The Digital Artists Magazine
Interviews, studio visits, and portfolios of the people making the work — established, emerging, and student.
Jonas Lund's Performance Review (2026) puts an AI agent in charge of human workers who make and explain artworks. It premiered at OFFICE IMPART in Berlin, and an expanded version is part of the Busan Museum of Art's reopening program. A new interview traces the idea back through The Fear of Missing Out, Studio Practice and the Jonas Lund Token.
Most art about quantum computing is art about the idea of quantum computing. Libby Heaney is the exception: she holds a PhD in quantum information science and executes work on actual quantum processors, across video, sculpture, watercolor, AR, and sound. Her 'Shadowscapes (Wilderness Within)' is showing at the Shenzhen Art and Technology Biennale through April 2027.
In 'Seven Worlds of Digital Art,' published September 8, Lev Manovich argues that the category has become useless as a descriptor — a teamLab environment, an Art Blocks algorithm, and a Hito Steyerl video share a substrate and nothing else. His seven worlds each have their own audiences, gatekeepers, and criteria, and success in one confers almost nothing in another.
Genesis Kai, artist Ming Shiu's AI-driven digital persona, works by deliberately resisting what generative models want to produce, using disagreement with the tools themselves as a creative method — the subject of a new interview tied to Kai's latest exhibition, The Crimson Hour, at Seoul's Acel Art Company.
Serpentine's new Future Art Ecosystems R&D Fellowship funds four artists — Alice Bucknell, Reina Mun, Alfredo Salazar-Caro, and Auriea Harvey — with £10,000 and six months each to research how AI is reshaping cultural production, institutions, and authorship.
Dutch artist Jan Robert Leegte has spent three decades treating the internet's own materials — scrollbars, compression artifacts, HTML buttons — as sculptural substance, most recently through a JPEG-compression piece shown at Art Basel.
Layan Srour, a Detroit-based interdisciplinary artist raised in Beirut, processes displacement and memory through electronic music built from Lebanese field recordings — via her duo Taqsim and Jalasat, a monthly community performance series she co-founded with the Arab American National Museum.
What would Las Meninas look like if the light in the room were an eclipse instead of a Madrid afternoon? The Prado's newest project answers that question painting by painting.
MoMA has shown information design as a supporting element in other shows for decades. This is the first time the discipline itself gets to be the whole exhibition.
Both pieces share a premise: art that keeps changing after installation, driven by data or by the audience, rather than a finished object hung on a wall.
Tao Ya-Lun has spent decades building VR and AR work about bodies and machines. His 'ghosts' aren't supernatural — they're political ideology, consumer fantasy, and surveillance, made to feel present in a headset.
Net art usually lives on its own domain. MoMI put it on the museum's actual homepage, where it interrupts anyone buying a ticket — and mirrored each work in an unlikely corner of the building.
What if you could walk through the invisible forces shaping your life — ideology, spectacle, war? Tao Ya-Lun's VR installations try, turning the 'ghosts' of contemporary existence into spaces you move through your own body.
Takashi Murakami's smiling flowers are among the most recognizable images in contemporary art. On July 31 they become trading cards, minting on the Base blockchain — his latest, cost-and-energy-conscious return to Web3.
While much of the art world either celebrates or ignores generative AI, Faith Holland has spent a career poking at the internet's underbelly. Her new show takes AI's 'slop' — its glitches and excess — as the actual subject.
Generative art didn't start with the blockchain — it started with punch cards and plotters. 'Infinite Images' at the Toledo Museum of Art draws the line from Vera Molnár to Tyler Hobbs and makes the lineage impossible to miss.
Before 'generative art' was a movement or an NFT, Manfred Mohr was feeding drawings to a computer-controlled plotter in 1969. Six decades on, the pioneer is still turning algorithms into art — proof of how deep this lineage really runs.
Generative art looking suddenly fashionable because of AI tools makes it easy to forget the practice is nearly six decades old. This exhibition is built specifically to correct that.
Whether or not you buy the premise, Dataland is a real test case for a question every AI-adjacent artist eventually runs into: where did the data come from, and who agreed to that?
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