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at the center of their own community". Artistic communities on the
Internet underwent a similar transition in the mid-2000s, shifting from Surf Clubs, "15 to 30 person groups whose members contributed to an ongoing visual-conceptual conversation through the use of digital media" and whose membership was restricted to a select group of individuals, to image-based social networking platforms, like
1225:</5-Arts Net> In the 1990s, email based mailing lists provided net artists with a community for online discourse that broke boundaries between critical and generative dialogues. The email format allowed instant expression, however limited to text and simple graphic based communication, with an international scope.<5-arts net>
455:, the term describes "the practices of artists who ... unlike those of previous generations, the Web just another medium, like painting or sculpture. Their artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery." In the early 2010s, post-Internet was popularly associated with the musician
351:. Internet art has, according to Juliff and Cox, suffered under the privileging of the user interface inherent within computer art. They argue that Internet is not synonymous with a specific user and specific interface, but rather a dynamic structure that encompasses coding and the artist's intention.
383:
The emergence of social networking platforms in the mid-2000s facilitated a transformative shift in the distribution of internet art. Early online communities were organized around specific "topical hierarchies", whereas social networking platforms consist of egocentric networks, with the "individual
388:, which permit access to any individual with an e-mail address. Internet artists make extensive use of the networked capabilities of social networking platforms, and are rhizomatic in their organization, in that "production of meaning is externally contingent on a network of other artists' content".
83:
typically does not refer to art that has been simply digitized and uploaded to be viewable over the
Internet, such as in an online gallery. Rather, this genre relies intrinsically on the Internet to exist as a whole, taking advantage of such aspects as an interactive interface and connectivity to
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Art historian Rachel Greene identified six forms of internet art that existed from 1993 to 1996: email, audio, video, graphics, animation and websites. These mailing lists allowed for organization which was carried over to face-to-face meetings that facilitated more nuanced conversations, less
208:, an online platform for commissioning and exhibiting net art, and hosting multi location networked performances. In 1991 Wolfgang Staehle founded important experimental platforms such as The Thing. In 1994 entrepreneur John Borthwick and curator Benjamin Weil produced artworks online by
354:
At the same period, original attempts to establish a physical relation between what happened on the web and what would be exhibited in museums were developed by MUDAM Musée d’Art
Contemporain du Luxembourg and most of all by MIXM. At the time, and before platforms like
371:
aka
Scanner realized works online that could be seen in art museums specifically as installations and not just on a computer screen showing internet art. In Solakov's work for example, one could interact online with objects that were in the exhibition space of the
282:
included net art in their
Biennial exhibit. It was the first time that internet art had been included as a special category in the Biennial, and it marked one of the earliest examples of the inclusion of internet art in a museum setting. Internet artists included
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With the rise of search engines as a gateway to accessing the web in the late 1990s, many net artists turned their attention to related themes. The 2001 'Data
Dynamics' exhibit at the Whitney Museum featured 'Netomat' (Maciej Wisniewski) and 'Apartment' – a
335:
commission – visualized the "popularity" of the numbers 1 to 1,000,000 as measured by Alta Vista search results. Such works pointed to alternative interfaces and questioned the dominant role of search engines in controlling access to the net.
402:
Post-Internet is a loose descriptor for works of art that are derived from the
Internet as well as the internet's effects on aesthetics, culture and society. It is a broad term with many associations and has been heavily criticized.
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defined "Ten Myths of
Internet Art" in 2002. He cites the above stipulations, as well as defining it as distinct from commercial web design, and touching on issues of permanence, archivability, and collecting in a fluid medium.
68:
Net artists may use specific social or cultural internet traditions to produce their art outside of the technical structure of the internet. Internet art is often – but not always – interactive,
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Since the mid-2000s, many artists have used Google's search engine and other services for inspiration and materials. New Google services breed new artistic possibilities. Beginning in 2008,
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319:'s ' The Perpetual Bed' received attention for its use of 3D nonlinear narrative space, or what she called "navigable narratives." Her 2001 piece titled 'Collection' shown in the
422:, a series of deep blue monochrome prints) brought the term to a mainstream consciousness. Between the 2000s and 2010s, post-Internet artists were largely the domain of
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hosted "PORT: Navigating
Digital Culture", which included internet art in a gallery space and "time-based Internet projects." Artists in the show included
57:. This form of art circumvents the traditional dominance of the physical gallery and museum system. In many cases, the viewer is drawn into some kind of
1546:(Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press
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Schneider, B. (2011, January 6). From Clubs to
Affinity: The Decentralization of Art on the Internet « 491. 491. Retrieved March 3, 2011, from
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by Dina Kelberman which organizes pictures and videos from Google and YouTube around a theme in a grid form that expands as you scroll.
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https://emajartjournal.files.wordpress.com/2012/11/cox-and-juliff_the-post-display-condition-of-contemporary-computer-art.pdf
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Daniels, D., & Reisinger, G. (2009). Net pioneers 1.0: Contextualizing early net-based art. Berlin: Sternberg Press.
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200:-based IRCAM (a research center for electronic music), would also support or present early networked art. In 1996,
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1433:, Sometti, Mantua (IT) Collection: Archivio della poesia del 900. Mantua Municipality. With English translation.
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76:-based. Internet art can be used to spread a message, either political or social, using human interactions.
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347:(multipoint and uncentered) internet that has been explored by very few artistic experiences, such as the
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1553:. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co., Ltd.
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https://web.archive.org/web/20120707101824/http://fourninetyone.com/2011/01/06/fromclubstoaffinity/
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Also in 1997 internet art was exhibited at documenta X (directed by Catherine David), with curator
1469:, "L’art à l’époque virtuel", in Frontières esthétiques de l’art, Arts 8, Paris: L’Harmattan, 2004
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Nevertheless, the Internet is not reducible to the web, nor to search engines. Besides these
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343:(point to point) applications, suggesting the existence of reference points, there is also a
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http://rhizome.org/editorial/2008/dec/3/thoughts-on-quotnew-media-artists-vs-artists-with-/
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Juliff, Toby & Cox, Travis. 'The Post-display condition of contemporary computer art.'
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Stallabrass, Julian (2003). "Internet Art: the online clash of culture and commerce".
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376:. In Heimo Zobernig's work, one could physically move a wall to reveal a space in the
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Kate Armstrong, Jeremy Bailey & Faisal Anwar on Net Art in Canadian Art Magazine
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Internet art is rooted in disparate artistic traditions and movements, ranging from
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multiple social and economic cultures and micro-cultures, not only web-based works.
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with the work of art. Artists working in this manner are sometimes referred to as
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251:. The 10 projects presented simultaneously in Kassel and online were those of
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Bosma, J. (2011). Nettitudes: Let's talk net art. Rotterdam: Nai Publishers.
1097:"What Is Post-Internet Art? Understanding the Revolutionary New Art Movement"
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displayed items amassed from hard drives around the world in a computational
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net.art 2.0 – Neue Materialien zur Netzkunst / New Materials towards Net art
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905:"navigating the narrative in space: gender and spatiality in virtual worlds"
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757:. Montreal: The Daniel Langlois Foundation for Art, Science, and Technology
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Telematic Embrace: visionary theories of art, technology and consciousness
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worked with the Bell Canada Teleconferencing Studios to produce the work
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1998,¨Pour un art actuel, l'art à l'heure d'Internet" l'Harmattan, Paris
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The term emerged during the mid-2000s and was coined by Internet artist
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147:, the first artwork in Canada to use telecommunications technologies.
34:"Simple Net Art Diagram", a 1997 work by Michael Sarff and Tim Whidden
1672:. (2008). Thoughts on “New Media Artists v. Artists with Computers".
1039:"From Clubs to Affinity: The Decentralization of Art on the Internet"
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Tecno-Poesia e realtĂ virtuali / Techno-Poetry and Virtual Realities
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or working in social media video and post-narrative formats such as
1176:"Pop star, producer or pariah? The conflicted brilliance of Grimes"
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Prácticas artĂsticas e Internet en la Ă©poca de las redes sociales
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developed her RMB City, contemporary artists like Peter Kogler,
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Art & Telematics: toward the Construction of New Aesthetics
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Information Arts: Intersections of Art, Science and Technology
1071:"From Bucket Hats to Pokémon: Breaking Down Yung Lean's Style"
162:, performed in collaboration created for an exhibition at the
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At a Distance: Precursors to Art and Activism on the Internet
377:
197:
1804:"Finally, a Semi-Definitive Definition of Post-Internet Art"
1637:"Social Network Sites: Definition, History, and Scholarship"
988:"Social Network Sites: Definition, History, and Scholarship"
1494:(2006). "Network Art: Practices and Positions". Routledge,
1358:, @rs electronica 95 Linz. Wien New York: Springer Verlag.
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193:
101:
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Bosma, Josephine (2011) "Nettitudes – Let's Talk Net Art"
1472:
Greene, Rachel (2004). "Internet Art". Thames and Hudson.
793:(Unedited transcript including organizational discussion.)
263:, Felix Stefan Huber & Philip Pocock, Herve Graumann,
1700:
Atkins, Robert. (1995). The Art World (and I) Go Online.
1377:
La musique en réseau, une musique de la complexité ?
959:"The post-display condition of contemporary computer art"
679:
Ippolito, Jon (2002-10-01). "Ten Myths of Internet Art".
1751:
1563:, Paris Editions Cercle D'Art / Imaginaire Mode d'Emploi
1761:
an online-gallery listing and directory of internet art
1233:. New York, N.Y.: Thames & Hudson. pp. 73–74.
1580:
Monoskop (2010). Overview of 'surf clubs' phenomenon.
1577:, chap.VI: Net Art: Networks, Participation, Hypertext
1505:
WB05 e-symposium published as ISEA Newsletter #102 –
827:
1314:"NET ART ANTHOLOGY: Nine Eyes of Google Street View"
880:. Buffalo: The University at Buffalo. Archived from
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containing a 3d online rendering of the same space.
1682:Greene, Rachel. (2000) A History of Internet Art.
1318:NET ART ANTHOLOGY: Nine Eyes of Google Street View
1197:Expanded Internet Art and the Informational Milieu
1689:Bookchin, Natalie & Alexei Shulgin (1994–5).
985:
483:, and social practice dissensus collectives like
331:'s 'The Secret Lives of Numbers' (2000) – also a
145:String Games: Improvisations for Inter-City Video
1816:
1709:The Internet & art: A guidebook for artists.
1536:, ed.) Berkeley: University of California Press.
1226:
721:
1032:
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315:), which used search queries as raw material.
1415:. Cambridge, Massachusetts : MIT Press.
1380:Éditions universitaires européennes, mai 2010
1130:"What's Postinternet Got to do with Net Art?"
932:"Never Mind the Art Police, These Six Matter"
491:. The movement catapulted a number of hybrid
1269:"Internet Art, Google and Artistic Practice"
858:in The New York Times (March 23, 2000), and
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1064:
1062:
1060:
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956:
856:"Now Anyone Can Be in the Whitney Biennial"
722:Chandler, Annmarie; Neumark, Norie (2005).
410:in 2008. Discussions about Internet art by
1641:Journal of Computer-Mediated Communication
1219:: CS1 maint: location missing publisher (
992:Journal of Computer-Mediated Communication
1791:An interview with Martijn Hendriks &
1695:http://rhizome.org/artbase/artwork/48530/
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164:Musée d'Art Moderne de la Ville de Paris
29:
1711:Upper Saddle River, NJ: Prentice Hall.
1569:IASLonline Lessons/Lektionen in NetArt.
1384:Barreto, Ricardo; Perissinotto, Paula.
1345:Weibel, Peter and Gerbel, Karl (1995).
1142:
1094:
981:
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911:. New York: The College Art Association
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728:. Cambridge, Massachusetts: MIT Press.
27:Form of art distributed on the Internet
14:
1817:
1575:Thomas Dreher: History of Computer Art
1400:. NĂĽrnberg: Verlag fĂĽr moderne Kunst.
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1271:. Electronic Workshops in Computing.
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543:. Another ongoing net art project is
1875:Philosophical schools and traditions
1798:"The New Aesthetic and its Politics"
1635:Boyd, D. M.; Ellison, N. B. (2007).
1194:
1128:Connor, Michael (November 1, 2013).
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674:
672:
1174:Snapes, Laura (February 19, 2020).
1151:"Post-Internet Poetry Comes of Age"
986:Boyd, D. M.; N. B. Ellison (2007).
862:in Wired Magazine (March 23, 2000).
541:The Nine Eyes of Google Street View
426:operating on web platforms such as
24:
1255:
804:"NET ART ANTHOLOGY: Reabracadabra"
25:
1886:
1745:
1267:Christou, Elisavet (2018-07-01).
1149:Goldsmith, Kenneth (2015-03-10).
775:
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216:and others on Adaweb and in 1997
1654:10.1111/j.1083-6101.2007.00393.x
1598:, Editorial AKAL, Madrid, 2012,
1005:10.1111/j.1083-6101.2007.00393.x
957:Toby Juliff, Travis Cox (2015).
808:NET ART ANTHOLOGY: Reabracadabra
528:burdened from miscommunication.
391:
374:Centre d'Art Contemporain Genève
311:commission – (Marek Walczak and
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1188:
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1095:Wallace, Ian (March 18, 2014).
1088:
950:
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860:"The Whitney Speaks: It Is Art"
449:According to a 2015 article in
188:Media art institutions such as
87:New media theorist and curator
1586:Art in the Era of the Internet
1069:Amarca, Nico (March 1, 2016).
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280:Whitney Museum of American Art
13:
1:
1195:Moss, Cecelia Laurel (2015).
1115:"Interview with Marisa Olson"
663:
1765:> Âżnetart or notart? <
418:(the latter notable for his
7:
1772:"Post-Internet Materialism"
1396:Baumgärtel, Tilman (2001).
552:
10:
1891:
1386:"the_culture_of_immanence"
751:"Electronic media in 1974"
749:Langill, Caroline (2009).
693:10.1162/002409402320774312
395:
1467:Christine Buci-Glucksmann
1348:Welcome in the Net World
852:The Whitney Biennial 2000
139:In 1974, Canadian artist
1691:Introduction to net.art.
1411:Wilson, Stephen (2001).
1278:10.14236/ewic/EVA2018.23
1227:Greene, Rachel. (2004).
1199:. Ann Arbor. p. 1.
930:Cotter, Holland (2002).
522:
903:Flanagan, Mary (2000).
874:"Daring Digital Artist"
872:Klink, Patrick (1999).
539:for his project called
222:List Visual Arts Center
1865:Theories of aesthetics
1767:netart latino database
1294:Cite journal requires
535:collected images from
459:, visual artists like
325:collective unconscious
35:
1707:Houghton, B. (2002).
1392:on 29 September 2011.
1041:. 491. Archived from
590:Electronic literature
173:created the animated
33:
1594:MartĂn Prada, Juan,
160:La Plissure du Texte
53:distributed via the
1374:Baranski Sandrine,
778:"Plissure du Texte"
755:Shifting Polarities
414:, Gene McHugh, and
367:, Nedko Solakov or
269:Martin Kippenberger
96:History and context
1810:. 14 October 2014.
1757:2013-12-19 at the
1614:2014-07-26 at the
1354:2012-06-05 at the
936:The New York Times
622:Internet aesthetic
537:Google Street View
36:
1739:978-1-933128-71-9
1728:978-90-5662-800-0
1624:978-90-5662-800-0
1604:978-84-460-3517-6
1549:Ascott, R. 1998.
1534:Edward A. Shanken
1486:978-0-500-20376-7
1461:978-1-85437-345-8
1206:978-1-339-32982-6
776:White, Norman T.
637:Online exhibition
617:Hypertext fiction
349:Poietic Generator
313:Martin Wattenberg
259:, Holger Friese,
234:Ricardo Dominguez
152:telematic artwork
16:(Redirected from
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1850:Internet culture
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1793:Katja Novitskova
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1778:. Archived from
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1618:NAI Publishers,
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1528:Ascott, R.2003.
1522:#8 (April 2015)
1427:Caterina Davinio
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1759:Wayback Machine
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1674:Rhizome Journal
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1566:Thomas Dreher:
1561:Art et Internet
1544:Technoetic Arts
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1037:Schneider, B.
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416:Artie Vierkant
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365:Heimo Zobernig
333:Turbulence.org
309:Turbulence.org
275:among others.
273:Carsten Höller
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1825:1990s in art
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1784:. Retrieved
1780:the original
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1320:. 2016-10-27
1317:
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1287:cite journal
1230:Internet art
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1181:The Guardian
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477:Lizzie Fitch
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285:Mark Amerika
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277:
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214:Jenny Holzer
192:Festival in
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141:Vera Frenkel
138:
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89:Jon Ippolito
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1840:Digital art
1557:Fred Forest
1369:Fred Forest
1049:20 November
1019:20 November
909:Art Journal
854:. See also
839:"Port Home"
782:The NorMill
657:Virtual art
605:Fractal art
585:Digital art
505:bro dubstep
497:subcultures
493:microgenres
481:Kalup Linzy
424:millennials
357:Second Life
329:Golan Levin
210:Doug Aitken
171:Eduardo Kac
122:kinetic art
63:net artists
59:interaction
1819:Categories
1808:Art F City
1786:2015-03-15
1686:, vol. 38.
1670:Moss, Ceci
1540:Roy Ascott
1492:Corby, Tom
1324:2020-11-16
1160:2016-09-14
938:. New York
814:2020-12-26
664:References
632:Net-poetry
546:I'm Google
533:Jon Rafman
156:Roy Ascott
134:happenings
74:multimedia
1693:Rhizome.
1511:1488-3635
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701:0024-094X
611:Homestuck
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600:Fax art
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341:unicast
183:Minitel
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