NAME: Gregory Sholette
COLLEGE: Queens College, City University of New York
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HIGHER EDUCATION
Degrees:
University of California, San Diego, CA / 9/1992-5/1995 /(MFA) Master of Fine Arts Visual Art: 1995.
The Cooper Union for the Advancement of Science & Art, NYC / 9/1977-5/1979/ (BFA) Bachelor of Fine Arts: 1979.
Bucks County Community College, Newtown, PA / 9/1975-5/1976/ (AS) Associate of Fine Arts: 1976.
Post-Graduate Studies:
The Whitney Museum Independent Studies Program, NYC / 9/1995–5/1996 /Helena Rubinstein Fellow in Critical Studies: 1996.
TEACHING
2008-present Queens College CUNY, Assistant Professor, Sculpture, Department of Art.
2013-2015 Harvard University, Associate Faculty Art, Design and the Public Domain, Graduate School of Design. (online)
2008– present Geneva University of Art & Design, Annual Seminar Leader, CCC: Post-Graduate Program. (online)
2011 (Spring) Harvard University, Visiting Professor of Art Theory, Department of Visual & Environmental Studies.
2007–2008 The Cooper Union, NYC, Adjunct Professor, Sculpture, 3D Foundation, Art Theory, School of Art.
2005–2007 New York University, Adjunct Professor, Art and Public Policy and Visual Studies Programs.
2006 Parsons School of Design, Adjunct Professor, Department of Art and Design Studies.
2004 Colgate University, Hamilton, NY, “Distinguished Batza Family Chair in Art and Art History” (see Honors below).
1999–2004 The School of the Art Institute of Chicago, Chair, Master of Arts in Arts Administration Program, and Assistant Professor of Arts xxxxxxxxxxxxxxxxx Administration and Visual Critical Studies Programs.
1997–1999 The Cooper Union, NYC, Adjunct Professor, Sculpture, 3D Foundation, Art Theory, School of Art.
1996–1997 Ramapo State College, NJ, Visiting Professor Art Theory, and Introduction to Graphics, Art Department.
Invited Classroom Seminars
2013 Seminar for Programme Master de recherché: CCC Research-Based Master, Geneva Switzerland, 1/14-16, 2013.
2011 Museo Reina Sofia, Madrid, Spain, seminars “ boundaries of the artistic sphere,” June 14 &15. (online)
2009 Tromsø, Art Academy, Norway, Seminar Leader and final studio critiques.
2008 Central European University, Budapest, Theory Seminars, Tranzit Free School/Art Theory/Practice.
2007 Malmö Art Academy, Sweden, Seminars, Post-Graduate Critical Studies Program.
2005 Eddin Foundation, Cairo, Egypt, Workshop Seminar for the Contemporary Image Collective (CIC).
Individual Mentoring (non CUNY)
2011 European University, Budapest: Member, Dissertation Committee, PhD Philosophy student Alina Asavei, Spring.
2011 New York University: Chair, Thesis Committee, MA student Libertad Guerra. Gallatin Division, Winter.
2010 Vermont College of the Fine Arts: Principal Mentor, Thesis Committee, MFA student Mallary Johnson, Fall.
2009 Whitney Museum Independent Studies Program mentor PhD Art History student, Julie Motz, Spring.
2009 California College of Art: San Francisco, CA External Mentor, MA Visual Studies Student, Matthew Rana, Spring.
2008 External Mentor, MA Thesis Curatorial Practice student Zachary R. Scholz. Fall.
2008 External Mentor, MA Thesis Curatorial Practice student Zoe Taleporos, California College of Art.
Other Than Teaching (experience at Queens College included)
2010- Present Co-Developed MFA Social Practice concentration with colleague Professor Maureen Connor and Queens Museum. (online)
2008- Present Co-organized Institute for Wishful Thinking group with Professor Connor and Queens College Graduate Students. (online)
2011– Present Member of the Home Workspace Program art program Curriculum Committee, Beirut, Lebanon. (online)
2013 Served as juror for the 1st Vera List Center’s Biennial Prize in Art & Politics (Theaster Gates, recipient).
2013 Peer-reviewed reader report of scholarly paper for CTheory journal 11/20.
2013 Peer-reviewed reader report of scholarly paper for the journal Art History (UK) 5/21.
2013 Peer-reviewed reader report of scholarly book proposal for Pluto Press (UK) 1/8.
2013 Peer-reviewed reader report of scholarly paper for Public Art Dialogue journal, Routledge, (UK) 5/22.
2012 Officiated major revisions to QC MFA curriculum requirements.
2011 Peer-reviewed reader report for a book proposal submitted to Manchester University Press, UK, Winter
2010 Peer-reviewed reader reports for two College Art Association Art Journal articles, Fall.
2010 Peer-reviewed report for contemporary art history book for Duke University Press, Spring.
2010 Served as grant evaluator for Social Sciences & Humanities Research Council Canada, Spring.
2008 Served as outside evaluator for proposed MFA program, New Jersey Institute of Technology, Newark, 3/3-15.
2003 Juror for the Lower Manhattan Cultural Council, Artist’s Residency Program, 10/10.
2003 Served as outside academic evaluator for University of Carolina at Charlotte, Visual Art Program. 3/26–29.
2007 Co-organizer “Publik Address,” conference supported by the Danish Art Council in NYC, 7/23–28. (online)
2007 Juror, Visual Arts Work Center, Provincetown, Winter Fellowships program, MA, 3/20.
1999-2000 Project Director, REPOhistory CIRCULATION project, New York, NY. (online)
1997-1998 The Curator of Education, New Museum of Contemporary Art, New York, NY. (online)
1996-1997 Special Projects Manager for The Public Art Fund, Inc. NYC including technical fabrication researcher for Rachel Whiteread’s resin-cast xxxxxxxxxxxx Water Tank sculpture now on extended view at the Museum of Modern Art, NYC.
1986-1991 Co-Owner/Operator PROTOcentrics, a commercial design and model-making company, Brooklyn NY.
ACADEMIC AND PROFESSIONAL HONORS
2013 “People’s Choice” for best Vera List Center panel over two decades re-staged and moderated by me on 3/17.
2012 Sculpture Center in Brooklyn displays selected works on their tumblr website. (online)
2004 Accorded the “Distinguished Batza Family Chair in Art and Art History,” Colgate University, New York. (online)
2004/05 Awarded Print Magazine’s “The Big Event Competition Alt Pick Graphic Design USA” shared with Nato Thompson and Arjen Noordeman xxxxxxxxxx for the book The Interventionists: A Users Manual for the Creative Disruption of Everyday Life.
2002 Outstanding Faculty Award, the School of the Art Institute of Chicago (SAIC).
2002 Scholarship Award from International Association for Professional Art Advisors as Chair, MAAP (SAIC).
2001 Multicultural Affairs Award as Chair, Master of Arts in Arts Administration MAAP, (SAIC).
2001 -2004 Elected member Board of the College Art Association, serving on the following committees:
xxxxxxxxxxxxxx-Chair of the Exhibition Committee Task Force
xxxxxxxxxxxxxx-Member of the Strategic Planning Task Force
xxxxxxxxxxxxxx-Member of the Annual Conference Committee
xxxxxxxxxxxxxx-Member of the Frank Jewett Mather Award Committee honoring the Guerrilla Girls (2004). (online)
xxxxxxxxxxxxxx-Member Transparency and Communication Task Force
xxxxxxxxxxxxxx-Member of the CAA Nominating Committee
1997 Awarded Warren Tanner Memorial Art Fund by Organization of Independent Artists, NYC.
1995 Awarded Helena Rubinstein Fellowship in Critical Studies for the Whitney Independent Studies Program.
1999–2002 Board Member, The Swiss Institute, NY.
1992 Partial Masters Degree Scholarship to University of California, San Diego Visual Arts Department.
1977 Full Undergraduate Degree Scholarship for The Cooper Union for the Advancement of Art and Science.
1977 Full Scholarship Degree for School of Visual Arts (declined to attend Cooper Union instead).
MEMBERSHIP IN PROFESSIONAL SOCIETIES
2000–present Member, the International Association of Art Critics, AICA.
1995-present College Art Association
2001–present Member CAA Radical Art Caucus (College Art Association Affiliated Society).
BOOKS and other MONOGRAPHS (* peer reviewed) (online)
1. Published since initial appointment at Queens College:
Book
Dark Matter: Art and Politics in the Age of Enterprise Culture. London: Pluto Press. New York American distributor: Palgrave Macmillan. Second edition: September 2011. * (online) [Turkish translation here 2013, Spanish translation in progress: Google Scholarly Citations: 110]
Edited Volume
It’s The Political Economy, Stupid: The Global Financial Crisis in Art and Theory. Co-edited with Oliver Ressler, London: Pluto Press, 2013. (Published in conjunction with a traveling exhibition of same name curated by the editors). (online) [Google Scholarly Citations: 3]
2. Published prior to initial appointment:
Edited Volumes
Collectivism After Modernism: The Art of Social Imagination after 1945. Co-edited with Blake Stimson. Minneapolis: University of Minnesota Press, 2006.* (online) [Serbian translation by Ksenija Todorović, CLIO Publishing Co., Beograd. Google Scholarly Citations : 168 ]
The Interventionists: A Manuel for the Creative Disruption of Everyday Life. Co-edited with Nato Thompson and published in conjunction with the exhibition “The Interventionists,” Massachusetts Museum of Contemporary Art, May 29, 2004, 2nd, 3rd Printings 2005 published by MIT Press in association with the Massachusetts Museum of Contemporary Art. (online) [Google Scholarly Citations: 123]
JOURNAL ARTICLES (*Refereed journals) (online)
1. Published since initial appointment:
Special Journal Issue Co-Edited
“Whither Tactical Media?” A special thematic issue co-edited with Gene Ray, London UK, Third Text, Vol. 22, No. 5, 2008.* (online)
Articles, Catalog Essays, Reports
“Richard Whitlock’s The Street,” a discussion with the artist about his video installation at Queens College, Klapper Hall, Afterimage, Winter Issue, 2013. (online)
“Stefanos Tsivopoulos and the Fiscal Unconscious.” Essay for History Zero, 55th International La Biennale Di Venezia, Greek Pavilion, Hellenic Republic Ministry of Education and Religious Affairs, 2013. Pp 66-75.
October Magazine, Special Issue: “Questions about Occupy Movement,” MIT Publications, #142, Fall, 2013.
“Artists, Embrace your Redundancy.” An Introduction to Gregory Sholette’s “Dark Matter: Art and Politics in the Age of Enterprise,” Manifesta Journal, #15 (semi-annual), 2012. pp 36-37. (online)
“After OWS: Social Practice Art, Abstraction, and the Limits of the Social.” e-flux issue no. 31. January, 2012. (online)
“Come on Comrades, Lets Occupy the Museum. Again.” Texte Zur Kunst, Issue Nr. 85 / March, 2012. pp 174-180. [Spanish translation in progress.] (online)
“Come to the light you activist artists: the promise lies ahead! (still).” Invisible Agent Magazine, published transcript of 2010 CAA presentation organized by Prof. Susan Ryan, LSU, Issue 12.1 2012. pp 36-38.
“Insel der Glückseligen: Von Boycott des Abu Dhabi Guggenheim zur Bewegung Occupy Wall Street.” Expanded version of Arts Asia Pacific report with photos by author and Hans Haacke, Springering, Austria, Band XXVII Heft 1 – Winter 2012. pp 48 – 51.
“Empire of Happiness,” a report on the Guggenheim Museum in Abu Dhabi, Arts Asia Pacific Magazine, November/December 2011 issue, pp 43. (online)
“Creative Time: Artists on the News.” Interview series for Huffington Post: Activism as Art: Shotgun Shacks. (online)
Saved Through Art-Based Revitalization, with Rick Lowe, Nov. 22, 2010. (online)
Artist Shows Supermax Prisons Supercruel, with Laurie Jo Reynolds, Oct. 31, 2010. (online)
“Critical Art Ensemble,” encyclopedia article, Grove Art Online, 2010.
“Minus 273 Celsius.” A report on censorship in New York for Third Text. Vol. 22, No. 4. July, 2008. pp. 495-499.
“State of the Union.” Artforum. April 2008. pp. 181-192.
“Swampwalls, Dark Matter, and the Lumpen Army of Art.” (Feature). Proximity Magazine. No. 7, Spring/Summer 2008. pp. 33-43.
“Gregory Sholette.” (Response to editor’s questions.) October. MIT Press, No.123, Winter, 2008. pp. 135-138.*
2. Published prior to initial appointment:
Articles, Catalog Essays, Reports
“Interventionist Art in an Age of Enterprise Culture.” Arte y Revolución in the age of enterprise culture. Eds. Brumaria collective (Spain) for Documenta 12 Magazine project, Kassel, Germany. 2007. pp. 11-132. (online)
“Alternative Economies: Taking Back the Dollar.” Transcript of a 2006 roundtable discussion held at the New School’s Vera List Foundation Art on Paper. Vol. 11, No. 6, July/August 2007. pp. 49-55.
“12 Notes on Collectivism.” Art Lies. No. 56. Winter, 2007. pp.18-19. [Reprinted in Korean and English by Vik Van Der Pol for the book +82, published by Insa Art Space, Seoul, S. Korea. 2006. pp. 42-47.]
“Report From Beirut: Days of Culture, Days of Siege.” Co-authored with Rasha Salti. Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 34, No. 2, Sept/Oct 2006. pp.10-13.
“Civil Disobedience as Art as Civil Disobedience: A conversation between Brian Holmes and Gregory Sholette.” Art Papers. Vol. 29, No.5. 2005. pp. 28-31.
“Dark matter into light: Round-table Discussion.” Gregory Sholette, Chris Gilbert, T. J. Demos, and Carlos Basualdo. Art Journal. Fall 2005. pp. 84-101.*
“Mysteries of the Creative Class: I Have Seen the Enemy and They Is Us.” MUTE magazine. Vol.1 #29. 2005. pp. 59-61
“Cram Session 02: Dark Matter.” Dark Matter and the Counter-Public Sphere. Exhibition brochure. Curated by Chris Gilbert. Baltimore Museum of Art. 2004.
“Dark Matter, Activist Art & the Counter-Public Sphere.” Journal of Aesthetics & Protest. Issue 3, June 2004.pp.12-25.
“Periodizing Collectivism.” Co-authored with Blake Stimson. Third Text, November 2004. pp. 573-584.* [Translated into Swedish in Glänta magazine, Winter, 2004. pp. 118-126.]
“Practice in critical times: a conversation with Gregory Sholette, Stephanie Smith, Temporary Services, and Jacqueline Terrassa.” Dan S. Wang. CAA Art Journal. Vol. 62, No. 2, Summer 2003. pp. 68-87.*
“Dark Matter.” Excerpts. Journal for Northeast Issues. No 2. Hamburg, Germany. 2006. pp. 13-19.
“REPOhistory: Anatomy of an Urban Art Collective.” Programming Kunstlerhaus Bremen: 1999–2001. Ed. Dorothee Richter. Nurnberg, Germany: Verlag Für Moderne Kunst. 2002. pp. 21-30.
“Authenticity Squared: REPOhistory’s Circulation.” New Art Examiner. Vol. 27, No. 4. pp. 20 – 23 & 71-72.
“Counting On Your Collective Silence: Notes on Activist Art as Collaborative Practice.” Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 27, No. 3, Nov/Dec 1999. pp. 18-20. [Reprinted in Urban Encounters. Exhibition brochure. New Museum of Contemporary Art, NYC.
“Nature as an Icon of Urban Resistance: Artists, Gentrification and New York City’s Lower East Side, 1979−1984.” Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 25, No. 2, Sept/Oct 1997. pp.17-20.
“A note about REPOhistory as collective practice.” Forward to exhibition catalog, Choice Histories: Framing Abortion. REPOhistory. Artists Space, NYC. 1992. p. 3. [See: Collaborative Practices, Box #6.]
CHAPTERS IN BOOKS/ANTHOLOGIES
1. Published since initial appointment:
“Public Art in a Post-Public World.” An encyclopedia article for Blackwell Companion to Public Art John Wiley and Sons, Inc. edited by Cher Krause Knight and Harret F. Senie, (Forthcoming 2016)
“Occupy The Art World?” In the book ECONOMY Art and the Subject after Postmodernism edited by Angela Dimitrakaki and Kirsten Lloyd, Liverpool University Press. (Forthcoming 2016)
“Fifty Shades of Red” in the book Valuing Labor in the Arts: A Practicum, Edited by Shannon Jackson, University of Berkeley Art Research Center, (in press).
“Occupology, Swarmology, Whateverology: the city of (dis)order verses the people’s archive,” Critical Digital Studies Reader. Edited by Marilouise and Arthur Kroker, University of Toronto Press, Canada, 2013. pp 283-292. (First published online for the College Art Association Art Journal, Internet edition, Winter 2011/2012.)* (online)
“Ellipses and Détente.” In the book Beyond the Aesthetic and the Anti-Aesthetic, edited by James Elkins, The Pennsylvania State University Press, (in press) 2013. pp. 139-142.*
“From radical solidarity to “whatever” collectivism Some thoughts on political art and the rise of post-Fordist enterprise culture.” For the book “In The Name of Art,” (sous la dir de), Au nom de l’art. Enquête sur le statut ambigu des appellations artistiques de 1945 à nos jours, editors Schneller Katia and Theodoropoulou Vanessa Paris, Publications de la Sorbonne, 2013. pp. 225–236.*
“The Academy from Below?” In the book Contestations: Learning From Critical Experiments in Education, Tim Ivison and Tom Vandeputte, Bedford Press, United Kingdom, (in press) 2013. pp 43-61.*
“Squatting Bruce Barber’s Sentences” for Littoral Art and Communicative Action: Writings by Artist Bruce Barber edited by Marc James Léger, Canada: Common Ground Publishers, 2013. pp. 129-137.
“Speaking Pie to Power.” Imagining Resistance: Visual Culture and Activism in Canada. Eds. J. Keri Cronin and Kirsty Robertson. Waterloo, Canada: Wilfrid Laurier University Press. 2011. pp. 27-48.
Afterword for the book, Revolution as an Eternal Dream: the Exemplary Failure of the Madame Binh Graphics Collective, by Mary Patten, Half Letter Press, Chicago, 2011. pp 66-71.
“Not Cool Enough to Catalog,” essay for the catalog publication Peace Press graphics 1967-1987: Art in the Pursuit of Social Change. Carol Wells, Ilee Kaplan, Long Beach : University Art Museum, California State University: Los Angeles : Center for the Study of Political Graphics, 2011, p. 91-107.
“Critical Transformations in Site Specific Art: 1989–2008.” Catalog essay for the Jamaica Arts Center exhibition catalog, Jamaica Flux: Workspaces & Windows 2007, Eds. Heng-Gil Han and Aniko Erdosi, Jamaica Art Center publication. 2008. pp. 18-25.
“Gifts of Resistance.” Commissioned essay for the exhibition catalog Periferic 8: Art as Gift, Biennial for Contemporary Art. Curator: Dora Hegyi, Vector Association. Iasi, Romania. 2008. pp. 129-137. (online)
2. Published prior to initial appointment:
“Questions from an Artist Who Reads (and Thinks, Writes, and Speaks).” Oliver Ressler:Alternative Economies, Alternative Societies, preface by Aneta Szlak. Gdadsk, Poland: Art/Wyspa Progress Foundation. Hungarian and German translated edition, 2008. pp. 11-20.
“Dark Matter, Activist Art and the Counter-Public Sphere.” As Radical As Reality Itself: Essays on Marxism and Art for the 21st Century. Eds. Matthew Beaumont, Andrew Hemingway, Leslie Esther and John Roberts. Oxford: Peter Lang, 2007. pp. 429-457.
“Disciplining the Avant-garde: the United States Vs Critical Art Ensemble.” The Uncertain States of America Reader. Eds. Brian Sholis and Noah Horowitz. Berlin: Sternberg Press/ Serpentine Gallery, London. 2007. pp. 132-144. Originally published in CIRCA (Dublin, Ireland) #112, 2005 pp 51-59; and in Croatian translation for a special issue of Frakcija magazine. No. 43-44. Zagreb, Croatia, 2008. pp. 130-138. (online)
“Secret Pockets: Aaron Gach interview.” Dataesthetics Reader. Ed. Stephen Wright. Published by Arkzin Zagreb, Croatia. 2006. pp. 16-19. First published in Art Papers. Winter, 2007. pp. 16-19.
“Heart of Darkness: A Journey into the Dark Matter of the Art World.” Visual Worlds Reader. Eds. John Hall, Blake Stimson. New York: Routledge. 2005. pp. 116-138.
“The Folds Of An Institution: Conversation Between Greg Sholette, Cesare Pietroiusti and Brett Bloom.” Anarchitexts: Voices from the Global Digital Resistance. Ed. Joanne Richardson. New York: Autonomedia Press. 2003. pp. 226-231. (online)
“Fidelity, Betrayal, Autonomy: Within and Beyond the Post Cold-War Art Museum.” Beyond the Box: Diverging Curatorial Practices. Ed. Melanie A. Townsend. Canada: Banff Centre Press. 2003. pp. 123-138.
“Some Call It Art: From Imaginary Autonomy to Autonomous Collectivity.” Duürfen Die Das? Kunst als sozialer Raum, Art/Education/Cultural Work/Communities. Eds. Stella Rollig and Eva S. Sturm. Wein, Austria: Verlag Turia & Kant. 2003. pp 161-184.
“Dangerous Liaisons,” Dan Peterman: 7 Deadly Sins…, Stephen Berg, Kunstverein Hannover, Germany. 2001. pp. 70-75.
“How To Best Serve the New Global Art Matrix.” Seiteneingänge: Museumsidee & Ausstellungsweisn, Eds. Roswitha Muttenthaler; Herbert Posch; Eva Sturm. Wein, Austria:Verlag Turia & Kant. 2000. pp.146-168.
“News from Nowhere.” Metropolenkultur:Kunst, Kultur und Politik in den Großstädten der 90er. Jahre. Ed. Jutta Held, Schriften Der Guernica-Gesellschaft. Weimer, Germany: VDG. 2000. pp. 227-249. Spanish Translation by Jorge Luis Marzo in Fotografia y Activism: Textos Y Prácticas (1979-2000), Fotoggrafia, Barcelona Spain, 2006. pp. 311-341.
“Waking Up to Smell of Coffee: Reflections on Art Theory and Practice.” Reimaging America: the Arts of Social Change. Eds. Mark O’Brien and Craig Little. New Society Publishers. 1990. pp. 25-33.
EXHIBITIONS, SCREENINGS, & COLLABORATIONS (online)
1. Solo Exhibitions since initial appointment:
2013 Gregory Sholette: Collectibles: Models, Action Figures, Objects, Station Independent Projects, New York, NY, 8/28-9/4, 2013. (online)
2013 Torrent digital media and installation, Printed Matter, New York, NY, 2/28-3/17. (online)
2012 Fifteen Islands for Robert Moses, mixed media installation, The Queens Museum of Art Panorama, Queens, NY, 2/4-5/20. (online)
2010 Mole Light, Plato’s Cave, Brooklyn, NY. (online)
Curating and Conceptual Collaborations since initial appointment
2014 Imaginary Archive: Kyiv, with invited guests, Kurbas Center, Kyiv, Ukraine, 4/9-23. (online)
2013 Imaginary Archive: Graz, with invited guests, <rotor> Gallery, Graz, Austria, 9/21-11/23. (online)
2011 Imaginary Archive: Galway, with invited guests, Gallery 55, Tulca Art Festival, Galway, Ireland. (online)
2010 Imaginary Archive: Wellington Collaboratorium, with invited guests, Enjoy Art Gallery, Wellington, New Zealand, 6/3-6/30. (online)
2012-2014 It’s The Political Economy, Stupid (co-organized with Oliver Ressler)
- Gallery Nova, Zagreb, Croatioa, 3/14-5/10, 2014
- Gallery 400, University of Illinois, Chicago, 11/1–12/14, 2013
- Center for Cultural Decontamination, Belgrade, Serbia, 9/30–10/6, 2013
- Pori Art Museum, Pori, FInland 1/1-5/26, 2013
- Thessaloniki Center of Contemporary Art, Thessaloniki, Greece, 6/27–10/14, 2012
- Austrian Cultural Forum New York, New York, NY 1/24– 4/12, 2012
- Open Space – Zentrum für Kunstprojekte, Vienna, Austria 3/16–4/25, 2011
2. Solo Exhibitions Prior to initial appointment.
2006 Gregory Sholette, Innenausstattung, Hamburg, Germany. 8/12- 9/2.
2004 Gregory Sholette: Selected Projects 1980–2003, Picker Art Gallery, Colgate University, Hamilton, NY. Catalog.
1997 Little Workers: Collectibles, Lower East Side Tenement Museum, New York, NY.
1995 Souvenirs for the End of the Century, New Langton Arts, San Francisco, CA.
1991 Art of the Pentagon, Printed Matter Bookstore, New York, NY.
Group Exhibitions
1. Since initial appointment:
2014 “Saadiyat Island Workers’ Quarters Collectable” for GulfLabor’s 52 weeks of Gulf Labor. 3D printed multiples shopped-dropped at the xxxxxxx Guggenheim Museum Gift Shop, with Matt Greco, 11/24.
2014 Critical Machines, AUB Gallery, Beirut, Lebanon, 3/6-7/26
2013 “Therefore I am,” for the exhibition Silhouette, Blackburn 20/20 space, Elizabeth Foundation, New York, NY, 3/1-30.
2013 Exposed Pipe, Byblos Bank Art Gallery, Beirut, Lebanon. 5/10-5/25. (online)
2013 “50 Unrealized Projects,” for the exhibition Dear Art, Moderna galerija Museum, Ljubljana, Slovenia, 11/29–2/24. (online)
2012 iDrone, for gallery@calit2, University of California, San Diego, CA, 10/18–11/14. (online)
2012 “REPOcommons,” for the exhibition Ruptures, The Cooper Union #42 Art Gallery, New York, NY, 9/4-10/13.
2012 “Lenin Visa Card,” for the exhibition Capital Offense, Beacon Art Gallery, Los Angeles, CA, 1/1– 3/11.
2011 Hip Hop Hope– 9/11 Ten Years Later (2-Person exhibition), Santa Fe Art Center, Santa Fe, NM, 9/12–10/31.
2011 “The Teeth of the Archive,” for exhibition Living As Form, Creative Time project, Essex Street Market, New York, NY, 9/24-10/16.
2011 “Artists in Residence for the US Government,” for Institute for Wishful Thinking (IWT), Momenta Art, Brooklyn, NY.
2010 Visiting Faculty Exhibition, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA.
2010 A World Where Many Worlds Fit, Foreman Art Gallery, Bishop College, Sherbrooke, Quebec, Canada.
2009 Collective Pedagogies and Spatial Politics: REPOhistory, Centro José Guerrero, Granada, Spain.
2008 Counter-Globalization Action Figure, Taipei International Art Biennial, Taipei Art Museum, Taipei, Taiwan.
2008 “Art as Gift,” Periferic 8: Biennial for Contemporary Art, Iasi, Romania. Curated by Dora Hegyi Iasi with the Institute for Wishful Thinking (IWT). xxxxxxx Catalog with commissioned essay by artist.
2008 “Still Life with Dead Fascists,” site-specific installation for the exhibition Unnamable Name, Tompkins County Public Library, Ithaca, NY, and xxxxxxx the Copenhagen Main Library, Denmark.
2008 Recipe, video screening at Work Space, Newark, NJ.
2. Prior to initial appointment.
2007 “Cannibal Tech,” installation with Janet Koenig, for the exhibit Weather Report: Art and Climate Change, Boulder Museum of Contemporary xxxxxxx Art, Boulder, CO. Curated by Lucy R. Lippard.
2007 Return of Atomic Ghosts, video screening, The Other Cinema, San Francisco, CA.
2006 Surviving Paradise, installation with Janet Koenig, Glyndor Art Gallery, Wave Hill, the Bronx, NY.
2006 Convergencia, Centro Cultural e Cali, Bogata, Columbia.
2006 Not Sheep: New Urban Enclosures and Commons, Artspeak Gallery, Vancouver, BC, Canada. (online)
2006 MapQuest, PS122 Art Gallery, New York, NY. Curated by Elena SoroKina
2006 Recipe, video screening, The Lower Manhattan Cultural Society, New York, NY.
2005 Knock at the Door, The Cooper Union and Anthology Film Archives, New York, NY.
2002 Critical Mass, Smart Museum of Art, University of Chicago, Chicago, IL.
2001 Hopscotch: Associative Leaps in the Construction of Narrative, CAA group exhibition, Painted Bride , Philadelphia, PA.
2000 CIRCULATION, REPOhistory graphic street decal for various streets and galleries, New York, NY.
2000 Fantastic Voyage, Monk Parakeet, Chicago, IL.
2000 Carnival in the Eye of the Storm: War/Art/New Technologies: KOSOVO, Pacific Northwest College of Art, Portland, OR. Curated by Trebor xxxxxxx Scholz.
1998 “Kids Rights: 1, 2 & 3,” digital images on 24” X 36” metal street signs in public spaces of NYC for REPOhistory project Civil Disturbances, xxxxxxxx New York, NY.
1996 Counter Culture, Exit Art, New York, NY.
1994 “disLOCATIONS,” site-specific installation with Janet Koenig, InSITE ’94, Visual Art Center Gallery, San Diego, CA and La Cultura, Tijuana, xxxxxxx Mexico.
1992 Re-Imagining America, Randolph Street Gallery, Chicago, IL.
1992 The Other J.P.Morgan, REPOhistory site-specific silk-screened metal sign at Exchange Place, New York, NY.
1991 Artists of Conscience: 16 years…, with Janet Koenig, The Alternative Museum, New York, NY. Catalog.
1991 Re-Imagining America, Momenta Art, Philadelphia, PA.
1990 Artists Respond to AIDS, Painted Bride Art Center, Philadelphia, PA. Catalog.
1989 If You Lived Here, DIA Art Foundation Gallery, New York, NY. Curated by Martha Rosler. With a book edited by Brian Wallis & Rosler (New xxxxxxx Press, 1998).
1989 Dia De Los Muertos II, The Alternative Museum, New York, NY.
1988 “Committed to Print,” with Janet Koenig, from the Group Material Subculture project. The Museum of Modern Art, New York, NY. Catalog & xxxxxxx traveling exhibition.
1988 Unknown Secrets: Art of the Rosenberg Era, curated by Nina Felshin and Rob A. Okun, including work by David Wojnarowicz, Adrian Piper, xxxxxxx Sue Coe and others, Installation Gallery, San Diego; Otis/Parsons Gallery, LA; Aspen Art Museum, CO. Catalog; The Rosenbergs: Collected xxxxxxx Visions of Artists and Writers. Ed. Rob A. Okun (New York: Universe Books, 1988).
1988 The Whole World is Watching, Randolph Street Gallery, Chicago IL. Catalog.
1987 Power and Money, Franklin Furnace, New York, NY.
1986 MASS, installation with Group Material, The New Museum of Contemporary Art, New York, NY.
1985 Disinformation: the Manufacture of Consent, including work by Leon Golub, Alfredo Jaar, and Nancy Spero, The Alternative Museum, New xxxxxx York, NY. Catalog essay by Noam Chomsky.
1985 Art Against Apartheid, Black Arts Festival, Paul Robeson Cultural Center, Pennsylvania State University.
1984 Artists Call Against US Intervention in Central America, Barbara Gladstone Gallery, New York, NY.
1984 The Power of Words, Franklin Furnace, New York, NY. Curated by Barbara Kruger.
1984 Found Language, Franklin Furnace, New York, NY.
1984 Ecology Show, 22 Wooster Street Space, New York, NY.
1983 Terminal Show, with Janet Koenig, Brooklyn Navy Yard Terminal, Brooklyn, NY.
1983 Persuasions, The Kitchen, New York, NY.
1983 The Lower East Side Salon, PS122 Gallery, New York, NY.
1983 Not for Sale, El Bohio, New York, NY.
1983 Subculture, with Janet Koenig and Group Material, Posters in subway cars, New York, NY.
1982 Burnt. Primer (for Raymond Williams), with Group Material, Artists Space, New York, NY.
1982 “Dis-Pointer,” for the exhibit The Art of Tyranny, Civilian Warfare Gallery, New York, NY.
1982 “The Citi Never Sleeps, But Your Neighborhood Might Be Put To Rest,” for Re-Direction, Dance Theater Workshop, New York, NY.
1982 Beyond Aesthetics, Mason Gross School of the Arts Gallery, New Brunswick, NJ, and Henry St. Settlement, New York, NY.
1982 ¡Luchar! An Exhibition for the People of South America, installation with Group Material, El Taller Latino Americano Gallery, New York, NY.
1981 The M-5 Show, posters for Group Material exhibition in city buses, New York, NY.
1981 So Take it To The Press, MoMing Gallery, Chicago, IL.
1981 Consumption: Metaphor, Pastime, Necessity, Group Material Gallery, New York, NY.
1981 Art of the Pentagon, Printed Matter Bookstore, New York, NY. Curated by Lucy R. Lippard.
1980 Art for Zimbabwe, Just Above Midtown Gallery, New York, NY.
ARTWORKS CITED OR REPRODUCED
1. Since initial appointment:
2014 “Singular Art, Made by Plurals: Yams Collective Brings Work to Whitney Biennial,” Felicia R. Lee, The New York Times, March 7.
2013 “Double City,” serialized graphic novel. Chapter One: “Manifesto” with Christopher Darling, Frieze, Summer Issue 2013; Chapter Two: xxxxxxx “Underground” with Agata Craftlove, Shifter Magazine, No. 21, October 2013. (online)
2013 “50 Unrealized Projects” in catalog for Dear Art exhibition, Moderna galerija Museum, Ljubljana, Slovenia, 11/29–2/24; Calvert 22 Space, xxxxxxx London, UK, 9/28-12/8.
2010 “Untitled” photograph reproduced in Paletten Journal #278, Sweden, p 23.
2010 Transducers: Collective Pedagogies and Spatial Politics. Ed. Javier Rodrigo & Antonio Collados, Chicago: Half Letter Press, pp. 101-04.
2009 A World Where Many Worlds Fit, exhibition brochure, Foreman Art Gallery, Bishop College, Sherbrooke, Canada.
2008 Taipei Biennial Exhibition Catalog, essays by Manray Hsu and Vasif Korun, Taipei Fine Arts Museum, pp. 113-14.
2008 Recipe (screen shots), The Lower Manhattan Cultural Council exhibition brochure, New York, NY, pp. 29-32.
2. Prior to initial appointment:
2007 Gregory Sholette: Selected Projects 1980–2003, catalog, Picker Art Gallery, Colgate University, Hamilton, NY.
2007 Weather Report: Art and Climate Change, exhibition catalog with essays by Lucy R. Lippard and Stephanie Smith. Boulder, CO, Boulder xxxxxx Museum of Contemporary Art. pp. 72-3.
2006 Survive, Thrive, Alive, exhibition catalog, New York: Glyndor Gallery publisher. pp. 10-11.
2005 Chain (journal), issue 12, Summer, Temple University, pp. 175-179.
2004 Stencil Pirates: A Global Study of the Street Stencil. Josh Macphee. New York: Soft Skull Press. p. 71.
2003 “i am NOT my office.” Artists Pages. CAA Art Journal. Vol. 62, No. 2, Summer 2003. pp. 82-87.*
2001 “R’ We Not Human?” Special color insert section about REPOhistory’s exhibition Civil Disturbances.
2001 Fordham Urban Law Journal. Vol. XXVII. 2001. pp. 1353-1354.
1999 “Of Hermes and History,” New Observations. Guest editor Todd Ayoung. Summer. pp. 34-35.
1999 Social Text. Spring 1999. Graphic art work for cover of journal.
1999 On The Beaten Track. Lucy R. Lippard. Seattle: New Press. p. 94.
1997 Lure of the Local. Lucy R. Lippard. Seattle: New Press. p. 195.
1995 “Tagged Turf in the Public Sphere.” Sally Yard. InSITE 94. Exhibition catalog. San Diego: Installation Gallery, CA. pp. 40-43.
1992 Choice Histories: Framing Abortion. REPOhistory. Exhibition catalog. Artists Space, NYC.
1991 “If You Lived Here: the City in Art, Theory, & Social Activism: A Project by Martha Rosler” (Dia Art Foundation Discussions in Contemporary xxxxxxx Culture No. 6). Ed. Brian Wallis. Seattle: Bay Press. p. 91.
1991 Artists of Conscience: 16 Years of Social and Political Commentary. Exhibition catalog. New York: Alternative Museum. p. 46.
1991 Reimaging America: A Voices of Dissent Project. Exhibition catalog. Momenta Art, Philadelphia, PA. pp. 13-14.
1990 Words: Artists respond to AIDS. Exhibition catalog. Henry Street Settlement, NYC, and The Painted Bride Art Center, Philadelphia, PA. p 26.
1988 “Committed to Print.” Exhibition catalog. With Janet Koenig, as part of Group Material’s Subculture project. Curated by Deborah Wye. New xxxxxxx York: The Museum of Modern Art. p. 18.
1988 The Whole World Is Still Watching. Exhibition catalog. Randolph Street Gallery, Chicago. p. 34.
1985 Disinformation: The Manufacture of Consent. Exhibition catalog. New York: The Alternative Museum. p. 48.
1985 ABC No Rio Dinero: The Story of a Lower East Side Art Gallery. Eds. Alan Moore, Marc Miller. 1985. pp. 27, 128, & 132.
1984 “Trojan Horses: Activist Art and Power.” Lucy R. Lippard. Art After Modernism: Rethinking Representation. Ed. Brian Wallis. New York: The xxxxxxx New Museum of Contemporary Art. p. 341.
1984 Get the Message: A Decade of Art for Social Change. Lucy R. Lippard. New York: Dutton Books. p. 203.
1983 Beyond Aesthetics. Mason Gross School of the Arts Gallery, exhibition brochure/poster, Rutgers University, New Brunswick, NJ.
1983 “Preparing for War.” Brochure/newsletter for exhibition Terminal Show, Brooklyn Naval Terminal, Brooklyn, NY.
1982 Art of Tyranny. Exhibition catalog. New York: Civilian Warfare Gallery. p 10.
1982 Political Art Calendar, published by Donna Grund Slepak, January.
Curatorial Projects Prior to Initial Appointment
1997-1998 Curator of Education, New Museum of Contemporary Art, NY.
1996 Co-curator for Peter Rindisbacher exhibition with staff of the Swiss Institute New York, Winter, 1996.
1984 Exhibition curator Not-Misinformation, Hicks Art Center, Bucks County Community College, Nov. 18–Dec 15.
1982 Exhibition curator Not-Misinformation, Mason Gross School of the Arts Gallery, Rutgers University, New Brunswick, NJ.
REVIEWS (by the candidate, of others’ performances or scholarly works)
1. Since initial appointment.
“Pale Riders: How a Band of Radical Outsiders Briefly Stole the New York City Art World (for the Better).” Book review, Oxford Art Journal. Vol 33, No. 3, Winter 2010. pp. 407-409.
“The Political Economy of International Art: A Report on the 11th Istanbul Biennial,”Review of the Istanbul Biennial for the publication The Arts Politic, No. 2. Winter 2010 (online).
“Preview: Emory Douglas at New Museum.” Artforum. Vol. 47, No. 9, June 2010, p. 143.
“Preview: Tim Rollins and K.O.S.,” Artforum, Vol. 47, No. 5, January 2010, p. . (online)
“Culture Corps.” Review of Art Workers, by Julia Bryan-Wilson. Bookforum, Sept/Oct/Nov 2009. pp.15.
2. Prior to initial appointment.
“Cryptozoology.” Exhibition review. Art Papers.Vol. 31, No. 1. 2007. pp. 42-43.
“A Rose is a Rose is a Rose.” Review of Hans Haacke’s public memorial for Rosa Luxemburg, Berlin, Germany. Artforum. Nov. 2006. pp. 99-100.
“Breaking and Entering.” Review of public work “Status Stolen” by artist Perry Bard. CAA Art Journal. June 2006. pp. 6-7.
“Where have all the leftists gone?” Review of “Artists on the Left” by Andrew Hemingway. CAA Art Journal. Vol. 64. No. 4, Winter, 2005. pp. 128-130.
“Welcome to the Desert of the Real Art World.” Review of “Privatising Culture” by Chin-tao Wu. Oxford Art Journal. No. 27. 2004. pp. 257-262.
“Affirmation Of The Curatorial Class: The Seventh Havana Biennial (Séptima Bienal de La Habana).” Afterimage: The Journal of Media and Cultural Criticism. Vol. 28, No. 5, March/April 2001. pp. 6-8.
“Archives of the Street.” Afterimage: The Journal of Media and Cultural Criticism. Vol. 24, No. 6, May/June 1997. p. 11.
“Caution Alternative Space.” Parachute: revue d’art contemporain. Montréal, Canada. Winter, No. 85. 1997. pp. 63-65.
“On the Ruins of Theory.” Review of On the Museum’s Ruins, by Douglas Crimp. Oxford Art Journal. Vol. 19, No. 1. 1996. pp. 121-124.
“Lessons Out of School.” Review of Finding Art’s Place: Experiments in contemporary education and culture, by Nicholas Paley. Afterimage: The Journal of Media and Cultural Criticism. Vol. 24, No. 2, Sept/Oct 1996. p. 13.
REVIEWS (by others, of the candidate’s performances or scholarly work)(*Book review)
1. Since initial appointment.
Hankwitz, Molly, “Dark Matter by Gregory Sholette: Mass Artistic Resistance to the Neoliberalization of Everyday Life,” The Other Cinema Zine 9/20, 2013.* (online)
Fine, Jon, “He is NOT his Studio: Looking at Greg Sholette,” Jon Fine Art Essays, 2013. (online)
Powhida, William, “Itʼs the Political Economy, Stupid…” book review, Hyperallergic, 7/8, 2013.* (online)
Porcheron, Pascal “The Grim Dance,” Review 31, 2013.* (online)
Patrick, Martin, “Itʼs the Political Economy…” book review, Art Monthly, No. 366, 2013.* (online)
Barber, Bruce, “The Art World’s Dark Matter,” Reviews in Cultural Theory, Vol. 3, Issue 2, August 15, 2012.* (online)
Stimson, Blake, “Taste Matters.” Oxford Art Journal, Vol 35, Issue 2, May, 2012, pp. 292-295.*
Beech, Dave review of “Dark Matter…Sholette.” Journal of Modern Craft, 5.1, May 9, 2012, pp. 115-118.*
Loyd, Richard, “Into the Dark.” College Art Assoc. Art Journal, Vol. 70, No.4, Winter, 2012. pp. 121-123.*
Reeves-Evison, Theo, “Innovations in Exile.” Review31 literary magazine, 2012.* (online)
Szczelkun, Stefan “The Dark Arts,” MUTE magazine, UK, February 2012.* (online)
Léger, Marc James, “Revenge of the Surplus.” Monthly Review, Vol. 63, No. 8, January 2012, pp. 49-54.*
Parziale, Joe, “Imagined Islands in QMA Panorama.” New York Daily News, March 29, 2012, Queens Section, p.1.
Chung, Jen, “15 New Islands Created for The Rivers of NYC.” The Gothamist online, Feb. 17, 2012.
Gates & Throop, “Greg Sholette: Fifteen Islands for Robert Moses.” February 2012. (online)
“Towering Habitat, Greg Sholette 15 Islands for Robert Moses,” Mythological Quarter, March 30, 2012.
Hogarty, Dave, “Fun With Urban Planning: Explore New York’s New Islands of Magic, Myth, and Folly.” CURBED NY, 2012.
Simon, Joshua, “The Cunning of Reason.” Springerin – Hefte für Gegenwartskunst, Band XVIII, Heft 2, 2012.
Donovan, Thom, “An Appropriated Form for Collective Action,” Lalit Kala Conremporary Journal, India, February 2012.
Markus, David, “It’s the Political Economy, Stupid.” Art in America, March 2012, pp 117-118.*
Shuster, Robert, “It’s the Political Economy, Stupid.” “Best in Show” for The Village Voice, Feb. 2012. P. 22.*
DeTurk, Sabrina, “Not Politics as Usual.” Afterimage, Vol. 39 No. 6, pp 28-29.*
Cavaluzzo, Alexander, “It’s the Political Economy, Stupid.” Hyperallergic, Feb. 13, 2012. (online)
Kirsch, Andrea, “It’s the Political Economy, Stupid.” The Art Blog, Feb. 2012. (online)
Saatchi Top Ten Must See Shows “It’s the Political Economy, Stupid.” Saatchi Online Magazine, Feb. 21. 2012. (online)
Review of Institute for Wishful Thinking (IWT) project at Momenta Arts. The New Yorker, May 2011 Issue. p.12.
Mirzoeff, Nicholas. “What Matters.” Review of “Dark Matter,” Afterimage, Vol. 38, No. 6, May/June 2011. p. 36.*
Left Eye on Books: “Dark Matter,” book of the year: 2011.* (online)
Gogarty, Larne Abse. Review of “Dark Matter” in Art Monthly (London). Issue 344, March 2011, p. 5.*
Landgraff, Amber. Review of “Dark Matter,” C Magazine, Summer 2011, p. 52.*
Bauwens, Michel. Book of the Week. Review of “Dark Matter,” P2P Foundation, Book of the Week, January 2011.* (online)
Lauppe, Patrick W. “Greg Sholette Discuss the Artistic Underworld.” The Harvard Crimson. February 28.*
Amery, Mark. “Come Together.” Dominion Post. Wellington, New Zealand. June 24, 2010. p. 15.
Viau, René, “A World Where Many Worlds Fit.” Springernin (Austria), Band XVI, 2/2010. P 66.
Lyons, Jessica. “QC Professors and Grad Students Exhibit in Romania,” Queens Courier. Nov. 12, 2008. (online)
Petruniak, Roman. “CAA Reviews: Collectivism After Modernism.” July 16, 2008.* (online)
Lundh, Johan. “Collective & Conscious.” Review of “Collectivism After Modernism.” Fillip. No. 7. Vancouver, BC. Winter 2008.* (online)
Miller, Keith, Art Review: “Collectivism After Modernism,” Times Literary Supplement, Oct. 22 & Oct. 29, 2008. p. 37.*
Baetens, Jan. Review of “Collectivism After Modernism.” Leonardo, Vol. 41, No. 3, June 2008. pp. 291-293.*
“Gregory Sholette: Disciplining the Avant-Garde.” Seans’ Critical Studies Reviews. Sept. 15, 2008.* (online)
Weinberg, Lauren. “All’s fair: Version:08 promises an Art War cease-fire.” Time Out Chicago. No. 164, April 17–23, 2008. (online)
Mahler, Matthew. “Students, Professors Take Part in International Art Biennial.” Knight News, QC. Nov. 11, 2008. p. B16.
“Presents of Mind.” Discussion IWT in Romania. FYI, Queens College Faculty & Staff News. Nov. 2008. p. 6-7.
Greenwood, Warren. “Conceptual Ithaca.” Ithaca Times. March 12, 2008. P. 41. (online)
Reed, Rachel.“Dark Matter: Lumpen’s annual Version fest back for year eight.” Chicago Weekly, April 16 2008.
2. Prior to initial appointment:
Hood, Grace. “The Global Warming Debate.” Cover story. Boulder Weekly. Nov. 9, 2007. p. 1.
James, Sarah. “Collectivism After Modernism,” book review. Art Monthly. No. 38. p. 310.*
Kastner, Jens. “Blake Stimson und Gregory Sholette (Hg.): Collectivism after Modernism.” Springerin, Austria. Volume XIII, Issue 4, Nov. 20, 2007. p. 74-75.*
Cufer, Eda. Review of “Collectivism After Modernism.” Artforum. Summer 2007. pp. 113-114.*
Glahn, Philip. Review of “Collectivism After Modernism.” Bomb Magazine. Spring 2007. p. 16.*
Cotter, Holland. “Mapquest.” The New York Times; Art in Review, Sept. 29, 2006. (online)
Van Tomme, Niels. “We don’t need another hero!” Provisions Library Review.* (online)
Barber, John F. “The Interventionists: User’s Manual for the Creative Disruption of Everyday Life.” Book.*
Genocchio, Benjamin. “Indoor Freshness to Rival the Gardens.” New York Time (Westchester). April 23, 2006. p.8.
Gopnik, Blake. “‘Dark matter’: A Ray of Hope for Alternative Art.” Washington Post. Nov. 14, 2004. p. 1.
McNatt, Glenn. “Next big thing clues lurk in ‘dark matter.’” Exhibition review. Baltimore Sun. Nov. 9, 2004. (online)
Younge, Gary. “Art becomes the next suspect in America’s 9/11 paranoia in Buffalo.” The Guardian UK.
Rosler, Martha. “Out of the Vox: Martha Rosler on art’s activist potential.” Artforum, Sept. 1, 2004. pp. 218-219.
Cotter, Holland. “Hometown of Utopia and Discontent.” New York Times. Critics Notebook. July 23, 2004.
Wang, Dan S. Downtime at the Experimental Station. Pamphlet published by Temporary Services, Chicago, 2004.
Sebring, Bill. “State of the Art: Political Art.” “Review Cram Session: Dark Matter.” Baltimore mag., Nov. 2004.
Dechter, Gadi. “What’s it All About?” “Review Cram Session: Dark Matter.” Baltimore City Paper. Nov. 10, 2004.
Rosler, Martha. “Gregory Sholette introduced by Martha Rosler.” Art on Paper. Vol. 9, No.1, Sept/Oct 2004. p. 42.
Cotter, Holland. “Doing Their Thing, Making Art Together.” The New York Times. Jan. 19, 2003.
“Critical Mass.” Indepth Arts News, AbsoluteArts.Com, 2003. (online)
Barber, Bruce and Jeff Dayton-Johnson. “Marking the Limit: Re-framing a Micro-Economy for the Arts.” On Circulation project, Parachute. No.106, April/May/June 2002. pp. 34-35. (online)
Wilson, Michael. “reMATERIAL: Dialectical Histories.” CIRCA. No. 98, Winter 2001. pp. 20-23.
Glahn, Philip. “Public Art: Avant-Garde Practice and the Possibilities of Critical Articulation.” Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 28, No. 3, Nov/Dec 2000. pp. 10-12.
Miller, Paul D. (AKA DJ Spooky). “Blood Money.” ArtByte. Oct. 2000. pp. 30-32.
Lippard, Lucy R. On The Beaten Track. Seattle: New Press, 1999, p. 94.
Cotter, Holland. “Urban Encounters.” Review of curated exhibition at New Museum. New York Times. Aug. 14, 1998. p. B34. (online)
Carr, C. “From Boho to Soho: Artists Collectives Have a Reflective Moment,” Review of curated exhibition at New Museum. Village Voice, August 4, 1998. p. 50.
Gaba, Daniel. “Amid Holiday Joy, Memories of Misfortune.” New York Times. Dec. 22, 1996. p. C 11.
San Diego Daily Transcript. Supplement. Sept. 1994. p. 28.
Lippard, Lucy R. “Anti-Amnesia.” Z Magazine. Vol. 5, No. 12, Dec. 1992. pp. 63-66.
Dubner, Stephen J. “Other People’s History.” New York Magazine, June 22, 1992, p 22.
Knauer, Lisa Maya. “‘Images of Labor serves up art and soup.” The Guardian (USA), Nov. 13, 1991, p. 20.
Stratton, Margaret. “Images in Action.” Review of “Reimaging America: The Arts of Social Change.” Eds. Mark O’Brien, Craig Little. Afterimage. Vol. 18, No. 9. April 1991. pp. 15-16. April 1991.*
Dieckmann, Katherine. “Paper Chase.” Review of “Reimaging America: The Arts of Social Change.” Eds. Mark O’Brien and Craig Little. Village Voice Literary Supplement. Nov. 1990, p. 22.*
Jacobson, Kurt. “Second City Thirsts: On the Windy City’s Taste for Political Theater and Polemical Art. Review of “Unknown Secrets.” The Independent. June 25, 1990. p. 18.
Hamilton, Megan. “True Colors: Pictures Worth 300 Words?” Review of “The Race: Do We All Get There at the Same Time?” at School 33 Art Center. Baltimore City Paper. March 1990. p 22.
Halperen, Max. “Reexamining History: The Art of the Rosenberg Era.” Spirit Square Magazine. Charlotte, N.C. Fall 1990. p. 31.
Redell, Holly. “Diversion When You Least Expect It.” Review of “Groundwork.” New York Newsday. Dec. 18, 1989. p. 23.
Raven, Arlene. “Suffer the Little Children.” Review of “Dia De Los Muertos II.” Village Voice. Oct. 24, 1989. p. 98.
Atkins, Robert. “Scene & Heard.” Village Voice. June 27, 1989. p. 95.
Review of “Street Stencils of the Lower East Side” at the Henry Street Settlement. Artforum, May 1989. p.153.
The Rosenbergs: Collected Visions of Artists and Writers. Ed. Rob A. Okun. New York: Universe Books, 1989. Plate 18.
Trend, David. Review of “Committed to Print” at MoMA. Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 25, No. 5, March/April 1988. P. 20.
Raven, Arlene. “Here Comes the Neighborhood.” Review of “100 Years: A Tradition of Social and Political Art on the Lower East Side” at the PPOW Gallery. Village Voice. July 5, 1988. p. 5.
Hess, Elizabeth. “Presumed Guilty.” Review of “Unknown Secrets: Art and the Rosenberg Era” at the Hillwood Gallery, NY. Village Voice. No. 27. Sept. 27, 1998. p. 100.
Trend, David. “Living with Contradictions.” Review of “Concrete Crisis: Urban Images of the 80s” at Exit Art, NYC. Afterimage: The Journal of Media Arts and Cultural Criticism. Vol. 15, No. 1, Summer 1987. p. 27.
Hess, Elizabeth. “Rent Destabilization.” review of “Concrete Crisis: Urban Images of the 80s” at Exit Art, NYC. Village Voice. March 17, 1987. P. 86.
Lippard, Lucy R. “Cool Wave.” Review of “Found language.” at Franklin Furnace. Village Voice. July 10, 1984. p. 69.
Whitesell, Steve. Radio Review of “Found Language.” at Franklin Furnace. Arts Extra. WBAI radio, NYC. July 6.
Neumaier, Diane. “Appropriating the Corporate Image.” Obscura: Magazine of the Los Angeles Center for Photographic Studies. Vol. 2, No. 5. 1983. p. 36.
Lippard, Lucy R, “Too Close to Home.” Review of “Not For Sale.” Village Voice. June 14, 1983. p. 94.
INTERVIEWS (given)
1. Since initial appointment:
2014 Interview by Leah Oats for NYArts magazine. (online)
2013 Interview by Karen van den Berg for Art Production Beyond the Art Market, Sternberg Press, Germany, pp. 201-208.
2012 Interview by Patty Harris, White Hot Magazine. (online)
2012 Interview by Todd Ayoung For Shifter Art Magazine, Issue 18, April, pp. 23-27.
2011 Interview with Thom Donovan, “5 Questions for Contemporary Practice with Gregory Sholette,” ARTS 21, August 26, 2011. (online)
2011 Interview with Jelena Vesic, “Amateur, Informal, Autonomous, Activist, Self-Organised : Dark Matter And The Politicisation of Work in Art,” The xxxxxx Journal For Performing Arts Theory, Belgrade, Serbia, Issue 19, 2011. pp. 60-67.
2011 “Inside the Artist’s Studio.” (online)
2010 Interview with Gregory Sholette and Nato Thompson by Ele Carpenter for A Brief History of Working with New Media Art, Sarah Cook, B xxxxxx Graham, V Gfader, A. Lapp editors, Germany, Green Box Press, 2010. pp.111-127.
2009 Interview for History as Art: Art as History: Contemporary Art and Social Studies Education. Dipti Desai, Jess Hamlin, and Rachel Mattson. xxxxxx New York: Routledge. 2009. pp. 75-80.
2009 Interview for Interventionisms: CCC Newsletter, #9, Geneva University of Art & Design, 2009-2010, Geneva pp. 20-24.
2009 Interview, commentary by Beverly Naidus, Arts for Change: Teaching Outside the Frame, New Village P., CA, 2009. p 147.
2008 An Interview with Gregory Sholette. Interview by C.A.M.E.L. collective. (online)
2008 Interview by Martin Krenn, Snip, Snip…Bang, Bang. (online)
2. Prior to initial appointment:
2007 PAD/D Interview by Temporary Services. Group Work. New York: Printed Matter Books. 2007. pp. 76-82.
2006 “Specters of Collectivism: A Conversation between Gregory Sholette and Elena Sorokina.” Moscow Art Magazine. No. 61, June/July 2006.
2006 “Gregory Sholette.” Interview by Miklós Erhardt. Exindex magazine. Budapest, Hungary. (online). Also published in With or Without Me, xxxxxxx Agency for Contemporary Exchange. pp. 62-62.
2005 Interview with Nicholas Lampert “Making Art Out of Doors,” Prompt, Chicago, October, pp. 15-27.
2003 Interview with F News, “Faculty Profile,” School of the Art Institute Newsletter. February, 2003. p 11.
ORAL PAPERS AND ADDRESSES (*refereed, **invited)
1. Since initial appointment.
2014 Keynote lecture for Graduate Colloquium What is to be Done (After Graduation), School of the Museum of Fine Arts, Boston, MA, 1/29.**
2014 Lecture Gifts of Resistance: DIY Avant-Garde as Social Intervention for the Harvard University Graduate School of Design, Cambridge, MA. xxxxxx 1/29.**
2014 Walking Tour of East Village Art Scene, organized by eFlux Journal, New York, NY, 3/8.**
2014 Panelist: Performance & Interactive Media Conference, Brooklyn College MFA Program, Brooklyn, NY, 2/8.**
2014 Session Chair: Roadside Picnic: Experiments in Art and Science Fiction, College Art Association Conference Chicago, Illinois, 2/14.*
2013 Lecture for Columbia University’s Master of Fine Arts Program, New York, NY, 11/26. 2013.**
2013 Panelist/Moderator University of Illinois, Chicago Gallery 400 regarding It’s The Political Economy, Stupid exhibition, Chicago, IL, 11/2.**
2013 Moderator for opening panel, “Making a Place,” Creative Time Summit, 10/25.**
2013 Keynote speaker, “Collective Action Archive,” seminar & exhibition inspired by Dark Matter, Purchase College, Purchase, NY, 9/11.**
2013 Speaker for panel, “Art, Activism, Critique,” Historical Materialism Conference, NYU, 4/26.**
2013 Moderator, The People’s Panel: Pickled Bohemia Redux, Vera List Center for Art & Politics, New School, NY, 5/17.**
2013 Keynote lecture, Cultural Hijack Exhibition /Contra-Convention Conference, Royal Institute of British Architects, London, 5/25.**
2013 Studio Critiques and public lecture, New Paltz State University of New York, New Paltz, NY, 4/23-4/25.**
2013 Studio Critiques and public lecture, Art and Art History Department, Louisiana State University, 4/9-4/12.**
2013 Panelist CAA, Assembly Instructions Included: Balancing Structure & Freedom in Studio Art Courses, New York, NY, 2/16.*
2013 Guest evaluator, Melissa Rachcleff Burtt’sVisual Arts Administration thesis seminar, New York University, New York, New York, 2/1.**
2012 Art gallery presentation, gallery@calit2 at University of California San Diego, CA, 11/1.**
2012 Lecture presentation for Trade School, Parsons School of Art, 10/22.**
2012 Keynote Speaker for Institutions by Artists, Emily Carr U. of Art & Design, Vancouver, Canada, 10/12.**
2012 Keynote Speaker for Truth is Concrete conference organized by Steirischer Herbst, Graz, Austria, 9/21.**
2012 Lecture, Maryland Institute of Art, Baltimore, MD, 7/12.**
2012 Seminar Leader: Moscow Curatorial Summer School, State University for the Humanities, Russia, 7/2-21.**
2012 Lecture, Limerick, City Gallery of Art, Limerick, Ireland, 6/21.**
2012 Artist’s Workshop Occupying the Imaginary Archive, Fire Station Artists’ Studios, Dublin, Ireland, 6/19.**
2012 Moderator for the panel Fix-It-Yourself: The Art of Creating Revolutionary Economic Models, organized by the Whitney Museum Independent xxxxxx Study Program, at The Kitchen, 6/16.**
2012 Lecture MIT: Massachusetts Institute of Technology Dept. of Art & Tech., Cambridge, MA, 5/11.*
2012 Fire Station Artists’ Studios, Dublin, Ireland, workshop Occupying the Imaginary Archive, 6/19 & 20.**
2012 MFA Colloquium lecture for Purchase College Art Department, Purchase, NY, 4/19.**
2012 Lecture Cornell University, Art Dept. Herbert F. Johnson Museum of Art (& studio visits), 4/12 & 13.**
2012 Lecture and book launch at Ashkal Alwon Home Workspace, Beirut, Lebanon, 3/12.**
2012 Lecture, Parsons School of Art, Arnold and Sheila Aronson Gallery, NY, 3/7.**
2012 Panel Moderator: It’s the Political Economy Stupid, Austrian Cultural Center, New York, 1/23.**
2011 Lecture on art, labor, and activism with guest Andrew Hemingway, Abrams Art Center, NY, 12/4**
2011 Lecture Galway Art Museum (and day-long workshop), Tulca Arts Festival, Ireland, 11/7.**
2011 Keynote Speaker, Homework Conference, Art Gallery Of Windsor, Canada, 10/21/22.**
2011 Lecture University of Buffalo (SUNY) Visual Studies Series, and classroom seminar, 10/10.**
2011 Speaker. Gallery Nova, Zagreb, Croatia, 6/18.**
2011 Speaker. Teorija koja Hoda alternative space, Belgrade, Serbia, 6/16.**
2011 Speaker. Politiques Et Initiatives Memorielles Et Pratiques Artistiques (PIMPA), Geneva, Switzerland, 6/23.**
2011 Speaker. B_Books cultural center, Berlin, Germany, 6/27.**
2011 Keynote speaker. In the Name of Art, Institut National d’Histoire de l’Art. Sorbonne University, Paris, France, 5/30.**
2011 Speaker. Electronic Art on the Waterways, Boston Harbor, sponsored by the University of Massachusetts, Boston, MA, 4/22.**
2011 Speaker, Make History Now, for the Lower Manhattan Cultural Council, Seaport Museum New York, 3/9.**
2011 Lecturer, Dark Matter, The Carpenter Center, Harvard University, 2/ 24.**
2011 Panelist and Respondent, Dark Matter of the Art World, Parts 1 & 2, chaired and organized by historian Susan Ryan based on my research and xxxxxx writings, College Art Association Annual Conference, NYC, 2/10-12.*
2010 Panelist, Historical Materialism Conference, University of London, UK, 11/12.**
2010 Lecturer, Govett-Brewster Art Gallery. New Plymouth, New Zealand, 7/29.**
2010 Keynote Presentation, Wellington Collaboratorium Seminar, Victoria U., School of Design, New Zealand, 7/25.**
2010 Lecturer, Victoria University of Wellington, School of Art History, New Zealand, J7/10.**
2010 Panelist, The Model, Sligo Art Center, Ireland, 5/28.**
2010 Moderator and presentation, session on art and education, Home Works 5, Beirut, Lebanon, 4/27.**
2010 Panelist, Art and Activism conference, MACBA, Barcelona, Spain, 3/11.**
2010 Lecturer, California College of Art, Visual & Critical Studies, 3/3.**
2010 Lecturer, UC Davis Humanities Institute, University of California, Davis, CA, 3/2.**
2010 Seminar, UC Berkeley, Department of Film Studies, San Francisco, CA, 3/1.**
2010 Session Co-Chair, Collectivism after Collapse, College Art Association, Chicago, IL, 2/11.*
2010 Panelist, Pedagogy of the Periphery, Three Walls Art Gallery, Chicago, IL, 2/10.**
2009 Panelist, Re-Membering Loisaida, Latino Studies Department, Brooklyn College CUNY, Brooklyn, NY, 11/ 18.**
2009 Panel Participant, Cultural Agencies, opening of the 11th Istanbul Biennial, Istanbul, Turkey, 11/ 11.**
2009 Seminar presentation, CUNY Graduate Center, guest of Professor Claire Bishop, New York, NY, 11/ 22.**
2009 Speaker, Creative Time Summit: Revolutions in Public Practice, NY Public Library, New York, NY, 10/24.**
2009 Public Lecture, Soho in Ottakring, Vienna, Austria, 5/31.**
2008 Guest classroom seminar for Carrie Lambert-Beatty, Department of Visual and Environmental Studies, Harvard University, Cambridge, MA, 11/ xxxxxx 24.**
2008 Guest classroom seminar, Art and activism, for Heather Peterson, Steinhart School, NYU, New York, NY, 11/12.**
2008 Moderator, Signs of Change Symposium, Exit Art, 11/9.**
2008 Lecturer, New York State College of Ceramics and the School of Art & Design at Alfred University, Alfred, NY, 11/4.**
2008 Lecturer, Dictionary of War: Taipei Edition, Taipei Fine Arts Museum, Taipei, Taiwan, 10/24.**
2008 Guest classroom lecture, for undergraduate art students in the class of Matei Bejenar, Iasi, Romania, 10/8.**
2008 Public Lecture, Central European University, Budapest, Hungary, 10/9.**
2008 Plenary Speaker, Visible Memories Conference, Syracuse University, Syracuse, NY, 10/3.**
2008 Panelist, The Future of Visual Culture, Cultural Studies Association Conference, NYU, New York, NY, 5/24.**
2008 Graduate Seminar, Studies in the History and Practices of Exhibition, Rhea Anastas and Tatjana von Prittwitz, the Center for Curatorial Studies, xxxxxx (CCS) Bard College, Annandale-on-Hudson, NY, 5/2.**
2008 Keynote Speaker, VersionFest: DARK MATTER, a multi-media exhibition and public program based upon the ideas of Gregory Sholette, (April xxxxxx 17–27), lecture at Viaduct Theater, Chicago, IL, 4/20.**
2008 Moderator, “Collaboration + Context,” the third in a series of four roundtable discussions entitled Tracing the Index, organized by Index of the xxxxxx Disappeared, Art in General, New York, NY, 3/26.**
2008 Participant, roundtable discussion, Democracy in America, produced by Creative Time, New York, NY, 3/13.**
2008 Guest Lecturer for Debra Levine’s seminar, Radical Street Performance, Undergraduate Drama Program, NYU, New York, NY, 2/14.**
2. Prior to initial appointment:
2008 Guest Artist final reviews, Jeanne Jaffe’s Undergraduate Sculpture, University of the Arts, Philadelphia, 12/10–11.**
2007 Lecturer, Contemporary Arts First Year Topics, Ramapo State College, Mahwah, New Jersey, 11/ 19.**
2007 Guest Speaker, “Activist Publishing,” for Art on Paper magazine, Books Fair, The Tunnel, NYC, 8/3.**
2007 Lecturer, Overgaden Institut for Samtidskunst, Copenhagen, 5/12.**
2007 Public Lecture, “Interventionist Art in the Age of Enterprise Culture,” SIGNAL art center, Malmö, Sweden, 5/ 8.**
2007 Lecturer: La Casa Encendida, Brumaria collective, Madrid, Spain, 1/23.**
2006 Speaker, Constant Capture Conference, University of Milwaukee, WI, 4/21 & 22.**
2006 Moderator, Vera List Center for Art & Politics, “Taking Back the Dollar: Alternative Economies,” 6/2.**
2005 Discussant, Reading Group at 16 Beaver Street, NYC, 12/15.**
2005 Lecturer, Townhouse Gallery & CRC collective, Cairo, Egypt, 11/ 27.**
2005 Lecturer, University of Plymouth, School of Art and Performance, Exeter, England, 11/ 16.**
2005 Lecturer, Institute of Contemporary Interdisciplinary Art (ICIA), Bath, England, 11/12.**
2005 Lecturer, University College, Art History Department Seminar, London, England, 11/11.**
2005 Lecturer and studio visits, Newport School of Art, Newport, South Wales, UK, 11/ 8–9.**
2005 Lecturer, Courtauld Institute of Art, Contemporary Art Research Forum, London, England, 11/ 7.**
2005 Lecturer, Winchester School of Art, England, 11/ 5.**
2005 Lecturer, WHW collective, Zagreb, Croatia, 11/ 3.**
2005 Lecturer, Central St. Martins, London, 8/ 27.**
2004 Lecturer, Baltimore Museum of Art, Cram Session 02: Dark Matter (inspired by my writings), 11/ 6.**
2004 Speaker, one day conference: “Visual Culture In The Era Of Global War,” New York University, 11/10.**
2004 Discussant, Reading Group at 16 Beaver Street, NYC, 4/4.**
2004 Lecturer, Trafo Gallery, Budapest, Hungary, 4/1.**
2004 Speaker, Massachusetts Museum of Contemporary Art, 11/ 11.**
2004 Lecturer, with Brian Holmes, Penn State College of Arts and Architecture, Penn State University, 3/3.**
2004 Speaker, “Temporary Transformations: Public Art as Social Action,” CAA Conference, Seattle, WA, 2/ 19.**
2004 Speaker, “In The Face Of Others,” The Lower Manhattan Cultural Council, 1/14.**
2004 Lecturer, Colgate University, Department of Art and Art History, 1/13.**
2003 Lecturer, The Pond, San Francisco, CA, 10/ 5.**
2003 Moderator, Version03, digital activism conference, Museum of Contemporary Art, Chicago. 4/19.*
2003 Co-Chair: Collectivism After Modernism w/Blake Stimson, College Art Association, Chicago, 02/03.**
2002 Respondent, “The Informal Arts,” Columbia College Center for Arts Policy, Chicago, 6/20.**
2002 Respondent, “anti-symposium,” Smart Museum of Art, Chicago, 4/ 26.**
2002 Panelist, University of Chicago Cultural Policy Workshop, 4/18.**
2002 Lecturer, “Marxism and the Visuals Art Now,” University College London, UK, 4/11.*
2002 Speaker, “Beyond the Gallery: Art in Public Spaces,” Cape Technikon, South Africa, 3/15.**
2001 Lecturer, “Visual Worlds,” Conference at UC Davis Center for History, Society, and Culture, 10/ 27.**
2001 Guest of the Irish Art Council, Critical Voices Series, Galway Art Center, Ireland, 7/15–25.**
2001 Lecturer, “REPOhistory: Anatomy of an Urban Art Collective,” University of Lüneburg; Künstlerhaus.**
2001 Lectures at Curating Degree 0, Bremen, Germany and at b_books, Berlin, 5/27–30.**
2000 Panelist: The Second International Curatorial Summit, Banff Canada, 8/ 15.**
2000 Panelist: National Association of Arts Organizations, Brooklyn, NY, 7/ 10.**
2000 Lecturer: “Side Entrances & Ways of Exhibiting,” Museum im Kopf, Wein, Austira, 3/26.**
2000 Lecturer: Centrum für Gegenwartskunst Oberösterreich, Linz, Austria, 3/25.**
2000 Lecture and studio visits, Oberlin College, OH, 3/8–10.**
1999 Respondent to presentation by Lucy R. Lippard, Chicago Cultural Center, 10/ 22.**
1999 Lecturer, the Modern Voices Series, Brooklyn Museum of Art, 6/5.**
1999 Speaker, “History Happened Here,” with REPOhistory, the Municipal Art Society, NYC, 5/22.**
1999 Panelist, “Culture & Barbarism: Images of Labor in Art,” College Art Association, LA, CA, 3/12.**
1998 Co-presenter, “Civil Disturbances in Public Art,” with Mark O’Brien, the Cooper Union, 10/ 16.**
1998 Moderator/Curator, “Sounding Off: Art Activism in the 90s,” New Museum, NYC, 9/10.**
1998 Lecturer, Ein Stuück Österreich: 150 Jahre Die Presse, Historisches Museum der Stadt Wein, 6/8.**
1998 Lecturer, “Site Specificity and Street Art,” The Heard Museum of Art, Gainesville Florida, 4/3.**
1998 Co-chair, with Professor Blake Stimson, “Aesthetics to Politics, New York ca. 1975,” College Art Association Annual Conference, Toronto, xxxxxx Canada, 2/11.*
1997 Panelist, American Studies Association Conference, Washington DC. 11/22.*
1997 Panelist, “Minimalism/Post-Minimalism.” Association d’Art des Universités du Canada Annual Conference, McGill University, Montreal, xxxxxxx Quebec, 11/9.*
1997 Guest Speaker, “REPOhistory: Critical Geographies of the Street,” with Lisa Knauer and Mark O’Brien, The Buell Center for the Study of xxxxxx American Architecture, Columbia University, 10/ 18.**
1997 Guest Speaker, “The Public Re-mappings of REPOhistory,” the Headlands Center for the Arts; and the San Francisco Art Institute, Sausalito xxxxxx CA, 7/18.**
1997 Guest Speaker, “Critical Transformations of Site-Specificity from Tilted Arc to REPOhistory,” The Whitney Museum of American Art Annual xxxxxx Symposium, NYC, 5/29.*
1995 Panelist, “ Public Art of Re-Collection,” National Assembly of Local Arts Agencies Conference, San Jose, CA, 6/1.**
1991 Speaker, “The New Demographics,” with Tomie Arai, Betti-Sue Hertz, and Tom Finkelpearl. Artists Talk on Art: Critical Dialogues in the Visual xxxxxx Arts, SoHo 20 Gallery, NYC, 11/1.**
1989 Guest: “The Eleventh Hour,” Host Bob Lypsite, WNET Channel 13, NYC, interview and debate about the 1989 Whitney Biennial with guests xxxxxx Kenny Scharf, Ivan Karp, Richard Armstrong, 5/4.**
1982 Panelist: “Art as Social and Political Act,” The Mason Gross School for the Arts, Rutgers, NJ, in honor of the 20th Anniversary of the Graduate xxxxxx Program, with Martha Rosler, Juan Sanchez & others, 9/5.**
1982 Moderator, panel on NYC alternative art collectives, PAD/D conference “February 26th Movement,” Bread and Roses Auditorium, Local Union xxxxxx 1199 HHWC, 2/26-27.**
SUBMITTED WORKS AND WORK IN PROGRESS
“Our Barricades,” A one-person exhibition of new works is in progress for Station Independent Project Space, New York, NY, October 2014.
“Bad Deeds,” (provisional title), a collection of essays on contemporary art, 200-250 pages, illustrated, 25% completed.
“Double City,” a graphic novel exploring an alternative history of contemporary art, 10% completed.
“It’s The Political Economy, Stupid” traveling exhibition possible venues include India and Cyprus in 2015.
“Imaginary Archive,” traveling exhibition will be on view in a new city 2015, TBA.
GRANTS COMPLETED
2013-2014 ArtsLink $5,000. (Award for the Imaginary Archive: Kiev, Ukraine exhibition scheduled for Spring 2014.)
2013-2014 PSC-CUNY Grant $3130.44. (Research assistance for iDrone and Imagainary Archive #66016-44.)
2011-2012 PSC-CUNY Grant $3130.44. (Continued web development of darkmatterarchives.net #64031-42.)
2010–2012 Rockefeller Foundation Grant “Co-PI” $175,000. (Social Practice collaboration with Queens Museum of Art.)
2010-2009 PSC-CUNY Grant $3650.00. (Research and materials for Imaginary Archive: Wellington, New Zealand exhibition #63600-41.)
2009-2010 PSC-CUNY Grant $3465.00. (Web development of darkmatterarchives.net.)
2007 Puffin Foundation Artists Grant $500. (Received with Janet Koenig for Cannibal Tech at BMCA..)
2007 Danish Art Council Denmark–New York Focus Fund Grant $10,000 (Co-organizing Publik Address conference).
2005 Ford Foundation $2,900. (Travel and Research Grant for Beirut and Egypt.)
2005 Yale University $250. (Travel grant to attend the conference Japanese Art Since 1945.)
1999 The Smithsonian Institute Short-term Visiting Scholars Grant $2000. (Research at Archives of American Art.)
1996 National Endowment for the Arts Organizational Grant $12,000. (For REPOhistory’s CIRCULATION project.)
1996 Warren Tanner Memorial Art Fund recipient Organization of Independent Artists (OIA) $1000.
1995 The Helena Rubinstein Foundation Critical Studies Fellow, Whitney Independent Studies Program.
1990 Artists Space Grant $500. (To help initiate REPOhistory’s Lower Manhattan Sign Project.)
1982 The Creative Artists Public Service Grant (CAPS) $1200.
SERVICE
City University of New York Wide Service
2013 Served as evaluator for the PSC–CUNY Visual Arts, Art History and Communication Arts Grants Committee (Spring).
Queens College Service
2009-2011 Member of the first Queens College Strategic Planning Committee.
Art Department Service
2013-2014 Deputy Chair Studio Art Program (undergraduate advising, studio art class scheduling, faculty meeting facilitation).
2013-2014 Search Committee for Full-Time Graphic Design position.
2012-2013 MFA Chair (Summer 2011-Fall 2013).
2012-2013 Administered Annual QC MFA Exhibition, and “Hotel Show” for College Art Association Conference, 2/13.
2012-2013 Carried-out complete revision of MFA curriculum requirements.
2012-2013 Member of Search Committee for Digital Lab CLT.
2012-2013 Assisted with search for instructor to operate the re-opened bronze foundry, Klapper Hall.
2010–2011 MFA Chair (Summer 2010–Summer 2011).
2010–2011 Administered MFA exhibition and College Art Association exhibitions in Manhattan, Spring.
2010–2011 Organized Faculty Exhibition for College Art Association related Venue, NYC, Feb.
2010-2011 Independent Studies with three graduate students, Spring.
2010-2015 Department Directory updates for studio for College Art Association published listing, Spring.
2009–2015 Department Website Committee including annual updates on faculty bios.
2009–2015 Alternate Delegate, Faculty and Student Senate.
2009–2010 BFA Chair (Fall 2009–Spring 2010).
2009–2010 Organized Senior Projects exhibition for Klapper At Gallery, September.
2009–2010 Administered the first Dale Ann Horn Prize undergraduate student studio art award, September.
2009 Developed first PLAS Studio Course for Queens College (Arts 185).
2009 Evening Advisor.
2008 Co-organized MFA exhibition in Manhattan, Spring.
2008 Co-organized with Professor Connor and graduate student exhibition for Periferic 8: Iasi, Romania, Spring.
