From Wikipedia:

James Turrell (born May 6, 1943) is an American artist primarily concerned with Light and Space. Turrell was a MacArthur Fellow in 1984. Turrell is best known for his work in progress, Roden Crater, a natural cinder cone crater located outside Flagstaff, Arizona that he is turning into a massive naked-eye observatory.

Access to Roden Crater is limited to friends, though devoted fans can gain access by completing the "Turrell Tour", which involves seeing a Turrell in 23 countries worldwide. During May 2015, Roden Crater was open to a select group of 80 people, as part of a fund raiser, by allowing visits of 20 people per day during the course of four days, at a cost of $6,500 per person. As Roden Crater has been long shrouded in secrecy, fans have attempted to sneak in without the artist's permission. Some have succeeded.

In the 1970s, Turrell began his series of "skyspaces" enclosed spaces open to the sky through an aperture in the roof. A Skyspace is an enclosed room large enough for roughly 15 people. Inside, the viewers sit on benches along the edge to view the sky through an opening in the roof.

From Wikipedia:

Jenny Holzer (born July 29, 1950, Gallipolis, Ohio) is an American neo-conceptual artist, based in Hoosick Falls, New York. The main focus of her work is the delivery of words and ideas in public spaces.

Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.

The public dimension is integral to Holzer's work. Her large-scale installations have included advertising billboards, projections on buildings and other architectural structures, and illuminated electronic displays. LED signs have become her most visible medium, although her diverse practice incorporates a wide array of media including street posters, painted signs, stone benches, paintings, photographs, sound, video, projections, the Internet, and a race car for BMW. Text-based light projections have been central to Holzer’s practice since 1996. As of 2010, her LED signs have become more sculptural. Holzer is no longer the author of her texts, and in the ensuing years, she returned to her roots by painting.

From Wikipedia:

Lozano-Hemmer is best known for creating and presenting theatrical interactive installations in public spaces across Europe, Asia and America. Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens and other devices, his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation. Lozano-Hemmer’s smaller-scaled sculptural and video installations explore themes of perception, deception and surveillance. As an outgrowth of these various large scale and performance-based projects Lozano-Hemmer documents the works in photography editions that are also exhibited.

From Wikipedia:

The idea for Line Describing a Cone came to McCall on his voyage from London to New York, where he produced the film in 1973. Though he had already created a number of other 16mm films, Line allowed him to actualize his ideas on the relationship between viewer and film and the medium of film itself. The thirty-minute film begins with a single white dot projected onto a black surface. As time progresses, the dot begins to form a curved line, tracing the circumference of a circle until the end of the line reaches its starting point. Meanwhile, particles in the air reveal the path of light in the space between the projector and the wall, making visible a cone of light. If the artist's display specifications are met, this beam of light projects between thirty and fifty feet. The circle that is projected onto the surface sits approximately twelve inches above the ground, and its diameter spans seven to nine feet. The exhibition space lacks seating, inviting the viewer to interact with the ray of light beaming from the projector to the screen. When multiple spectators view the piece together, these encounters with the light, at once an interruption and component of the piece, become an interaction with other audience members.

Line Describing a Cone reflects McCall's interests in film and sculpture. Line addresses the medium of film by removing the narrative demands and addressing the specific properties of the medium itself such as projection, frames, and light. Moreover, by emphasizing the physical space between the projector and screen McCall calls attention to the sculptural dimensions of projection. In his artists's statement written to judges of the Fifth International Experimental Film Competition, McCall writes:

"It deals with the projected light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes a flat surface… Line Describing a Cone deals with one of the irreducible, necessary conditions of film: projected light. It deals with this phenomenon directly, independently of any other consideration. It is the first film to exist in real, three-dimensional space."

Cory Arcangel (born May 25, 1978) is a Brooklyn, New York post-conceptual artist who makes work in many different media, including drawing, music, video, performance art, and video game modifications, for which he is perhaps best known.

Arcangel often uses the artistic strategy of appropriation, creatively reusing existing materials such as dancing stands, Photoshop gradients and YouTube videos to create new works of art. His work explores the relationship between digital technology and pop culture. He is a recipient of a 2006 Creative Capital Emerging Fields Award. [1]

Notable Works:

Super Mario Clouds Arcangel's best known works are his Nintendo game cartridge hacks and reworkings of obsolete computer systems of the 1970s and 80s. One example is Super Mario Clouds (2002), a modified version of the video game Super Mario Bros. for Nintendo's NES game console in which all of the game's graphics have been removed, leaving a blue background with white clouds scrolling slowly from right to left. [1]

Pizza Party Pizza Party (2004) was a free, functional software package that could be used to order Domino's Pizza through a command-line interface. The program allowed users to order pizza by typing in commands such as pizza_party -pmx 2 medium regular, which - according to the artist - would order two medium crust pizzas with pepperoni, mushrooms and extra cheese. The piece was commissioned by Eyebeam and implemented by Mike Frumin. [1]

Punk Rock 101 Punk Rock 101 (2006) is an example of Arcangel's work with the web as an artistic medium. For this piece, he re-published Kurt Cobain's alleged suicide letter alongside a series of Google Ads. The ads are tailored to the content of any given page, and the piece juxtaposed Cobain's angst with ads selling social anxiety treatment and motivational speaking. Art critic Paddy Johnson wrote of the work, "This is quite possibly the most brilliant subversion of the medium I have seen." [1]

From Wikipedia:

Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean American artist. He worked with a variety of media and is considered to be the founder of video art. He is credited with an early usage (1974) of the term "electronic super highway" in application to telecommunications.

From Theartstory.org:

Nam June Paik, known as "the father of video art," surfed the forefront of cutting edge technologies and utilized them to realize artworks, the likes the world had never yet seen. His various experiments positioned video as a viable art form, and a tool toward accomplishing widespread, global connectivity - an oeuvre eerily prophetic to our contemporary information age. His revolutionary practice laid the groundwork for today's artists working in new media art.

From Whitney:

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum's key resource. The Museum's signature exhibition, the Biennial, is the country's leading survey of the most recent developments in American art.

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.

Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney's new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern and contemporary American art.

transmediale is a yearly Berlin-based festival and cultural organization that facilitates critical reflection on and interventions into processes of cultural transformation from a post-digital perspective. In the course of its more than 30 year history, the transmediale/festival has turned into an essential event in the calendar of media art professionals, artists, activists, and students from all over the world. [1]

Annually it presents an extensive range of exhibitions, conferences, screenings, performances, and publications to more than 25,000 visitors. In bringing together artists, researchers, activists, and thinkers, transmediale offers new perspectives and approaches on how the digital and a general technological condition has become a factor of influence in practically all spheres of life. The broad cultural appeal of the festival is recognized by the German federal government who supports the transmediale through its program for beacons of contemporary culture. [1]

Since 2011, transmediale’s all-year activities include cooperation projects, networking activities, the Vilém Flusser Residency for Artistic Research, and special events. These activities provide a sustainable structure of feedback, research, and reflection that interacts with the annual festival. As part of this endeavor, the transmediale journal launched in 2016, providing a platform for ongoing reflections, reactions, and discussions in many different forms. [1]

From Theartstory.org:

After Paik's departure from Germany and before his arrival in the United States in 1964, he spent a year in Tokyo with his family where he met Shuya Abe, an engineer specialized in experimental physics and electronics, who became Paik's long-term collaborator and technical assistant. During the sojourn in Japan, Paik devised his first automated robot, Robot K-456, with Abe's help. Paik humorously named this life-sized anthropomorphic robot after Mozart's piano concerto No. 18 in B-flat major, K. 456 (a catalogue number in the Köchel listing - an inclusive, chronological catalogue of compositions by Mozart). Robot K-456 is made out of bits and pieces of metal, cloth, a data recorder, wheels for walking, and a loudspeaker playing John F. Kennedy's speeches. The materials reflect Paik's long-term interest in transforming cheap, disposable objects into aesthetic forms associated with new technologies. Originally androgynous - with breasts and a penis, the robot was programmed to walk, talk, and defecate beans via twenty radio channels and a remote control. Its physical composition, hybrid-gendered nature, and remote-controlled movement embody Paik's desire to humanize robotics without hiding its bare-bone structure and materiality under the glossy metallic skin.

Robot K-456 was built for impromptu street performances, as Paik recounted, "I imagined it would meet people on the street and give them a split-second surprise, like a sudden show." It was first featured in the performance project Robot Opera (1964) at Judson Hall in New York, alongside Charlotte Moorman's cello performance, and in a series of performance-based projects through the end of the 1960s. In 1982, the robot returned to action during the artist's first major museum exhibition at the Whitney Museum of American Art. At one point of the exhibition, Paik took the robot out of the museum to orchestrate an "accident" on the streets, a performance titled First Accident of the Twenty-First Century. The robot was made to walk up the sidewalk outside the building across Madison Avenue. While crossing 75th Street, it was struck and thrown onto the crosswalk by a car driven by artist William Anastasi. The local CBS affiliate covered the incident. When the CBS reporter asked Paik what it all meant, Paik answered that he was practicing how to cope with the catastrophe of technology in the 21st century. He also noted that the robot was twenty years old and had not had its Bar Mitzvah (the Jewish coming-of-age ceremony) yet. Playful and extravagant, the performance concluded with the "body" of the robot being wheeled into the museum. This street performance demonstrated that Paik did not see his artworks as inert and complete but rather as "living" objects that could be constantly remade and refashioned.

The hybrid, complex nature of Robot K-456, with its unexpected juxtaposition of visual materials, sounds, performances, and popular culture, embodied Paik's foresight into the future of robotics. He was also revolutionary because he claimed robotics as a viable medium for use in multimedia art, triumphantly declaring the potential for artistic innovation through technological means. Throughout his career, Paik would adamantly advocate that the artist's duty was to reimagine technology in the service of art and culture.

Read Introduction to net.art (1994-1999) for a bullet-point manifesto on the movement.

An observation on how net artists lose some control over their online works, by Ben Fino-Radin via Rhizome:

"Internet based digital works are affected by the most fundamental form of infrastructure: the browser. This piece of software is the user/patron/visitor's sole point of access to web based work, yet it is produced and controlled by neither artist, patron, nor collecting institution. Manufacturers of web browsers explicitly define what can and can not be accomplished within the browser window – a rapidly shifting paradigm." [1]