ABOUT
Anne Spalter is a pioneering visual artist whose work merges the speculative language of science fiction with archetypal imagery drawn from the collective unconscious. Working across both traditional and digital media, she creates immersive, symbolic landscapes that blur the boundaries between the natural world and the cosmic realm. Her richly detailed paintings, prints, and animations invite viewers into dreamlike environments populated by mythic animals, celestial phenomena, and surreal desert forms—spaces where inner and outer experience intersect and spiritual transformation becomes possible.
A longtime leader in the field of digital art, Spalter has been instrumental in bringing new media into the fine art canon. In the 1990s, she created the first digital fine arts courses at both Brown University and the Rhode Island School of Design (RISD), helping to legitimize the computer as a creative tool and laying the foundation for today’s widespread acceptance of digital practice in studio art programs. Her book The Computer in the Visual Arts (Addison-Wesley) remains a foundational text in the field and has been used internationally in both universities and museums.
Spalter’s commitment to digital media extends beyond her own studio practice. She is an active collector, curator, and advocate for the preservation of digital art, and has lectured widely on the subject at institutions ranging from Christie’s to the Smithsonian. Her deep engagement with both historical and emerging technologies gives her work a rare perspective—one that bridges rigorous formal exploration with a poetic, speculative sensibility.
Spalter’s artwork is held in numerous private collections and major public institutions, including the Centre Pompidou (Paris), the Buffalo AKG Art Museum, the Rhode Island School of Design Museum, and the Victoria & Albert Museum (London). Her pieces have been auctioned by Sotheby’s and Phillips, and her work has been featured in The New York Times, ARTNews, Artnet, and The Boston Globe, among many others.
Through her visionary imagery, research-based practice, and longstanding advocacy, Spalter continues to expand the possibilities of digital and mixed-media art while inviting viewers to reconnect with wonder, intuition, and the deeper mythologies that shape human experience.
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.
