Adjunct 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.
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, video, media art and other visual media.
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 III students will have the opportunity to develop an independent paper or portion of their thesis in this course.
This course will look at globalization and contemporary art through the lens of border culture, a term that refers to the deterritorialized experience of people when they move or are displaced from their context or place of origin. Their experience of belonging and understanding of identity are affected by borders within the realms of language, gender, ideology, race, and genres of cultural production as well as geopolitical locations. 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 2017 might well represent the nature of contemporary life as well as art praxis. Readings will include the voices of artists, critics, historians, theorists, anthropologists, and philosophers.