Barbara Jo Revelle
Curriculum Vitae
Personal Data: 1908 NW 10th Avenue
Gainesville, Florida 32605
(352) 392-0201
Major Fields: Public Art
Photography
Film/video making
Installation Art
Inter-media
Education: BA English Literature, University of Colorado
Boulder, Colorado, 1969
M.F.A. Photography/Film, University of Colorado
Boulder, Colorado, 1973
Center of the Eye, Aspen, Colorado, 18 hours of additional course
work in photography
SUNY at Buffalo, Buffalo, New York, 36 hours of additional graduate
work in the Ph.D. English Program with emphasis in film and media studies, 1973-1976
Teaching Experience:
University of Florida, Gainesville, Florida, Director of the School of Art and Art History,
Professor, 1996 to 2000, Area Coordinator of Photography 2001 to the present
University of Colorado, Boulder, Professor, Associate Chair of the Department of Fine Arts 1991-94, Division Director of Photography, 1984 to 1996.
University of California, Los Angeles, January-March 1982, Visiting Artist, Photography; January-June 1983, Visiting Artist, New Forms
Institute of Design, Illinois Institute of Technology, August-December 1981, August- December 1982, Visiting Artist, Photography
University of Illinois, Chicago Circle Center, March 1980-June 1981, Adjunct Associate
Professor, Photography
School of the Art Institute of Chicago, January-May 1978, January-May, 1979, and
June-July 1983, Visiting Artist, Photography
San Francisco Art Institute, September-December 1978, Visiting Artist, Photography
and Inter-media
Arizona State University, Tempe, September 1976-January 1978, Assistant Professor,
Art and Intermedia
SUNY at Buffalo, Buffalo, September 1973-June 1976, Assistant Professor of Photography and Film
University of Colorado, Boulder, September 1971-June 1973, Teaching Associate,
Photography
University of Colorado Extension, ÒPhotography as Notation of IdeaÓ, spring
Semester 1973 and ÒRethinking PhotographyÓ, Fall Semester 1972
Public Art Commission
Ft. Myers Federal Building and Court House, $14,000 to do a guidebook about
ÒAn Alternative History of Ft. MyersÓ a 20ft. by 100 ft. ceramic tile mural , 1999-2000
Ft. Myers Federal Building and Court House, $110,000 public art commission to
do a ceramic tile mural about the peopleÕs history of Ft. Myers, 1997-99.
Lafayette Council on Public Art, $46,000 public art commission to do a mural on the
New Public Library, Lafayette Colorado 1996-98.
Colorado Art in Public Places Program, $40,000 commission to do a mural on a
clocktower on the Safety and Justice Building, Longmont, Colorado, 1992-1993.
Colorado Commission On Cultural Affairs, Denver Convention Center Commission to
do two city block long photo based ceramic tile mural ÒA Peoples History of ColoradoÓ
$200,000.
City of Denver Commission to do a free standing companion piece to the ÒPeopleÕs
History of Colorado MuralÓ inside the Denver Convention Center. $2,000. 1990.
Complete
Colorado Council on the Arts and Humanities, Public Art Projects, $9,000, 1987-88
to do an interior mural on the Colorado Department of Social Services Building. Complete
ÒChicago River ProjectÓ a documentary photo mural sponsored the Chicago Council on
Fine Arts, exhibited at the Hancock Center, the I.B.M. Building and Uptown Hull
House
Gallery and various other venues around Chicago in 1980. $4,000.
Related Teaching
Experience/Workshops:
ÒCritical Inquiry: What Is the Function of your Art?Ó a three day workshop with upper division and grad photography students at the University of Illinois, Carbondale, Illinois.
March 2003
ÒImage/Text workshop, Western Michigan University, Kalamazoo, Michigan, a four day workshop, October 2001
National Graduate Seminar, American Photography Institute, New York University, NY, NY, one week, summer 2001
The Photo Novella: Going for the Jugular -- Writing and Image Making As If YouÕre Life
Depended on it. A four-day workshop at Virginia 1998
ÒPhotography and WritingÓ Penland School of Crafts, Penland, North Carolina, summer
workshop, two and a half weeks. Summer 1997
Sierra Nevada College, Visual and Performing Arts Dept., Incline Village, Nevada one
week workshop on photography and creative writing, July 1996
Denver Art Museum, Denver, Colorado, four day workshop on photographic portraiture,
July 1996
Adams State College, Alamosa, Colorado, Workshop in Creativity, one week, November
1993.
National Graduate Seminar, American Photography Institute, Tisch School of the Arts,
NY, one week summer 1992.
Rhode Island School of Design, Providence. Visiting artist, one week, October 1987.
Southern Illinois University, Carbondale, lecture/workshop, one week, November 1986.
Colorado Mountain College, five day Symposium and Workshop, July 1982.
University of Colorado, Boulder, week long critique workshop with the Fine Arts
Graduate Students through the Visiting Artist Program, April 1982.
Chicago Council on Fine Arts, 5 week film making workshop, July and August, 1980.
Lake Placid School of the Arts, Lake Placid, New York, ÒExtended Photo ProjectsÓ,
three day workshop, July 1977.
Apeiron Photo Workshop, Millertown, New York, month long Visiting Artist position
including informal teaching and presentations, June 1977.
Rhode Island School of Design ten week summer photo workshop in Provincetown,
Massachusetts at the Fine Arts Work Center, summers of 1975 and 1976. Developed
and taught all photo classes and built darkroom facility.
University of Colorado, Grand Junction Extension, ÒPhotography for EducatorsÕ, eight
day intensive workshop, August 1973.
Denver Public High School Film Making Workshop through the University of Colorado,
June-August, 1973.
Other Professional Work Experience:
Chicago Public Library, Produced 15 audio tape/slide programs on ÒChicago Photography: The New Bauhaus to the PresentÓ July-December, 1981.
Director of the Chicago River Documentation Project, Chicago Council of Fine Arts,
March 1980-July 1981.
Photographique Ltd., Evergreen, Colorado, area photographer for the ski resorts at
Aspen and Vail, winters of 1970 and 1971.
Selected Exhibitions,
Installations, Screenings and Performances: *indicates
solo show
2003 Ò38th Annual Faculty ExhibitionÓ a 109-photo/video/text installation entitled ÒGood Vs. Evil DooersÓ University Gallery, University of Florida, Gainesville, FL, January 2003
*ÒMiami/MiautreÓ invited video screening at the University of Illinois, Carbondale, March 2003
ÒCensoriousÓ a collaborative video work on censorship and women artists, my work featured, Ceres Gallery, NY, NY, May 2003
Ò6th Annual Postcards from the EdgeÓ(invitational), Galerie Lelong, NY, NY, November 2003
2002 *ÒMiami/MiautreÓ invited video screening at the University of Austin, TX, January 2002
Ò5th Annual Postcards from the EdgeÓ (invitational) Sperone Westwater Gallery, NY, NY, October 2002
ÒSun Pictures to Photoconceptualism: Photography from Local CollectionsÓ at the Vancouver Art Gallery, Vancouver, Canada, curated by Roy Arden, with a catalogue. September 2002
ÒMother May IÓ? University of Michigan Art Gallery, curated by Marilyn Zimmerman, September 2002
2001 *ÒGoing On BeingÓ photo/text/video installation, Western Michigan University Gallery, Kalamazoo, Michigan, October 2001
*ÒConsuming Mexico: Looking for ZapatistasÓ performance at New York University, NY, NY, June 2001
Art Club Tribeca, New York, New York, group photo exhibition ÒCurrent and Former Faculty of the National Graduate SeminarÓ June 2001
Ò4th Annual Postcards from the EdgeÓ at Sara Meltzer Gallery, NY, NY, November 2001
ÒMiami/MiautreÓ video screening at the Graduate School of Europe in Saas Fe, Switzerland, (tape is collaboration with will Pappenheimer) August 2001
Samuel P. Harn Museum of Art, Gainesville, Florida, The Swamp: On the Edge of Eden, ÒDredging the SwampÓ a 64 photo - text installation, curated by Kerry Oliver Smith January 2001
Cummer Musuem of Art, Jacksonville, Florida, The Swamp: On the Edge of Eden, ÒDredging the SwampÓ a 64 photo - text installation, February-April 2001
*ÒConsuming Mexcio: Looking for ZapatistasÓ video installation and performance for the Society for Photographic Education, National Conference, Savanna, GA, February 16, 2001
2000 *ÒQuestioningÓ at the Galleria de Universidad Veracruzana, Xalapa, Mexico, May-June
solo exhibition of photographs and text.
ÒThe Caribbean CodeÓ a photo/video/text installation at the Samuel P. Harn Museum of Art, in conjunction with the 35 Annual UF Faculty Exhibition, Gainesville, Florida, November
ÒVerve: The Other WritingÓ, my video ÒMiami/ MiautreÓ was part of the electracy project of the Ngapartji Multimedia Center, as part of the Telstra Adelaide Festival, South Australia, 3rd-26th March
ÒMiami/MiautreÓ video screening at the Graduate School of Europe, Seminar on Chorography, Saas Fe, Switzerland, August 2000
1999 ÒMiami MiautreÓ 1/2 hour video shown at Digital Arts & Culture International Conference, School of Literature, Communication, and Culture, Georgia Institute of Technology, Atlanta, Georgia, October 1999
ÒTrying to Put On AnotherÕs SkinÓ (installation) University Gallery, UF, Gainesville, January 1999
ÒWhat Will You Miss?Ó Invitational Exhibition, School of Art and Design, Georgia
State University, Atlanta, Georgia, March 1999
1998 ÒImaging FloridaÓ, University of Miami Gallery, Miami, Florida, July 1998
ÒPhotography From the CollectionÓ Museum of Contemporary Art, Los Angeles, CA
Ò33rd Annual Art Faculty ExhibitionÓ, University Gallery, University of Florida,
Gainesville, Florida.
ÒBeing AnswerableÓ, interdisciplinary installation, at the European League of Institutes
Of the Arts Conference in Helsinki, sponsored by the Manchester Metropolitan
University, UK.
1997 ÒImaging FloridaÓ, University Gallery, University of Florida, Gainesville, Florida.
ÒTelling a Story: Narrative Work in Craft, Penland Gallery, Penland School of Arts
and Crafts, Penland, North Carolina.
ÒContained/ControlledÓ, Art 800 Gallery, Miami Beach, Florida
Ò32nd Annual Art Faculty ExhibitionÓ, University Gallery, University of Florida,
Gainesville, Florida.
ÒVisiting Artist ExhibitionÓ Penland Gallery, Penland School of Arts and Crafts,
Penland, North Carolina.
1996 ÒIssues in Contemporary PhotographyÓ, The National Museum of Modern Art, Kyoto,
Japan.
ÒSniperÕs Nest: Art From the Collection of Lucy R. LippardÓ, University of Colorado
Art Galleries, Colorado Springs, CO.
ÒNarrative PicturesÓ, Sierra Nevada College Gallery, Incline Village, Nevada.
1995 ÒVisible Traces: Works From the CollectionÓ, Visual Studies Workshop Galleries,
Rochester, New York.
ÒSniperÕs Nest: Art From the Collection of Lucy R. LippardÓ, The Richard and Marieuse
Black Center for Curatorial Studies Museum, Bard College, Annondale on Hudson, NY.
ÒTo Space is the PlaceÓ Science and TechnologyÓ, Richard J. Earnest Cultural Center
Gallery, Annendale, Virginia.
1994 ÒFrom the American CollectionÓ, Minnesota Museum of Art, Landmark Center, Saint
Paul, Minnesota.
ÒThe Romance of TransportationÓ Kresge Art Museum, Michigan State University, East
Lansing, Michigan (exhibition touring state of Michigan)
ÒThe Road and the BridgeÓ, Palm Springs Desert Museum, Palm Springs, California
ÒAllegorical PortraitsÓ, Northlight Gallery, Arizona State University, Tempe, Arizona
ÒThe Lure of the LocalÓ curated by Lucy Lippard, University of Colorado Fine Arts
Galleries, Boulder, Colorado.
ÒIntention and Technique IIIÓ, Lehigh University Art Galleries, Bethlehem, Pennsylvania.
ÒAmerican RoadsÓ, Larsen Gallery, University of Minnesota, St. Paul, Minnesota.
1993 ÒWomenÕs WorkÓ, Victoria and Albert Museum, London, England.
American Photography Institute Visiting Faculty Exhibition, Tish School of Arts, New
York University, New York.
ÒWhy We Came and What We Came ForÓ, permanent mural on the Longmont Safety and
Justice Building, Longmont, Colorado, 1% for the arts public art commission.
ÒA Second LookÓ Harry Ransom Humanities Research Collection, University of Texas
Art Galleries, Austin.
ÒSeeing Is BelievingÓ, installation in ÒThe Boulder FlowÓ at the University of Colorado.
ÒHow To Stop Pushing Love AwayÕ installation at In the Blink of an Eye Gallery,
Boulder, Colorado.
ÒPublic ArtÓ, Boulder Art Center, Boulder, Colorado.
ÒMeeting GroundÓ and interactive public art piece, sponsored by the Boulder Art Center
as part of the 1993 Women on Site/Art In the Park Program, Boulder, Colorado.
1992 ÒFrom the CollectionÓ: Lowe Art Center, Syracuse University, Syracuse, New York.
ÒWomen PhotographerÕs From the CollectionÓ Harry Ransom Humanities Research
Center, The University of Texas Art Galleries, Austin, Texas.
ÒCreative Fellowship RecipientÕs ShowÓ, Boulder Art Center, Colorado.
Ò20th Anniversary of the Visiting Artist ProgramÓ, CU Art Galleries, University of
Colorado, Boulder.
ÒFrom the CollectionÓ, Center for Creative Photography, Tucson, Arizona
1991 *ÓColorado Panorama: A PeopleÕs History of ColoradoÓ, permanent installation of a
two city block long photo based tile mural on the Denver Convention Center.
Metro Center for the Visual Arts, Metro State College, Denver, Colorado.
ÒBiennial Invitational ExhibitionÓ, Northlight Gallery, Arizona State University, Tempe.
ÒAmerican RoadsÓ The Minnesota Museum of Art, Saint Paul, Minnesota.
ÒSelections From the Photography CollectionÓ University of Oklahoma Museum of Art,
Oklahoma City.
ÒAmerican RoadsÓ, Museum of Modern Art, Stockholm, Sweden.
1990 ÒBody Language: The Figure in Art of Our TimeÓ, Rose Art Museum, Brandeis
University, Boston, Massachusetts.
ÒThe Right to View: Perspectives on CensorshipÓ Robischon Gallery, Denver, CO.
ÒColorado 1990Ó Denver Art Museum, with exhibition catalogue.
ÒFine Arts Faculty ShowÓ University of Colorado Fine Arts Galleries, Boulder.
ÒProfessors ShowÓ Ginny Williams Gallery, Denver, Colorado.
ÒAesthetophobia II: The Fear ContinuesÓ 2/C Gallery, Denver, Colorado.
ÒEight Annual PhotographerÕs Holiday ExhibitionÓ, California Museum of Photography,
Riverside, California.
1989 ÒNew Photography and Old FriendsÓ, Hoffman Gallery, Oregon School of Arts and
Crafts, Portland, Oregon.
Ò13 Days: From Christmas to the Feast of the EpiphanyÓ, Andrew J. Macky Gallery,
University of Colorado, Boulder, Colorado.
ÒThe Show of ShowsÓ Boulder Center for the Visual Arts, Boulder Colorado.
ÒFeminists In ExileÓ, Visual Studies Workshop Gallery, Rochester, New York in
conjunction with the National Society for Photographic Education Conference.
ÒAnti-AestheticÓ 2-C Gallery, Denver, Colorado.
1988 ÒRevelationsÓ, solo exhibitions, Shepherds College Shepherdstown, West Virginia
ÒPhotographs by Women: Clementina Viscountess Hawarden to Cindy Sherman),
Victoria and Albert Museum, London, England.
ÒRecent Modern AcquisitionsÓ, Seattle Art Museum, Washington.
ÒAltered States: 20th Century Graphics From the Permanent CollectionÓ The Desert
Museum, Palm Springs, California.
ÒSelf PortraitsÓ, Arvada Center for the Visual Arts, Arvada, Colorado.
ÒWomen Creating WomenÕ, curated by Lucy Lippard, University Memorial Center,
University of Colorado, Boulder, Colorado.
ÒThe Fine Arts Faculty and the Things They CollectÓ, University of Colorado, Boulder,
Colorado.
*Colorado Endowment for the Arts and Humanities, Public Arts Commission, Permanent
Installation of 54 photo in the Social Services Building, Denver, Colorado.
ÒRecent AcquisitionsÓ Sheldon Memorial Art Gallery, University of Nebraska, Lincoln.
ÒAmerican RoadsÓ, Grand Rapids Art Museum, Grand Rapids, Michigan
1987 ÒThe WifeÕs Tale: A Photo Language InstallationÓ, Rhode Island School of Design,
Providence, Rhode Island
ÒFacets of the CollectionÓ, San Francisco Museum of Modern Art, San Francisco,
California.
ÒModern Photography and BeyondÓ, The National Museum of Modern Art, Kyoto,
Japan
ÒKollektionenÓ, Fotografiska Musette, Museum of Modern Art, Stockholm, Sweden
ÒFeminist PhotographicsÕ, Installation Gallery, San Diego, California
ÒFamily PortraitsÓ, Write State University Art Galleries, Dayton, Ohio, with catalogue
ÒKidstuffÕ, University Memorial Centery Gallery, University of Colorado, Boulder
ÒAmerican RoadsÓ, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln,
Nebraska
ÒIntentions and Techniques IIÓ Lehigh University Art Galleries, Bethlehem, Pennsylvania
1986 ÒDas Aktfoto 1840-1986Ó, Hamburg, Germany
ÒNew NudesÓ, Camera Obscura Gallery, Denver, Colorado
ÒPhotographic Book to Photobookwork: 140 years of Photography, In PublicationÓ
California Museum of Photography, Riverside, California
Hunter College, New York City, ÒViewpointsÓ
Mcad Gallery, Minneapolis College of Art and Design, ÒLifestories! A Photo/Video
ExhibitionÓ, Minnesota
ÒAmerican RoadsÓ, Singer Gallery, Petaluma, California
ÒFrom the American CollectionÓ, University of Iowa Museum of Art, Cedar Rapids, Iowa
University of Minnesota, ÒAmerican RoadsÓ, Twin Cities, Minneapolis
Faculty Show, University of Colorado Art Galleries, University of Colorado, Boulder,
Colorado
Center for Idea Art, ÒImage WarsÓ, Denver, Colorado
ÒFrom the CollectionÓ University of Iowa Museum of Art, Cedar Rapids, Iowa
*University of Illinois, Carbondale. ÒBarbara Jo RevelleÓ Solo Exhibition
School of the Art Institute of Chicago, ÒNakedÓ, Chicago, Illinois
1985 *ÓHow Do You See Yourself?Ó New Langton Arts Center, San Francisco, California
with a slide show at the Kabuki Theater
ÒNew PhotographyÓ, Stanford University Art Gallery, Stanford, California
ÒExtending the Perimeters of 20th Century PhotographyÓ, San Francisco Museum of
Modern Art, with exhibition catalogue
ÒCritical MessagesÓ, Artemisa Gallery, Chicago, Illinois, with catalogue
ÒCritical MessagesÓ, University of Colorado, Boulder, in conjunction with Toward a
Visual Culture: Related Issues in Film Photography and Electronic Media. A national
conference
ÒFamily Tradition/TransitionÓ, Rochester Arts Center, Rochester, Minnesota
ÒNakedÓ, Boulder Center for the Visual Arts, Boulder, Colorado
ÒSociety for Photographic Education Invitational ShowÓ, Workspace Gallery,
University of Colorado, Boulder
ÒC. U. Boulder Portfolio ShowÓ, Music Building Gallery, University of Colorado,
Boulder
ÒIntentions and TechniquesÓ, Lehigh University Art Gallery, Pennsylvania
1984 ÒLandscapes, Figures, Objects: The Implied PerformanceÓ California State, Northridge
ÒContemporary American PhotographyÓ, Jeffery Fuller Fine Arts, Philadelphia,
Pennsylvania
*ÓNew Family AlbumÓ, Nexus Center for Contemporary Arts, Atlanta, Georgia
*ÓSolo Photo ExhibitionÓ, Lightsong Gallery, University of Arizona, Tucson
*ÓSpring Comes Late to Upstate New York: A Tribute to Hollis FramptonÓ, Hallwalls
Gallery, Buffalo, New York
ÒFaculty ShowÓ, University of Colorado Art Galleries, University of Colorado, Boulder,
Colorado
*ÓNew Family Albums: A Photo-Audio-Video Installation ProjectÓ, Visual Studies
Workshop, Rochester, New York
ÒThe DeanÕs ShowÓ, University of Colorado, Boulder
ÒC. U. Boulder Portfolio ShowÓ, Work Space Gallery, University of Colorado
ÒC. U. Boulder Portfolio ShowÓ, School of the Art Institute of Chicago, Chicago,
Illinois
ÒAmerican Photography TodayÓ, Arvada Center for the Arts and Humanities, Arvada,
Colorado
ÒThe Road Show: Documents and MetaphorsÓ, University of Louisville Art Museum,
Louisville, Kentucky
1983 ÒThe Self As Subject: Visual Diaries by 14 PhotographersÓ, The University of
New Mexico, Albuquerque, New Mexico
ÒPattern and Decoration in the History of ArtÓ, University of Colorado, Boulder
ÒAmerican RoadsÓ, Etherton Gallery, Tucson, Arizona
ÒThe Center of the EyeÓ, Aspen Center for the Visual Arts, Aspen, Colorado
ÒColorado Photography InvitationalÓ, Grant Street Art Center, Denver, Colorado
ÒLooking at WomenÕ, Artemisa Gallery, Chicago, Illinois
1982 ÒYoung American Photographers/Paris BiennialÓ, Musee des Artes Moderne, Paris
ÒForm, Freud and Feeling: Recently Acquired Works for the MuseumÕs Permanent
CollectionÓ, San Francisco Museum of Modern Art, San Francisco, California
*ÓChildÕs PlayÓ A Photo Related InstallationÓ, in conjunction with the ÒSeries,
Sequence and Narrative in PhotographyÓ Symposium, Colorado Mountain College,
Breckenridge, Colorado
ÒAmerican Photography TodayÓ, University of Colorado, Denver ÒVisual Cataloguing
and MappingÓ, Visual Studies Workshop, Rochester, New York
ÒAmerican RoadsÓ, University of Oklahoma Museum of Art, Oklahoma City
1981 *ÓThe Family Album: An InstallationÓ, Roanoke College, Salem, Virginia
ÒLife as StoryÓ, North Light Gallery, Arizona State University, Tempe, Arizona
ÒORD to LAX: ChicagoÕs Contemporary PhotographyÓ, Los Angeles Center for
Photographic Studies, Los Angeles, California
ÒThe Gift from ChicagoÓ, California Museum of Photography, Riverside, California
ÒSome Girls/A Celebration of Chicago Women ArtistsÓ in conjunction with Judy
ChicagoÕs ÒDinner PartyÓ, Chicago, Illinois
ÒLight and Form: Museum of Science and Industry, Chicago, Illinois
ÒNew WorkÓ, Friends of Photography Gallery, Carmel, California
1980 ÒWords and PicturesÓ, University of Connecticut, with Bart Parker, Wanda Hammerbeck,
Ed West
ÒThe Portrait ExtendedÓ, Museum of Contemporary Art, Chicago, Illinois
ÒArt Words and Book WordsÓ, L.A.I.C.A. Gallery, Los Angeles, California
ÒTen American Artists: Casa de la CulturaÓ, Guadalajara, Mexico
ÒRecovering: A Photo/Language InstallationÓ, Randolph St. Gallery, Chicago, Illinois
ÒChicago River ProjectÓ, a documentary project sponsored the Chicago Council of Fine
Arts, exhibited at the Hancock Center, the I.B.M. Building and Uptown Hull House
Gallery
1979 ÒA Day in the LifeÓ, ARC Gallery, Chicago, Illinois
ÒRecent American PhotographyÓ, Kiosko del Arte, Hermasilla, Mexico
*ÓOne-Artist ShowÓ, University of Rhode Island, Kingston
*ÓReading: Photo Related InstallationÓ, Chicago Center for Contemporary Photography,
Columbia College, Chicago, Illinois
ÒAttitudes: Photography in the 1970ÕsÓ, Santa Barbara Museum of Art, CA
ÒOne-Artist ShowÕ, LACPS Gallery (Los Angeles Center for Photographic Studies),
Los Angeles, California
*ÓReading: Photo Related InstallationÓ, One-Artist Show, San Francisco Art
Institute, performance at opening, San Francisco, California
1978 ÒTwenty Arizona ArtistsÓ, Phoenix Art Museum, Arizona
*ÓArt MakingÕs Heart BreakingÓ, One-Artist Show, School of the Art Institute,
Chicago, Illinois
ÒOn Wilhelm Reich, Guilt and Christmas GivingÓ, Performance/Installation, Arizona
State University, Tempe, Arizona
1977 de Young Museum, San Francisco, California
ÒThe Great West: Real/IdealÓ, University of Colorado, Boulder, traveled nationally and internationally for two years by the Smithsonian
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
Camerawork Gallery, San Francisco, California
*ÓMovingÓ, a photo related environmental installation, Center for Exploratory and
Perceptual Arts, Buffalo, New York
ÒSortingÓ, a photo related environment and 8 day performance, State University Fine Arts
Gallery, Tempe, Arizona
1976 F-Stop Gallery, University of New Mexico, Albuquerque
Spectrum Gallery, Tucson, Arizona
ÒArizona State University Photography Faculty ShowÓ, North Light Gallery, Arizona
State University, Tempe, Arizona
ÒRhode Island School of Design Faculty ShowÓ, Hudson D. Walker Gallery,
Provincetown, Massachusetts
Gallery Association of New York Traveling Photography Show, exhibited at:
Fulton-Montgomery Community College, Johnstown, New York
State University of New York at Alfred, New York Downstate Medical Center,
Brooklyn, New York
Columbia Green Community College, Hudson, New York
Niagara Council of the Fine Arts, Niagara Falls, New York
Mohawk Valley Community College, Utica, New York
1975 ÒOne-Artist ShowÓ, Midtown Gallery, New York, New York
Rosary Hill College Fine Arts Gallery, Buffalo, New York
ÒSummer Faculty ShowÓ, Fine Arts Work Center Gallery, Princetown, MA
Ò8 Buffalo WomenÓ, University of Michigan, Ann Arbor, Michigan
ÒWorks on PaperÓ, Hallwalls Gallery, Buffalo, New York
ÒComing of Age in AmericaÓ, Midtown Y Gallery, New York, New York
ÒThe Floating Foundation of Photography, New York, New York
1974 ÒOne-Artist ShowÓ, CEPA Gallery, Buffalo, New York
*ÓOne-Artist ShowÓ, Patterson Gallery, Westfield, New York
ÒThe Camera is Not a Mirror (And Anyway the Bedroom Is No Place For Reflection)Ó,
photo related environmental installation, Upton Gallery, SUNY at Buffalo, New York
Ò34th Western New York Juried ExhibitionÓ, Albright Knox Art Museum, Buffalo,
New York (Grand Prize Winner in the Photography category)
1973 ÒFine Arts Faculty ShowÓ, Upton Gallery, SUNY at Buffalo, Buffalo, New York
*ÓA Mexican PortfolioÓ, One-Artist Show, University of Colorado Photo Gallery,
Boulder
ÒMail/ArtÓ, Santa Ana College, California
ÒImage/Counter ImageÓ, Boulder Public Library, Boulder, Colorado
ÒM.F.A. Thesis ShowsÓ, University of Colorado, Boulder
*ÓOne-Artist ShowÓ, The Art Dealer Gallery, Lyons, Colorado
1972 ÒLightÓ, Henderson Gallery, University of Colorado, Boulder
1969 Center of the Eye Gallery, Aspen, Colorado
Film Festivals/Invitational Screenings
(* indicates solo show)
ÒOutsiderÕs Look at MexicoÓ Society for Photographic Education conference
Daytona Beach, Florida, 1999
University of Colorado, Boulder, Colorado 1986
Hallwalls, Buffalo, New York 1985
*San Francisco Art Institute, California 1979
Arizona State University, Tempe, Arizona 1977
International WomenÕs Year Conference, Houston, Texas 1977
*Lake Placid Center for the Arts, Lake Placid, New York 1977
Women in Film (Conference), Women/Image/Now, Phoenix, Arizona, 1976
Hudson D. Walker Gallery, Provincetown, Massachusetts 1976
Harvard University, Cambridge, Massachusetts 1976
California State College, Bakersfield, California 1975
ArtPark, Lewiston, New York 1975
*Fine Arts Work Center, Provincetown, Massachusetts 1975
ÒEleven Buffalo Film-makersÓ, Erie County Public Library, Buffalo, New York 1975
ÒWomenviewÓ, part of Refocus Photography Festival, University of Iowa, 1974
Rochester Institute of Technology, Rochester, New York 1974
CEPA Gallery, Buffalo, New York 1974
University of Buffalo, Buffalo, New York 1974
ÒAvant Garde FilmÓ, University of Colorado 1972
Boulder Place Library, Boulder, Colorado 1972
Permanent Public Collections:
International
Bibliotheque National, Paris, France
Eikoh Hosoe Collection, Tokyo, Japan
Museum of Modern Art, Stockholm, Sweden
Nasrallah S. Behbehandi Collection, State of Kuwait
National Museum of Modern Art, Kyoto, Japan
Victoria and Albert Museum, London
National
Albuquerque Museum, Albuquerque, New Mexico
Arizona State University, Northlight Gallery, Tempe, Arizona
Arizona Western College, Yuma, Arizona
California Museum of Photography, Riverside
California State University, Long Beach, California
Center for Creative Photography, Tucson, Arizona
Citibank, Los Angeles, California
Colorado Collection, University of Colorado, Boulder, Colorado
Denver Art Museum, Denver, Colorado
Franklin Furnace Archive, Inc., New York, New York
Grunwald Center for the Graphic Arts, University of California, Los Angeles
Harrison Museum of Art, Utah State University, Logan, Utah
International Museum of Photography at George Eastman House, Rochester, NY
Kresge Art Museum, Michigan State University, East Lansing, Michigan
Lehigh University Art Galleries, Bethlehem, Pennsylvania
Lowe Art Center, Syracuse University Art Gallery
Madison Art Center, Madison, Wisconsin
Midtown Gallery Collection, New York, New York
Minneapolis Museum of Art, Minneapolis, Minnesota
Minnesota Museum of Art, Saint Paul, Minnesota
Museum of Contemporary Art, Los Angeles, California
New Orleans Museum of Art
New York Public Library, New York, New York
Rose Art Museum, Brandeis University, Waltham, Massachusetts
Ruttenberg Arts Foundation, Chicago, Illinois
San Francisco Museum of Modern Art
Santa Barbara Museum of Art, California
School of the Art Institute, Chicago, Illinois
Seattle Art Museum, Seattle, Washington
Sheldon Gallery, University of Nebraska, Lincoln, Nebraska
Sinte Museum of Art, University of Notre Dame, South Bend, Indiana
Spencer Museum of Art, University of Kansas
The Chrysler Museum, Norfolk, Virginia
The Desert Museum, Palm Springs, California
The Progressive Corporation, Cleveland, Ohio
The University of Texas Humanities Research Center, Austin
Tweed Museum of Art, University of Minnesota, Duluth, Minnesota
University of Iowa Museum of Art, Iowa City, Iowa
University of Louisville Photographic Archives, Louisville, Kentucky
University of Minnesota Art Galleries, Minneapolis, Minnesota
University of Northern Iowa Gallery of Art, Cedar Falls, Iowa
University of Oklahoma Museum of Art, Norman, Oklahoma
Visual Studies Workshop, Rochester, New York
Wexner Center for the Visual Arts, Ohio State University, Columbus, Ohio
Fellowships, Grants and
Public Art Commissions:
Fine Arts Scholarship Enhancement Grant: ÒDeath As a Way of LifeÓ: A Video/photo/text installation Project about the ethical and philosophical implications surrounding hunting. $4500, sabbatical year 2003
Fine Arts Scholarhship Enhancement Grant: ÒNo Life Guard On DutyÓ, A Photo/Video/Text Installation Project About Coming to Terms with my FatherÕÕs Death, $3,500, 2002
Fine Arts Scholarship Enhancement Grant: Documentary Dilemmas in Xalapa: A video project about how activist artists and intellectuals in this Mexican university town think about documentary photography and social change, $5,000, summer 2001
Fine Arts Scholarship Enhancement Grant: ÒDisturbance: A Video/ Photo/ Text Project
About the Indigenous PeopleÕs Struggle in Southern Mexico, $5,000, summer 2000
Fine Arts Scholarship Enhancement Grant: ÒConsuming MexicoÓ A photography/CD
Project, $3,500 summer 1999
Opportunity Fund, University of Florida Division of Sponsored Research, Miami
River Project, with Ulmer, Tilson, Freeman and Bleach. $12,000 to do my part
of the research, 1998
National Endowment for the Arts Public Arts Grant, co-sponsored by the Lafayette Cultural Arts Commission, Colorado, for $15,000 for a Public Art Mural on the Lafayette Public Library 1998
Ft. Myers Federal Building and Court House, $118,000 public art commission to do a
ceramic tile mural about the peopleÕs history of Ft. Myers, 1997-98
Lafayette Council on Public Art, $42,000 public art commission to do a mural on the
New Public Library, 1996-98
CRCW Grant In Aid for Mexican Photography CD ROM project, $4,000, 1995
CRCW DeanÕs Small Grant, Travel to Mexico City and Oaxaca to participate in round
table discussion on AIDS and art, $600, 1994
Graduate Committee on the Arts and Humanities Travel Grant to work on Mexican
photography project, $1,400, 1994
Council on Research and Creative Work Grant, University of Colorado, $2,500, for
work on Mexican photography project, 1994
Colorado Art In Public Places Program, $40,000 commission to do a mural on a clocktower in Longmont, Colorado, 1992-1993
Graduate Committee On the Arts and Humanities Award for photography project,
University of Colorado, Boulder, $2,000. 1992
Colorado Council On the Arts and Humanities Individual ArtistÕs Fellowship $4,000.
1991-1992
Colorado Commission On Cultural Affairs, Denver Convention Center Commission
to do two city block long photo based tile mural on Denver Convention Center,
$210,000. 1989-1991
City of Denver Commission to do a free standing companion piece to the ÒPeopleÕs History of Colorado MuralÓ inside the Denver Convention Center. $2,000. 1990
University of Colorado Faculty Fellowship for 1989-1990 Academic Year (years salary).
Council on Research and Creative Work Grant, University of Colorado, ($3,000) for
ÒThe PeopleÕs History of ColoradoÓ a photo based tile mural and bookwork. 1989-1990.
Boulder Arts Council, Photographic Project, $1,200, 1988
Impart Program, University of Colorado, Boulder, Colorado, $800
Colorado Council on the Arts and Humanities, Public Art Projects, $9,000,
1987-88
Neodata Endowment for the Arts and humanities, ($1,800) for an intermedia project,
1987
Western States Media Arts Fellowship, ($3,500) for film project funded by the
American Film Institute 1985-86
Colorado Endowment for the Humanities, for the conference Toward a Visual Culture,
Related Issues In Film, Photography and Electronic Media, ($1,500) 1985
University of Colorado Graduate Committee on the Arts and Humanities for the
conference Toward a Visual Culture, ($600) 1985
Boulder Commission on the Arts Grant conference Toward a Visual Culture...($400)
1985
Council on Research and Creative Work Grant, University of Colorado, ($3,779) for
ÒDrowningÓ a photographic and filmic installation project. 1984
Nexus Center for the Contemporary Arts/grant to complete artist bookwork, ($1,000)
sponsored by the National Endowment for the Arts 1984
Visual Studies Workshop Artist in Residence/Fellowship, ($1,000) funded by N.E.A.
1983
Illinois ArtistÕs Fellowship, ($5,000) 1983
Illinois State Council on the Arts, Photo/Language Project, ($750) 1981
Illinois State Council on the Arts, Photography, ($685) 1980
Illinois State Council on the Arts, ÒReadingÕ, a Photo Related Environmental Installation,
($500) 1979
National Endowment for the Arts, Photography, ($10,000) 1978-79
Arizona State Council on the Arts, for the film ÒWaiting for Phoenix to Rise From Its
AshesÓ, ($500) 1977
Arizona State University Faculty Grant in Aid, filmmaking, ($2,000), 1977
Gallery Association of New York Mixed Media Fellowship to do photo/language
installation, ($1,000) March 1977
CAPS Grant (Creative Artist Program Service Fellowship through the New York State
Council on the Arts), ÒComposite PhotographsÓ, ($3,350) 1977
State University of New York Research Grant, for Projects in the Fine Arts, ÒComposite
ImageryÓ, ($3,500) 1976
State University of New York Faculty Grant for Learning Methodology, ($400) 1975
CAPS Grant (Creative Artist Program Service Fellowship), ÒComposite Photographs
Using Color Additive ProcessesÓ, ($3,000) 1974
Lectures and Presentations of Creative Research /Panels and Talks:
ÒAmer Emerg Agency ZonesÓ on a multi-diciplinary process of image-making, image-inquiry and consultancy at the National Society for Photographic Education conference in Austin, Texas, March 2003
ÒArt Making Under FireÓ at the University of Illinois, Carbondale, IL, March 2003
ÒMy Work In Public ArtÓ keynote address at ÒThe Big PictureÓ, national conference on photography and public art, Atlanta Celebrates Photography, Metropolitan Public Art Coalition, Atlanta, Georgia, October 2001
ÒInterventions and Provocations: My Work So FarÓ, at Western Michigan University, Kalamazoo, Michigan, October 2001
ÒMore Than One: The Display of Images In Time and SpaceÓ panel at the Society for Photographic EducationÕs 38th National Conference, Savanna, Georgia, with Gary Metz, Nathan Lyons, and David Freund, February 2001
ÒPhoto-Based Computer Generated Tile MuralsÓ University Photographers of America Association , National Symposium, University of Florida, Gainesville June 20, 2000
ÒApproaching the Border: Personal Photo, Text and Video work About US/ Mexican RelationsÓ at Universidad Veracruzana Xalapa, Mexico, May 2000
ÒPerspectives: the Work of the University of Florida School of Art and Art HistoryÕs Studio FacultyÓ Universidad Veracruzana, Xalapa, MX, May 2000
ÒThe Caribbean Code: Haiti and the Miami RiverÓ at the 26th Annual Southern Graphics Council Conference, University of Miami, Florida, March 2000
ÒStrategies for Dynamic LeadershipÓ panel at the University of Florida, Sponsored by the Named Presidential Fellows and the Graduate School, January 2000
Ò Outside MexicoÓ panel at the regional conference of the Society for Photographic Education, Daytona Beach, Florida, October 1999
ÒPorn Queens, Perverts, Jailbirds and Bad Mommies: Cultural Confrontation with the Law and AcademiaÓ juried panelist, College Art Association national conference, LA CA February 1999
ÒConsuming Mexico: Perspectives on the ArtsÓ at the Forth International Conference of
the Americas, Tampa, Florida, January 1998
ÒImaging Florida: Spring Break and Other AttractionsÓ Society for Photographic Education, National Conference, Philadelphia, PA March 1998
ÒImaging Florida: Miami River ProjectÓ Conference on Computers and Writing,
University of Florida, May, 1998
ÒImaging Florida: Tourism as TheoryÓ at the Symposium of the Florida Research Ensemble, University of Florida, Gainesville, Florida, 1997
ÒThink It/Ink It: Education PanelÓ at the 25th Annual Southern Graphics Council Conference, College of Fine Arts, University of Southern Florida, Tampa, Florida, 1997
ÒThe Diary, the Gallery, the Street: the Evolution of My Art Making PracticeÓ, New World School for the Arts, Miami, Florida, 1996
ÒPublic Art: Recent ProjectsÓ, Workshop for Art Research and Practice lecture series,
University of Florida, Gainesville, Florida 1996
ÒFrom the System to the Street: Issues In My Art Making PracticeÓ Sierra Nevada College, Visual and Performing Arts Dept., Incline Village, Nevada, July 1996
ÒThe Portrait ExtendedÓ Denver Art Museum, Denver, Colorado, July, 1996
ÒIssues of Public and Private in ArtÓ conference, Albuquerque, N.M. 1995
ÒPublic Art and Technology: Beyond TechnofluffÓ at the national conference of the
Society for Photographic Education, Chicago, 1993
ÒDiary, System, Street: Thoughts On My Recent WorkÓ at Adams State College, Alamosa, Colorado 1993
ÒDiary, System, Street: Thoughts On My Recent WorkÓ at the American Photography
Institute National Graduate Seminar, New York University, New York, NY, July 1992 *
transcript being published in conference proceedings.
ÒActivist Public ArtÓ at the American Photography Institute National Graduate Seminar,
New York University, New York, NY, July 1992 transcript published in proceedings
ÒCensorship and Government Funding of the Arts: How to Balance Artistic Freedom
and Public AccountabilityÓ as part of the Seminar Representing the Arts: Censorship
and Artistic Freedom directed by Colorado Lawyers for the Arts and The American Civil
Liberties Union, December 10, 1992
ÒA Revisionist History: Who Will be RepresentedÓ, a Tribute to Robert Trujillo who
was Head of the Colorado Communist Party, Denver 1991
ÒA PeopleÕs History of ColoradoÓ on the occasion of the dedication of my mural to Richard Castro, Denver Convention Center 1991
ÒA Colorado Panorama: The Mural ProjectÓ, University WomenÕs Club of the University of Colorado at Boulder, 1991
ÒIs It Obscenity? Life VS. ArtÓ, moderator of debate between ACLU Director James Joy and Professor Robert Terrell, University of Colorado, Boulder 1991
ÒFeminist PedagogyÓ, lecture at the National Society for Photographic Education Conference, Santa Fe, New Mexico 1990
ÒTeaching Strategies for the Ô90ÕsÓ panel for ÒReview, Refocus, RebuildÓ
Southwestern Regional Conference of the Society for Photographic Education,
Prescott, Arizona, 1990
ÒCensuring the Arts and HumanitiesÓ panel discussion for the Inaugural Series, University of Colorado at Colorado Springs,1990
ÒCollaborative Efforts in Art MakingÓ Ginny Williams Gallery, Denver, Colorado 1990
ÒFrom Personal to Public Art MakingÓ DeanÕs Update Reception, University of Colorado, Boulder, Colorado 1989
ÒThe ÔPhallacyÕ of the Hero: A Feminist Critique of the Artist as Heroic FigureÓ, American College Art Association, Kansas City Art Institute, Kansas City, Missouri 1988
ÒCollaboration: Signature as ProblematicÓ, Mid American College Art Association, Kansas City Art Institute, Kansas City, Missouri, 1988 (panel)
ÒWomen and MediaÓ, International WomenÕs Week conference, University of Colorado,
Boulder, Colorado, 1988
ÒComputer Digitized Photographs Translated Into TileÓ, delivered at both the Zonta Club of Denver and to Mayor Pena and the Press, MayorÕs Office, 1988.
ÒPublic Art TodayÓ, at the State Department of Social Services, Denver, Colorado 1988
ÒPhoto/Language WorksÓ, Rhode Island School of Design, Providence, Rhode Island 1987
ÒFeminist Theory and Photography: Issues of RepresentationÓ, University of Colorado, Boulder, Colorado, 1978
ÒNarrative StrategiesÓ, Southern Illinois University, Carbondale, Illinois, 1986
ÒNaked: Exhibition and IssuesÓ panel at the Society for Photographic EducationÕs regional conference, Boulder, Colorado 1985
ÒToward a Visual CultureÓ, opening address at the Society For Photographic EducationÕs regional conference, Boulder, Colorado 1985
ÒWomen and Less (or No) MoneyÓ panel at the Society for Photographic EducationÕs National Conference in Minneapolis, Minnesota, 1985
ÒNew Family Album and Other Installation WorkÓ, University of Rochester, New York, 1984
ÒOn Collaboration In Art MakingÓ, Rochester Institute of Technology,
Rochester, New York 1984
ÒPhoto Environmental Installation: The Family AlbumÓ, Regional Society for Photographic EducatorÕs meeting, Chandler, Arizona, October 1983
ÒTeaching Women: Toward a Non-Sexist Photo EducationÓ, organized and moderated this panel at the Society for Photographic Education, national meeting in Philadelphia, 1983
ÒThe Slow-Scan Video ProjectÓ, a panel, Society for Photographic EducationÕs national meeting in Philadelphia, 1983
ÒStory Telling As a Survival TacticÓ, Series, Sequence, Narrative Symposium, Colorado Mountain College, Breckenridge, Colorado. 1982. (I also participated in a panel discussion at the close of the conference)
ÒEvolution of My Work in PhotographyÓ, University of Colorado, Boulder, 1982
ÒPersonal WorkÓ, Los Angeles Center for Photographic Studies, 1982
ÒLooking at ÔWomen Look at WomenÕÓ, a consideration of the Library of Congress exhibition, University of California, Los Angeles, 1982
ÒLifestylesÓ, a panel at the National Meeting for the Society for Photographic Education, Asilomar, California, 1981
ÒSources In My WorkÓ, International Center for Photography, New York, New York 1981
ÒThe Relationship of Film to Photography in My Personal WorkÓ, University of Illinois, Chicago Circle Campus, Chicago, 1981
ÒInsinuating the NarrativeÓ, Columbia College, Chicago, Illinois, 1980
ÒPhoto Related Environments and Extended Photo ProjectsÓ, University of Illinois, Chicago Circle, 1980
ÒPersonal WorkÓ, Institute of Design, Illinois Institute of Technology, 1979
ÒFire Walking and the Other Impossible Things That HappenÓ, Wayne State University, Detroit, Michigan, 1979
ÒBetween the System and The StreetÓ, The School of the Art Institute of Chicago, Chicago, Illinois, 1979
ÒPhoto Related Environmental InstallationsÓ, San Francisco Art Institute, 1978
ÒPersonal WorkÓ, California Institute of the Arts, Valencia, 1978
ÒConceptual vs. Visual/The Nature of the Problem/One SolutionÓ, Western Regional Conference for the Society for Photographic Education, Chula Vista, California, 1977
ÒPhoto Related Environmental InstallationsÓ, Image Makers Caucus, Society for Photographic Education, Boulder, Colorado, 1977
ÒConceptual and Structural Uses for PhotographyÓ, Lake Placid School for the Arts, Lake Placid, New York, 1977
ÒA History of the American Avant Garde CinemaÓ, a six lecture series to accompany the Whitney MuseumÕs Film Series, Scottsdale, Arizona, 1977
ÒThe Relationship of My Films to My PhotographsÓ, Arizona State University, Tempe, Arizona, 1974
ÒSources for Film and Photo IdeationÓ, Hudson D. Walker Gallery, Provincetown, Massachusetts, 1976
ÒSome Thoughts on Contemporary Experimental FilmÓ, Patterson Art Gallery, Patterson, New York, 1974
ÒMy Personal Work in Film and PhotographyÓ, Rochester Institute of Photography, Rochester, New York, 1974
Related
Professional Activities:
Designer and Photographer, visiting artist poster for national distribution, University of Colorado, Boulder, CO, 1991
Juror: Colorado Lawyers for the Arts Annual Art Competition, 1990
Juror: Arts Midwest/ National Endowment for the Arts Regional Visual Arts Fellowship Program, 1990
Panelist, Fulbright Fellowship, University of Colorado, Boulder, Colorado, 1989
Juror, Capitol Hill Photography Exhibition, Robischon Gallery, Denver, Colorado, 1989
Juror: Western States Regional Media Arts Fellowships, Rocky Mountain Film Center, Boulder, Colorado, 1987
Director, University of Colorado Summer Workshops, a five week workshop series with lectures, panels, exhibition, and a catalogue, 1987
Juror: Boulder Center for the Visual Arts Photography Exhibition, 1987
Director, Toward a Visual Culture: Related Issues in Film, Photography, and Electronic Media, a conference sponsored by the Society for Photographic Education, the University of Colorado, and Naropa Institute of Boulder, Colorado. Included fund raising, conceptualization, and actualization of this four day event. Thirty-six speakers with national reputations participated. 1986
Recipient, Jacob Van Eck Mentor Award in Teaching, 1986
Board of Directors, National Society for Photographic Education, 1983 to 1988, Chairperson, Services to the Field Committee, 1985 to 1988
Chairperson, International Committee, National Society for Photographic Education, 1983-1984
Project Co-Director (with Alex Sweetman) Naked, a national juried photography exhibition and portfolio of fine photographic prints published by the University of Colorado in an edition of 50, 1985-86
Project, Director, University of Colorado Portfolio: Boulder, 1983-1984
Juror: First Rocky Mountain Underwater Photography Contest, 1986
Juror: Naked, International Photography Exhibition, with Robert Heinecken and Ann Noggle, 1985
Juror: Our Atmosphere, Our Future, an Art Exhibit at the National Center for Atmospheric Research, Boulder, Colorado, 1985
Consultant: Peer Group, Friends of Photography, Carmel, California, 1982 to the present
Steering Committee Advisory Board, National Society for Photographic Education, 1981-1982
Board of Directors Nominating Committee, Society for Photographic Education, 1981
Video Interview with Charlie Traub, Director of Light Gallery and former Director of Columbia college Photo Program, published by ÒThe Video Date BankÓ, School of the Art Institute of Chicago, Chicago, Illinois1981
Developed and co-directed Arizona State UniversityÕs inter-media program, the first degree-bearing cross-media program in the country. In conjunction with this program, I taught several new courses: ÒExtensions of the Photographic ImageÓ, ÒPhoto Related Environmental InstallationsÓ, and ÒInter-Media Film MakingÓ, 1976-77
Developed and taught graduate philosophy seminars in ÒRelevant Ideas for Contemporary ArtistsÓ, with an emphasis on Structuralism, Phenomenology, Marxist, and other art-critical and political perspectives. Arizona State University, 76-77, School of the Art Institute of Chicago, 78-79
Consultant: graduate program, Visual Studies Workshop, Rochester, New York, (Final Projects Advisor), 1977
Developed the Experimental Film Production Program at SUNY at Buffalo, New York. This included finding requisite funding for equipment and building the editing and screening facility. Concurrently, I organized and directed the first, second, and third annual SUCB Independent Film Festivals, 1974-1976.
Juror: 1975 Creative Artist Program Service Fellowships (CAPS Grants) sponsored by the New York State Council on the Arts
Bibliography:
A. Articles About Barbara Jo Revelle (*indicates that article is accompanied by reproductions of RevelleÕs work. + denotes most adequate description. -B.J.R.)
Alan Artner, ÒBarbara Jo Revelle at the Chicago Center for Contemporary PhotographyÓ, Chicago Tribune, August 3, 1979.
Alan Artner, ÒDay in the Life is ÒSelfÓ With a Few Who Go BeyondÓ, Chicago Tribune, August 3, 1979. (Revelle is cited as one who Ôgoes beyond.Ó)
*+Dana Asbury, ÒThe Self as Subject: Visual Diaries by 14 PhotographersÓ, Exhibition Catalogue, the University of New Mexico, 1983.
*+Anthony Bannon, ÒBetween the System and the StreetÓ, AfterImage, Rochester, New York, March 1978
+Anthony Bannon, ÒExhibit Finds Artful Link with PhoenixÓ, Buffalo Evening News, May 17, 1977.
*Anthony Bannon, ÒA Course in History Shows In Photography ExhibitionÓ, Buffalo Evening News, Buffalo, New York, October 13, 1975
Robin Blumner, ÒThe Public Can Handle ItÓ Bradenton Times, Bradenton, Florida,
February 1, 1998
Patti Bruck, ÒVisual Art...Ó Colorado Daily, October 13,1975
P. Bortwood, ÒMotherÕs Warning VoiceÓ, The Tucson Weekly, October 3, 1984
Pat Calafia, ÒCensoring CensorshipÓ, Stop the Presses: First Amendment News, July/August Issue, 1998
*Mary Chandler, ÒProposal for Convention Center Tests CityÕs New Art ProgramÓ, Rocky Mountain News, September 11,1988
Irene Clurman, ÒBoulderÕs Naked Show Offers Myriad Revelations,Ó
November 15, 1985, Rocky Mountain News.
*Charles Desmarais, ÒMother, Father, Lover, FriendÓ, The Portrait Extended,
Exhibition Catalogue, Museum of Contemporary Art, Chicago, September, 1980
David Elliott, ÒBreaking BoundariesÓ, Sun Times, (Chicago, Illinois), September 14, 1980.
Kathy Erbacker, ÒGet the Big Picture at C.U.Ó, The Denver Post, July 12, 1987
Candida Finkel, ÒBarbara Jo Revelle/ReadingÓ, New Art Examiner, summer, 1979
*Hal Fisher, ÒProcess Made VisibleÓ, AfterImage, May 1979.
*Hal Fisher, ÒProcess Made VisibleÓ, Artweek, March 17, 1979.
*Ron Geibert, ÒFamily PortraitsÓ, Write State University, Dayton, Ohio, 1987
*Reed Glen, ÒUn-Conventional: Barbara Jo RevelleÕs Unique Plans for DenverÕs Convention Center MuralÓ, Boulder Daily Camera, October 9th, 1988
Reed Glen, ÒNew Art and the Value of ShockÓ, Boulder Sunday Camera, November 3, 1975.
*Beryl Grahm, ÒLong Term Relationships: Photography as Permanent Public ArtÓ, Camerawork, Vol. 20, #2 Fall/Winter 1993 pp18-29
Stan Gorton, ÒLibrary Mural to Celebrate LafayetteÕs PastÓ Lafayette News, Colorado, Dec 10, 1997
*+Carol Harmel, ÒThe Portrait ExtendedÓ, AfterImage, December, 1980
* Sally Harris, ÒAn Intimate Look At Life With KatieÓ, Roanoke Times and World News, December 1, 1981
Niki Hayden, ÒThe Larger View: Revelle Discovers Public Art Can Be ControversialÓ, Boulder Daily Camera, July 17, 1993
Jennifer Heath, CUs Faculty ShowÓ, Longmont Sunday Times-CallÓ, October 3, 1985
*+Jennifer Heath, ÒBarbara Jo Revelle and Ron SukenickÓ, New Art Examiner, April 1987.
Jim Huginin, ÒCelebrating Two DecadesÓ, exhibition catalogue from UCLA, 1984.
Jim Hugunin, ÒThe Naked TruthÓ, essay published with Naked, a limited edition portfolio, University of Colorado, 1986.
Jane Hulse, ÒArt Exhibit Stirs Clash...Ó Rocky Mountain News, October 26, 1985.
*+Budd Hopkins, ÒA Note on Composite Imagery: The Photographs of Barbara Jo RevelleÓ, Artforum, Vol. 14/No.8, April 1976.
*Harold Jones, ÒBarbara Jo Revelle/PhotographyÓ, Twenty Arizona Artists, Exhibition catalogue, Phoenix Art Museum, July 1976
*James Kaufman, ÒOnce Is Not EnoughÓ, The Des Moines Sunday register, September 28, 1980.
Lorraine Kenny, ÒVital StatisticsÓ, AfterImage, May 1986.
Elaine King, ÒThe Portrait ExtendedÓ, New Art Examiner, October 1980.
*April Kingsley, ÒBarbara Jo Revelle at the Midtown Y Gallery Ò, The Soho Weekly News, December 25, 1975.
Eldin Kotter and Marilyn Stewart, Art: A Community Connection, Davis Publishing, work cited and reproduced, June/July 2000
*Judith Russi Krishner, ÒThe Possibility of an Avant-GardeÓ, Chicago Art Journal, with reproductions of my work, September 1985.
*Judith Russi Krishner, ÒCritical MessagesÓ, In These Times, (Chicago Art Journal),
September 4-10, 1985.
Krodel, Beth, ÒPhoto Mural On Clock Tower To Reflect LongmontÕs HistoryÓ, Boulder Daily Camera, 1992
T.H. Lauria, ÒNaked: BCVA Hosts Controversial ShowÓ, Audience, November 7 - 13, 1985.
*+Lucy Lippard, ÒSniperÕs NestÓ, ÒZÓ Magazine, Vol 4, #6, June 1991, pp 72-75
*+Lucy Lippard, ÒFacing UpÓ in EnglandÕs Ò10/8Ó Magazine, November, 1991
Lucy Lippard, The Pink Glass Swan: Selected Feminist Essays on Art, 1995, p.246
*+Lucy Lippard, The Lure of the Local: Senses of Place in Multicentered Society, 1997 p.88
*+Lucy Lippard, On the Beaten Track: Tourism,Art and Place, 1999
Katherine Lord, ÒA Thorn Is a Thorn Is a ThornÓ, Exposure, 22:2, summer 1984, pp.40-44
*+Mary Motian-Meadows, ÒA Colorado Panorama: Barbara Jo Revelle Pays Tribute to ColoradoÕs PeopleÓ, Denver Magazine Volume 20:6, June 1990, pp.39-42.
Steve Millard, ÒExhibit Brochure Stirs FurorÓ, Boulder Daily Camera, October 25,1985.
Donald Mitchel, Cultural Geography: A Critical Introduction, Blackwell Publishers. 1999 Chapter one of the book opens with a discussion of the controversy concerning RevelleÕs ÒPeopleÕs History of ColoradoÓ public art mural
*Robert Morgan, ÒMemories by the MinuteÓ, Sunday Democrat and Chronicle, Rochester, New York, January 1984
Jane Myers, ÒFemaleness in ArtÓ, Ann Arbor News, October 31,1975.
Diane Neumaier, ÒAlfred, Harry, Emmet, Georgia, Eleanor, and MeÓ, Exposure, 22:2
Summer 1984
Stephanie Pierson, ÒNakedÓ, CU Campus Press, November 14, 1985.
Shelly Rice, ÒFeminism and Photography: Trouble in ParadiseÓ, AfterImage, vol.6/8.
Leland Rucker, ÒProf.Õs Colossal Mural earns Huge GrantÓ, Colorado Daily, Vol.96, No.151 October 5, 1988
Blair Sands, ÒBucking the Canvas QuoÓ, Moon Magazine, Gainesville, Florida, February 12, 1997
Paul Sharits, ÒSpring Comes Late to Upstate New YorkÓ, The Buffalo Projective, film catalogue, Media Studies, Buffalo, New York, May 1976
Nina Siegel, ÒDoubly ForbiddenÓ, New York Times Magazine, February 1, 1998. P.15
Shaw Smith, ÒCoded Messages in Colorado: Image wars at the Center for Idea ArtÓ, New Art Examiner.
Alan Sondhein, ÒSexuality, Power, and FeminismÓ, Exposure 22:2
Summer 1984, pp. 14-18
Buzz Spector, ÒCritical Messages: The Use of Public Media for Political Art by WomenÓ, Artemesia, Chicago, Illinois, 1985
Margaret Stanton Murry, ÒBarbara Jo RevelleÓ, American Photography Institute
National Graduate Seminar Proceedings, Tish School of Arts, 1992 PP 198-199.
Alex Sweetman, ÒPhotographic Book to Photobookwork: 140 Years of Photography in Publication: Colorado Museum of Photography Bulletin. Published by University of California, March 1986.
*Ann Weinstein, ÒPhotographers Walk Line Between Life and ArtÓ, Roanoke Times and World News, December6, 1981.
Whaley Monte,ÓPaint the Town: Artist Blends Cultures in MuralÓ, Longmont Times Call, 1992
B. Reproductions of Barbara Jo RevelleÕs Work in Books, Calendars, and Catalogues not listed above (not accompanied by essays)
ArtemesiaÕs 25th Anniversary Calendar, image of RevelleÕs work chosen to represent 1985, published by Artemesia Gallery, Chicago, Illinois, 1999
1995 Gallery of DenverÕs Public Art, Colorado ÒPanorama: A PeopleÕs History of ColoradoÓ, image chosen to represent December 1995. Published by Central Services Division, Denver, Colorado, 1995
*ÓColorado 1990Ó, Denver Art Museum, Colorado, 1990
*ÓModern Photography and BeyondÓ, National Museum of Modern Art, Kyoto, 1987
*ÓPhotographs from the Last Decade: Facets of the CollectionÓ, San Francisco Museum of Modern Art, 1987
*ÓAmerican RoadsÓ, exhibition catalogue, Petaluma, California, 1986
*ÓLife StoriesÓ, exhibition catalogue, Minneapolis College of Art and Design, 1986.
*ÓFamily Tradition/TransitionÓ, exhibition catalogue with text and reproductions of my work, University of Minnesota, Minneapolis, Minnesota, 1985.
*Extending the Perimeters of 20th Century Photography, exhibition catalogue with text and reproductions of my work, San Francisco Museum of Modern Art, 1985.
*Quiver, Number 11, ÒThe New PortraitÕ, edited by Michelle Becott and William Larson, Philadelphia, Pa. 1985
*The Great West: Real/Ideal, edited by Sandy Hume, Gary Metz, and Ellen Manchester, University of Colorado, Boulder, 1978.
*Coming of Age in America, ÒA Critical Exhibition Comparing Our Attitudes Toward Youth and AgingÓ, edited by Larry Siegel, Exhibitions catalogue, Cover Photo, New York, NY, 1976
*Words and Pictures, an exhibition catalogue from a show of work by Wanda Hammerback, Bart Parker, Barbara Jo Revelle, and Ed West, The University of Connecticut, November 1980.
*A Day in the Life, Ò24 Hours In the Life of a Creative WomanÓ, ARC Gallery, Chicago, Exhibition catalogue, August, 1979.Buffalo, New York, April 1974.
*1977 Creative artist Program Service Fellowship catalogue, CAPS Grant Winners, New York, New York.
*1974 Creative Artist Program Service Fellowship catalogue, CAPS Grant Winners, New York, New York.
C.
Inclusion in Published Portfolios
Naked, published by the University of Colorado, Boulder, in an edition of 50, a portfolio of 35 artistsÕ photographs with an introduction by Jose Arguelles, 1984.
1984, published by the University of Illinois, Chicago, in an edition of 35, portfolio of 27 artistsÕ photographs with an introduction by Jose Arguelles, 1984.
1984, published by the University of Illinois, Chicago, in an edition of 100, with the work of Joe Jacna, Aaron Siskind, and others, 1984.
American Roads, published by Landweber Artists, Los Angeles, in an edition of 100, a portfolio of ÒartistsÓ photographs, including Nathan Lyons, Tod Papageorge, Henry Wessel, and others, with an introduction by James Hugunin, 1982.
Umbra, published by the School of Art Institute of Chicago, in an edition of 50, Tempe, Arizona, 1977.
D. Essays
by Barbara Jo Revelle in catalogues, books, journals
Barbara Jo Revelle, Gregory L. Ulmer, ÒMiami Miautre: Mapping the Virtual CityÓ in The Journal of Visual Culture, Volume 1, Number 3, pp 340-356, with four reproductions of my photographs, Sage Publications, London, CA, New Delhi, December 2002
Barbara Jo Revelle , Gregory L.
Ulmer, Gordon Bleach and John Craig Freeman, ÒImaging FloridaÓ, in ÒExposureÓ,
Society for Photographic Education, Volume 32, 1999
Barbara Jo Revelle, ÒSecrets, Explosions, and the Possibility of Subversive BeautyÓ, catalogue essay Ò35 Annual Art Faculty Exhibition,Ó University of Florida, Gainesville, Florida, 2000.
Barbara Jo Revelle, ÒSome Thoughts on Process, Non-Attachment, and DisruptionÓ, catalogue essay Ò32 Annual Art Faculty Exhibition,Ó University of Florida, Gainesville, Florida, 1997.
Barbara Jo Revelle, ÒLike Getting Your Cat to Jump in the Bath TubÓ catalogue essay for the Annual Student Juried Exhibition, University of Florida, Gainesville, Florida, 1997.
Barbara Jo Revelle, ÒOn Being a Public ArtistÓ in ÒContemporary Art and Multicultural ExperienceÓ edited by Susan Cahan and Zoya Kocur, The New Museum of Contemporary Arts, Routeledge Press, New York and London, 1996.
Barbara Jo Revelle, with Suzanne Bloom, Ed Hill, Ester Parada, ÒDisplacement: The Artists as Homesteaders, the Artists as PolemicistsÓ in American Photography Institute National Graduate Seminar Proceedings, Tish School of Art, 1992, pp. 119-121.
Barbara Jo Revelle, ÒComing of Age In the 60ÕÕ Artpaper, Volume 12, No.2, October 1992, Minneapolis, Minnesota.
Barbara Jo Revelle, ÒNarrative PhotographyÓ Upfront Magazine #14 spring 1988 (with Alex Sweetman)
Barbara Jo Revelle, project director ÒSurvey of Women and Persons of Color in Photographic EducationÓ, Exposure Magazine, Volume 26 no. 2/3, Society for Photographic Education, 1988 (referred journal).
Barbara Jo Revelle, ÒSomeone in Particular: Some Thoughts on Mail ArtÓ, In Mail, Etc. Art, Published by the University of Colorado, Boulder, 1980.
Barbara Jo Revelle, ÒTheory/FleshÓ in ÒU-Turn Ò(progressive art journal out of L.A.), 1985, with text and reproductions of my work.
Barbara Jo Revelle, ÒDeath Sentences (after Maurice Blanchot)Ó, Working Papers, Minneapolis, 1983.
Barbara Jo Revelle, ÒRemembering the COEÓ, The Center of the Eye, by Alex Sweetman, Aspen Center for the Visual Arts, 1983.
Barbara Jo Revelle, ÒReadingÓ, Photography, The Problematic Model, edited by Lew Thomas and Robert dÕAugustino, Not For Sale Press, San Francisco, California, Spring, 1981.
Barbara Jo Revelle, ÒNothing Less Than Life, Death, and EcstasyÓ, The Phoenix Five, edited by M. Magenta, Arizona State University, Tempe, 1978.
E.
Broadsides and Published Posters by Barbara Jo Revelle
Barbara Jo Revelle, Ò MovingÓ, exhibition statement published in conjunction with photo/language installation, Buffalo, New York, 1977.
Barbara Jo Revelle, ÒSortingÓ, exhibition statement published in conjunction with photo/language installation, Arizona State University, 1977.
Barbara
Jo Revelle, ÒReadingÓ, exhibition statement with extensive text/broadside
poster, in conjunction with
exhibition at the San Francisco Art Institute, 1979.
Barbara
Jo Revelle, with Alex Sweetman, ÒNew Family AlbumÓ, centerfold for broadside AfterImage,
Volume II, No.6, January 1984.