ABOUT
Anne Spalter blends numerous media to explore the intricate landscapes of our modern age. Her work communicates the thrilling yet daunting grandeur of natural and man-made vistas, from boundless oceans to infinite highways, engaging with the timeless aesthetic of the sublime.
Her art serves as a contemplative reflection on the formidable power of transformation. It investigates society’s collective response to significant shifts, and it contemplates potential futures. Spalter’s work reveals an innate human capability for finding joy, celebration, and connection, even amid profound and potentially apocalyptic transitions.
Over the decades, Spalter has positioned herself as a pivotal figure in digital art. She established the inaugural digital fine arts courses at Brown University and the Rhode Island School of Design (RISD) in the 1990s, setting a foundation for the future of this burgeoning field. As the author of the internationally taught textbook, The Computer in the Visual Arts, she has left an indelible mark on the academic exploration of digital art.
In collaboration with Michael Spalter, she stewards Spalter Digital, one of the most extensive private collections of early computer art, underscoring her commitment to preserving the origins of her craft.
Spalter’s work has been the subject of numerous accolades and opportunities. She participated in the Massachusetts Museum of Contemporary Art’s (MASS MoCA) distinguished alumni residency, was named one of the top 50 influential crypto artists by Rizzoli, and is featured in the Taschen On NFT book. She exhibited numerous times at the SPRING/BREAK NYC Art Show, and has launched much-celebrated NFT drops, such as 557-piece RABBIT TAKEOVER.
Her innovative NFT video piece The Wonder of it All is now in the collection of the Centre Pompidou in Paris, France, and her 20-minute AI piece The Bell Machine, was acquired by the Buffalo AKG Museum. Spalter’s works can be found in many other private collections and museums such as The Victoria and Albert, The AKG Buffalo Art Museum, The RISD Museum, and The Museum of CryptoArt, Flamingo DAO, the Thoma Collection, and the Progressive Collection.
Spalter’s NFTs have found success at auction through prestigious houses such as Sotheby’s and Phillips, and have garnered media attention, including features in the New York Times. As a frequently-invited lecturer on digital art, she continues to shape discussions on art practice, theory, and the ever-evolving digital art market.
RECENT PRESS
- Design Boom Anne Spalter on digital art and the impact of accelerated technology at NFT ART DAY ZRH, June 10, 2023.
- Artnet news ‘It’s Like a Potluck’: The Spring Break Art Show Returns With Work by Regular Participants, Their Friends, and Their Friends’ Friends, Sarah Cascone, May 11, 2023
- Arabian Business Artists fear uncertain future of art as AI starts generating images, May 5, 2023.
- EXPANDED ART Magazine Anne Spalter & Nathaniel Stern: At the Forefront of AI, April 10, 2023.
- Vanity Fair [France] Les NFT son morts, vive les NFT, Bruno Lus, January 24 10, 2023.
- BFF 10 Generative Artists Advancing Gender Representation in Web3, Nicole Kyle, March 23, 2023.
- tickle Interview, March, 2023.
- Future of Digital Art, podcast, Capucine Jenkins (Saatchi Art), March 23, 2023.
- Hyperallergic – Spring Break Art Show Asks, What Is the Ideal Naked Lunch? Susan Coyne, September 10, 2022,
- MoCA – AI, Spaceships, and Keith Richards: A Sitdown with Anne Spalter (Part 1), Max Cohen, October 4, 2022.
- MoCA – Do Anne Spalter’s AIs Have Eye’s?, Max Cohen, October 11, 2022.
- New York Times – Can an Art History Frame Help Expand the NFT Market?, Zachary Small, April 14 (print edition April 16), 2022.
- RIGHT CLICK SAVE – Nobody Works at the Canvas Museum, Max Cohen, March 21, 2022.
- RedLion – 22 Women in NFTs to Watch in 2022, Ana Maria Caballero. January 23, 2022.
- Hyperallergic – A History of Digital Art Through a Feminist Lens, Judith Brodsky. October 7, 2021.
- Dismantling the Patriarchy, Bit by Bit: Art, Feminism, and Digital Technology (book), Judith Brodsky. October 7, 2021.