Arts and Heritage from the University of Maastricht.

Website & Social Media Links:

Instagram: @verisart
Facebook @verisart
Twitter: @verisart
Discord: Verisart

Summary/manifesto of your Space. What is the unique value prop / elevator pitch? What type of art will you focus on? How will your Space stand out among the crowd?

Verisart believes that art can be a force for good. The Verisart SuperRare space will focus exclusively on works that contribute towards the artist’s charitable cause. Using the Verisart Fair Trade Art certificate, each work sold will have a clear indication of the supporting charity and the percentage of sales benefitting that charity. This will be reflected in the sales description, the metadata and at the contract level.

In 2020, during the Covid pandemic, Verisart launched Fair Trade Art, an initiative designed to bring together artists and social impact organizations to do good. For all artists dropping with us, we would ask that they donate a portion of the profits of at least one work to a cause or charity. The split of the sales proceeds between the artist and charity would be highlighted in our Fair Trade Art certificate.

Artists and charities we have worked with include:

We look forward to working with artists to help them support the causes they care about.

Verisart would select artists from across various disciplines and mediums with a strong track record of high-quality works in the contemporary art world or the NFT space. Our focus will be on artists who are always curious and exploring, whether that means exploring new technologies, new processes or tackling big ideas in interesting ways.

Describe you/your team’s experience curating and promoting artwork:

Verisart has previously had two highly successful curated auction series in partnership with SuperRare. Verisart partnered with SuperRare for two series of curated art drops, 10x10 and 8x8.

Our 10x10 inaugural NFT auction in March 2021 brought together 10 major contemporary artists for their genesis NFT sales: Shepard Fairey, Random International, Neïl Beloufa, Petra Cortright, Jonathan Yeo, Universal Everything, AES+F, Mark Titchner, Michael Joo and Rob Pruitt. The auction signaled a broadening of reach and market maturity for the NFT space in terms of the participation of established, contemporary artists.

Following the success of the 10x10 NFT auction series, Verisart launched the 8x8 auction series in May, focusing on a cross-generational selection of artists at different stages of their careers who had all made valuable contributions to digital and media art. The 8x8 curated series featured genesis NFTs from John Maeda, Lynn Hershman Leeson, Sougwen Chung, Quayola, Jake Elwes, Leo Isikdogan, Matteo Zamagni and Recycle Group.

These series received extensive media coverage in the Financial Times, Forbes, Artnet, Hypebeast, Decrypt, Bloomberg TV and more.

We’ve also worked with a number of artists individually including Philip Colbert, Derek Boshier, Robin Rhode and Aziz+Cucher.

Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

Verisart’s curated auction drops with SuperRare generated over $1 million in sales and we have worked with over 25 high-profile artists providing guidance from the ideation phase to the handling of the sale.

Our team has an extensive network of contacts in the contemporary art world from galleries, artists and collectors. Robert Norton, co-founder and CEO at Verisart, was previously CEO at Sedition Art, a groundbreaking online platform for collecting digital art, where he produced digital art by the world’s leading contemporary artists including Damien Hirst, Shepard Fairey, Bill Viola, Yoko Ono, Jenny Holzer and many others. Robert was also CEO of Saatchi Art, today the world’s largest online gallery enabling artists to sell directly to their collectors. He has also curated exhibitions such as the “Art in the Age of AI” exhibition and auction at Founders Forum in London.

Are there new artists you’d like to bring into the Space in the first six months? What is your relationship to them?

As an actor in both the physical contemporary art world and the digital art space, and a strong believer in the future of NFTs, we would like to work with several established contemporary artists who are interested in the NFT world. Our team has professional relationships with an extensive range of artists and through our partners discussions with the artists listed below are already in progress.

Marco Brambilla
Petra Collins
Martine Syms
David Rudnick
Ezra Miller
Darren Bader
Korakrit Arunanondchai
Kenta Cobayashi
Patrick Staff
Gus Van Sant
Es Devlin
Hayden Keys
Douglas Coupland
Doug Aitken
Daniel Arsham
Laure Prouvost
Jenny Holzer
Nadia Lee Cohen
Jon Emmony
Quentin Jones
Matt Lambert
Ivan Blackstock (@ ivanmichaelblackstock)
Rick Farin
Frederik Heyman
Maisie Cousins
Andrew Thomas Huang
Jacolby Satterwhite
Holly Blakey
Terence Nance
Bart Hess

As a company, Verisart currently works with over 10,000 artists who use our platform to certify their physical and digital artworks. We would also plan on holding open calls among our existing community to ensure our SuperRare Space also provides a platform for emerging artists.

Are there any artists already in the CryptoArt space that you are planning to work with for this Space? Have they committed to participating yet?

Verisart looks forward to continuing to work with the artists we have already built relationships with including Neil Beloufa, Universal Everything, Shepard Fairey, Jonathan Yeo, Mark Titchner, Random International, Derek Boshier, Matteo Zamagni, Recycle Group, Sougwen Chung, Leo Isikdogan and more. Several artists are already working on their next NFT and are open to working with us again.

We’re also looking to work with artists from the CryptoArt and NFT space including Alexander Reben, Matt DesLauriers, Brendan Dawes, Trevor Jones, Lucho Poletti and more.

Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

Verisart would provide a mix of:

  • Individual artist drops (every three weeks)
  • Curated selections of artworks by several artists (every quarter)
  • Drops curated by guests curators from the contemporary art world or NFT space (ad hoc)

All works would be 1 of 1 works and drops would consist of individual works or a related series of works. Artworks would be sold through timed auctions with timings and reserve price determined in consultation with the artist.

Artists would be promoted through Verisart’s social media channels, newsletters and editorial content. When working with artists already represented by galleries from the physical art world we would also advise the gallery on best practices for promoting the work. Verisart has an in-house marketing team and a designer who would organize and support promotion for the drops.

Through our partner galleries, Verisart also has access to physical exhibition spaces. These physical spaces enable us to support artists who are interested in showing both physical and digital works. The link between physical and digital artworks can be blockchain-registered through Verisart certificates.

How do you plan to structure commission rates for the artists who release in your Space?

Verisart’s aim is to support artists and the causes they care about. Our commission rate would be fixed at 15%, 5% going to the DAO and 10% to Verisart for providing advice to the artist, helping to manage the sale and promoting the work.

To you, what is the importance of NFTs as a medium/technology? Where do you see the NFT and CryptoArt space in five years?

NFTs are changing the face of the creator economy and have enlarged the definition and participation of the art market. The technology underpinning NFTs provides transactional authenticity and price transparency, creating a more open market both for creators and collectors. The smart-contract royalties are finally providing the financial rewards that creators and artists deserve for their work. Beyond NFTs as a medium or technology, this new space has also seen a huge rise in creator-led communities and is bringing creators and collectors closer together as they interact more than ever before. The next phase will be more mainstream adoption of NFTs across the entire art market from crypto to street to contemporary to virtual and interactive experiences. As they say, buckle up, this ride is just beginning!

If your Space were a cocktail or a dish, what would it be and why?

Truffle Mac N Cheese - Verisart has been around since 2015, we’re experienced and dependable but we’re always looking to innovate and create something special that stands out.

Anything else you’d like the community to consider?

Verisart believes that the future of art is both digital and physical, we’re seeing many contemporary artists explore the NFT spaces and NFT and Crypto artists produce prints and other physical work. Through our digital SuperRare Space and our partner galleries’ physical spaces, we want to support artists in the most comprehensive way possible to showcase the breadth of their creations and creativity.

Space name / Team name:

•Crypto Native Art Collective and Crypto Native Art

"Weaving the web of Indian Country” into the world wide web by creating a village expressing the soul of North American Indian Art and Indian Country.*

Name of primary contact: Sheree Lincoln

Names of additional Space admins: James “Kingsawin” Reed - Tongass Tribe of the Tlingit People and Alaskan Native

SuperRare username(s) of everyone who will be a Space admin:

@sheree Sheree Lincoln

@kingsawin James “Kingsawin” Reed ~ The Crypto Native

Short bio of you and/or your team:

Sheree Lincoln is a live aboard Sailor, Wellness Coach, Web Designer and an Artist who paints in fluid acrylic with quick, vibrant strokes of color. She attended The New York School of Interior Design and also has a Web Design Certificate with over 20 years of internet marketing and visual concepts experience. She was featured in Yahoo Internet Life Magazine’s Sites to watch in 1997 and is an entrepreneur, early adopter, visionary thinker and former owner of 2 art galleries.

James “Kingsawin” Reed is an Alaskan Native, Sailor, a 4th generation Formline Artist and Shipwright of the Tlingit People from the Pacific Northwest Coast of North America. The Tlingit and Haida tribes create Pacific Northwest Formline Art in both print and carving as demonstrated by their carving, totem poles, canoes and weaving. Kingsawin, a 4th generation shipwright and artisan, is an emerging artist who is retiring from boat building this year to become a culture bearer for his people and to create art full time honoring the tradition of his Grandfather Charles Brown, a Master Totem Pole Carver, who many recognize as one of the lead carvers on the the Ketchikan Totem Park Restoration Projects in Alaska and the totem pole in Pioneer Square in Seattle, Washington.

The Crypto Native Gallery website is under construction with a launch date of November 12th.

Website & Social Media Links:

Twitter: @cryptonativeart
Instagram: @cryptonativeart
Facebook: @cryptonativeart
OpenSea: @cryptonativeart

We do have user names as spaceholders on and Rarible and Discord allowing for further development. We are primarily focused on SuperRare right now and thankful for the opportunity to be a finalist. CryptoNativeArt#7586

For 2020 Kingsawin featured some of his formline art studies through the website and social media for A Pony On My Boat and Etsy for Facemasks during the Pandemic and a clothing line. He will not be releasing his more advanced art and sculptures until 2022 so he will have time to focus on developing this SuperRare Gallery Project.
Insta: @aponyonmyboat
Facebook: aponyonmyboat

Summary/manifesto of your Space.

• The Crypto Native Art Collective will establish itself as a Native American NFT Collectibles Art Gallery, honoring our ancestors, by utilizing the traditional power of the collective for North American Indigenous Art for emerging and established artists.

• This SuperRare Space will be creating sovereignty as understood from a place of spirit by weaving Indigenous Art Into The Web through a collective. Sovereignty and provenance are important components for Artists and especially Native Artists.

• We believe in creating a decentralized art world where the Indigenous cultural capital produced, under the broad category of Native American Art, can be digitally marketed as NFT Crypto Art for the benefit of Native American Artists from the Pacific Coast to the East Coast, in Canada and the United States.

What is the unique value prop / elevator pitch?

Indigenous Artists and culture bearers will have the opportunity to showcase their works and be part of a larger village of Indigenous artists bringing awareness of the art from over recognized 1000 tribes creating a village expressing the soul of North American Indian Art and Indian Country.

We will be sharing the story and the history of our art and our people. Co-founder James “Kingsawin” Reed is very excited about “Creating Sovereignty as understood from a place of spirit by weaving Indigenous Art Into The Web
through a collective”.

• The manner in which SuperRare artworks are minted, directly by the original artist, will create a digital legacy for Native American Artists through blockchain art. NFT art and The Crypto Native Art Space will globalize and re-establish trade routes for the art in the tradition of the Native Trade Routes that were used for thousands of years.

• Since the curators of Crypto Native Art are artists themselves, and are experienced at working with artists, with one being an indigenous artist and the other a web designer, we have the tools and ability to promote this new cutting edge digital format and community. We have the technical skills to grow successfully as the NFT Crypto Art format becomes more mainstream. We will also plan to create a positions for Native Americans with degrees in curation, digital media and more.

• Kingsawin is also one of the Grandchildren of the famous Tlingit Master Carver on the Totem Pole Projects in Ketchikan, Alaska. We will be creating The Charles Brown Endowment to benefit member Tlingit and Haida Artists with a portion of the Galleries percentage.

• We also have the skills to work with select artists, coordinate and promote drops, and help them build their own following and collector base as we grow Crypto Native Art online with the help of this CryptoArt Space.

What type of art will you focus on?

• Crypto Native Art we will feature the art of established and emergent Indigenous Artists, traditionally known as American Indian Art and the Visual Art of the Americas, who will have the opportunity to showcase their works and be part of a larger community of Indigenous artists bringing awareness of the art from over recognized 500 tribes on United States and over 600 tribes in Canada. We will also include artists with verifiable heritage, that may not be tribal members, who can provide proof of lineal descendancy. We will also include the Inuit and other Indigenous peoples; focusing on North America initially.

How will your Space stand out among the crowd?

• Our Crypto Native Art Space will be one of the first to feature art created by North American Indigenous Peoples in a digitally curated space that will provide surety that buyers/collectors are obtaining what was traditionally known as Native American Art Or Native Indian Art, with a digital provenance under the title North American Indigenous Art and North American Native Art – Not Native American Style Art. We will feature traditional art and contemporary art.

Describe you/your team’s experience curating and promoting artwork:

• Sheree Lincoln has created two physical art galleries in her art career. One featuring over 25 emerging artists and one featuring her own paintings and the works of two internationally recognized sculptors. She has presented and sold art at Art Shows and Art Walks for both herself and other artists which gives her a keen eye regarding collecting and sales.

Describe you/your team’s experience organizing exhibitions, making art sales, running auctions, networking with collectors, etc.

• Our team has utilized internet marketing, including social media and live events to expand artist’s following. Sheree Lincoln has participated in ArtPrize twice and collaborated with artists around the world. She was a gallery owner representing over 25 artists including national and internationally recognized sculptors. As a web designer and marketing consultant for over 20 years she has experience with online auctions and other art shows. She also served on an arts council board for over 3 years planning events, setting up art shows and helping to curate the gallery for the arts council. Her work creating and teaching educational art classes for adults and youth also provides valuable experience. Both Sheree and Kingsawin have been making art for over 40 years.

Are there new artists you’d like to bring into the Space in the first six months?

• Yes and we will be reaching out to many more artists in the first six months.

What is your relationship to them?

• Family and Tribal members starting with Tlingit and Haida and other First Nations cultures and North American tribal people.

Are there any artists already in the CryptoArt space that you are planning to work with for this Space?

• Yes.

+David Neel - Kwakuital - Vancouver BC

An established and prolific Photographer, Northwest Coast Native Jeweler and Artist working in the Kwakiutl / Haida style who has been minting NFT Art and has works in many museums and has written three books about indigenous life.

Twitter: @NativeJeweler
Insta: @davidneelartist

+Blake Angeconeb - Lac Seul First Nation - Canada
*Blake Angeconeb is an established Anishinaabe woodlands artist who hails from Treaty 3 territory. Blake’s primary practice is blending the school of woodlands art with pop culture references.

Twitter: @blakeangeconeb
Insta: @blakeangeconeb/
Foundation: @blakeangeconeb


+Quinn Hopkins - Anishinaabe - Toronto, Ontario

Quinn Hopkins is an emerging Digital, AR, VR artist and Painter, Rock-painter and Mural artist. He is a student at OCAD U studying Drawing & Painting for his Bachelor of FineArts. He was recently featured on CBC for his involvement with the innovative non-fungibletokens (NFT’s) and empowering other indigenous artists with the technology.

SuperRare: @indigital
Twitter: @IndigitalETH
Insta: @indigital.eth

+Shana Yellow Calf Lukinich - Northern Arapaho - Wyoming

Shana Yellow Calf Lukinich, an enrolled member of the Northern Arapaho in Wyoming, has been producing art in various mediums since the 1990s. Her contemporary art reflects her plains heritage, her mother’s Chippewa/Metis ancestry, along with a Pacific Northwest Coastal influence from the Puget Sound area of Washington where she grew up.

Instagram: @10buffalosartwrk/

+Rico Worl - Tlingit/Athabacan - Juneau, Alaska

Rico Lanáat’ Worl is a Tlingit/Athabacan designer. His work speaks to the experience of living with traditional values as a modern person. He is the founder of Trickster Company along with his sister, artist Crystal Worl, which strives to promote innovative indigenous design. Rico is the designer of the Raven Story Stamp for the US Postal Service. He and Crystal recently collaborate with Google to celebrate Native Heritage Month with Google Pixel Wallpapers.

Instagram: @ricoworl

+Owen L Oliver - Coast Salish - Washington

Owen L. Oliver (Quinault / Isleta Pueblo) comes from the people of the Lower Columbia River, Salish Sea, and Southwest Pueblos. He grew up in Ketchikan, Alaska and Seattle where in 2021 he graduated from the University of Washington with a degree in American Indian Studies and Political Science. Through these disciplines he’s been able to create and manage projects that range from community work, art, education, and influence on local and federal policy. His work is concentrated in Indigenous education and cultural representation, a path that he’s learned from his connection to Tribal Canoe Journeys.

Instagram: @owenloliver/

Have they committed to participating yet?

• 1 through 6 above have said yes. We have also reached out to others who we have not heard back from yet.

Supaman AKA Billy ills, Jarrod Galanin, Bunkhaus, Ben Pease, MrWereWulf, HarrisSisters, Emily Kewwageshig, Larry Yazzie as well as the First Nations Foundation, Collective49, Israel Shotridge…

Please provide any additional details you can about how you plan to operate this Space; e.g. cadence of exhibitions, auction strategy, number of artworks, other ideas for promoting your art and artists, etc.

• As we build our Artist base we will be developing our format. Our methods will be created and developed in communication with our artists and include their ideas into the cadence, auction strategy and ideas for promotion.

• Including our Native Artists in this process of creating collective celebrates including Indigenous traditional values as we expand globally into the digital trade routes. It also echoes the manner in which decisions are made for SuperRare as a whole.

•As we build our artist base our methods will be enhanced by communication with the tribal Governance and or Artist Councils of each nation with regard to the art selection process.

•With each purchase collectors will be supporting a specific tribe and the tribal artist within that Indian Country as well as the First Nations and American Native Peoples as a whole.

• The timeline for our drops may be based on the traditional calendar celebrations of our tribal people.

How do you plan to structure commission rates for the artists who release in your Space?

• 5% SR DAO Commission
10% Storefront Commission
85% Artist Royalty

We believe 10% is an acceptable based to include the support that may be necessary to bring an individual artist’s art into the digital realm as an NFT. We will hire graphic designers, creative services for staffing or contracted them to be efficient in our curation, use the best techniques and create jobs for Native Americans. We plan to support our artists by assisting in marketing through web development and social media to build a following for their art. There are a lot of avenues, not unlike the trading trail, for grants through Native Agencies and other programs for First Nations Artists to help the Crypto Native Art Collective gallery grow.

• Our featured Artists, as a collective, will decide where to donate or grant a percentage of the income to groups or individual artist’s for educational programs to assist them in moving in the NFT Digital Art World and becoming part of the Crypto Native Art Tribe.

To you, what is the importance of NFTs as a medium/technology?

• We finally have a two sided coin that serves the artist and the art buyer. It takes meta data and watermarking, to a new level, without intruding on the art itself.

Where do you see the NFT and CryptoArt space in five years?

• Exploding and morphing into uniquely curated art galleries and communities changing the way we look at and market digital art as well as increasing its value as collectible CryptoArt and traditional art.

If your Space were a cocktail or a dish, what would it be and why?

• Indian Fry Bread because it is a blank canvas that can be enhanced through creativity and is not limited by one particular spice or topping just like art is not limited by one particular medium or format. Equally the Indigenous Art of the Americas is not limited to one tribe or people. Fry Bread Art by Shana Yellow Calf Lukinich of 10 Buffalos.

Anything else you’d like the community to consider?

• We are very aware of the security issues of digital art and provenance and we are extremely excited that NFT’s and this platform has been needed for a long time. We are excited to continue the conversation and development of a North American Indigenous NFT Crypto Art Space by creating a Space for Crypto Native Art that is verifiable as legitimate visual art of Native Americans and indigenous people. We may consider expanding inclusion of the art of Indigenous Peoples around the world.

• Please be aware that we only found out about SuperRare Space 4 days before the submission date and are just now bringing artists in. Currently our reach is to Pacific Northwest Artists because our co-founder is Native Alaskan and a member of Tlingit Haida and Sea Alaska. We continue to reach out to tribes and indigenous people all over the American Continent.

*Quote: "Weaving the web of Indian Country” by Ingrid Washinawatok El-Issa - Menominee. Celebrated human rights activist and change-maker.