The word “digital,” in reference to art, is one that still tends to make many cringe. Though no one really talks about “digital” movies or music at this point, with digital distribution methods dominating their dissemination, art remains an analogue-dominated field. Aside from video (which is only part of the story—more on that below), some other common terms used to describe digital art practices include moving image, multimedia, and new media art. But how do you account for other tech-driven or computer-generated practices that may include 3D-printed sculpture, URLs, or conceptually driven network and programming-based practices? As a broad term, however, “digital” is as useful as it gets—able to describe works that begin and end as computer files, or, alternatively, those that use digital technology as part of their process.
We increasingly encounter videos, animation, 3D-prints, and other digital formats in museums, galleries, and art fairs all over the world. In addition to an ever-growing number of videos and installations at major art-market events, such as Art Basel’s “Statements” section this past summer
, we are now seeing more initiatives worldwide that are digitally themed or are heavy on digital works. These include the recent New Museum Triennial in New York, featuring
’s Oculus Rift installation, “CO-WORKERS – Network as Artist,” currently on view at the Musée d’Art Moderne de la Ville de Paris, and even specialized video and moving-image art fairs such as LOOP
and Moving Image
. Galleries dedicated to digital art and its impact include XPO
in Paris, and bitforms
and Microscope in New York.