In a post-Internet age, the Internet is no longer novel.
Specifically, post-Internet art doesn’t need to exist online, which was the
case with Net art, a term that was coined when the internet was new and could
be used as a defining characteristic of artwork that engaged this new
technology. In the past, New Media was defined by specific technology.
Post-Internet art differs in that we are all transformed by the Internet. It is
not separate and relegated to a certain technology, like Net art was.
Now that the Internet has pervaded our lives to the point of
saturation, most artists are operating in a post-Internet context, where the
use of the Internet for art research, production, and distribution is taken for
granted. Post-Internet art is produced with an awareness of the social and
information networks in which it is created and viewed. Some of the issues that
have arisen as a result of our post-Internet culture include issues of
originality, appropriation, and attention as currency (just getting views
online has value because people take time to watch videos or look at it and it
becomes part of the larger culture and has value based on popularity).
In my own work, the Internet serves as an archive of
material to be researched, discovered, and repurposed in order to create new
narratives. This is the post-Internet descendant of Duchamp’s readymade: a vast
network of information that can be carefully mined and edited to create new
juxtapositions and meanings.
“Beginnings + Ends,” Frieze issue 159 (Nov/Dec 2013)
Artists, writers, and curators discuss post-Internet art:
Article from the NY Times about post-Internet art’s
relationship to the art market:
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