BFA, 1973, Kansas City Art Institute; MFA, 1992, University of Illinois, Chicago. Exhibitions: Creative Time, New York; Exit Art, New York; Carnegie Mellon, Pittsburgh; Northern Illinois University Art Museum; Art in General, New York; Shedhalle, Z'rich; Cooper Union, New York; Kunstverein and Kunsthaus, Hamburg; New Museum of Contemporary Art, New York; Chicago Cultural Center. Film Festivals: Rotterdam International; NGBK, Berlin; Chicago Underground; London Lesbian and Gay; MIX/NYC. Publications: Revolution is an eternal dream; Guide to Democracy in America; The Passionate Camera; WhiteWalls. Awards: Artadia; Illinois Arts Council; NEA. Distribution: Video Data Bank.

Personal Statement

I am a visual artist, video-maker, writer, educator, occasional curator, and a long-time community and political activist. My interdisciplinary practice includes video, installation, writing, drawing, digital media, photography, small sculptures, and performance. In my studio work, collaborative projects, writing, and teaching, I address collisions and alignments between "politics" and art-making. The frailties of memory, speculative fiction, and the archive of the everyday are all evident in my "singular" work, where I claim authorship, fully aware that there are no wholly original ideas, that we are all shifting composites of one another.

I have also led or participated in many public, collaborative projects for over 30 years, including murals, billboards, and large scale interdisciplinary curatorial projects. I continue to be drawn to collective forms of cultural production to re-claim language, feeling, and political passions from fundamentalist thinking, to reclaim a utopia of the everyday—a way of being together in the world that allows for anger, joy, and reparative visions. Sometimes working collaboratively means slipping under the radar, but that’s a risk worth taking.

My work proceeds from the belief that the "general public" is a myth, and that audiences are constituted through engagement with cultural forms which they in turn help shape. As a maker and a teacher, I am committed to experimental modes of participation and viewership, and in spaces–including the classroom and the teaching studio–that create incitements for active and inventive engagement with art beyond its traditional presentation. A productively symbiotic relationship connects my practice, research and teaching. "What is to be un-done," an essay I wrote for Radical Teacher, draws from experiences teaching "Terrorism: a Media History," a class I designed in 2002. "Feeling in Real Time," another interdisciplinary seminar, emerged in part from work and writing with Feel Tank Chicago, and our immersion into affective politics and the politics of affect. The class is also deeply engaged with a practice of "immanent writing," touching feelings that emerge from a collective experience of watching films together in the dark.


Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.