Furtherfield, September 2010
Mark Napier’s Venus 2.0, by Angela Ferraiolo
“Venus 2.0 is an amazing jigsaw puzzle, a deceptive surface of shifting layers – part painting and part search result.”
Proud Magazine, January 2010
Focus Artist: Mark Napier
Wired, May 29 2007
Net Artist.s Power Shift, by Asami Novak
“The Empire State Building melts in the hands of prominent net artist Mark Napier. His custom code gives the iconic skyscraper a new look for the digital age, while reminding viewers that software, not steel, is the new medium of power… “
The New York Times, April 29 2002
Selling and Collecting the Intangible, at $1,000 a Share, by Matthew Mirapaul
“Mark Napier sold some of his art this month. For an artist whose digital works have been shown by the Whitney and the Guggenheim in New York, this should neither be significant nor surprising. But Mr. Napier’s medium of the moment is the Internet, where the art that one sees is not a material object to collect. “
The New York Times, February 18 2002
Getting Tangible Dollars for an Intangible Creation (pdf), by Matthew Mirapaul
“In a strong endorsement of a young genre, the Solomon R. Guggenheim Foundation is acquiring two works of Internet-based art for its permanent collection…”
Interview with John Ippolito, January 2002
The interview
“net.flag is a product of the impulses, choices and actions of the visitors. The artwork is a structure through which visitors participate in an aesthetic process. Without the visitors the project is inert, empty. “
Forbes Best of the Web, June 2001
If Picasso were a programmer, by Susan Delson
Feed turns Web data into a dizzying display of graphical activity—part mathematical algorithm, part Jackson Pollock.”, April 2001
The New New-Media Blitz, by Carly Berwick
“Napier’s web site,, gets about 2,000 unique visitors a day, more than many actual bricks-and-mortar art centers.”
Interview with Tilman Baumgaertel, March 2001
the interview, by Tilman Baumgaertel
“I look at who owns the images and text we see on the web. Our culture habitually strives to define boundaries and lay claim to territory, but on the web these territories are artificial. They are created by software and code.”
New York Times, January 2001
Museum mounts show in cyberspace, by Matthew Mirapaul
“With its emphasis on raw materials, Feed is a latter- day action painting, albeit one with actual action.”
Adobe WebCenter
Shred The Web, by Joe Schepter
“He’s been accused of being a visionary,indicted as a master of the Web,and even charged with inventing a new art form, but Mark Napier pleads not guilty. “I respond to technology,” he says.”
Hvedekorn, November 2000
The Aesthetics of Programming: Interview with Mark Napier. by Andreas Broegger
“I see art as a metaphor for life. Life is a creative act. It exists to re-create itself in infinitely varied forms. It’s like a dance. Life dances because that’s what life does. If it stops the dance, it’s no longer life, it’s dead. There’s no reason for it.”
Wired News, September 27, 2000
NetArt with a Groove, by Reena Jana
“…other works were abstract, like Mark Napier’s psychedelic, beautiful p-Soup, in which a large-screen projection featured real-time, live responses to the artist’s “Potatoland” website.”
Wired, July 29, 2000
A full-scale fete for NetArt, by Jason Spingarn-Koff
“Napier … has helped pioneer the emerging medium of Internet art .”
PBS Thirteen’s Reel New York Web
Shredder and Digital Landfill, by Carl Goodman
“Mark Napier’s Shredder is “an alternative browsing experience” that with your help slices and dices everything in its path, turning any Web page into what could be mistaken for a work of abstract digital art (though it is ultimately the tool itself that is the art).”, March 2000
Reviews, by Robert Atkins
©bots is the latest online mischief from Mark Napier … The process is billed on the site as “memetic awareness therapy,” and it is oddly satisfying.
Posted to, August 3, 1998
Data Trash, by Tilman Baumgartel
“One could call The Landfill a piece of automated Pop Art: The collage of pop culture icons from the net remind the viewer of the silk screens of Robert Rauschenberg, even though there is one important difference: at the Landfill it is not the descision of one single artist what will be included into the work, but the collaboration of all the users.”, October 31, 1997
NetSurf, by Joey Anuff “Napier’s “experimental and conceptual art installation,” [is] a phantasmagoric visual rumination on the Barbie (and her parallel-universe sisters)…”