PORTFOLIO (1)
BIO
Patrick Lichty is a digital intermedia artist, writer, and independent curator of over 15 years whose work comments upon the impact of technology on society and how it shapes the perception of the world around us. He works in diverse technological media, including activism, printmaking, kinetics, video, generative music, and neon. He is Editor-in Chief of Intelligent Agent, an electronic arts/culture journal, part of the activist group The Yes Men, and operates IALA Gallery in Baton Rogue, Louisiana.
Re: Re: A Different MFA Question
Ok, here goes;
For a while, I got by without an mfa. However, after the dot-com crash
and the Bush tyranny against the arts, I found that money has gotten
increasingly scarce. And, although I have a good resume, industry
experience, etc, I find that the workplace is getting more
production-oriented (as if it weren't already), and honestly, I'm tired
of having to compete with all the really good 25-year olds who are
satisfied with getting their foot in the door.
And, as an independent artist of over a decade, certain obstacles come
up when it comes to organizing larger projects or trying to work for
social justice within the machine outwards. There's only so far you can
go at times without dealing with institutions. In addition, the options
are greater for me after an MFA.
Furthermore, it gives a chance to, for 2-3 years, to really sink your
teeth into some really meaty work. I mean just geek out at a higher
level than you did before.
There are people who live quite well, are happy without, and don't need
an MFA. That's like the techno-pundits saying you have to have a
computer nowadays or you're irrelevant. That's a lie.
You don't need an MFA to be an artist; but to have one opens certain
doors you might want to have to have opened. If this is not what you
want, then an MFA might be an enriching experience, (if you're at the
right place), but doesn't do more than develop you as a person or maybe
even as an artist. Also remember that development is not always
positive, too.
If you want an MFA - go for it. But you should really want it. If you
just want it for a better job, stay home (I admit that this is a
fraction of why I'm around one, but only a fraction). You'll do better
work there.
All I'm saying is that you should just be honest with yourself about
your motives. I had to come to that place myself, and it was tough.
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Jason Van Anden
Sent: Thursday, August 26, 2004 5:01 PM
To: list@rhizome.org
Subject: RHIZOME_RAW: Re: A Different MFA Question
Thanks t.whid!
Back at ya!
Hmm ... maybe this means an MFA isn't so important.
Jason Van Anden
www.smileproject.com
t.whid wrote:
> I don't have one either. I don't think my life would be any different
> if I had one.
>
> I do have a BFA.
>
> congrats on the show :-)
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
For a while, I got by without an mfa. However, after the dot-com crash
and the Bush tyranny against the arts, I found that money has gotten
increasingly scarce. And, although I have a good resume, industry
experience, etc, I find that the workplace is getting more
production-oriented (as if it weren't already), and honestly, I'm tired
of having to compete with all the really good 25-year olds who are
satisfied with getting their foot in the door.
And, as an independent artist of over a decade, certain obstacles come
up when it comes to organizing larger projects or trying to work for
social justice within the machine outwards. There's only so far you can
go at times without dealing with institutions. In addition, the options
are greater for me after an MFA.
Furthermore, it gives a chance to, for 2-3 years, to really sink your
teeth into some really meaty work. I mean just geek out at a higher
level than you did before.
There are people who live quite well, are happy without, and don't need
an MFA. That's like the techno-pundits saying you have to have a
computer nowadays or you're irrelevant. That's a lie.
You don't need an MFA to be an artist; but to have one opens certain
doors you might want to have to have opened. If this is not what you
want, then an MFA might be an enriching experience, (if you're at the
right place), but doesn't do more than develop you as a person or maybe
even as an artist. Also remember that development is not always
positive, too.
If you want an MFA - go for it. But you should really want it. If you
just want it for a better job, stay home (I admit that this is a
fraction of why I'm around one, but only a fraction). You'll do better
work there.
All I'm saying is that you should just be honest with yourself about
your motives. I had to come to that place myself, and it was tough.
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Jason Van Anden
Sent: Thursday, August 26, 2004 5:01 PM
To: list@rhizome.org
Subject: RHIZOME_RAW: Re: A Different MFA Question
Thanks t.whid!
Back at ya!
Hmm ... maybe this means an MFA isn't so important.
Jason Van Anden
www.smileproject.com
t.whid wrote:
> I don't have one either. I don't think my life would be any different
> if I had one.
>
> I do have a BFA.
>
> congrats on the show :-)
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
Re: Info on Digital/Media Art MFA Programs
I'm currently working at Bowling Green State in Ohio. The atmosphere is
a small Midwestern college town, the curriculum is good, the program has
amazing labs, and the people actually like one another.
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Lee Wells
Sent: Thursday, August 26, 2004 3:15 AM
To: Laurie; list@rhizome.org
Subject: Re: RHIZOME_RAW: Info on Digital/Media Art MFA Programs
Importance: Low
Check out the Electronic Visualization Lab at the University of Illinois
at
Chicago. I think you get an MFA out of it. Great Painting program as
well.
I would say stay away from Pratt.
Question?
Why do you need to get your masters?
Who is it that you specifically want to study under?
On 8/25/04 2:59 PM, "Laurie" <f_munky@yahoo.com> wrote:
> hello... this is my first post to Rhizome!
>
> I am currently preparing my portfolio and researching graduate
programs to
> apply for my MFA in digital/new media art. It's been challenging b/c
many of
> them have a career slant towards commericial art and design (which I
don't
> want), and the programs are widely varying in curriculum and
structure.
>
> I am now trying to approach my search by looking for specific teachers
I would
> like to work with, rather than focus on the school's reputation or
program,
> since I don't feel like i'm finding quite what i'm looking for. My
background
> is in digital video, graphic design, interactive design, and
traditional fine
> art... so I don't need to learn the technology or how to draw so much,
but
> rather the means and support to channel that technology and fine arts
concepts
> into meaningful, interesting artworks.
>
> So far, i've looked at and met w/ people from SVA, New School, NYU
(Tisch),
> and Art Institute of Chicago. I'm researching programs at: UCSD,
Pratt,
> Columbia, RISD and Royal School of Art.
>
> Any comments or advice would be greatly appreciated!! Thank you!
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
>
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
a small Midwestern college town, the curriculum is good, the program has
amazing labs, and the people actually like one another.
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Lee Wells
Sent: Thursday, August 26, 2004 3:15 AM
To: Laurie; list@rhizome.org
Subject: Re: RHIZOME_RAW: Info on Digital/Media Art MFA Programs
Importance: Low
Check out the Electronic Visualization Lab at the University of Illinois
at
Chicago. I think you get an MFA out of it. Great Painting program as
well.
I would say stay away from Pratt.
Question?
Why do you need to get your masters?
Who is it that you specifically want to study under?
On 8/25/04 2:59 PM, "Laurie" <f_munky@yahoo.com> wrote:
> hello... this is my first post to Rhizome!
>
> I am currently preparing my portfolio and researching graduate
programs to
> apply for my MFA in digital/new media art. It's been challenging b/c
many of
> them have a career slant towards commericial art and design (which I
don't
> want), and the programs are widely varying in curriculum and
structure.
>
> I am now trying to approach my search by looking for specific teachers
I would
> like to work with, rather than focus on the school's reputation or
program,
> since I don't feel like i'm finding quite what i'm looking for. My
background
> is in digital video, graphic design, interactive design, and
traditional fine
> art... so I don't need to learn the technology or how to draw so much,
but
> rather the means and support to channel that technology and fine arts
concepts
> into meaningful, interesting artworks.
>
> So far, i've looked at and met w/ people from SVA, New School, NYU
(Tisch),
> and Art Institute of Chicago. I'm researching programs at: UCSD,
Pratt,
> Columbia, RISD and Royal School of Art.
>
> Any comments or advice would be greatly appreciated!! Thank you!
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
>
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
Re: Re: Biennale Internazionale dell'arteContemporanea?
I was invited, but turned it down.
1: I didn't have the money at the time
2: I don't like going to Italy at all. I much prefer Germany,
Netherlands, Belgium, Switzerland, Austria, Greece (to me, Greece rocks
compared to italy), Turkey, the Balkans and the UK. France is OK as
long as you stay in Lyon or Paris. Hell, I'd even prefer Georgia or
Kazakhstan.
3: I also did not like the idea of the artist forking out the money for
the curators. I guess it has to go somewhere.
4: I also agree that it might give you visibility. (That's my one pro)
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
Also
Bowling Green State University
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Lee Wells
Sent: Friday, August 13, 2004 11:18 AM
To: t.whid; rhizome
Subject: Re: RHIZOME_RAW: Re: Biennale Internazionale
dell'arteContemporanea?
Importance: Low
"inclusion in these sorts of festivals and contests also
guarantees industry-wide exposure so your 30 bucks is well-spent."
I guess that depends on which festival it is. There are bogus film fests
just the same. Just the same a friend from Chicago entered the Agora
Gallery
contest from the back of Art News or something. Paid like $1000 or
something. I told her she was crazy to do so. She ended up selling all
of
her paintings and got 3 shows out of it and still has a privite dealer
that
she works with uptown.
You never know.
On another note I know this show that made $30,000 on submission fees
for
one show. That money keeps the non-profit running.
My question here is: Has anyone here on the list actually gone to this
Biennale?
On 8/13/04 10:34 AM, "t.whid" <twhid@twhid.com> wrote:
> I posted about this a while ago when someone posted a call for entries
> that cost 30 bucks to enter.
>
> In the film and graphic design industries it's common to pay fees to
> enter festivals and contests. I would put the webbies in this
category.
>
> But in these industries participation in the most respected festivals
> and competitions require this fee. This means you don't really have a
> choice but inclusion in these sorts of festivals and contests also
> guarantees industry-wide exposure so your 30 bucks is well-spent.
>
> Inclusion in these little penny-ante art exhibitions with their 25
buck
> fees guarantees you nothing. Paying 1000s of dollars to go to this
> bogus biennial in Florence guarantees you even less.
>
> On Aug 13, 2004, at 9:53 AM, liza sabater wrote:
>
>> Heya,
>>
>> Fascinating reading.
>>
>> Do any of you know of similar "equivocal" art events like this one?
>> Also, have any of you participated in paid awards like The Webbys?
>> What's your take on that?
>>
>> / l i z a
>>
>> On Friday, Aug 13, 2004, at 09:28 America/New_York, Agricola de
>> Cologne wrote:
>>
>>>> Why do you figure only a few "go public"?
>>>
>>> There are certainly a couple of different reasons.
>>
>
> ===
> <twhid>http://www.mteww.com</twhid>
> ===
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
>
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
1: I didn't have the money at the time
2: I don't like going to Italy at all. I much prefer Germany,
Netherlands, Belgium, Switzerland, Austria, Greece (to me, Greece rocks
compared to italy), Turkey, the Balkans and the UK. France is OK as
long as you stay in Lyon or Paris. Hell, I'd even prefer Georgia or
Kazakhstan.
3: I also did not like the idea of the artist forking out the money for
the curators. I guess it has to go somewhere.
4: I also agree that it might give you visibility. (That's my one pro)
Patrick Lichty
Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
Also
Bowling Green State University
1556 Clough Street, #28
Bowling Green, OH 43402
225 288 5813
voyd@voyd.com
"It is better to die on your feet
than to live on your knees."
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Lee Wells
Sent: Friday, August 13, 2004 11:18 AM
To: t.whid; rhizome
Subject: Re: RHIZOME_RAW: Re: Biennale Internazionale
dell'arteContemporanea?
Importance: Low
"inclusion in these sorts of festivals and contests also
guarantees industry-wide exposure so your 30 bucks is well-spent."
I guess that depends on which festival it is. There are bogus film fests
just the same. Just the same a friend from Chicago entered the Agora
Gallery
contest from the back of Art News or something. Paid like $1000 or
something. I told her she was crazy to do so. She ended up selling all
of
her paintings and got 3 shows out of it and still has a privite dealer
that
she works with uptown.
You never know.
On another note I know this show that made $30,000 on submission fees
for
one show. That money keeps the non-profit running.
My question here is: Has anyone here on the list actually gone to this
Biennale?
On 8/13/04 10:34 AM, "t.whid" <twhid@twhid.com> wrote:
> I posted about this a while ago when someone posted a call for entries
> that cost 30 bucks to enter.
>
> In the film and graphic design industries it's common to pay fees to
> enter festivals and contests. I would put the webbies in this
category.
>
> But in these industries participation in the most respected festivals
> and competitions require this fee. This means you don't really have a
> choice but inclusion in these sorts of festivals and contests also
> guarantees industry-wide exposure so your 30 bucks is well-spent.
>
> Inclusion in these little penny-ante art exhibitions with their 25
buck
> fees guarantees you nothing. Paying 1000s of dollars to go to this
> bogus biennial in Florence guarantees you even less.
>
> On Aug 13, 2004, at 9:53 AM, liza sabater wrote:
>
>> Heya,
>>
>> Fascinating reading.
>>
>> Do any of you know of similar "equivocal" art events like this one?
>> Also, have any of you participated in paid awards like The Webbys?
>> What's your take on that?
>>
>> / l i z a
>>
>> On Friday, Aug 13, 2004, at 09:28 America/New_York, Agricola de
>> Cologne wrote:
>>
>>>> Why do you figure only a few "go public"?
>>>
>>> There are certainly a couple of different reasons.
>>
>
> ===
> <twhid>http://www.mteww.com</twhid>
> ===
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
>
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
FW: Mobile Exposure - Call for mibile video - contact revision
Please note the change in address (1528 Sul Ross Houston, TX 77006)
Mobile Exposure - Call for mibile video
Deadline:
Sun Jun 13, 2004 20:26
(Distribute widely)
Call for works
Mobile Exposure
An international exhibition of Mobile Video
Presented by Microcinema International
Curated by Patrick Lichty
Deadline: Nov. 31, 2004
Project launch: February 2005
Even though the use of mobile phones for still photography is
Gaining more widespread acceptance, more and more cell phones, PDA's and
handheld devices are being equipped with video capabilities. What then,
are the potentials of the handheld device as a cinematic tool for
expression & activism
To paraphrase Antin, what are the distinctive qualities of cell Phone
video, and how do the stories and images from this technological set
differ from its predecessors? Does the intimacy and mobility of the
video-enabled cell phone create a change in perspective? Does it
represent a culture of universal surveillance where there is a universal
intimacy but a complete lack of private space? How does the mobile
perspective shift our perception in the way the mediated image of the
cellular/network individual is represented? Does its low-resolution
somehow challenge the aesthetics, 'truthfulness', or technofetishism of
the increasingly filmic nature of video? These are some of the
questions that Mobile Exposure hopes to address.
CALL FOR WORKS
The Mobile Exposure handheld video program is an exploration of the
potentials of mobile motion imaging. Practitioners are invited to
submit all lengths of work, although the focus will be on short works
(less than 15 minutes in length).
CALL FOR ESSAYS/CRITICAL WORKS
Along with the video program Microcinema invites scholars, writers, and
curators for their comments upon the role mobile cinematography will
have in the ongoing evolution of video, as well as the cultural effects
that the handheld perspective might shift mediated culture from a
critical perspective. Over 1000 words preferred; images are also
encouraged, and text format in plain text, Rich Text Format, MS Word, or
Word Perfect 9 or less, MLA format. Essays will be considered for
inclusion in the exhibition catalogue as well as consideration for
publication in Intelligent Agent Magazine.
SUBMISSION GUIDELINES
A brief description of the work(s) of up to 150 words and a short
biography of up to 50 words maximum is also requested. Please submit
work in DV, VHS, Quicktime, AVI, MPG or other native format (if
available). Please keep in mind that it is our intent to try to show
these works in theatrical and mobile settings, with the theatrical
setting being the taking priority. We will try to handle all format
conversion, but any assistance on the part of the artist (multiple
formats) is helpful.
Still .jpeg or .gif (PC formatted) should be included on a CD.
Please mail all submissions to:
Mobile Exposure
c/o Microcinema International
1530 Sul Ross 1
Houston, TX 77006
Please address all inquiries to:
Patrick Lichty
voyd@voyd.com
TERMS
Upon acceptance, practitioners will be contacted by Microcinema
International regarding the exposure of works through exhibition, online
media, screenings, promotional materials, and on print media
(prints/catalogues) for gallery showings.
Selected works will be considered for inclusion on a DVD for
distribution through Microcinema International's Blackchair DVD
Collection, and may be featured on the Microcinema.com website.
About Patrick Lichty
Lichty is an artist, scholar, and curator in New Media and
technological arts, and is noted for his expertise in arts using mobile
technologies. He is Editor-in-Chief of Intelligent Agent Magazine.
About Microcinema International
Microcinema's mission is to curate, exhibit, promote, and distribute
innovative international moving image artists whose deeply personal and
culturally relevant works are typically marginalized by the mainstream
entertainment industry.
Microcinema's Independent Exposure is a touring screening program of
independent films, videos, and digital art that has been in existence
since 1996. Independent Exposure is screened worldwide at various
microcinemas and alternative venues and festivals around the world.
Microcinema has presented the short film, video and digital works of
over 1200 artists in 43 countries plus Palestine and Antarctica.
Call for works
Mobile Exposure
An international exhibition of Mobile Video
Presented by Microcinema International
Curated by Patrick Lichty
Deadline: Nov. 31, 2004
Project launch: February 2005
Even though the use of mobile phones for still photography is
Gaining more widespread acceptance, more and more cell phones, PDA's and
handheld devices are being equipped with video capabilities. What then,
are the potentials of the handheld device as a cinematic tool for
expression & activism
To paraphrase Antin, what are the distinctive qualities of cell Phone
video, and how do the stories and images from this technological set
differ from its predecessors? Does the intimacy and mobility of the
video-enabled cell phone create a change in perspective? Does it
represent a culture of universal surveillance where there is a universal
intimacy but a complete lack of private space? How does the mobile
perspective shift our perception in the way the mediated image of the
cellular/network individual is represented? Does its low-resolution
somehow challenge the aesthetics, 'truthfulness', or technofetishism of
the increasingly filmic nature of video? These are some of the
questions that Mobile Exposure hopes to address.
CALL FOR WORKS
The Mobile Exposure handheld video program is an exploration of the
potentials of mobile motion imaging. Practitioners are invited to
submit all lengths of work, although the focus will be on short works
(less than 15 minutes in length).
CALL FOR ESSAYS/CRITICAL WORKS
Along with the video program Microcinema invites scholars, writers, and
curators for their comments upon the role mobile cinematography will
have in the ongoing evolution of video, as well as the cultural effects
that the handheld perspective might shift mediated culture from a
critical perspective. Over 1000 words preferred; images are also
encouraged, and text format in plain text, Rich Text Format, MS Word, or
Word Perfect 9 or less, MLA format. Essays will be considered for
inclusion in the exhibition catalogue as well as consideration for
publication in Intelligent Agent Magazine.
SUBMISSION GUIDELINES
A brief description of the work(s) of up to 150 words and a short
biography of up to 50 words maximum is also requested. Please submit
work in DV, VHS, Quicktime, AVI, MPG or other native format (if
available). Please keep in mind that it is our intent to try to show
these works in theatrical and mobile settings, with the theatrical
setting being the taking priority. We will try to handle all format
conversion, but any assistance on the part of the artist (multiple
formats) is helpful.
Still .jpeg or .gif (PC formatted) should be included on a CD.
Please mail all submissions to:
Mobile Exposure
c/o Microcinema International
1530 Sul Ross 1
Houston, TX 77006
Please address all inquiries to:
Patrick Lichty
voyd@voyd.com
TERMS
Upon acceptance, practitioners will be contacted by Microcinema
International regarding the exposure of works through exhibition, online
media, screenings, promotional materials, and on print media
(prints/catalogues) for gallery showings.
Selected works will be considered for inclusion on a DVD for
distribution through Microcinema International's Blackchair DVD
Collection, and may be featured on the Microcinema.com website.
About Patrick Lichty
Lichty is an artist, scholar, and curator in New Media and
technological arts, and is noted for his expertise in arts using mobile
technologies. He is Editor-in-Chief of Intelligent Agent Magazine.
About Microcinema International
Microcinema's mission is to curate, exhibit, promote, and distribute
innovative international moving image artists whose deeply personal and
culturally relevant works are typically marginalized by the mainstream
entertainment industry.
Microcinema's Independent Exposure is a touring screening program of
independent films, videos, and digital art that has been in existence
since 1996. Independent Exposure is screened worldwide at various
microcinemas and alternative venues and festivals around the world.
Microcinema has presented the short film, video and digital works of
over 1200 artists in 43 countries plus Palestine and Antarctica.
