Five College Visiting Associate Professor of Contemporary Art, Theory and Criticism
Lorne has written and published more than 60 essays and produced 19 catalogues and books. He has curated more than 150 exhibitions, including 8 major projects. His roots in cyberspace go back to the early 1980s, when he curated the exhibition Chicago - Biographies of an Interactive Life Style. Lorne received his B.A. in biology from the University of Winnipeg, and pursued doctoral studies in autopsy pathology at the University Hospital in Saskatoon, Saskatchewan before switching to art. He later completed course work for an M.A. in art history at Concordia University in Montreal, Quebec.
Lorne was Dean of Faculty at the School of the Museum of Fine Arts (SMFA) in Boston from 2001 to 2008. From 1997 to 2000, he was Associate Professor (design theory and criticism) at the School of Design, the Hong Kong Polytechnic University. From 1989 to 1994, he was a Program Director at the Banff Centre for the Arts, where he created and directed an international multidisciplinary residency program for artists and scholars with themes such as Rhetoric Utopia and Technology, Nomad, and Living at the End of Nation States. From 1978 to 1985, he was Director and Chief Curator of the Walter Phillips Gallery at The Banff Centre for the Arts in Canada. He was Director-Curator of The Photographers Gallery in Saskatoon, Canada from 1973 to 1977.
Images dominate our imaginations with such intensity cultural theorists describe their affect in pathological terms: "the hypertrophy of visual stimulation" (Martin Jay), "a topographical amnesia" (Paul Virilio), "excremental culture" (Arthur and Mary Louise Kroker), "our narcotic modernity" (Avital Ronell). Visual culture is so influential we risk remaining "forever trapped inside the image" (Jacques Ranciere). To challenge these causes and effects, this course will build students' conceptual rigor and visual literacy by devoting most of the course time to group analysis and discussion of a strategic selection of images from photography, video, new media and other visual media. By focusing on one or two images per class, students will experience and learn how to go deep in all the ways that images can be unpacked. Selected readings will support this process by addressing some of the theoretical, social and cultural issues influencing the formation of visual culture in 2015.
The bioapparatus is a term coined by two Canadian media artists, Nell Tenhaaf and Catherine Richards, to cover a wide range of issues concerning the technologized body. This course will explore the relationship of the mind and body to technology in contemporary art and culture. We will consider the resonance and currency of the bioapparatus in relation to the cyborg, the posthuman, bionics, and transgenics. We will discuss issues such as the nature of the apparatus, re-embodiment, designing the social, natural artifice, cyborg fictions, subjectivities, perfect bodies, virtual environments, the real interface, art machines and bioart. Division II and III students will have the opportunity to develop an independent paper or portion of their thesis in this course.
In his last interview Fluxus artist Dick Higgins said, ".one of the areas that has been understated since the immediate post-war era has been ethics. Exploring the nature of kindness or of cruelty, or of the various implications of Bosnia or of militarism or things like that. Ethical exploration is an area of subject matter that has to be dealt with." More recently, Canadian cultural critic and psychoanalyst Jeanne Randolph has explored how we act morally and ethically while participating in a culture of abundance, opulence and consumerism. This course will explore ethics as a subject in the work of contemporary artists and thinkers in different media and disciplines, and across different cultures. It will explore ethical imagining as a cultural practice-how the imagination is elusive, contingent, yet exceedingly precious, and how it helps us understand changes in human relations and in culture that have evolved with 20C and 21C materialism.
This course is a survey of contemporary art since 1950 that examines the dissolution of high art as a concept, and how media, from ceramics and textiles to photography, video and media art, came to contest that notion even as they aspired to it. In light of the convergence of discipline-specific and other cultural histories with modernism, this course considers counter modernisms and the deconstruction and revision of Western art history. You will also be introduced to the global contemporary art world and begin to explore how art operates aesthetically, politically, emotionally, and intellectually. Through the work of selected artists, critics, curators, historians, and theorists, you will investigate a range of processes, concepts and issues that are important in global culture today.
This course is about the centrality of the photographic image- that is, an image produced by mechanical means-in our visual experience, in the rituals, practices and representation of everyday life. Since we no longer, if ever, experience an image in isolation from our experiences of other images and mediums, the culture and idea of photography is understood as utterly diverse in its functions. We will consider photography's histories, theory and practice, especially its relation to "images that move" and its profound role in what we now understand as visual culture. We will examine theoretical, social and cultural issues and contexts influencing image culture through specific examples from contemporary photography, film, media art and other visual media.
This course will look at globalization and contemporary art through the lens of border culture, a term that refers to the "deterritorialized" nature of a subject when she is removed from her context or place of origin. Her themes include borders within the realms of language, gender, ideology, race, and genres of cultural production. Border culture emerged in the 1980s in Tijuana/San Diego in a community of artists who had spent many years living outside their homelands or living between two cultures-an experience that in 2014 might well represent the nature of contemporary life as well as cultural praxis. Division II and III students will have the opportunity to develop an independent paper or portion of their Division III project in this course.