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NET ART
ANTHOLOGY

ÄDA 'WEB

ÄDA 'WEB

1994 - 1998

Founded in 1994 by entrepreneur John Borthwick and curator Benjamin Weil, äda 'web was a platform for online artworks, experimental literature, publishing, and even exhibitions. It functioned within an internet startup as a “digital foundry” that commissioned artists to work directly with web designers and developers to explore the internet as medium and distribution channel.

This collaborative approach allowed äda 'web to diverge from conceptions of net art as a distinct field of practice: it included works from artists who focused on digital media and from artists for whom net engagement was a welcome extension of their conceptual practice.

Benjamin Weil and collaborators, äda 'web, 1994­1998. Screenshot, Netscape Navigator 2.02 for Windows, 2018.

VISIT ÄDA 'WEB IN THE WALKER ART CENTER ARCHIVES

äda 'web was operated by Matteo Ames, Cherise Fong, Ainatte Inbal, Andrew Wanliss Orlebar, Andrea K Scott, John F. Simon, Jr., Benjamin Weil, Vivian Selbo, and others, as part of internet content company WP Studio.

“Together, we invited artists to experiment with—and reflect upon—the web as a medium as well as a means of distribution for their work.” — äda ′web

Taking its name from Lady Ada Augusta Lovelace, who is often described as the first computer programmer, äda 'web commissioned and hosted an extraordinary range of experiments with the internet’s form and function.

Artist Julia Scher developed an open-ended, expanding presence within äda 'web, beginning with the circuitous pages of Securityland (1995).

Julia Scher, “one house” from Welcome to Securityland, 1995. Screenshot, Netscape Communicator 4.79 on Windows 98, 2018.

Lawrence Weiner worked with äda 'web to create Homeport (1997), an environment for Palace Chat.

Benjamin Weil and collaborators, äda 'web, 1994­1998. Screenshot, Netscape Navigator 2.02 for Windows, 2018.

Jenny Holzer’s Please Change Beliefs (1995) allowed users to modify a selection of her aphorisms, and became a sensation on the early web.

Jenny Holzer, Please Change Beliefs, 1995, from äda 'web. Screenshot, Netscape Communicator 4.79 on Windows 98, 2018.

Ben Kinmont’s We both belong (1995) was based on on- and offline exchange: users would submit photos of themselves washing dishes via the internet, and the artist would return the favor, in printed form.

Ben Kinmont, We both belong, 1995, from äda 'web. Screenshot, Netscape Navigator 4.79 on Windows 98, 2018, adaweb.walkerart.org/influx/kinmont/ letters/9602212123866.html.


Ben Kinmont, We both belong archive, 13.95.12.117, 1995. Courtesy of the artist.

After WP Studio was purchased by AOL, the site lost its financial support. In late 1998, it was archived by curator Steve Dietz on behalf of the Walker Art Center.

Although äda 'web was conceived of as a curatorial platform bringing together a range of different works and activities, it is most valuable to consider as a whole, rather than extracting an individual work.

It was both an early experiment in the web’s utility as an artistic medium and platform and a bellwether for the challenges of translating an active platform into an archival object.