Tag Archives: internet art

Grace amounts to gifts of time spent giving room to write

Saturday March 12, 4pm US eastern time

Center for Book Arts (online)

Identity_Runners online performance. Please register for login details here: Grace Amounts to Gifts of Time Spent Giving Room to Speak.

ID_Runners is a long-term collaborative project of Francesca da Rimini, Diane Ludin and Agnese Trocchi.

The performance is a program of the exhibition Daily Ritual which I have curated for Center for Book Arts which opened on Jan 14 and will be up until March 26.


The incredibly beautiful podcast of identity_runners audio performance Grace Amounts to Gifts of Time Giving Room to Speak is now available here on archive dot org and on youtube dot com.

The etherpad collaborative writing project that was performed during the event is available here: Grace Amounts to Gifts of Time Giving Room to Write.

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The Current Thing

I’m honored to have a small contribution in the The Current Thing, the outcome of several weeks of editorial work during lockdown by Caspar Stracke and Keith Sanborn. The Current Thing is an interactive journal with contributions by a terrific group of artists and writers on dramatic shifts in daily practice during lockdown and beyond. It is also a re-activation of THE THING, NY: one of the most important early online art communities. The journal exists in both online and print version.

The Current Thing features works and words by:
Angel Nevarez & Valerie Tevere / Alexandro Segade / Almagul Menlibayaeva / Amanda McDonald Crowley /Andy Graydon / Anna Thew / Ashton Applewhite / Bradley Eros / Caspar Stracke / Cathy Lee Crane / Coco Sollfrank / Daniella Dooling / Emily Vey Duke & Cooper Battersby / Darrin Martin / Deborah Stratman / Diana Vidrascu / eteam / Emily Mode / Graeme Arnfield / Nordholt & Steingrobe / Jaakko Pallasvuo / Jackie Goss / Les LeVeque / lundi matin / Jason Livingston / Jeanne Liotta / Jeffrey Skoller / Jim Supanick / Juliane Henrich / Joy Chan / Kathy Brew / Keith Sanborn / Kim Modig / Leo Goldsmith / Lynne Sachs / Mark Street / Masha Godovannaya / Mike Hoolboom / Monika Czyżyk / Nina Katchadourian / Olav Westphalen / Peggy Ahwesh / Perry Bard / Rebekah Rutkoff / RPI / Ricardo Dominguez / Sean Cubitt / belit sağ & Robert Luxemburg / Sebastián Romo / Steve Reinke / The Society of the Friends of the Virus / Thomas Zummer / Torsten Zenas Burns / Wolfgang Staehle / yann beauvais / and Zoe Beloff /

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School of Good Citizenship

The School of Good Citizenship by artists LigoranoReese was a public art work revolving around 5 key events in Charlotte, NC in summer 2020, opening online with exhibitions and workshops at the Levine Museum and The Light Factory.

The core program was a series of virtual choirs, spoken word poets, online exhibitions and an interactive audience engagement I Once Was Lost.

In Fall 2020, it concluded in October with Drive In film programs on immigration and climate justice organized with Wilmington, NC-based Working Films and a Civic Saturday sermon in conjunction with Citizen University at the University of North Carolina-Charlotte, and online.

The goal was to bring together a diverse audience through visual art, poetry readings, and site-specific installations for thoughtful, dynamic, participatory panels, workshops and cultural events on voter rights, immigration, and social justice.

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Invisible In Plain Sight

Invisible in plain sight


Commissioned by Art Connects New York, Invisible in Plain Sight is an Augmented Reality exhibition developed specifically for Senior Planet in NYC with work by artists who are also members of Senior Planet: Menny Borovski; Amy Epstein; Erica Feld; Arthur Fornari; John Leicmon; Anna Link; Marilyn Pappas; Geraldine Scalia; Henry Soto. The exhibition was conceived in collaboration with Jeff Crouse and Sebastian Bach; works have been developed in collaboration with Jeff Crouse and Peter Lester; and Crouse had additionally developed the ArtConnectsAR app, built in the Unity game engine using the Vuforia AR platform, by which the exhibition is accessible.

The exhibition opens up a space to suspend disbelief and reimagine space in the built environment in New York City. Exploring the urban landscapes of the city including all of its nooks and crannies, Invisible In Plain Sight includes new ephemeral digital works specifically for the Augumented Reality app. Drawing on their experience as painters, photographers, sculptors, holographers, illustrators, and poets, the artists reimagine our cityscape.


Invisible in Plain Sight
A Permanent Exhibition for Senior Planet Exploration Center
Curated by Amanda McDonald Crowley

Opening Reception with the Artists:
Thursday, November 17
6 – 8pm
Senior Planet Exploration Center
127 West 25th Street, New York, NY, 10001


Here are a few of the targets for viewing the exhibition! In situ at Senior Planet. To view the works, got to the Apple app store on your iPhone or iPad, download the app (developed by Jeff Crouse, of See-through Lab LLC). Open the app and point the camera at these targets to see the artworks


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PointB Virtual

PointB Virtual



The PointB Virtual Exhibitions Space is being developed as an accessible space to easily conceptualize and virtually install thematic exhibitions, with the goal of becoming a platform for peer to peer artists’ inspiration and discourse.

In one sense PointB Virtual commemorates and immortalizes the PointB Worklodge Brooklyn location, that will soon be demolished. But more importantly, it is a tool to showcase ideas, directions and philosophies through exhibitions, lectures, screenings and conversations. These events are not being held in an unfamiliar simulated space, but in a place which holds memory of those who have previously inhabited and used the building in this way.

In keeping with PointB philosophy, it is a place to propose and question conceptual frameworks for ongoing discourse though themed exhibitions. It is a space to continue to build and strengthen our community of nomadic creative professionals.

For our inaugural exhibitions, we have included works by artists from across the world who have lived and worked at PointB Worklodge Brooklyn.

The first three thematic exhibitions have been developed around the following themes:

Exhibition 1 Network
Exhibition 2 Transcendence
Exhibition 3 Discovery

Exhibitions Feature the work of: Carlos Aquilino, Jana Astanov, Sandra Becker, Sue Beyer, Louise Blyton, Gene Buser. James Carman, Luzia Castaneda, Claudia Christoffel, Lauren Comito, Maud Cotter, Hugo Curti, Jacob Dahlstrup, Uday Dhar, Maria Dorner, Hilda Ekeroth, Michael Fritsch, Jan Gilbert, HC Gilje, Erika Gofton, Eugenia Gortchakova, Elizabeth Gower, Anita Groener, Libby Heaney, Gavin Hogg, Hamu Isen, Svetlana Jovanovic, Ienke Kastelein, Michiel Knaven, Stefan Kürten, Susana Lopez Fernandez, Jennifer Macklem, Peter Martensen, Patrick Meagher, John R Neeson, Serge Onnen, Ardan Ozmenoglu, Cat Poljski, Manuel Quintana-Martelo, Arp Raph, Antje Rieck, Joerg Schwalfenberg, Julia Schwalfenberg, Andy Slater, Patricio Tasisto, Ralf Tekaat, Antoine Toniolo, Cornelius Völker, Andy Wauman, Cleo Wilkinson, Heidi Yardley, Claire Zakiewicz

Exhibitions Organised by: Sebasian Bach, Lauren Comito, Amanda McDonald Crowley and Mark Parrish

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Internet Art

Internet Art: 1992 – 2014

For the last while, I’ve been thinking about the fact that the Mosaic Browser was released 20 years ago this year. It would have been 21 next year. Netscape was released 19 years ago. Notwithstanding Tim Burners-Lee’s seminal work essentially inventing the web at CERN in 1989, the Mosaic browser, to me, marks the beginning of an open and publicly accessible web.

So all of this makes 2014 a significant year for the World Wide Web. It will be 25 years old, if we count from Berners-Lee’s initial release of the idea at CERN, and a “publicly accessible” web (if one considers the Mosaic browser the first truly public manifestation of the World Wide Web) will have been around for 21 years.

    Introduction to net.art (1994-1999) - Installation: text: Natalie Bookchin and Alexei Shulgin; Stones: Blank & Jeron (1999)

Introduction to net.art (1994-1999) – Installation:
text: Natalie Bookchin and Alexei Shulgin; Stones: Blank & Jeron (1999)

Last night, in New York I was super excited to attend the Rhizome hosted discussion with The Thing, “The Internet Before the Web: Preserving Early Networked Cultures“, at the New Museum as part of their New Silent series.

In the 1990s I watched the work of The Thing from afar. I was peripherally involved in the Australian artists collective System X, who ran a dial up BBS which launched in 1990, and who still maintain the web presence of a few of the artists and projects that they hosted back then so have a particular interest in pre-web internet art. In fact as Australia gears up to host ISEA2013, it is worth looking back to TISEA in 1992, when as far as I am aware it was the first international (media) art festival to include internet art projects, including System X projects, represented founders by Jason Gee and Scot Art.

I’ve started to compile a bit of a bibliography about internet art. Of course there are dozens of articles about the topic, so this is really just a starting point. Back in the mid 1990s when I was doing my Masters in Art Administration at the College of Fine Arts in Sydney, Australia, I did my interships online with System X (in fact I have to own that authored the Soundsite pages as an intern in 1994 or 1995 using simpletext and Netscape Gold!), and ArtsWire. It was an extremely novel idea to do an online internship at the time, but a lot of what I was working for my (never completed) Masters didn’t quite fit the traditional model of arts administration at the time. I was going to write about art on the internet back then, but didn’t quite get around to it. Many brilliant colleagues have done much better work since. So I’ve started to collect a few of these resources. I’d be thrilled if others would contribute more.

In light of Rhizome’s pre-web discussion last night, panelist Jason Scott, Director of BBS Documentary provides a fantastic (if a little US-centric) overview of BBS culture. Staying with the US, I thought it would also be fun to review Judy Malloy’s great summary about Arts Wire: The Arts Online Beginning in 1992: Memories of Arts Wire.

Wolfgang Staehle, founder of The Thing gave a brilliant and inspired overview of the foundations of this seminal online artist collective. I was especially moved by his remembrance of Hakim Bey’s Temporary Autonomous Zone which came out just one year prior and truly spoke to collective independent space for artists to own this new “virtual space”, if only for a moment.

Rhizome’s Digital Conservator, Ben Fino-Radin should be commended for hosting a lively discussion, but especially for being instrumental in initiating the conservation of such important early internet art material.

So, to some resources that follow on from this work. This is by no means comprehensive work. I’d love feedback and additions.


Internet Art resources – links and collections:

Gallery 9, Steve Dietz, curator, Walker Art Center. Between 1997 and 2003, under the direction of Steve Dietz, Gallery 9 was a key venue for the exhibition and contextualization of Internet-based art.

Screenarts was an Australian resource for online screen-based project 1998 – 2003. No longer online.

Rhizome Artbase, founded in 1999, the Rhizome ArtBase is an online archive of new media art containing some 2155 art works, and growing.

Natalie Bookchin, a story of net art (open source) begun 9/99 (dates to 1993). last update 5/5/01

Robbin Murphy et al. artnetweb New York network of people and projects investigating new media in the practice of art.

Whitney Museum ArtportChristiane Paul, curator, internet art gallery and online commissioning program, since 2002

Books/ writing on internet art:

Tilman Baumgärtel, net.art 2.0. Neue Materialien zur Netzkunst. New Material on art on the internet (bi-lingual: deutsch/englisch), Nürnberg 2001

Julian Stallabrass, Internet Art. The Online Clash of Culture and Commerce. Tate Publishing. London 2003

Rachel Greene, Internet Art, Thames and Hudson, 2004

Tom Corby (ed) Network Art: Practices And Positions, Routledge, 2006

Josephine Bosma, Nettitudes – Let’s Talk Net Art, 2011

Joanne McNeil, Domenico Quaranta, Art and the Internet, Edited by Phoebe Stubb.  2013

Online art exhibitions

resistant-media, an exhibition for Perspecta99: Living Here Now, a city wide exhibition in Sydney, Australia

Whitney Biennial exhibitions.

Rhizome exhibitions

Aram Bartholl et al Speedshow internet art exhibition format developed by Bartholl. 39+ shows since 2010

STATE an online exhibition platform [on tumblr] that featured new projects by artists who use the internet as a primary element in their work. June 2010 – July 2011.

Collect the WWWorld. The Artist as Archivist in the Internet Age

Internet Histories:

Katie Hafner and Matthew Lyon, Where Wizards Stay Up Late: The Origins of the Internet (New York, New York: Simon and Schuster, 1996)

Tim Berners-Lee, Weaving the Web (London: Orion Business Books, 1999)

John Naughton, A Brief History of the Future. The Origins of the Internet, (London: Phoenix, 1999)

Online critical discussion lists and conversations:

whole earth catalogue

Jordan Crandall et al. BLAST


faces – gender, technology, and art

the thing






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Internet Economies: Porn, Labor, and Banking

Panel Discussion at Eyebeam art + technology center, 7 Oct 2011

Panelists: Fran Ilich, Stephanie Rothenberg & Jeff Crouse, and Susanna Paasonen. Moderated by Amanda McDonald Crowley

 Jeff Crouse and Stephanie Rotheberg, Laborers of Love

Jeff Crouse and Stephanie Rothenberg, Laborers of Love

What might be strategies to explore and build alternate economies?

Artists Fran Ilich, Stephanie Rothenberg & Jeff Crouse, and Finnish researcher Susanna Paasonen led discussion on the worlds of online porn, digital labor, and alternative finance models.

In their projects “Laborers of Love”, an adult web site that leverages Mechanical Turk labor, and “Invisible Threads” a just-in-time telematic factory, Rothenberg and Crouse have been researching new models of outsourced, distributed global labor. They are interested to explore not only how this affects production but in how these new technologies impact behaviors, value systems and ideologies as workers move between worlds.

During his Eyebeam Fellowship, Ilich investigated creative practices in virtual community investment banking. Globalized capitalist markets use finance as a means to extract surplus and value from localized world production – relying on networks of power to do so. But finance can also be reversed engineered so that it becomes the seed for new forms of cooperation, collaboration and socialization, drawing on and building networks through virtual communities. Used creatively, finance can actually further the prosperity and efficacy of minority reports, marginal narratives, alternate commodity markets, social currencies, hacktivism and other activist practices, as well as strengthen the hope of sustainability in creative digital labor and internet production practices.

Paasonen’s research is in online porn – with a primary focus on how the genre has been transformed with digital production and distribution tools. She explores how we might better account for the affective dynamics of porn consumption. This links to affective economies, amateur porn as “labors of love” (or not), and cans of worms around labor and ethics.

Pictures of the event are here.

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Alchemy: Masterclass for New Media Artists + Curators


In 2000 ANAT (Australian Network for Art and Technology) convened ALCHEMY: the International Masterclass for New Media Artists and Curators.

The Masterclass took place in Brisbane in May and early June 2000. 16 tutors and 42 participating artists and curators explored new media practices, critical concepts for cross cultural collaboration and generally had an extraordinary time exploring with and playing in the newly opened Brisbane Powerhouse – Centre for the Live Arts, who partnered with ANAT on the realisation of this project.

Participants had 24 hour access to the equipment and the building and the project provided participants with an incredibly rich learning environment, both technically and conceptually. The masterclass engaged with a diverse range of topics. Themes included: science discourse; curatorial practice; net art practice; Indigenous and regional Asia Pacific issues; and performance and hybrid practices.

Participants for Alchemy were selected from a call for proposals distributed internationally in late 1999. The participants were chosen through their proposals, with reference both to the thematics and with geographical and cultural considerations also taken into account.

Alchemy participants:

Brook Andrews (NSW) Caroline Farmer (SA) Christian Thompson (Vic)
Clare McGrogan (Qld) Dena Curtis (NT) Gongxin Wang (China)
Hartanto (Indonesia) Jenny Fraser (Qld) Jo Law (WA)
Keith Armstrong (Qld) Kim Machan (Qld) Mae Adams (Vic)
Megan Rainey (SA) Monica Narula (India) Patricia Adams (Qld)
Raewyn Turner (NZ) Rebecca Youdell (Qld) Sam James (NSW)
Sarah Neville (SA) Shilpa Gupta (India) Steve Bull (WA)
Bruce Gladwin (Vic) Chris Dempsey (Qld) Christiawan (Indonesia)
Deborah Lawler-Dormer (NZ) Edwina Bartleme (Qld) Grisha Coleman (NY)
Jane Schneider (Qld) Jernej Kozar (Slovenia) Kamal Krishna (Qld)
Kelli Mccluskey (WA) Lisa Anderson (Qld) Jernej Kozar (Slovenia)
Mari Velonaki (NSW) Mike Stubbs (UK) Partha Pratim Sarker (Bangladesh)
Peter Toy (WA) Raul Ferrera (Mexico) Rolando Ramos (NSW)
Sarah Ryan (Tas) Sheridan Kennedy (NSW) Sophea Lerner (NSW)
Vanessa Mafe-Kean (Qld)


Alexei Shulgin (Russia) Nina Czegledy (Canada) Mongrel (UK)
Geert Lovink (Aust and Netherlands) John Tonkin (Aust) Rea (Gamileroi/Wailwan)
Shudahabrata Sengupta (India) Sara Diamond (Canada) Marko Peljhan (Slovenia)
Tess de Quincy & Laura Jordan (Aust) Blast Theory (UK) Mike Stubbs (UK)

The project provided for an intensive and productive period for exploration, conversation and the generation of dialogue and new ideas. The masterclass included daily presentation and discussion periods, workshops, skillshares, and skills development opportunities. Weekly BBQ and performance events provided opportunities to network with local Brisbane artists and curators; evening events provided opportunities for lead tutors to present their work in public forums, and a performance evening at the conclusion of the masterclass provided participants with the opportunity to present work in progress to the greater Brisbane community. Technical Management: Martin Thompson; Project Management: Charity Bramwell; Project and Technical assistant: Tim Plaistead.

Please note these are historical sites – some links may no longer work

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resistant media: Perspecta99

resistant media

screenshot, resistant media

screenshot, resistant media

resistant media: Perspecta99 was a web exhibition and listserv developed for Perspecta99: Living Here Now, Art and Politics.

Artists: Francesca da Rimini/ Doll Yoko, Scot Art/ System X, Melinda Rackham, Josephine Starrs, Rick Vermey, Andrew Garton, Sam de Silva/ Antimedia.

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sceenarts header image

The screenarts web site was a repository for Australian internet art projects and related exhibitions, which was active from 1998 – 2003. It was developed by the Australian Network for Art and Technology, and funded by the Australian Film Commission.

Screenshot from screenarts website (via waybackmachine)

Screenshot from screenarts website (via waybackmachine).

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