Post-Internet Art

Hey-Yo New Media Gang, 

Here's a really interesting article from Art in America. I stumbled upon it in November and found it a good read. It talks about existing in the art-world of "Post-Internet Art." Art, in a way, has lost its precision and goes through a series of sifting and filters to be rendered more vibrant and more exciting. 

See article: http://www.artinamericamagazine.com/news-features/magazine/the-perils-of-post-internet-art/

Here are a few excerpts: 

The definition I'd like to propose underscores this transactional sensibility: I know Post-Internet art when I see art made for its own installation shots, or installation shots presented as art. Post-Internet art is about creating objects that look good online: photographed under bright lights in the gallery's purifying white cube (a double for the white field of the browser window that supports the documentation), filtered for high contrast and colors that pop.

Consuming Post-Internet art most often means browsing artists' websites, which may be the optimal space for encountering the work. I recently came across an installation shot of Hhellblauu (2008-12), a work by Kari Altmann that I'd previously seen installed in a group show at Envoy Enterprises on the Lower East Side in the summer of 2010. In the gallery it looked like nothing—a dingy wading pool filled with water, where some prints of the Paramount logo and other found images on chunky foamcore floated about and piled up at the periphery. It did nearly nothing to attract my attention when I saw it in the gallery; it was just an inexpertly assembled installation by an artist who made more compelling work online. But when I saw the documentation I did a double take. The colors in the image—especially the sky blue named in the title—were intensely vibrant compared to the dull ones I remembered. The water in the pool seemed to create a viscous distance between the floating prints and the base upon which the pool rested, a platform that had looked flat when I saw it in person. In short, this bad installation suddenly looked like a good one, thanks to the way the lens of the camera and the lights worked on the materials when Altmann took the photo.