Edward Kienholz’s sculpture “The Friendly Grey Computer — Star Gauge Model #54” serves as both the beginning and end of the LACMA exhibit “Coded: Art Enters the Computer Age, 1952-1982.” (Sarah ...

As the gold rush days of the NFT market wane, major auction houses are searching for new ways to cash in. For its part, Sotheby’s is looking even further back into the history of computer art for an ...

“Coded: Art Enters the Computer Age,” an exhibition gathering 100 works that illustrate how artistic practices shifted with the emergence of computer technology beginning in the 1950s, opens at the ...

Should we look at digital, computer-generated artwork in the same way we evaluate performative happenings? Can electronic generative art be interpreted as performance with machines instead of bodies?

At a time when museums and art galleries have closed their doors to art lovers, has the time come for digital art? Art that has been digitised, but also Art that is born digitally, especially video ...

When graphic designer Mike Winkelmann started producing a drawing a day in 2007, he was simply looking for a way to improve his art skills. At best, the resulting “Everydays” project would help him ...

Aurora Mititelu is harnessing computer capabilities to blend technology with traditional art. The design media arts graduate student is specializing in a unique form of digital art that employs ...

NFTs are nonfungible tokens. The adjective “nonfungible” is often used in economics to represent features such as uniqueness and non-interchangeability. In the crypto space, nonfungibility simply ...

In October of last year, Mike Winkelmann, a digital artist who goes by the name Beeple, noticed increasing talk in his online circles about a technology called “non-fungible tokens,” or N.F.T.s.

Kevin and Jennifer McCoy with “Quantum Leap,” a recent digital image offered for sale as an NFT, projected in their home studio in Greenpoint, Brooklyn. When Kevin created one of the first NFTs, it ...

Many art lovers, including me, take it as self-evident that art is best viewed in person and in front of an original work (Locher et al., 1999; Pelowski et al., 2017). Surely, a digital rendition of a ...