Born in CA, lived in NYC 21 years, now back in CA
Education: Fellow 2004-2005 NYU Psychoanalytic Center
Ph.D. 2003 Art History and Theory, University of Essex Dissertation: Picasso Seizes Donald Duck: An Analysis of Disney Images in Contemporary Art
Advisor: Dr. Neil Cox, Examiners: Professor Peter Selz and Dr. Michaela Geilbelhausen
M.A. ABD Economics, UCLA M.S. Public Health, Behavioral Science Division, UCLA National Institute of Mental Health Fellowship Thesis: Non-Verbal Communication Between Doctor-Patient
B.A Economics, UCLA
Art Courses: UCLA and Otis Parsons
Professional Teaching Experience:
2005 Studio Instructor, Sculpture & New Genre, Summer Residency Program, SVA, New York
1995-96 Visiting Assistant Professor, UCLA Art Department
1997-1998 Studio Program Instructor, Drawing, Palo Alto Art Center Palo Alto, CA
Professional Service:
2004-present Founder and Director AC Institute + ACBOOKS
2016-2017 Member Mamaroneck Arts Council
2008-2012 President of the Board, American Friends of the University of Essex
2003 Teaching Fellow, (Visiting Artist and Scholar Lectures) The New Museum of Contemporary Art, New York
1995 SPACES: Project Arts: A Collaboration: arts, education, and the community. Created project & supervised two interior spaces at the Bell Shelter, a homeless shelter for 300 people in South Central Los Angeles, by UCLA undergraduate art and design students
Publications: Published Documentation & Artist’s Books:
“Hyperallergic: A Model for Art Criticism and Cultural in the Digital Age,” Art Criticism in the Age of Virtuality and Democracy, 2018 AICA International Conference, Taipei (published conference papers.)
7 Days, My Art Life, project & ed. by Holly Crawford, AC Books, 2017.
Claude Closky, Barking and Meowing at AC Institute, NY, a pseudo-monograph and collaborative project with Holly Crawford writing the non-essay essay. AC Books, 2017.
Critical Conversations in a Limo, Melbourne and San Francisco, (transcript of conversations) project & edited by Holly Crawford, AC Books, 2014
Outsourced Critics & Critical Conversations in a Limo, Holly Crawford, project by & editor, AC Books, 2013.
13 Ways of Looking at a Blackbird, 2002-2012, Lokke, 2013
Economic Crisis Observatory, A Service Economy: Atlantic City, Lokke, 2013
Consumed, (photographs), Lokke, 2013 Orphans Offered Up, Lokke, 2013
Hyphens, Five Senses, Lokke, 2012 (photo-documents of performance/installation)
Primary Connection Lost, First Scar, Lokke, 2012 (photodocumentation of performance/installation).
Voices Over Art, Lokke, 2012
Published Poetry:
Voice Overs, 2019, DeliciousLine (online art and cultural magazine).
“Emily Dashing” and “Duchamp,” in Last Vispo Anthology Visual Poetry, 1998-2008 edited by Crag Hill &Nico Vassilakis, Fantagraphics, 2012.
Entropy Slices, Lokke, 2012.
Down the Rabbit Hole, with essay by Peter Frank, Lokke, 2012 (five punctuation chapbooks combined with essay)
Buttons, Hooks & Eyes, Lokke, 2012.
“Voice Over—5th Ave Dressing,” published in Van Gogh’s Ear, edited by Ian Ayers, French Connection Press (Paris), 2010.
Three poems from Buttons, Hook, & Eyes published in Van Gogh’s Ear, edited by Ian Ayers, Winter 2005.
{S}0111 from Entropy Slices published in Van Gogh’s Ear (number 3) (New York) and French Connection Press (Paris), edited by Ian Ayres, Winter, 2004.
Found Narrative Project, 2 poems, near south, edited by Garin Cycholl, no.4, Fall 2003.
. ikhnos, three concrete poems, published in Proliferations, no. 5, 1999. Edited by Mary Burger and Chris Vitiello. Distributed by Small Press Distribution, Berkeley, CA.
Books, edited books, chapters, and catalogue essays:
Barking and Meowing, Claude Closky, with essay by Holly Crawford, artist book that is a pseudo-monograph with pseudo-essay. AC Books, 2017.
eat this, Detroit, collaged photographs, (t)here, art magazine, vol 16, 2016.
“Critical Conversations in a Limo, An Experimental & Collaborative Vehicle in Art and the Unexpected: Please Feel Free to Interrupt and Intervene,” essay in Viz. Inter-Arts, Interventions, A Trans-Genre Anthology, ed. by Roxanne Power, UC Santa Cruz, 2016.
Art is Alive! & Robert Fillou, catalog essay, Proposition Art Fair, Brussels, 2015.
Art Engaging Gangs, catalogue essay, AC Books, 2013.
Claude Closky, catalogue essay, AC Institute, 2012.
“Who Gets to Play?’ in Popular Culture Values and the Arts Essays on Elitism versus Democratization: edited by Ray B. Browne and Lawrence A. Kreiser, McFarland, 2009.
Catalogue essay “Disney and Pop Art”, Once Upon a Time Disney, Grand Palais and Fine Art Museum, Montreal, 2008.
Artistic Bedfellows (editor), UPA/Roman & Littlefield, 2008.
“Temporary Bedfellows:Claes Oldenburg, Maurice Tuchman and Disney,” essay in Artistic Bedfellows, 2008.
“Having Their Cake and Eating It Too: The case of Christo’s and Jeanne-Claude’s Im(permanence) and Exclusivity,” essay in Artistic Bedfellows, 2008.
“Disney and Pop Art”, Once Upon a Time Disney, Bruno Girveau, (Editor & Curator) Grand Palais and Fine Art Museum, Montreal (two editions-one in French and one in English) Prestel, 2007.
Attached to the Mouse, Disney and Contemporary Art (2006) UPA/Roman & Littlefield, 2006.
“What’s New,” catalogue essay, DIVA (Digital and Video Art Fair), Paris, 2005.
DVD and Videos: Economic Crisis, The Preview, (4.5 min) 2012, part of Economic Crisis Observatory (by Holly Crawford) installation Beacon Arts Building, Los Angeles, 2012.
Critical Conversations in a Limo, The Trailer, (3 min) 2010, U. Mass, Amherst, 2011.
Critical Conversations in a Limo, NYC, Melbourne & San Francisco, project created and edited. 8 DVDs, 18 hours, 2006-2009. Screened University of Essex, UK, 2010
Found Punctuation, 2006. Screened the Tate Modern, Breath Conference
Selected exhibitions, performances, site specific installations:
2023 “In the Spirit of Art,” Jeffery Vallance, Doug Harvey & Holly Crawford, installation, Platforms Art Fair, Athens, Greece
2022 “The Art Museum Is My New Studio, Silence Drew Off,” digital/analog installation, Darling Pearls, Platforms Athens Greece
Alchemy of Art and the Gift, Fringe Art, Bath UK
2021 “Laughing With Medusa, The Silence Drew Off,” a few pieces Darling Pearls, Platforms Athens
2020
Holly Crawford Zooming (text performance) part of Darling Pearls participants, Platforms, Athens Greece. (Online)
The Silence Drew Off, Laughing With Medusa, (solo) Darling Pearls, London
2019 The Silence Drew Off, Laughing With Medusa, (group exhibition) London.
“The Idiosyncratic Pencil Resharpened,” group exhibition, Elizabeth Stone Harper Gallery, Presbyterian College, Clinton, N.C.
2018 Homo Artificialis Nomine, But Will YOU Play with ME? Platforms, Athens, Greece.
The Idiosyncratic Pencil, (group) curated by Ann Stoddard, Curator of Harper Gallery, Presbyterian College, South Carolina.
2017
The Receptionist in Waiting Room, (What’s Your Past, Present and Future), installation/performance with Roberta Marroquin, Others Art Fair, Torino, It.
If I’m…who are you? So sorry. performance (short version), Borders, curated by Jeanette Doyle, CAD (Dublin) at the Research Pavilion, Venice Biennale, Oct 1, 2017
Critical Conversations in a Limo/Outsourced Critics; 7 Days, My Art Life; Claude Closky Barking and Meowing with non-essay essay by Holly Crawford, Claude Closky text projects exhibited, Centre Pompidou’s 40th Anniversary, France
Art Alchemy and the Gift, participation performance, Economia, Natlab, Eindhoven, NL, (catalog)
2016 Ants on a Shrimp, Thoughts, performance at the Arena Theatre, as part of Dirty Practice, Wolverhampton Art School, Wolverhampton UK.
2015 Through A Cell, in Time and Space, Darkly, installation in a former prison with Roberta Marroquin, Others Art Fair, Torino It.
Project Art Alchemy, participation performance, Others Art Fair, Torino, It.
2014 RedDot, performance and installation, collaborating with Jonanthon Keats, Propositions, Brussels
2013 Essence of the Rock, Engineer’s Office Gallery, NYC, September 2013.
Open Ended, an visual narrative, a participation internet project with Seth Carnes, AC Institute
13 Ways of Looking at a Blackbird, #8, Art Box #508 (pop up space Chelsea) NYC
“Pinky and Blue Boy, the Numbers Game” in Enact, Art in the Mind, Oberlin College, curated by Ann Torke & Nanette Yannuzzi, an online exhibition, May 6- , http://enact-artinthemind.com/holly-crawford.html
2012 13 Ways of Looking at a Blackbird, Gallerie Bosque Nativo, Puerto Varas, Chile
Economic Crisis Observatory (site specific installation and performance) in “Capital Offense, The End(s) of Capitalism,” curated by Jennifer Gradecki & Renée Fox, Beacon Arts Building, Los Angeles, CA.
2011 Chess with Duchamp, project by Holly Crawford, AC Institute, NY
Economies of Resistance, group exhibition, curated by John O’Hara, Wolstenholme Creative Space, Liverpool, UK
(inside ) joke, curated by Sherry Mayo, Augusta Savage Gallery, U. Mass, Amherst, MA
2010 Holly Crawford, Live &. Lakeside Theatre Gallery, University of Essex. UK
Imaging the Apple: curated by John R. Neeson and Elizabeth Gower, AC Institute, NY (catalogue)
Orphans Offered Up, installation, empty gallery (500), 547 W. 27th St, NYC (http://zingmagazine.com/drupal/node/1137)
2009 Voice Over NY to Wels, special twittered performance, as part of Soundleak Room by O.blaat, Medien Kultur Haus, Wels, Austria.
May I have your autograph? Miami Basel Art Fair
Pan-demonium, curated by Gillian Whiteley, AC Institute, NYC
2008 Live in the Limo, Armory Art Fair, curated with Sonja Hofer.
The bone, AC Institute [Chapel], NYC.
2007 Flatland Limo, curated project, Amory Art Fair, NYC
13 Ways of Looking at a Blackbird-SeOne, London,
13 Ways of Looking at a Blackbird, The Lab (Roger Smith), NYC
Emily Dashing, screening, Take a Deep Breath, Tate Modern, UK
2006 Sound Art Limo, curated project, dj, Armory Art Fair, NYC
2005 Outsouced Critics &Critical Conversations in a Limo, Armory Art Fair, NY
13 Ways of Looking at a Blackbird, Color Elefante, Valencia, Spain
Entropy Slices–12 Voices performance, Bowery Poetry Club, NYC, November 5.
Found Punctuation, performance, Bowery Poetry Club, March 17.
“Hyphens-Five Senses,” performance/installation, Brown Bag Contemporary, Photo San Francisco
*”Open Adoption for Art–Looking for a New Relationship,” installation, Pool Art Fair, Room 722, NYC, July 7-10.
Altered Book, Monument Rock, Dan Waber Project, Dan Waber-Holly Crawford, 2005-2009.
2004 13 Ways of Looking at a Blackbird, Berliner Kunst Projekt.
Open Adoption of Art. Intervention. (print project, full page in New York, Chicago, West Coast Gallery Guide, May 2004 & Arts Newspaper.
Hyphens-Primary Connection, performance/installation, Basel-Miami Art Fair, NY Arts
Hyphens-Five Senses, performance/installation, Broadway Gallery, Photo NY,
2002
Performance of Found Punctuation. Beyond Baroque, Los Angeles CA. July 27, 2002
Writer’s Block, a text ball, approximately 4’x 4’, site specific installation. Beyond Baroque, Los Angeles, CA.
13 Ways of Looking at a Blackbird: Florence, United States Consulate Art Gallery, Florence, Italy
1997 Offerings, .net participant, Prix Ars Electronica, Linz, Austria.
The Dinner Party, Will You Play with Me? audio installation, earart, 1078 Gallery, Chico, CA, curated by William Houck.
Dreams of Life and Death, The Living Room, Santa Monica, CA.
1996 The Dinner Party, Will You Play with Me? audio installations, Hotel Triton Contemporary Art Fair, Biennial, David Raymond Fine Art, suite #221, San Francisco, CA.
Offerings , Water! Water$ Water?, and Road: The Century Freeway, The Benicia City Art Gallery, Benicia, CA.
Empty Bluebooks, QUESTIONING EQUALITY: An Artistic Dialogue, site specific installation, Riverside Art Museum, Riverside, CA.
Offerings, audio installation, Centennial Forum and Student Union, Loyola University Chicago, Illinois.
1995 Offerings, audio, KXLU, as part of the program “FRAY,” producer Christine Palma.
1994 (Whose) Water! Water$ Water?, Installation, Indian Water Rights Conference, Stanford Law School, Kresge Auditorium, Stanford University, Stanford CA.
Water! Water$ Water?, Installation ( visual version two), Stanford School Law Library, Stanford, CA.
Water! Water$ Water?, installation, Artists on Water, Vacaville Museum, Vacaville, CA,
Offerings, serialized installation of project on Music/Arts Forum ( The Lobby message board), The Living History Forum (20th Century message board) and The Literary Forum (The Art of Writing message board) (CompuServe).
1993 Road: Century Freeway Project and Water! Water$ Water? installations, Museum of Art, Downey CA.
1992 Water! Water$ Water? installation Euphrat Museum of Art, De Anza College, Cupertino CA.
Road: Century Freeway Project, installation California Department of Housing, Ingelwood, CA.
Five Years of Accessions, Art Collection of the Federal Reserve Board, Federal Reserve Board Gallery, Washington DC.
Implications, Center for Polish Sculpture, Oronsko, Poland in 1991and 1992, Warsaw Poland.
Feminine Ascension: Pegan Brooke, Holly Crawford, Jenny Quint, Phyllis Shafer, and Linda Stark, curated by David Walker Momentum Gallery Ventura Arts Council, Ventura, CA.
Choices, LACE (Los Angeles Contemporary Exhibitions), Los Angeles, CA.
1991 Road: Century Freeway Project, installation South Bay Contemporary Museum of Art, Torrance, CA. (two person exhibition).
Group Show, David Lewinson Gallery, Del Mar, CA.
1990 Holly Crawford: Roots, selected paintings and pastels. Wade Gallery, Los Angeles, CA.
Holly Crawford: Prints, small monotypes, John Thomas Gallery, Los Angeles, CA.
Holly Crawford: Form, Land: Land, Form, paintings, drawings, and monotypes.
Rebecca Cabo Gallery, La Jolla, CA.
Wallworks, juried by Peter Frank, LA Artcore Los Angeles, CA. Summer Group Show
Wade Gallery, Los Angeles. CA. Gallery Artists
Rebecca Cabo Gallery (formerly Gwydion Gallery), La Jolla, CA.
1989 Holly Crawford: Furnishings, paintings and drawings and monotypes, Gwydion Gallery, La Jolla, CA.
Winter Show, Gwydion Gallery, La Jolla, CA.
Summer Group Show, Gwydion Gallery, La Jolla, CA.
1988 Holly Crawford: Paintings, Drawings, and Monotypes, Gwydion Gallery, La Jolla, CA.
Prints from Angeles Press, group, Conejo Valley Art Museum, Conejo, CA.
1987 Salon Des Independents 1864-1987. Richard/Bennett Gallery, Los Angeles.
An Exhibition in Progress, Five Artists, Gwydion Gallery, La JollaPeople, Places and Things, Merrill Lynch Building, La Jolla, CA. Curated by Cora Boyd.
Black & White II, Southern California Women’s Caucus on Art, The Art Gallery, Los Angeles, CA.
Positive Negative III, Carroll Reece Museum, Tennessee. Juried by Lisa Phillips, Associate Curator, The Whitney Museum of American Art, New York City.
1986 Art and Biology, UCLA, Biomedical Library, Los Angeles, CA.
1985 Works on Paper, A to Z, Bernard Jacobson Gallery, Los Angeles, CA.
1984 Art & Soul, Stella Polaris Gallery, Los Angeles, CA.
4th Annual Exhibition, SCWCA, Los Angeles Harbor College, CA. Juried by Melinda Wortz, Director, UC Irvine Gallery.
1983 Future World, Will You Play? participation/installation, Future World, Los Angeles Convention Center, Los Angeles, CA.
Artist’s Residencies:
2019 Dirty Practice, 6 hours online, University of Wolverhampton Art School, UK
2017 Dirty Practice, University of Wolverhampton Art School, UK
2016 Dirty Practice, University of Wolverhampton Art School, Wolvenhampton, UK
2010 University of Essex, Art History and Theory, Lakeside Gallery, UK
1991 Notaro Intl. Exhibit, Sculpture Center of Poland, Oronsko, Poland.
Press: Holly Crawford & Roberta Marroquin, Work and Word, covers 3 projects with images, pg. 104-105, art.es, no. 73-74, 2018. 7 Days, Books, pg. 126, art.es, no. 73-74, 20018. Alessandro Berni, The Magnificent 9 New York. The Week of Renzo Piano, Artribune, Newsletter, 13 maniere di guardare un Uccello nero. July 5, 20012 Christine Palma, interview, Echo in the Sense, KXLU, Jan 29, 2012 and blog review posted Feb 13, 2012 http://echointhesense.com/site/2012/02/holly-crawford-economic-crisis-observatory/ Megan Garwood, “Do You ‘include yourself in that us or not?’” On-the Verge, Alternative Art Criticism (online journal, CUE Foundation, NYC), May 15, 2011. Rie Kasini Kadour, “Jason Hackenwerth at the Firehouse,” Art Map Burlington June 6, 2009 (review of his work had a paragraph on my installations) Jeffrey Cyphers Wright, Chelsea Now, September 19, 2009: “Dancers and Demons in the Domains of Art” Daniel Durning interview with Holly Crawford, WPS1 Radio, May 19, 2008: “Edition #24: Flatland Limo” Amanda Smith, ABC National Radio, October 14, 2007, “Artworks: Art in a Limo” James Panero, The New Criterion, April 2007: “Art, The New York Art Fairs” everywherethereandhere.blogspot.com, October 18, 2007: “Art Movement” stunned.org, 2007: “Sound Art Limo” Jacquelyn Lewis, ARTINFO.com, February 23, 2007: “Armory Wee: Sound Art to Go, in Style” artnet.com, January 25, 2007: “Artnet News” Michael Dwyer, The Age, Oct 5, 2007: “Scamming the Festival” Stephanie Bunbury, The Age, October 19, 2007: “Art That’s Going Places” Fenella Kernebone, reporter and producer, ABCTV National Sunday October 21, 2007: “Sound Art Limo” Interview Holly Crawford, “art on words,” art.es, no. 17, 2007. (Article on Critical Conversations in a Limo, New York published in art.es.) Holland Cotter, New York Times, Art Review, March 10, 2006: “The World Tour Rolls into Town…” Jan Herman, ArtsJournal.com, March 10, 2006: “Here’s a Stretch” ARTINFO.com, March 13, 2006: “Review: Critical Conversations in a Limo” Hayden-Guest, FT, March 2006 Other Press for Critical Conversations in a Limo: Loretta Hall, “Mobile Talk stretched to the limo,” Herald Sun, Oct 17; Daniel Ziffer and Gabriella Coslovich, “Festival hits the right pitch,” The Age, Oct 20; Stephanie Bunbury, “Art That’s Going Places,” The Age, Oct 19; Lily Bragge, Sound and Art, 48 hours, the critical guide, Oct 20; ABC National TV, Sunday Arts Program, interview, October 21, ABC National Radio, Sunday Show with Helen Razer (interview) Oct 14; Fiona Gruber Public Radio, interview Oct 14 Papel Color Elefante, number 4, 2005, edited by Carles Casanova, Valencia, Spain, 2005 (installation photographs), n.p. Tara Dennard, ” Holly Crawford: Bursting New Bubbles,” NY Arts, Nov-December, 2004. (Posted at: www.nyartsmagazine.com/articles.php Lucy Gallun, “Holly Crawford: Deconstruction,” NY Arts magazine, Sept/October 2004 “Culture: Art-Florence, Public Will Be Able To ‘Blow Up Sculptures,’” Cultura E Scuola, Notiziario speciale per la Presidenza de Conisiglio, URL:http://www.adnkronos.com/news/prod/bolletti/history/2002/febbraio/cuifb2.htm Kay Turner. Beautiful Necessity. The art and meaning of women’s altars. London: Thames and Hudson, 1999. Hannes Leopoldseder and Christine Schopf. Cyber Arts, International Compendium Prix Ars Electronica. Vienna and New York: Springer, 1997. Enterprise-Record, “Here’s an art show you’ve never seen heard before,” by Michele French, Visual Arts Critic, Chico, May 24, 1997. Enterprise-Record, ‘Something New Up Your Ears,” Geoff Earl, Chico, CA. 1997. ZINES, http://c-zone.net/ehs/zines.htm, “Zines for the ’90′s”, review of Offerings by Patrick Joseph on web sites, November, 1996. “News &Announcements” (Report on the Bell shelter project), UCLA School of the Arts and Architecture, Fall 1995. The Vacaville Reporter, Billboard section, “Water Proof,” article by feature writer Brian Hamlin, April 1, 1994. The Fairfield Daily Republic, “Water Art,” review by Matt Peiken, March 25, 1994. Artists on Water, Solano County Water Series, catalogue Vacaville Museum, essay by Shelley Willis, guest curator, 1994. Artweek, “Make me an offer,” News, Leigh Ann Clifton, January 20, 1994. Press-Telegram (Long Beach), “Artist tackles social, political issues,” article by Peter Frank, Special to Press-Telegram, July 11, 1993. Press-Telegram (Long Beach), “The first look at the new Century Freeway,” article by Rachel D’Oro, staff writer, April 20, 1993. Visions, Art Quarterly, “Feminine Ascension, at the Momentum Gallery,” Ventura Arts Council, review by Joan Crowder, art critic, Spring 1993. “TREASURE: The Community College Enriching Our Lives, Focus De Anza,” catalogue Euphrat Art Museum, De Anza College, interview by Judy Goddess on Water! Water$ Water?, 1992. Los Angeles Times, “Arts and Entertainment, Women’s Work,” by Josef Woodward, Special to the Times, July 23, 1992. Star Free Press (Ventura), “Women’s Art,” by Lisa McKinnon staff writer, July 17, 1992. Los Angeles Times, “Art Reviews, Images of Choice,” July 9, 1992. Century Freeway Monthly Newsletter, “Local Art Exhibition Showcases Century Freeway,” by Sheryll Zangeneh, editor, May 1992. Federal Reserve Board, “The Art Collection of the Federal Reserve Board, Five Years of Accessions,” catalogue essay by Mary Anne Goley curator, 1992. Press-Telegram (Long Beach), “Artist’s Eye View” by Rachel D’Oro, Staff Writer, 12/27/1991. Los Angeles Times, “Calendar of Event, Best Bet” 12/22/91, article by Donnette Dunbar, Staff Writer. San Francisco Chronicle, “An Artwork is Unfurled,”D3, 10/10/1991 interview, Sam Whiting, Chronicle Staff Writer. Visions Art, Quarterly, “Views of the Land: Vital Force and Metaphors in Southern California,” feature article by Judith Christensen, art critic, Summer 1991. LA Weekly, “Holly Crawford–Pick of the Week,” by Peter Frank, art critic, December 14-20, 1990. Los Angeles Times, Sunday Calendar Section, 11/11/90; “first solo show.” article by Shauna Snow, Staff Art Critic. Artscene, “Previews,” highlighted painting, by Bill Lasrow, Editor, March 1990. “Monotypes,” Conejo Valley Art Museum Newsletter, 1988. Holly Crawford: Paintings, Drawings & amp; Monotypes, catalogue with Introduction essay by Peter Frank critic and independent curator, Gwydion Gallery, 1988. “Positive Negative III,” juried by and catalogue with statement by Lisa Phillips, Associate Curator Whitney Museum, East Tennessee University, 1987. “4th Annual Exhibition,” catalogue, Southern California Women’s Caucus on Art. Juried and essay by Melinda Wortz, Director, UC Irvine Gallery, 1984.
Other material: Multiples of Found Punctuation, a 12 minute VHS tape of my performance, with instructions and package for participating. Documentation from my Beyond Baroque performance, Los Angeles CA. July 27, 2002. The Dinner Party, 1996, Sound art CD, 4 minutes. Offerings, Sound art, 30 minutes, edition of 100, 1995-96. Offerings, a documentation of US legal-social history, edition of 200, 1993. Water! Water$ Water? text, edition of 200, 1992. Road: Century Freeway Project, a documentation text, edition of 200, 1991
Readings: CBGB, New York, Van Gogh’s Ear, reading and performance, 12/11/03. Beyond Baroque, Beyond Text Festival, 2002. The Factory School, audio, http://factoryschool.org/content/sounds/havanaglen.html, In the Sense’s performance, 2002. KXLU, Los Angeles, Christine Palma’s Echo In the Sense. Interview and reading (performance) of Hollow Dog, dog days, and parts of Entropy Slices, August 18, 2001 (CD documentation, 22 minutes).
Conferences:
“Hyperallergic: A Model for Art Criticism and Cultural in the Digital Age,” Art Criticism in the Age of Virtuality and Democracy, 2018 AICA International Conference, Taipei (published proceedings.)
“Iconic Images and Corporate Power: The Case of Mickey,” Open University, Icons Conference, Amsterdam, January 2018
“Anxious Object: Enemy Alien Medals from British WW1 Internment Camps,” Art Du Puissant, Objet Multiple: Medailles et Jeton, Colloque International, INHA, Paris, 30 Mar-1 April 2017
“The Artist Striped Naked, the public art of Zefrey Throwell,” Anarchist Studies Conference, Loughborough University, 3-5th September, 2012
(Im)permanence: Culture In/out of Time, Carnegie Mellon, presenter unpublished paper–”The Case of Christo and Jean Claude…” Oct-12-15. 2004
The Cleveland Art Institute, Symposium: “The Aethetic Object:Globalization, Commodification, and the Limits of Consumer Culture,” November 4-6, Unpublished paper on “Disneyfication of the Aesthetic Object,” keynote, session 1 hour talk on research and dissertation, November 5, 2004
Institutional Collections
Museum of Modern Art/Franklin Furnace/Artist Book Collection Board of Governors of the Federal Reserve System Gallery, Washington D.C. Warburg Pincus, Los Angeles Offices Los Angeles County Natural History Museum University of California, The Magnetic Fusion Library, Lawrence Livermore Labs, Livermore, CA The Springs Resort, Palm Springs, CA.
Member: AICA-USA