Lorne Falk CV - 1
LORNE FALK Curriculum Vitae
Contents
Professional History...... 2 Employment Summary ...... 11 Education ...... 11 Teaching School of Design...... 12 Art Studio, The Banff Centre...... 13 Art History, Concordia University...... 15 Walter Phillips Gallery, The Banff Centre ...... 15 Professional Service Boards ...... 16 Selected Activities ...... 17 Juries ...... 18 Research and Scholarly Activities Publications – Books...... 19 Publications – Edited Books ...... 19 Publications – Chapters, Essays, Articles...... 20 Exhibitions ...... 24 Presentations ...... 26 Consulting ...... 30 Grants and Awards...... 32
Addendum: Art Studio Residency Participants ...... 34
2 Gooseberry Lane Hadley, MA 01035
Tel: (413) 549-1341 Email: [email protected]
Languages: English, French
Revised November 2004 Lorne Falk CV - 2
PROFESSIONAL HISTORY
I have worked for 31 years in the fields of art and education as a dean of faculty, director, curator, teacher, writer, critic, and consultant.
My leadership, institutional management and administration, teaching, curating, research, scholarly activities and professional service have always focused on the creation of learning environments for communities of interest.
The aim of these learning environments, such as the residency program I conceived and ran at The Banff Centre for the Arts (Canada), has been to help individuals, groups and communities turn their dreams and visions into realities.
My expertise includes the contemporary visual and media arts, digital culture, cultural theory and criticism, curatorial practice, arts administration and management (strategic thinker and resource provider).
My background and experience is international, interdisciplinary and transcultural. I have been active in the development of the visual and media arts since the 1970s and the creative use of digital technology since the early 1980s.
I have written and published more than 60 critical essays and produced (authored or edited) 19 catalogues and books. I have curated and organized more than 150 exhibitions, including 8 major projects.
My work as a consultant has included organizations such as The Getty Trust (Los Angeles), the Hong Kong Arts Centre, and Xerox Corporation (Palo Alto).
2001 - SCHOOL OF THE MUSEUM OF FINE ARTS Boston, Massachusetts, USA
Dean of Faculty
Appointed Dean of Faculty of the School of the Museum of Fine Arts in July 2001. Founded in 1877, Museum School now provides an interdisciplinary arts education to more than 1600 students through 9 degree and non-degree programs; 165 faculty members working in 17 studio areas teach 470 courses each year.
I have oversight responsibility for faculty and curriculum development; faculty hiring, development, and evaluation; and development and control of the academic budget. My mandate is to encourage an environment conducive to excellence in teaching, learning, art making and creative and scholarly achievement. I oversee the Office of Academic Affairs, academic and studio advising, Continuing Education, and the Artists' Resource Center, and maintain lines of communication with the Registrar, Admissions Office and Student Affairs. Reporting to the Lorne Falk CV - 3
Provost, the Dean of Faculty is an advocate for faculty and a member of the senior administration serving on the Museum School’s executive and senior staff committees.
I manage the academic budget, including all faculty salaries, the operational budget for 17 studio areas, and related capital and facilities needs.
I coordinate all faculty committees that deal with the curriculum, faculty affairs, planning, budget, technology, the graduate program, admissions, continuing education, the library, exhibitions, and safety. There are also regular meetings of the faculty and area representatives.
I serve as a liaison and advocate for faculty and programs in the School’s longstanding partnerships with Tufts University and the Museum of Fine Arts.
I work with staff in other departments to assure effective community relations among students, faculty and staff, especially in terms of curriculum, review boards, advising, work study, graduate and post graduate teaching fellows, registration processes, admissions processes, and student affairs. I also work with financial aid, buildings and grounds, the business office, development, alumni affairs, the gallery, library, marketing, information services, human resources and security on matters which impact the faculty and/or the programs.
I supervise a team of studio managers who manage space, equipment, inventories and processes in service of students and faculty, their art making and the curriculum.
1997 - 2000 SCHOOL OF DESIGN Hong Kong Polytechnic University Hong Kong, China
Associate Professor
Appointed Associate Professor at the School of Design at the Hong Kong Polytechnic University. The School was in transition from a British-based, master-atelier system to an American, credit-based, learner-centered program and curriculum with new emphases on research and information technology. My mandate was to develop and to work on processes, projects and activities that would serve the development and consolidation of the School's vision and new curriculum, as well as the adjustment of the School's faculty to (this) change.
My workload involved academic management, support and leadership, as well as teaching and research initiatives that encouraged more emphasis on conceptual and critical design discourse, multimedia in design, and a research-minded project-based pedagogy. Essentially, my role was to be a catalyst and content provider.
I coordinated and wrote the School of Design's Business Plan for 1999-2000 and 1998- 1999. This document was a blueprint of the School’s strategic objectives and actions for Lorne Falk CV - 4 academic programs, research, outreach and administration in the coming year – the core reference document for the School’s realization of its mission.
Other documents I authored: Towards Vision 2007: PolyU’s Strategy for a Post Digital Culture of Education, the 1997-98 Quality Assurance Report, Brief for a Higher Diploma in Applied Design Technologies, School of Design – General Description, an IT Strategy Brief (revalidation document), and a Staff Development Strategy (revalidation document).
Committees I served on: the Strategic Planning Group, the Departmental Research Committee, the IT Champion’s Group, the Quality Assurance Committee, the Global Virtual Design Studio Committee, and the Marketing Group. I also advised the Planning Group for the Multimedia Higher Diploma and the Departmental Learning and Teaching Development Committee. I was a member of the Planning Committee for an additional multimedia stream provisionally titled Interactive Communication Design.
My research focused on how to design sustainable cultural spaces on the Internet. I received a grant (US$23,000) to investigate virtual design studios. My goals were a) to provide a network environment for VR-related interests and needs of the global design community, b) to contribute to digital design theory and culture, and c) to support the development of the School's new Global Virtual Design Studio.
Another thread of my research studied the Educational Object Economy (EOE), a Apple Research project designed to model three particular aspects of virtual communities for education: community realization, shared production, and economic viability.
I developed the syllabus and was subject leader for BA(Hons) Design Study 4: Information & Global Contexts. Using a teaching and learning grant, this was the first subject in the School of Design to use a customized interactive website. The goal was to teach students how to navigate as a professional in a world of increasing complexity – a world driven primarily but not exclusively by digital technology. Students learned how to work in teams and the importance of flexibility not only in communicating and negotiating with others, but in the design process as well.
I taught new BA(Hons) subjects in design criticism and theory, focusing on the Internet as a tool, a medium and a cultural space. My goal was to have students appreciate cultural theory and critical thinking as useful tools in their design.
I was a member of the Hong Kong Arts Centre (HKAC) Arts Committee, which advised senior management and staff on programming and policy. I also completed a consultancy for the HKAC which resulted in an executive report titled "Towards an Academy for the Visual Arts" (1999). The HKAC has now restructured and launched a school of art.
I was an external expert and strategist for an internal review in a newly formed School of Art and Culture at RMIT University in Melbourne, Australia. (See "Professional Service - Activities for more.) Lorne Falk CV - 5
1997-98 Visiting Fellow, Design Criticism and Theory
1994 - 1997 MANAGEMENT CONSULTANT Hong Kong, China & Los Angeles, California
Strategist & Resource Provider
After moving to the United States and then to Hong Kong, I began consulting on the opportunities arising from the absorption of new technologies into culture. I focused on how individuals, companies, organizations and governments access and use the wealth of resources resulting from relations between business, technology and culture in the new economy. I provided leadership, strategic thinking, content engineering and consultation for programs and projects dealing with the social impact and creative application of digital technologies.
Contracted by the Hong Kong Arts Centre to develop a digital education and training program for their Education Department. I analyzed and evaluated their existing programs and resources, and made recommendations based on this review. I carried out preliminary market research; identified priorities for future marketing; researched potential partners and strategic alliances; proposed a new program model and made final recommendations for action. Completed assignment in 7 weeks. Within two years the Education Department tripled its staff and transformed from a deficit bearing not-for- profit program to a degree-granting program with more than HK$2million profit.
Strategist at the J. Paul Getty Trust for LA Culture Net (LACN), a long-term initiative designed to create a cultural information infrastructure in Los Angeles for citizens in their workplaces, social spaces and personal worlds. Following a needs assessment of businesses, municipalities, education and cultural organizations, I co-produced the initiative’s vision, mission and action plan. The 3-year initiative involved demonstration projects in 3 categories: a) Online Culture, b) Digital Education and Training, and c) Community Research and Development. The project's focus was on the creation and deployment of content and context through networked databases, World Wide Web sites, K-12 curriculum, community retreats and workshops, web raisings, lectures, and seminars. I strategized model for public-private alliances that involved 5 divisions of the Getty Trust, 15 players in business, education and culture, and more than 700 community participants.
Contracted by Concorde/Office of the Net, a development group of Xerox Business Services in Palo Alto, California. As consulting chief of staff, I was charged with analyzing and reorganizing the group’s workplace, operations and human resources services to assure the smooth integration of new employees (50% immediate growth and 100% projected growth). Primary responsibilities were a review of all operational policies and procedures, the production of an operations handbook, interviews with all 21 Lorne Falk CV - 6 employees, the implementation of onsite human resource services, the creation of a new space plan including systems lab rehabilitation, and a confidential strategy report. Achieved expected results in 6 weeks.
I consulted and managed a variety of projects to research the social impact and creative potential of computer-integrated media:
Producer for “My Space - Your Place: An Analysis of the Feng Shui Calculations of the ZKM,” a website (http://www.lemon.com.hk/wind-water-globalbody/) and interactive performance event. Created by Heidi Gilpin to celebrate the opening of the Center for Art and Media Karlsruhe (ZKM), "My Space - Your Place" was sponsored by the Goethe- Institut Hong Kong. We realized the project in 2 weeks; it premiered 19 October 1997 with a live Internet video conference with Hong Kong, Seoul, Sydney, Tokyo, Karlsruhe and Stockholm.
Chair of the panel “The Rhetoric of the Synthetic: Images of the Body in Technology, Business and Culture” at SIGGRAPH 97 in Los Angeles.
Special advisor and member of the International Committee for the 5th International Conference on Cyberspace (5Cyberconf, Madrid, Spain, June 1996) sponsored by the Telefonica Corporation.
Contracted by Silicon Graphics Inc. to provide strategies for corporate marketing through editorial/development projects and online story development for the World Wide Web.
Compiled the complete bibliography for video artist, Bill Viola, from a vast archive of materials in the artist’s home and studio. The project resulted in alphabetical and chronological bibliographies of articles, books, videos and audio works published by the artist, as well as solo and group exhibition catalogues, books, articles, reviews, and interviews about the artist. The bibliography was published in the book for his retrospective at the Whitney Museum in New York.
Organized a seminar at The Banff Centre on the future of curatorial practice in museums and galleries, which resulted in the formation of an online conference for curators in Canada and a publication with contributions by all 30 participants.
Organized a retreat to discuss technology, patent, copyright and property at Villa Aurora Center for European-American relations in Losw Angeles.
One of 30 delegates from Canada, Mexico and United States invited to a one-week Free Idea Zone residency to strategize the social and cultural implications of free trade in North America.
1989 - 1994 THE BANFF CENTRE Lorne Falk CV - 7
Banff, Alberta
Program Director - Art Studio
Rejoined The Banff Centre for the Arts when the President invited me to develop an entirely new multidisciplinary residency program for the visual and media arts. The Banff Centre for the Arts is an institution for advanced education with a Centre for the Arts, a Centre for Management and a Centre for Conferences. I was responsible for the artistic direction of the Art Studio.
I created a residency program for artists, academics and intellectuals who came from all over the world and who worked in many different disciplines. I conceived the program model for 10-week residencies; directed its operations; researched and developed thematic content; articulated long-term goals and objectives; and orchestrated the renovation of facilities, the reorganization of staff and budget, and the redesign of marketing strategies. I also developed a global recruiting strategy and established a network of advocates in 25 countries. Start-up tasks, as well as the creation and organization of the first 3 residencies, accomplished in 8 months.
The residency program provided participants with time and support for independent and collaborative work. A willingness to participate in social change was at the heart of the concept for the program. Organized around themes of relevance and urgency in today's world, the multidisciplinary residencies were an opportunity for participants to explore these themes in their work and with one another. The themes served as a conceptual anchor for the participants whose preoccupations (formal, theoretical, political, etc.) were otherwise highly varied.
The residencies involved artists working in all of the visual and media arts, as well as theorists, critics, art historians, poets, playwrights, performance artists, singers, theologians, political scientists, computer scientists and rock musicians.
I was a member of program, planning, special events and management-related committees required for the normal running of the Visual and Media Arts programs. Other committees of note included: the Program, Policy and Planning Committee (PPP) for senior faculty and management, the Negotiating Team for The Banff Centre Faculty Association (BCFA), and the Acquisitions Committee for the Walter Phillips Gallery.
Achieved the mandate to create an new inquiry-based research and professional development environment for artists—more than 300 distinguished individuals from all over the world participated in 15 thematic residencies over 5 years. The thematic residencies included:
Border Culture Neomythism The Bioapparatus Rhetoric, Utopia and Technology Art and Mass Culture Race and the Body Politic The Instability of the Feminist Subject Community Lorne Falk CV - 8
Nomad Living at the End of Nation States
1985 - 1989 INDEPENDENT CURATOR Montreal, Quebec
Consultant – Resource Provider & Project Manager
After moving to Montreal, I began working as an independent curator, management consultant and art critic. I also dedicated the first year to learning French and then returned to school, completing the course work for an MA in Art History just before I was appointed Program Director of the Art Studio at The Banff Centre.
Co-organized a major exhibition called Restless Legacies: Contemporary Craft Practice in Canada for the 1988 Winter Olympic Games (Calgary, Alberta) and was responsible for the content and production of the exhibition catalogue.
As consulting chief of staff for The Bemis Foundation (Omaha, Nebraska), analyzed and restructured the foundation's operations and human resources.
Conceived and published an anthology with 18 Canadian and international contributors entitled The Event Horizon - Essays on Hope, Sexuality, Social Space & Media(tion) in Art.
Made a major evaluation of the Ceramics program at The Banff Centre for the Arts at the request of the Vice-President.
Taught at Concordia University (Montreal) and lectured frequently in the Canada, the United States and Europe.
Wrote and published 30 essays and articles in catalogues and magazines in Canada and the United States.
Conceived and organized 9 other exhibitions for different galleries and museums in North America.
An active board member for The Bemis Foundation (Omaha, Nebraska), Galerie Optica (Montreal, Quebec) and Galerie Christiane Chassay (Montreal, Quebec).
1978 - 1985 THE BANFF CENTRE Banff, Alberta
Director & Chief Curator – Walter Phillips Gallery Lorne Falk CV - 9
Joined The Banff Centre as Assistant Curator of the Walter Phillips Gallery. Became the Director and Chief Curator the following year. My mandate was to create and maintain an international multidisciplinary program for this new gallery and to integrate its exhibition, extension, education and collection activities into the other programs at this institution for advanced education.
As the director, I formulated and supervised all aspects of the gallery’s program, establishing its identity and reputation in Canada and abroad. I directed long range and fiscal planning, facilities management, conservation techniques, permanent collection development, personnel management, public relations, publishing and fundraising. I conceived and organized exhibition, education, outreach and publishing programs.
As the chief curator, I worked with a staff of four full-time people to organize 12-15 exhibitions annually, originating more than 90% of them. At least one major project was initiated each year—exhibitions with publications, tours, special events, and acquisitions to the collection. Given the diversity of programs at The Banff Centre, educational programming was also a priority – averaged one event every three days for more than five years. Events included lectures, panels, performances, film and video screenings, workshops and critical discussion groups. I also made continuous studio visits, lectured and made public presentations on a wide range of social and cultural topics.
I was responsible for drafting the permanent collection policy and putting it into effect. This involved a re-evaluation of every work in the collection, conservation decisions, reorganization of storage methods and more effective animation of the collection. I initiated the collection’s first computer database.
I formed and chaired an Exhibition, Education and Extension Programs Committee and a Permanent Collection (Acquisitions, Policy and Conservation) Committee. I also sat on programming, policy, and management-related committees at different levels of The Banff Centre’s organization: Visuals Arts, the Centre for the Arts, and senior faculty and management.
Achieved an international reputation for the gallery and my mandate to create and maintain an international multidisciplinary program and to integrate its activities into the other programs at The Banff Centre.
1978–79 Assistant Curator
1973 - 1977 THE PHOTOGRAPHERS GALLERY Saskatoon, Saskatchewan
Director-Curator Lorne Falk CV - 10
The Photographers Gallery was one of the first cultural organizations in Canada dedicated to photography as an art. As its first director-curator, I reported to a board of directors that represented more than 30 community members. My mandate was to promote a public awareness, appreciation and involvement in creative photography. As with the Walter Phillips Gallery, I was responsible for shaping the identity, direction and programming of the organization during its formative stages.
I was responsible for every aspect of the organization's operation, including administration, management, public relations, programming, and development. Conceived and organized year-round exhibitions that were international in scope. Expanded education and extension programming; negotiated projects; cultivated monthly media coverage. Planned and executed marketing campaign including formulating annual campaign strategy, cultivating funding sources, producing and monitoring requests.
I participated on committees pertaining to the organization’s legal status, exhibition programs, education programs, extension programs, marketing and public relations, fundraising, publishing, acquisitions, conservation, management, membership, and policy.
Achieved a national reputation and raised targeted operating budget for 5 consecutive years, during which time budget tripled.
1971 - 1973 UNIVERSITY HOSPITAL Saskatoon, Saskatchewan
Pathologist's Assistant – Autopsy Pathology
Joined the Department of Autopsy Pathology to pursue a doctoral degree. The program was the first of its kind in Canada and I was its first recruit. Apprenticed with a senior pathologist for one year and then commenced doctoral research, while continuing to work full-time under my mentor's supervision.
Responsibilities were to determine cause of death, teach medical students autopsy technique, and conduct ongoing medical research. Performed more than 500 autopsies.
'72-73 Teaching Assistant, Autopsy Pathology '72-73 Production Assistant, Educational Video for Medicine Lorne Falk CV - 11
EMPLOYMENT SUMMARY
8/2001– Dean of Faculty School of the Museum of Fine Arts Boston, Massachusetts
9/1998–10/2000 Associate Professor School of Design, Hong Kong Polytechnic University Hong Kong, China (12/97-7/98 Visiting Fellow, Design Criticism & Theory)
10/1994–11/1997 Knowledge Architect Independent Consultant Hong Kong and Los Angeles, California
9/1989–9/1994 Program Director (faculty) Art Studio, The Banff Centre for the Arts Banff, Alberta
10/1985–8/1989 Independent Curator and Critic Consultant (Resource Provider & Project Manager) Montreal, Quebec
9/1977–9/1985 Director-Curator (faculty) Walter Phillips Gallery, The Banff Centre for the Arts Banff, Alberta (9/77–8/79 Assistant Curator)
7/1973–6/1977 Director-Curator The Photographers Gallery Saskatoon, Saskatchewan
2/1971–6/1973 Pathologist's Assistant Autopsy Pathology, University Hospital Saskatoon, Saskatchewan (1/72–6/73 Teaching Assistant, Autopsy Pathology) (1/72–6/73 Production Assistant, Educational Video for Medicine)
EDUCATION
1986–1988 Completed course work for MA in Art History Concordia University, Montreal, Quebec
1971–1973 Doctoral studies in Autopsy Pathology University Hospital, Saskatoon, Saskatchewan
1968–1970 BSc in Biology & Chemistry University of Winnipeg, Winnipeg, Manitoba Lorne Falk CV - 12
TEACHING
School of Design, Hong Kong Polytechnic University Hong Kong, China
Design Study 4: Information, Interaction & Global Contexts, BA(Hons), Fall 2000,Fall 1999 This second-year course provided a comprehensive overview of the relations between design and digital culture, especially but not exclusively in the context of digital communications. Through a general understanding of how information technology is transforming the world – and creating a substitute virtual world – students learned how design plays an instrumental role in the development and success of digital culture. Students explored the opportunities emerging as information technology is absorbed into society.
Design Criticism & Theory: Current Issues, BA(Hons), Fall 2000, Spring 1999 This third-year course was about exploring the instrumental role that photographs play in contemporary life leading towards the students' final graduating project. The course took the position that the explosion of visual cultures in contemporary society is so influential, it represents a shift from the domination of language to the domination of images over our lives. It challenged the students to ask how their pictures participate in this shift. That is, how do pictures interact with the perceptions that people have about themselves? What do pictures have to say about public places and phenomena in Hong Kong that represent visually certain kinds of Chinese and non-Chinese cultures. In short, are (their) pictures socially relevant?
Design Study 6: Silk Road: Design and Human Futures, BA(Hons), Spring 2000 This second-year course marked a transition from working on common design studies to working individually and in depth within a selected specialism. Silk Road was a metaphor for design in the new millennium, suggesting the movement of people and ideas through space and time, between cultures and across history; evoking images of long journeys, unpredictable experiences, unknown foreign lands, and the notions of contemplation and desire; informing manipulation and mediation of space and time by new technologies. Silk Road referred to the entirety of ancient trade routes, modern airways and telecommunications networks connecting East and West, with the ensuing myths of journey developed along the way.
Design Communication 2: The Body and Communication BA(Hons), Fall 1998 This subject centred on an experimental, multidisciplinary project where design is understood as a practice of communication supported and informed by a consideration of ideas and theories relating to social and cultural communication. My contribution to this team-taught module included: “How to research on the Web,” “Representing Bodies in Cyberspace,” and “Cyborg citizens.”
Design Criticism & Theory: Internet as a Cultural Space, BA(Hons), Spring 1999, Fall 1998 Undergraduate seminar about the Internet as tool, a medium and a cultural space, and how designers of all kinds play an important role in creating it. It is about community in the information age: how people organize themselves socially and culturally in cyberspace. Students study the nature of the World Wide Web and consider aesthetics, ethics and subjectivity in relation to it. Lorne Falk CV - 13
Design Criticism & Theory: Visions of Digital Communities, Spring 1998, Fall 1997 New undergraduate seminar for contemporary art and design. Explored the role of art, design and cultural theory in the process of making digital communities on the World Wide Web. Focus on multimedia theory, online publications, analysis and production of websites.
Art Studio, The Banff Centre for the Arts Banff, Alberta, Canada
From 1989–94, I conceived and led a research and professional development program at The Banff Centre for the Arts (an institution for advanced continuing education). There were three ten-week residencies per year. Based on themes of relevance and urgency in today's world, the residencies were an opportunity for professionals to explore these themes in their work and with one another. Weekly seminars fueled the discourse and served as a conceptual anchor for the participants whose preoccupations (formal, theoretical, political) were multidisciplinary.
Living at the End of Nation States, Winter 1995, Fall 1994 & Summer 1994 Three residencies for artists whose work relates to problems concerning ways of living at the end of nation states. These included: Home, land, homeland, landscape (pure thoughts, traditional values or cultural myths?); Self-determination (a cultural strategy for survival?); Cultural coalitions (how different individuals and neighborhoods live side by side); Cities and settlements (how the role of cities and settlements is changing as nation states dissolve or collapse); Global culture (how local and regional cultures function in relation to an invasive global economy).
Nomad, Winter 1994, Fall 1993 & Summer 1993 The goal of these three residencies was to explore how we experience nomad in contemporary society—nomad as a metaphor for life in the 1990s. Nomad incorporated three related concerns: beliefs and identity are no longer stable; artists and institutions are not exempted; transculturalism, whether it is experienced as Diaspora, border culture or difference, affects cultural practice and how we see ourselves; and technologies play a key role in reshaping perception, mobility and possibility.
Community, Winter 1993 This was a residency for artists who make their environment the subject of their work and consider their roles in the community a necessary creative action. In the context of this residency, an “environment” included not only the physical surroundings but also the mental, social and political spheres. A “community,” therefore, was viewed as socially constructed to be a meaningful local environment. Community was a joint venture between four Arts Programs (Art Studio, Ceramics, Photography and Walter Phillips Gallery).
The Subject as Agent, Fall 1992 This was a residency for artists and academics interested in understanding the sexual, socio- economic and ethnic complexity of the subject in representation. Such artists tend to favor more open interdisciplinary approaches whose outcome cannot be measured, deduced or anticipated. In other words, a subject which is continually disorganizing itself in its relationship to the world, constantly adapting, criticizing and resisting. This was a residency for artists who are exploring new terms and renewed visions to express the potential of the subject as agent. Lorne Falk CV - 14
Race and the Body Politic, Summer 1992 Who speaks for whom? Who represents whom and under what conditions? In an increasingly media-saturated art scene, can any cultural tradition remain “pure?” And what are the institutional power relationships that distort transcultural activities? Race and the Body Politic encouraged three dialogues: between individual “bodies” of color, between artists and the development of their own bodies of work and between their work and the larger, collective body politic.
Rhetoric, Utopia and Technology, Winter 1992 This residency was interested in the continued reclamation of utopia and the utopian impulse from its longtime association with the strictly technological. Unlike pastoral utopian models, which seek their cornucopia in Eden, Paradise or the Promised Land, the modernist version relies on technological deliverance and liberation. The “technological ethos” (an ethos privileging technique) forms a pervasive nexus of thought that organizes activity and production around a search for the “one best way” to obtain objectified goals. This conception of utopia-through- technology warrants reconsideration.
The Bioapparatus , Fall 1991 The subject of the residency was the bioapparatus — a site of complicity between body, mind and apparatus. Since “virtuality” can be seen as an extreme instance of the bioapparatus, the residency was an opportunity to explore virtual environment technology and its cultural, social and philosophical foundations.
Mass Culture and Art, Summer 1991 The relation between mass culture and art is no longer perceived as contradictory but as interactive: just as mass culture was an essential motivation for historical Avant-Garde movements such as Cubism, Futurism, Dada and Pop, so it is for contemporary movements, including Fluxus, Performance, Media Events, Graffiti and Neo-Geo. The future of this relation was the conceptual focus for a group of individuals who, in general, interfere with mass culture image patterns. By engaging mass culture, they posed the question, “What is it that art does in today’s society?”
Neomythism, Winter 1991 Neomythism evokes prehistory and the future. It explicitly acknowledges humanity's capacity for metaphorizing. Its images, texts, sounds and performances pay attention to metaphor as act. Such works do not characterize a current world in order to create a future. Rather, their explicit belief is that forms of metaphor will return us to source by surpassing history. Neomythism says that the world is continually coming to an end.
Fluxus, Fall 1990 The artists in this residency shared an interest in interdisciplinary and transcultural ideas and activities. They also had a good memory and a respect for the recent history of art. Fluxus was a considered subtext in this residency.
Border Culture, Summer 1990 Border culture is a term referring to the “deterritorialized” nature of border art. The artists were selected for their interest in border themes, including linguistic borders, gender borders, ideological borders, racial borders, and borders between genres and media. What becomes of an image or text when it is removed from its context? From its place of origin? The work of “border” artists raises these issues and questions. Lorne Falk CV - 15
Art History Department, Concordia University Montreal, Quebec, Canada
Survey of Art History, Spring 1987, Fall 1986 A two-semester undergraduate lecture course that surveyed Art History from ancient Egypt to Modernism with a focus on an analysis and deconstruction of social issues and "commercial breaks" that presented contemporary work that drew upon art history for its form or content.
Walter Phillips Gallery, The Banff Centre for the Arts Banff, Alberta, Canada
From 1978–1985, the visual arts programs (Art, Photography, Ceramics, Textiles, Video) at The Banff Centre provided MFA-level two-semester residencies. As Director-Curator of the gallery, I made continuous studio visits, lectured weekly on a wide range of social and cultural topics, as well as the business of art, and gave advanced workshops on the curatorial process and exhibition production and design.
University Hospital, University of Saskatchewan Saskatoon, Saskatchewan, Canada
From 1972-1973, I taught fourth year medical students autopsy technique as we performed actual cases. Lorne Falk CV - 16
PROFESSIONAL SERVICE
Boards
1997- Editorial Board Member, Convergence: The Journal of Research into New Media Technologies, Luton, England
1999-2004 Board Member, The Bauen Camp, Parkman, Wyoming (President 1999-2003)
1996-2003 Advisory Board Member, Side Street Projects, Santa Monica, California
1999-2000 Hong Kong Arts Centre Arts Committee (advise senior management and staff on programming and policy), Hong Kong (SAR), China
1997-1998 Arts and Culture Sub-committee of the Communications & Advertising Committee, American Chamber of Commerce, Hong Kong (SAR), China
1994-1996 Board Member, Side Street Projects, Santa Monica, California
1989-1991 Advisory Board Member for the artist-run town of Wells, British Columbia
1984-1990 Board Member, The Bemis Foundation, Omaha, Nebraska
1987-1989 Board Member, Galerie Optica, Montreal, Quebec
1987-1989 Board Member, Galerie Christiane Chassay, Montreal, Quebec
1983-1984 Board Member, The Omaha Brickworks, Omaha, Nebraska
1982-1983 Board Member, Alberta Museums Association, Alberta
1977-1979 Board Member, Apeiron Workshops Inc., Millerton, New York
1976-1977 Board Member, Society for Photographic Education/NW Region (Manitoba, Saskatchewan, Alberta, British Columbia, Washington, Oregon, Idaho, Montana and Wyoming)
1976 Founding Member of Association of National Non-profit Artists' Centres (ANNPAC), Canada
1975-1977 Board Advisor and Public Relations Director, Babushka Folk & Country Club, Hafford, Saskatchewan
1975-1976 Director, Sundog Arts Society, Saskatoon, Saskatchewan
1974-1975 Board Member, Western Canada Art Association (Manitoba, Saskatchewan, Alberta and British Columbia) Lorne Falk CV - 17
Selected Activities 2005-1994
External Reviewer – for a self-study and review by the School of Humanities, Arts and Cultural Studies at Hampshire College, Amherst, Massachusetts (2004-05).
Design Culture Forum – weekly presentations and discussions about design by visiting fellows, staff and invited guests. The goals of this forum were 1) to stimulate discourse and communication and 2) to nurture each person’s ownership of and participation in the School’s new vision, 1997 - 2000.
Presentations at the School of Design and in Hong Kong (in consultation with the Goethe Institut Hong Kong and/or the Hong Kong Arts Centre): Byron Henderson (Canada), Mark Resmer (USA), Jochen Gerz (France), Monika Fleischmann (Germany), B i l l S e a m a n (USA), M a r i n a G r z i n i c ( S l o v e n i a ) , A n t o n i o M u n t a d a s ( S p a i n , U S A ) and Aaron Delwiche (USA), 1997-99.
The Lorne Report – regular online bulletins to the staff listserv called SDSHARE that promote an awareness of the Web as a resource and as a tool for design and design education, 1997 - present.
SDSHIP – a listserv for students to foster online communication among current and former students and an online forum for student exchange about design.
Staff Exhibition for Polytechnic University’s Info Day, October 1998.
Project evaluations: BA (Hons) Industrial Design: Year 2; BA (Hons) Graphics Design: Year 2; BA (Hons) Interior Design: Year 1.
Member of the Hong Kong Art Critics Association.
Arts and Culture Sub-Committee of the Communications & Advertising Committee, American Chamber of Commerce in Hong Kong—to organize a special event called “Digital Star: A Celebration of Creative Multimedia in Hong Kong,” 1997-98.
Invited participant for a discussion forum on Media Art in Hong Kong, organized by the Film and Media Arts Committee of the Hong Kong Arts Development Council, Hong Kong, 13 May 1998.
Invited chair and moderator for the International Media Arts Conference, Microwave Festival '97, presented by the Urban Council of Hong Kong and co-organized by Videotage and Hong Kong University of Science and Technology, 12 December 1997.
Producer for “My Space - Your Place: An Analysis of the Feng Shui Calculations of the ZKM,” a website and interactive performance event created and directed by Heidi Gilpin to celebrate the opening of the Center for Art and Media Karlsruhe (ZKM), sponsored by the Goethe-Institut Hong Kong. Realized project in 2 weeks, premiered 19 October 1997 with live Internet video conference with Hong Kong, Seoul, Sydney, Tokyo, Karlsruhe and Stockholm, 1997.
Special advisor and member of the International Committee for the 5th International Conference on Cyberspace (Madrid, Spain, June, 1996) sponsored by the Telefonica Corporation, 1996. Lorne Falk CV - 18
One day retreat on technology, patent, copyright and property at the Villa Aurora Center for European-American relations in Los Angeles, California, 1996.
One of 30 professionals from Canada, Mexico and United States invited to a one week Free Idea Zone residency in Santa Cruz, California to strategize the social and cultural implications of free trade in North America, 1994.
Juries
1994 Foreign Government Awards, Department of External Affairs, Ottawa, Ontario
1993 Canada Council (Photography), Ottawa, Ontario
1993 Foreign Government Awards, Department of External Affairs, Ottawa, Ontario
1992 Foreign Government Awards, Department of External Affairs, Ottawa, Ontario
1991 Foreign Government Awards, Department of External Affairs, Ottawa, Ontario
1989 SIGGRAPH Art Show, Albany, New York
1986 1988 Winter Olympics Arts Festival, Calgary, Alberta
1986 Resident Artists Selection Committee, The Bemis Project, Omaha, Nebraska
1979 Canada Council (Photography), Ottawa, Ontario Lorne Falk CV - 19
RESEARCH AND SCHOLARLY ACTIVITIES
I have been the author, editor, publisher and producer of a number of books and catalogues. From 1984 to 1985, I also authored, edited and published 4-6 page “catalogue brochures” for 12-15 exhibitions per year at the Walter Phillips Gallery.
Publications – Books
Le Souci de Soi. (Banff: Walter Phillips Gallery, 1986)
Berliner Aufzeichnungen (Berlin Notes). (Banff: Walter Phillips Gallery, 1985)
Michael Buthe & Marcel Odenbach. (Banff: Walter Phillips Gallery, 1984)
Installations. (Banff: Walter Phillips Gallery, 1983)
Anne Pixley & Inese Birstins. (Banff: Walter Phillips Gallery, 1983)
Convergent Territories. (Banff: Walter Phillips Gallery, 1983)
Ron Moppett. (Banff: Walter Phillips Gallery, 1982)
Homemaking. (Banff: Walter Phillips Gallery, 1982)
Enclosure for Conventional Habit. (Banff: Walter Phillips Gallery, 1980)
Publications - Edited Books
Questions of Community: Artists, Audiences, Coalitions. Edited by Daina Augaitis, Lorne Falk, Sylvie Gilbert and May Anne Moser (Banff: Banff Centre Press, 1995)
The City Within. Conceived and produced by Lorne Falk, edited by Jeanne Randolph (Banff: The Banff Centre, 1992)
Virtual Seminar on the Bioapparatus. Produced by Lorne Falk, edited by Catherine Richards and Nell Tenhaaf (Banff: The Banff Centre, 1991)
Restless Legacies: Contemporary Craft Practice in Canada. Edited by Lorne Falk (Calgary: 88 Winter Olympic Arts Festival, 1988)
The Event Horizon - Essays on Hope, Sexuality, Social Space & Media(tion) in Art. Edited by Lorne Falk and Barbara Fischer (Banff: Walter Phillips Gallery, Toronto: Coach House Press, 1987)
Chicago: Biographies of an Interactive Life Style. (Banff: Walter Phillips Gallery, 1985)
Dislocations. (Banff: Walter Phillips Gallery, 1985) Lorne Falk CV - 20
The Second Link: Viewpoints on Video in the Eighties. Edited by Lorne Falk (Banff: Walter Phillips Gallery, 1983). (A Japanese edition also published for exhibition tour in Japan.)
Agit.Prop: Performance in Banff. Edited by Lorne Falk (Banff: Walter Phillips Gallery, 1982)
Correspondences. Produced by Lorne Falk, edited by Bruce Ferguson. (Banff: Walter Phillips Gallery, 1981)
The Banff Purchase. Edited by Lorne Falk and Hubert Hohn (Banff: Walter Phillips Gallery, Toronto: John Wiley & Son, 1979)
Publications – Editorships
Race and the Body Politic. (Montreal: Harbour Magazine, 1993)
Exchange: The Photographers Almanac (Quarterly). Published by Lorne Falk. (Saskatoon: The Photographers Gallery, 1975–76)
Publications - Chapters, Essays, Articles
“Towards a Networked Education in Design.” Co-authored with Cristiano Ceccato, Catherine Hu, Philip Kwok Wai Wong and Thomas Fischer. In CAADRIA 2000: Proceedings of the Fifth Conference on Computer Aided Architecture Design Research in Asia (Singapore: Centre for Advanced Studies in Architecture, 2000): 157–67. [refereed essay]
“The Ethics of Perception.” Convergence: The Journal of Research into New Media Technologies (Luton, UK) 6, no. 1 (Spring 2000): 29-38. [refereed essay]
“The Affective Interface.” In EBR 9 (University of Illinois, Chicago) June 1999 (http://www.altx.com/ebr/threads/threads.htm).
“Field Notes on Ethics.” Besides: A Journal of Art History and Criticism (Hong Kong, China) 2 (1999): 287-97. [refereed essay]
“Field Notes on Ethics.” In Gathering Voices: Six Curatorial Perspectives, Santa Monica: Side Street Projects, 1998 (http://www.artemedia.com/organizations/sidestreet/ gatheringvoices/index.html). [online essay]
“Letter from Hong Kong.” Mediorama #7, Forum Nokia, Finland, June 1997 (http://www.forum.nokia.com/nf/magazine/mediorama/archive.html). [article]
“Demo Aesthetics.” Co-authored with Heidi Gilpin. In VTEXT (Hong Kong: Videotage, 1997): 16-23 (English; Chinese). [revised, refereed essay]
“Letter from Hong Kong.” Architecture New York (New York) 18 (1997): 6-9. [article]
“Field Notes on Ethics.” Framework (Los Angeles, California) 8, no. 1 (1996): 36-39. [refereed essay] Lorne Falk CV - 21
“Field Notes on Ethics.” In Naming a Practice: Curatorial Strategies for the Future (Banff: Banff Centre Press, 1996): 203-206. [essay]
“Bringing the Digital to Life.” i on Visual Computing, Silicon Graphics, Inc., Mountain View, California, February 1996 (http://www.ion.sgi.com). [article]
“Ends.” In Living At The End of Nation-States (artist book) (Banff: Banff Centre Press, 1995): n.pg. [article]
“The Art Center College of Art and Design.” i on Visual Computing, Silicon Graphics, Mountain View, California, November 1995 (http://www.ion.sgi.com). [article]
“Demo Aesthetics.” Co-authored with Heidi Gilpin. Convergence: The Journal of Research into New Media Technologies (Luton, UK) 1, no. 2 (Autumn 1995): 127–139. [refereed essay]
“The Conversion of Père Version.” Co-authored with Mireille Perron. In The Cyborg Handbook. Edited by Chris Hables Gray. (New York: Routledge Press, 1995): 445–452. [chapter]
“Tracing The Passage Between Here And There.” In The Trace: Remote Insinuate Presence (Madrid: Fundación Arte y Tecnologia, 1995): 14–15 (English; Spanish). [essay]
“The Border Prism.” In semiotext(e) canadas (New York: Semiotext(e), 1994): 12–23. [refereed essay]
“L is for Letting Go.” In semiotext(e) canadas (New York: Semiotext(e), 1994): 295. [refereed essay]
“A Video Polylogue.” (Part of a project called Video Talks , edited by Renee Baert, which had essays published in several different journals and magazines.) Open Letter (Calgary: University of Calgary, 1993). [refereed essay]
“The Urgent Time.” In The City Within (Banff: The Banff Centre, 1992): 95–105. [essay]
“From The Rubber Stamp Alphabet Warum.” Open Letter (Calgary: University of Calgary, 1992). [refereed essay]
“The status of partial explanations (excerpt from the diary of a feminist cyborg).” In Virtual Seminar on the Bioapparatus. Edited by Catherine Richards and Nell Tenhaaf. (Banff: The Banff Centre, 1991): 76. [essay]
“What's in a Blue Moon.” In Laurie Walker, Continuum: Contemporary Canadian Sculpture Series (Lethbridge: Southern Alberta Art Gallery, 1991): 1–3. [essay]
“A Puddle In the Ocean.” Co-authored with Mireille Perron. Texts 5 (Spring-Summer 1991): 14–15. [essay]
“Those Canceled Maps, Navigating Desire.” In Bernard Gamoy (Montreal: Saidye Bronfman Centre, 1990): 3–5 (English), 9–11 (French). [essay]
“L'Objet Perdu Retrouvé.” Texts 4 (Winter 1990-91): 22–27 (English; French). [essay] Lorne Falk CV - 22
“The Border Prism: Views on Mexican Border Culture.” C Magazine 24 (Winter 1989): 51–55. [article]
“The Private Spectacle of Barcelone.” In Barcelone (Calgary: Nickle Arts Museum, 1989): 35–53 (English), 55–75 (French). [essay]
“Pictures at an Exhibition, A Discursive Footnote.” In Toward the Photograph as a Vulgar Document (Montreal: Galerie Optica, 1989). [essay]
“Of the Glance and Blindman's Buff.” In Susan Scott (Lethbridge: Southern Alberta Art Gallery, 1989): 5 –14. [essay]
“Denis Rousseau – Dedicated to the Memory of Our Parents.” Vanguard 18, no. 1 (February- March 1989): 10–15. [article]
“Legend Zero.” High Performance 45 (Spring 1989): 77. [article]
“The Unsettling Work of Louise Viger.” Vanguard 6 (Dec 1988-Jan 1989): 38. [article]
“Conversation Bovine/Cow Talk.” Co-authored with Mireille Perron. In Radovan Kraguly (Paris: Le Musée Moderne de la Ville de Paris, 1988). [essay]
“Some Conversational History Play.” Co-authored with Allan Kaprow, Jeff Kelley, Robert C. Morgan, Richard Schechner & Barbara Smith. High Performance 43 (Fall 1988): 28–33. [article]
“The Floating White Boy Considers Feminism & Academic Rhetoric.” In Critical Paths. Edited by Renee Baert (Montreal: The Permanent Review Committee on the Status of Women, Dept. of Fine Arts, University of Concordia, 1988): 26–27. [refereed essay]
“Martha Townsend's Ready-made Ecologies,” C Magazine 17 (Spring 1988): 66–69. [article]
“Tête à Tête.” Co-authored with Johanne Lamoureux. Vanguard 16, no. 5 (November 1987): 44–45. [article]
“Restless Legacies.” In Restless Legacies: Contemporary Craft Practice in Canada (Calgary: Olympic Arts Festival, 1988): 31–34 (English), 35–38 (French). [essay]
“What You Want.” In Robert Wiens, Continuum: Contemporary Canadian Sculpture Series (Lethbridge, Alberta: Southern Alberta Art Gallery, 1987): 1–3. [essay]
“Trying to Account for Nothing.” Contact Magazine (Edmonton), 1987. [essay]
“A Talk With Irene F. Whittome.” C Magazine 13 (March 1987): 44–49. [article]
“Lights Fantastic.” Canadian Art 3, no. 4 (December 1986): 64–69. [article]
“La Bête Noire.” C Magazine 12 (Spring 1987): 76–77. [article]
“Country Music.” Vie des Arts 31 (September 1986): 26–29. [article] Lorne Falk CV - 23
“To Make The Right Mistake.” In The Event Horizon - Essays on Hope, Sexuality, Social Space & Media(tion) in Art. Edited by Lorne Falk and Barbara Fischer. (Banff: Walter Phillips Gallery, Toronto: Coach House Press, 1987): 43–54. [essay]
“The Brick: Anatomy of Desire (Will Ceramics Secede from the Art World?).” The New Art Examiner (May 1986): 70–73. [article]
“Le Souci de Soi.” American Ceramics 5 (1986): 36–43. [essay]
“Le Souci de Soi.” In Le Souci de Soi (Banff: Walter Phillips Gallery, 1986): 7–13 (English), 41–45 (French). [essay]
“Denis Rousseau.” Vanguard 15, no. 2 (April/May 1986): 50. [article]
“The Nature of the Difference.” Alberta Culture Visual Arts Newsletter 8 (Edmonton) issue 2, no. 34 (April 1986): 24. [essay]
“Michael Morris: A Social Biography of Content.” In Berliner Aufzeichnungen (Berlin Notes). Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1985): 26–31. [essay]
“Scratch Practice, Berlin.” In Berliner Aufzeichnungen (Berlin Notes). Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1985): 5–7. [essay]
“Biographies of an Interactive Life Style.” In Chicago: Biographies of an Interactive Life Style. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1985). [essay]
“Dislocation Text Dislocation.” In Dislocations. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1985). [essay]
“The Ceramic Bridge: Discourse and Divorce.” Ceramics Monthly 32, no. 7 (September 1984): 25–27. [essay]
“The Ceramic Bridge: Discourse and Divorce.” Contact 58 (Summer 1984): 59-60. [essay]
“Jun Kaneko: The Nature of Effective Surprise.” American Ceramics 3, no. 3 (1984): 42–47. [essay]
“The Omaha Brickworks.” American Ceramics 2, no. 4 (1984): 44–47. [article]
“Location and Relocation.” In Convergent Territories. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1983): 22–24. [essay]
“The Second Link & The Habit of TV.” In The Second Link - Viewpoints on Video in the Eighties. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1983): 5–8. [essay]
“Home Economics & Immediate Reality.” In Homemaking. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1982): 4–8. [essay]
“Barometers and Relative Humidity.” In A Photographic Project: Alberta (Edmonton: Alberta Culture, 1981). [refereed essay] Lorne Falk CV - 24
“The Characterization of Movement.” In Enclosure for Conventional Habit. Edited by Lorne Falk. (Banff: Walter Phillips Gallery, 1980): 17–31. [essay]
“The Dilemma of Photography in Canada.” Photo Communiqué, Toronto (1980) (also distributed at a symposium on photography at Ryerson Institute, Toronto). [essay]
Consulting Reports
Hong Kong Arts Centre, “Towards an Academy for the Visual Arts” (September 1999).
Bill Viola’s Bibliography (published in the book for the retrospective of his work at the Whitney Museum in New York) 1995.
Exhibitions
From 1973 to 1989, I curated and organized some 150 exhibitions, including 8 major projects that involved national and/or international tours, the acquisition of works and related special events. I curated these exhibitions as the Director-Curator of two public art galleries – The Photographers Gallery and the Walter Phillips Gallery – and in the last 4 years of this period, independently as a guest curator. Documentation of all the exhibitions and projects at Walter Phillips Gallery between 1978 and 1985 is available in a spiral-bound book.
Boston-Montreal 1989 Co-curator for this exhibition of 14 painters from Boston and Montreal, that was presented in both cities.
World Wide Skin Deep 1988 Consulting curator for this group exhibition of radio and image collages by artists from Jerusalem, Berlin, London, Calgary, Mexico City and Bangkok, produced by Presentation House Art Gallery and Myra Davies.
Barcelone 1988 Co-curator for this exhibition of sculpture and film by Montreal artist, Celine Baril; catalogue, tour to 4 museums.
Towards the Photograph as a Vulgar Document 1988 Co-curator for this group exhibition for 15th anniversary of Galerie Optica, Montreal; major symposium.
Restless Legacies 1988 Co-curator for this major exhibition of contemporary craft practice in Canada for the 1988 Winter Olympic Games; catalogue.
Le Musée Imaginaire 1987 One of several guest curators for this thematic group exhibition at the Saidye Bronfman Centre, Montreal. Lorne Falk CV - 25
The Theme of The Event 1986 Curator for this major exhibition of recent work by Montreal artists Denis Rousseau and Irene Whittome.
Les Expressions de la Différence 1986 Curator for this exhibition of 6 Quebecois painters from Montreal: Louis Bouchard, Serge Bruneau, Mary-Ann Cuff, Guy Lapointe, Francine Messier and Monique Régimbald-Zeiber.
Le Souci de Soi 1986 Curator for this first major exhibition of ceramic sculpture by Montreal artist, Paul Mathieu; catalogue, tour to 2 museums.
Berliner Aufzeichnungen (Berlin Notes) 1985 Curator for this exhibition project of painting by Ricarda Fischer, Michael Morris, Joachim Peeck, Vincent Trasov and Yana Yo, video and artist books by Berlin artists; catalogue, lecture series, tour to 4 museums and galleries.
Chicago - Biographies of an Interactive Life Style 1985 Curator for this exhibition project of computer and video art by Copper Giloth, Phil Morton, Dan Sandin and Jane Veeder, plus 24+ hours of video by 50+ artists, 2D and interactive 3D works; 7- part lecture series, and 2 day workshop.
Dislocation 1985 Curator for this exhibition of recent work by Colette Laliberté, Steven Hutchings, Hu Hohn and Kim Adams.
On Earth & In Heaven 1984 Curator for this exhibition of new sculpture by Toronto artists David Clarkson, Andreas Gehr, Noel Harding and Robert Weins.
The Ceramic Bridge 1984 Curator for this national survey exhibition of 26 artists examining new expressions emerging from the ceramic tradition.
Michael Buthe and Marcel Odenbach 1983 Curator for this exhibition of new works by these two German artists, catalogue.
The Second Link - Viewpoints on Video in the Eighties 1983 Organizing curator for this exhibition project of video by 10 artists from Canada, 10 from USA and 10 from Europe; catalogue, 10-part lecture series, first tour to 5 major museums in Canada, the United States and Europe, second tour in Canada and Japan, and the acquisition of all work.
Installations 1983 Curator for this exhibition of new site-specific installations by Dennis Oppenheim, Tom McMillin and Rita McKeough; catalogue.
Anne Pixley & Inese Birstins 1983 Curator for this exhibition of new works by these two textile artists; catalogue. Lorne Falk CV - 26
Agit.Prop - Performance in Banff 1982 Curator for this exhibition project with 8 performances by Bruce Barber, Marcella Bienvenue, Stuart Brisley, Elizabeth Chitty, Sonia Knox, Marcel Odenbach, Ulrike Rosenbach and Martha Rosler; catalogue, 8-part lecture series.
Magdalena Abakanowicz 1982 Curator for this major exhibition of sculpture by the Polish artist, exhibited in two parts at the Walter Phillips Gallery, Banff and The Glenbow Museum, Calgary.
Ron Moppett 1982 Curator for the first major retrospective of this Alberta artist's painting and sculpture; catalogue, acquisition of work.
Convergent Territories 1982 Curator for this experiment: Tony Hepburn, Jun Kaneko and Faye Munroe occupy the gallery as their studio; catalogue, acquisition of work.
Charles Simonds 1981 Curator for this experiment: New York artist, Charles Simonds, occupies the gallery as his studio and constructs 13 sculptures; catalogue.
Enclosure for Conventional Habit 1980 Curator for this exhibition project with commissioned movement sculpture by Noel Harding; catalogue, tour to 3 museums; a second tour in Europe organized by the Theatre Mickery in 1989.
The Banff Purchase 1979 Co-curator for this major exhibition project with photographs by David McMillan, Nina Raginsky, Orest Semchishen, Robert Bourdeau, Tom Gibson, Charles Gagnon and Lynne Cohen; book, 6-week master class workshop, national tour to 8 museums, and acquisition of all 120 photographs.
Saskatchewan Photography 1976 Guest curator for this group exhibition at the Norman MacKenzie Art Gallery, Regina, Saskatchewan.
Presentations
1. “The Future of Interdisciplinarity.” Presentation at Blurred Edges – Interdisciplinarity in Art Education, 2004-05 AICAD Academic Symposium (November, 2004).
2004 “The Future of Excellence: A Screenplay” at National Association of Schools of Art & Design National Conference, Tucson, Arizona (October 14-17, 2004).
2003 “Four Meditations and a Pet Theory”at Graduate Colloquium on Subjectivity and Technology in Art, School of the Museum of Fine Arts, Boston ().
2003 “Incisions of Hope: Ethics in Art” at Graduate Colloquium, School of the Museum of Fine Arts, Boston (March 5, 2003). Lorne Falk CV - 27
2000 "Towards an Aesthetics of Community." Art Department, Amherst College, Amherst, Massachusetts (November 2000).
2000 "Towards a Networked Education in Design." Conference presentation at CAADRIA 2000, National University of Singapore (18-19 May 2000).
1999 “Future of Art Education” at IBM’s corporate campus near New York. This think tank event was by invitation only and restricted to 120 participants from some 40 countries (November 1999).
1999 “The Ethics of Perception.” Conference presentation at Creativity and Consumption, University of Luton, England (March 1999).
1999 “The Affective Interface.” Conference presentation for panel “Transmissions: Engineering Interfaces to Distributed Art & Theory” at the College Art Association (CAA) Annual Conference, Los Angeles (February 1999).
1998 Invited participant for a discussion forum on Media Art in Hong Kong, organized by the Film and Media Arts Committee of the Hong Kong Arts Development Council, Hong Kong (13 May 1998).
1998 “Designing a Culture of Collaboration.” Invited lecture at the School of Design, Hong Kong Polytechnic University, Hong Kong (21 April 1998).
1997 “Life and Culture in the Digital Age.” Invited lecture at International Media Arts Conference, Microwave Festival '97, presented by the Urban Council of Hong Kong and co-organized by Videotage and Hong Kong University of Science and Technology, Hong Kong (12 December 1997).
1997 Invited chair and moderator for the International Media Arts Conference, Microwave Festival '97, presented by the Urban Council of Hong Kong and co-organized by Videotage and Hong Kong University of Science and Technology (12 December 1997).
1997 “Demo Aesthetics.” Invited lecture at the School of Design, Hong Kong Polytechnic University, Hong Kong (10 December 1997).
1997 “My Space - Your Place: An Analysis of the Feng Shui Calculations of the ZKM.” Participant in a live Internet video conference and interactive performance event created and directed by Heidi Gilpin to celebrate the opening of the Center for Art and Media Karlsruhe (ZKM), sponsored by the Goethe-Institut Hong Kong (19 October 1997).
1997 Chair of the panel “The Rhetoric of the Synthetic,” Siggraph 97, Los Angeles.
1997 “The Nature of Curatorial Practice.” Invited lecture at the Department of Comparative Literature, University of Hong Kong, Hong Kong.
1996 “Incisions of Hope: Ethics in Art.” Invited lecture at the Art Studio Department, University of California, Santa Barbara. Lorne Falk CV - 28
1996 Invited seminar leader for a one-day retreat to discuss technology, patent, copyright and property at Villa Aurora Center for European-American relations, Los Angeles, California.
1996 “Gathering Voices: Curatorial Strategies for the Future.” Invited chair and moderator for a one-day seminar retreat for curators in Southern California, Side Street Projects, Santa Monica, California.
1995 “Demo Aesthetics.” Paper co-authored with Heidi Gilpin and presented at 21st conference on Social Theory, Politics, and the Arts, University of California, Santa Barbara.
1995 “The Ethics of Place.” Invited lecture at the University of Southern California, Los Angeles.
1994 Invited participant in the Free Idea Zone residency for 60 artists, writers and intellectuals from Canada, Mexico and United States, San Francisco, California.
1994 “Living at the end of nation states.” Lecture at the Art Studio, The Banff Centre for the Arts, Banff, Alberta.
1991 “Towards Intimacy in Criticism.” Invited lecture at the Department of Comparative Literature, University of Calgary, Calgary, Alberta.
1990 “A Poetics of History.” Invited respondent for the Voix/Voices conference, The Banff Centre for the Arts, Banff, Alberta.
1990 “Vancouver Video.” Invited lecture and presentation at the Ljubljana Video Festival, Ljubljana, Slovenia.
1989 “L'Objet Perdu Retrouvé.” Invited lecture at the Mirabile Visu symposium, Quebec City, Quebec.
1989 "72 minutes of language, love and difference." Invited lecture and presentation at the Ohrid Video Colony, Ohrid, Macedonia.
1988 “The Idea of Representation.” Invited lecture at The Bemis Foundation, Omaha, Nebraska.
1988 “Paralogical Imaging in Video.” Invited paper, Department of Art History, Concordia University, Montreal, Quebec.
1988 “The Critical Avant-Garde - The Flaneur's Flambeau or the Flaneur Flambé.” Invited paper, Department of Art History, Concordia University, Montreal, Quebec.
1988 “The Sea Unicorn - From Sign to Semiotic Phantom.” Invited paper, Department of Art History, Concordia University, Montreal, Quebec.
1988 “The Idea of Representation.” Invited lecture at the Chicago Art Institute, Chicago, Illinois. Lorne Falk CV - 29
1988 “Trying to Account for Nothing.” Invited lecture at the New Art Forms Art Fair, Chicago, Illinois.
1987 “Texas Talk.” Commissioned lecture for Documented/ Indocumentado at the Center for Research in Contemporary Art (CRCA), University of Texas, Arlington, Texas.
1987 “The Case of Vera Frenkel's Vulgar Attitude Beside History: An analysis of Lost Art - A Cargo Cult Romance.” Invited paper, Department of Art History, Concordia University, Montreal, Quebec.
1987 “Fibre Art: Expanding the Borders of Definition.” Invited lecture at the Art Department, Concordia University, Montreal, Quebec.
1987 “The Business of Art.” Invited lecture at the Art Department, Concordia University, Montreal, Quebec.
1987 “The Aesthetics and Critical Nature of Social Sites.” Commissioned seminar leader for a one-week week seminar at the Ceramic program, The Banff Centre for the Arts, Banff, Alberta.
1986 “Contemporary Sculpture.” Invited lecture at The Bemis Project, Omaha, Nebraska.
1986 “New Montreal Art.” Invited lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1986 “Art and Postmodernism.” Invited lecture at the Windsor Art Gallery, Windsor, Ontario.
1986 “Scratch Practice.” Invited lecture at Artcite, Windsor, Ontario.
1986 “How Artists Determine Their Own Success.” Invited lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1986 “Le Souci de Soi: Paul Mathieu’s Ceramics.” Invited lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1986 “Scratch Practice.” Invited lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1985 “On Ceramics and Art.” Invited lecture at Alfred University, Alfred, New York.
1985 “Berlin Painters.” Lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1985 “How Artists Determine Their Own Success.” Lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1985 “New Video in Western Canada.” Invited lecture at the Plains Canada Video Symposium, Calgary, Alberta.
1985 “German Neo-expressionism.” Invited lecture at the Ring House Gallery, University of Alberta, Edmonton, Alberta. Lorne Falk CV - 30
1985 “The Second Link.” Invited lecture at the Norman MacKenzie Art Gallery, Regina, Saskatchewan.
1985 “German Neo-expressionism.” Invited lecture at the Red Deer Art College, Red Deer, Alberta.
1984 “New Image painting.” Invited lecture at the Red Deer Art College, Red Deer, Alberta.
1984 “New Image Painting.” Invited lecture at Alfred University, Alfred, New York.
1984 “Charles Simonds and the Irony of Material Presence.” Lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1982 “Synthetic Intuition and Cultural Symptoms.” Lecture at the Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta.
1982 “Synthetic Intuition and Cultural Symptoms.” Invited lecture at the Red Deer Art College, Red Deer, Alberta.
1978 “New Photographers.” Invited lecture at the Red Deer Art College, Red Deer, Alberta.
1978 Art, History & Photography. Invited participant in a workshop with Professor Jose Arguelles, Apeiron Workshops, Millerton, New York.
1977 “Documentary Photography in Western Canada.” Invited lecture at the Photographic Criticism conference, Apeiron Workshops, Millerton, New York.
1977 “On the Critical Language of Photography.” Invited lecture at the On Photographic Criticism symposium, Visual Studies Workshop, Rochester, New York..
1977 “Documentary Photography in Saskatchewan.” Invited lecture at the Winnipeg Art Gallery, Winnipeg, Manitoba.
1975 “Contemporary Photography in Western Canada.” Invited lecture at York University, Toronto, Ontario.
1971-73 Weekly case presentations in autopsy pathology to medical staff at the University Hospital in Saskatoon, Saskatchewan.
Consulting
2001 Substitute professor for undergraduate class, Problems in Digital Imaging, Amherst College, Amherst, Massachusetts (Spring 2001)
2000 External Expert for an internal review in a newly formed School of Art and Culture at RMIT University in Melbourne, Australia.
1999 Hong Kong Arts Centre, “Towards an Academy for the Visual Arts”. Lorne Falk CV - 31
1996–97 Strategist for LA Culture Net (LACN) in The Getty Information Institute at the J. Paul Getty Trust (http://www.LACN.org/), a long-term project designed to create a cultural information infrastructure in Los Angeles for citizens in their workplaces, social spaces and personal worlds using communication networks. Following a needs assessment of businesses, municipalities, education and cultural organizations, I produced the project’s vision, mission and action plan. The 3-year, $5 million initiative involves demonstration projects in 3 categories: Online Culture, Digital Education and Training, Community Research and Development. The project’s focus is the creation and deployment of content and context through networked databases, World Wide Web sites, K-12 curriculum, community retreats and workshops, web raisings, lectures, and seminars. I also strategized the model for public-private partnerships which currently involves 5 divisions of the Getty Trust, 15 players in business, education and culture, and more than 700 community participants.
1997 Chief of Staff, Concorde/Office of the Net, a development group of Xerox Business Services in Palo Alto, California. I was charged with analyzing and reorganizing the group’s workplace, operations and human resources services to assure the smooth integration of new employees (50% immediate growth and 100% projected growth). My primary responsibilities were a review of all operational policies and procedures, the production of an operations handbook, interviews with all 21 employees, the implementation of onsite human resource services, and the creation of a new space plan and systems administration rehabilitation. I achieved expected results in 6 weeks.
1997 Strategist at the Hong Kong Arts Centre to develop a digital education and training program for their Education Department. Contracted by Executive Director of the Hong Kong Arts Centre, I analyzed and evaluated the existing computer education program and its resources, and made recommendations based on this review; carried out preliminary market research, identified priorities for future marketing; researched potential partners and strategic alliances; proposed a new program model and made final recommendations for action. I completed the assignment and presented a detailed report in the form of a business plan in 4 weeks.
1995 Contracted by Silicon Graphics Inc. in Mountainview, California to provide strategies for corporate marketing, including editorial/development projects and online story development for the World Wide Web.
1995 Compiled the complete bibliography for the internationally-renowned video artist, Bill Viola from a vast archive of materials in the artist’s home and studio. The project resulted alphabetical and chronological bibliographies of articles, books, videos and audio works published by the artist, as well as solo and group exhibition catalogues, books, articles, reviews, and interviews about the artist. The bibliography was published in the book for the retrospective of his work at the Whitney Museum in New York.
1994 Project Leader, Art Studio, The Banff Centre for the Arts, Banff, Alberta.
1994 Co-organizer, “Naming a Practice: Curatorial Strategies for the Future” (one-week seminar retreat), The Banff Centre for the Arts, Banff, Alberta. Resulted in an online Lorne Falk CV - 32
conference for Canadian curators and a publication with contributions by all 30 participants.
1991 Consultant to evaluate Contact Magazine for The Alberta Potters’ Association, Calgary, Alberta.
1989 Strategist to develop a residency program for The Banff Centre for the Arts, Banff, Alberta.
1988 Consulting Chief-of-Staff, The Bemis Foundation, Omaha, Nebraska.
1988 Co-organizer of symposium Towards the Photograph as a Vulgar Document, Montreal, Quebec.
1987 Curatorial consultant for national craft exhibition, 1988 Winter Olympics, Calgary, Alberta.
1987 Consultant and external evaluator of the Ceramics Department at The Banff Centre for the Arts.
1987 Project Advisor, Windsor Art Gallery, Windsor, Ontario.
1982 Stage Manager, This is What by Noel Harding, Mickery Theatre, Amsterdam.
1980 Resource Provider, A Photographic Project: Alberta, Edmonton, Alberta.
GRANTS AND AWARDS
1999 University Research Grant (US$22,000) for “Experimentation and Strategies of Innovation in Virtual Design Studios.”
1996 Grant to attend the Governor’s Conference on Technology and the Arts, Los Angeles, California.
1994 Grant to participate in the Free Idea Zone, a residency for 60 artists, writers and intellectuals from Canada, Mexico and United States, organized by Joe Lambert, Nina Mullen, and Guillermo Gomez-Peña, San Francisco, California.
1988 Three-month residency at The Bemis Foundation, Omaha, Nebraska.
1987 Commissioned critic’s residency at the Center for Research in Contemporary Art (CRCA), University of Texas, Arlington, Texas.
1978 Grant to participate in Art, History & Photography, workshop with Professor Jose Arguelles, Apeiron Workshops, Millerton, New York.
1978 One-year scholarship to be curator-in-residence in the Photography Program, The Banff Centre for the Arts, Banff, Alberta. Lorne Falk CV - 33
1977 Travel grant to participate in Photographic Criticism, a seminar retreat, Apeiron Workshops, Millerton, New York.
1977 External Affairs grant to participate in On Photographic Criticism, a conference at Visual Studies Workshop, Rochester, New York.
Institutional Grants
At The Banff Centre for the Arts (1978–85, 1989–94), I received grants for programming from the Canada Council, The Canada Council Art Bank, the National Museums of Canada, the Alberta Art Foundation, the Alberta Department of Culture, and the Goethe Institute.
At The Photographers Gallery (1973–77), I raised the operating budget for five consecutive years, during which time the budget tripled. Annual grants came from the City of Saskatoon, the Saskatchewan Arts Board, the Saskatchewan Department of Youth and Culture, The Canada Council, The Canada Council Art Bank, the National Museums of Canada, the Department of External Affairs and the Secretary of State.
For both institutions, the grants supported general operations, exhibitions, extension activities, educational programs, permanent collections, publishing, symposiums, special projects, personal curatorial research, and my participation in special conferences and events across Canada and abroad. A few examples:
• Canada Council grant (1990) to research, catalogue and preserve the Image Bank archive of artists' correspondence, work, publications and ephemera (10,000 artifacts) collected by Michael Morris and Vincent Trasov from 1968 to 1980.
• Canada Council grant (1987) for The Event Horizon - Essays on Hope, Sexuality, Social Space & Media(tion) in Art: anthology with 18 international contributors.]
• Multiple grants (1983) for The Second Link - Viewpoints on Video in the Eighties: exhibition of video by 30 artists from Canada, the USA and Europe, book with 10 essays, 10-part lecture series, first tour to 5 major museums in Canada, the United States and Europe, second tour in Canada and Japan, and acquisition of all work.
• Multiple grants (1979) for The Banff Purchase: exhibition with photographs by 7 Canadian artists, book, 6-week masterclass workshop, national tour to 8 museums, and acquisition of all 120 photographs. Lorne Falk CV - 34
Addendum
ART STUDIO RESIDENCY PARTICIPANTS
This is a list of the participants whom I invited to be in the residencies that I conceived and organized while Program Director of the Art Studio at The Banff Centre for the Arts from 1990-94. Each 10-week residency was developed with the help of one or more consulting artists and/or theorists who are highlighted in bold.
1990-1994 The Art Studio Residency Program
1994-95 Living at the End of Nation States (Summer, Fall & Winter)
1993-94 Nomad (Summer, Fall & Winter)
1992-93 Community (Winter-93) The Instability of the Feminist Subject (Fall-92) Race and the Body Politic (Summer-92)
1991-92 Rhetoric, Utopia and Technology (Winter-92) The Bioapparatus (Fall-91) Art and Mass Culture (Summer-91)
1990-91 Neomythism (Winter-91) Untitled (Fall-90) Border Culture (Summer-90)
1994-95
Living at the End of Nation States Winter 1995—Val Bogan (Ireland), Rafe Churchill (USA), Paula Cornwall (Canada), Daniel Canogar (Spain), Vera Gartley (Canada), Trevor Gould (Canada, consultant), Bill Horne (Canada), Permindar Kaur (Spain), Oliver Kelhammer (Canada, consultant), Celine Laflamme (Canada), JJ Lee (Canada), Joyce Majiski (Canada), Tass Mavrogordato (England), Veran Pardeahtan (Canada), Ramona Ramlochand (Canada), Ruth Scheuing (Canada), Laura Trippi (USA), Sandra Tucci (Brazil), Kim Yasuda (USA), Mary Shannon Will (Canada).
Fall 1994—Dagmar Boden (Germany), Bill Burns (Canada), Sylvie Bussières (Canada), Catherine Collins (Canada), Lorne Falk (Canada, consultant), Lou Fang (China), Alan Flint (Canada), Ronnie Hughes (Ireland), Oliver Kellhammer (Canada), Kathy Kennedy (Canada), JJ Lee (Canada), Pina Lewandowsky (Germany), Via Lewandowsky (Germany), Giedre Liliene (Lithuania), Petre Nikoloski (England), Arelene Stamp (Canada), Mary Shannon Will (Canada).
Summer 1994—Irma Iranzo Berocal (Puerto Rico), Geraint Evans (England), Dianna Frid (Canada), Heidi Gilpin (USA), Alberto Gomez (Canada), Oliver Kellhammer (Canada), Evelyn Mitsui (Canada), Tom Moylan (USA), Aine O'Brien (USA), Geraldine O'Reilley (Ireland), Catalina Parra (USA), Carol Sawyer Lorne Falk CV - 35
(Canada), Ruth Scheuing (Canada), Ho Tam (Canada), Dot Tuer (Canada, consultant ), Lynne Yamamoto (USA), Sharyn Yuen (Canada).
1993-94
Nomad Winter 1994—Antoni Abad (Spain), Faith Louise Adams (Canada), Roberto Bedoya (USA), Shawna Beharry (Canada), Ana Busto (Spain), Joanne Cardinal-Shubert (Canada), Maria Fernanda Cardoso (Columbia), Shawna Dempsey (Canada), Ross Harley (Australia), Lyndal Jones (Australia), Diane Landry (Canada), Chip Lord (USA), Lorri Millan (Canada), Antonio Muntadas (Spain, consulting artist), Alexander Pilis (Canada), Cyril Reade (Canada), Jocelyn Robert (Canada), Kathryn Walter (Canada), Kira Wu (Canada).
Fall 1993—Antoni Abad (Spain), Peter d'Agostino (USA), Helen Arthur (Canada), Sally Berger (USA), Sandra Buckley (Canada, consulting theorist), Bill Burns (Canada), Cathy Busby (Canada), Brenda L. Croft (Australia), Mary Anne Friel (USA), Heidi Gilpin (USA), Andreas Kitzmann (USA), Brian Massumi (Canada, consulting theorist), Ashok Mathur (Canada), Cherie Moses (Canada), Rachel Perkins (Australia), Robert Prenovault (Canada), Kim Sawchuk (Canada), Regina Silveira (Brazil), Henry Tsang (Canada), Judy Watson (Australia), Alexa Wright (England).
Summer 1993—Ayisha Abraham (USA), Karen Atkinson (USA), Marjorie Beaucage (Canada), David Clark (Canada), Frances Dyson (Australia), Douglas Ewart (USA), Viviane Gray (Canada), Thomas Harris (USA), Tom Hill (Summer Program Director, Canada), Jessica Holt (USA), Douglas Kahn (USA), Barbara Layne (Canada), George Lewis (USA), Zilvinas Lilas (Lithuania), Teresa Marshall (Canada), Daniel David Moses (Canada), Sara Newman (Canada), Shelley Niro (Canada), Ron Noganosh (Canada), Haruko Okano (Canada), Catalina Parra (Chile), Laurent Pilon (Canada), Deborah Pughe (USA), Bernelda Wheeler (Canada), Reginald Woolery (USA).
1992-93
Community 11 January - 19 March 1993—Susan Aglukark (Canada), Dinah Andersen (Canada), Linda Archibald (Canada), Myrah Arngna’naaq (Canada), Ruby Arngna’naaq (Canada, consulting artist), Michael Balser (Canada, consulting artists), Carole Beaulieu (Canada, consulting artist), Nancy Blum (USA), Charlene Bourdreau (Canada), Shirley Brown (Canada), Mitsuru Cope (Canada), Martine Crispo (Canada), Phillip Djwa (Canada), Andy Fabo (Canada), Melanie Fei-Lin Boyle (Canada), David C. Findley (Canada), Anne Golden (Canada), Vicky Grey (Canada), Mark Handley (Canada), Sadashi Inuzuka (Canada), Bryce Kanbara (Canada, consulting artist), Sarah Link (Canada), Zachary Longboy (Canada), Mike MacDonald (Canada), David M. MacLean (Canada), James MacSwain (Canada), Sabrina Mathews (Canada), Sharon Moodie (Canada), Baco Ohama (Canada), Leah Pootoogook (Canada), Rachel Quitsualik (Canada), Phillip Roth (USA), Sheila Spence (Canada), Noreen Stevens (Canada), Takako Suzuki (Canada), Stan Taniwa, (Canada), Oqqi Taqtu (Canada), Tiuré (Canada), Solomon Tzeggai-Teferi (Canada), Jeannie Ziska (Canada).
The Subject as Agent 5 October - 11 December 1992—Joanne Bristol (Canada), Pauline Cummins (Ireland), Shawna Dempsey (Canada), Gudrun Gut (Germany), Madelon Hooykas (Netherlands), Marlene Klassen (Canada), Geneviève Letarte (Canada), Ruth Lounsbury (USA), Lorri Millan (Canada), Shani Mootoo (Canada), Meena Nanji (USA), Pratibha Parmar (England), Premika Ratnam (Canada), Christine Ross (Canada, consulting critic), Gita Saxena (Canada), Elsa Stansfield (Netherlands), Hiroko Tamano (USA), Sandra Tivy (Canada), Mina Totino (Canada), Lise Vaillancourt (Canada), Lori Weidenhammer (Canada), Laurel Woodcock (Canada), Alexa Wright (England), Marina Zurkow (USA). Lorne Falk CV - 36
Race and the Body Politic 1 June - 7 August 1992—Christine Almeida (Canada), Buseje Bailey (Canada), Oladele Ajiboye Bamgboye (Scotland), Shawna Beharry (Canada), Sutapa Biswas (England), Chris Creighton-Kelly (Canada, consulting artist), Sarindar Dhaliwal (Canada), Richard Fung (Canada), Tom Hill (Canada), Stephen Horne (Canada), Donna James (Canada), Margo Kane (Canada), Lani Maestro (Canada), Maria Luisa Mendonça (Brazil), Shani Mootoo (Canada), Li Ning (China), Wendy Oberlander (USA), Kerri Sakamoto (USA), Paul Wong (Canada), Sharyn Yuen (Canada).
1991-92
Rhetoric, Utopia and Technology 5 January - 14 March 1992—Robert Adrian (Austria), Gretchen Bender (USA), John Blake (Netherlands), Hank Bull (Canada), Beatriz Colomina (USA), Frances Dyson (USA), Fast Würms (Canada), Leonard Fisher (Canada), Heidi Grundmann (Austria), Ingrid Jenkner (Canada), Dan Lander (Canada), Neil MacInnis (Canada), Rita McKeough (Canada), Christof Migone (Canada), Bernie Miller (Canada, consulting artist), Antonio Muntadas (USA), Jeanne Randolph (Canada, consulting critic), Colette Urban (Canada), Hildegard Westerkamp (Canada), Mark Wigley (USA), Janice Williamson (Canada).
The Bioapparatus 6 October - 14 December 1991—Maryanne Amacher (USA), Wende Bartley (Canada), Eleanor Bond (Canada), Adam Boome (England), Diana Burgoyne (Canada), He Gong (China), Doug Hall (USA), Carl Eugene Loeffler (USA), Robert McFadden (Canada), Robin Minard (Germany), Michael Naimark (USA), Lawrence Paul (Canada), Catherine Richards (Canada, consulting artist), Kathleen Rogers (England), David Rokeby (Canada), David Rothenberg (USA), Daniel Scheidt (Canada), Nell Tenhaaf (Canada, consulting artist), Chris Titterington (England), David Tomas (Canada), Fred Truck (USA), Inez van der Spec (Netherlands).
Mass Culture and Art 2 June - 10 August 1991—Iyad Almosawi (Canada), Ingrid Bachmann (Canada), Rebecca Belmore (Canada), Jody Berland (Canada), Steve-Michel Blondeau (Canada), Herménégilde Chiasson (Canada), Charles Cousins (Canada), Stefaan Decostere (Belgium), William Easton (USA), Faye Fayerman (USA), Nelson Henricks (Canada), Louis Hock (USA), Alison Knowles (USA), Graham Metson (Head of Summer Residency, Canada), Krzysztof Molenda (Poland), Wayne Morgan (Canada), Philip Morton (USA), Pat Oleszko (USA), Marielle Pelletier (Canada), Elizabeth Sisco (USA), Jon Winet (USA), Laurel Woodcock (Canada), Jordan Zinovich (USA).
1990-91
Neomythism 7 January - 15 March 1991—Arnaquaq Ashevak (Canada), Breda Beban (Yugoslavia), Shirley Bear (Canada), Noni Borpuzari (India), Richard Brixel (Sweden), Jack Butler (Canada), Magdalena Campos (Cuba), Vivian Darroch-Lozowski (Canada), Céline De Guise (Canada), Margo Farr (Canada), Coco Gordon (USA), Gilbert W. Hay (Canada), François Hébert (Canada), Hrvoje Horvatic (Yugoslavia), Vita Plume (Canada), Marie Ponchelet (France), Richard Purdy (Canada, consulting artist), William Ritchie (Canada), Ron Silvers (Canada), Andrzej Syska (Poland), Laurie Walker (Canada). Lorne Falk CV - 37
Untitled Fall Residency 17 September - 23 November 1990—Sharleen Alsford (Canada), Keith Donovan (Switzerland), Agnes Gramming (Germany), Walter Gramming (Germany), Richard Green (Canada), Dick Higgins (USA), Tito Honegger (Switzerland), Sanja Ivekovic (Yugoslavia), Laura Kikauka (Canada), Ien Lucas (Netherlands), Attila Richard Lukacs (Germany), Dalibor Martinis (Yugoslavia), Michael Morris (Germany, consulting artist), Bryan Mulvihill (Canada), Lisanne Nadeau (Canada), William Ritchie (Canada), Vincent Trasov (Germany, consulting artist), Keith Wallace (Canada), Futoshi Yoshizawa (Japan).
Border Culture 4 June - 10 August 1990—Elia Arce (USA), Renee Baert (Canada), Jose Bedia (Cuba), Magdalena Campos (Cuba), Angel Cosmos (Mexico), Lisa Friedlander (USA), Olga Gittelson (USA), Trevor Gould (Canada), Marina Grzinic (Yugoslavia), Jessica Hagedorn (USA), Rafael Lozano-Hemmer (Canada), Emily Hicks (USA, Summer Program Director), Neil MacInnis (Canada), Rita McKeough (Canada), Marlene Nourbese Philip (Canada), Vita Plume (Canada), Monique Régimbald-Zeiber (Canada), William Ritchie (Canada), Leslie Sampson (USA), Aina Smid (Yugoslavia).
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