Internet art

[1] Rather, this genre 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.

[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.

In 1996, Helen Thorington founded Turbulence.org, an online platform for commissioning and exhibiting net art, and hosting multi location networked performances.

The 10 projects presented 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 Kippenberger and Carsten Höller among others.

In 2001, the 49th Venice Biennale featured its first-ever work of internet art: Biennale.py, a computer virus created specifically for the event by the artist duo Eva & Franco Mattes.

The 2001 'Data Dynamics' exhibit at the Whitney Museum featured 'Netomat' (Maciej Wisniewski) and 'Apartment' – a Turbulence.org commission – (Marek Walczak and Martin Wattenberg), which used search queries as raw material.

"[11] [12] Her 2001 piece titled 'Collection' shown in the Whitney Biennial displayed items amassed from hard drives around the world in a computational collective unconscious.

[14] At the same period, original attempts to establish a physical relation between what happened 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.

[15] 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"[16] 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.

[19] Discussions about Internet art by Marisa Olson, Gene 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.

[20] Between the 2000s and 2010s, post-Internet artists were largely the domain of millennials 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 generations, [employ] the Web [as] just another medium, like painting or sculpture.

"[21] 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 dissensus collectives like DIS and K-HOLE.