The Digital Artists Magazine
Interviews, studio visits, and portfolios of the people making the work — established, emerging, and student.
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?
No tool reviews in Digital Artists yet.