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

 

26.11.17
Regionale 18: Silicon Is a Grey Crystal, HeK Basel

HeK - Regionale 18: Silicon Is a Grey Crystal
November 26, 2017 to December 30, 2018

 

11.11.17
Beautiful New Worlds. Virtual Realities in Contempora Art, Zeppelin Museum Friedrichshafen

Beautiful New Worlds. Virtual Realities in Contempora Art
Zeppelin Museum Friedrichshafen

November, 11. to April, 8. 2018

 

08.11.17
Electronic Superhighway (1966-2016) MAAT, Lisboa

Electronic Superhighway (1966-2016) MAAT, Lisboa
November 08, 2017 to March 19, 2018

 

20.10.17
Open Codes - Living in Digital Worlds, ZKM Karlsruhe

Open Codes - Living in Digital Worlds, ZKM Karlsruhe

October 20, 2017 to August 5, 2018

 

19.10.17
'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

 

22.09.17
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




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...