She makes REAL art βοΈ: Sustains a CRITICAL discourse π«,98.75, She's IMPORTANT ποΈπ¦: Her secondary volume is BIG π¦£,95.71, She's an OG πΎ: Was on Farcaster before 2024 β,93.75, She's successful π₯²: Is a GENERATIVE artist πΎπ§ͺ,95.71, She's HYPED π¨π¨π¨: Gets talked about at MARFA π§¨,95.00, She CULTIVATES relationships π§βπΎπ½: Mentors OTHERS π§βπ«π,95.55 She is 96.7394302 lucky! π²
She is.......... Miss Metaverse #95.88 πͺπ‘
Melissa Wiederrecht and Ana MarΓa Caballeroβs collaborative piece Miss Metaverse (2024) uses the beauty pageant to deliver satirical commentary on the expression of selfhood for artists in Web3, probing how the public, online presentation of this self results in its distortion.
When visibility equates career viability, artists must establish their worth via social and commercial skills that bear no relationship with the quality or substance of their creative work. This is particularly true for women artists, whose work almost always commands lower prices and who must often reduce themselves to a series of digestible and desirable traits, eerily reminiscent of those that govern beauty pageants.
Web3 offers artists the possibility of establishing a collector base, independent of traditional art market systems, to potentially become self-sustaining artists. Ironically, the promise of independence requires the construction of a digital persona that grows dissociated from the very substance of self, which is essentially immeasurable.
Miss Metaverse is an immersive, interactive work, activated by the userβs webcam, thus inviting a reflection on private versus public embodiments of selfhood. Users will see highly distorted versions of themself, blanketed over by expressions of βvalue.β The pixelization pulsates in and out, showing less of the real person over time as the self is packaged into βreadableβ formats that are legible to other humans on the digital stage and to the machines that mediate the exchange.
Each statement is punctuated by an emoji, which renders these declarations more winsome, genial and playfulβunderscoring the need to please an ever-present, ever-watchful audience by shrinking the self into a likable mold. Yet, Miss Metaverseβs use of emojis is also arbitrary and meaningless, like the value statements themselves.
The final, minted artwork doesnβt incorporate any images of the collector, layering the statements of value over ultra-pixelated, AI-generated images of pageant contestants instead. This process replaces the collectorβs digital identity with that of an overproduced beauty contestant, a symbol for the successful artist.
When viewing the work in live-code view, collectors can toggle between the view of themself and that of beauty pageant contestants. Self-effacement is literally one click away.
When artists market themselves, they enter into a pageantry with very fixed notions of worth. Collectors, too, are active participants in this spectacle. In Miss Metaverse, artist and collector acknowledge the spectacle in a moment of shared honesty, one that nevertheless helps assure the collection, and the artistsβ, success.
Each trait, or declaration of value, is attached to a points system, based on its desirability. As in a traditional beauty contest, there will be an edition, an iteration of Miss Metaverse, that will amass the highest number of points and win the contest.
This collector will be crowned winner and receive an edition of Miss Metaverse in which mangled images of Wiederrecht and Caballero replace those of beauty queens, but this can only happen once the collection sells out. In minting out the collection, the artists have been crowned winnersβtheyβve marketed themselves successfully.
This exercise in virtual pageantry builds on Wiederrecht and Caballeroβs existing investigations of the tension between selfhood and self-image, as evinced in Wiederrechtβs widely acclaimed Crypto Native collection and Caballeroβs literature, such as her essay βDigital Dilution,β which received a Future Art Writers Award.
Miss Metaverse #95.88 πͺπ‘
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Miss Metaverse #95.88 πͺπ‘
- PriceUSD PriceQuantityExpirationFrom
- PriceUSD PriceQuantityFloor DifferenceExpirationFrom
She makes REAL art βοΈ: Sustains a CRITICAL discourse π«,98.75, She's IMPORTANT ποΈπ¦: Her secondary volume is BIG π¦£,95.71, She's an OG πΎ: Was on Farcaster before 2024 β,93.75, She's successful π₯²: Is a GENERATIVE artist πΎπ§ͺ,95.71, She's HYPED π¨π¨π¨: Gets talked about at MARFA π§¨,95.00, She CULTIVATES relationships π§βπΎπ½: Mentors OTHERS π§βπ«π,95.55 She is 96.7394302 lucky! π²
She is.......... Miss Metaverse #95.88 πͺπ‘
Melissa Wiederrecht and Ana MarΓa Caballeroβs collaborative piece Miss Metaverse (2024) uses the beauty pageant to deliver satirical commentary on the expression of selfhood for artists in Web3, probing how the public, online presentation of this self results in its distortion.
When visibility equates career viability, artists must establish their worth via social and commercial skills that bear no relationship with the quality or substance of their creative work. This is particularly true for women artists, whose work almost always commands lower prices and who must often reduce themselves to a series of digestible and desirable traits, eerily reminiscent of those that govern beauty pageants.
Web3 offers artists the possibility of establishing a collector base, independent of traditional art market systems, to potentially become self-sustaining artists. Ironically, the promise of independence requires the construction of a digital persona that grows dissociated from the very substance of self, which is essentially immeasurable.
Miss Metaverse is an immersive, interactive work, activated by the userβs webcam, thus inviting a reflection on private versus public embodiments of selfhood. Users will see highly distorted versions of themself, blanketed over by expressions of βvalue.β The pixelization pulsates in and out, showing less of the real person over time as the self is packaged into βreadableβ formats that are legible to other humans on the digital stage and to the machines that mediate the exchange.
Each statement is punctuated by an emoji, which renders these declarations more winsome, genial and playfulβunderscoring the need to please an ever-present, ever-watchful audience by shrinking the self into a likable mold. Yet, Miss Metaverseβs use of emojis is also arbitrary and meaningless, like the value statements themselves.
The final, minted artwork doesnβt incorporate any images of the collector, layering the statements of value over ultra-pixelated, AI-generated images of pageant contestants instead. This process replaces the collectorβs digital identity with that of an overproduced beauty contestant, a symbol for the successful artist.
When viewing the work in live-code view, collectors can toggle between the view of themself and that of beauty pageant contestants. Self-effacement is literally one click away.
When artists market themselves, they enter into a pageantry with very fixed notions of worth. Collectors, too, are active participants in this spectacle. In Miss Metaverse, artist and collector acknowledge the spectacle in a moment of shared honesty, one that nevertheless helps assure the collection, and the artistsβ, success.
Each trait, or declaration of value, is attached to a points system, based on its desirability. As in a traditional beauty contest, there will be an edition, an iteration of Miss Metaverse, that will amass the highest number of points and win the contest.
This collector will be crowned winner and receive an edition of Miss Metaverse in which mangled images of Wiederrecht and Caballero replace those of beauty queens, but this can only happen once the collection sells out. In minting out the collection, the artists have been crowned winnersβtheyβve marketed themselves successfully.
This exercise in virtual pageantry builds on Wiederrecht and Caballeroβs existing investigations of the tension between selfhood and self-image, as evinced in Wiederrechtβs widely acclaimed Crypto Native collection and Caballeroβs literature, such as her essay βDigital Dilution,β which received a Future Art Writers Award.