, 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."
, 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
"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
turns Web data into a dizzying display of graphical activitypart mathematical
algorithm, part Jackson Pollock."
, April 2001
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
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
a latter- day action painting, albeit one with actual action."
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."
, November 2000
Aesthetics of Programming: Interview with Mark Napier
"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."
, September 27, 2000
with a Groove,
by Reena Jana
"...other works were abstract, like Mark Napier's psychedelic, beautiful
, in which a large-screen
projection featured real-time, live responses to the artist's "Potatoland"
, July 29, 2000
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
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
by Robert Atkins
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 Rhizome.org
, August 3, 1998
, by Tilman Baumgartel
"One could call The
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
, by Joey Anuff
and conceptual art installation," [is] a phantasmagoric visual
rumination on the Barbie (and her parallel-universe sisters)..."