Even if you aren’t personally familiar with famed Japanese contemporary artist Takashi Murakami, you have surely seen his work.
The pop artist’s brightly colored signature characters have appeared on everything from limited edition Louis Vuitton bags to Supreme shirts to Vans skateboarding shoes.
Having collaborated with celebrities like Drake, Kanye West and Billie Eilish, and institutions such as the Museum of Modern Art and Gagosian, Murakami is, without a doubt, one of the biggest “conventional” artists to try their hand at making nonfungible tokens (NFTs). Despite this, his projects still haven’t blown up to the extent of other prominent contemporary artists like Beeple.
Louis Vuitton x Takashi Murakami 2000s pre-owned monogram panda jewelry case selling for an eye-popping $37,000 (Farfetch)
Many are convinced that is set to change, claiming Murakami’s flowers are well on their way to becoming as iconic as CryptoPunks and Bored Apes. After a hotly anticipated but ultimately disappointing NFT launch that coincided with the 2022 crypto collapse, the artist is finally having another go at the medium. A new exhibit at San Francisco’s Asian Art Museum shows how Murakami creates original tokens from scratch.
High art and low art
While many take Murakami’s flowers at face value, there is more to them than meets the eye. Inspired by the postwar Japan in which he grew up, these deceptively jolly icons critique the perversion and violence that underscore the country’s otaku and kawaii subcultures.
The stylized imagery of these cultures is becoming increasingly popular in western countries thanks to the export of Japanese manga, anime and video games, and Murakami — taking a page out of Andy Warhol’s book — exposes the commercialization of these mediums by way of embracing and even exploiting them. His studio isn’t so much a studio as it is a full-fledged factory, operated by 25 assistants who help him satisfy the demand for his personal brand.
Unifying Murakami’s scattered oeuvre is his “Superflat” theory, which not only refers to the two-dimensional quality that bridges traditional Japanese visual culture to its contemporary counterparts, but also to the idea that Japan, as a society, makes little distinction between “high” and “low” art — between the art you find in a museum and the art you find on billboards or the pages of a manga.
This, Murakami says, is in stark contrast to the West, where professional critics decide what kind of creative output deserves to be displayed in galleries and what does not. Presently, NFTs are still largely relegated to the second group — a classification he hopes to change.
After finding huge success with traditional media, uncontrollable events and poor timing conspired against the artist’s NFT efforts. Murakami’s first flowers launched right before the downfall of FTX, causing their value to plummet from $260,000 to just $2,200 per token on OpenSea. Displaying a level of humility seldom seen in the worlds of both art and crypto, Murakami paused his sales and apologized to his investors.
He followed up this apology with a lengthy statement saying he would take a step back from the NFT marketplace and figure out how to create digital art that matched the value of its real-world counterparts. He asked himself the kinds of questions that confuse the non-initiated. Should he use ERC-721 or 1155? Did he need IPFS or independent smart contracts? What about opening his own physical storefront?
Unfamiliar people
The crypto collapse left a mixed impression on Murakami, who will be exploring his frustration with the volatility of the metaverse in an exhibit he calls “Unfamiliar People — Swelling of Monsterized Human Ego.” Running from Sept. 15, 2023, until Feb. 12, 2024, it largely consists of mixed media pieces depicting humanoid monsters.
Influenced by traditional ukiyo-e woodblock prints, his familiar kawaii style, and even Spanish painter Francisco Goya’s nightmarish painting “Saturn Devouring His Son” (which a young Murakami remembers seeing on a museum trip with his parents), the distorted figures presented in Murakami’s exhibit comment on the corroding influence of digital technology: the relentless self-promotion on social media and the adulterating anonymity of internet message boards.
A high-spirited Youth Who’s Determined to Get a Job in Finance and Make It (Murakami)
His core theme — the swelling ego — not only applies to toxic online discourse but also to the mismanagement of media personalities like Elon Musk, Mark Zuckerberg and Sam Bankman-Fried, whose irresponsible behavior has tarnished the reputations of entire industries and technologies.
Despite his negative experiences with making and selling NFTs, Murakami isn’t pessimistic. He believes the crypto collapse, far from bursting an already oversized bubble, will go down in financial history as little more than a temporary setback.
“Both economically and conceptually,” he tells Magazine, “the current decline of virtual currencies simply marks a shaky transitional period. Therefore, I am not worried at all, and am still running several NFT projects. I will continue to bridge the metaverse and the real world in the art scene.” He thinks that “in the near future, with the rise of young critics and creators who understand the concept, NFT art will become common all at once.”
Standing in contrast to Murakami’s “Unfamiliar People” series are various physical reimaginings of his NFTs, including painted renditions of the Murakami.Flowers. Previously sold at Gagosian, Murakami created these paintings to help secure and stabilize the value of his NFTs, whose floor price on OpenSea remains “as low as it can be.” Some of the paintings, meanwhile, have sold for upwards of $70,000.
Murakami posing in front of paintings inspired by his Murakami.Flowers NFTs (RK)
Also present at the exhibit is a sculpture of the digital avatars Murakami made in collaboration with RTFKT, a digital fashion and collectible organization known for its work on video game engines, blockchain authentication and augmented reality, in addition to its futuristic sneaker designs.
Inspired by Snapchat’s Bitmoji, Murakami and RTFKT created over 20,000 character models to represent players in online games, each with uniquely designed eyes, mouths, clothes and even behavioral traits. Murakami describes his sculpture as a “cyborg.” Not only because it has a reflective silver surface with mechanical patterns etched into it, but also because the digital avatars on which it is based are part human and part machine.
Clone X × Takashi Murakami #3 Devil Miss Ko2 (Murakami)
Changing value in contemporary art
When asked if making NFT art is in any way different from making “traditional” art, Murakami answered: yes and no.
“Contemporary art since Marcel Duchamp has clearly been a world of transcendental conceptual art,” he says, “so I thought that an understanding of the metaverse would come somewhat naturally for the fans of contemporary art. I instantly understood and entered into that worldview, but to my surprise, others didn’t follow. I think the big deterrent has been a certain inability to change the value system of the contemporary art world, and a resulting unwillingness to understand NFTs. Right now, these two words are still completely separated.”
At the moment, most western critics do not see NFT art as art. They think the imagery is “poorly executed and childish,” and insist “the concept of the metaverse is a fraud,” according to Murakami. Their aversion to NFTs — fueled in part by self-preservation — is so fervent that they reject Murakami’s tokens whilst celebrating their painted equivalents. No doubt, the swollen egos of “Unfamiliar People” contain traces of these individuals as well.
Perhaps the western art world should be more like Japan’s. There, the destruction of the Second World War and subsequent occupation by the U.S. army completely dismantled the country’s traditional social structure. As a result, says Murakami, Japan found itself “in a very unique situation where ‘high’ art could not be established” since there were no elites to claim it as theirs and theirs alone. He adds:
“In Japan there is no distinction between high art and low art, and we are bound by the obsession that high art must also be dragged down to the realm of the low and be enjoyable to everyone.”
This, paired with the “demand for iconography reminiscent of Japanese manga and anime,” indicates that Japan should have a rich and vibrant NFT market. However, this is not the case. According to Murakami, plenty of Japanese artists — especially manga artists — are interested in making the switch, but are prevented from doing so by strict regulations that make such ventures unprofitable.
“The virtual currency ecosystem the Japanese government has thought up,” he explains, “is so complicated and negative that the manga or anime creators would not be enticed to leave their normal economic sphere. Therefore, there has been no sign of the NFT market developing at all here.”
The situation isn’t much better in America — at least, not right now. Although the crypto world is gradually picking itself up from the FTX fiasco, NFTs are yet to recover.
After hitting their peak value in January 2022, many tokens plummeted. By September of that year, volumes had all but disappeared and demand had vanished. Murakami’s flowers aren’t the only NFTs raise their floor price; BoredApes and CryptoPunks are in the same boat.
The current situation is so bad that many NFT creators don’t know what to do or where to go next. Murakami is the rare exception, but perhaps that is because — as a renowned artist — his source of status and income isn’t exclusively tied to tokens. For him, creating NFTs is an artistic experiment as much as it is an act of embracing what he (and many others) still believe to be the future of both creativity and commerce.
And Murakami really does believe that. Years after coming up with his idea of Superflat, he argues that the digitization of art has not just verified his theory, but taken it to its logical conclusion:
“I believe the era of Superflat has come to an end, at least for the time being, along with the pandemic. The reason is because the full perfection of the web-based society has now been achieved. In other words, the real Superflat society has now become a reality. And with the rise of the metaverse, unknown zones have emerged that will add even more depth to that definitively flattened society; we could say we are now heading for a hyper-Superflat world.”
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Satoshi Nakamoto, the pseudonymous creator of Bitcoin, marks their 50th birthday amid a year of rising institutional and geopolitical adoption of the world’s first cryptocurrency.
The identity of Nakamoto remains one of the biggest mysteries in crypto, with speculation ranging from cryptographers like Adam Back and Nick Szabo to broader theories involving government intelligence agencies.
While Nakamoto’s identity remains anonymous, the Bitcoin (BTC) creator is believed to have turned 50 on April 5 based on details shared in the past.
According to archived data from his P2P Foundation profile, Nakamoto once claimed to be a 37-year-old man living in Japan and listed his birthdate as April 5, 1975.
Nakamoto’s anonymity has played a vital role in maintaining the decentralized nature of the Bitcoin network, which has no central authority or leadership.
The Bitcoin wallet associated with Nakamoto, which holds over 1 million BTC, has laid dormant for more than 16 years despite BTC rising from $0 to an all-time high above $109,000 in January.
Satoshi Nakamoto statue in Lugano, Switzerland. Source: Cointelegraph
Nakamoto’s 50th birthday comes nearly a month after US President Donald Trump signed an executive order creating a Strategic Bitcoin Reserve and a Digital Asset Stockpile, marking the first major step toward integrating Bitcoin into the US financial system.
Nakamoto’s legacy: a “cornerstone of economic sovereignty”
“At 50, Nakamoto’s legacy is no longer just code; it’s a cornerstone of economic sovereignty,” according to Anndy Lian, author and intergovernmental blockchain expert.
“Bitcoin’s reserve status signals trust in its scarcity and resilience,” Lian told Cointelegraph, adding:
“What’s fascinating is the timing. Fifty feels symbolic — half a century of life, mirrored by Bitcoin’s journey from a white paper to a trillion-dollar asset. Nakamoto’s vision of trustless, peer-to-peer money has outgrown its cypherpunk roots, entering the halls of power.”
However, lingering questions about Nakamoto remain unanswered, including whether they still hold the keys to their wallet, which is “a fortune now tied to US policy,” Lian said.
In February, Arkham Intelligence published findings that attribute 1.096 million BTC — then valued at more than $108 billion — to Nakamoto. That would place him above Microsoft co-founder Bill Gates on the global wealth rankings, according to data shared by Coinbase director Conor Grogan.
If accurate, this would make Nakamoto the world’s 16th richest person.
Despite the growing interest in Nakamoto’s identity and holdings, his early decision to remain anonymous and inactive has helped preserve Bitcoin’s decentralized ethos — a principle that continues to define the cryptocurrency to this day.
The United States stock market lost more in value over the April 4 trading day than the entire cryptocurrency market is worth, as fears over US President Donald Trump’s tariffs continue to ramp up.
On April 4, the US stock market lost $3.25 trillion — around $570 billion more than the entire crypto market’s $2.68 trillion valuation at the time of publication.
Nasdaq 100 is now “in a bear market”
Among the Magnificent-7 stocks, Tesla (TSLA) led the losses on the day with a 10.42% drop, followed by Nvidia (NVDA) down 7.36% and Apple (AAPL) falling 7.29%, according to TradingView data.
The significant decline across the board signals that the Nasdaq 100 is now “in a bear market” after falling 6% across the trading day, trading resource account The Kobeissi Letter said in an April 4 X post. This is the largest daily decline since March 16, 2020.
“US stocks have now erased a massive -$11 TRILLION since February 19 with recession odds ABOVE 60%,” it added. The Kobessi Letter said Trump’s April 2 tariff announcement was “historic” and if the tariffs continue, a recession will be “impossible to avoid.”
Even some crypto skeptics have pointed out the contrast between Bitcoin’s performance and the US stock market during the recent period of macro uncertainty.
Stock market commentator Dividend Hero told his 203,200 X followers that he has “hated on Bitcoin in the past, but seeing it not tank while the stock market does is very interesting to me.”
Meanwhile, technical trader Urkel said Bitcoin “doesn’t appear to care one bit about tariff wars and markets tanking.” Bitcoin is trading at $83,749 at the time of publication, down 0.16% over the past seven days, according to CoinMarketCap data.
The cost of having staff is going up this Sunday as the increase in employers’ national insurance kicks in.
Chancellor Rachel Reeves announced in the October budget employers will have to pay a 15% rate of national insurance contributions (NIC) on their employees from 6 April – up from 13.8%.
She also lowered the threshold at which employers pay NIC from £9,100 a year to £5,000 a year, meaning they start paying at an earlier point on staff salaries.
This is on top of the national minimum wage rising, the business relief rate for hospitality, retail and leisure reducing from 75% to 40% and the rising cost of ingredients and services.
Sky News spoke to people working in some of the industries that will be hardest hit by the rise in NIC: Nurseries, hospitality, retail, small businesses and care.
NURSERIES
Nearly all (96% of 728) nurseries surveyed by the National Day Nurseries Association (NDNA) said they will have no choice but to put up fees because of the NIC rise, leaving parents to pick up the shortfall.
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The NDNA has warned nurseries could close due to the rise, with 14% saying their business is at risk, 69% reducing spending on resources and 39% considering offering fewer places with government-funded hours as 92% said they do not cover their costs.
Sarah has two children, with her youngest starting later this month, but they were just informed fees will now be £92 a day – compared with £59 at the same nursery when her eldest started five years ago.
“I’m not sure how we will afford this. Our salaries haven’t increased by 50% during this time,” she said.
“We’re stuck as there aren’t enough nursery spaces in our area, so we will have to struggle.”
Karen Richards, director of the Wolds Childcare group in Nottinghamshire, has started a petition to get the government to exempt private nurseries – the majority of providers – from the NIC changes as she said it is unfair nurseries in schools do not have to pay the NIC.
She told Sky News she will have to find about £183,000 next year to cover the increase across her five nurseries and reducing staff numbers is “not off the table” but it is more likely they will reduce the number of children they have.
Image: Joeli Brearley, founder of Pregnant Then Screwed, said parents are yet again having to pay the price for the government’s actions. Pic: Pregnant Then Screwed
Joeli Brearley, founder of the Pregnant Then Screwed campaign group, told Sky News: “Parents are already drowning in childcare costs, and now, thanks to the national insurance hike, nurseries are passing even more fees on to families who simply can’t afford it.
“It’s the same story every time – parents pay the price while the government looks the other way. How exactly are we meant to ‘boost the economy’ when we can’t even afford to go to work?”
Purnima Tanuku, executive chair of the NDNA, said staffing costs make up about 75% of nurseries’ costs and they will have to find £2,600 more per employee to pay for the NIC rise – £47,000 for an average nursery.
“The government says it wants to offer ‘cheaper childcare’ for parents on the one hand but then with the other expects nurseries to absorb the costs of National Insurance Contributions themselves,” she told Sky News.
“High-quality early education and care gives children the best start in life and enables parents to work. The government must invest in this vital infrastructure to make sure nurseries can continue to deliver this social and economic good.”
HOSPITALITY
The hospitality industry has warned of closures, price rises, lack of growth and shorter opening hours.
Dan Brod, co-owner of The Beckford Group, a small southwest England restaurant and country pub/hotel group, said the economic situation now is “much worse” than during COVID.
The group has put plans for two more projects on hold and Mr Brod said the only option is to put up prices, but with the rising supplier costs, wages, business rates and NIC hike they will “stay still” financially.
Image: Dan Brod, co-owner of The Beckford Group, said the government does not value hospitality as an industry. Pic: The Beckford Group
He told Sky News: “What we’re nervous about is we’re still in the cost of living crisis and even though our places are in very wealthy areas of the country, Wiltshire, Somerset and Bath, people are feeling the situation in their pockets, people are going out less.”
Mr Brod said they are not getting rid of any staff as their business strongly depends on the quality of their hospitality so they are having to make savings elsewhere.
“I’m still optimistic, I still feel that humans need hospitality but we’re not valued as an industry and the social benefit is never taken into account by government.”
Image: Chef/owner Aktar Islam, who runs Opheem in Birmingham, said the rise will cost him up to £120,000 more this year. Pic: Opheem
Aktar Islam, owner/chef at two Michelin-starred Opheem in Birmingham, said the NIC rise will cost him up to £120,000 more in staff costs a year and to maintain the financial position he is in now they would have to make “another million pounds”.
He got emails from eight suppliers on Thursday saying they were raising their costs, and said he will have to raise prices but is concerned about the impact on diners.
The restaurateur hires four commis chefs to train each year but will not be able to this year, or the next few.
“It’s very short-sighted of the government, you’re not going to grow the economy by taxing hospitality out of existence, these sort of businesses are the lifeblood of our economy,” he said.
“They think if a hospitality business closes another will open but people know it’s tough, why would they want to do that? It’s not going to happen.”
The chef sent hundreds of his “at home” kits to fellow chefs this week for their staff as an acknowledgement of how much of a “s*** show” the situation is – “a little hug from us”.
RETAIL
Some of the UK’s biggest retailers, including Tesco, Boots, Marks & Spencer and Next, wrote to Rachel Reeves after the budget to say the NIC hike would lead to higher consumer prices, smaller pay rises, job cuts and store closures.
The British Retail Consortium (BRC), representing more than 200 major retailers and brands, said the costs are so significant neither small or large retailers will be able to absorb them.
Andrew Bailey, the governor of the Bank of England, told the Treasury committee in November that job losses due to the NIC changes were likely to be higher than the 50,000 forecast by the Office for Budget Responsibility (OBR).
Image: Big retailers have warned the NIC rise will lead to higher prices, job cuts and store closures. File pic: PA
Nick Stowe, chief executive of Monsoon and Accessorize, said retailers had the choice of protecting staff numbers or cancelling investment plans.
He said they were trying to protect staff numbers and would be increasing prices but they would likely have to halt plans to increase store numbers.
Helen Dickinson, head of the BRC, told Sky News the national living wage rise and NIC increase will cost businesses £5bn, adding more than 10% to the cost of hiring someone in an entry-level role.
A further tax on packaging coming in October means retailers will face £7bn in extra costs this year, she said.
“This huge cost burden will undoubtedly reduce investment in stores and jobs and is likely to lead to higher prices,” she added.
SMALL BUSINESSES
A massive 85% of 1,400 small business owners surveyed by the Federation of Small Businesses (FSB) in March reported rising costs compared with the same time last year, with 47% citing tax as the main barrier to growth – the highest level in more than a decade.
Just 8% of those businesses saw an increase in staff numbers over the last quarter, while 21% had to reduce their workforce.
Kate Rumsey, whose family has run Rumsey’s Chocolates in Wendover, Buckinghamshire and Thame, Oxfordshire, for 21 years, said the NIC rise, minimum wage increase and business relief rate reduction will push her staff costs up by 15 to 17% – £70,000 to £80,000 annually.
To offset those costs, she has had to reduce opening hours, including closing on Sundays and bank holidays in one shop for the first time ever, make one person redundant, not replace short-term staff and introduce a hiring freeze.
The soaring price of cocoa has added to her woes and she has had to increase prices by about 10% and will raise them further.
Image: Kate Rumsey, who runs Rumsey’s Chocolates in Buckinghamshire and Oxfordshire, said they are being forced to take a short-term view to survive. Pic: Rumsey’s Chocolates
She told Sky News: “We’re very much taking more of a short-term view at the moment, it’s so seasonal in this business so I said to the team we’ll just get through Q1 then re-evaluate.
“I feel this is a bit about the survival of the fittest and many businesses won’t survive.”
Tina McKenzie, policy chair of the FSB, said the NIC rise “holds back growth” and has seen small business confidence drop to its lowest point since the first year of the pandemic.
With the “highest tax burden for 70 years”, she called on the chancellor to introduce a “raft of pro-small business measures” in the autumn budget so it can deliver on its pledge for growth.
She reminded employers they can claim the Employment Allowance, which has doubled after an FSB campaign to take the first £10,500 off an employer’s annual bill.
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National Insurance rise impacts carers
CARE
The care sector has been warning the government since the October that budget care homes will be forced to close due to the financial pressures the employers’ national insurance rise will place on them.
Care homes receive funding from councils as well as from private fees, but as local authorities feel the squeeze more and more their contributions are not keeping up with rising costs.
The industry has argued without it the NHS would be crippled.
Raj Sehgal, founding director of ArmsCare, a family-run group of six care homes in Norfolk, said the NIC increase means a £360,000 annual impact on the group’s £3.6m payroll.
In an attempt to offset those costs, the group is scrapping staff bonuses and freezing management salaries.
It is also considering reducing day hours, where there are more staff on, so the fewer numbers of night staff work longer hours and with no paid break.
Image: Raj Sehgal said his family-owned group of care homes will need £360,000 extra this year for the NIC hike
Mr Sehgal said: “But what that does do unfortunately, is impact the quality you’re going to be able to provide, at a time when we need to be improving quality, but something has to give.
“The government just doesn’t seem to understand that the funding needs to be there. You cannot keep enforcing higher costs on businesses and not be able to fund those without actually finding the money from somewhere.”
He said the issue is exacerbated by the fact local authority funding, despite increasing to 5%, will not cover the 10% rise.
“It’s going to be a really, really tough ride. And we are going to see a number of providers close their doors,” he warned.
Nadra Ahmed, executive co-chair of the National Care Association, said those who receive, or are waiting to access, care as well as staff will feel the impact the hardest.
“As providers see further shortfalls in the commissioning of care services, they will start to limit what they can do to ensure their viability or, as a last resort exit the market,” she said.
“This is very short-sighted, with serious consequences, which alludes to the understanding of this government.”
Government decided to ‘wipe the slate clean’
A Treasury spokesperson told Sky News the government is “pro-business” but has “taken the difficult but necessary decisions to wipe the slate clean and properly fund our public services after years of declines”.
“Our budget choices have already delivered an NHS with falling waiting lists, a £3.7bn rescue package for social care, and vital protection for Britain’s small businesses,” they said.
“We’re making tough choices today to secure a better tomorrow through our Plan for Change. By investing in economic growth and early years education while capping corporation tax, we’re putting more money in working people’s pockets and giving every child the best start in life.”