How Women Artists Have Been Marginalized in the Blockchain Discourse

Itzel Yard, aka IX Shells, “Dreaming At Dusk” (2021) made with touch designer (photo by and courtesy Itzel Yard)

The recent discourse around blockchain art retains a bias towards the stereotype of the white male engineer whose work is treated as apolitical and ahistorical. Recognizing the easy depoliticization of a set of aesthetics increasingly associated with blockchain, some curators and artists are addressing this bias. What works get discussed, how and why, contributes to the developing narrative around digital art in the popular imagination.

The early auctions of Spring 2021 didn’t focus on women, unfortunate given its reiterating a misunderstanding of women and tech. Women and female-identifying artists (across the article when I say women, I mean both) have been part of experimenting and developing the creative possibilities within blockchain technology since the beginning: Rhea Myers’s conceptually dense and ironic works from 2014 onwards; Primavera de Fillippi’s “Plantoid” (2015); Sarah Meyohas’s “Bitchcoin” (2017); Sarah Friend’s “ClickMine” (2018); Anna Ridler’s “Mosaic Virus” (2018) and “Bloemenveiling” (2019), among others.

Read the full article here…