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As an environment shot through with emotions - from affective status updates and emoticons on social media, to anti-social cyberbullying and flaming - Internet 2.0 has been, since the 2000s, a crucial platform for direct communication between Internet users, and has been particularly relevant to the relationship between the art creator and consumer. What is noteworthy, however, is that Rogers’ early online efforts, relatively modest in formal terms, stemmed more from her need to launch new forms of identity politics into a broader, affected field than from any conceptual or structural contemplation of the Internet. The groundbreaking work carried out by the artists associated with this genre in the second decade of the twenty-first century bore traces of institutional critique: the pieces remixed avant-garde art conventions, challenging the status of the original, the copy, and other determinants of the art ecosystem. Nasty Nets and Loshadka/blog), image boards, discussion groups, and online curation platforms. As Nicholas Mirzoeff correctly observes, the 2.0 revolution launched formerly elite practices such as photography and conceptual art into the realm of global visual culture, 1 and the unprecedented freedom of communication and expression enabled the pioneers of so-called post-Internet art to create their own presentation channels and community spaces, including “surf clubs” (e.g. The emergence of new art distribution channels involving social media, online galleries, and blogs has meant that the production (and consumption) of the work of artists like Rogers occurs in a field that is much more susceptible to the theater of affects than the sterile white cube of the art institution.

Using Twitter, Rogers has archived every Facebook post she has made since 2008 with downright obsessive meticulousness, and publishes all her artistic endeavors and poems on her blog and Tumblr. Born in 1990, Rogers was, by her own admission, shaped by American pop-culture of the nineties, a period marked by an explosion of television programs for children and teenagers, and after 2000, by Internet communities, surf clubs, and role-playing games like Neopets and Furcadia, which feature virtual worlds created by players whose main objective is to look after various types of creatures. This nickname is one of many animalistic pseudonyms Rogers uses online - her digital avatars assume a variety of attributes: the Lambslut, Pones, a Very Young Rider, and early-twenty-first-century American cartoon characters. Even the diminutive “Bunny,” a popular pet name for Elizabeth in Anglo-Saxon onomastics, brings to mind the hyper-eroticized, cream-haired Lola Bunny, a character in the popular 1990s cartoon Looney Tunes (Bugs Bunny’s love interest and the seductive basketball player in the sports comedy film Space Jam). The American artist and poet Bunny Rogers likes animals.