Tag: Post-Internet

Post Post Post Internet…

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.” [1]


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”.[2]


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.” [3]

Jennifer in Paradise

A few weeks ago an article was mentioned on the course called ‘Situating Post Internet’ by Domenicio Quaranta. One time Rhizome editor Marisa Olson coined the term ‘Post internet’ in 2006, which in a nutshell she defines as;

“A new generation of artists who, while spending a lot of time online, were developing most of their work offline: work that was nonetheless ‘infused with the digital visual language, network aesthetics, and the social politics of online transmission and reception.”[1]

It also mentioned or linked to a jolly faced Dutch man with a great moniker ‘Constant Dullaart’, the second letter ‘a’ almost making it sound like a proper Dutch surname.

I have been reading a lot the last few weeks about the image….Walter Benjamin, Roland Barthes, Jean Baudrillard, Jacques Ranciere…almost to the point of cerebral overload 🙂 so Dullaart’s take on things brings almost light relief, but with some very interesting concepts and themes bubbling below the surface. His piece from 2014 ‘Jennifer in Paradise’ grabbed my attention.


‘Jennifer in Paradise’, is the first ever photoshopped image.

“…Jennifer was the last person to sit on solid ground, gazing out into an infinitely fluid sea of zeros and ones, the last woman to inhabit a world where the camera never lied.” [2]

The image was taken in 1987 by John Knoll who worked at Industrial Light and Magic, it was of his wife Jennifer. It became the first colour image used to demonstrate the software they had started to call Photoshop.

In Dullaart’s view this photo is of extreme importance in the modern visual vernacular and should be in the Smithsonian Museum in Washington DC as a key 20th century artefact;

“just from an anthropological point of view I thought it would be interesting to examine what values the image contains. The fact that it’s a white lady, topless, anonymous, facing away from the camera. And that it was his wife. He offers her, objectifying her, in his creation for the reproduction of reality.” [3]

He even asked the Knoll’s to go back to the beach in Bora Bora to recreate the shot, which they politely declined!

“For him Jennifer in Paradise is a key artefact, the original Photoshop meme. As such, he believes, it belongs in the public domain. His misappropriation of it is a protest.”[4]