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Lance Winn


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Background Information

Employment History

Assistant Professor

University of Delaware

Professor of Fine Arts and MFA Coordinator

University of Delaware

Associate Professor, Department of Art

University of Delaware

Visiting Professor of Art

Carnegie Mellon University


Carnegie Mellon University

Visiting Lecturer

Cleveland Institute of Art

Visiting Lecturer

Cranbrook Academy of Art

Visiting Lecturer

Penn State University


University of Chicago

Visiting Lecturer

Mt. Holyoke

Web References(17 Total References)

Albright College News [cached]

Lance Winn, Trace, on View atAlbright College's Freedman GalleryExhibit to run November 9 - December 7, 2007Albright College will host the photographic exhibition Trace by Lance Winn, November 9 - December 7, 2007.Trace is a survey of work from the last five years.According to Winn, "While the final products of my investigations take a variety of forms, from drawing to installation to video and robotics, the work is held together by a consistency of action, often repetitive and physically uninspiring, that attempts to develop complex experience out of simple, somewhat absurd laws governing the development of specific pieces."Lance Winn's work has been exhibited widely in group and solo exhibitions.He is an assistant professor at the University of Delaware in the Department of Fine Art and Visual Communications.Winn has published catalogue articles for Reproduction at Lemberg Gallery in Detroit; an essay for Brian Bishop's solo show Pause at the University of Delaware; and the catalogue essay for InWords, a show that he curated, exhibiting artists who work with language as material, at the University of Delaware Galleries.He is also the coordinator of the graduate program, teaching both academic and studio classes for graduate and undergraduate students.Additionally, Winn taught at Carnegie Mellon University and the University of Chicago.He has been a visiting lecturer at the Cleveland Institute of Art, Cranbrook Academy of Art, Rhode Island School of Design, Penn State University, the University of Alabama, St. Mary's College of Maryland, and Mt. Holyoke; and has presented papers at Delta College, the Southeastern College Art Association.In February he hosted the panel "Painting and Plurality" at the College Art Association Conference in New York City.

Lance Winn, an award-winning professor of fine arts and MFA coordinator at the University of Delaware, entered Second Life Friday October 23 from 11:30a-1:30p as “Lawrence Winmore†to give a lecture on “Outsider Art†at the in-World UD site.
The event kicked off an exhibition, organized by Firery Broome, of works of art by notable second life artists.  Winn’s topic attracted about 30 avatars to the sim, was viewed live by about forty students and colleagues at his university, and for those who could not be available for the virtual experience or found the technical problems insurmountable, it has been recorded and available for viewing --crashes included. An amiable, eloquent speaker with a contagious sense of humor, Winn began by stating that he was no expert on either “virtuality†or Outsider art. But the topic is a timely one that examines the evaporating boundaries between “real†and “Second Life†artwork; it promises to redefine our concept of artwork in the (perceived) “underworld†of this rapidly growing global virtual reality and its relationship to what has been called “insider artâ€: that which is established within culturally acceptable, trained methods, and has an impact on lived experience. The sense of our own “outsider†status inside Second Life was ironically reinforced by the fact that discussion occurred in voice and typed chat simultaneously, while the simulation crashed repeatedlyâ€"thus creating that distraction and dispersal of attention so well-known to residents of Second Life and so confusing to non-residents. During the Q&A, Winn protested good-naturedly that the typed questions were leaving him far behind, driving home how differently we filter our commentary in Second Life. Winn stood at the UD speaker’s stadium wherein the viewer saw on the main screen the faces of Winn’s students and technicians watching Winn’s avatar. On a side screen, Winn projected examples of “Outsider Art,†which included, for instance, etchings by William Blake: a famous nineteenth-century “outsider.†For those who found the resolution slow and the lag unbearable, the event is covered by the ustream posted above, where the media still reflects the instability that residents wish to see resolved: Winn’s voice comes across excellently, but the visuals are spotty, the chat, of course, unreadable, and the stream affected by the repeated crashes. As such, however, it offers a splendid example of the mechanical reproducibility and fragility of digital experience and expression that became the focus of the discussion. outsideart_AMRadio How Fast We Fly by AM Radio “Outsider Art†is “a term coined by art critic Roger Cardinal in 1972 as an English synonym for art brut, a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture†( Thinkerer Melville’s blog).  Art brut, “savage art,†described that which was produced by the institutionalizedâ€"the criminal, the mentally ill and interesting only to psychological study.  Although the term eventually shed its pathological connotations and came to refer to naïve or untrained art, Winn noted that it is “a contentious term for many.† So he brought this question to the residents of Second Life: “is there an insider art world in Second Life?†[nicely skirting the issue of whether we are all “outsiders†in here and as pathological as much Real Life opinion believes us to be.] While a YouTube may receive two million hits, Winn remarked, sheer number may mislead an audience into thinking that quantity is quality. Winn saw Benjamin’s concernsâ€"that notions of success were moving “from a model of notions of quality to ideas of success based on quantityâ€"to be present today as we make another major technical shift. What happens to the aura in virtual space? “Is there a way one could be bodily and sensorily in a work of art?†he asked.  “There exists the idea of the body,†but the artwork is still primarily visual.  There is no way for it to be tactile or olfactory he noted, although one could introduce motion and flight into it, and reward the careful viewer with hidden secrets.  Were there any Second Life artists who challenged the “fetishization of control†that mechanical reproductive art enables, he asked, a question which we found fairly opaque (how does one do that in a medium so driven by controlling technology?), further ironized when the entire sim went down.  When it was up and running, one resident remarked wryly that “it’s hard to define outsider art when we’re being tossed outside the sim all the time,†to Wynn’s delighted laughter. “Yes! Absolutely!  A lot of media artists,†he replied, “are often testing the boundaries where representation fails to deliver.† Waiting for things to rez for instance, accustoms us to “the blur.†Referring to the lack of olfactory sensation, another resident quipped: “if there was smell and if the sim crashed, would it smell like farts?† The repartee, even though it was at lagging distance with Winn’s talk, was witty and delightful. outsideart_filthy Nashaba by Filthy Fluno Winn was firm, but without condescension, in the stance he took with regard to seeking quality and cultural impact at the same time that he recognized and applauded this “unique time in the creative realm†where “many boundaries are being challengedâ€â€"as long, he said “as the artist did not exploit outsider status out of “some kind of ...position of “safety.† “Terms like ‘Outsider,’†he reminded us, “are often used to forego criticality and questions of quality, as has the Internet in general.  So at times it’s easier to say the work’s not having impact because it’s outside rather than deciding how to make the work have impact.†Such an event like this one takes us one step closer to bringing the inside art world of Second Life to the outsider majority.

From My Virtual Place to My Physical Space | Rezzable [cached]

The University of Delaware invites you to a live, in-world talk on Outsider Art by Lance Winn, Associate Professor, Department of Art, University of Delaware.
When: Friday Oct. 23 2009, 11:30 California time. An overview of his real life art.Previous presentation by artist Lance Winn: Outsider Art Comes Inworld

Sliv & Dulet - The Summer Line [cached]

Lance Winn
Bio : Lance Winn works through drawing, performance/video, installation, and recently robotics, to explore the distortion that happens when we translate information. Winn is currently a Visiting Professor of Art at Carnegie Mellon University in Pittsburgh, Pennsylvania. Project: will collaborate with Lance Winn.

Interview: Lance Winn on Delaware in Philly, his art and 9/11
I met Lance Winn a couple of years ago at the Crane Arts Center. He was gallery sitting the MFA show there from the University of Delaware, sharing his enthusiasm for the students' work. Lance Winn, War Ship Lance Winn, War Ship as seen at the To Be Or Not To Be exhibit at Rutgers earlier this year. Then he turned up in a panel at "To be or not to be," the painting symposium I moderated one day at Rutgers. I liked what he had to say. And his work in the Rutgers show grabbed my attention-a stand-out for treading a very different path from the other work in the exhibit. Winn, BFA RISD and MFA Cranbrook, came to the University of Delaware at a time when a number of simultaneous retirements meant the UD art department was able to reinvent itself. Part of that reinvention was to find a way to take advantage of Philadelphia's contemporary art scene and art-critical eyes. Winn gives credit for bringing the MFA show to the Crane to a number of people with Fishtown, Crane, and UD ties-especially Justyna Badach, who was on the faculty for a while. "The train is the stream," Winn said. Winn came here from teaching at Carnegie Mellon. He also coordinated the graduate program Cranbrook, as a replacement for a faculty member of sabbatical. "I was younger than everyone in the program." The Delaware program, now recreated as studio-based and interdisciplinary, has already seen the pay-off-more applications, and more apps from out-of-state and international students. With only 10 slots, the program has become more selective and in the swim of things. Then I asked Winn about his own work. Lance Winn, Car Bomb, positing the car as a box and an explosion as formlessness, a reaction to the war in Iraq; photo provided by artist Lance Winn, Car Bomb, positing the car as a box and an explosion as formlessness, a reaction to the war in Iraq; photo provided by artist Lance Winn, The Flood, photo courtesy the artist Lance Winn, The Flood, photo courtesy the artist Lance Winn, detail, Flood, photo courtesy artist Lance Winn, detail, Flood, photo courtesy artist "I've been thinking about Jasper Johns a lot. Then Winn went on to talk about 9/11, and the repeated tv images. "For most of us, we experienced it through an image. It had a very real emotional impact but also it was very distanced. So I wanted to cope with these things in art, but I was concerned about the danger of the experience becoming aestheticized. Lance Winn, Chaos, photo courtesy the artist Lance Winn, Chaos, photo courtesy the artist Lance Winn, Life on Mars, laser cut Lance Winn, Life on Mars, laser cut; photo provided by artist "Life on Mars, by tracing the letters it turned into a piece about the virtual and the computer screen as escapism-it was never touched by my hand but created (from computer output) by a laser." Life on Mars, by Lance Winn, as installed at the To Be Or Not To Be exhibit. Life on Mars, by Lance Winn, as installed at the To Be Or Not To Be exhibit. Then Winn went on to talk about a couple of experiences that went into his thinking about high versus low art as a false dichotomy. One was Cranbrook, where there were no preconceptions about design versus art. He said something about the insidious nature of design and how we are not even aware that it's acting on us. The other experience was a job he had working for an architecture firm. "I listened to them talk about the meaning of space. They have whole days when they talk about the threshold!" Lance Winn's plane sconce, photo courtesy the artist Lance Winn's plane sconce, photo courtesy the artist That conflation of high and low is not only in his paintings. It's in his sculptures-kitschy, horrific objects like an airplane crashing into a wall-a sort of lit-up wall sconce in an edition of 10, or a lit up Buddhist monk lawn ornament, about 3 or 4 feet high. "They are small public sculpture," he declared. "It's the domestic as a form of public expression." Lance Winn's burning man, photo courtesy the artist Lance Winn's burning man, photo courtesy the artist Then he returned to his beginning topic-form becoming formless. Chicken wire, a grid, can get stretched to a sort of formlessness. And then if he coats it in foam, as he did in his exploding car lawn ornament, the underlying form disappears altogether. And from there he went on to talking about an emptiness in the middle-in the paintings, in the sculptures. Then he worried. Lance was a tireless advisor, with a unique gift of being able to frame the potential importance of anything I'd ask him to look at- his curiosity was infectious. Ask anyone who has been through the UD program, and they'll tell you that Lance had a major impact on their practice. Anyway, the sense I got from Lance is that he totally gets how to run a program, and I'm just bowled over by how this program has transformed itself in the past few years, taking risks and reaching out, providing students with a mix of intellectual and practical skills, including how to put on a show! Lance is quite modest, and was sure to share whatever the program was doing with the other faculty. It was never about him when he talked about Delaware! As a former student of Lance Winn and the UD MFA program myself, it is fantastic to see the collaborative dialog beginning between Philadelphia and Delaware.

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