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<h2 id="definition">Definition</h2> <p>Post-Internet is a loosely-defined term<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> that was coined by artist/curator <a href="/facts/Marisa_Olson/MNHWv8jS">Marisa Olson</a> in an attempt to describe her practice.<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> It emerged from mid-2000s discussions about <a href="/facts/Internet_art/NfXs3cuf">Internet art</a> by Gene McHugh (author of a blog titled "Post-Internet"), and <a href="/facts/Artie_Vierkant/VNLX19LC">Artie Vierkant</a> (artist, and creator of <i>Image Object</i> sculpture series).<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> The movement itself grew out of <a href="/facts/Internet_art/NfXs3cuf">Internet Art (or Net Art)</a>.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> According to the <a href="/facts/UCCA_Center_for_Contemporary_Art/VdF1kvQe">UCCA Center for Contemporary Art</a> in <a href="/facts/Beijing/Bg4puFBv">Beijing</a>, rather than referring "to a time “after” the <a href="/facts/Internet/Xw1rVvJU">internet</a>", the term refers to "an internet state of mind".<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> 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."<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> </p><p>The term is controversial and the subject of much criticism in the art community.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> <i><a href="/facts/Art_in_America/S8oameya">Art in America</a></i>'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."<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> According to a 2015 article in <i><a href="/facts/The_New_Yorker/2RfeBrsR">The New Yorker</a></i>, the term describes "the practices of artists [whose] artworks move fluidly between spaces, appearing sometimes on a screen, other times in a gallery."<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> <i>Fast Company</i>'s Carey Dunne summarizes they are "artists who are inspired by the visual cacophony of the web" and notes that "mediums from <a href="/facts/Second_Life/MNmX14gw">Second Life</a> portraits to digital paintings on silk to 3-D-printed sculpture" are used.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> </p><p>There is theoretical overlap with writer and artist <a href="/facts/James_Bridle/x6TpwtD0">James Bridle</a>'s term <a href="/facts/New_Aesthetic/YRsYQ1v5">New Aesthetic</a>.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a><a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> Ian Wallace of <i><a href="/facts/Artspace_(website)/c4erzo26">Artspace</a></i> 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."<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> Post-Internet art is also discussed by <a href="/facts/Katja_Novitskova/GVwVXR6M">Katja Novitskova</a> as being a part of 'New Materialism'.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a><a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> </p><p>Wallace considers the Post-Internet term to stand for "a <a href="/facts/New_Aesthetic/YRsYQ1v5">new aesthetic</a> 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."<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> Or as Louis Doulas writes in <i>Within Post-Internet, Part One</i> (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."<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> </p> <h2 id="music">Music</h2><p> Though the term "post-internet" originated in the contemporary art world its influence has extended into music—particularly electronic, pop, and underground genres. </p> <p>In the late 2000s, <a href="/facts/Chillwave/bYPR9qeV">chillwave</a> became the first musical <a href="/facts/Microgenre/Ycf00o1z">microgenre</a> and <a href="/facts/Subculture/xUYDM25I">subculture</a> to develop primarily through the <a href="/facts/Internet/Xw1rVvJU">Internet</a>.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> The term was coined in 2009 by the satirical blog Hipster Runoff as a parody of indie music and microgenres, the movement was spearheaded by artists <a href="/facts/Neon_Indian/mDKFszKP">Neon Indian</a>, <a href="/facts/Washed_Out/qfwQxDsN">Washed Out</a>, and <a href="/facts/Toro_y_Moi/X4kWqDxv">Toro y Moi</a>, who gained attention during 2009's "Summer of Chillwave".<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a><a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> </p><p>Early post-internet music often embraced ironic, nostalgic, self-referential internet aesthetics, defined by <a href="/facts/Microgenre/Ycf00o1z">microgenres</a> and <a href="/facts/Subculture/xUYDM25I">subcultures</a> such as <a href="/facts/Seapunk/g3l1ERfx">seapunk</a> and <a href="/facts/Vaporwave/oxxyDGEr">vaporwave</a><a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a>, other influences included the <a href="/facts/PC_Music/ls4qRx21">PC Music</a> label founded by <a href="/facts/A._G._Cook/lpwmFzkP">A. G. Cook</a>, which gave way to <a href="/facts/Bubblegum_bass/v9MLXt14">bubblegum bass</a> and <a href="/facts/Hyperpop/v9MLXt14">hyperpop</a>. 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.<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> </p><p>By the late 2010s, post-internet music began to incorporate themes regarding the rise of <a href="/facts/Social_media/kUIkfpIA">social media</a> and the increasing dominance of the internet in wider society.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a><a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> </p> <h3>Electronic</h3> <p>In the early 2010s, "post-Internet" was popularly associated with the musician <a href="/facts/Grimes_(musician)/uftyIWkv">Grimes</a>, who used the term to describe her work at a time when post-Internet concepts were not typically discussed in mainstream music spaces.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a><a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> </p><p>The work of <a href="/facts/Vaporwave/oxxyDGEr">vaporwave</a> pioneers <a href="/facts/Oneohtrix_Point_Never/hB99n57A">Oneohtrix Point Never (Daniel Lopatin)</a> and <a href="/facts/James_Ferraro/Fovaxelx">James Ferraro</a> have been linked to the pioneering of post-internet related music, Ferraro's <a href="/facts/Far_Side_Virtual/nj4Q459E"><i>Far Side Virtual</i></a><a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a><a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> alongside OPN's <a href="/facts/Age_Of/h8rmVA9k"><i>Age Of</i></a><a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a> have been described as reflections of the post-internet age. Other influential artists include the works of <a href="/facts/Hayden_Dunham/EogYerxA">Hayden Dunham</a> and <a href="/facts/Holly_Herndon/Ffn1YDJF">Holly Herndon</a>.<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a><a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> </p><p>Some post-internet musicians have also collaborated with post-internet visual artists, such as <a href="/facts/Jon_Rafman/letsmryV">Jon Rafman</a>'s work with <a href="/facts/Oneohtrix_Point_Never/hB99n57A">Oneohtrix Point Never</a> on a two-part music video for "Sticky Drama", from Lopatin's 2015 album <i><a href="/facts/Garden_of_Delete/8yMskHzQ">Garden of Delete</a></i>.<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a><a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a> <a href="/facts/James_Ferraro/Fovaxelx">James Ferraro</a> has also experimented with post-internet related visual art, releasing the film "9/11 Simulation in Roblox Environment" in 2017.<a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a> </p> <h3>Hip Hop</h3> <p>In the 2000s, influential rappers like <a href="/facts/Soulja_Boy/uCaIttJY">Soulja Boy</a> were the first to embrace <a href="/facts/Social_media/kUIkfpIA">social media</a>, with him being attributed as the first rapper to have a <a href="/facts/Twitter/VWwDNGUm">Twitter</a> account.<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a> By the late 2000s, influential <a href="/facts/Cloud_rap/9EBFESUt">cloud rap</a> pioneer <a href="/facts/Lil_B/sVPqbUNf">Lil B</a><a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a> emerged whose success was linked to internet virality and an embrace of wider internet trends, many early internet rappers operated primarily on the early social media platform <a href="/facts/Myspace/dES860Ro">Myspace</a>.<a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a><a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a><a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> Lil B's influence inspired a generation of internet-based rappers who embraced and drew inspiration from online spaces, movements, memes, and trends.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> </p><p><a href="/facts/Soundcloud_rap/nfdGCgH0">Soundcloud rap</a> has been credited with emerging primarily on the <a href="/facts/Internet/Xw1rVvJU">internet</a>.<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a><a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a><a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a> Amarco referred to internet <a href="/facts/Cloud_rap/9EBFESUt">cloud rap</a> artist <a href="/facts/Yung_Lean/tpnvtKD6">Yung Lean</a> as "by and large a product of the internet and a leading example of a generation of youths who garner fame through social media."<a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a> Other rappers who have been described as post-internet include <a href="/facts/JPEGMafia/vneTn4kw">JPEGMafia</a><a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a><a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> and <a href="/facts/Edward_Skeletrix/ogb1qX1S">Edward Skeletrix</a><a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a>, the latter of whom initially gained popularity by experimenting with <a href="/facts/Text-to-video_model/4w3n3Het">AI-generated videos</a> to <a href="/facts/TikTok/LC3FaCbX">TikTok</a>. </p> <h2 id="exhibitions">Exhibitions</h2> <p>There have been a number of significant group art shows explicitly exploring Post-Internet themes. There was a 2014 exhibition called <i>Art Post-Internet</i> at Beijing's Ullens Center for Contemporary Art, which <i><a href="/facts/ARTnews/YMTyacfk">ARTnews</a></i> named one of the "most art exhibitions of the 2010s"<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a> which "set out to encapsulate the budding movement."<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> <a href="/facts/Museum_of_Modern_Art/75lxKjfj">MoMA</a> curated <i>Ocean of Images</i> in 2015, a show "probing the effects of an image-based post-Internet reality."<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a> The 2016 9th <a href="/facts/Berlin_Biennale/BXfePFSJ">Berlin Biennale</a>, titled <i>The Present in Drag</i>, curated by the art collective <a href="/facts/DIS_(collective)/GvHzG74s">DIS</a>, is described as a Post-Internet exhibition.<a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a><a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a><a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> Other examples include: </p> <ul><li><i>Raster Raster</i>, Aran Cravey Gallery, Los Angeles, 2014<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a></li> <li><i>2015 Triennial: Surround Audience</i> at <a href="/facts/New_Museum/uDSPu8gJ">New Museum</a>, New York, 2015<a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a><a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a></li> <li><i>Zero Zero</i>, Annka Kulty Gallery, London, 2016<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a></li></ul> <h2 id="notable-artists">Notable artists</h2> <ul><li><a href="/facts/Stepan_Ryabchenko/KRbm9HhB">Stepan Ryabchenko</a>.<a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a> In his artwork, the artist creates his own digital universe with its heroes and mythology.</li> <li>AIDS-3D (Daniel Keller and Nik Kosmas)<a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a></li> <li><a href="/facts/Cory_Arcangel/JIhMX6cK">Cory Arcangel</a><a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a></li> <li>Kai (Kari) Altmann<a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a><a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a></li> <li><a href="/facts/Petra_Cortright/ufPwPg7X">Petra Cortright</a>,<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> whose work includes YouTube video work and digital paintings. She was included in "Raster Raster"<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a> and the 9th Berlin Biennale</li> <li><a href="/facts/DIS_(collective)/GvHzG74s">DIS</a><a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a><a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a></li> <li>Aleksandra Domanović<a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a><a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a></li> <li><a href="/facts/Parker_Ito/Ww1fXrNA">Parker Ito</a><a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a></li> <li><a href="/facts/Rachel_de_Joode/4AFsjhkG">Rachel de Joode</a><a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a></li> <li>Oliver Laric<a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a></li> <li><a href="/facts/Kalup_Linzy/rA0qgRju">Kalup Linzy</a><a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a></li> <li><a href="/facts/Jonathan_Monaghan/KD00fPA3">Jonathan Monaghan</a><a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a></li> <li><a href="/facts/Katja_Novitskova/GVwVXR6M">Katja Novitskova</a><a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a> whose work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics and was included in the 9th Berlin Biennale</li> <li><a href="/facts/Seth_Price/fP2jCg4m">Seth Price</a><a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a></li> <li><a href="/facts/Jon_Rafman/letsmryV">Jon Rafman</a>, whose work was included in the 9th Berlin Biennale</li> <li><a href="/facts/Ryder_Ripps/T6FG5pU9">Ryder Ripps</a><a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a></li> <li>Bunny Rogers<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a></li> <li>Timur Si-Qin<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a><a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a></li> <li>Mario Santamaría [d]<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a></li> <li><a href="/facts/Molly_Soda/9H9EKLac">Molly Soda</a>,<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a> who co-curated and included her own work in "Zero Zero"<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a></li> <li><a href="/facts/Hito_Steyerl/Rx3k5V4l">Hito Steyerl</a><a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a><a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a></li> <li>Theo Triantafyllidis<a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a></li> <li><a href="/facts/Ryan_Trecartin/nrJ9axc2">Ryan Trecartin</a> and <a href="/facts/Lizzie_Fitch/uo4P8XGD">Lizzie Fitch</a>,<a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a> whose work was included in the 9th Berlin Biennale and who co-curated the <a href="/facts/New_Museum/uDSPu8gJ">New Museum</a>'s 2015 triennial Surround Audience<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a></li> <li><a href="/facts/Brad_Troemel/DVF72QlI">Brad Troemel</a>, <a href="/facts/Joshua_Citarella/WDISfA2a">Joshua Citarella</a>, and <a href="/facts/Molly_Soda/9H9EKLac">Molly Soda</a><a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a></li> <li><a href="/facts/Amalia_Ulman/VLJoKtJK">Amalia Ulman</a>, whose work was included in the 9th Berlin Biennale<a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a></li> <li><a href="/facts/Andrew_Norman_Wilson_(artist)/3WAf4bnf">Andrew Norman Wilson</a><a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a></li></ul> <h2 id="gallery">Gallery</h2> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Digital_art/6PctACPm">Digital art</a></li> <li><a href="/facts/Internet_art/NfXs3cuf">Internet art</a></li> <li><a href="/facts/Net.art/MJkUzSyF">net.art</a></li> <li><a href="/facts/Seapunk/g3l1ERfx">Seapunk</a></li> <li><a href="/facts/Hyperpop/v9MLXt14">Hyperpop</a></li> <li><a href="/facts/New_Aesthetic/YRsYQ1v5">New Aesthetic</a></li> <li><a href="/facts/Extremely_online/C0wtpafH">Extremely online</a></li></ul> <h2 id="further-reading">Further reading</h2> <ul><li>Novitskova, Katja. <i>Post internet survival guide 2010</i>. Berlin: Revolver Publishing, 2011. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-3-86895-350-3</li> <li>McHugh, Gene. <i>Post Internet. Notes on the Internet and Art 12.29.09 > 09.05.10</i>, Brescia: Link Editions, 2011.</li></ul> <h2 id="external-links">External links</h2> <ul><li><a href="http://metropolism.com/features/post-internet-materialism/">"Post-Internet Materialism"</a>. <i>metropolism.com</i>. Retrieved 2015-03-15. An interview with Martijn Hendriks & <a href="/facts/Katja_Novitskova/GVwVXR6M">Katja Novitskova</a></li> <li><a href="http://booktwo.org/notebook/new-aesthetic-politics/">"The New Aesthetic and its Politics"</a></li> <li><a href="http://artfcity.com/2014/10/14/finally-a-semi-definitive-definition-of-post-internet-art/">"Finally, a Semi-Definitive Definition of Post-Internet Art"</a>. <i>Art F City</i>. 14 October 2014.</li> <li><a href="https://122909a.com.rhizome.org/">Reconstruction of Gene McHugh's 'Post-Internet' blog, 2009–10</a></li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Amarca, Nico (March 1, 2016). "From Bucket Hats to Pokémon: Breaking Down Yung Lean's Style". High Snobiety. Retrieved May 24, 2020. <a href="https://www.highsnobiety.com/p/yung-lean-style/" target="_blank">https://www.highsnobiety.com/p/yung-lean-style/</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Wallace, Ian (March 18, 2014). "What Is Post-Internet Art? Understanding the Revolutionary New Art Movement". Artspace. <a href="http://www.artspace.com/magazine/interviews_features/post_internet_art" target="_blank">http://www.artspace.com/magazine/interviews_features/post_internet_art</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Amarca, Nico (March 1, 2016). "From Bucket Hats to Pokémon: Breaking Down Yung Lean's Style". High Snobiety. Retrieved May 24, 2020. <a href="https://www.highsnobiety.com/p/yung-lean-style/" target="_blank">https://www.highsnobiety.com/p/yung-lean-style/</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Dunne, Carey (2014-03-10). "9 Post-Internet Artists You Should Know". Fast Company. Retrieved 2021-01-26. <a href="https://www.fastcompany.com/3027356/9-post-internet-artists-you-should-know" target="_blank">https://www.fastcompany.com/3027356/9-post-internet-artists-you-should-know</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Connor, Michael (November 1, 2013). "What's Postinternet Got to do with Net Art?". Rhizome. <a href="http://rhizome.org/editorial/2013/nov/1/postinternet/" target="_blank">http://rhizome.org/editorial/2013/nov/1/postinternet/</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Connor, Michael (November 1, 2013). "What's Postinternet Got to do with Net Art?". Rhizome. <a href="http://rhizome.org/editorial/2013/nov/1/postinternet/" target="_blank">http://rhizome.org/editorial/2013/nov/1/postinternet/</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>"Art Post-Internet". UCCA Center for Contemporary Art. 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