AND NOW Behind Curtain #2, Curtain Call: Portable Altars for Grief and Gratitude, underGROUND: Artifacts of the Present Moment, One Size DOES NOT Fit All, Kuan Yin Breathes the Bomb and Other Healing Deities, Reframing Eden; Canary Notes: The Personal Politics of Environmental Illness, √Other: Breaking Out of the Box, A Klug Tzu Columbus (A Curse on Columbus), But You Don't Look American, REMOTE CONTROL, Please take a Numb-er, THIS IS NOT A TEST, The Nightmare Quilt, Taking the Empire's New Clothes to the Laundry, Stick - It: Ra-decals for the Angry Consumer, The Party's Over: No More Mr. Nice Guy, The Sky Is Falling, The Sky Is Falling: A Panacea for Pre-Millenium Tension, Apply_Within, Daily_Reminder
2014 – Karl Drerup Gallery, Plymouth State University; 2013 – University of Tennessee; 2012 – Northwest Folk Life Festival, Seattle Center; Bioneers, Sausalito, CA; Chazen Museum of Art, Madison, WI; BC Space, Laguna Beach; Dramen Sacred Music Festival, Norway; 2010 – Valise Gallery, Vashon; Exit Art, NYC; 2009 – Ecoartspace, San Francisco; Howard House, Seattle; 2008 – SPARC, Venice, CA; CUNY Grad Center; Brandeis University; 2007 – Boulder Museum of Art; 2006 – Indiana University, South Bend; University of San Francisco; 2005 – Lehmbruck Museum, Duisberg, Germany; 2004 – UWT Gallery; 2003 – William Paterson College, NJ; Purdue University; 2002 – Franklin Medical Center, MA; School of Nursing, UMass, Amherst; Concordia University, Montreal; 2001 – Augusta Savage Gallery, U Mass; International Contemporary Environmental Art Festival, Pusan, Korea; 2000 – The Institute for Social Ecology, VT; Brattleboro Museum; 1999 – Art Bank, MA; 1997 – Armand Hammer Museum, UCLA; The Contemporary, Baltimore; San Francisco Jewish Museum, and the Jewish Museum of Philadelphia; 1996 – Jewish Museum, NYC; 1995 – L.A. Municipal Gallery, Barnsdell Art Park, Hollywood, CA; 1994 – Side Street Projects, Santa Monica; University of Madrid; 1993 – Pomona College, CA; Santa Barbara Contemporary Arts Forum; Highways, Santa Monica; 1992 – Cal Poly Pomona, CA; Angels' Gate Cultural Center, San Pedro, CA; Walker Building, Public Corporation for the Arts, Long Beach; Muckenthaler Museum, CA; 1991 – Public Corporation for the Arts, Long Beach; 1990 – UC Berkeley, CA; 1989 – CSU Northridge Gallery; 1988 – Saddleback Community College; Todd Madigan Galleries, CSU Bakersfield, CA; 1987 – Long Beach Museum of Art, CA; 1985 – YWCA, Minneapolis; M.A.D.Gallery, Carleton College, MN; 1983 – The New Museum of Contemporary Art, NYC; Women’s Interart Center, NYC; 1982 – Gowanus Memorial Artyard, Brooklyn, NY; Brooklyn Museum; NYU Loeb Center; Arsenal Gallery, NYC; SUNY Binghamton; ABC/NO Rio Gallery; NYC; Barbara Gladstone Gallery, NYC; 1981 – Printed Matter, NYC; PS 122 Gallery, NYC; Gallery 1199, NYC; NY Feminist Art Institute, NY; 1980 – Franklin Furnace, NYC; ICA, London; 1979 – Committee for the Visual Arts, 22 Beaver Street Space, NYC; 1978 – NSCAD Gallery, Halifax
ARTifACTs (artist collective) – We Almost Didn’t Make It: Our Descendants Speak, 2015-present
Arts for Social Change Gatherings, Seattle Studio, 2014-2016
Arts for Change on Facebook, 2009-16
Homage to Paris Climate Talks, one of dozens of community projects created by UWT students (2015)
GIFT OF RETURN, Ecoart Collective Collaborative Project created for MoMA Expo 1, 2013
From the Classroom to the Community: Student Artworks Addressing Environmental and Social Justice Issues, Bioneers, Sausalito,CA (2008)
Eden Reframed, Ecological and Community Art Project on Vashon Island, 2011 to the present
Olympia/Rafah Solidarity Mural, Rachel Corrie Foundation, Olympia, 2009
Carnival Knowledge, The New School Gallery, NYC and other public sites in NY, 1982
The Subversive Synergy of Socially Engaged Pedagogy and Practice for “Education Outliers & Education as Art Practice,” CUNY Graduate Center, CAA, NYC; You Might As Well Throw Away Your Career, Feminist Art Project, CAA, Chicago; A Good Kind of Dangerous: Socially Engaged Art, Arts in Society conference, Rome, Italy; Racism and Pedagogy Conference, University of Puget Sound; A Good Kind of Dangerous: Socially Engaged Art & Pedagogy, Art & Activism in the Public Sphere, School of Visual Arts, NYC; Open Engagement Conference, Portland State University; Teaching Art as a Subversive Activity: Cultural Democracy Meets Eco-Art, Bioneers Conference, San Rafael, CA; Gentle Actions conference, Oslo, Norway; Not a Moment Too Soon: Teaching a Socially Engaged Art Practice, CAA, Los Angeles; Teaching Art with a Socially Engaged Perspective, CAA, Boston, MA; Changing Culture: A Conversation about the Future of Arts and Community, American Composers Forum, Minnesota; University-Community conference, Universidad of Cienfuegos, Cuba; Eco-tistical Symposium, 2 CAA, Atlanta, GA; Art/Culture/Nature conference, UW Bothell; Feminist Activist Art, National Women’s Studies Assoc. conference, Milwaukee, WI; From the Front Lines of Protest to Community Dialog: Socially Engaged Art from 1968 to the Present, CAA, NYC; Blue in Green Conference on Human Rights and the Environment, McGill University & Concordia University, Montreal; Working on the Edge: Art, Society and Education, School of Visual Arts, NYC; Society for Photographic Educators, Regional Conference, Buellton, CA; Innovative Teaching Strategies in the Studio Arts, CAA, Wash. D.C.
Arts for Change: Teaching Outside the Frame; “So You Want to Be an Eco-Artist: Lessons in Grief & Gratitude,” Elemental: An Art & Ecology Reader, ed. James Brady; Conversations with Artists Who Teach, ed. Raphael Vella, Malta; “Feminist Activist Art Pedagogy: Unleashed & Engaged,” National Women’s Studies Assn. Journal; “Outside the Frame –Teaching Socially Engaged Art,” New Practices - New Pedagogies, ed. Malcolm Miles; “Teaching Art as a Subversive Activity,” Little Signs Of Hope: The Arts, Education & Social Change, ed. Mary Clare Powell; “Breaking Out of the Box: The Subversive Potential of Interdisciplinary Arts,” The New Art Examiner; "The Artist/Teacher as Decoder & Catalyst," Radical Teacher; Published Artists’ Books: What Kinda Name Is That? (edition of 500 for the Jewish Museum),1996; One Size DOES NOT Fit All, Aigis Publications, 1993
University of Washington, Tacoma (tenured, Associate Professor)
Vermont College, MFA Program (Artist/Mentor)
Goddard College’s MFAIA, BA/MA programs (Faculty)
Hampshire College (Visiting Professor)
University of Massachusetts, Amherst (Graduate Advisor)
California State U, Long Beach (tenured, Associate Professor)
Carleton College (Visiting Professor)
Institute for Social Ecology (Visiting Artist)
Museum of Modern Art (Teaching Artist)
Metropolitan Museum of Art (Teaching Artist)
NSCAD (Instructor & T.A.)
Curriculum created:
Eco-art, Art in a Time of War, Body Image & Art, Cultural Identity & Art, Labor, Globalization & Art,
The Artist as Visionary & Dreamer, Activist Art in Community, Community-based Art Practices, Intermedia I & II
Two interdisciplinary studio majors: Arts in Community (UWT), Intermedia (CSULB) & many programs for museums
Artforum, The New York Times, Fuse, Art in America, Artweek, Art Journal, Christian Science Monitor, The Village Voice, Soho News, Artscene, Artpaper, Community Arts Network, Artist in Transit, City Arts Magazine, Tikkun Daily, Brooklyn Rail, Art History, Teaching Artist Journal, Detour Magazine, Frankfurter Rundschau, Leonardo, M/E/A/N/I/N/G, Lilith Magazine, The Independent, High Performance, Visions Magazine, Umbrella Magazine, The Utne Reader, Z Magazine, The LA Weekly; Bloom, Lisa E., Jewish Identities in American Feminist Art; Gablik, Suzi, “The Dialogic Perspective,” The Reenchantment of Art; Lippard, Lucy, The Lure of the Local: Place in a Multicentered Society; The Pink Glass Swan; Get the Message: A Decade of Art for Social Change; Lather, Patti, Getting Smart: Feminist Research & Pedagogy with/in the Postmodern; Maksymowicz, Virginia, “Alternative Approaches to Public Art”, Art & the Public Sphere (Mitchell, W. J. T., ed.); Von Blum, Paul, “Beverly Naidus,” Other Visions, Other Voices: Women Political Artists in Greater LA; “Justice, Justice, You Shall Pursue: Jewish Political Artists & American Popular Culture,” Jews in American Popular Culture (ed. Paul Buhle); Xu, Gan, Conceptual Art
Royalty Research Grant for Eden Reframed, 2010; Finalist, Andy Warhol Foundation & Creative Capital’s Art Writers Grant Program, 2007; Founder’s Endowment Grant, UWT, 2005; MA Cultural Council Artist's Grant in Photography, 2001; CSULB Creative & Scholarly Awards, 1994: CANARY NOTES; CSULB Affirmative Action Grant: But You Don't Look American, 1993; CSULB Innovations-in-Teaching Grant, 1993; CSU Chancellor's Mini- Grant, 1991: REMOTE CONTROL; Public Art Proposal Commission, Metro Blue Line Station, LA, 1991; Outstanding Young Woman of the Year Award, 1989; California Lottery Funds, CSU Bakersfield, CA, 1988 – YOU’RE SO NEGATIVE; Professional Opportunities Program, CSULB, 1988, video: THIS IS NOT A TEST; LINE grant: Stick - It: Ra-decals for the Angry Consumer, 1982; Committee for the Visual Arts, Artists' Space, NYC, for installation Daily_Reminder, 1979
Nova Scotia College of Art & Design, Halifax, N.S., Canada - MFA degree in Intermedia (1976-78)
Carleton College, Northfield, MN - BA degree, Cum Laude & Distinction in Studio Art (1971-75)
