A Roundup Of Digital Art-Focused Publications

Digital art ticks at the speed of the click. Fortunately, a plethora of digital art-focused publications help keep us abreast of all that’s happening.

Digital art moves at the velocity of the internet, making it challenging to keep up. Fortunately, a plethora of dynamic, digital art-focused publications tick at the speed of the click, keeping us abreast of all that’s happening.

Installation view of Meandering River at Funkhaus, Berlin, 2018. From Right Click Save's review of Ashley Lee Wong's book Ecologies of Artistic Practice: Rethinking Cultural Economies through Art and Technology, published by MIT Press. Courtesy of onformative.com and Right Click Save

Below is a roundup of media outlets whose DNA is coded with the art of our time, the art of virtuality. By no means does this list intend to be exhaustive, only informative.

24 Hours of Art

24 Hours of Art provides daily updates on key occurrences within the digital art ecosystem. That’s 365 reports per year. 366 if it’s a leap year. Founded by Roger Dickerman in the depths of a crypto bear market, this publication gave tokenized digital art a dedicated, self-affirming voice at a time when many dismissed it.

Collage of daily art designs, co-created with artist Justin Wetch. Courtesy of 24 Hours of Art

In a short span, Dickerman’s efforts paid off. He managed to pull the digital art landscape together and reveal to others, and to itself, that “there was more happening than initially expected.” Today, 24 Hours of Art can be described as the Web3 community’s watering hole, where collectors, curators, marketplaces, and artists congregate daily to stay informed.

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As Dickerman told me: “While its initial launch in mid-2023 was an experiment, the conviction around it—both internal and external—has grown. People have rallied around the brand and concept. Digital art is no longer being written off. Quite the opposite—it is growing.”

The platform has expanded since inception to include a weekly art show, interviews, articles and art designs (co-created with artist Justin Wetch) that celebrate the news du jour. Accessed via an innovative token-based subscription system, 24 Hours of Art generates value for its subscribers with every sun cycle.

Next up is the creation of an annual report that aims to be a definitive resource both for Web3 creatives and for those curious about it.

Here, as with every one of his endeavors, Dickerman’s motto will apply: “Built from within the culture, accessible outside of it.”

Daily art design created in the style of artist die with the most likes. courtesy of 24 Hours of Art

The AI Art Magazine

Newly launched in 2024, this Hamburg-based publication will soon present its second print edition. Their inaugural issue, Celebrating the Fusion, fêted the diversity of generative AI and featured works culled via an open call that saw hundreds of submissions from over 40 countries pour in.

By contrast, The AI Art Magazine’s second edition, Critical Intelligence, follows a thematic thread, exploring how artists critically engage with authorship, bias, representation, and the politics of machine-generated images. Critical Intelligence will feature cover art by pioneering AI artist Kevin Abosch and will launch at ArtVerse in Paris on September 19.

Critical Intelligence, with cover art by Kevin Abosch, will debut at ArtVerse in Paris during September 2025. Courtesy of The AI Art Magazine

“We wanted to move beyond a superficial fascination with technology,” co-founder Mike Brauner revealed to Forbes. Nomadic and independent by nature, the editorial team considers themselves unbiased observers with a clear mission: “allow diversity, encourage openness, and give AI art a space where it can be experienced beyond trends and market logic.”

This attitude shapes their pages. They choose a jury for their issues, whose members offer purposefully contrasting perspectives and aesthetic approaches. One feature Brauner is particularly keen to spotlight is the "Golden Ticket," via which each juror selects an artist whose work resonated and pens a dedicated essay on their work. This ensures that the selected artists will be written about with conviction.

Given the passion with which the magazine is run, expect much more to come.

Golden Ticket essay by Auronda Scalera and Dr. Alfredo Cramerotti, featuring "A Walled City" by Weidi and Rodger Luo, a project that investigates AI, participatory urban memory, & decentralized spatial systems. Courtesy of The AI Art Magazine

[ANTI]MATERIA

It’s no small feat for a creative project to survive—and thrive—for a decade, but [ANTI]MATERIA has managed just that. Founded in 2015, this Spanish-language publication is the single-handed effort of the fierce and fearless Doreen Ríos, who originally launched it as a directory of Mexico’s digital arts ecosystem.

Screen capture [ANTI]MATERIA Summer 2025 Courtesy of [ANTI]MATERIA

When the recently graduated Ríos pitched an article on the local digital art culture to her then-boss, he requested she first summon a list of its “validators.” Ríos reminisced: “I wasn't fully aware of what ‘validation’ meant in the context of contemporary art, hence the naive reasoning behind my original response, which was to create an online directory of artists, curators, and other art professionals working with/through digital art. This directory was the very first iteration of [ANTI]MATERIA. As I started infiltrating the digital arts community, I realized there were many other things I could do with [ANTI]MATERIA.”

She realized that the most pressing initiative was to create a space for online exhibitions, which debuted on her site from 2016 to 2018.

The platform has evolved together with Ríos’ own evolution. When she began teaching a BA in digital art in 2018, she realized there were scant academic resources on the subject available in Spanish, and even less so emerging from Latin America, so she created a section devoted to pedagogical resources. Then, as her own curatorial career expanded, she saw how lengthy video works had a hard time making it into online exhibitions. Promptly, a new section, La Pixelería, was born, where guest curators select and reflect on extensive video works.

What’s next? Ríos plans to go back and interview those who were part of [ANTI]MATERIA’s 2015 debut, linking their development to her publication’s own evolution. This will be a luxuriously lengthy process, as Ríos mused: “One of the modes of working I've been exploring since 2021 is to practice deep observation and slowness. It might feel counterintuitive in today's technological climate, but in the wake of past-faced content creation, there is something to be said for processes that cook slowly but carefully.”

Screen capture Flavia Visconte, Glitch Madre, 2023 (left), and Mónica Nepote, Rituals, 2023 (right) in Minimal Rituals, online exhibition commissioned by arebyte, September 2023 Courtesy of [ANTI]MATERIA

Lula Criado launched CLOT Magazine in 2013, intent on plumbing the intricate intersection of art and technology. A year and a half later, Meritxell Rosell joined the project, and the two multidisciplinary editors, writers, and curators have directed the magazine since.

Screen capture from a recent feature of OLEA, pioneering Spanish artist Solimán López' bio-art project. Courtesy of Clot Magazine

Their initial goal was to create a platform that highlighted experimental art forms, especially those that challenge conventional boundaries and engage with media theory, philosophy, and cultural studies.

In the twelve years that’ve followed, CLOT Magazine has evolved from a niche digital publication into a voice serving the wider ecosystem, featuring interviews, essays, and curated projects that span from bio-art and body sculptures to artificial intelligence to hybrid art.

Criado and Rosell noted: “This evolution mirrors the broader transformation in digital art itself, where artists increasingly blend disciplines, challenge norms, and utilize emerging technologies to express complex ideas."

CLOT’s editorial focus has shifted inwards, privileging in-depth explorations of the philosophical, critical, and artistic dimensions of digital and tech-influenced art. “Our ongoing commitment drives us to continue collaborating with artists, curators, universities, and institutions,” reflected Criado and Rosell, “and to expand our reach into other formats, such as a Substack newsletter.”

A few notable examples of CLOT’s tentacular reach include collaborations with Goldsmith’s Digital Arts Computing BSc, helmed by Rachel Falconer, write-ups by the likes of Natalie Mariko, Irem Erkin, Katažyna Jankovska, and Mila Azimonti, and play-by-play reporting on the Mutek AI Ecologies Lab’s hackathon.

Fortunately, their digital pages are just a click away.

Screen capture from a recent feature on Goldsmiths Digital Arts Computing Courtesy of CLOT Magazine

Digital Arts Blog

Curator Cansu Peker founded Digital Arts Blog for a simple reason: support artists in their efforts to be seen. Deeply aware of the constraints and limitations of organizing physical exhibitions, Peker imagined an online space for artists.

Digital Arts Blog homepage, featuring curated content on digital art and creative resources Courtesy the Digital Arts Blog

“The great thing about digital art is that all I need to spotlight someone’s work is a JPEG file, which can be sent in moments from anywhere in the world,” Peker explained. “I’ve always thought that, fifty years from now, art historians will look back at the turn of the century and see digital art as the defining medium of our time, and I wanted to play my part in ensuring the most meaningful works are recognized and preserved.”

Peker once had a film professor who encouraged his students to produce “essential work,” alleging that the world didn’t need most art. Though doubtful of his claims, Peker proposes digital art as a compelling countering argument: digital artists create the most powerful and exciting forms of screen-based visuals, which businesses and brands actually need. Her dream is to see her publication become a form of incubator for artist-based commissions, helping artists find patronage.

“We’re building toward a platform that not only showcases digital art but also lets the community participate, via user-generated content and a space where anyone can post opportunities or projects," Peker ruminated. "We hope to act as the bridge between creators and clients, making it easier for meaningful collaborations to happen.”

Keep an eye out for exciting news to come.

Digital Arts Blog Artist Spotlight Series, highlighting the work of emerging and established creators. Courtesy the Digital Arts Blog

Electric Chronicles

Electric Chronicles was launched in late 2024 as a dynamic hub facilitated by the Trilitech Arts team and a number of contributors dedicated to featuring both the creators who’re integrating new technologies into their artistic practices and the collectors supporting them in significant ways.

What began as a series of spotlights developed into more consistent and expansive narratives. Today Electric Chronicles is actively documenting and contextualizing a wide breadth of practices reshaping contemporary art.

Collector spotlight, featuring IkiJima's collection, with works by Lorna Mills, Kim Asendorf, Mark Webster, Salawaki, RJ and Dribnet. Courtesy of Electric Chronicles

Over the past six months, the publication has welcomed guest contributors such as Kyle Flemmer, whose Pixel Art Anthology series culminated in the launch of his book. Most recently, the publication hosted the Art on Tezos Photography Prize, serving both as an outlet and as an active conduit.

Currently, Electric Chronicles has four core editorial approaches: documenting real-world events, conducting in-depth interviews with collectors, spotlighting new projects, and offering deep-dives into some of the most prominent digital collections. Through its approach, the publication aims to become a key reference point for those interested in understanding where the broader digital art ecosystem is heading.

Aleksandra Artamonovskaja, who heads Trilitech’s art team, revealed they’re working on partner collaborations and “experimenting with formats that create deeper connections.”

Given her extensive community building experience, it’s wise to stay tuned.

Installation shot of Tree_Line, Zancan’s solo show at bitforms gallery. Photography by Yi Hsuan Lai Courtesy of Electric Chronicles, the artist and Yi Hsuan Lai

Fakewhale Log

Recognizing early on how the advent of digital ownership would profoundly impact the entire art system, Fakewhale took on the challenge of deciphering the implications of this evolving paradigm, providing a critical framework for changes happening in real time.

Lan Party (AI Visual), 2025. Screen capture from Fakewhale Log's article "Donald Gjoka in Dialogue with Fakewhale: COEVAL Magazine, Creativity, and the New Underground." Courtesy of Fakewhale and Donald Gjoka

Through their Fakewhale Log, they document digital practices that are driving the narrative forward. Its approach hopes to provide vital resources for informing artists, collectors, and institutions, equipping them with the knowledge and tools to navigate an evolving landscape confidently.

They provided prescient coverage of the efforts of Pierre Sigg and The Sigg Art Foundation in supporting artists, interviewing them in January 2024. Recently, they published an in-depth article on the implications of collecting digital works that are presented with physical vessels. This article also delved into networked projects, such as Andreas Raus’ eloquent and multifaceted Symphony for n Metronomes, released in partnership with Fakewhale Gallery, the platform’s equally dynamic curatorial branch.

They’re also generous in spotlighting sister efforts, such as their recent interview of Coeval Magazine founder and artist Donald Gjoka, in which Gjoka underscores the importance of blending live events with unique online experiences in building community around a publication.

With contributions from curators and thinkers the likes of Ilaria Sponda, Giuseppe Moscatello, and Mateo Giovanelli, Fakewhale’s digital pages are always worth a visit.

Installation view, Symphony for n Metronomes by Andreas Rau. From Fakewhale's article "Andreas Rau, Symphony for n Metronomes: A shared time, a distributed gesture" Courtesy of Fakewhale and Andreas Rau

Le Random’s editorial wing was founded with a clear vision: “Publish content that enables the generative art community to understand its past, curate its present and anticipate its future.” Led by the thoughtful Peter Bauman since late 2022, Le Random publishes weekly Editorials, a podcast, a YouTube Channel and their widely celebrated Generative Art Timeline.

Minne Atairu, Fro Studies II, 2022. From Le Random's article "Minne Atairu on Shaping Our Own Image." Courtesy of the artist and Le Random

Bauman joined an existing team conformed by CEO thefunnyguys and CFO/COO Zack Taylor, who head the company’s operations and strategic planning. Conrad House, who joined at the same time as Bauman, is Le Random’s Collection Lead.

Though initially focused on digital generative art, Le Random now pursues a more generous understanding of generativity, one that includes digital and material practices and that subscribes to Philip Galanter’s system-based definition. They’re also more broadly interested in covering developments in art and technology, with a marked focus on AI.

As Bauman explained during our interview: “Due to the stochastic nature of neural networks, deep learning at its core is generative. AI art since the days of Harold Cohen with hard-programmed expert systems has been generative.”

Bauman recently interviewed Christiane Paul, the Whitney Museum’s Curator of Digital Art, asking her to propose a definition of the genre. Paul’s response: “Putting a text prompt into an image generator and creating beautiful—or not—visuals does not automatically result in AI art. I define AI art as art that conceptually, practically and critically engages with AI technologies in a sophisticated way.”

When asked to contemplate where the future might take Le Random, Bauman’s response was characteristically clear-minded: “We’re headed where the artists working with technology go.”

Hyundai Terrace Commission: Marina Zurkow: The River is a Circle, 2025. Photo by Filip Wolak. From Le Random's article "Christiane Paul on Defining AI Art." Courtesy of Hyundai

MC2 is a digital-first channel launched in July 2025 as a joint initiative between ArtReview, a leading international contemporary art magazine, and Nowness, a global video platform. ArtReview and Nowness joined forces to create a space where artists working, engaging, and experimenting with emerging tech in relevant ways could share their art with a global audience.

Nouf Aljowaysir, Ana Min Wein? (Where Am I From?), 2022, Featured recently on MC2. Courtesy of the artist and MC2

At a time when digital content abounds, MC2 hopes to act as a filter, bringing editorial rigor and discernment to a fast-changing landscape by leveraging the expertise of their teams in Europe, Asia, and beyond.

The online platform for MC2 launched just a month ago, in July, but the groundwork began in 2024 when ArtReview and Nowness conducted a global study on AI and creativity. The report captured global insights from artists, filmmakers, scholars, and audiences to help us better understand how AI is being used in creative practices and what implications it holds for the future. These findings laid the foundation for MC2’s creative direction.

“What’s been fascinating to see is how imaginative artists are with tech—it’s not just about robots or algorithms; there’s a strong sense of a human hand and artistic mind at work in the video pieces we’ve presented so far in our inaugural season, Alternate Realities,” Alaric Xinhao Cao, the platform’s director, explained.

On that note, they recently featured the work of Nouf Aljowaysir and Jonas Lund, artists who’re exploring complex themes of (dis)embodied identity via AI (mis)representation.

Expect much more to come from MC2, including hybrid formats, curated screenings, public programs, institutional partnerships, and investigative research.

Jonas Lund, How to be Human, 2024, Recently featured on MC2 Courtesy of the artist and MC2

Now Media is the brainchild of Matt Medved and Alejandro Navia, who launched it to report on the ins and outs of onchain art with a decidedly humanistic approach. Initially focused on digital art and collectibles, this publication now covers all aspects of digital culture, including policy and emerging related technologies.

Gateway Miami 2023 at the Faena Hotel. Courtesy of Now Media

“From day one, our mission has been to empower the creators of culture and bring this movement from niche to mainstream,” affirmed Medved in conversation with Forbes. “Our Gateway events with Christie’s during Art Basel Miami and Frieze Seoul set a new standard in elevating digital art, uniting the traditional art world and Web3 communities.”

The first edition of Gateway in 2021 saw Medved and Navia take over the entire floor of a bank building in downtown Miami during the city’s Art Week in December. The Gateway’s second iteration took place across multiple blocks of downtown Miami, filling them with pulsating digital art. The third was their most elevated, impactful, and elaborately produced version yet, hosted at Miami Beach’s Faena Forum, right down the street from Art Basel. Now Media has also hosted awards ceremonies, celebrating the accomplishments of a then-nascent—yet vigorous—Web3 community that were too often dismissed.

Today, the publication offers The Now, a free newsletter that’s delivered three times per week, penned by the spirited Medved himself. Luminaries is a weekly profile series that’s featured the likes of Deepak Chopra and Nicole Sales, head of digital art for Christie’s. In the Flow, composed by Navia, brings subscribers behind the curtain of policy and governance, decoding how power is reshaping the digital economy.

“Digital culture is bigger than any single medium,” sustained Medved. “It’s a movement reshaping how creativity, community, and technology converge.”

Nicole Sales, Head of Christie's Web3, as featured in Now Media's Luminaries article "The Woman Driving Christie's Digital Revolution." Courtesy of Now Media

PROMPT Magazine

Founded by Italian designer and art director Marco Pittarello in 2023, this bi-monthly print publication tracks what it considers to be a historic moment of rapid and profound change in creative practices, driven by the advent of generative AI.

Cover story on Genesis Kai from PROMPT Magazine 15. Courtesy of PROMPT Magazine

Pittarrello, in exclusive conversation with Forbes, expanded: “Some reject [AI], others embrace it—and it is precisely this polarization that inspired me to document the transition. Digital art is a space where new expressive possibilities and unprecedented visions converge, while offering points of reference for those approaching technology from the world of art and those discovering art through technology.”

In a short period of time, PROMPT Magazine has flourished into a vibrant hub that hosts open calls, exhibitions, and special projects, collaborating with various festivals and universities.

For Pittarello, it’s exceedingly important to reach beyond the screen, where much of the digital art ecosystem’s dissemination takes place, making it inaccessible for some. “Creating physical spaces for interaction—whether through events or the print publication itself—helps foster a broader and more global understanding of digital art,” Pittarrello affirmed.

The next edition, for example, will be dedicated to video and cinema and presented in collaboration with both the AI.motion Festival in Milan and the Burano AI Film Festival in Venice.

Regardless of the theme, every issue of PROMPT brings together curators and writers from across the globe to explore ideas around generative AI, making it a powerful reference point for artists, galleries, and brands in discovering new talent and defining shared meaning.

Work by Tiziana Alocci at AI Week x Cometa 2025 in Milano, Hosted by PROMPT Magazine. Courtesy of PROMPT Magazine

Right Click Save

In 2021, following that year’s historic NFT bull run, Jason Bailey and Chris King founded a company geared toward providing two essential services. ClubNFT launched as a safety net to protect the digital artifacts transacted via NFTs, backing up more than a million digital artworks and assets owned by the world’s leading collectors. Through its editorial wing, Right Click Save, they also sought to offer critical discourse about art on the blockchain.

Screen capture from Right Click Save's article "The Art of the Game." Courtesy of Right Click Save

Right Click Save, or RCS, has been helmed by art historian and editor extraordinaire Alex Estorick since inception. Under Estorick’s watch, RCS has contextualized a movement for a new generation of collectors who’re engaging with digital art as an asset class, establishing the cultural and historical lens through which these collectors might come closer to the very works they’re acquiring. In the process, RCS has given voice to the artists, collectors, and curators who pioneered digital practices, probing how these practices helped set the stage for the current moment.

Case in point, Estorick hosted an interview between Art Blocks founder Erick Calderón and Mitchell F. Chan to celebrate the debut of Calderon’s video game art piece LIFT. Nearly a year ago, Estorick published a critical reflection on the ‘Intelligent Age’ by Joseph Fowler, the World Economic Forum’s Head of Arts and Culture, who’s been championing the work of digital artists at Davos.

When I spoke to Estorick for Forbes, he expressed: “I’m proud that the magazine has always been a listening exercise that supports an inclusive vision of the art world, one that recognizes the true hybridity of contemporary practices, which increasingly cross-fertilise digital and analog media and human and nonhuman domains.”

Given the vital nature of its contributions, it’s no wonder that RCS recently found a new steward who’ll safeguard the publication’s future. A formal announcement is imminent, but, for now, Estorick is happy to affirm: “As the digital and mainstream art worlds increasingly engage with one another, RCS will continue to serve as a bridge between their different communities by spotlighting artists at the intersection of art and technology.”

Refik Anadol, (Mapping) Living Architecture: Casa Batlló, 2022. From Right Click Save's article "Embracing the Intelligent Age: The World Economic Forum’s Head of Arts & Culture, Joseph Fowler, lays out a global vision for ethical innovation." Courtesy of Casa Batlló

As if all these publications weren’t enough, two additional outlets must be mentioned. Taking on the form of a friendly top five list, the Medici Minutes hits subscribers’ inboxes every Thursday with highlights from the prior week’s digital art happenings. An eclectic mix of Web3-native headlines from sales stats to upcoming events to brief artist shout outs make this a must-read for any follower of the tokenized digital art market.

This approachable missive is free to any who wish to subscribe and is written by one of today’s most important digital art patrons, the anonymous Cozomo de’Medici “from [his] desk at the villa.” For daily capsules of crypto art commentary, follow Cozomo on X, the platform formerly known as Twitter.

Meanwhile, keep on the lookout for Silk Magazine, a project by SILK Art House, whose five co-founders include Dino G. and AmbrP. Their editorial efforts are helmed by formidable writer Nina Knaack, creator of WHITE MIRROR, a publication that’s been placed on pause as she focuses on the imminent release of Silk Magazine.

Based on the talent and dedication of the teams helping digital artists tell their story, it’s safe to report that this ecosystem is thriving.

Sasha Katz, Karabasan, 2023. From White Mirror's article "On Sasha Katz’s liminal theatre of identity" Courtesy of the Artist and White Mirror

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