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Contra-Internet Inversion Practice #1: Constituting an Outside (Utopian Plagiarism)
Zach Blas
2015
Psycho Nymph Exile
Porpentine Charity Heartscape
2016
- 2017
Image Atlas
Taryn Simon with Aaron Swartz
2012
- ongoing
Daily Times (Performer)
Siebren Versteeg
2012
AGNES
Cécile B. Evans
2014
Mexiconceptual
H̶E̶R̶I̶B̶E̶R̶T̶O̶ Y̶é̶p̶e̶z̶ (Satélite)
2016
DIS Images
DIS
2013
The Game: The Game
Angela Washko
2016
- 2018
A Cyberfeminist Manifesto for the 21st Century
VNS Matrix (Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt)
1991
Transborder Immigrant Tool
Electronic Disturbance Theater 2.0/b.a.n.g. lab (Micha Cárdenas, Amy Sara Carroll, Ricardo Dominguez, Elle Mehrmand, and Brett Stalbaum)
2007
- ongoing
Spirit Surfers
Kevin Bewersdorf, Paul Slocum, Marcin Ramocki, Ethan Hayes-Chute, John Transue, Luke Murphy, Krist Wood, Aron Namenwirth, Harm van den Dorpel, Dragan Espenschied, Travis Hallenbeck, Olia Lialina, Peter Wilson, Patrick Armstrong, Patrick Groth, Peter Blasser, Chad Hopper, Rachel Abelson, Petra Cortright
2008
- ongoing
Electronic Cafe ‘84
Mobile Image (Kit Galloway & Sherrie Rabinowitz)
1984
Untitled
Wolfgang Staehle
2001
Starrynight
Alex Galloway, Mark Tribe, and Martin Wattenberg
1999
Garlic=Rich Air
Shu Lea Cheang
2002
- 2003
Nasty Nets
Nasty Nets
2006
- 2012
Post Internet
Gene McHugh
2009
- 2010
Netart Latino Database
Brian Mackern
1999
- 2004
Processing
Ben Fry & Casey Reas
2001
- ongoing
Lungs
YoHa (Graham Harwood & Matsuko Yokokoji)
2005
R-U-In?s / Garden Club
Kari Altmann
2009
- ongoing
The Thing
Wolfgang Staehle et al
1991
- ongoing
Arcangel Surfware
Cory Arcangel
2014
- ongoing
ÄDA 'WEB
ÄDA 'WEB
1994
- 1998
One Terabyte of Kilobyte Age
Olia Lialina & Dragan Espenschied
2010
- ongoing
m9ndfukc.0+99
Netochka Nezvanova
1999
Simple Net Art Diagram
MTAA
1997
Google & Google Arts & Culture generously support Rhizome's digital preservation program.
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Net Art Anthology will play out in five distinct chapters. The first four will be chronological: early network cultures and early web (through 1998); Flash and blogs (1999-2005); surf clubs, early postinternet art, and social media platforms (2006-2011); and mobile apps and social media saturation (2012-present). The final chapter will reprise all time periods, addressing gaps that emerge over the course of the project.
The project specifically celebrates works of net art that:
The selection of works for this series is taking place on an ongoing basis, and feedback/suggestions are welcome. The selection is led by Michael Connor and informed by Rhizome staff and a network of external advisors. Feedback can be sent to curatorial@rhizome.org.
Net Art Anthology aims to represent net art as an expansive, hybrid set of artistic practices that overlap with many media and disciplines. To accommodate this diversity of practice, Rhizome has defined "net art" as "art that acts on the network, or is acted on by it."
Rhizome prefers the term "net art" because it has been used more widely by artists than "internet art," which is more commonly used by institutions, or "net.art," which usually evokes a specific mid-90s movement. The informality of the term "net art" is also appropriate not only to the critical use of the web as an artistic medium, but also informal practices such as selfies and Twitter poems.