Rafaël Rozendaal: links

Rozendaal's current official site presents browser works, exhibitions, physical works, writings, and recent projects.

The artist's long-running portfolio preserves his website works, texts, biography, exhibitions, and project archives.

The Art Website Sales Contract formalises private ownership while requiring an acquired website to remain publicly accessible.

into time .com is the 2010 browser work in which visitor clicks divide a field of changing gradients.

much better than this .com is the animated browser work later presented across Times Square's electronic billboards.

The BYOB archive documents the open exhibition format Rozendaal initiated around participants bringing their own projectors.

Art Blocks' artist profile records Rozendaal's biography, recognition, and seven projects in the foundational set.

Endless Nameless is a 1,000-work Curated study of subdivision, colour pairing, and composition released in July 2021.

Dive is a 333-work Playground project released in November 2021.

Non Either is a 100-work Playground project released in February 2022.

Corners is a 64-work Playground project released in April 2022.

Polychrome Music, made with Danny Wolfers, joins 400 generative visual systems to infinite three-channel compositions.

Intersections is a 300-work Playground project released in October 2022.

Twist is a 250-work Presents project released in January 2024.

Jeff Davis interviews Rozendaal on website works, domain ownership, NFTs, composition, and the making of Endless Nameless.

Jeff Davis speaks with Rozendaal and Danny Wolfers about abstraction, early computer sound, and the visual-musical system of Polychrome Music.

The Whitney documents Almost There, a 2015-17 sunrise and sunset commission that temporarily eclipsed the museum's website.

The Whitney collection record documents the acquisition and display of the tapestry Abstract Browsing 17 03 05 (Google).

MoMA's announcement describes Light, a 135 KB installation of real-time browser works presented on the museum's Digital Wall.

Centre Pompidou's collection record documents Horizon 31 as a 2021 on-chain SVG acquired in 2023.

Museum Folkwang's exhibition page presents Color, Code, Communication and its 1,000-square-metre installation of 81 Horizons.

Museum Folkwang's English release details the first monographic NFT exhibition by Rozendaal in a European museum.

The exhibition microsite explains the 29 KB visual and musical generator behind Polychrome Music.

Towada Art Center's GENEROSITY presented websites, tapestries, haiku, and installations in Rozendaal's first public-institution solo show.

EYE Filmmuseum's artist-talk page surveys Rozendaal's evolution from web-only practice to textiles, installations, writing, and lectures.

The European Patent Office collection explains how the Abstract Browsing plug-in translates web pages into geometric tapestries.

Rhizome's Net Art Anthology reconstructs into time .com, its Flash-to-JavaScript migration, and its place in browser-art history.

The New Museum's release records the 164 ETH gift generated through the Endless Nameless sale for Rhizome.

e-flux's announcement frames Color, Code, Communication across browser works, NFTs, immersive installation, and public space.

Insomnia at Bonniers Konsthall presented fifteen Rozendaal websites as works that remain active and accessible around the clock.

Upstream Gallery documents Anti Social at Postmasters and the connection between Abstract Browsing, weaving, and computing.

Upstream records the sold-out release of Polychrome Music, its three-channel music engine, and Rhizome beneficiary structure.

Upstream places Rozendaal's work in the Whitney exhibition Programmed: Rules, Codes, and Choreographies in Art.

Upstream documents Rozendaal's commissioned tapestries in Colour & Abstraction at TextielMuseum Tilburg.

The Armory Show presentation joined website works and lenticular paintings as digital and physical systems of changing colour.

Upstream documents three Abstract Browsing tapestries in Between Pixel and Pigment at Kunsthalle Bielefeld.

The Postmasters biography lists Rozendaal's solo exhibitions, museum presentations, collections, commissions, and publications.

Fellowship interviews Rozendaal about the changing meaning of digital art, his browser-based practice, and the relationship between code, painting, and institutional display.

Phillips visits Rozendaal's studio to discuss the formal possibilities of web composition and the auction of ifnoyes.com.

KABK's lecture page introduces Rozendaal's practice across browsers, ownership, visitors, exhibitions, and BYOB.

VICE's early artist talk presents Rozendaal on the internet as a museum, interactive websites, drawings, installations, and BYOB.

Artnet reports how the 1,000-work Endless Nameless sale produced the largest individual gift in Rhizome's history.

FAD reports the smart-contract transfer of 164 ETH from Endless Nameless to Rhizome.

VICE examines Rozendaal's Sleep Mode exhibition and his argument for screensavers as moving paintings.

VICE documents the Stedelijk Museum edition of BYOB and the format's worldwide expansion.

Wikipedia surveys Rozendaal's biography, browser works, Art Website Sales Contract, BYOB, physical works, and NFTs.

The net-art.org archive situates Rozendaal's discrete domains and public-ownership stipulation within browser-art history.

Rhizome's archived VVORK record preserves an early critical presentation of itwillneverbethesame.com.

MOTZKO documents eleven collected works by Rozendaal, including Endless Nameless, Corners, and Polychrome Music.

Museum Folkwang's event archive documents BYOB as Rozendaal's open projector-based exhibition format.