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Net Art Anthology

A two-year online exhibition retelling the history of net art from the 1980s through the present day.

http://anthology.rhizome.org/

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Net Art Anthology | anthology.rhizome.org Reviews
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A two-year online exhibition retelling the history of net art from the 1980s through the present day.
<META>
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1 net art
2 anthology
3 presented by
4 an affiliate
5 organization of
6 made possible
7 by the generous
8 support of
9 form art
10 alexei shulgin
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net art,anthology,presented by,an affiliate,organization of,made possible,by the generous,support of,form art,alexei shulgin,reabracadabra,eduardo kac,olia lialina,the file room,floodnet,electronic disturbance theater,mouchette,martine neddam,mezangelle
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Net Art Anthology | anthology.rhizome.org Reviews

https://anthology.rhizome.org

A two-year online exhibition retelling the history of net art from the 1980s through the present day.

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1

My Boyfriend Came Back From the War | Net Art Anthology

http://anthology.rhizome.org/my-boyfriend-came-back-from-the-war

The internet is for surfing, not printing. My Boyfriend Came Back From the War. My Boyfriend Came Back from the War. Uses basic elements of HTML to relay an evocative, cinematic narrative. The work tells the story of a young woman reuniting with her sweetheart after his return from a faraway conflict. With its use of browser frames, hypertext, and images (both animated and still),. My Boyfriend Came Back from the War. My Boyfriend Came Back from the War. 1996 Photo: Franz Wamhof. Olia Lialina, 1997.

2

FloodNet | Net Art Anthology

http://anthology.rhizome.org/floodnet

The internet is for surfing, not printing. Was a conceptual artwork and a tool for online collective action. Developed by the collective Electronic Disturbance Theater (EDT), it took the form of a Java applet that allowed users to send useless requests or personalized messages to a remote web server in a coordinated fashion, thereby slowing it down and filling its error logs with words of protest and gibberish a kind of virtual sit-in. Courtesy of Carmin Karasic. EDT, March 31, 1998. Facing powerful enem...

3

The File Room | Net Art Anthology

http://anthology.rhizome.org/the-file-room

The internet is for surfing, not printing. Antoni Muntadas and collaborators. The File Room was hosted in the servers of Randolph Street Gallery in Chicago from 1994 to 1998, in Media Channel, New York from 1999 to 2001 and NCAC in New York from 2001 to 2016. Differing markedly from the playfulness that marked many early web projects,. Through exploration of the archives of. Installation view, 1994. Rather than being presented as a finished work, is. an open system that becomes activated, "filed" and...

4

Reabracadabra | Net Art Anthology

http://anthology.rhizome.org/reabracadabra

The internet is for surfing, not printing. This visual poem was created and shown on Videotexto, a pre-internet telecommunications network in Brazil that was implemented in 1982, offering public information and a user-to-user messaging system via special terminals. Because a phone line was a rare and valuable commodity in Brazil at that time, these were mostly available in public spaces such as libraries or stores. Video by Warren Cockerham. Videotex was a kind of network that prefigured many aspects of ...

5

Form Art | Net Art Anthology

http://anthology.rhizome.org/form-art

The internet is for surfing, not printing. Russian artist Alexei Shulgin’s. 1997), which used HTML buttons and boxes as the raw material for monochromatic compositions, is at first glance a purely formal study of certain aspects of HTML. But it was also absurd:. Transformed the most bureaucratic, functional, and unloved aspects of the web into aesthetic, ludic elements. Like much of Shulgin's work,. Giving rise to a short-lived but well-loved art form. Photo: Sergey Leontiev, Juri Palmin. Was partly crea...

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