A bit late to be mentioning ‘Post-internet’ art but thought I’d touch on it again.
Artist: Katja Novitskova.
“…in the same way that postmodern artists absorbed and adapted the strategies of modernism—fracturing the picture plane, abstraction, etc.—for a new aesthetic era, post-Internet artists have moved beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects. And while earlier Net artists often made works that existed exclusively online, the post-Internet generation (many of whom have been plugged into the Web since they could walk) frequently uses digital strategies to create objects that exist in the real world.” 
Artists: Harm van den Dorpel + David Bradley.
There is a kind of day-glo clumsiness about some of the pieces that I like, the aesthetic reminds me of the short lived New Rave music genre of about ten years ago.
Artist: Tim Steer.
“…the most counterintuitive aspect of the post-Internet label is that it extends to work in the traditional formats of painting and sculpture. In fact, one of the features that distinguishes post-Interent art from the “Net Art” of the late ’90s and early 2000s is its ability to crossover between online and offline formats. While Net Art refers to art that uses the Internet as its medium and cannot be experienced any other way, post-Internet art makes the leap from the screen into brick-and-mortar galleries”.
Artists: Petra Cortright + Katja Novitskova.
Artist: Artie Vierkant.
“Image Objects are a series of works which exist somewhere between physical sculptures and altered documentation images. Each piece begins its life as a digital file, of which countless variations exist. These are then rendered as UV prints on dibond and precision-cut to the form of the piece to create photographic prints with the depth and presence of a sculpture.
Each time the pieces are documented officially (i.e., by the artist or by a gallery), the documentation photos are altered to create a new form which does not accurately represent the physical object, and generate new derivative works that build upon the initial objects. The viewer’s experience becomes split between the physical encounter in a gallery setting and the countless variations of the objects circulated in prints, publications, and on the Internet. The documentation becomes a separate work in itself, incorporating elements of collage, techniques commonly used in professional image retouching, aestheticized digital watermarks, and more.”