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The digital art of undocuqueer movement activist Julio Salgado cannot be studied through a single-issue lens; doing so would elide the ways that queer Chicanas/os have attempted to imagine a [...]

<>. Sourire dans la voix d'Atau Tanaka, conscient d'énoncer ce qui a toutes les allures d'un paradoxe, sinon d'un oxymoron. Le geste n'est-il pas ce médiateur grâce auquel on agit [...]

This article examines themes of consumerism, technology, and desire in the art of Patricia Piccinini. Topics addressed include how Piccinini's art walks the line between the enchanting and the grotesque as it tackles issues such as genetic engineering, fashion, and technology.

David Hockney uses a computer to enhance the colors of his photographs and soften the edges of lines. He says that the computer has shown that there is no real true color, only whatever the printing medium is capable of. Similarly, there is no more truth in photography, as heralded by the limited television coverage of the Persian Gulf War. The distinction between truth and abstraction was an artificial creation of critics, not artists.

Some artists are easily adapting to the computer and are establishing sites on the World Wide Web, while others remain apathetic or antagonistic to computers. The cyber art that is being produced on computers represents a meeting and unification of art and technology.

The computer revolution that is sweeping the country is having its effect on the art world, as well as on virtually every other area of civilization. Traditional arts continue, but a new genre of computer art is emerging and artists are making use of the computer as a tool in the studio.

In 1999, Maciej Wisniewski launched his digital-art career with Netomat, a browser that rewires our access to--and hence our perception of--the Internet by circumventing the structures currently used to organize [...]