In light of Phillips’ auction of Digital Art,  Paddles On, I propose we define our terms. Here are five questions for the organizers of the auction. 

1. Does Digital Art need its own category? If so, why?

2. Is Digital Art subversive? Or does it co-opt the private networks on which it tends to rely on for its distribution?

3. Where is Digital Art located? If it is comprised of code, where does the work “live”? How does the museum or the market canonize digital art?

4. Do digital artists need to know how to program the tools they use themselves, or is it acceptable for them to hire specialists to carry out the work in a specific framework, programming environment, hardware etc…?

5. Do you believe that Digital Art requires validation from an art market that operates on what some in the tech community might refer to as a “legacy platform”?



AuthorMike Pepi