Artist

Lorna Boschman

Born in Carrot River, Saskatchewan, Lorna Boschman has been a documentary and media artist for over twenty years. In March 2011, she will be a guest of Panorama of Quebec and Canadian Video, 29 FIFI Festival International Du Film Sur L’Art, in Montréal. Curated by Nicole Gingras, the program will present two retrospective evenings of media works directed by Lorna Boschman. Previously, her work has screened at international festivals and venues, including the Museum of Modern Art in New York. Two of her experimental documentaries are part of the collection at the National Gallery of Canada, and her videos have won numerous awards including the Kathleen Shannon and two Golden Sheaf Awards at the Yorkton Short Film and Video Festival. For almost a decade, Boschman worked at Video In Studios (now VIVO), an artist-run media arts centre in Vancouver as an administrator and instructor.

Since 2000, Boschman has directed several videos, including Before the New Millennium (2007) about the performances of Kiss & Tell, a Vancouver-based collective whose work examined lesbian sexuality and censorship. Boschman previously directed Drawing the Line (1992) and True Inversions (1992) about earlier Kiss & Tell projects. For two years, Boschman directed a media workshop, teaching adults with developmental disabilities to direct videos about what citizenship and community meant to them. Jointly sponsored by the National Film Board of Canada (Pacific region) and the Burnaby Association for Community Inclusion, the project was documented as this ability (2006). Most recently, Boschman joined artists Vicki Moulder and T’Uy’Tanat-Cease Wyss to create The Talking Poles (2009-10), interactive sound sculptures that respond to people walking in a greenway by playing messages to future generations from local community members. The project was sponsored by the City of Surrey as a result of the city’s designation as a Cultural Capital of Canada.

In 2010, Boschman is a PhD candidate at Simon Fraser University’s School of Interactive Arts and Technology. Her research interests include studying how novice directors use digital media to communicate, and how women over forty use digital fitness games to support a program of physical activity.

Videography

Before the New Millennium

2007, 26:56 minutes, colour, English

Walking Woman

2004, 27:24 minutes, colour, English w Fr. sub

kickstART! A Celebration

2003, 13:00 minutes, Colour, English

BoyGirl

1999, 14:00 minutes, colour, English

Dr. Lorna's Seven Day Poodle Diet

1998, 53:00 minutes, colour, English

A Cancer Video

1996, 23:00 minutes, colour, English

Sunnybrook

1995, 45:00 minutes, colour, English

Fat World

1994, 25:00 minutes, colour, English

Big Fat Slenderella

1993, 15:00 minutes, colour

True Inversions

1992, 24:00 minutes, colour

Drawing The Line

1992, 07:30 minutes, B&W, English

Doing Time

1991, 27:00 minutes, colour, English

Family Secrets

1990, 06:00 minutes, colour

Our Normal Childhood

1988, 11:25 minutes, colour, English

Butch/Femme In Paradise

1988, 05:00 minutes, colour

Scars

1987, 11:37 minutes, colour, English

Critical Writing

The (fetishistic) cut
by Jean-Paul Kelly. "(Mary, Mary) Are these the hands that cut?", 2006. Toronto: Pleasure Dome, 2006.
The Absurdity of Dieting
by Cynthia Sharp. Kinesis, Mar. 1998.
Seven Day Poodle Diet spoofs our obsession with weight loss
by Fiona Hughes. Vancouver Courier, Mar. 1, 1998.
La rentrée vidéo
by Marie-Michèle Cron. VOIR (Montréal edition), Aug. 28, 1997.
Smashing Icons: Vancouver Feminist Video Art and the Female Body
by Jennifer Blair. C Magazine, Fall 1994, no. 43.
Women in focus for independent filmakers' meet
by Susan Walker. The Toronto Star, June 9, 1994.
Twenty Bold, Brash and Beautiful Years
by Lynn Wanyeki. Fuse, Spring 1994, v. 17, no. 3.
Beyond Queer Alibis / Thoughts on The Fruit Machine and Little...
by Thomas Waugh. Parallelogramme, 1994, v. 20, no. 3.
The Fruit Machine
by Thomas Waugh. Cinematheque Film Programme Guide, Fall 1994. Toronto: Cinematheque Ontario, 1994.
Retrospective gives voice to silenced women
by Karen X Tulchinsky. Xtra! West, May 20, 1994, no. XW20.
Images 93 an exercise in temptation
by Cameron Bailey. NOW, Apr. 22, 1993, v. 12, no. 34.
Flesh Thefts:: Poaching in Popular Culture
by Lisa Robertson. Parallelogramme, 1993, v. 18, no. 4.
Survey samples Images' scintillating indie talents: Images 92...
by Cameron Bailey. Now, Apr. 23, 1992, v. 11, no. 34.
A Parade of Memorable Images
by Noah Cowan. EYE WEEKLY, Apr. 23, 1992, no. 98.
Fourth New York Lesbian and Gay Experimental Film Festival
by Susan Kealey. Fuse, Winter 1991, v. 14, no. 3.
The Video and Film by Artists series: Recent Acquisitions
by Susan Ditta. National Gallery of Canada, 1990.
Images '89
by Donna Lypchuk. Cinema Canada, Sept. 1989.
Hot Tramp, I Love You So!: Rebel Girls: A Survey of Canadian...
by Christine Conley. Fuse, Fall 1989, v. 13, no. 1 & 2.
Cinema Canada: Festivals
by *Not Documented. Cinema Canada, Sept. 1989.
Locked Out of the Women's Room: Montreal International Festival of...
by José Arroyo and Jamie Gaetz. Cinema Canada, 1988, no. 155.
Cold Snaps: Images 88, Northern Visions showcase of new film and video
by Andrew J. Patterson. Cinema Canada, Sept. 1988, no. 155.
Video Verities
by Andrew O'Hehir. San Francisco Sentinel, June 17, 1988, v. 16, no. 25.