Mike Lee, Mother and Daughter, 2021 Mike Lee
Whether it’s the crude, flat lines of Microsoft Paint or the clay-like forms made in 3D rendering software programs like Rhino, the digital age has produced a number of fascinating textures, vocabularies, and styles for traditional artists to play with. In 2016, Museum Brandhorst hosted an exhibition on that demonstrated as much titled “Painting 2.0: Expression in the Digital Age.” Curated by Achim Hochdörfer, David Joselit, Manuela Ammer, and Tonio Kröner, the show was a monumental effort to track the productive influence of digital technology on painting, refuting the then-common hypothesis that the Internet had “killed” the medium. Much has changed since then, and a new, very online generation of painters has appropriated the styles of digital softwares to incredible effect. These painters have been a constant witness to digital media’s rapid cycle of creation and obsolescence. And in a sense, their work functions a type of record-keeping, preserving immaterial styles lost to the perpetual updates.
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