Mark Napier: Press Highlights |
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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. " |
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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..." |
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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. " |
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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." |
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ArtNews.com, April 2001 The New New-Media Blitz, by Carly Berwick "Napier's web site, potatoland.org, gets about 2,000 unique visitors a day, more than many actual bricks-and-mortar art centers." |
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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." |
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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." |
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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." |
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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." |
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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." |
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Wired, July 29, 2000 A full-scale fete for NetArt, by Jason Spingarn-Koff "Napier ... has helped pioneer the emerging medium of Internet art ." |
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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)." |
| Mediachannel.org, 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. |
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Posted to Rhizome.org, 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." |
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Hotwired.com, 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)..." |
| Bibliography | |
| 2002 |
"17,000 Euros Pour Une Toile Exposee Sur La Toile", by Isabelle Lesniak, L'Expansion, May 2002 |
| 2001 |
"Driven by a Higher Calling, Not Dot-Com Dollars", by Matthew Mirapaul, The New York Times, December 24, 2001 |
| 2000 |
Art
Worth Staying Home For, by Reena Jana, Wired News, Dec 30, 2000 |
| 1999 |
"Potatoland", The New Internet Design Project > Reloaded,
by Patrick Burgoyne and Liz Faber, Universe Publishing, NY, NY |
| 1998 | When
Artists Build Their Own Browsers, by Matthew Mirapaul, The New York
Times Online, Dec 3, 1998 "Taking in the Trash", by Austin Bunn, The Village Voice, June 23, 1998 "Turn your junk into art: The Digital Landfill", The Independent, June 22, 1998 Recycling Bits by Steve Silberman, Wired News, June 9, 1998 "Artists Vision of Barbie Under Siege", Yahoo Internet Life, March 1998 |
| 1997 | "Unauthorized Web sites: Is parody
flattery or just plain exploitation?" by Dan Gilmour, Chicago Tribune,
December 8 1997 "Internet Art Struggles for its Own Identity" by Tom Watson, AtNY.com, November 1997 Lawyers Whacked Distorted Barbie by Joey Anuff, Hotwired, October 31 1997 Mattel's Latest: Cease-and-Desist Barbie by Steve Silberman, Wired News, October 28 1997 "Online Barbie Hunt Draws Criticism" by Ben Elgin, ZDNet, November 26 1997 "The Distorted Barbie", Yahoo Internet Life, November 1997 "Internet Projects: Mark Napier", Transmediale 97, June 1997 |
| 1996 | "Mark Napier: Webworks", Yahoo
Wild Web Rides, 1996 "The Allure of Carnival", Lauren Rosenberg, NY Soho Magazine, July 1996 "Web Sightings", The New Yorker, June 24 1996 |