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==Definition==
==Definition==
Post-Internet is a loosely-defined term<ref name="amarca16" /> that was coined by artist/curator [[Marisa Olson]] in an attempt to describe her practice.<ref name=":2">{{Cite web|last=Dunne|first=Carey|date=2014-03-10|title=9 Post-Internet Artists You Should Know|url=https://www.fastcompany.com/3027356/9-post-internet-artists-you-should-know|access-date=2021-01-26|website=Fast Company|language=en-US}}</ref> It emerged from mid-2000s discussions about [[Internet art]] by Gene McHugh (author of a blog titled "Post-Internet"), and [[Artie Vierkant]] (artist, and creator of ''Image Object'' sculpture series).<ref name="rhizome2013">{{cite web|url=http://rhizome.org/editorial/2013/nov/1/postinternet/|title=What's Postinternet Got to do with Net Art?|website=[[Rhizome]]|first=Michael|last=Connor|date=November 1, 2013}}</ref> The movement itself grew out of Internet Art (or Net Art).<ref name="rhizome2013"/> According to the [[UCCA Center for Contemporary Art]], rather than referring "to a time “after” the [[internet]]", the term refers to "an internet state of mind".<ref>{{Cite web|title=Art Post-Internet|url=https://ucca.org.cn/en/exhibition/art-post-internet//|access-date=2021-01-23|website=UCCA Center for Contemporary Art|language=en}}</ref>
Post-Internet is a loosely-defined term<ref name="amarca16" /> that was coined by artist/curator [[Marisa Olson]] in an attempt to describe her practice.<ref name=":2">{{Cite web|last=Dunne|first=Carey|date=2014-03-10|title=9 Post-Internet Artists You Should Know|url=https://www.fastcompany.com/3027356/9-post-internet-artists-you-should-know|access-date=2021-01-26|website=Fast Company|language=en-US}}</ref> It emerged from mid-2000s discussions about [[Internet art]] by Gene McHugh (author of a blog titled "Post-Internet"), and [[Artie Vierkant]] (artist, and creator of ''Image Object'' sculpture series).<ref name="rhizome2013">{{cite web|url=http://rhizome.org/editorial/2013/nov/1/postinternet/|title=What's Postinternet Got to do with Net Art?|website=[[Rhizome]]|first=Michael|last=Connor|date=November 1, 2013}}</ref> The movement itself grew out of [[Internet art|Internet Art (or Net Art)]].<ref name="rhizome2013"/> According to the [[UCCA Center for Contemporary Art]] in [[Beijing]], rather than referring "to a time “after” the [[internet]]", the term refers to "an internet state of mind".<ref name=UCCA>{{Cite web|title=Art Post-Internet|url=https://ucca.org.cn/en/exhibition/art-post-internet//|access-date=2021-01-23|website=UCCA Center for Contemporary Art|language=en}}</ref> Eva Folks of AQNB wrote that it "references one so deeply embedded in and propelled by the internet that the notion of a world or culture without or outside it becomes increasingly unimaginable, impossible."<ref name=AQNB/>


The term is controversial and the subject of much criticism in the art community.<ref name="amarca16" /> [[Art in America]]{{'}}s Brian Droitcour opined that the term fails to describe the form of the works, instead "alluding only to a hazy contemporary condition and the idea of art being made in the context of digital technology."<ref>{{Cite web|last1=Droitcour|first1=Brian|date=2014-10-29|title=The Perils of Post-Internet Art|url=https://www.artnews.com/art-in-america/features/the-perils-of-post-internet-art-63040/|access-date=2021-01-26|website=ARTnews.com|language=en-US}}</ref> According to a 2015 article in ''[[The New Yorker]]'', the term describes "the practices of artists [whose] artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."<ref name="comesof">{{Cite magazine|url=http://www.newyorker.com/books/page-turner/post-internet-poetry-comes-of-age|title=Post-Internet Poetry Comes of Age|last=Kenneth|first=Goldsmith|date=2015-03-10|magazine=The New Yorker|publisher=|access-date=2016-09-14}}</ref> ''Fast Company''{{'}}s Carey Dunne summarizes they are "artists who are inspired by the visual cacophony of the web" and notes that "mediums from [[Second Life]] portraits to digital paintings on silk to 3-D-printed sculpture" are used.<ref name=":2" />
The term is controversial and the subject of much criticism in the art community.<ref name="amarca16" /> ''[[Art in America]]''{{'}}s Brian Droitcour in 2014 opined that the term fails to describe the form of the works, instead "alluding only to a hazy contemporary condition and the idea of art being made in the context of digital technology."<ref>{{Cite web|last1=Droitcour|first1=Brian|date=2014-10-29|title=The Perils of Post-Internet Art|url=https://www.artnews.com/art-in-america/features/the-perils-of-post-internet-art-63040/|access-date=2021-01-26|website=ARTnews.com|language=en-US}}</ref> According to a 2015 article in ''[[The New Yorker]]'', the term describes "the practices of artists [whose] artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."<ref name="comesof">{{Cite magazine|url=http://www.newyorker.com/books/page-turner/post-internet-poetry-comes-of-age|title=Post-Internet Poetry Comes of Age|last=Kenneth|first=Goldsmith|date=2015-03-10|magazine=The New Yorker|publisher=|access-date=2016-09-14}}</ref> ''Fast Company''{{'}}s Carey Dunne summarizes they are "artists who are inspired by the visual cacophony of the web" and notes that "mediums from [[Second Life]] portraits to digital paintings on silk to 3-D-printed sculpture" are used.<ref name=":2" />


There is theoretical overlap with [[James Bridle]]'s term [[New Aesthetic]].<ref>{{Cite web|title=The New Aesthetic and its Politics {{!}} booktwo.org|url=http://booktwo.org/notebook/new-aesthetic-politics/|access-date=2021-01-24|language=en-US}}</ref><ref name=":1" /> Ian Wallace writes that "the influential blog The New Aesthetic, run since May 2011 by writer and artist James Bridle, is a pioneering institution in the post-Internet movement" and concludes that "much of the energy around the New Aesthetic seems, now, to have filtered over into the "post-Internet" conversation."<ref name=":1" /> Post-Internet art is also discussed by [[Katja Novitskova]] as being a part of 'New Materialism'.<ref>{{Cite web|title=Post-Internet Materialism Martijn Hendriks & Katja Novitskova - Features - Metropolis M|url=http://www.metropolism.com/en/features/23573_post_internet_materialism|access-date=2021-01-24|website=www.metropolism.com|language=en}}</ref><ref>{{Cite web|title=Katja Novitskova's Work In A Post-Internet World – the Future In A Mediated Reality < 1/2015 < Issues - kunst.ee|url=https://ajakirikunst.ee/?c=magazine&l=en&t=katja-novitskovas-work-in-a-post-internet-world--the-future-in-a-mediated-reality&id=1331|access-date=2021-01-24|website=ajakirikunst.ee}}</ref>
There is theoretical overlap with writer and artist [[James Bridle]]'s term [[New Aesthetic]].<ref>{{Cite web|title=The New Aesthetic and its Politics {{!}} booktwo.org|url=http://booktwo.org/notebook/new-aesthetic-politics/|access-date=2021-01-24|language=en-US}}</ref><ref name=":1" /> Ian Wallace of ''[[Artspace (website)|Artspace]]'' writes that "the influential blog The New Aesthetic, run since May 2011 by Bridle, is a pioneering institution in the post-Internet movement" and concludes that "much of the energy around the New Aesthetic seems, now, to have filtered over into the "post-Internet" conversation."<ref name=":1" /> Post-Internet art is also discussed by [[Katja Novitskova]] as being a part of 'New Materialism'.<ref>{{Cite web|title=Post-Internet Materialism Martijn Hendriks & Katja Novitskova - Features - Metropolis M|url=http://www.metropolism.com/en/features/23573_post_internet_materialism|access-date=2021-01-24|website=www.metropolism.com|language=en}}</ref><ref>{{Cite web|title=Katja Novitskova's Work In A Post-Internet World – the Future In A Mediated Reality < 1/2015 < Issues - kunst.ee|url=https://ajakirikunst.ee/?c=magazine&l=en&t=katja-novitskovas-work-in-a-post-internet-world--the-future-in-a-mediated-reality&id=1331|access-date=2021-01-24|website=ajakirikunst.ee}}</ref>


Ian Wallace of ''[[Artspace (website)|Artspace]]'' considers the Post-Internet term to stand for "a [[New Aesthetic|new aesthetic]] era," moving "beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects". He notes that the post-Internet generation "frequently uses digital strategies to create objects that exist in the real world."<ref name=":1"/> Or as Louis Doulas writes in ''Within Post-Internet, Part One'' (2011): "There is a difference then, in an art that chooses to exist outside of a browser window and an art that chooses to stay within it."<ref>{{Cite book|last=Doulas|first=Louis|title=Within Post-Internet, Part One|publisher=pooool.info|year=2011|isbn=|location=|pages=}}</ref>
Wallace considers the Post-Internet term to stand for "a [[New Aesthetic|new aesthetic]] era," moving "beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects". He notes that the post-Internet generation "frequently uses digital strategies to create objects that exist in the real world."<ref name=":1"/> Or as Louis Doulas writes in ''Within Post-Internet, Part One'' (2011): "There is a difference then, in an art that chooses to exist outside of a browser window and an art that chooses to stay within it."<ref>{{Cite book|last=Doulas|first=Louis|title=Within Post-Internet, Part One|publisher=pooool.info|year=2011|isbn=|location=|pages=}}</ref>


==Influence==
==Influence==
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== Exhibitions ==
== Exhibitions ==


There have been a number of significant group shows explicitly exploring Post-Internet themes. There was a 2014 exhibition called ''Art Post-Internet'' at Beijing's Ullens Center for Contemporary Art, which "set out to encapsulate the budding movement."<ref name=":1"/> [[Museum of Modern Art|MoMa]] curated ''Ocean of Images'' (2015)'','' a show "probing the effects of an image-based post-Internet reality."<ref>{{Cite web|title=Ocean of Images: New Photography 2015 {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1539|access-date=2021-02-01|website=The Museum of Modern Art|language=en}}</ref> The 2016 9th [[Berlin Biennale]], titled ''The Present in Drag'', curated by the art collective [[DIS (collective)|DIS]], is described as a Post-Internet exhibition.<ref>{{Cite web|title=You missed the 9th Berlin Biennale|url=http://showerofkunst.com/sok/2016/12/31/berlin-biennale-ix/|access-date=2020-12-15|website=showerofkunst.com}}</ref><ref name=":3">{{Cite web|title=DIS – the post-internet collective Curating the 9th Berlin Biennale|url=https://fineartmultiple.com/blog/dis-berlin-biennale/|access-date=2021-01-25|website=fineartmultiple.com}}</ref><ref name=":0">{{Cite web|title="Die Stadt ist internationaler geworden" {{!}} Monopol|url=https://www.monopol-magazin.de/die-stadt-ist-internationaler-geworden|access-date=2021-02-01|website=www.monopol-magazin.de|language=de}}</ref> Other examples include:
There have been a number of significant group art shows explicitly exploring Post-Internet themes. There was a 2014 exhibition called ''Art Post-Internet'' at Beijing's Ullens Center for Contemporary Art, which ''[[ARTnews]]'' named one of the "most art exhibitions of the 2010s"<ref>{{cite news|url=https://www.artnews.com/art-news/news/most-important-exhibitions-2010s-1202672433/|title=The Most Important Art Exhibitions of the 2010s|date=17 December 2019|work=Artnews|last1=Durón|first1=Maximilíano|last2=Greenberger|first2=Alex}}</ref> which "set out to encapsulate the budding movement."<ref name=":1"/> [[Museum of Modern Art|MoMA]] curated ''Ocean of Images'' in 2015, a show "probing the effects of an image-based post-Internet reality."<ref>{{Cite web|title=Ocean of Images: New Photography 2015 {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1539|access-date=2021-02-01|website=The Museum of Modern Art|language=en}}</ref> The 2016 9th [[Berlin Biennale]], titled ''The Present in Drag'', curated by the art collective [[DIS (collective)|DIS]], is described as a Post-Internet exhibition.<ref>{{Cite web|title=You missed the 9th Berlin Biennale|url=http://showerofkunst.com/sok/2016/12/31/berlin-biennale-ix/|access-date=2020-12-15|website=showerofkunst.com}}</ref><ref name=":3">{{Cite web|title=DIS – the post-internet collective Curating the 9th Berlin Biennale|url=https://fineartmultiple.com/blog/dis-berlin-biennale/|access-date=2021-01-25|website=fineartmultiple.com}}</ref><ref name=":0">{{Cite web|title="Die Stadt ist internationaler geworden" {{!}} Monopol|url=https://www.monopol-magazin.de/die-stadt-ist-internationaler-geworden|access-date=2021-02-01|website=www.monopol-magazin.de|language=de}}</ref> Other examples include:


* ''Raster Raster'', Aran Cravey Gallery, Los Angeles, 2014<ref name=Raster>{{Cite web|date=2014-04-07|title="Raster Raster" at Aran Cravey Gallery, Los Angeles •|url=http://moussemagazine.it/raster-raster-aran-cravey/|access-date=2021-01-26|website=Mousse Magazine|language=it-IT}}</ref>
* ''Raster Raster'', Aran Cravey Gallery, Los Angeles, 2014<ref name=Raster>{{Cite web|date=2014-04-07|title="Raster Raster" at Aran Cravey Gallery, Los Angeles •|url=http://moussemagazine.it/raster-raster-aran-cravey/|access-date=2021-01-26|website=Mousse Magazine|language=it-IT}}</ref>
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== Notable artists ==
== Notable artists ==
{{div col}}
{{div col}}
* AIDS-3D (Daniel Keller and Nik Kosmas)<ref>{{cite news|url=https://hyperallergic.com/481/aids-3d-interview/|title=Information, Aesthetics & Fun: An Interview with AIDS-3D|date=27 October 2009|last= Vierkant|first=Artie|work=[[Hyperallergic]]}}</ref>
*[[Cory Arcangel]]<ref name=":1" />
*[[Cory Arcangel]]<ref name=":1" />
* Kai (Kari) Altmann<ref>{{cite web|url=https://anthology.rhizome.org/r-u-in-s-garden-club|title=R-U-IN?S / GARDEN CLUB KAI (KARI) ALTMANN 2009 - ONGOING|website=Rhizome Anthology}}</ref>
* Kai (Kari) Altmann<ref name=AQNB>{{cite news|url=https://www.aqnb.com/2014/03/03/life-after-internet-concerning-art-post-internet-in-beijing/|title=Concerning Art Post-Internet|last=Folks|first=Eve|date=3 March 2014|work=AQNB}}</ref><ref>{{cite web|url=https://anthology.rhizome.org/r-u-in-s-garden-club|title=R-U-IN?S / GARDEN CLUB KAI (KARI) ALTMANN 2009 - ONGOING|website=Rhizome Anthology|date=27 October 2016 }}</ref>
*[[Petra Cortright]],<ref name=":1" /> whose work includes YouTube video work and digital paintings. She was included in "Raster Raster"<ref name=Raster /> and the 9th Berlin Biennale
*[[Petra Cortright]],<ref name=":1" /> whose work includes YouTube video work and digital paintings. She was included in "Raster Raster"<ref name=Raster /> and the 9th Berlin Biennale
*[[DIS (collective)|DIS]]<ref name=":3" /><ref name=":0" />
*[[DIS (collective)|DIS]]<ref name=":3" /><ref name=":0" />
* Aleksandra Domanović<ref>{{cite news|url=https://artreview.com/mar-2012-future-greats-aleksandra-domanovic/|work=ArtReview|date=21 July 2014|title=Aleksandra Domanović|last=McLean-Ferris|first=Laura|quote=Domanović has ... created paper-stack sculptures (made by printing to the edge of blank A4 paper, at full bleed) that commemorate the day in 2010 that the .yu domain was taken off the Internet.... The memorialising of this moment makes sense for an artist so committed to the Internet as a form...}}</ref><ref name=AQNB/>
*[[Parker Ito]]<ref>{{Cite web|date=2016-09-11|title=Parker Ito, or the anxiety of over-hyped young artists|url=https://judithbenhamouhuet.com/parker-ito-or-the-anxiety-of-over-hyped-young-artists/|access-date=2021-01-25|website=Judith Benhamou-Huet Reports|language=en-GB}}</ref>
*[[Parker Ito]]<ref>{{Cite web|date=2016-09-11|title=Parker Ito, or the anxiety of over-hyped young artists|url=https://judithbenhamouhuet.com/parker-ito-or-the-anxiety-of-over-hyped-young-artists/|access-date=2021-01-25|website=Judith Benhamou-Huet Reports|language=en-GB}}</ref>
*[[Rachel de Joode]]<ref name="akoya">{{cite web |title=Rachel De Joode |url=https://akoyabooks.com/interviews/rachel-de-joode/ |website=Akoya Books |access-date=30 March 2021 |language=en |date=10 October 2016}}</ref>
*[[Rachel de Joode]]<ref name="akoya">{{cite web |title=Rachel De Joode |url=https://akoyabooks.com/interviews/rachel-de-joode/ |website=Akoya Books |access-date=30 March 2021 |language=en |date=10 October 2016}}</ref>
* Oliver Laric<ref>{{cite web|url=https://www.ssense.com/en-us/editorial/art/hijacking-classical-sculptures-in-vienna|title=HIJACKING CLASSICAL SCULPTURES IN VIENNA Artist Oliver Laric Open-Sources Museum Sculptures and Shows How Technology Has Changed Authenticity|website=Ssense.com|last=Heuser|first=Biance|date=4 May 2016 }}</ref>
*[[Kalup Linzy]]<ref>{{Cite web|title=Berlin Biennale {{!}} Participants|date=September 2022 |url=https://news.artnet.com/art-world/kalup-linzy-art21-2168437}}</ref>
* [[Jonathan Monaghan]]<ref>{{Cite web|url=https://www.mediaartdesign.net/EN_ars17.html |title=ARS ELECTRONICA 2017 |last=Moulon |first=Dominique }}</ref>
*[[Katja Novitskova]]<ref>{{Cite web|last=Culture|first=Magazine Contemporary|date=2012-01-30|title=Post Internet Survival Guide, 2010|url=http://www.magazinecontemporaryculture.com/post-internet-survival-guide/|access-date=2021-01-24|website=Magazine Contemporary Culture|language=en-US}}</ref> whose work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics and was included in the 9th Berlin Biennale
*[[Katja Novitskova]]<ref>{{Cite web|last=Culture|first=Magazine Contemporary|date=2012-01-30|title=Post Internet Survival Guide, 2010|url=http://www.magazinecontemporaryculture.com/post-internet-survival-guide/|access-date=2021-01-24|website=Magazine Contemporary Culture|language=en-US}}</ref> whose work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics and was included in the 9th Berlin Biennale
*[[Seth Price]]<ref name=":1" />
*[[Seth Price]]<ref name=":1" />
*[[Jon Rafman]], whose work was included in the 9th Berlin Biennale
*[[Jon Rafman]], whose work was included in the 9th Berlin Biennale
*[[Ryder Ripps]]<ref>[https://www.gq.com/story/ryder-ripps-cia-redesign No, Ryder Ripps Didn't Do the CIA Redesign|CQ]</ref>
*[[Ryder Ripps]]<ref>[https://www.gq.com/story/ryder-ripps-cia-redesign No, Ryder Ripps Didn't Do the CIA Redesign|CQ]</ref>
*Bunny Rogers<ref>{{cite web | url=https://www.huffpost.com/entry/postinternet-art_n_4893271 | title=6 'Postinternet' Artists You Should Know | date=5 March 2014 }}</ref>
* Timur Si-Qin<ref name=AQNB/><ref>{{cite news|url=https://www.artforum.com/print/reviews/201903/timur-si-qin-78746|title=Timur Si-Qin MAGICIAN SPACE 魔金石空间|work=Artforum|date=March 2019|last=Frank|first=Simon}}</ref>
*[[Molly Soda]],<ref>[https://1701vb.com/post-internet-art-is-the-fast-food-of-the-contemporary-art-world-by-phoebe-cochran/ Post-Internet Art is the Fast Food of the Contemporary World]</ref> who co-curated and included her own work in "Zero Zero"<ref name=Zero/>
*[[Molly Soda]],<ref>[https://1701vb.com/post-internet-art-is-the-fast-food-of-the-contemporary-art-world-by-phoebe-cochran/ Post-Internet Art is the Fast Food of the Contemporary World]</ref> who co-curated and included her own work in "Zero Zero"<ref name=Zero/>
*[[Hito Steyerl]]<ref name=UCCA/><ref name=AQNB/>
⚫
*[[Ryan Trecartin]],<ref>{{Cite web|title=Frieze Editors Debate the Artist of the Decade {{!}} Frieze|url=https://www.frieze.com/article/frieze-editors-debate-artist-decade|access-date=2021-01-25|website=Frieze|date=13 December 2019|language=en}}</ref> whose work was included in the 9th Berlin Biennale and who co-curated the [[New Museum]]'s 2015 triennial "Surround Audience" which included DIS<ref name=new/>
*Theo Triantafyllidis<ref>{{Cite web|url=https://www.factmag.com/2024/02/12/interview-theo-triantafyllidis/ |title=Interview Theo Triantafyllidis |date=12 February 2024 }}</ref>
⚫
*[[Brad Troemel]]<ref>{{Cite web|date=2015-03-18|title=magazine / archive / Ann Hirsch {{!}} MOUSSE CONTEMPORARY ART MAGAZINE|url=http://moussemagazine.it/articolo.mm?id=1093#|access-date=2021-02-02|archive-url=https://web.archive.org/web/20150318222950/http://moussemagazine.it/articolo.mm?id=1093#|archive-date=2015-03-18}}</ref>
⚫
*[[Ryan Trecartin]] and [[Lizzie Fitch]],<ref>{{Cite web|title=Frieze Editors Debate the Artist of the Decade {{!}} Frieze|url=https://www.frieze.com/article/frieze-editors-debate-artist-decade|access-date=2021-01-25|website=Frieze|date=13 December 2019|language=en}}</ref> whose work was included in the 9th Berlin Biennale and who co-curated the [[New Museum]]'s 2015 triennial Surround Audience<ref name=new/>
⚫
*[[Brad Troemel]], [[Joshua Citarella]], and [[Molly Soda]]<ref>{{Cite web|date=2015-03-18|title=magazine / archive / Ann Hirsch {{!}} MOUSSE CONTEMPORARY ART MAGAZINE|url=http://moussemagazine.it/articolo.mm?id=1093|access-date=2021-02-02|archive-url=https://web.archive.org/web/20150318222950/http://moussemagazine.it/articolo.mm?id=1093|archive-date=2015-03-18}}</ref>
*[[Amalia Ulman]], whose work was included in the 9th Berlin Biennale<ref>{{Cite web|title=Berlin Biennale {{!}} Participants|url=http://bb9.berlinbiennale.de/participants/|access-date=2020-12-15|language=en-US}}</ref>
*[[Amalia Ulman]], whose work was included in the 9th Berlin Biennale<ref>{{Cite web|title=Berlin Biennale {{!}} Participants|url=http://bb9.berlinbiennale.de/participants/|access-date=2020-12-15|language=en-US}}</ref>
*[[Andrew Norman Wilson (artist)|Andrew Norman Wilson]]<ref name="Nast 2019">{{cite magazine |last=Mallonee |first=Laura |title=Is That a Hand? Glitches Reveal Google Books' Human Scanners |magazine=WIRED |date=2019-02-07 |url=https://www.wired.com/story/google-books-glitches-gallery/ |access-date=2023-11-07}}</ref>
{{div col end}}
{{div col end}}


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File:Anna Uddenberg.jpg|Anna Uddenberg at the 9th Berlin Biennale, 2016.
File:Anna Uddenberg.jpg|Anna Uddenberg at the 9th Berlin Biennale, 2016.
File:GCC (art collective).jpg|GCC collective at the 9th Berlin Biennale, 2016.
File:GCC (art collective).jpg|GCC collective at the 9th Berlin Biennale, 2016.
File:Artie Vierkant.jpg|Part of Artie Vierkant's ''Image Objects'' series.
File:Artie Vierkant.jpg|Part of [[Artie Vierkant]]'s ''Image Objects'' series.
File:Fair Trade. Frieze Projects 2012.jpg|Photo by [[DIS (collective)|DIS]]. ''Fair Trade'', [[Frieze Art Fair|Frieze Projects]] 2012
File:Fair Trade. Frieze Projects 2012.jpg|Photo by [[DIS (collective)|DIS]]. ''Fair Trade'', [[Frieze Art Fair|Frieze Projects]] 2012
File:Katja Novitskova.jpg|Spirit, Curiosity and Opportunity, [[Katja Novitskova]], Kraupa-Tuskany Zeidler, Berlin, 2014.
File:Katja Novitskova.jpg|Spirit, Curiosity and Opportunity, [[Katja Novitskova]], Kraupa-Tuskany Zeidler, Berlin, 2014.

Latest revision as of 20:16, 12 August 2024

Post-Internet art is a contemporary art movement influenced by Internet culture. The installation Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem) by Parker Ito (White Cube, 2014) serves as an example.

Post-Internet is a 21st-century art movement[1] involving works that are derived from the Internet or its effects on aesthetics, culture and society.[2]

Definition

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Post-Internet is a loosely-defined term[1] that was coined by artist/curator Marisa Olson in an attempt to describe her practice.[3] It emerged from mid-2000s discussions about Internet art by Gene McHugh (author of a blog titled "Post-Internet"), and Artie Vierkant (artist, and creator of Image Object sculpture series).[4] The movement itself grew out of Internet Art (or Net Art).[4] According to the UCCA Center for Contemporary Art in Beijing, rather than referring "to a time “after” the internet", the term refers to "an internet state of mind".[5] Eva Folks of AQNB wrote that it "references one so deeply embedded in and propelled by the internet that the notion of a world or culture without or outside it becomes increasingly unimaginable, impossible."[6]

The term is controversial and the subject of much criticism in the art community.[1] Art in America's Brian Droitcour in 2014 opined that the term fails to describe the form of the works, instead "alluding only to a hazy contemporary condition and the idea of art being made in the context of digital technology."[7] According to a 2015 article in The New Yorker, the term describes "the practices of artists [whose] artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."[8] Fast Company's Carey Dunne summarizes they are "artists who are inspired by the visual cacophony of the web" and notes that "mediums from Second Life portraits to digital paintings on silk to 3-D-printed sculpture" are used.[3]

There is theoretical overlap with writer and artist James Bridle's term New Aesthetic.[9][2] Ian Wallace of Artspace writes that "the influential blog The New Aesthetic, run since May 2011 by Bridle, is a pioneering institution in the post-Internet movement" and concludes that "much of the energy around the New Aesthetic seems, now, to have filtered over into the "post-Internet" conversation."[2] Post-Internet art is also discussed by Katja Novitskova as being a part of 'New Materialism'.[10][11]

Wallace considers the Post-Internet term to stand for "a new aesthetic era," moving "beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects". He notes that the post-Internet generation "frequently uses digital strategies to create objects that exist in the real world."[2] Or as Louis Doulas writes in Within Post-Internet, Part One (2011): "There is a difference then, in an art that chooses to exist outside of a browser window and an art that chooses to stay within it."[12]

Influence

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Vaporwave is among the Internet-centric microgenres and subcultures spearheaded by the post-Internet movement.[1]

The movement spearheaded microgenres and subcultures such as seapunk and vaporwave.[1] In the early 2010s, "post-Internet" was popularly associated with the musician Grimes. Grimes used the term to describe her work at a time when post-Internet concepts were not typically discussed in mainstream music arenas.[13] Amarco referred to Yung Lean as "by and large a product of the internet and a leading example of a generation of youths who garner fame through social media."[1]

Exhibitions

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There have been a number of significant group art shows explicitly exploring Post-Internet themes. There was a 2014 exhibition called Art Post-Internet at Beijing's Ullens Center for Contemporary Art, which ARTnews named one of the "most art exhibitions of the 2010s"[14] which "set out to encapsulate the budding movement."[2] MoMA curated Ocean of Images in 2015, a show "probing the effects of an image-based post-Internet reality."[15] The 2016 9th Berlin Biennale, titled The Present in Drag, curated by the art collective DIS, is described as a Post-Internet exhibition.[16][17][18] Other examples include:

  • Raster Raster, Aran Cravey Gallery, Los Angeles, 2014[19]
  • 2015 Triennial: Surround Audience at New Museum, New York, 2015[20][21]
  • Zero Zero, Annka Kulty Gallery, London, 2016[22]

Notable artists

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[edit]
  • Sculpture of Rihanna as an Acéfalo in the 9th Berlin Biennale by Juan Sebastián Peláez
    Sculpture of Rihanna as an Acéfalo in the 9th Berlin Biennale by Juan Sebastián Peláez
  • Anna Uddenberg at the 9th Berlin Biennale, 2016.
    Anna Uddenberg at the 9th Berlin Biennale, 2016.
  • GCC collective at the 9th Berlin Biennale, 2016.
    GCC collective at the 9th Berlin Biennale, 2016.
  • Part of Artie Vierkant's Image Objects series.
    Part of Artie Vierkant's Image Objects series.
  • Photo by DIS. Fair Trade, Frieze Projects 2012
    Photo by DIS. Fair Trade, Frieze Projects 2012
  • Spirit, Curiosity and Opportunity, Katja Novitskova, Kraupa-Tuskany Zeidler, Berlin, 2014.
    Spirit, Curiosity and Opportunity, Katja Novitskova, Kraupa-Tuskany Zeidler, Berlin, 2014.

See also

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References

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  1. ^ a b c d e f Amarca, Nico (March 1, 2016). "From Bucket Hats to Pokémon: Breaking Down Yung Lean's Style". High Snobiety. Retrieved May 24, 2020.
  2. ^ a b c d e f g h Wallace, Ian (March 18, 2014). "What Is Post-Internet Art? Understanding the Revolutionary New Art Movement". Artspace.
  3. ^ a b Dunne, Carey (2014-03-10). "9 Post-Internet Artists You Should Know". Fast Company. Retrieved 2021-01-26.
  4. ^ a b Connor, Michael (November 1, 2013). "What's Postinternet Got to do with Net Art?". Rhizome.
  5. ^ a b "Art Post-Internet". UCCA Center for Contemporary Art. Retrieved 2021-01-23.
  6. ^ a b c d e Folks, Eve (3 March 2014). "Concerning Art Post-Internet". AQNB.
  7. ^ Droitcour, Brian (2014-10-29). "The Perils of Post-Internet Art". ARTnews.com. Retrieved 2021-01-26.
  8. ^ Kenneth, Goldsmith (2015-03-10). "Post-Internet Poetry Comes of Age". The New Yorker. Retrieved 2016-09-14.
  9. ^ "The New Aesthetic and its Politics | booktwo.org". Retrieved 2021-01-24.
  10. ^ "Post-Internet Materialism Martijn Hendriks & Katja Novitskova - Features - Metropolis M". www.metropolism.com. Retrieved 2021-01-24.
  11. ^ "Katja Novitskova's Work In A Post-Internet World – the Future In A Mediated Reality < 1/2015 < Issues - kunst.ee". ajakirikunst.ee. Retrieved 2021-01-24.
  12. ^ Doulas, Louis (2011). Within Post-Internet, Part One. pooool.info.
  13. ^ Snapes, Laura (February 19, 2020). "Pop star, producer or pariah? The conflicted brilliance of Grimes". The Guardian.
  14. ^ Durón, Maximilíano; Greenberger, Alex (17 December 2019). "The Most Important Art Exhibitions of the 2010s". Artnews.
  15. ^ "Ocean of Images: New Photography 2015 | MoMA". The Museum of Modern Art. Retrieved 2021-02-01.
  16. ^ "You missed the 9th Berlin Biennale". showerofkunst.com. Retrieved 2020-12-15.
  17. ^ a b "DIS – the post-internet collective Curating the 9th Berlin Biennale". fineartmultiple.com. Retrieved 2021-01-25.
  18. ^ a b ""Die Stadt ist internationaler geworden" | Monopol". www.monopol-magazin.de (in German). Retrieved 2021-02-01.
  19. ^ a b ""Raster Raster" at Aran Cravey Gallery, Los Angeles •". Mousse Magazine (in Italian). 2014-04-07. Retrieved 2021-01-26.
  20. ^ "2015 Triennial: Surround Audience at the New Museum". DAILY SERVING. Retrieved 2021-01-26.
  21. ^ a b "Exhibitions".
  22. ^ a b "Exhibition // 'Zero Zero' Proposes A New Post-Internet Landscape". Berlin Art Link. 2016-07-17. Retrieved 2021-01-26.
  23. ^ Vierkant, Artie (27 October 2009). "Information, Aesthetics & Fun: An Interview with AIDS-3D". Hyperallergic.
  24. ^ "R-U-IN?S / GARDEN CLUB KAI (KARI) ALTMANN 2009 - ONGOING". Rhizome Anthology. 27 October 2016.
  25. ^ McLean-Ferris, Laura (21 July 2014). "Aleksandra Domanović". ArtReview. Domanović has ... created paper-stack sculptures (made by printing to the edge of blank A4 paper, at full bleed) that commemorate the day in 2010 that the .yu domain was taken off the Internet.... The memorialising of this moment makes sense for an artist so committed to the Internet as a form...
  26. ^ "Parker Ito, or the anxiety of over-hyped young artists". Judith Benhamou-Huet Reports. 2016-09-11. Retrieved 2021-01-25.
  27. ^ "Rachel De Joode". Akoya Books. 10 October 2016. Retrieved 30 March 2021.
  28. ^ Heuser, Biance (4 May 2016). "HIJACKING CLASSICAL SCULPTURES IN VIENNA Artist Oliver Laric Open-Sources Museum Sculptures and Shows How Technology Has Changed Authenticity". Ssense.com.
  29. ^ "Berlin Biennale | Participants". September 2022.
  30. ^ Moulon, Dominique. "ARS ELECTRONICA 2017".
  31. ^ Culture, Magazine Contemporary (2012-01-30). "Post Internet Survival Guide, 2010". Magazine Contemporary Culture. Retrieved 2021-01-24.
  32. ^ No, Ryder Ripps Didn't Do the CIA Redesign|CQ
  33. ^ "6 'Postinternet' Artists You Should Know". 5 March 2014.
  34. ^ Frank, Simon (March 2019). "Timur Si-Qin MAGICIAN SPACE 魔金石空间". Artforum.
  35. ^ Post-Internet Art is the Fast Food of the Contemporary World
  36. ^ "Interview Theo Triantafyllidis". 12 February 2024.
  37. ^ "Frieze Editors Debate the Artist of the Decade | Frieze". Frieze. 13 December 2019. Retrieved 2021-01-25.
  38. ^ "magazine / archive / Ann Hirsch | MOUSSE CONTEMPORARY ART MAGAZINE". 2015-03-18. Archived from the original on 2015-03-18. Retrieved 2021-02-02.
  39. ^ "Berlin Biennale | Participants". Retrieved 2020-12-15.
  40. ^ Mallonee, Laura (2019-02-07). "Is That a Hand? Glitches Reveal Google Books' Human Scanners". WIRED. Retrieved 2023-11-07.

Further reading

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  • Novitskova, Katja. Post internet survival guide 2010. Berlin: Revolver Publishing, 2011. ISBN 978-3-86895-350-3
  • McHugh, Gene. Post Internet. Notes on the Internet and Art 12.29.09 > 09.05.10, Brescia: Link Editions, 2011.
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