Art in the Age of the Internet


Book Description

Art in the Age of the Internet, 1989 to Today is the first major thematic group exhibition in the United States to examine the radical impact of internet culture on visual art. Featuring 60 artists, collaborations, and collectives, the exhibition is comprised of over 70 works across a variety of mediums, including painting, performance, photography, sculpture, video, web-based projects, and virtual reality. The exhibition is divided into five sections that explore themes such as emergent ideas of the body and notions of human enhancement; the internet as a site of both surveillance and resistance; the circulation and control of images and information; the possibilities for exploring identity and community afforded by virtual domains; and new economies of visibility accelerated by social media. Throughout, the work in the exhibition addresses the internet-age democratization of culture that comprises our current moment. The earliest work in the exhibition is from 1989, the year that Tim Berners-Lee invented the World Wide Web. This development, and others that followed in quick succession, modernized the internet, and in the process radically changed our way of life--from how we access and generate information, make friends and share experiences, to how we imagine our future bodies and how nations police national security. 1989 also marked a watershed moment across the globe, with significant shifts in politics, geographies, and economies. Events such as the fall of the Berlin Wall and protests in Tiananmen Square signaled the beginning of our current globalized age, which cannot be imagined without the internet.




Art in the Age of Anxiety


Book Description

Artists and writers examine the bombardment of information, misinformation, emotion, deception, and secrecy in online and offline life in the post-digital age. Every day we are bombarded by information, misinformation, emotion, deception, and secrecy in our online and offline lives. How does the never-ending flow of data affect our powers of perception and decision making? This richly illustrated and boldly designed collection of essays and artworks investigates visual culture in the post-digital age. The essays, by such leading cultural thinkers as Douglas Coupland and W. J. T. Mitchell, consider topics that range from the future of money to the role of art in a post-COVID-19 world; from mental health in the digital age to online grieving; and from the mediation of visual culture to the thickening of the digital sphere. Accompanying an ambitious exhibition conceived by the Sharjah Art Foundation and volume editor and curator Omar Kholeif, the book is a work of art and a labor of love, emulating the labyrinthine corridors of the exhibition itself. Created by a group of writers, artists, designers, photographers, and publishers, Art in the Age of Anxiety calls upon us to consider what our collective future will be and how humanity will adapt to it.




Changing the Subject


Book Description

Birkerts "examines the changes that he has observed in himself and others [since allowing a degree of everyday digital technology into his life]: the distraction induced by reading on the screen; the loss of personal agency through reliance on GPS and one-stop information resources; an increasing acceptance of 'hive' behaviors. 'An unprecedented shift is underway,' he argues, and 'this transformation is dramatically accelerated and more psychologically formative than any previous technological innovation.' He finds solace in engagement with art, particularly literature, and contemplates the countering energies available to us through acts of sustained attention, even as he worries that our increasingly mediated existences are a threat to creativity"--Page 4 of cove




Internet Art


Book Description

An introduction to the art of the Internet examines key works, events, and technological developments that show how artists have employed online technologies to engage with the traditions of art history, focusing on the themes of intellectual property, identity, economics, and power in the networked age. Original.




Duty Free Art


Book Description

What is the function of art in the era of digital globalization? How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.




Digital Currents


Book Description

Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Margot Lovejoy recounts the early histories of electronic media for art making - video, computer, the internet - in this richly illustrated book. She provides a context for the works of major artists in each media, describes their projects, and discusses the issues and theoretical implications of each to create a foundation for understanding this developing field. Digital Currents fills a major gap in our understanding of the relationship between art and technology, and the exciting new cultural conditions we are experiencing. It will be ideal reading for students taking courses in digital art, and also for anyone seeking to understand these new creative forms.




In the Flow


Book Description

In the early 20th century, art and its institutions came under critique from a new democratic and egalitarian spirit. In an age of secularism and materialism, artworks would be understood as merely things among other things. This meant an attack on the techniques of realism, and the traditional mission of the museum, both designed shield a small class of objects from the entropic fate awaiting everything else-and the development of an approach that Boris Groys calls "direct realism": an art that would not produce objects, but practices that could enter the flow of time to live and die like the rest of us. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art's distinction. In this major new work, Groys, one of the world's leading art theorists, charts the paradoxes produced by this tension, which continues to structure the production and reception of new art. The internet, the latest medium through which artists have attempted to disavow this special status, inverts the most notorious consequence of early modernist developments. If the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.




Post-Digital, Post-Internet Art and Education


Book Description

This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.




You are Here


Book Description

You Are Here: Art After the Internet is the first major publication to critically explore both the effects and affects that the internet has had on contemporary artistic practices. Responding to an era that has increasingly chosen to dub itself as "post-internet," this collective text explores the relationship of the internet to art practices from the early millennium to the present day. The book positions itself as a provocation on the current state of cultural production, relying on first-person accounts from artists, writers and curators as the primary source material. The book raises urgent questions about how we negotiate the formal, aesthetic and conceptual relationship of art and its effects after the ubiquitous rise of the internet. "You Are Here is the best anything I've read in ages ... and I'm jealous I'm not a contributor. I really loved it. It's a joy to see new green shoots of cultural tendencies emerging from barren soil." - Douglas Coupland




Mass Effect


Book Description

Essays, discussions, and image portfolios map the evolution of art forms engaged with the Internet. Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium—with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies. Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as “postinternet.” Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others. Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again. Copublished with the New Museum of Contemporary Art, New York Important Notice: The digital edition of this book is missing some of the images found in the physical edition. Contributors Cory Arcangel, Karen Archey, Michael Bell-Smith, Claire Bishop, Dora Budor, Johanna Burton, Paul Chan, Ian Cheng, Michael Connor, Lauren Cornell, Petra Cortright, Jesse Darling, Anne de Vries, DIS, Aleksandra Domanović, Harm van den Dorpel, Dragan Espenschied, Rózsa Zita Farkas, Azin Feizabadi, Alexander R. Galloway, Boris Groys, Ed Halter, Alice Ming Wai Jim, Jogging, Caitlin Jones, David Joselit, Dina Kafafi, John Kelsey, Alex Kitnick, Tina Kukielski, Oliver Laric, Mark Leckey, David Levine, Olia Lialina, Guthrie Lonergan, Jordan Lord, Jens Maier-Rothe, Shawn Maximo, Jennifer McCoy, Kevin McCoy, Gene McHugh, Tom Moody, Ceci Moss, Katja Novitskova, Marisa Olson, Trevor Paglen, Seth Price, Alexander Provan, Morgan Quaintance, Domenico Quaranta, Raqs Media Collective, Alix Rule, Timur Si-Qin, Josephine Berry Slater, Paul Slocum, Rebecca Solnit, Wolfgang Staehle, Hito Steyerl, Martine Syms, Ben Vickers, Michael Wang, Tim Whidden, Anicka Yi, and Damon Zucconi