Digital Source Criticism: Net Art as a Methodological Case Study

Gunther Reisinger is Assistant Professor for Art History at the Institute for Art History at the Karl-Franzens Universität Graz, and headed a research project concerning archiving, restoring, and contextualizing Net-based art at the Ludwig Boltzmann Institute Media.Art.Research in Linz (netpioneers 1.0).

Net Art in the White Cube: A Fish on dry land

Robert Sakrowski is an art historian. Since 2007, he has been working at the Ludwig Boltzmann Institute Media.Art.Research in Linz (netpioneers 1.0). From 1999–2003 he headed the project netart-datenbank.org at TU Berlin and curated several exhibitions in the field of Net-based art.

Read the Contribution (.pdf)

Rendezvous: The Discovery of Pure Sociality in Early Net Art

Marc Ries is a media theorist. He took his doctoral degree at the Institute of Philosophy, Vienna University. Since 1989 he has taught, been in involved in projects, and published in the areas of media, culture, architecture, and art. From 1997–2001, he was director of art and cultural provider at THE THING Vienna, and held associate professorships at the Friedrich-Schiller-Universität Jena (2000–01) and at the Hochschule für Graphik und Buchkunst Leipzig (2006–09).

Out on the Edge

Barbara London is curator and founder of The Museum of Modern Art’s video exhibition program, and has guided it over a long pioneering career. She helped assemble the Museum’s premiere media collection of over 1,000 works. Her recent activity at MoMA includes Looking at Music: Sides 1 & 2 (2007, 2009); Automatic Update (2007); River of Crime (2006), a community online project with the Residents; Stillness: Michael Snow and Sam Taylor-Wood (2005); Anime!!

Underway to the Dual System: Classical Archives and / or Digital Memory

Wolfgang Ernst is professor of media theories at Humboldt-University, Berlin. He studied history, classics, and archaeology, and wrote his Ph.D. thesis in 1989 on historicism and museology. He has teaching experience and guest professorships in culture and media studies at several universities (Leipzig, Cologne, Weimar, Bochum, Paderborn, Berlin).

Reverse Engineering Modernism with the Last Avant-garde

Dieter Daniels is Professor for Art History and Media Theory at the Academy of Visual Arts (HGB) in Leipzig, since 1993. In 1984, he co-founded “Videonale Bonn” and has contributed to numerous projects, exhibitions, and symposia in the field of media art. From 1991–93, he headed the Mediatheque at Z KM Karlsruhe. He has extensively published on twentieth-century art, including Marcel Duchamp, Fluxus, and Media Art.

The fix vs. the flux: Which digital heritage?

Anna Bentkofska-Kafel specializes in digital art history and has been involved in a number of projects hosted by the Centre for Computing in the Humanities and the Arts and Humanities e-Science Support Centre at King’s College London, UK (www.viznet.ac.uk/3dvisa, www.londoncharter.org, www.ahessc.ac. uk). She serves on the Editorial Board of Computers and the History of Art (CHArt) (www.chart.ac.uk) and is Associate Director of the British Academy Corpus of Romanesque Sculpture in Britain and Ireland (www.crsbi.ac.uk).

Why I Never Became a Net Art Historian

Verena Kuni is a scholar in the field of history and theory of art and media cultures, and Professor for Visual Culture at Goethe University, Frankfurt am Main. Since 1996 she has been lecturing, researching, and teaching at universities and art academies in Europe and beyond. From 1995 to 1999, she co-curated the video section of Kasseler Dokumentarfilm and Video Festival, where since 1999 she has been director of the yearly interfiction conference for art, media, and network cultures (www.interfiction.org).

Context and Archive: Presenting and Preserving Net Art

Christiane Paul is Director of the Media Studies Graduate Programs and Associate Professor of Media Studies at The New School, NY, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. She has written extensively on new media arts and has lectured internationally on art and technology.

Can Art History Digest Net Art?

 Julian Stallabrass is a writer, curator, photographer, and lecturer. He is Reader in art history at the Courtauld Institute of Art, and is the author of Art Incorporated (Oxford 2004), Internet Art: The Online Clash Between Culture and Commerce (London 2003), Paris Pictured (London 2002), High Art Lite: British Art in the 1990s (London 1999), and Gargantua: Manufactured Mass Culture (London 1996).