01/09/2021 UTA Signs NFT Art Projects CryptoPunks, Meebits and Autoglyphs (Exclusive)

The agency will represent the crypto-art projects from Larva Labs for film, TV, video games, and publishing projects, becoming some of the first crypto-native IP to seek mainstream content deals.

Alex Weprin
Many Cryptopunks
Many Cryptopunks Courtesy of UTA

The CryptoPunks are going Hollywood.

The red-hot NFT crypto-art project from Larva Labs has signed with United Talent Agency for representation across film, TV, video games, publishing, and licensing. UTA will also represent Meebits and Autoglyphs, two other crypto-art projects created by Larva Labs.

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While nonfungible tokens have become an area of focus in Hollywood (see Fox’s nascent efforts or Lionsgate’s deal to bring its IP to the blockchain), CryptoPunks looks to be one of the first pieces of crypto-native IP to make the jump to more traditional forms of media.

“I would say that it is one of the first opportunities for an IP that fully originated in crypto-world to enter a broader entertainment space, and they earned it,” Lesley Silverman, head of UTA Digital Assets, tells The Hollywood Reporter. “They really have hit the zeitgeist in a tremendous way.”

If anything, Larva Labs views the effort as a way to help maintain or grow the value of the collections as a whole.

“We are excited to work with UTA for the benefit of the entire community connected to our projects,” said Larva Labs co-founder Matt Hall, “Not only for the exciting opportunities to bring them wider exposure, but to help protect their growth and value for the long term.”

CryptoPunks were among the earliest examples of NFTs as art when launched on the Ethereum blockchain in 2017. Each “punk” portrait was algorithmically generated with certain characteristics (like hats, or facial hair), with some having more common features and others with more rare features.

While they were originally given away for free, in recent months sales of the characters (there are only 10,000) have picked up significantly, with eight examples selling for $2 million or more in just the last 6 weeks. The total collection is now valued at more than $3 billion.

Larva Labs launched Autoglyphs in 2019, and Meebits earlier this year, with all three projects using code to create the pieces of art on the blockchain.

Arts

https://www.hollywoodreporter.com/business/digital/uta-cryptopunks-nft-film-tv-vieo-games-1235005392/

Interesting NFTs
Block Chain Dungeon
Once upon a time... a little boy named Leo loved to paint, draw and experiment. He also loved to play with blocks and chains, which drew him again and again into the rooms of his friends Michel and Angelo. Often they also met in virtual rooms of Cryptovoxels, Decentraland, Somnium Space or Sandbox to create new inventions, read books about new technologies, or just swing the brushes. But on this day something gigantic happened. A good friend of Leo came to visit and brought his girlfriend Mona, who wanted a piece of Leo's art on her skin. This was the birth of the NFT's, as Leo developed Non Fungible Tattoos in the Block Chain Dungeon of Michel and Angelo. From that day on people from all over the world came to get NFT's from Leo or one of his students, like "Skeenee the rat", who controls the NFT machine with his laptop. A new age began.
Fuku-Shiva
The term “Fuku” refers to fortune or good luck. “Shiva” refers to the Hindu deity who represents strongly polar qualities, both severe and delicate. On a beach inspired by adventures on Phi Phi island in Thailand, three youths cavort. Two are representational figures and the third is psychologically rendered. A dynamic relationship ensues between the triad; a reciprocity of active and passive states. The boy on the right engages in maneuvers of evasion, defense, and is dressed in a speedo which reiterates the colors and symbolism of the caution tape on the left and upper right frame of the composition. In concurrent reaction the psychedelic figure shoots out a rocket powered paper airplane. The nude boy seated in the froth and sand approaches in passive repose, and is met with active attention but equal physical reserve by the psychedelic being. Perhaps the most naked figure is also the least representational. Looming large, dynamic, and active, it engages its companions playfully. Various symbols interject into the otherwise naturalistic scene, most notably a beach ball and two contaminated barrels nested in the sand. The upright barrel reads “FukuShima” in Kanji. The barrel laying down reads “Dharma”. To the left the scene is bounded by caution tape, reiterating the danger of the nuclear waste while also hosting alien archetypes, whose presence, as is the nature of these entities, runs up and just behind the consciousness of the psychedelic figure’s eggshell-like skull.
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