About Us

Digital Art Museum is an online resource for the history and practice of digital fine art.

Featured Artist

Casey Reas
As an artist, Reas employs ideas explored in conceptual and minimal artworks as focussed through the contemporary lens of software.

Early Selection

Works from the 1960s in the USA and Europe

News for you


'Algorithmic Signs’ Istituzione Fondazione Bevilacqua La Masa, Venice

Istituzione Fondazione Bevilacqua La Masa presents “Algorithmic Signs” at the gallery’s Venice venue.

October 19, 2017 - December 3, 2017


Bonner Kunstverein: The Policeman´s Beard is Half Constructed

The Policeman´s Beard is Half Constructed: Art in the Age of Artificial Intelligence
22 September to 19 November 2017


Los Angeles Center for Digital Arts

Electron Salon

September 14 October 7, 2017


ZKM | Zentrum für Kunst und Medien: The Art of Immersion

ZKM | Zentrum für Kunst und Medien: The Art of Immersion

September 09, 2017 to January 28, 2018


unREAL. The Algorithmic Present

The group show at HeK, Basel examines the complexity of our digital age and presents the often hidden materiality of the bits and bytes by means of 24 works.


Immersion programme at the Berliner Festspiele

The “Immersion” programme at the Berliner Festspiele will present works of art, which occupy the grey zone between exhibition and performance in digital sphere.

Explore by Artist


Yoshiyuki Abe *1947; Japan


Steve Bell *1955, UK


Paul Brown *1947; UK / Australia


Casey Reas *1972; USA


Harold Cohen *1928; UK


Charles Csuri *1922; USA


Ernest Edmonds *1942, UK


David Em *1952; USA


James Faure-Walker *1948; UK


Herbert W. Franke *1927; Austria / Germany


Jeremy Gardiner RCA *1957; UK


Laurence Gartel *1956; USA


Sue Gollifer *1944; UK


Jean-Pierre Hébert *1939; France / USA


Lynn Hershman Leeson *1941, USA


Yoichiro Kawaguchi *1952; Japan


Mike King *1953; UK


Kenneth Knowlton *1931; USA


Ben F. Laposky 1914-2000; USA


William Latham *1961; UK


Ruth Leavitt *1944; USA


Gerhard Mantz *1950; Germany


Manfred Mohr *1938; Germany / USA


Vera Molnar *1924; Hungary / France


Frieder Nake *1938; Germany


Georg Nees *1926; Germany


Barbara Nessim *1939, USA


A. Michael Noll *1939; USA


Lillian Schwartz *1927; USA


Rejane Spitz *1956; Brazil


Olga Tobreluts *1970; Russia


Joan Truckenbrod *1945, USA


Roman Verostko *1929; USA


Norman White


John Whitney Senior 1918-1996


Mark Wilson *1943; USA


Edward Zajec * 1938; Italy / USA

Timelines by Era and Artist

Featured Essay Herbert W Franke

The New Visual Age: The Influence of Computer Graphics on Art and Society
Only a few years ago it would have seemed ridiculous to discuss the influence of computer graphics on art and society. Although computer-generated graphics had already been applied in important areas of science and technology, its influence was not yet felt in the arts or in society at large. Those few who used the computer as an artistic instrument were regarded as outsiders: with their freelance experiments they deviated from the solid ground of strictly defined tasks, but on the other hand found no approval in artistic circles. One of the causes for this lack of approval may have been that they did not submit to the frequently changing fashions which are prevalent in today's visual arts. Rather, they were, at least in the beginning when searching for motifs, guided by mathematical and geometrical aspects. The fact that they succeeded in opening up a largely unknown realm of graphically attractive forms went unheeded by the critics.

At the beginning of its development it was to be expected that the artistic forms of computer graphics would be integrated into the fine arts, but the latest situation leads one to conclude that computer art will develop into a new

field of aesthetically-oriented activity which can neither be classified as part of the existing classical branches of art, nor must it be recognized as art at all. Thus a new profession could emerge as was the case with photography and cinematography. Some parallel developments may result: the latter are, like computers, technical media which permit the realization of artistic goals with unprecedented perfection, using, however, realistic pictures as objects. Such questions which are now being posed in reference to computer art are concerned with more formal aspects: they decide which channels of communication will be accessible to this new field of creativity, which section of the public it will appeal to, how quickly it will spread, and what institutions will be responsible for educating students in this field...