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This profile was last updated on 2/17/12  and contains information from public web pages and contributions from the ZoomInfo community.
 
Background

Employment History

Education

  • BFA
    Rhode Island School of Design
  • MFA
    Cranbrook Academy of Art
16 Total References
Web References
PATRICK BEAULIEU (Montréal), SIMONE JONES ...
ellengallery.concordia.ca, 17 Feb 2012 [cached]
PATRICK BEAULIEU (Montréal), SIMONE JONES & LANCE WINN (Toronto / Wilmington, Delaware), THÉRÈSE MASTROIACOVO (Montréal), CHARLEMAGNE PALESTINE (New York), SAMUEL ROY-BOIS (Vancouver), HELEN TAK (Gothenburg, Sweden)
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Simone Jones and Lance Winn
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SIMONE JONES & LANCE WINN
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Lance Winn (born Kansas City, Missouri, 1970) received an MFA from the Cranbrook Academy of Art in 1996 and a BFA from the Rhode Island School of Design in 1993. He investigates different technologies used to reproduce images to expose where methods of capturing and distributing information might reveal certain desires and tendencies. Winn is currently an Assistant Professor of Art at the University of Delaware.
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Simone Jones and Lance Winn have collaborated on a series of image capture/projection machines since 2002 when they were both Visiting Assistant Professors of Art at Carnegie Mellon University, Pittsburgh.
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Simone Jones & Lance Winn, Knock, 2006
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Lance Winn, Official Web site
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Walter Phillips Gallery: Simone Jones and Lance Winn, Knock
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"Mutant Scribe: Lance Winn and his unsteady hand," Detroit Metro Times, June 7, 2006.
Art Salad | Delaware Center for the Contemporary Arts
www.thedcca.org, 17 Nov 2011 [cached]
Professor in the Art Department and former MFA Coordinator at the University of Delaware, Lance Winn will address popular themes being explored by emerging artists as they transition from academia to the 21 st century art scene.
Lance Winn, an award-winning ...
www.rezlibris.com [cached]
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.]
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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.
Albright College News
albrig.securesites.net, 7 June 2008 [cached]
Lance Winn, Trace, on View atAlbright College's Freedman GalleryExhibit to run November 9 - December 7, 2007
Albright 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.
Sliv & Dulet - The Summer Line
www.slivanddulet.com, 31 Mar 2006 [cached]
Lance Winn
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Bio : Lance Winn works through drawing, performance/video, installation, and recently robotics, to explore the distortion that happens when we translate information.
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Winn is currently a Visiting Professor of Art at Carnegie Mellon University in Pittsburgh, Pennsylvania.
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Project: will collaborate with Lance Winn.
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