patrick lichty
Since 2010
Works in Oak Park, Wisconsin United States of America

Patrick Lichty (b.1962) is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations between us and media. Venues in which Lichty has been involved with solo and collaborative works include the Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA).

He also works extensively with virtual worlds, including Second Life, and his work, both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews.

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Caitlyn Jenner and the Facebook Real Name Policy

This, when paired with Orit Gat's piece on criticism strike a real chord with me. Ever since the mid-2000's, I've felt an uneasy tectonic shift in regard to media art practice on a number of levels. Part of it is articulated by Gat's ideas on getting what we 'pay for' with service criticism, and that the idea of criticism and curation has been Rubik's Cubed by social media. In the beginning (yes, back in those jurassic early 90's, which is also relevant), I felt that service was more a component to the lists.

I find that while there is some of that left, so much more has gone to a Warholian narcissism. But also, the genre has generated established artists in the Contemporary (despite Claire Bishop's protestations back then) that might bump into James Franco, and personal strategic brand-positioning, which again is nothing new. Perhaps it is also part of that work discourse of the "generational dialogue" Michael Connor and I have had on occasion (read: You're a mid-career artist, Pat, and unless you've capitalized, bienniales are a young person's game).

So, while that previous paragraph was intentionally inchoate, which is how I feel critical discourse is on the Net, and partially why I have been relatively silent here for at least a couple, if not a few years.

What is one going to say, and who is going to hear it? Most of the discussions I see here have a response analytic of one or two, and most of my conversations with the Bruce Sterling clade are on The Well, and people like Curt Cloninger are deeply rooted in the FaceTubes. Is it any surprise that Southeast Asians are asking for phones with "The Internet (Facebook)" on it and there are Ello, Diaspora, and so on trying to destabilize Facebook, who by the way, is doing backdoor Terms of Service sleight of hand to squelch activism?

Not on your life.

I agree with Michael that a repository here at the new Museum is essential, and I am personally moving further into straight up atoms and bits print when possible. It's being a victim of one's own success, I guess.

There is a closing metaphor that got my attention in the past few weeks when Apple bought up the Augmented Reality company Metaio, and they said that your work will function until December 15th. Period. Bye. In a way that's why Second Front makes videos, in case Linden Labs suddenly goes dark. It's just the way it is.

I think there's big issue with making any assumptions about coalescence, ephemerality, or even a willingness to take the time to really communicate, for that matter. We're all on our platforms, selling our selfies, promoting our group's brand-position, checking our analytics...

I'm not wishing for the 90's. That's dead, for sure. But while I chime in still because I want to have something constructive to say, but maybe the zeitgeist has hit me and I also now do it because I want to, it's a seed for a book chapter, or there's someone specific I want to talk to.

Like Curt.

And by the way, I am on Ello, but I check it monthly.


Sensible Concepts: Mediation as a Way of Being, By Patrick Lichty

Fri Dec 12, 2014 19:00 - Mon Feb 09, 2015

New York, New York
United States of America

Sensible Concepts: Mediation as a Way of Being
New Works by Patrick Lichty
|12/11/14 - 02/07/15
Opening reception: Thursday December 11th, 7-9pm

We are always in partnership with someone or something.
The issue is what we are explicit about; who, what we collaborate with.

For more than 25 years Patrick Lichty has created work about mediation, networked society, and how that process of translation creates its own reality for humanity. He is considered an important part of the early internet and progressive new media art movements of the late 20th century and has been a leader at the crossroads of technology, performance and contemporary object making. Often torn between the unreal virtual/digital/media world of spectacle and that of the everyday, Lichty attempts to create links both individually and societally in the ever-changing post-internet world.

The objects presented in Sensible Concepts are mediated by the process of creation by machines that Lichty has built, operate, or employ after shaping the image on the screen. These include laser cutters, drawing robots, Jacquard looms, all of which have varying levels of precision or uniqueness as medium. It is this imperfection of translation between the digital and physical that is another part of Lichty’s process, whether aesthetic in this show, or performance (Second Front), or activist (RTMark, The Yes Men).

Patrick Lichty is a conceptual artist, curator, and theorist exploring how media shapes our perception of reality as well as the borders between the digital and the material. He is best known for his work with the virtual reality performance art group Second Front, and the animator of the activist group, The Yes Men. He is a CalArts/Herb Alpert Fellow and Whitney Biennial exhibitor as part of the collective RTMark. He is Co-Head of the Digital Studio Practice program at the Peck School of the Arts in Milwaukee, Wisconsin.

His website can be found at:

For more information please contact Lee Wells at


Announcing the 10 Artists Shortlisted for the Prix Net Art

This is a really hard one, I agree. Agree with most of these, and I'll excuse myself from projects that I'm personally involved in like Second Front or The Yes Men, but there are people like Curt Cloninger, Vuk Cosic, Scott Kildall, even Natalie Bookchin and Amy Alexander, while not quite as visible, are just as important to the development of net art.

I would have even been happier with 20 picks for $5000 and $2500 prizes. I know that isn't the point, as $10000 is probably a little low for a "genius" prize, we have such an amazing pool of artists to go from.


Patrick Lichty and Nathan Shafer - Augmenting Alaska Day 1/10

Got into Anchorage at 9 PM, and my pal Nathan Shafer brought me to his home, and He, I and his wife Joelle already been talking about regional culture like the Denal’li, Unangans, Tlingit, etc. and it’s been amazing so far. You would not believe it, but we’re going to work on Augments this week (or hope so) for most of the local papers, I’ll fly Drone Unit 3 of the DIY Drone Brigade in the Anchorage Opera House. Lots of people to see, and I’ve already Augmented the Shafers’ table with Minecraft Reality – the Eiffel Tower has moved. I even started asking about doing things like 3D scanning totem poles and Aleut wooden shore maps. It stands to get interesting.

We're going to save a mural from the fate of another Walgreen's with AR - cool.

And I think there’s a little bromance with me and Nathan’s cat Abelard, but then my students call me Cattrick, so it’s to be expected.

More soon. Welcome back to Alaska, Patrick. We missed you.



I hear about post-digital/New Media/Internet/Human/etc, ad infinitum. I believe
that this only succeeds at placing us in a fatal strategy of opposition or
refusal and makes no suggestions. For all my distrust of it, at least
New Aestheticism posited something. Surfing clubs did. Post-ing does

Post-ism paints us in the corner of refusal without proposition and
little else. It breaks the discourse into a molecular one without
any potential coherence; it is Babel-ism at its height, and paints
the writer into a corner. I think it is some to begin framing new
discourses not as "new" propositions, but as new propositions, like
perhaps the age of convergence or integrationist, or mixed-reality
art or even going back to intermedia. I am still a pluralist; not
into master narratives, but I want propositions for the present, not
mere refuznikism. I want something that says something, not just that
"We're over that", because I'm over being over things.

Patrick Lichty