patrick lichty
Since the beginning
Works in Chicago, Illinois United States of America

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.
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epic net art

THis is Epic


epic net art

All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together."

Caitlin -

As for me, I never mentioned "success". What I was interested is in regards to the gallery/art world-centric view of many of the new MFAs coming out of New Media programs. I spent time with the artists you mention this spring, and although they are being represented at the major fairs, they are far from ready to buy the Lexus.

Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...

In an odd sort of way, and although Warhol was the height of art world hip, I feel like the shift from Warhol's Factory to Murakami's "Corporation" shows the shift from a carefully positioned, decentered object (Warhol) to a commoditized niche-production fetish (Murakami's Louis Vuitton bags).

This move to art world traditionalism, in my mind, merely becomes a marketing system for fetish objects, and is pretty boring (except for Murakami et al, who seem very "aggressive" about taking the wrecking ball to culture through the mass market, and are pretty unabashed about it.

I sometimes wonder, "whither Fluxus, Situationism, Conceptualism, the non-objective...?" I think that once the promise of money dries up, this will breathe a little life into things again.

But to my original point, before the New Media Grad programs of the late 90's/2000's the vector was pointed at festivals, guerrilla venues, etc. Now, the thrust seems much more attuned to Academy->Gallery/Museum/Academy, and I'll say that I'm part (in part) of that machine. Far from being a red herring, it's a real phenomenon.

Personally, i'm trying to figure how to find a way to derail that train, and find new ways to get art out of the "art circuit". which is always the most interesting and surprising place to work (for me).

But don't get me wrong, I'm not abandoning my gallery or bowing out of the larger ProspectOne Bi. It's just saying that that's more "the work" rather than "the mayhem". I'm a tenure-track academic, after all...
:P 9_9


epic net art

Heroes? They're just obscured by the noise.
I see Rem Koolhaas everywhere, Eno. Gore, Gates, Oprah, Madonna, Koons.
Maybe not heroes, but we have stars again.

Batman! Yeah! Batman!

Actually, I propose a net art piece where we all submit an MP3 or video clip reprising Michael Keaton's epic line, I'm BATMAN!

Kilmer, Clooney, hell, all of us are BATMAN!


epic net art

This is a general note rather than a poke at Tom, but when I read;
"Duchamp was mentioned because he is the lingua franca of the International Gallery Art scene"
- that struck a chord with me about something I've been thinking about. For the past year or so, I've been thinking about the gallery, collectors, museums and the "International Gallery Art Scene". The Holy Fire show was great research, so was Art Brussels, AB Miami, and a lot of other points of intervention "inside the scene".

But "epic art" transcends this.

Although I work in it part of the time, there are times when I find the gallery/museum/academy etc. ecosystem solipsistic and boring as hell. We have a bunch of very well-regarded people talking, largely, to a very narrow niche - no one's been saved, and in the end, what's been gained? Perhaps chasing some inspiration. About it.

Perhaps it's a crisis of faith, but I think that this is why I have never called myself an artist, because this ecosystem is about art as self-fulfilling tradition, and I don't like being that confined, although I'm part of it. But obsessing about how one is going to get positioned here or there or make the next piece or whatnot - it's just onerous.

And this is why I liked Duchamp - because he was one of the biggest wrenches in the gears of the art machine of the 20th Century. From the Armory Show to the Larrge Glass to (pretty much) going off and playing chess for decades while making the Illuminating Gas (Now that's EPIC!). I think that this is why there is a hate/reverence relationship to Duchamp. He played both sides of the chessboard with a skill that infuriated and amazed the world, playing both inside and throwing boulders at the art world with an unparalleled undeniability. He both refuted the art world while creating work that we're still wrestling with.

I think in many ways, this open contradiction, rather than today's cool irony, is what I love about Duchamp, and (from my research) he was a charming fellow all the while.

But I'm not addressing Web 2.0...


epic net art

Emerging from my summer vacation from everything for a minute...

Epic... Interesting that we are interested int hese things. Wonder why.

I think that there are elements of what was called the theatrical in art, the grand.
I remember seeing the huge install by the Piotr UklaƄski in Gagosian. These massive, sweeping pieces. That was epic.

The cry factor didn't make it for me. I'd be more for awe...

First off - Yael Kanarek - World of Awe. Good lord - this thing has morphed so many times, is so huge,,,
MTAA, 1 Year Performance Video) - another wonderfully mad piece. Its time factor.
The whole of Manik's word interventions.
Lialina's My Boyfriend...
ETOY Vault, Toywar

I think time is a factor here...