Internet art

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Internet art (also known as net art) is a form of digital artwork distributed via the Internet. This form of art has circumvented the traditional dominance of the gallery and museum system, delivering aesthetic experiences via the Internet. In many cases, the viewer is drawn into some kind of interaction with the work of art. Artists working in this manner are sometimes referred to as net artists.

Internet art can happen outside the technical structure of the Internet, such as when artists use specific social or cultural Internet traditions in a project outside it. Internet art is often—but not always—interactive, participatory, and multimedia-based. Internet art can be used to spread a message, either political or social, using human interactions.

The term Internet art typically does not refer to art that has been simply digitized and uploaded to be viewable over the Internet. This can be done through a web browser, such as images of paintings uploaded for viewing in an online gallery.[1] Rather, this genre relies intrinsically on the Internet to exist, taking advantage of such aspects as an interactive interface and connectivity to multiple social and economic cultures and micro-cultures. It refers to the Internet as a whole, not only to web-based works.

Theorist and curator Jon Ippolito defined "Ten Myths" about Internet art in 2002.[1] 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.

History and context[edit]

Internet art is rooted in disparate artistic traditions and movements, ranging from Dada to Situationism, conceptual art, Fluxus, video art, kinetic art, performance art, telematic art and happenings.[2]

In 1974, Canadian artist Vera Frenkel worked with the Bell Canada Teleconferencing Studios to produce the work String Games: Improvisations for Inter-City Video, the first artwork in Canada to use telecommunications technologies.[3]

An early telematic artwork was Roy Ascott's work, La Plissure du Texte,[4] performed in collaboration created for an exhibition at the Musée d'Art Moderne de la Ville de Paris in 1983.

Media art institutions such as Ars Electronica Festival in Linz, or the Paris-based IRCAM (a research center for electronic music), would also support or present early Networked art. In 1997 MIT's List Visual Arts Center hosted "PORT: Navigating Digital Culture," that included internet art in a gallery space and "time-based Internet projects."[5] Artists in the show included Cary Peppermint, Prema Murthy, Ricardo Dominguez, and Adrianne Wortzel. In 2000 the Whitney Museum of American Art included net art in their Biennial exhibit.[6] 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 Mark Amerika, Fakeshop, Ken Goldberg, and ®™ark.

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' (Marek Walczak and Martin Wattenberg), which used search queries as raw material. Mary Flanagan's ' The Perpetual Bed' received attention for its novel use of 3D nonlinear narrative space, or what she called "navigable narratives." [7] [8] Her 2001 work in the Whitney Biennial, 'collection' collected items from hard drives around the world and displayed them in a 'computational collective unconscious.'[9] Golan Levin's 'The Secret Lives of Numbers' (2000) 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.

Nevertheless, the Internet is not reducible to the web, nor to search engines. Besides these unicast (point to point) applications, suggesting that there is some reference points, there is also a multicast (multipoint and uncentered) internet that has been explored by very few artistic experiences, such as the Poietic Generator. 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.[10]

The emergence of social networking platforms, understood to be "web-based services that allow individuals to... construct a public or semi-public profile within a bounded system... articulate a list of other users with whom they share a connection, and... view and traverse their list of connections and those made by others within the system",[11] facilitated a transformative shift in the distribution of internet art. Early online communities were organized around specific "topical hierarchies",[11] whereas social networking platforms consist of egocentric networks, with the "individual at the center of their own community".[11] 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"[12] and whose membership was restricted to a select group of individuals, to image-based social networking platforms, like Flickr, 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".[12]


See also[edit]


  1. ^ a b Ippolito, Jon (2002-10-01). "Ten Myths of Internet Art". Leonardo. 35 (5): 485–498. doi:10.1162/002409402320774312. ISSN 0024-094X. S2CID 57564573.
  2. ^ Chandler, Annmarie; Neumark, Norie (2005). At a Distance: Precursors to Art and Activism on the Internet. Cambridge, Massachusetts: MIT Press. ISBN 0-262-03328-3.
  3. ^ Langill, Caroline (2009). "Electronic media in 1974". Shifting Polarities. Montreal: The Daniel Langlois Foundation for Art, Science, and Technology. Retrieved September 21, 2010.
  4. ^ White, Norman T. "Plissure du Texte". The NorMill. Retrieved September 21, 2010. (Unedited transcript including organizational discussion.)
  5. ^
  6. ^ The Whitney Biennial 2000. See also "Now Anyone Can Be in the Whitney Biennial" in The New York Times (March 23, 2000), and "The Whitney Speaks: It Is Art" in Wired Magazine (March 23, 2000).
  7. ^ Klink, Patrick (1999). "Daring Digital Artist". UB Today. Buffalo: The University at Buffalo. Retrieved December 21, 2011.
  8. ^ Flanagan, Mary (2000). "navigating the narrative in space: gender and spatiality in virtual worlds". Art Journal. New York: The College Art Association. Retrieved December 21, 2011.
  9. ^ Cotter, Holland (2002). "Never Mind the Art Police, These Six Matter". The New York Times. New York. Retrieved December 21, 2011.
  10. ^ Toby Juliff, Travis Cox (2015). "The post-display condition of contemporary computer art" (PDF). EMaj. 8.
  11. ^ a b c Boyd, D. M.; N. B. Ellison (2007). "Social Network Sites: Definition, History, and Scholarship". Journal of Computer-Mediated Communication. 13 (1): 210–230. doi:10.1111/j.1083-6101.2007.00393.x. S2CID 52810295. Retrieved 20 November 2012.
  12. ^ a b Schneider, B. "From Clubs to Affinity: The Decentralization of Art on the Internet". 491. Archived from the original on 7 July 2012. Retrieved 20 November 2012.
  13. ^ Mirapaul, M "There May Be Money in Internet Art After All", The New York Times, 1999-05-13.


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