[an error occurred while processing this directive] People, Undergraduate, Department of Art, University of Delaware [an error occurred while processing this directive]


Lance Winn

Associate Professor
220 Studio Arts Building
Office Hours: Tuesdays 4:00pm – 5:00pm

M.F.A., Cranbrook Academy of Art, 1996

Winn's personal work searches for the language embedded in processes of reproduction. From painting to robotic and three-dimensional modeling, he investigates a poetics of construction that might speak to current conditions, particularly as they relate to mediation and technology. His academic research is directed most specifically towards a dialectics of modernity, best represented by Benjamin's Arcades Project, and extending into material culture, architecture, and the affects of time on objects. Alongside this research Winn is studying alternate systems of visualization, particularly thermal imaging and other ways of seeing outside the visual spectrum, and is working with ways of capturing three-dimensional information. Through a University grant he is studying three-dimensional scanning and other dimensional digital inputs as well as large scale methods for outputting models from virtual space, leading to a collaboration with the Center for Historic Architecture and Design involving the digital capture and dissection of vernacular structures-destined for demolition-in an attempt to preserve these buildings virtually.

Winn is a faculty member in the Center for Material Culture Studies where he has been a part of several colloquia, including the "Spaces of Shopping" which is being turned into a book. He has lectured on his own work at Universities across the U.S., recently at the University of South Florida, and at the University of Puerto Rico Mayaguez where he ran a workshop on "Post-Colonial Collage." He has published catalogue essays for "Reproduction" at Lemberg Gallery; for Brian Bishop's solo show titled "Pause" at the University of Delaware ; and for a show he curated at the University of Delaware Galleries called "InWords," that included an international group of artists who work with language as material. Most recently he c0-wrote the essay "The Object of Nostalgia" with colleague Rene Marquez for a show they curated at Columbia College in Chicago.

Winn's personal work has been included in a range of recent books including three-dimensional typography and Paul Virilio's influence on contemporary artists. He has been nominated for the Louis Comfort Tiffany Award for painting, and his work was represented in an article on new forms of drawing that was published in Contemporary Magazine. Winn's work has been shown nationally and internationally and in 2007 was part of a five-year survey at the Freedman Gallery.

In collaboration with Simone Jones, Winn's robotic projections has been shown most recently as a part of Nuit Blanche in Toronto, at the Ronald Feldman gallery in New York, and the Icebox in Philadelphia. Their work was presented at the Electra Festival, in "Stop," a two-part show of international artists in Montreal, at the Banff Center for the Arts in Canada, "Media City 11 International Festival of Experimental Film and Video Art" in Windsor, Ontario, and in "Machine Life" at the Davies Foundation and Samuel J. Zacks Galleries in York, Ontario.

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