The Rise of Shiba Inu Coin Shows Crypto’s New Dynamics
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The Rise of Shiba Inu Coin Shows Crypto’s New Dynamics

One coin that has become prominent in the past month seems even more obscure.

By Avi Salzman
Fri, Jun 18, 2021 11:09amGrey Clock 4 min

Much of the cryptocurrency world can feel like an inside joke. One coin that has become prominent in the past month seems even more obscure—like an inside joke about an inside joke.

Shiba Inu coin, created in August 2020 by an anonymous person calling themselves Ryoshi, is billed as an alternative to Dogecoin, which itself was created as a lighthearted option to Bitcoin. Shiba Inu feels as if it was willed into existence, and is now being listed on major crypto exchanges through the power of memes, crowds, persistence—and a cute dog.

website that hosts the coin’s white paper (or rather Woof Paper) calls it “an experiment in decentralised spontaneous community building.” Shiba Inu is built on top of the Ethereum blockchain, like many other coins. By design, each one is worth a minuscule amount—$0.0000078 on Thursday.

It’s like Dogecoin on reverse steroids (each Dogecoin is worth 30 cents, which seems wildly expensive by comparison). The cheaper the coin, the larger the potential community. The market cap of Shiba coin is now about $3 billion, but it climbed over $10 billion last month. It’s the 32nd most valuable cryptocurrency, according to coinmarket.com.

The Woof Paper includes philosophical claims about decentralization that are common in the crypto world—that money and transactions should have no gatekeepers. And, like Dogecoin, it has taken the Shiba Inu—a dog breed from Japan—as its mascot. One tenet of the coin is that the community loves the dogs. Also, it has embraced the title of “Dogecoin killer”.

The founders even gifted 50 trillion of the coins, worth $1 billion at the time, to Ethereum co-creator Vitalik Buterin, who quickly got rid of it by transferring it to a Covid relief fund for India—at which point, Shiba Inu coin briefly plunged 50%.

If this all feels like a trip into a bizarre new world, it’s also shining a spotlight on an emerging trend in crypto and stock-trading. The Shiba website says the community is 520,000 strong and growing, expanding its reach as its memes and philosophy spread on social media. Meanwhile, the crypto world’s gatekeepers are anxious to bring in new users and volume as Bitcoin trading has been relatively weak in recent weeks. Shiba Inu has been listed on major exchanges like Binance.

On Tuesday, Coinbase Global (ticker: COIN) said it would list the coin on its Coinbase Pro platform—generally a precursor for it to be listed for all retail Coinbase users. In addition, Shiba fans started a petition to try to convince brokerage app Robinhood to list Shiba Inu coin. As of Thursday, it had 156,000 signatures.

A Robinhood spokesperson said the company had no comment on the petition. In a previous Reddit discussion, Robinhood Crypto Chief Operating Officer Christine Brown wrote, “We’re always looking into which coins to add to Robinhood Crypto, but for security and compliance reasons we can’t talk about which ones we’re looking into adding.”

There has already been a glitch in Coinbase’s adoption of Shiba Inu coin. It was supposed to start trading on Thursday, but “technical issues” have delayed the launch. Users can withdraw Shiba but can’t deposit it, according to a Coinbase spokesperson. “We will provide an updated timeline for restoring deposits & enabling trading as soon as possible,” she wrote. She did not respond to a follow-up question on what technical issues were causing the problems.

In recent years, Coinbase has been seen as an important gatekeeper in the crypto universe, and coins have tended to spike in value when they get listed on the platform. On Tuesday, Shiba Inu coin jumped more than 30% after the announcement.

Asked about why Coinbase listed Shiba Inu coin, the spokesperson wrote that “we want to be the Amazon of crypto where people can find and buy the assets they want and as part of this, our aim is to list every legally permissible asset possible.”

In its latest earnings report, Coinbase said that the company was concerned about customers going to other platforms if Coinbase doesn’t offer certain coins. It quickly listed Dogecoin after the earnings call, and has been expediting the listing process, giving coin-creators and users new ways to apply for listings. The company says it’s still holding on to high standards for the new coins, however.

“We are confident that based on the information we have access to, that assets available on our platform are appropriate for retail customers,” the spokesperson wrote.

As their strategies shift and they list more coins, the exchanges are likely to become less important gatekeepers in the crypto world, according to Matt Hougan, chief investment officer of crypto fund provider Bitwise Asset Management.

“The days when Coinbase adding an asset to its platform was an implicit stamp of approval are over,” he wrote in an email to Barron’s. It should now be thought of as a platform that “will trade anything that meets its listing standards.”

In general, that’s a good thing. In the traditional investing world, brokers like Charles Schwab (SCHW) play a similar role—offering access, but not necessarily approval. “You can buy some amazing stocks on Schwab, and you can buy some absolute dogs (no pun intended),” Hougan wrote. “We don’t assume Schwab is evaluating the investment merit of every stock that trades on its platform.”

Given the shift, however, it’s even more important for investors to “do your own homework and know what you’re buying, or you should turn to professional crypto asset managers to evaluate exposures for you.”

 

Reprinted by permission of Barron’s. Copyright 2021 Dow Jones & Company. Inc. All Rights Reserved Worldwide. Original date of publication: June 17, 2021



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Wealthy Collectors Reveal Signs of Strength in the Art Market—Outside of the Auction Houses
By ABBY SCHULTZ
Fri, Nov 1, 2024 5 min

Sky-high pricey artworks may not be flying off the auction block right now, but the art market is actually doing just fine.

That’s a key takeaway from a 190-plus page report written by Art Economics founder Clare McAndrew and published Thursday morning by Art Basel and UBS. The results were based on a survey of more than 3,600 collectors with US$1 million in investable assets located in 14 markets around the world.

That the art market is doing relatively well is backed by several data points from the survey that show collectors are buying plenty of art—just at lower prices—and that they are making more purchases through galleries and art fairs versus auction houses.

It’s also backed by the perception of a “robust art market feeling,” which was evident at Art Basel Paris last week, says Matthew Newton, art advisory specialist with UBS Family Office Solutions in New York.

“It was busy and the galleries were doing well,” Newton says, noting that several dealers offered top-tier works—“the kind of stuff you only bring out to share if you have a decent amount of confidence.”

That optimism is reflected in the survey results, which found 91% of respondents were optimistic about the global art market in the next six months. That’s up from the 77% who expressed optimism at the end of last year.

Moreover, the median expenditure on fine art, decorative art and antiques, and other collectibles in the first half by those surveyed was US$25,555. If that level is maintained for the second half, it would “reflect a stable annual level of spending,” the report said. It would also exceed meet or exceed the median level of spending for the past two years.

The changes in collector behaviour noted in the report—including a decline in average spending, and buying through more diverse channels—“are likely to contribute to the ongoing shift in focus away from the narrow high-end of sales that has dominated in previous years, potentially expanding the market’s base and encouraging growth in more affordable art segments, which could provide greater stability in future,” McAndrew said in a statement.

One reason the art market may appear from the outside to be teetering is the performance of the major auction houses has been pretty dismal since last year. Aggregate sales for the first half of the year at Christie’s, Sotheby’s, Phillips, and Bonhams, reached only US$4.7 billion in the first half, down from US$6.3 billion in the first half a year ago and US$7.4 billion in the same period in 2022, the report said.

Meanwhile, the number of “fully published” sales in the first half reached 951 at the four auction houses, up from 896 in the same period last year and 811 in 2022. Considering the lower overall results in sales value, the figures imply an increase in transactions of lower-priced works.

“They’re basically just working harder for less,” Newton says.

One reason the auction houses are having difficulties is many sellers have been unwilling to part with high-value works out of concern they won’t get the kind of prices they would have at the art market’s recent highs coming out of the pandemic in 2021 and 2022. “You really only get one chance to sell it,” he says.

Also, counterintuitively, art collectors who have benefited from strength in the stock market and the greater economy may be “feeling a positive wealth effect right now,” so they don’t need to sell, Newton says. “They can wait until those ‘animal spirits’ pick back up,” referring to human emotions that can drive the market.

That collectors are focusing on art at more modest price points right now is also evident in data from the Association of Professional Art Advisors that was included in the report. According to APAA survey data of its advisors, if sales they facilitated in the first half continue at the same pace, the total number of works sold this year will be 23% more than 2023.

Most of the works purchased so far were bought for less than US$100,000, with the most common price point between US$25,000 and US$50,000.

The advisors surveyed also said that 80% of the US$500 million in transactions they conducted in the first half of this year involved buying art rather than selling it. If this pattern holds, the proportion of art bought vs. sold will be 17% more than last year and the value of those transactions will be 10% more.

“This suggests that these advisors are much more active in building collections than editing or dismantling them,” the report said.

The collectors surveyed spend most of their art dollars with dealers. Although the percentage of their spending through this channel dipped to 49% in the first half from 52% in all of last year, spending at art fairs (made largely through gallery booths) increased to 11% in the first half from 9% last year.

Collectors also bought slightly more art directly from artists (9% in the first half vs. 7% last year), and they bought more art privately (7% vs. 6%). The percentage spent at auction houses declined to 20% from 23%.

The data also showed a shift in buying trends, as 88% of those polled said they bought art from a new gallery in the past two years, and 52% bought works by new and emerging artists in 2023 and this year.

The latter data point is interesting, since works by many of these artists fall into the ultra contemporary category, where art soared to multiples of original purchase prices in a speculative frenzy from 2021-22. That bubble has burst, but the best of those artists are showing staying power, Newton says.

“You’re seeing that kind of diversion between what’s most interesting and will maintain its value over time, versus maybe what’s a little bit less interesting

and might have had speculative buying behind it,” he says.

Collectors appear better prepared to uncover the best artists, as more of those surveyed are doing background research or are seeking advice before they buy. Less than 1% of those surveyed said they buy on impulse, down from 10% a year earlier, the report said.

Not all collectors are alike so the Art Basel-UBS report goes into considerable detail breaking down preferences and actions by individuals according to the regions where they live and their age range, for instance. The lion’s share of spending on art today is by Gen X, for instance—those who are roughly 45-60 years old.

Despite a predominately optimistic view of the market, of those surveyed only 43% plan to buy more art in the next 12 months, down from more than 50% in the previous two years, the report said. Buyers in mainland China were an exception, with 70% saying they plan to buy.

Overall, more than half of all collectors surveyed across age groups and regions plan to sell, a reversal from past years. That data point could foretell a coming buyer’s market, the report said, or it “could be indicative of more hopeful forecasts on pricing or the perception that there could be better opportunities for sales in some segments in the near future than there are at present.”

In the U.S., where 48% of collectors plan to buy, Newton says he’s seeing a lot of interest in art from wealth management clients.

“They’re looking for ideas. They’re looking for names of artists that can be compelling and have staying power,” Newton says. “That’s definitely happening from an optimistic standpoint.”

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