post-Internet

Post-Internet is a loosely-defined term that was coined by artist/curator Marisa Olson in an attempt to describe her practice.{{Cite web|last=Dunne|first=Carey|date=2014-03-10|title=9 Post-Internet Artists You Should Know|url=https://www.fastcompany.com/3027356/9-post-internet-artists-you-should-know|access-date=2021-01-26|website=Fast Company|language=en-US}} It emerged from mid-2000s discussions about Internet art by Gene McHugh (author of a blog titled "Post-Internet"), and Artie Vierkant (artist, and creator of Image Object sculpture series).{{cite web|url=http://rhizome.org/editorial/2013/nov/1/postinternet/|title=What's Postinternet Got to do with Net Art?|website=Rhizome|first=Michael|last=Connor|date=November 1, 2013}} The movement itself grew out of Internet Art (or Net Art). According to the UCCA Center for Contemporary Art in Beijing, rather than referring "to a time “after” the internet", the term refers to "an internet state of mind".{{Cite web|title=Art Post-Internet|url=https://ucca.org.cn/en/exhibition/art-post-internet//|access-date=2021-01-23|website=UCCA Center for Contemporary Art|language=en}} Eva Folks of AQNB wrote that it "references one so deeply embedded in and propelled by the internet that the notion of a world or culture without or outside it becomes increasingly unimaginable, impossible."

The term is controversial and the subject of much criticism in the art community. Art in America{{'}}s Brian Droitcour in 2014 opined that the term fails to describe the form of the works, instead "alluding only to a hazy contemporary condition and the idea of art being made in the context of digital technology."{{Cite web|last1=Droitcour|first1=Brian|date=2014-10-29|title=The Perils of Post-Internet Art|url=https://www.artnews.com/art-in-america/features/the-perils-of-post-internet-art-63040/|access-date=2021-01-26|website=ARTnews.com|language=en-US}} According to a 2015 article in The New Yorker, the term describes "the practices of artists [whose] artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."{{Cite magazine|url=http://www.newyorker.com/books/page-turner/post-internet-poetry-comes-of-age|title=Post-Internet Poetry Comes of Age|last=Kenneth|first=Goldsmith|date=2015-03-10|magazine=The New Yorker|publisher=|access-date=2016-09-14}} Fast Company{{'}}s Carey Dunne summarizes they are "artists who are inspired by the visual cacophony of the web" and notes that "mediums from Second Life portraits to digital paintings on silk to 3-D-printed sculpture" are used.

There is theoretical overlap with writer and artist James Bridle's term New Aesthetic.{{Cite web|title=The New Aesthetic and its Politics {{!}} booktwo.org|url=http://booktwo.org/notebook/new-aesthetic-politics/|access-date=2021-01-24|language=en-US}} Ian Wallace of Artspace writes that "the influential blog The New Aesthetic, run since May 2011 by Bridle, is a pioneering institution in the post-Internet movement" and concludes that "much of the energy around the New Aesthetic seems, now, to have filtered over into the "post-Internet" conversation." Post-Internet art is also discussed by Katja Novitskova as being a part of 'New Materialism'.{{Cite web|title=Post-Internet Materialism Martijn Hendriks & Katja Novitskova - Features - Metropolis M|url=http://www.metropolism.com/en/features/23573_post_internet_materialism|access-date=2021-01-24|website=www.metropolism.com|language=en}}{{Cite web|title=Katja Novitskova's Work In A Post-Internet World – the Future In A Mediated Reality < 1/2015 < Issues - kunst.ee|url=https://ajakirikunst.ee/?c=magazine&l=en&t=katja-novitskovas-work-in-a-post-internet-world--the-future-in-a-mediated-reality&id=1331|access-date=2021-01-24|website=ajakirikunst.ee}}

Wallace considers the Post-Internet term to stand for "a new aesthetic era," moving "beyond making work dependent on the novelty of the Web to using its tools to tackle other subjects". He notes that the post-Internet generation "frequently uses digital strategies to create objects that exist in the real world." Or as Louis Doulas writes in Within Post-Internet, Part One (2011): "There is a difference then, in an art that chooses to exist outside of a browser window and an art that chooses to stay within it."{{Cite book|last=Doulas|first=Louis|title=Within Post-Internet, Part One|publisher=pooool.info|year=2011|isbn=|location=|pages=}}

Though the term "post-internet" originated in the contemporary art world its influence has extended into music—particularly electronic, pop, and underground genres. Post-internet art has also influenced broader fashion trends.{{Cite web |last=Dazed |date=2022-10-04 |title=Memes, minions and meta-irony: The rise of post-internet fashion |url=https://www.dazeddigital.com/fashion/article/56877/1/memes-minions-and-meta-irony-the-rise-of-post-internet-fashion-praying-ogbff |access-date=2025-06-30 |website=Dazed |language=en}} File:Wikiwave 00000.png is among the Internet-centric microgenres and subcultures spearheaded by the post-Internet movement.]]

In the early 2000s, the bloghouse, blog rap and blog rock{{Cite news |last=Jonze |first=Tim |date=2011-06-13 |title=Blog rock is born |url=https://www.theguardian.com/music/2011/jun/14/blog-rock-is-born |access-date=2025-07-03 |work=The Guardian |language=en-GB |issn=0261-3077}} scenes (later associated with "indie sleaze") came to define an era of alternative music that was underpinned by the growing nature of music blogs, early online music journalism and the emerging blogosphere.{{Cite news |last=Abascal |first=Lina |title=How Bloghouse’s Sweaty, Neon Reign United the Internet |url=https://www.wired.com/story/how-bloghouse-music-united-the-internet/ |access-date=2025-07-02 |work=Wired |language=en-US |issn=1059-1028}}{{Cite web |date=2023-08-16 |title=The 40 Greatest Blog Rock Albums Of All Time |url=https://uproxx.com/indie/blog-rock-best-albums-all-time-list/ |access-date=2025-07-03 |website=UPROXX |language=en-US}}{{Cite web |title=The Blog Era Was Perfectly Imperfect |url=https://www.complex.com/pigeons-and-planes/a/tim-larew/music-blogs |access-date=2025-07-09 |website=Complex |language=en}} By the late 2000s, chillwave became the first musical microgenre and subculture to develop primarily through the Internet.{{Cite web |last=Chakrabarti |first=Tuhin |date=2019-12-28 |title=The apathy of post-internet generations and VAPORWAVE |url=https://sbpress.com/2019/12/the-apathy-of-post-internet-generations-and-vaporwave/ |access-date=2025-06-30 |website=The Stony Brook Press |language=en-US}}{{Cite web |last=Scherer |first=James |date=2016-10-26 |title=Great artists steal: An interview with Neon Indian’s Alan Palomo - |url=https://www.smilepolitely.com/music/great_artists_steal_an_interview_with_neon_indians_alan_palomo/ |access-date=2025-06-30 |website=Smile Politely — Champaign-Urbana's Culture Magazine |language=en-US}}{{Cite web |date=2015-01-30 |title=The Last Relevant Blogger |url=https://www.vice.com/en/article/hipster-runoff-the-last-relevant-blogger/ |access-date=2025-06-30 |website=VICE |language=en-US}}

Early post-internet music often embraced ironic, nostalgic, self-referential internet aesthetics, defined by microgenres and subcultures such as seapunk and vaporwave,{{Cite web |last=Chakrabarti |first=Tuhin |date=2019-12-28 |title=The apathy of post-internet generations and VAPORWAVE |url=https://sbpress.com/2019/12/the-apathy-of-post-internet-generations-and-vaporwave/ |access-date=2025-07-11 |website=The Stony Brook Press |language=en-US}} other influences included the PC Music label founded by A. G. Cook, which gave way to bubblegum bass and hyperpop. These styles incorporated 1990s and early 2000s internet nostalgia, kitsch, online memes, and consumer culture into a new context. They emerged primarily online and were more prevalent there than in traditional performance venues.{{Cite web |date=2018-10-03 |title=Adam Harper tracks the evolution of post-internet music |url=https://www.redbull.com/us-en/evolution-post-internet-music |access-date=2025-06-30 |website=Red Bull |language=en-us}}

By the late 2010s, post-internet music began to incorporate themes regarding the rise of social media and the increasing dominance of the internet in wider society.{{Cite web |title=2010s: Against The Post-Internet |url=https://www.tinymixtapes.com/features/against-the-post-internet |access-date=2025-06-30 |website=Tiny Mix Tapes |language=en}}{{Cite web |date=2015-11-11 |title=So What Is Post-Internet Music, Anyway? |url=https://www.vice.com/en/article/so-what-is-post-internet-music-anyway/ |access-date=2025-06-30 |website=VICE |language=en-US}}

File:James Ferraro (cropped).jpg is an experimental artist, and has been described as "the godfather of post-internet electronic music".{{Cite web |last=Radio |first=N. T. S. |title=In Focus: James Ferraro 9th May 2025 |url=https://www.nts.live/shows/in-focus/episodes/in-focus-james-ferraro-9th-may-2025 |access-date=2025-06-30 |website=NTS Radio |language=en}}]]

In the early 2010s, "post-Internet music" was originally associated with the musician Grimes, who used the term to describe her work at a time when post-Internet concepts were not typically discussed in mainstream music spaces.{{cite web |last1=Snapes |first1=Laura |date=February 19, 2020 |title=Pop star, producer or pariah? The conflicted brilliance of Grimes |url=https://www.theguardian.com/music/2020/feb/19/pop-star-producer-or-pariah-the-conflicted-brilliance-of-grimes |website=The Guardian}}{{Cite web |last=Krebs |first=Nolan |title=Grimes rises beyond post-Internet label |url=https://thenorthwindonline.com/3863865/entertainment/grimes-rises-beyond-post-internet-label/ |access-date=2025-06-30 |website=The North Wind}}

The work of vaporwave pioneers Oneohtrix Point Never (Daniel Lopatin) and James Ferraro{{Cite web |title=The disappearance of the internet |url=https://www.schirn.de/en/schirnmag/transmediale-2018-2018-antsy-en/ |access-date=2025-06-30 |website=SCHIRN KUNSTHALLE FRANKFURT |language=en}}{{Cite web |title=Inside James Ferraro’s Elevator at MoMA PS1 |url=https://www.thefader.com/2014/04/17/inside-james-ferraros-elevator-at-moma-ps1 |access-date=2025-06-30 |website=The FADER |language=en}} have been linked to the pioneering of post-internet related music, Ferraro's Far Side Virtual{{cite journal |last=Blanning |first=Lisa |date=April 2019 |title=Listening today: James Ferraro's Far Side Virtual and the fate of functional sounds |url=https://www.researchgate.net/publication/330592719_Listening_today_James_Ferraro's_'Far_Side_Virtual'_and_the_fate_of_functional_sounds |journal=Organised Sound |volume=24 |issue=1 |pages=36–44 |doi=10.1017/S1355771818000375 |access-date=30 June 2025}}{{cite conference |last=Cheung |first=Terence |year=2017 |title=Human Excess: Aesthetics of Post-Internet Electronic Music |url=https://quod.lib.umich.edu/cgi/p/pod/dod-idx/human-excess-aesthetics-of-post-internet-electronic-music.pdf?c=icmc;idno=bbp2372.2017.080;format=pdf |conference=Proceedings of the International Computer Music Conference (ICMC) |access-date=30 June 2025}} alongside OPN's Age Of{{Cite web |date=2018-07-13 |title=Oneohtrix Point Never's 'Age Of' Is As Unbound As Its Title » PopMatters |url=https://www.popmatters.com/oneohtrix-point-never-age-of-2585812658.html |access-date=2025-06-30 |website=www.popmatters.com |language=en-US}} have been described as reflections of the post-internet age. Other influential artists include the works of Hayden Dunham and Holly Herndon.{{Cite web |title=The Singularity You Can Hear: Post-Internet Waves in Popular Music {{!}} Highbrow Magazine |url=https://www.highbrowmagazine.com/6034-singularity-you-can-hear-post-internet-waves-popular-music |access-date=2025-06-30 |website=www.highbrowmagazine.com |language=en}}

Some post-internet musicians have also collaborated with post-internet visual artists, such as Jon Rafman's work with Oneohtrix Point Never on a two-part music video for "Sticky Drama", from Lopatin's 2015 album Garden of Delete.Archived at [https://ghostarchive.org/varchive/youtube/20211211/td-e4i2BL_Q Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20151106052324/https://www.youtube.com/watch?v=td-e4i2BL_Q Wayback Machine]{{cbignore}}: {{cite AV media |url=https://www.youtube.com/watch?v=td-e4i2BL_Q |title=Sticky Drama - Music Video |website=YouTube}}{{cbignore}}{{Cite web |last=Domanick |first=Andrea |date=2015-12-17 |title=The Noisey Editors' Best and Worst of 2015: Andrea Domanick |url=https://www.vice.com/en/article/noisey-editors-best-2015-andrea-domanick/ |access-date=2025-06-30 |website=VICE |language=en-US}} James Ferraro has also experimented with post-internet related visual art, releasing the film "9/11 Simulation in Roblox Environment" in 2017.{{Cite web |title=James Ferraro Talks Phases, Fads and Fidget Spinners |url=https://www.sleek-mag.com/article/james-ferraro-interview/ |access-date=2025-06-30 |website=www.sleek-mag.com |language=en}}

The independent record label, Hippos in Tanks founded by Barron Machat and Travis Woolsey in 2010, was a leading influence in post-internet music, featuring artists like Dean Blunt, Inga Copeland, Grimes, James Ferraro, Autre Ne Veut, Laurel Halo, Hype Williams, and Arca.{{Cite web |last=Masters |first=Marc |title=James Ferraro: Sushi |url=https://pitchfork.com/reviews/albums/17459-sushi/ |access-date=2025-06-30 |website=Pitchfork |language=en-US}}{{Cite web |title=How Hippos In Tanks Ushered Avant-Garde Music Into The 21st Century |url=https://www.thefader.com/2015/04/17/how-hippos-in-tanks-ushered-avant-garde-music-into-the-21st-century |access-date=2025-06-30 |website=The FADER |language=en}}

File:Bladee in Toronto, Canada 2016.jpg, alongside his collective Drain Gang, has been described as defining "the malaise of post-internet alienation".]]

James Ferraro experimented with hip-hop with the release of his albums Inhale C-4 $$$$$ and Sushi.

Soundcloud rap has been credited with emerging primarily on the internet.{{Cite web |last=Dazed |date=2024-03-28 |title=How the SoundCloud rapper became the internet’s most hated aesthetic |url=https://www.dazeddigital.com/music/article/62223/1/soundcloud-rapper-became-the-internet-most-hated-aesthetic-lil-peep-the-crow |access-date=2025-06-30 |website=Dazed |language=en}}{{cite journal |last=Dunham |first=Ian |year=2022 |title=SoundCloud Rap: An investigation of community and consumption models of internet practices |journal=Critical Studies in Media Communication |volume=39 |issue=1 |pages=1–20 |doi=10.1080/15295036.2021.2015537}}{{cite book |last=Garneni |first=Mansi |url=https://academic.oup.com/book/58670/chapter/485385059 |chapter=Internet Rap and Generational Tensions in Hip Hop's SoundCloud Era |publisher=Oxford University Press |year=2023 |title=Oxford Handbook of Hip Hop Studies}} Amarco referred to internet cloud rap artist Yung Lean, who visually drew influence from seapunk and vaporwave aesthetics,{{Cite news |last=Bakare |first=Lanre |date=2014-08-15 |title=Yung Lean review – high energy meets low culture in sweaty hip-hop set |url=https://www.theguardian.com/music/2014/aug/15/yung-lean-review-the-garage |access-date=2025-06-30 |work=The Guardian |language=en-GB |issn=0261-3077}}{{Cite web |date=2017-07-26 |title=Yung Lean, Lil Yachty and Sickly-Sweet Rap Music |url=https://pelicanmagazine.com.au/2017/07/26/yung-lean-lil-yachty-and-sickly-sweet-rap-music/ |access-date=2025-06-30 |website=Pelican |language=en-AU}} as "by and large a product of the internet and a leading example of a generation of youths who garner fame through social media." Additionally, rapper Sematary's sound has been described as "distinctly post-internet".{{cite web |last1=Enis |first1=Eli |date=January 19, 2024 |title=Sematary: Hear $uicideboy$ tourmate go goth-punk on new song "Wendigo" |url=https://www.revolvermag.com/music/sematary-hear-uicideboy-tourmate-go-goth-punk-new-song-wendigo/ |access-date=September 18, 2024 |website=Revolver}}

The Swedish internet rap collective Drain Gang, consisting of Bladee, Ecco2K, Thaiboy Digital, and Whitearmor, have also been described as reflective of post-internet music.{{Cite web |date=2022-05-09 |title=Becoming the Fool: (A Hyper Online Take) On Bladee’s Beauty and Blind Faith Network Spirituality – The Greene Street Review |url=https://wp.nyu.edu/greenestreetreview/2022/05/09/becoming-the-fool-a-hyper-online-take-on-bladees-beauty-and-blind-faith-network-spirituality/ |access-date=2025-06-30 |language=en-US}}{{Cite web |title=Creamcake looks back on a decade of partying in this exclusive playlist |url=https://crackmagazine.net/article/profiles/creamcake-looks-back-on-a-decade-of-partying-in-this-exclusive-playlist/ |access-date=2025-06-30 |website=Crack Magazine}} In 2025, Bladee and James Ferraro collaborated with Microsoft on an interactive visual art project incorporating generative AI.{{Cite web |title=Microsoft launches new AI projects with Bladee, Yaeji, Cuco, and more |url=https://www.thefader.com/2025/03/05/bladee-james-ferraro-desktop-game-sanctuary-cuco-yaeji-pondeggi-ai |access-date=2025-06-30 |website=The FADER |language=en}}{{Cite web |title=Exploring art’s next frontier |url=https://unlocked.microsoft.com/artifacts/ |access-date=2025-06-30 |website=Microsoft Unlocked |language=en-us}}

Other rappers who have been described as post-internet include JPEGMafia{{Cite web |date=2020-10-05 |title=JPEGMAFIA is at the mercy of the music industry |url=https://districtmagazine.ie/music/jpegmafia-is-at-the-mercy-of-the-music-industry-2/ |access-date=2025-06-30 |website=District Magazine |language=en-US}}{{Cite web |date=2019-09-16 |title=JPEGMAFIA Nails the Chaos of Post-Internet Society in 'All My Heroes Are Cornballs' |url=https://www.highsnobiety.com/p/jpegmafia-all-my-heroes-are-cornballs-review/ |access-date=2025-06-30 |website=Highsnobiety |language=en}} and Edward Skeletrix,{{Cite web |last=Barlas |first=Jon |date=2021-12-30 |title=Our Generation Awards: OGM's Top 10 rising stars of 2022 |url=https://ourgenerationmusic.com/editorials/our-generation-awards-ogms-next-gen-top-10/ |access-date=2025-06-30 |website=Our Generation Music |language=en-US}} the latter of whom initially gained popularity by experimenting with AI-generated videos to TikTok.

There have been a number of significant group art shows explicitly exploring Post-Internet themes. There was a 2014 exhibition called Art Post-Internet at Beijing's Ullens Center for Contemporary Art, which ARTnews named one of the "most art exhibitions of the 2010s"{{cite news|url=https://www.artnews.com/art-news/news/most-important-exhibitions-2010s-1202672433/|title=The Most Important Art Exhibitions of the 2010s|date=17 December 2019|work=Artnews|last1=Durón|first1=Maximilíano|last2=Greenberger|first2=Alex}} which "set out to encapsulate the budding movement." MoMA curated Ocean of Images in 2015, a show "probing the effects of an image-based post-Internet reality."{{Cite web|title=Ocean of Images: New Photography 2015 {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1539|access-date=2021-02-01|website=The Museum of Modern Art|language=en}} The 2016 9th Berlin Biennale, titled The Present in Drag, curated by the art collective DIS, is described as a Post-Internet exhibition.{{Cite web|title=You missed the 9th Berlin Biennale|url=http://showerofkunst.com/sok/2016/12/31/berlin-biennale-ix/|access-date=2020-12-15|website=showerofkunst.com}}{{Cite web|title=DIS – the post-internet collective Curating the 9th Berlin Biennale|url=https://fineartmultiple.com/blog/dis-berlin-biennale/|access-date=2021-01-25|website=fineartmultiple.com}}{{Cite web|title="Die Stadt ist internationaler geworden" {{!}} Monopol|url=https://www.monopol-magazin.de/die-stadt-ist-internationaler-geworden|access-date=2021-02-01|website=www.monopol-magazin.de|language=de}} Other examples include:

• Raster Raster, Aran Cravey Gallery, Los Angeles, 2014{{Cite web|date=2014-04-07|title="Raster Raster" at Aran Cravey Gallery, Los Angeles •|url=http://moussemagazine.it/raster-raster-aran-cravey/|access-date=2021-01-26|website=Mousse Magazine|language=it-IT}}
• 2015 Triennial: Surround Audience at New Museum, New York, 2015{{Cite web|title=2015 Triennial: Surround Audience at the New Museum|url=https://www.dailyserving.com/2015/03/2015-triennial-surround-audience-at-the-new-museum/|access-date=2021-01-26|website=DAILY SERVING|language=en-US}}{{Cite web|url=https://archive.newmuseum.org/exhibitions/1873|title = Exhibitions}}
• Zero Zero, Annka Kulty Gallery, London, 2016{{Cite web|date=2016-07-17|title=Exhibition // 'Zero Zero' Proposes A New Post-Internet Landscape|url=https://www.berlinartlink.com/2016/07/17/exhibition-zero-zero-proposes-a-new-post-internet-landscape/|access-date=2021-01-26|website=Berlin Art Link|language=en-US}}

{{div col}}

• Stepan Ryabchenko.{{cite web | url=https://art.art/blog/interview-with-new-media-artist-stepan-ryabchenko | title=Interview with new media artist Stepan Ryabchenko | date=6 February 2024 }} In his artwork, the artist creates his own digital universe with its heroes and mythology.
• AIDS-3D (Daniel Keller and Nik Kosmas){{cite news|url=https://hyperallergic.com/481/aids-3d-interview/|title=Information, Aesthetics & Fun: An Interview with AIDS-3D|date=27 October 2009|last= Vierkant|first=Artie|work=Hyperallergic}}
• Cory Arcangel
• Kai (Kari) Altmann{{cite news|url=https://www.aqnb.com/2014/03/03/life-after-internet-concerning-art-post-internet-in-beijing/|title=Concerning Art Post-Internet|last=Folks|first=Eve|date=3 March 2014|work=AQNB}}{{cite web|url=https://anthology.rhizome.org/r-u-in-s-garden-club|title=R-U-IN?S / GARDEN CLUB KAI (KARI) ALTMANN 2009 - ONGOING|website=Rhizome Anthology|date=27 October 2016 }}
• Petra Cortright, whose work includes YouTube video work and digital paintings. She was included in "Raster Raster" and the 9th Berlin Biennale
• DIS
• Aleksandra Domanović{{cite news|url=https://artreview.com/mar-2012-future-greats-aleksandra-domanovic/|work=ArtReview|date=21 July 2014|title=Aleksandra Domanović|last=McLean-Ferris|first=Laura|quote=Domanović has ... created paper-stack sculptures (made by printing to the edge of blank A4 paper, at full bleed) that commemorate the day in 2010 that the .yu domain was taken off the Internet.... The memorialising of this moment makes sense for an artist so committed to the Internet as a form...}}
• Parker Ito{{Cite web|date=2016-09-11|title=Parker Ito, or the anxiety of over-hyped young artists|url=https://judithbenhamouhuet.com/parker-ito-or-the-anxiety-of-over-hyped-young-artists/|access-date=2021-01-25|website=Judith Benhamou-Huet Reports|language=en-GB}}
• Rachel de Joode{{cite web |title=Rachel De Joode |url=https://akoyabooks.com/interviews/rachel-de-joode/ |website=Akoya Books |access-date=30 March 2021 |language=en |date=10 October 2016}}
• Oliver Laric{{cite web|url=https://www.ssense.com/en-us/editorial/art/hijacking-classical-sculptures-in-vienna|title=HIJACKING CLASSICAL SCULPTURES IN VIENNA Artist Oliver Laric Open-Sources Museum Sculptures and Shows How Technology Has Changed Authenticity|website=Ssense.com|last=Heuser|first=Biance|date=4 May 2016 }}
• Kalup Linzy{{Cite web|title=Berlin Biennale {{!}} Participants|date=September 2022 |url=https://news.artnet.com/art-world/kalup-linzy-art21-2168437}}
• Jonathan Monaghan{{Cite web|url=https://www.mediaartdesign.net/EN_ars17.html |title=ARS ELECTRONICA 2017 |last=Moulon |first=Dominique }}
• Katja Novitskova{{Cite web|last=Culture|first=Magazine Contemporary|date=2012-01-30|title=Post Internet Survival Guide, 2010|url=http://www.magazinecontemporaryculture.com/post-internet-survival-guide/|access-date=2021-01-24|website=Magazine Contemporary Culture|language=en-US}} whose work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics and was included in the 9th Berlin Biennale
• Seth Price
• Jon Rafman, whose work was included in the 9th Berlin Biennale
• Ryder Ripps[https://www.gq.com/story/ryder-ripps-cia-redesign No, Ryder Ripps Didn't Do the CIA Redesign|CQ]
• Bunny Rogers{{cite web | url=https://www.huffpost.com/entry/postinternet-art_n_4893271 | title=6 'Postinternet' Artists You Should Know | date=5 March 2014 }}
• Timur Si-Qin{{cite news|url=https://www.artforum.com/print/reviews/201903/timur-si-qin-78746|title=Timur Si-Qin MAGICIAN SPACE 魔金石空间|work=Artforum|date=March 2019|last=Frank|first=Simon}}
• {{ill|Mario Santamaría (artist)|qid=Q112822371|lt=Mario Santamaría|short=yes}}{{cite journal |last=Sánchez Gómez |first=Laura |title=Futuros postdigitales en español: tensiones postidentitarias en la creación electrónica |trans-title=Post-digital futures in Spanish: post-identity tensions in electronic creation |journal=Journal of Spanish Cultural Studies |volume=24 |issue=1 |date=2023-01-02 |issn=1463-6204 |doi=10.1080/14636204.2023.2177024 |pages=121–133 |language=es}}
• Molly Soda,[https://1701vb.com/post-internet-art-is-the-fast-food-of-the-contemporary-art-world-by-phoebe-cochran/ Post-Internet Art is the Fast Food of the Contemporary World] who co-curated and included her own work in "Zero Zero"
• Hito Steyerl
• Theo Triantafyllidis{{Cite web|url=https://www.factmag.com/2024/02/12/interview-theo-triantafyllidis/ |title=Interview Theo Triantafyllidis |date=12 February 2024 }}
• Ryan Trecartin and Lizzie Fitch,{{Cite web|title=Frieze Editors Debate the Artist of the Decade {{!}} Frieze|url=https://www.frieze.com/article/frieze-editors-debate-artist-decade|access-date=2021-01-25|website=Frieze|date=13 December 2019|language=en}} whose work was included in the 9th Berlin Biennale and who co-curated the New Museum's 2015 triennial Surround Audience
• Brad Troemel, Joshua Citarella, and Molly Soda{{Cite web|date=2015-03-18|title=magazine / archive / Ann Hirsch {{!}} MOUSSE CONTEMPORARY ART MAGAZINE|url=http://moussemagazine.it/articolo.mm?id=1093|access-date=2021-02-02|archive-url=https://web.archive.org/web/20150318222950/http://moussemagazine.it/articolo.mm?id=1093|archive-date=2015-03-18}}
• Amalia Ulman, whose work was included in the 9th Berlin Biennale{{Cite web|title=Berlin Biennale {{!}} Participants|url=http://bb9.berlinbiennale.de/participants/|access-date=2020-12-15|language=en-US}}
• Andrew Norman Wilson{{cite magazine |last=Mallonee |first=Laura |title=Is That a Hand? Glitches Reveal Google Books' Human Scanners |magazine=WIRED |date=2019-02-07 |url=https://www.wired.com/story/google-books-glitches-gallery/ |access-date=2023-11-07}}

{{div col end}}

File:Fair Trade. Frieze Projects 2012.jpg|Photo by DIS. Fair Trade, Frieze Projects 2012

{{columns-list|colwidth=30em|

• Digital art
• Internet art
• net.art
• Seapunk
• Hyperpop
• New Aesthetic
• Extremely online
• Internet aesthetics

}}

{{Reflist}}

• Novitskova, Katja. Post internet survival guide 2010. Berlin: Revolver Publishing, 2011. {{ISBN|978-3-86895-350-3}}
• McHugh, Gene. Post Internet. Notes on the Internet and Art 12.29.09 > 09.05.10, Brescia: Link Editions, 2011.

• {{cite web |url=http://metropolism.com/features/post-internet-materialism/ |title=Post-Internet Materialism |work=metropolism.com |access-date=2015-03-15}} An interview with Martijn Hendriks & Katja Novitskova
• [http://booktwo.org/notebook/new-aesthetic-politics/ "The New Aesthetic and its Politics"]
• {{cite web|url=http://artfcity.com/2014/10/14/finally-a-semi-definitive-definition-of-post-internet-art/|title=Finally, a Semi-Definitive Definition of Post-Internet Art|work=Art F City|date=14 October 2014}}
• [https://122909a.com.rhizome.org/ Reconstruction of Gene McHugh's 'Post-Internet' blog, 2009–10]

Category:Theories of aesthetics

Category:Metanarratives

Category:Internet culture

Category:2000s in art

Category:2010s in art