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Dave Krugman’s latest creative brainchild has taken over the timeline with a potent combination of performance art marketing and grassroots community support.
The ALLSHIPS founder and artist launched “DRIVE” Lap 2 yesterday (Aug. 15), the highly anticipated sequel to his popular 2021 photography collection. Featuring 333 automobile NFTs offered in 24-hour auctions, the gamified project expands upon its predecessor’s universe, integrating elements of performance, interactivity, and storytelling into a compelling narrative that aims to engage both existing collectors and newcomers alike.
Krugman has doubled down on dramatization by embracing a huckster used car salesman alter ego and bringing impressive attention to detail to every aspect of the project, from grainy videos, wheatpaste posters, and vintage web design to an AI-powered phone hotline where fans can leave messages to be included in the marketing. In a market climate where memecoins have stolen attention and liquidity from NFTs, the full-court press is a refreshing reminder that creativity can still cut through the noise.
However, the project represents more than just car photography and slick character-building. DRIVE Lap 2 is also the latest installment in what Krugman calls the “ring theory of community value,” a thoughtful strategy of expanding web3 collections to welcome new participants while still accruing value back to his early supporters.
On this week’s Art as Alpha Twitter Space, we caught up with Dave Krugman to learn everything about “DRIVE” Lap 2 and his eclectic vision for the project.
Matt Medved: The first “DRIVE” collection was one of the seminal photography collections during the 2021 bull run. How are you building on it for “DRIVE” Lap 2?
Dave Krugman: I often hear nostalgia for the 2020 and 2021 “glory days” of NFTs and questions about whether we’ll ever return to those times. It’s a ridiculous mental anchor because back then, there was a massive speculation bubble—a Bored Ape should never have been $500,000; that valuation made no sense. But now, when people wonder if NFTs or blockchain art are dying, I see it differently. This is the new reality, and I much prefer building in this environment over just riding waves of speculation and gambling.
These quieter times allow for more meaningful activities like world-building. I’m inspired by other artists like Sam Spratt and Cath Samard, who is releasing a children’s book with a token attached. There’s so much more interesting work happening now without the rampant speculation.
“In a less hyped market, you have to put in extra effort, involve people in the story, and participate in the process.”
DAVE KRUGMAN
It’s been three years since our original collection launched, and it set me up for success. “DRIVE” Lap 2 has been more artistically fulfilling as I can dive into the details and explore how far we can take this. In a less hyped market, you have to put in extra effort, involve people in the story, and participate in the process.
For example, we set up a hotline (1-833-MINT-A-CAR) where callers can leave messages; we’ve even created a comedy sketch played by AI on voicemail. We’ve received over 100 messages, some of which are hilarious. We’re using these voicemail transcriptions, overlaying them on images, and sharing them on Twitter, directly involving fans in the project.
Art on the internet, especially on blockchain, allows for interactive, community-involved processes. “DRIVE” also includes a gamified photography contest, enhancing interaction. This level of community involvement deepens appreciation for the project, moving the needle for artists in a challenging market. That’s my perspective on “DRIVE” Lap 2.
You’ve really pulled out all the stops and leaned into performance art in marketing this drop. What inspired that?
I love sketch comedy shows like “I Think You Should Leave,” and others. I’ve always wanted to do an open mic or perform somehow but stayed behind the camera. This time, I committed fully to this bit since we’re taking production seriously with a 10-person team. Shout out to Oveck, Benny, Maria, Shannon, and my team at ALLSHIPS for being amazing.
I wrote all the scripts, we did improv, recorded 100 takes, and built entire decks of inspiration, ensuring if we did it, we would do it right. Filming felt like running a movie production, which was more fun than I imagined. I really got into character, slipping on glasses, tying my tie, and playing up the ironic angle—like questioning why anyone would buy a physical car when you can own a picture of one.
We looked at vintage car commercials and early SNL episodes to nail the authenticity of taking this seriously. While it might not be the funniest thing ever, within our context, we did well, and it’s enjoyable. I’ve received texts saying how funny this project is, which shows people appreciate the humor, or perhaps they think I’m out of my mind. But art should be fun, an anchor for fulfilling experiences, a celebration of humanity and creativity, and the support for art. We’ve also created GIFs as Twitter reactions, which we added on Giphy, enhancing brand affinity and character recognition. Blockchain empowers artists to build long-term ideas. This project’s self-generated funding allows me to invest in these creative endeavors, making me feel empowered by this technology.
I want other artists to embrace this—commit fully because everyone we admire is just winging it too. Everyone is anxious and worried, but your ideas are valid. The worst thing could be it didn’t go as planned, but the best could surpass your expectations. So, I encourage artists to just do things and dive into their ideas because you never know where they might lead. Even this, the ALLSHIPS house, has unlocked levels of fun and depth I never anticipated. So to all artists, just do it. The worst outcome is that you tried, but the best is yet to come.
Walk us through the drop and its dynamics for Lap 1 holders and those who are new to the project.
For “DRIVE” Lap 1 holders, we’ve created a special section called “Talk to a Manager,” leaning into the lore. Holders can access a unique part of the website offering 33 cars at very low auction prices, around 0.042 ETH. Since some holders may not be actively engaged, these auctions could be steals, as you’re only bidding against a few others. For the public sale, we’re setting auction reserves at 0.069 ETH. I’m curious to see how pricing them low allows the market to determine their value. Previously, I priced another project at 0.069 ETH and it gained momentum, selling for an average of 3.5 ETH per frame.
I prefer setting a minimum price as it feels healthier for me mentally than directly asking for money. The “DRIVE” Lap 1 floor has generally been high, so we’re making these new offerings very accessible. Those interested should be ready to bid at 420 tomorrow, and I anticipate it won’t be overly competitive. We’re also running giveaways, including one for the funniest voicemail left at 1-833-MINT-A-CAR and another for DRIP DROP holders, along with other contests over the next 24 hours. We aim to make participation easy and rewarding.
As in “DRIVE” Lap 1, we have a section for what we call trophy cars, which are not for sale. These 20 unique cars can only be acquired by competing in creative contests where participants take a picture in the style of “DRIVE.” The winners receive one of these coveted trophy cars, making for a fun and engaging experience.
How are you thinking about the gamified elements of “DRIVE” now that you’re adding a new stable of cars to the collection?
I’m continuing to develop some really fun projects, like a race on Google Maps styled like a Grand Prix, complete with Easter eggs embedded along a road trip route. This leverages the power of tokens to incentivize various behaviors. For example, tokens from Lap 1, which still sell for around an ETH, can encourage not only creative but also benevolent actions. I envision races where the winner is the person who performs the kindest act for someone in their community. This approach extends beyond just photo contests to challenges that reflect life and human experiences.
Keep an eye on what we’ll do with the Lap 2 tokens. We still have eight trophies from Lap 1, which I’ve reserved to continuously draw attention back to the project. I advise all artists minting work to retain some of their tokens; they’re versatile and can be used to motivate people to engage in innovative activities. Initially, when I held back 20 tokens from “DRIVE” Lap 1, it was a tentative idea. However, this strategy has far exceeded my expectations and fundamentally changed how I view art on the blockchain.
How do you strategically release collections to expand your holder base while also driving value to your original collectors?
It’s an interesting time to discuss the web3, social, free mint meta, where the notion is that mints should be free and artists should earn from protocol fees, becoming more like meme coins. While I don’t fundamentally disagree, it’s crucial to remember the established laws of supply and demand when building a micro-economy around art. I think about art creation very slowly; I’ve never done a full open edition because, although lucrative, it doesn’t foster long-term engagement. Maintaining a slight imbalance where your work is just out of reach for some but attainable for others helps sustain interest and community energy.
“Maintaining a slight imbalance where your work is just out of reach for some but attainable for others helps sustain interest and community energy.”
DAVE KRUGMAN
For instance, when “DRIVE” Lap 1 tokens become scarce or the “DRIP DROP” floor thins out, it signals a need to increase supply to meet pent-up demand. I typically release new works about once a year, which might seem infrequent, but this strategy allows me to sustain myself until the next drop. This careful management ensures not too many tokens are in circulation, which can dilute value.
Last year, I dropped “DRIP DROP,” a 1,000-piece collection, during a tough market, but it sold out in a day because it was timely—the market demanded more. I feel a similar moment now; it’s time to expand my offerings to bring in more invested advocates, a term I prefer over collectors. This aligns incentives: holders promote my work and engage directly in sales, benefiting us both. NFTs serve as an excellent mechanism for aligning incentives, and experimenting with this has been rewarding.
What insights or advice are you hearing from the artist community about navigating the current web3 market?
I think there’s significant frustration in the market due to the unrealistic expectations set in 2021, which is why I started ALLSHIPS—to diversify interests and revenue streams as a full-time artist, rather than solely relying on minting and selling work. To other artists, I recommend diversifying; it helps not only with your art but also with building community, which is foundational to value. Artists good at community building and networking are the ones likely to thrive during downturns.
“Regardless of how these auctions turn out—whether there’s enough market liquidity or if it ends up a flop—we’ve put our all into this project.”
DAVE KRUGMAN
Additionally, I’ve noticed a lot of complaints online. Instead of just criticizing, we should strive to improve things. If you’re dissatisfied with the market or think creative ideas are lacking, then take the initiative to build what you want to see. It’s up to us to fight for and create the tokenized art world we envision—it won’t just happen on its own. Think about those who started in 2018-2020, who minted and sold for little, believing in an idea. We’re now standing on the shoulders of giants, and it’s our turn to shape the market.
Regardless of how these auctions turn out—whether there’s enough market liquidity or if it ends up a flop—we’ve put our all into this project. We’ve built the world we wanted and created an art project we believe in. If we’ve set an example of what’s possible when you commit fully to an idea and people enjoyed it, even just for a few weeks, then I’d consider it mission accomplished. That’s my perspective right now.
Editor’s note: This interview transcript has been edited for concision and clarity.
