Bio/Resume

MATTHEW GELLER

BIO

Matthew Geller is particularly drawn to overlooked or underutilized environments, which can include anything from private imaginary worlds within brick walls to back alleys to sprawling open public spaces. It is in these environments that he teases out small fragments of narrative by augmenting or amplifying the raw materials of a given place. He asks the viewer to engage with both what was always there as well as what might be.

With all of his work he sets out to engage the public and foster a sense of community. The works are playful, accessible—and very often unexpected. By using disparate elements (including everything from mist to swings to showers to wind-powered elements) in surprising and interactive ways, his work aims to disarm and enchant, which encourages engagement with the work and among viewers themselves.

He is currently working on three commissions that include extensive collaboration with architects and designers: the entire 10,000 sq. ft. Zoo Miami Children’s Play Area including three 32-foot tall misting cypress trees, a floating sidewalk for the new Myrtle Avenue Plaza in Brooklyn, and an artwork for a design/build project—a former Home Depot being converted into the new Municipal Courthouse in Austin, Texas. Other current commissions include: a multi-sensory artwork for the exterior entrance area of the New Mexico School for the Blind; seating for the Happy Valley Bi-way in Lenoir, North Carolina; a gazebo-like structure with a swaying 12-person semi-circular bench for Hunters Point Shipyard in San Francisco; and a bridge with a water feature suspended over the Town Branch River in Lexington, Kentucky.

He has received fellowships from the American Academy in Rome, The National Endowment for the Arts and the New York Foundation from the Arts, among others. He has received grants from the Creative Capital Foundation, the Lower Manhattan Cultural Council Art in Public Spaces program, the Foundation for Contemporary Arts, the Greenwall Foundation, the National Endowment for the Arts and the New York State Council on the Arts, among others.

Matthew Geller lives and works in New York City.

RESUME

EDUCATION

  • Connecticut College, 1976, BA University of Delaware, 1978, MFA

PUBLIC ART

  • 2013 Beach Day, Zoo Miami, Commission, Miami, FL
  • 2013 Formosa, Myrtle Avenue Plaza, Percent for the Arts, New York City Department of Cultural Affairs
  • 2013 Bewitched,Municipal Court & Police Station, Commission, Austin, TX
  • 2013 Pepper & Tar, Downtown Lexington Public Art Initiative, Commission, Lexington, KY
  • 2012 Waterloo Falls, Streetscape, Commission, Cleveland, Ohio
  • 2012 Nautical Swing, Hunters Point Shipyard, Commission, San Francisco, CA
  • 2012 Untiltled, Happy Valley Byway, Commission North Carolina Arts Council, Lenoir, NC
  • 2011 The Huddle, New Mexico School for the Blind & Visually Impaired, Commission, Albuquerque, NM
  • 2010 Woozy Blossom (Platabus nebulosus), Katonah Art Museum, Katonah, NY
  • 2009 Open Channel Flow, Sabine Street Water Pump Station, Commission, Houston, TX
  • 2006 Awash, Collect Park, Downtown Manhattan, New York City Department of Parks, Lower Manhattan Cultural Council
  • 2006 Babble. Pummel & Pride, Evergreen House at Johns Hopkins University, Baltimore, MD
  • 2005 Whether you love me or not, Wave Hill, The Bronx, NY
  • 2004-5 60 Weak Knees, Commission, Arthouse, Austin, TX
  • 2004 Little white pearls in a puddle, Summer Palace Garden, Düsseldorf, Germany
  • 2003 Foggy Day, Cortland Alley, Downtown New York City, Lower Manhattan Cultural Council, a project of the Creative Capital Foundation, NYC
  • 2002 Feed for a fine line, Church Street, Downtown New York City, Lower Manhattan Cultural Council
  • 2002 Six permanent installations, Commission, Long Island Children’s Museum, Garden City, NY
  • 1999 Failing to seek shelter, they…, Witte de With Center for Contemporary Art, Rotterdam
  • 1997 Longer Island, Projects 97, Islip Art Museum, Long Island, NY
  • 1995 Biography Memorials at Woodlawn Cemetery, Bronx Council on the Arts, Bronx, NY

SELECTED HONORS, AWARDS & GRANTS

  • Year in Review—Best Public Art in 2010, Public Art Network, Americans for the Arts
  • Swing Space, Lower Manhattan Cultural Council, 2008
  • Foundation for Contemporary Art, 2006
  • Year in Review—Best Public Art in 2006, Public Art Network, Americans for the Arts
  • Grants for Art in Public Places, Lower Manhattan Cultural Council, 2006
  • New York Foundation for the Art Artists’ Fellowship in Sculpture, 2005
  • U.S. Chapter of the International Association of Art Critics 2005 Best Architecture or Design Show nomination
  • “Arts: Best of 2004”, Van Ryzin, Jeanne Claire, Austin American-Statesman, Dec 30, 2004
  • Year in Review—Best Public Art in 2003, Public Art Network, Americans for the Arts
  • Fund for Creative Communities, 2001
  • Manhattan Community Arts Fund, 2001
  • Creative Capital Foundation, 1999-2000
  • The Greenwall Foundation, 2000
  • Milton & Sally Avery Arts Foundation, 2000
  • World Views, World Trade Center, Lower Manhattan Cultural Council, 1998-9
  • Artslink, a program of CEC International Partners, 1997-8
  • The Blue Mountain Center, Blue Mountain, NY, 1994
  • Rome Prize Fellowship in Visual Arts, American Academy in Rome, 1991-1992
  • Foundation for Independent Video & Film, Donor Advised Fund, 1989
  • National Endowment for the Arts, Visual Arts Fellowship, 1989, 1987
  • Jerome Foundation Film/Video Grant, 1989
  • Corporation for Public Broadcast, INPUT Travel Grant, 1989
  • Art Matters Grant, 1988
  • New York Foundation for the Arts Artist’s Fellowship, 1988
  • WGBH/WNET “New Television” Finish Funds Grant, 1987, 1985
  • New York State Council on the Arts, TV/Media Production Grant, 1986, 1984, 1982
  • National Endowment for the Arts, Media Arts Production Grant, 1987
  • Creative Artists Public Service (CAPS) Fellowship, 1984
  • Beard’s Fund Grant, 1982

SELECTED SOLO EXHIBITIONS & SCREENINGS

  • 2012
    • Woozy Blossom (Platabus nebulosus), Vero Beach Museum of Art, Vero Beach, FL (a project of the Creative Capital Foundation)
  • 2010
    • Woozy Blossom (Platabus nebulosus), Katonah Art Museum, Katonah, NY (a project of the Creative Capital Foundation)
  • 2005-6
    • Almost. Again. Almost. One more time., Maiden Lane Exhibition Space, NYC
  • 1998
    • Basements, Hans Knoll Gallery, Budapest, Hungary
    • Continuously harder forever, U.F.F. Gallery, Budapest, Hungary
  • 1996
    • Stories contrary to the way they appear, Revolution, Detroit, MI
  • 1995
    • Reciprocal Discovery, Revolution, Detroit, MI
  • 1991
    • The Activity of Watching Television, Urban Institute for Contemporary Arts, Grand Rapids, MI
  • 1990
    • From Receiver to Remote Control: The TV Set, The New Museum of Contemporary Art
  • 1988
    • Split Britches, New Television Series, PBS
  • 1987
    • Bees & Thoroughbreds, New Television Series, PBS
  • 1985
    • Everglades City, The Kitchen Center at Squat Theater, NYC
    • Everglades City, Hallwalls, Buffalo, NY
    • Everglades City, UC Video, Minneapolis, MN
  • 1982
    • October New York Post, Printed Matter, NYC
    • Or run to ground zero, “Messages to the Public”, Spectacolor Board, Public Art Fund, NYC
  • 1981
    • Difficulty Swallowing, Printed Matter, NYC
  • 1980
    • Last War III, Mudd Club, NYC
    • Times Square Show, WNEW-TV
    • Center Gallery, Bucknell University

SELECTED GROUP EXHIBITIONS & SCREENINGS

  • 2011
    • “A Show about Colab (and Related Activities)”, Printed Matter, NYC
  • 2011
    • Grange Gardens Sculpture Commission Proposals, Galerie8, London, England
  • 2010
    • “Summer Shorts”, Electric Arts Intermix, NYC
  • 2009
    • “Looking at Music: Side 2”, Museum of Modern Art, NYC
    • “Civic Duty: Building Art, Building Houston”, 125 Gallery, Houston Arts Alliance, Houston, TX
  • 2008
    • “Art in the Public Sphere: Singular Works, Plural Possibilities”, University Gallery, U of Massachusetts
  • 2007
    • “For Being Open: A Celebration of 30 Years”, Urban Institute for Contemporary Arts, Grand Rapids, MI
  • 2005
    • “The Downtown Show: The New York Art Scene 1974-1984, Andy Warhol Museum, Pittsburg.
    • “The Downtown Show: The New York Art Scene 1974-1984, Grey Art Gallery, New York University
    • “Times Square Show”, Alamo Cinema Drafthouse Downtown, Austin, TX
  • 2004
    • “The Duce: Nearly 100 Years of Times Square”, Ocularis, NYC
  • 2003
    • “Summer Repertory: Everglades City”, MOMA, NYC
  • 2001
    • “The Hagie C”, Kunst Kanaal, Amsterdam
  • 2000
    • “Video Time”, Museum of Modern Art, NYC
    • “Living with the Dutch”, London, England
    • “Holiday”, Revolution Gallery, Detroit
    • “Kid Pix”, FX Gallery, Boston, MA
  • 1999
    • “Space”, Witte de With, Rotterdam
    • “Three Suitcases / Tres Maletas”, Art & Idea, Mexico City
    • “World Views” Lower Manhattan Cultural Council, World Trade Center, NYC
    • “The Apartment Show”, Curated by Zach Feuer, Boston
  • 1998
    • “House Show”, USM, Hamburg, Germany
    • “Giftland”, Printed Matter
    • “Contemporary Art Fair, Chateau Marmont, Revolution Gallery, Los Angeles
    • “Small Works”, Parsons School of Design
  • 1997
    • “Projects 97”, Islip Art Museum, Long Island, NY
    • “Wish You Were Here Too”, 83 Hill Street, Glasgow, Scotland
    • “No Wave Cinema, 1978-87”, Fiction, Inc., Tokyo
  • 1996
    • “No Wave Cinema, 1978-87”, Whitney Museum of American Art, NYC
    • “Cultural Economics”, Drawing Center, NYC
    • “Human Technology”, Revolution, Detroit, MI
    • “Giftland V: Democracy”, Printed Matter, NYC
  • 1995
    • “Biography Memorials”, Woodlawn Cemetery & Bronx Council on the Arts The Sculpture Center at Roosevelt Island
  • 1994
    • The Sculpture Center, NYC
    • “The Future of the Book, the Book of the Future”, Florida State U. Gallery
  • 1993
    • “Good and Plenty”, Art in General, NYC
    • “AIDS Project”, Museum of Modern Art, NYC
    • “Giftland”, Printed Matter
    • “Artists’ Books”, Smithsonian Institute
    • Pat Hearn Gallery, NYC
  • 1992
    • American Academy in Rome
    • “Giftland”, Printed Matter
  • 1990
    • “Learn to Read Art: Artists’ Books”, Art Gallery of Hamilton, Canada
    • “New Narratives”, Whitney Museum of American Art, NYC
    • “New York Lesbian & Gay Film Festival”, Biograph Theater, NYC
  • 1989
    • “New Narratives”, International Center for Photography, NYC
  • 1988
    • “21 Years of Independents”, Museum of Modern Art , NYC
    • Rotterdamse Kunst Stichting
    • American Film Institute Video Festival
    • “II Bienal De Video”, Museo de Arte Moderno de Medellin
  • 1987
    • “Selections from the Video Study Center”, Museum of Modern Art, NYC
    • “Video Discourse: Mediated Narratives”, La Jolla Museum, California
  • 1986
    • “Resolution: A Critique of Video Art”, Los Angeles Contemporary Exhibitions
    • “MASS”, Group Material, The New Museum of Contemporary Art, NYC
    • “TV’s Impact on Contemporary Art”, Queens Museum
    • “New York City Video”, Artspace, First Australian Video Festival
  • 1984
    • “Mediated Narratives”, Institute of Contemporary Art, Boston
    • “So There, Mr. Orwell”, Laforet Museum, Tokyo & New Orleans World’s Fair
    • I Saw It On TV, Subway Posters, Group Material
    • Ghostbusters, “Greetings From New York”, photo-postcards, Colab. Projects
    • “What Are You Waiting for?’” 911, Seattle, WA
    • “The Second Link”, Long Beach Museum of Art, CA, Institute of Contemporary Art, London
  • 1983
    • “1983 Biennial”, Whitney Museum of American Art, NYC
    • “1984”, Ronald Feldman Gallery
    • “A.More Store”, Collaborative Projects, Jack Tilton Gallery, NYC
    • “The Ritz”, Washington Project on the Arts
    • “The Second Link”, Museum of Modern Art, NYC; Stedelijk Museum, Amsterdam; A Space, Toronto; Walter Phillips Gallery, Banff, Canada
    • “A.More Store”, Collaborative Projects, Young Hoffman Gallery, Chicago
  • 1982
    • “New Imagery”, Museum of Modern Art, NYC
    • “New Work, New York”, Long Beach Museum of Art
    • “Return/Jump”, The Kitchen Center
    • “A.More Store”, Collaborative Projects, Barbara Gladstone Gallery, NYC
    • “Fashion Moda Store”, Documenta, Kasel, Germany
    • “Ola De Calor”, Museum del Bario
    • “Record Covers’” White Columns, NYC
  • 1981
    • “Kitchen Presents”, Museum of Modern Art, Jerusalem
    • “Kitchen Presesnts”, Berkeley Museum
    • “Colab Two Suitcase Show”, And/Or, Seattle
    • “Page as Alternative Space”, Franklin Furnance
    • “The Teu-Gum & the 16 Italians Show”, Curator: John M. Armleder, Centre d’Art Contemporain, Geneva
  • 1980
    • Moderna Musset, Stockholm
    • Stedelijk Van Abbemuseum, Einhoven
    • “The Times Square Show”, Collaborative Projects
    • “Animals Living in the City”, ABC No Rio, NYC
    • “Real Estate Show”, Collaborative Projects
  • 1979
    • “Manifesto Show”, Collaborative Projects
    • “Batman Show”, Collaborative Projects
  • 1978
    • “Dividend”, Artpark, Lewiston, NY

COLLECTIONS

Whitney Museum of American Art, NYC; Museum of Modern Art. NYC; Witte de With, Rotterdam; Florida State University; La Jolla Museum, CA; Institute of Contemporary Art, London; Long Beach Museum of Art, CA; Moderna Musset, Stockholm; Stedelijk Van Abbemuseum, Einhoven; New York University Library

SELECTED PUBLICATIONS

  • “Gina and Gabe”, MYWAYS, editors: David Gray & Rita McBride, Whitney Museum & Printed Matter, 2005
  • From Receiver to Remote Control: The TV Set , 144-page book, co-editor: Reese Williams, Publisher: The New Museum of Contemporary Art, 1990
  • “Windfalls”, Just Another Asshole, #3, JAA Press, 1984 Hidden Away in a Musty Chamber, Wedge Magazine, Vol. 3., Wedge Press, 1983 1983 Engagements, 56-page book, Works Press, 11”x4 1/4”, edition: 750, 1982
  • “Difficulty Swallowing”, Bomb , #2, Center for New Art Activities, 1981 Difficulty Swallowing:A Medical Chronicle, 160-page book, Works Press: New York, 1981 1981 Engagements, 56-page book, Works Press, 11”x4 1/4”, edition: 250, 1980
  • “David”, Spanner, #3, photographs, 1981
  • “Telefirenze”, Video/Film Extra, Sept, 1981
  • “Italy Pixs”, Semiotext(e), Vol. 3, No. 3, photographs, 1981
  • Collaborative Projects 1977-80, 415-page book, Editor, 1981

SELECTED BIBLIOGRAPHY

  • “Open Channel Flow”, Commissions, Sculpture, May, 2010
  • “U.S. Recent Project”, Public Art Review, Spring/Summer 2007, pg 93
  • Chamberlain, Lisa, “Square Feet: An Art Gallery in the Lobby”, New York Times, March 7, 2007
  • Moody, Tom, “Public sculpture that actually is good…”, digitalmediatree.com, September 13, 2006
  • Owens, Barry, “Artist-Style ‘Nature’ Blooms Downtown”, The Tribeca Trib, September 2006
  • Bowes, J., “Garden State”, Baltimore City Paper, July 5, 2006
  • McNatt, Glen, “Outsider Art”, The Baltimore Sun, June 28, 2006, pg. E1
  • Giuliano, Mike, “Art on the Side”, Lifetime.com, June 9, 2006
  • Giuliano, Mike, “Art on the Side”, Townson Times, June 7, 2006
  • Robinson, Walter, “Weekend Update”, www.Artnet.com, Dec 12, 2005
  • Ambach, Markus & Richter Velag, Wildlife:Ein Garten von für Künstler, 2005, pg. 110
  • Van Ryzin, Jeanne Claire, “Reviews: Southwest-Austin”, Art Papers, Mar/Apr 2005, pg. 55.
  • Van Ryzin, Jeanne Claire, “Reviews”, Southwestern, Mar/Apr 2005
  • Van Ryzin, Jeanne Claire, “Fresh ideas, Buildings, Colllections,” Austin American-Statesman, Jan 8, 2005
  • Barness, Michael, A Whole New Perspective on the Year’s Best Entertainment”, Austin American-Statesman, Jan 8, 2005
  • Van Ryzin, Jeanne Claire, “Arts: Best of 2004, Austin American-Statesman, Dec 30, 2004
  • Van Ryzin, Jeanne Claire, “Arthouse’ ‘Lounge’ invites lounging”, Austin American-Statesman, Dec 8, 2004
  • Fares, Robert, “Communing in the Air”, The Austin Chronicle, Nov 26, 2004
  • Moody, Tom, “Matthew Geller Foggy Day Fox Broadcast”, digitalmediatree.com, July 11, 2004
  • Saulny, Susan, “Creepy Space, With Rats, Just $10,000 a Day”, New York Times, May 7, 2004
  • “Creative Capital Projects”, Creative Capital, 2004 (catalog)
  • “Question of the Week”, www.LowerManhattan.info, Dec 30, 2004
  • Haber, John, “Guilty Pleasure”, harberarts.com, Fall 2003
  • “Engaging the Audience in New Media and Information Art”, NYFA Interactive—”Biweekly Arts News”, Oct 15, 2003
  • Editorial, “Of Fog and Monkeys”, The New York Sun, Oct 8, 2003
  • Catton, Pia, Fog, “Art or a Waste of Tax Money?”, The New York Sun, Oct 8, 2003
  • Aria, Barbara, “Artist’s Fog Transforms Foresaken Alley”, The Tribeca Trib, Nov 2003
  • Moody, Tom, “Matthew Geller – Art Fog”, digitalmediatree.com, Oct 8, 2003
  • Chris, Cynthia, Is the Personal Political?”, Printed Matter, Inc. Catalog, 2003, 1986/7
  • “Styles of Collecting, Styles of the Book”, New Jersey Books Arts Symposium 2003, libraries.rutgers.edu, 2003
  • Silveira, Paulo, A Página Violada – Da Termurà Inúria na Termurá, Universidade Federal do Rio Grande do Suc, Brazil, pgs. 99- 101, 2001.
  • “Space #1″, Witte de With Center for Contemporary Art, 2000 (catalog)
  • Wiite de With, “Kids”, een kunst cd-rom voor leerlingen V.O., 2000
  • Jager, Hans Den Hartog, “Conceptuele koketterie en vrijblijvendheid”, NRC Handelsblad, 1 May 1999
  • De Rooij, Marie Jeanne, “Beeldende Kunst”, De Groene Amsterdammer, Week 17, 1999
  • Engel, Beate, “Space im Witte de With”, Besprechungen, June 1999, p. 41.
  • Welling, Dolf, “Internationale tentoonstelling over ‘Ruimte’ in Witte de With”, June 1999
  • “Ruimte ter discussie II”, Archined / Nieuwsoverzicht Archief, 16 Apr 1999
  • “Hans Knoll Gallery”, Budapest Sun, Aug 8, 1998
  • Cotter, Holland, “Sculpture Not Meant to Last Forever”, New York Times, 18 Aug 1995, p. C1, C22.
  • “Roosevelt Island”, New York Magazine, ˆ26 June 1995.
  • Annual Exhibition, American Academy in Rome (catalog), 1992.
  • Learn to Read Art: Artists’ Books, Art Gallery of Hamilton, curator: Wendy Woon (catalog), 1991.
  • Lister, Ardele, “Ardele Lister on Matthew Geller”, Felix, Vol.1, No. 1, 1991
  • Rimanelli, David, “From Receiver to Remote Control”, Art Forum, Feb 1991, p. 122.
  • Cottingham, Laura, “From Receiver to Remote Control”, Contemporanea, Jan 1991, p. 92.
  • Jacobi, Fritz, “From Receiver to Remote Control: The TV Set”, Television Quarterly, Vol. XXV, No. 3, 1991.
  • Zorpette, Glenn, “Tubes and Chips”, Art News, Jan 1991, p. 26.
  • “Watching Television”, On-The-Town, May 1991, p. 26.
  • Butler, Ruth, “Small screen, big impact”, The Grand Rapids Press, 10 May 1991, p. 3, 8.
  • “Exhibitions”, Media Matters, Nov/Dec 1990.
  • Larson, Kay, “Art”, New York Magazine, Nov 12, 1990, p. 32.
  • Levin, Kim, “Choices”, The Village Voice, Oct 30, 1990.
  • “Technology on Display”, The Journal of Art, Oct 1990.
  • “Newsline Reviews”, Newsline, Columbia University Graduate School of Architecture), Oct 1990, p. 8.
  • “Television Exhibition”, World Daily, (NYC Chinese language daily), Oct 29, 1990, p. 1.
  • Gilbert, Elizabeth, “Just Popping By”, Downtown Express, , Oct 1-16, 1990.
  • Wachunas, Tom, “TV and Its Setting Becomes Theme of Museum Show”, The Villager, Oct 18, 1990, p.5-6.
  • Swartzman, Alan, “Going On About Town”, The New Yorker, Oct 15,1990, p. 20.
  • Sherman, Beth. “A Must-See TV Show”, Newsday, Oct 11, 1990, p.2.
  • Mahoney, Robert, “From Receiver to Remote Control: The TV Set”, Art & Antiques, Dec, 1990, p.114.
  • Aletti, Vince, “TV Through the Ages”, The Village Voice, Oct 9, 1990.
  • Flam, Jack, “Boob Tubes and Microchips in a New Light”, The Wall Street Journal, Oct 5, 1990.
  • Brown, Patricia Leigh, “Where to Put the TV Set? There are Still No Easy Answers”, The New York Times (National Edition),
  • “The Living Arts” section, Oct 4, 1990, p. 8.
  • Brown, Patricia Leigh, ”TV After 50 Years: In Search of a Shape”, The New York Times, “Home Section”, Oct 4, 1990.
  • Grunberg, Andy, “Focusing on Televisions as Objects, Not Media”, The New York Times, Sept 14, 1990.
  • “Upfront”, Vogue, Sept 1990, p. 110.
  • “TVs at An Exhibition.” This Week in Electronics, Sept 24, 1990.
  • Larson, Kay, “Museums”, New York Magazine, Sept 10, 1990, p. 48.
  • Mannes, George, “Box Populi”, Video Review, Sept 1990.
  • “The New Museum of Contemporary Art Presents From Receiver to Remote Control: The TV Set”, Inside Manhattan Cable TV, Fall 1990.
  • Greber, Dave, “Your TV, Your Home: The Promise of Utopia”, Take One, June 1990, p. 5.
  • Terrey, John V., “New York City Television Exhibition”, Antique Wireless Classified, Feb 1990, p. 15.
  • National News, CNN / Cable News Network, 1990
  • ShowBiz Report, CNN / Cable News Network, 1990
  • Entertainment News, A&E / Arts & Entertainment Cable Network, 1990 Film Clips, VH-1, 1990
  • National News, CNBC, 1990
  • VideoFest ‘89, Berlin Film Festival (catalog), 1989
  • Reynaud, Berenice, “Independents”, New Video , p. 17 (catalog), 1989
  • “II Bienal De Video”, Museo de Arte Moderno de Medellin (catalog), 1988
  • Ethique & Television, 4e Manifestation Internationale de Video et TV (catalog), 1988
  • Hoptman, Laura, “Remote Control”, Afterimage, Mar 1987, p. 21-22.
  • Wallis, Brian, “The Politics of Representation”, Printed Matter Catalog, 1986/7
  • Wallace, John, “Innovation Is a Primary Color On the Video Artist’s Palette”, New York Times, 19 Apr 1987, p. 29, 38.
  • Resolution: A Critique of Video Art, Los Angeles Contemporary Exhibition (catalog), 1986
  • Knight, Christopher, “Project on Video”, Los Angeles Herald Examiner, May 7, 1986, p. B6.
  • Television’s Impact on Contemporary Art, The Queens Museum (catalog), 1986
  • “Portfolio”, The Connecticut College Alumni Magazine, Fall 1986, p. 11-12.
  • Sturken, Marita, “Televisions Fictions: An Interview with Ed Bowes”, Afterimage, Vol. 13, No. 10, May 1986.
  • New York City Video, Artspace, First Australian Video Festival (catalog), 1986
  • Schwartzman, Allan, Street Art, The Dial Press: New York, 1985, p. 73, 78-83.
  • Hoberman, J., Village Voice, “Centerfold”, Apr 23, 1985, p. 62.
  • Hagan, Charles, Village Voice, “Hollywood on Hudson Street”, May 14,1985, p. 46.
  • Wooster, Ann-Sargent, East Village Eye, June 1985, p. 12.
  • Lyons, Joan, Artists’ Books: A Critical Anthology and Sourcebook, Peregrine Smith Books: Layton, UT. 1985, p. 53, 57, 62-4.
  • Osborn, Barbara, “Mares recents et nouvelles technologies de la video A`mericaine”, Lére Semaine International de Video, 1985, p. 83.
  • Wooster, Ann-Sargent, Afterimage, Summer 1985, p. 8.
  • Wooster, Ann-Sargent, Video Times, “Matthew Geller’s Everglades City”, Dec, 1985, p. 122-3.
  • The 1984 Show, Ronald Feldman Fine Arts & The Village Voice (catalog), 1984.
  • Eurpäisches Filmfestival Filmfest München, Munich Film Festival, 1984.
  • Wells, Rusty, Everglades Echo, “Filming for Movie Shifts in High Gear”, Jan 12,1984, p. 1.
  • Robb, David J., “Books”, Connecticut College Alumni Magazine, Winter 1983-4, p. 29.
  • 1983 Biennial Exhibition , Whitney Museum of American Art (catalog), 1983
  • Hagan, Charles, Art Forum, Sept 1983, p. 76.
  • Larson, Kay, New York Magazine, “Through a Screen, Dimly”, Sept 12, 1983, p. 86.
  • The Second Link: View Points on Video in the Eighties, Walter Phillips Gallery, Banff (catalog), 1983.
  • Hoberman, J., “New Imagery”, Village Voice, 6 July, 1982, p. 61.
  • Hoberman, J., “All Work and Some Plays”, Village Voice, 13 July, 1982, p. 48.
  • Hulser, Kathleen, “Electronic Soapbox”, The Villager, 29 Apr 1982, p. 12.
  • “The Kitchen”, National Video Festival, American Film Institute (catalog), 1981.
  • Sedgwick, Susana, “Times Square Show”, East Village Eye, Summer 1980, p. 21.
  • Marzorati, Gerald, “A Handful of Gimmes”, The Soho News, 26 Nov 1980, p. 38.
  • Video ‘79: Video—The First Decade, Rome Video Festival (catalog).

OTHER ACTIVITIES

  • Lecturer, Professional Development Program, A project of the Creative Capital Foundation, 2004-present
  • Lecture, “Foggy Day & 60 weak knees”, Arthouse, Austin, TX, 2004
  • Lecture, “Foggy Day: A Tango in the City”, Stadtraum.org, Düsseldorf, Germany, 2004
  • Faculty, Parson School of Design, 1996-2002
  • Panelist, Lower Manhattan Cultural Council Professional Development Series, “Public Art in NYC”, 2002
  • Panelist, New York Foundation for the Arts Video Fellowship, 2002
  • Assistant Professor, Pratt Institute, 1996-2001
  • Panelist, CEC International Arts Link Grants. 1998
  • Visiting Artist, Williams College, 1990
  • Panelist, New York Media Alliance, “Film & Video: Continuities & Differences”, 1989
  • Faculty, School of Visual Arts, 1983-1989
  • Video Curator, P.S. 1, 1986-88
  • Visiting Faculty, Princeton University, 1988
  • Visiting Faculty, University of California-San Diego, 1987
  • Co-Chair, ‘86-8; Panelist,1985-7, TV/Media production grants, New York State Council on the Arts V.P., 1981-2; member 1979-85, Collaborative Projects
  • Panelist, Mass. Council for Arts & Humanities, Multi-Media Fellowships, 1985; Video Fellowships, 1983
  • Consultant, Visual Arts, National Endowment for the Arts, 1984-85
  • Co-Director, LINE Association, 1981-3
  • Advisory Board, Third National Art Spaces Conference, 1982
  • Panelist, NY Media Bureau, video production grants, 1982