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Journal articles on the topic 'Digital art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

BENTKOWSKA KAFFEL, ANNA. "Digital Art." Art Book 15, no. 3 (2008): 6–7. http://dx.doi.org/10.1111/j.1467-8357.2008.00970.x.

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2

Ikeda, Ryoji. "Digital Art." World Policy Journal 27, no. 3 (2010): 38–39. http://dx.doi.org/10.1162/wopj.2010.27.3.38.

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3

Prince, Patric D. "Digital art." ACM SIGGRAPH Computer Graphics 29, no. 4 (1995): 30–31. http://dx.doi.org/10.1145/216876.216884.

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4

Sungkar, Anna. "Digital Art." Dekonstruksi 9, no. 02 (2023): 32–41. http://dx.doi.org/10.54154/dekonstruksi.v9i02.143.

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Kunci sukses dalam berkesenian di era milenial adalah bagaimana kita dapat beradaptasi dalam teknologi digital yang berbasiskan komputer dan internet. Dengan bantuan teknologi, kita dapat menghasilkan karya-karya kreatif yang melebihi kemampuan manual manusia. Tulisan ini memberikan gambaran tentang sejarah perkembangan karya-karya digital dan kiat sukses para senimannya dalam menancapkan tonggak pada milestone senirupa digital. Hal itu dapat menjadi bahan pelajaran bagi yang berkecimpung dalam senirupa di masa kini. Pada bagian akhir, penulis mencoba memberikan formula bagaimana sikap dalam m

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5

Dr, Avinash Dube. "DIGITAL TECHNIQUES AND ART." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 89–91. https://doi.org/10.5281/zenodo.3585068.

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Modern age is a digital age. Digitalization is improving the things in all sectors. In electronics digital instruments are replacing conventional analog instruments giving precession and accuracy. Teaching learning methods are greatly improved due to incorporation of digital technology. Life style of common people is also changing due to digital tranjections, online shopping, online banking etc. The field of art and painting is also influenced by digital techniques available now a day. With emergence of new tools and techniques the art of painting is gaining new shapes. Digital technical skill

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6

Ambrose, Kirk. "Digital Art History." Art Bulletin 97, no. 3 (2015): 245. http://dx.doi.org/10.1080/00043079.2015.1013401.

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7

Baca, Murtha, Anne Helmreich, and Melissa Gill. "Digital Art History." Visual Resources 35, no. 1-2 (2019): 1–5. http://dx.doi.org/10.1080/01973762.2019.1556887.

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8

Singh, G. "Digital Art Revolution." IEEE Computer Graphics and Applications 25, no. 2 (2005): 4–5. http://dx.doi.org/10.1109/mcg.2005.39.

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9

Varnava, Christiana. "Digital art projected." Nature Electronics 2, no. 1 (2019): 8. http://dx.doi.org/10.1038/s41928-018-0192-z.

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10

Ortegren, Hans, and Anders Marner. "Education Through Digital Art About Art." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 1, no. 2 (2015): 241–60. http://dx.doi.org/10.21608/amesea.2015.71175.

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11

Marner, Anders, and Hans Örtegren. "Education through digital art about art." International Journal of Education Through Art 10, no. 1 (2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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12

Denikin, Anton A. "Post-Digital Aesthetics in the Art Practices of the Digital Art." Observatory of Culture 14, no. 1 (2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.

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13

Gasimzada, Rashad, and Adil Asadov. "Digital Art in the Context of Digital Environment." Metafizika Journal 8, no. 1 (2025): 154–63. https://doi.org/10.33864/2617-751x.2025.v8.i1.154-163.

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Digital art examines the transformation of traditional art forms into new modes of expression through digital technologies. The article analyzes the impact of the digital environment on contemporary art, how creators benefit from this medium, and how art evolves into new forms in conjunction with technology. Unlike traditional art forms, digital art provides artists with the opportunity to create visual expressions through “zeros and ones.” In this environment, they can realize their ideas more conveniently, and the resulting artworks become more accessible to people. The digital environment o

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14

Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The con

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15

Dr., Anshu Srivastava. "DIGITAL ART: A REVOLUTIONARY FORM OF ART & VISUAL COMMUNICATION." International Journal of Research - Granthaalayah 7, no. 12 (2019): 83–88. https://doi.org/10.5281/zenodo.3585064.

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In this age of technology our life revolves around 2D; 3D images & graphics. Creativity has now crossed all the limits it can’t be restricted to brush and canvas. With the advent of various innovative software’s designing is on the bloom and art become flawless. Digital art is harmony with good knowledge of design software enables us enter into the digital media industry. Today when everything around us become digitalized, the art are taking this step toward the digital world as well. The digital art is a most accepted form of art in the contemporary Indian art. This revolution

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16

Dube, Avinash. "DIGITAL TECHNIQUES AND ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 89–91. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3706.

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Abstract:

Modern age is a digital age. Digitalization is improving the things in all sectors. In electronics digital instruments are replacing conventional analog instruments giving precession and accuracy. Teaching learning methods are greatly improved due to incorporation of digital technology. Life style of common people is also changing due to digital tranjections, online shopping, online banking etc. The field of art and painting is also influenced by digital techniques available now a day. With emergence of new tools and techniques the art of painting is gaining new shapes. Digital technical

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17

Adaskina, A. A. "Digital Art Therapeutic Possibilities." Современная зарубежная психология 10, no. 4 (2021): 107–16. http://dx.doi.org/10.17759/jmfp.2021100410.

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The discussion about the advisability of using digital technologies in the process of art therapy has been going on for several decades, but now it has become even more relevant in connection with the covid 19 pandemic and the need to provide remote psychological assistance to different groups of the population. The purpose of the article is to review foreign studies that reflect different ways of including digital technologies in art therapy work, an overview of specific examples of successful work using digital technologies (phototherapy, animation therapy, digital art, virtual reality tools

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18

Youngwook Park. "Digital Art and Body." Drama Research ll, no. 44 (2014): 5–31. http://dx.doi.org/10.15716/dr.2014..44.5.

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19

Singh, Gary. "Electrifying Digital Abstract Art." IEEE Computer Graphics and Applications 35, no. 2 (2015): 4–5. http://dx.doi.org/10.1109/mcg.2015.27.

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20

Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the t

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21

Fisher, Michelle Millar, and Anne Swartz. "Why Digital Art History?" Visual Resources 30, no. 2 (2014): 125–37. http://dx.doi.org/10.1080/01973762.2014.908098.

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22

Boqiao, Wang. "Digital art in China." Technoetic Arts 10, no. 2 (2012): 145–49. http://dx.doi.org/10.1386/tear.10.2-3.145_7.

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23

Nash, Adam. "Art imitates the Digital." Lumina 11, no. 2 (2017): 110–25. http://dx.doi.org/10.34019/1981-4070.2017.v11.21441.

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Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in

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24

Trimarchi, F., E. Martino, and L. Bartalena. "Acromegaly in digital art." Journal of Endocrinological Investigation 42, no. 11 (2019): 1387–88. http://dx.doi.org/10.1007/s40618-019-01049-y.

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25

Shin, Jun-Hyouk. "Waiting for Digital Art - digital vs analogue." Journal of the Korean Academy of Esthetic Dentistry 22, no. 1 (2013): 22–29. http://dx.doi.org/10.15522/kist.2013.22.1.022.

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26

Innocenti, Perla. "Preventing Digital Casualties: An Interdisciplinary Research for Preserving Digital Art." Leonardo 45, no. 5 (2012): 472–73. http://dx.doi.org/10.1162/leon_a_00448.

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There are practical problems associated with documentation, preservation, access, function, context and meaning of digital art. How do we care for similar works, and which are the theoretical and methodological challenges for curating and preserving digital art? Upon an ongoing case-based investigation of current digital and media art conservation practices at leading international museums, The author investigates how conservation for digital art could benefit from interdisciplinary synergies with Digital Preservation, Art Theory, and Information Management. A longer version of this paper enti

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27

Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attributi

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28

Sandberg, Yorick, Bart A. van de Wiel, and Esther van Meerten. "Digital Acrometastasis." Arthritis & Rheumatology 67, no. 5 (2015): 1410. http://dx.doi.org/10.1002/art.39053.

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29

van der Meulen, Sjoukje. "Going Digital? New Media and Digital Art at the Stedelijk." Arts 8, no. 3 (2019): 97. http://dx.doi.org/10.3390/arts8030097.

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The Stedelijk Museum in Amsterdam, The Netherlands, has an extensive collection of time-based media art from the 1960s onwards, which has been expanded into the digital field in recent decades. The Stedelijk makes an interesting case study for this special issue on “Art Curation: Challenges in the Digital Age,” because it has had a reputable history of dealing with time-based art since the mid-1970s but presently faces the same challenges with regard to curating and collecting digital art as other museums of modern art. The Stedelijk’s history began in 1974, when the first curator for time-bas

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30

Kulkarni, Samarth. "Interactive Digital Art Gallery: A Virtual Experience and Digital Archive for Indigenous Art." International Journal for Research in Applied Science and Engineering Technology 13, no. 3 (2025): 3434–40. https://doi.org/10.22214/ijraset.2025.68095.

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Interactive Digital Art Gallery is an innovative platform redefining how art is experienced, shared, and monetized in the digital era. It creates an immersive virtual space where artists can showcase and sell their work. These technologies enhance engagement by offering personalized recommendations and lifelike visualizations of artworks in various environments. With real-time interaction, secure blockchain-based ownership verification, and seamless transactions, the platform ensures authenticity and transparency in art sales. Users can curate their own virtual galleries, participate in live e

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31

Bury, Stephen. "Digital dimensions revisited." Art Libraries Journal 46, no. 2 (2021): 40–43. http://dx.doi.org/10.1017/alj.2021.3.

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What happened after the Art history in digital dimensions report of 2017? To what extent have the recommendations been implemented? Has digital art history itself changed in this period? Are the challenges and recommendations outlined in the report still pertinent? What is the role of or is there a role in digital art history for the art librarian in an academic or museum setting?

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32

이지연. "Exploring Quality Digital Storytelling in Digital Art Education." Journal of Research in Art Education 14, no. 2 (2013): 123–39. http://dx.doi.org/10.20977/kkosea.2013.14.2.123.

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33

Serbin, V. A. "Glitch art: critical practices of digital culture." Gumanitarnaya informatika, no. 9 (June 1, 2015): 88–97. http://dx.doi.org/10.17223/23046082/9/7.

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34

Dr., Sonali Gupta (Jain). "THE RISE OF DIGITAL ART." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 161–64. https://doi.org/10.5281/zenodo.3586709.

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The medium of digital art has existed for over a hundred years, but it’s only now that it’s getting the spotlight. Technology is a means of actions. Like a pencil or a canvas. Digital technology is the latest of a series of tool used by artist. According to digital artist “To me, my mouse, keyboard and text editor or DAW are what a paint brush palette and canvas would be to a painter. Traditional art workflow can be emulated in the digital domain or be augmented with digital practices. Digital art is defined as artistic works that utilized digital technology as part of the cr

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35

Meeken, Luke. "From Digital Literacy to Critical Digital Ecology: Curricula as Digital Places in Art Education." Visual Arts Research 50, no. 1 (2024): 91–108. http://dx.doi.org/10.5406/21518009.50.1.08.

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Abstract This article makes a case for the critical potential of media ecology frameworks to address the limits of the media literacy frameworks prevalent in visual culture art education pedagogies that focus on art education with digital materials. In this article, I articulate a brief history of the literacy metaphor in visual culture art education, before summarizing recent arguments advocating for a shift from media literacy to media ecology in critical digital pedagogies. I then examine my own digital curricular place-craft in the development of Crafting Digital Places, a Web-based teachi

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36

Gaižutytė-Filipavičienė, Žilvinė. "Meno muziejai ir medijos." Lietuvos kultūros tyrimai 2 (2012): 47–63. https://doi.org/10.53630/lkt.2012_1.3.

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The article deals with interaction of art museums and media in the context of new museological paradigms. The rapid development of digital media technologies and internet in the end of 20th century has led to the emergence of new methods to create art exhibitions and to the understanding of museum itself as medium. Analysing why and in which ways art museums apply new media technologies, the author has identified few important factors. Firstly, the changes of Western museological paradigm in the 910 decades: the shift from “objects” to “ideas”. It also means a change in the concept of museum f

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37

Srivastava, Anshu. "DIGITAL ART: A REVOLUTIONARY FORM OF ART & VISUAL COMMUNICATION." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 83–88. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3705.

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Abstract:

In this age of technology our life revolves around 2D; 3D images & graphics. Creativity has now crossed all the limits it can’t be restricted to brush and canvas. With the advent of various innovative software’s designing is on the bloom and art become flawless. Digital art is harmony with good knowledge of design software enables us enter into the digital media industry. Today when everything around us become digitalized, the art are taking this step toward the digital world as well. The digital art is a most accepted form of art in the contemporary Indian art. This revolutionary form of

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38

Gupta, Sonali. "THE RISE OF DIGITAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 161–64. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3729.

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Abstract:

The medium of digital art has existed for over a hundred years, but it’s only now that it’s getting the spotlight. Technology is a means of actions. Like a pencil or a canvas. Digital technology is the latest of a series of tool used by artist. According to digital artist “To me, my mouse, keyboard and text editor or DAW are what a paint brush palette and canvas would be to a painter. Traditional art workflow can be emulated in the digital domain or be augmented with digital practices. Digital art is defined as artistic works that utilized digital technology as part of the creative proce

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39

Greenspun, Philip, and John Watkinson. "The Art of Digital Audio." Computer Music Journal 14, no. 1 (1990): 80. http://dx.doi.org/10.2307/3680121.

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40

Scalzo, Ted. "The Art of Digital Music." Music Educators Journal 92, no. 5 (2006): 30–31. http://dx.doi.org/10.2307/3878498.

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41

Aliyev, E. V. "Art Process in Digital Painting." Art & Culture Studies, no. 2 (June 2021): 406–19. http://dx.doi.org/10.51678/2226-0072-2021-2-406-419.

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Article is devoted to the research of art process features in digital painting. The retrospective analysis of art process in digital painting is reviewed. By means of the Venn diagram the basic properties of creative process in digital and non-digital painting are compared. It is shown that the art product of digital painting is coded into the computer. The big advantage of digital painting is that realizing an art plan, the artist can put new strokes, keeping thus each variant as the separate original. Besides, art process is realized, mainly, not on a stretcher but on a virtual plane — the c

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42

Post, Colin. "The Art of Digital Curation." Archivaria, no. 92 (January 6, 2022): 6–47. http://dx.doi.org/10.7202/1084738ar.

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Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as bo

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43

van Ginhoven, Sandra, and Claartje Rasterhoff. "Art Markets and Digital Histories." Arts 8, no. 3 (2019): 105. http://dx.doi.org/10.3390/arts8030105.

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This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. Digital art history or historical research facilitated by computer-technology in general is omnipresent in academia and increasingly supported by an infrastructure of seminars, workshops, networks, journals and other platforms for sharing results, exchanging notes and developing criticism. As the wealth of historical and contemporary data is rapidly expanding and digital technologies are becoming integral to research in the humanities and social sciences, it is high time to refle

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44

Chung, Sheng Kuan. "Art Education Technology: Digital Storytelling." Art Education 60, no. 2 (2007): 17–22. http://dx.doi.org/10.1080/00043125.2007.11651632.

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45

Gere, Charlie. "Review: Christiane Paul, Digital Art." Art Book 11, no. 1 (2003): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00383.x.

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46

Nitsche, Michael. "Performance art and digital media." Digital Creativity 24, no. 2 (2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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47

Coles, Laura Lee, and Philippe Pasquier. "Digital eco-art: transformative possibilities." Digital Creativity 26, no. 1 (2015): 3–15. http://dx.doi.org/10.1080/14626268.2015.998683.

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48

Wands, Bruce. "2001: A Digital Art Odyssey." Leonardo 34, no. 5 (2001): 397–400. http://dx.doi.org/10.1162/002409401753521494.

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49

Corder, P. F. "Digital detectives reveal art forgeries." Computing in Science & Engineering 7, no. 2 (2005): 5–8. http://dx.doi.org/10.1109/mcse.2005.30.

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50

Broeckmann, A., and A. Jaimes. "Digital culture, art, and technology." IEEE MultiMedia 12, no. 4 (2005): 9–11. http://dx.doi.org/10.1109/mmul.2005.68.

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