With over 20 years of experience in digital art, I am happy to help you build your collection – from early pioneers to today’s innovators. From Vera to Harm, from Rafaël to Manfred. Send me a DM if you're looking for a specific work of art!

Thirty years after @Rhizome began, the central question of internet art remains remarkably open: how do you preserve a medium built on obsolescence, instability and perpetual change? A thoughtful conversation between @michael_connor and Ben Davis @artnet on the past and uncertain future of website art. news.artnet.com/multimedia/r… #InternetArt #Rhizome #DigitalArt #NetArt

A 1920 Piet Mondrian's Composition III (Komposition No. XIII). Just hammered at @ChristiesInc London for GBP 25,235,000. Juxtaposed with a 2022 Casey Reas' CENTURY-XXX-METAFRANKE #934 available for less than 20 GBP; minted as tribute to Herbert W. Franke “In Honor of the Dinosaur of Computer Art”

A former monk who turned his Minneapolis studio into an “electronic scriptorium.” Roman Verostko (1929–2024) wrote his own code to drive pen plotters and produced algorithmic drawings that fuse pure form, controlled chance, and the logic of illuminated manuscripts, often finished by hand with gold leaf. As co-founder of the Algorists, he treated the algorithm as both score and visual scripture.

🖥️ @annespalter ’s digital work carries a painter’s eye into technological landscapes. Places that feel both familiar and slightly impossible. She once described working with digital video as feeling more like painting than working with oils, with composition and colour remaining central. From her digital work in the early 1990s to later experiments with AI, her fascination with the modern landscape has remained a connecting thread. Across her practice, highways and technological structures sit alongside science fiction imagery, surreal desert forms, and mythic animals: worlds where nature and technology seem to merge. It’s digital art that still thinks in the language of landscape painting, just with more portals.

A focus and important exhibition! Featuring over 50 works by influential artist Vera Molnar and contemporary practitioners, this display explores how Molnar’s early experiments with computers and algorithmic thinking continues to resonate with digital art today @harmvddorpel #veramolnar #digitalartㅤ

Vera Molnár in 2008: "It was not until 1962 or 1963 that I sold my first screenprint. My works are not easily accessible. Geometric-abstract art is not something one can immediately hang above the fireplace. Some people thought that perhaps there was a hidden truth in my works."

Every artist who has ever sat behind a screen wondering if their pixels, code, or digital canvasses held the same weight as paint and stone—this is the answer. This moment isn’t just a personal triumph for the late @vera_molnar_official ; it’s a seismic shift. Congrats @V_and_A

"Degrees of Disruption: Vera Molnár at the V&A" by Peter Bauman @monkantony_tez Bauman on Vera Molnár at the V&A + the link from handmade algos → computer algos → models 🎮 Includes 2 playable demos 🎮 📐 lerandom.art/editorial/degre…📐 Mentions: @V_and_A @harmvddorpel @mattdesl @zachlieberman @soficrespo91 @entangledlight @Licia_He @reas @williamapan @_chenglou @michaelspalter @spalterdigital

At Museum Folkwang for the opening of Herbert W. Franke / Gottfried Jäger: Art and Construction. A special evening celebrating two pioneers and a remarkable artistic dialogue! @HerbertWFranke

First it went slowly. For decades Vera Molnar worked with her machine imaginaire, then with actual computers and plotters, quietly building one of the foundational practices of algorithmic art while major institutions mostly looked the other way. Then it’s happening all at once. As @michaelspalter noted: the canon has shifted. Algorithmic code now stands beside paint and stone.

'Degrees of Disruption' opens at @V_and_A this Friday with over 50 works. Vera Molnar was making art with algorithms in the 1960s, long before 'generative art' had a name. The show explores how these early experiments still resonate with digital art today, ft @REAS, @Licia_He, @harmvddorpel and @williamapan!

Vera Molnár in 2019: "It's not to say 'anything can be art'. On the contrary. [Randomness] helps me to better find what I like...  thanks to all this technology that we can get very close to what we have imagined, that we might not have found otherwise."

No software. No plotter. Electronic signals, light, and a camera. In the mid 1950s, @HerbertWFranke used an analog computer and an oscilloscope to create luminous forms, photographing them directly from the screen. An early experiment in computer art and still one of the purest. @HerbertWFranke @Foundation_HWF

🔥 @TaborRobak is one of the defining artists of digital art today. His installations and generative works sit in the permanent collections of MoMA, the Met & the Whitney. With Smokers Paradise he returns to pure still image form: unique, hyper saturated compositions in which crystal fruit bowls, anime fragments and painterly explosions collide.

54% of Surveyed Collectors own Digital Art.

The most rewarding part of a sale often happens before the sale. It’s the moment someone slows down, asks questions, and starts seeing the work differently. With digital art especially, collecting doesn’t begin with a purchase. It begins with attention.

Digital Art Shows to See in London During #FriezeWeek. From Vera Molnar at the V&A South Kensington to Somerset House Studios’ anniversary presentation "3 Evenings" at Wapping Wall, the UK capital is home to a wide variety of art made with technology rightclicksave.com/article/d…

Digital art’s future was already taking shape in its earliest experiments. The Spalter Digital Art Collection at RISD preserves that history and invites us to imagine what might come next. This is really great. @michaelspalter @annespalter #DigitalArt #GenerativeArt #RISD