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Since 1994 we have been pioneering digital art, but the aspect of getting the digital art into the collectors hand has been a long developing process.

In the beginning as you can see in the following articles we fought to be included on Amazon as a living artist. That battle alone for inclusivity was from about 2000 until 2007/8 when Amazon finally allowed my art as Romero to be included for sale on Amazon. Then probably from complaints by big retailers that this artist is not dead like Picasso I was required to have UPC product codes on my works.

Articles list: Pioneering Avante-garde Art @Amazon As A Platform (Gallery) 2012, Art On Amazon.ComĀ 2008, Art Is 2008.

UPC code

In those early days we put out actual physical works as Amazon only allowed downloads for audio works and did not recognize digital end2end art as an art form. The truth is big moneyed companies like Saatchi started taking note and coming onto the Amazon platform with higher cash backed placements, and coincidentally were able to block us as the innovator of the space from joining their much larger promoted gallery.

All the while since about 2012 I was fascinated with the impact of brightness that keeping the art in its native digital format allowed. Transferring art from digital to print format was always a difficult and quirky process. One had to be mindful of canvas and paper sizes, ink and color chroma processes, not to mention the use of environmental resources which increased the prices of production dramatically for the work which may or may not sell but also need storage. This is where the decision due to multiple factors was made to do away with the costly and environmentally unfriendly physical format was slowly eliminated.

The digital viewing format was the preferred method widely used on Instagram and Flickr where artists could show their work and gain fans but lacked a digital medium system process to sell, trade and prove authenticity. Over the years we solved the software problems used to create the work and display the work on various devices with open source and low cost software like GIMP, Art Rage and Google Slides.

The issue we now face is in valuation. You see perceived value in today’s art world is basically a marketing construction of rarity and clout. It is not whether or not the work had artistic merit, creativity or appeal for the viewer but rather the FOMO of who has said what about the artist or work to set precedence to the chosen few current marketable artists. It is a variation on sex sells, to commercial bombardment can set appeal, just like the diamond market.

Tesla photo by JP Valery

Similarly to what Tesla is doing by going with online sales only to cut costs Ikohaus has been doing with Amazon, Facebook and now Codex Protocol and Project OpenSea. Now we can authenticate the work eliminate the bottlenecks of Gallery showings and artist marginalization by changing the value system and giving the valuation back to the art consumer enthusiast just like on Instagram, Twitter and Flikr.

This keeps the costs low, reduces the carbon footprint and most important allows the patron to determine the value of these new distribution and collection systems.

Your witnessing a new introduction of a revolutionary change in art and join us on the journey as we at Ikohaus come to understand the younger millennial that are forging new paths. We are happy to have been at the forefront of this new age since 1989 pre-21st Century ushering in a new cataclysmic change in the art world.

Watch as we roll out for those skittish on crypto currency our Fiat backed system, still authenticated on the blockchain with simple signon with our collaboration with Codex Protocol.

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