Internet art (also known as net art) is a form of new media art distributed via the Internet. This form of art circumvts the traditional dominance of the physical gallery and museum system. 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.
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 oft — 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 be simply digitized and uploaded to be viewable over the Internet, such as in an online gallery.
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Rather, this gre relies intrinsically on the Internet to exist as a whole, taking advantage of such aspects as an interactive interface and connectivity to multiple social and economic cultures and micro-cultures, not only web-based works.
He cites the above stipulations, as well as defining it as distinct from commercial web design, and touching on issues of permance, archivability, and collecting in a fluid medium.
Internet art is rooted in disparate artistic traditions and movemts, ranging from Dada to Situationism, conceptual art, Fluxus, video art, kinetic art, performance art, telematic art and happings.
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In 1974, Canadian artist Vera Frkel worked with the Bell Canada Teleconfercing Studios to produce the work String Games: Improvisations for Inter-City Video, the first artwork in Canada to use telecommunications technologies.
Media art institutions such as Ars Electronica Festival in Linz, or the Paris-based IRCAM (a research cter for electronic music), would also support or prest early networked art. In 1996, Hel Thorington founded Turbulce.org, an online platform for commissioning and exhibiting net art, and hosting multi location networked performances. in 1991 Wolfgang Staehle founded the important experimtal platform such as The Thing. in 1994 trepreur John Borthwick and curator Bjamin Weil produced artworks online by Doug Aitk, Jny Holzer and others on Adaweb and In 1997 MIT's List Visual Arts Cter hosted "PORT: Navigating Digital Culture, " which included internet art in a gallery space and "time-based Internet projects."
Also in 1997 internet art was exhibited at documta X (directed by Catherine David), with curator Simon Lamunière. The 10 projects prested simultaneously in Kassel and online were those of Matt Mullican, Antoni Muntadas, Holger Friese, Heath Bunting, Felix Stefan Huber & Philip Pocock, Herve Graumann, Jodi, Martin Kippberger and Carst Höller among others.
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It was the first time that internet art had be included as a special category in the Binial, and it marked one of the earliest examples of the inclusion of internet art in a museum setting. Internet artists included Mark Amerika, Fakeshop, K Goldberg, etoy and ®™ark.
With the rise of search gines as a gateway to accessing the web in the late 1990s, many net artists turned their atttion to related themes. The 2001 'Data Dynamics' exhibit at the Whitney Museum featured 'Netomat' (Maciej Wisniewski) and 'Apartmt' - a Turbulce.org commission - (Marek Walczak and Martin Wattberg), which used search queries as raw material. Mary Flanagan's ' The Perpetual Bed' received atttion for its use of 3D nonlinear narrative space, or what she called "navigable narratives."
Her 2001 piece titled 'Collection' shown in the Whitney Binial displayed items amassed from hard drives around the world in a computational collective unconscious.'
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Golan Levin's 'The Secret Lives of Numbers' (2000) - also a Turbulce.org 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 gines in controlling access to the net.
Nevertheless, the Internet is not reducible to the web, nor to search gines. Besides these unicast (point to point) applications, suggesting the existce of referce points, there is also a multicast (multipoint and unctered) internet that has be explored by very few artistic experices, such as the Poietic Gerator. Internet art has, according to Juliff and Cox, suffered under the privileging of the user interface inhert within computer art. They argue that Internet is not synonymous with a specific user and specific interface, but rather a dynamic structure that compasses coding and the artist's inttion.
At the same period, original attempts to establish a physical relation betwe what happed 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 Second Life where Cao Fei developed her RMB City, contemporary artists like Peter Kogler, Heimo Zobernig, Nedko Solakov or Robin Rimbaud aka Scanner realized works online that could be se in art museums specifically as installations and not just on a computer scre showing internet art. In Solakov’s work for example, one could interact online with objects that were in the exhibition space of the Ctre d'Art Contemporain Gève. In Heimo Zobernig’s work, one could physically move a wall to reveal a space in the MAMCO containing a 3d online rdering of the same space.
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The emergce 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",
Artistic communities on the Internet underwt 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 Flickr, which permit access to any individual with an e-mail address. Internet artists make extsive use of the networked capabilities of social networking platforms, and are rhizomatic in their organization, in that "production of meaning is externally contingt on a network of other artists' contt".
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Discussions about Internet art by Marisa Olson, Ge McHugh, and Artie Vierkant (the latter notable for his Image Objects, a series of deep blue monochrome prints) brought the term to a mainstream consciousness.
Betwe the 2000s and 2010s, post-Internet artists were largely the domain of millnials operating on web platforms such as Tumblr and MySpace or working in social media video and post-narrative formats such as YouTube, Vevo, or memes.
According to a 2015 article in The New Yorker, the term describes "the practices of artists who ... unlike those of previous gerations, [employ] the Web [as] just another medium, like painting or sculpture. Their artworks move fluidly betwe spaces, appearing sometimes on a scre, other times in a gallery."
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In the early 2010s, post-Internet was popularly associated with the musician Grimes, visual artists like Cory Arcangel, Artie Vierkant, Petra Cortrght, Ryan Trecartin and Lizzie Fitch, and Kalup Linzy, and social practice disssus collectives like DIS and K-HOLE.
Art historian Rachel Gree idtified 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 burded from miscommunication.
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Since the mid-2000s, many artists have used Google's search gine and other services for inspiration and materials. New Google services breed new artistic possibilities.
Beginning in 2008, Jon Rafman collected images from Google Street View for his project called The Nine Eyes of Google Street View.
Another ongoing net art project is I'm Google by Dina Kelberman which organizes pictures and videos from Google and YouTube around a theme in a grid form that expands as you scroll.This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and wh to remove these template messages)
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Digital art refers to any artistic work or practice that uses digital technology as part of the creative or prestation process. It can also refer to computational art that uses and gages with digital media.
Lillian Schwartz's Comparison of Leonardo's self-portrait and the Mona Lisa is based on Schwartz's Mona Leo. An example of a collage of digitally manipulated photographs
John Whitney, a pioneer of computer graphics, developed the first computer-gerated art in the early 1960s by utilizing mathematical operations to create art.
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Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Cter, New York, in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol
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