The NFT market needs to do more to advance the status of black artists

Source: old yuppie

It’s no secret that white men make up the majority of the crypto community — after all, the “crypto bro” stereotype has been around for years. According to a Morning Consult report, by 2022, more than 70% of global cryptocurrency accounts will be held by men, 62% of which will be white men. Considering the cryptocurrency space gave birth to the NFT ecosystem, it's easy to see how this demographic could eventually filter into our new blockchain-based creative economy.

Anthony Gibbs, founder of the Black Arts Project, pointed out these systemic issues with representation in the NFT community in a recent interview with It's Nice That. "I realized that there weren't any really high-profile NFT projects that were led by black people and focused solely on black voices or black art," he said.

But it’s not just a matter of lack of representation — we’ve seen racism, prejudice, and discrimination played out on a massive scale in the cryptocurrency space. While Web3 can address the major technical and censorship-based ills created by centralization, the proliferation of injustice throughout social media will only continue—a thorn in the side of the digital age.

There is indeed diversity in the NFT market. There are many creators and innovators of color (POC) in the community. This is a fact. But why aren't there more non-white people at the top of the ecosystem? Why are black artists and builders still underrepresented in the list of "Top People in NFTs"? What can we all do to ensure the voices of Black creators and other POCs are better represented in the NFT marketplace?

We interviewed some POC artists to find out their thoughts.

Joy is Power by Davis Morocco

While the NFT ecosystem is undeniably a melting pot of art, technology, and culture, the racism that exists in Web2 has not been driven out of this latest iteration of blockchain technology. Society - especially the internet microcosm (i.e. the NFT market) as a niche - simply doesn't change overnight.

Intentionality is key when it comes to approaching diversity in the NFT marketplace. The conversation around including, empowering, and celebrating Black people in Web3 is one that needs to happen on a regular basis. Positive action, not reaction, is necessary for the community to moderate racial issues and set the tone for direct and public discussion.

Of course, talking about these issues is not enough in itself. The pursuit of viable ways to enhance the capabilities of POC in NFTs must also be encouraged in order to become a norm. As multidisciplinary artist Black Dave puts it, Black people need to be given more opportunities to lead.

Speaking to the media, Dave said: "A lot of people think that giving [black artists] money is the answer. Right? You hear a lot of people say, 'If you want to support us give us money'. I think it's a little bit Accurate, but I think what we really need is an opportunity to lead."

"Stop giving us a community manager job. If you think I'm good at connecting people, give me a marketing job. If you think I'm this good, tech-savvy, everything, then make me a character . So, yes, pay us. But more importantly, put us in a better position."

In the entire NFT market, there is an entire ecosystem of POC artists. The reality is, they have a presence, but they are woefully underexposed and sometimes underfunded.

Abyuwa - a multi-faceted artist and leader of the NFT community in Africa - knows from first-hand experience how difficult it is to gain a foothold in the NFT market as an artist. By curating and organizing "Paradise," the first-ever exhibition for the African NFT community, she set out on a mission to uplift other artists, both bringing light to black women in the marketplace and giving collectors the means to buy their art way.

However, in the process of realizing "paradise", she still encountered many obstacles. Despite the considerable word-of-mouth support for the inaugural African NFT Community Exhibition, Abyuwa still found it difficult to get the event noticed.

Abieyuwa told the press: "It's still very difficult to get people to pay attention to it. It's just bad because it's kind of monumental. It's the first ever exhibition for the African NFT community. [...] I don't think There's any other show, it's just all black women."

For many Black artists in the NFT community, gaining exposure will require proactive steps — like Paradise events — to really drive the conversation and bring the art to potential collectors. But, Abieyuwa acknowledged, empowering POCs also requires due diligence and going beyond familiar inner circles.

Abieyuwa told the outlet: "If you're curating something, isn't part of your job discovering new artists? I feel like people need to look beyond the few artists they already [know]. If you even just type 'Black NFT' on Twitter , you’ll see the biggest page, Black NFT Art, and from there, you’ll find the African NFT community. People need to put in a little effort and find artists that match what you want to promote or hire.”

Over the past year, we've learned that while art certainly runs on the NFT marketplace, the artists themselves don't. Even Seneca, the lead artist behind Boring Apes Yacht Club, still struggles to get proper recognition for her work. If the artist responsible for one of the most popular NFT projects of all time can't get credit, what's that going to do for independent artists? Especially those who were underrepresented before entering the strangely wide world of NFTs?

Supporting these artists is more important than ever, and as Umba Daima co-founder Iris Nevins puts it, "put your money where your mouth is".

"Buying art from black artists, supporting a project created by a black creator, even a project that isn't going to triple in value overnight," Nevins said. "Part of the support process is knowing that you may not have access to the same Same return on investment for the project. But that's the sacrifice you make to help support these groups. Right. Like if you really want to help, there has to be some kind of sacrifice."

As co-founder of Umba Daima Studio/Network and Black NFT Art, a media and community brand empowering Black people in the NFT space through content, promotion, and events, Nevins dedicates her time to elevating the status of POCs, and she It is said that this market may be relatively isolated.

"I think a lot of people have very different experiences depending on who they know, who they have in their network or circle, and what kind of information opportunities they have access to," Nevins said in an interview with the media. So I think while I'm definitely hopeful and positive about [NFT] technology itself and its ability to solve a lot of problems and give people opportunities, I think the market itself still mirrors conventional society. That is, if you have a lot of money And certain privileges: male, white, upper class, etc., your chances of success are much higher."

However, while projects like MoonBirds - founded by famed internet entrepreneur Kevin Rose - certainly illustrate Nevins' point, she also realizes that it is the very people with this power and privilege who, in the end, It can help improve the POC in the NFT field. Imagine if, instead of funding more PFP projects, venture capitalists spent millions of dollars dedicated to providing a comprehensive marketplace for underrepresented artists. At the end of the day, it's all about action and utility.

It used to be common to see NFT collectors on Twitter asking others to send them work by black artists. Of course, this was initially seen as a way to help underrepresented artists gain exposure, but over time it was discovered that many NFT influencers begged their followers to send them black art, seemingly looking for There is little interest in the artist's work.

When it comes to supporting artists of color, conscientiousness is a great place to start, but in general, actionable empowerment is what counts. Echoing Black Dave again, buying art from people of color is great, but giving black and brown artists more opportunities can be a real catalyst for change.

This goes far beyond offering jobs to the most recent talented POC. It could even be as simple as becoming a fan and ally of Black artists everywhere, sharing their work, spreading their message, and recommending them to join wherever and wherever it makes sense.