Megan Wilson    
megawilson@aol.com
About the Artist > Artist Statement/Bio > CV
 


Megan Wilson
megawilson@aol.com

Solo Exhibitions:
2007
Forever Summer,
site specific installation, San Francisco.
Morning Glory,
Tin Lark Gallery, Los Angeles.
2006
Spring,
ampersand international arts, San Francisco.
2004
Bikes, public project, Jaipur, India.
Becaks, public project, Yogyakarta, Indonesia.

2003
Bungas
,
mural on Jalan Ireda, Yogyakarta, Indonesia.
Flower Interruption, 7 th & Market Streets, San Francisco.
Artists Books retrospective, San Francisco Public Library.
2002
Andrew J. Schoultz and Megan Wilson
, Bucheon Gallery, San Francisco.
Wall Flowers, Geleran Gallery, Yogyakarta, Indonesia.
Random Acts of Beauty, series of performances and installations with Carolyn Castaño in Tokyo, Japan, Bali, and Yogyakarta, Indonesia.
Home series, San Francisco Art Commission, Market Street Art In Transit project, San Francisco.
2001
Filly
, & ampersand international arts, San Francisco.
The Irresistible Terror of Loveliness, Southern Exposure, San Francisco.
2000
We Lose Space
, San Francisco Arts Commission Gallery.
Home, ATA, San Francisco, CA.
Home/Casa, Clarion Alley Mural Project, San Francisco, CA .
Loopy, gallery3, San Francisco, CA .
1997
Bawdice
, Fort Mason Center, San Francisco, CA.
Feminine Protection, Diego Rivera Gallery, San Francisco, CA .

Group Exhibitions:
2007
The Fire Horse, The Luggage Store, San Francisco, CA.
Galleon Trade, Mag:Net Gallery, Manila, Philippines.
Wall Works 3, Traywick Contemporary, San Francisco, CA.
2006
Swell, Ten Years Later, Meridian Gallery, San Francisco, CA.
State of the Nation, Intersection for the Arts, San Francisco, CA.
Monster Drawing Rally, Southern Exposure, San Francisco, CA.
2005
Material Matters, The Lab, San Francisco, CA.
Monster Drawing Rally, Southern Exposure, San Francisco, CA.
2004
State of the Nation,
Intersection for the Arts, San Francisco, CA.
Nuit Blanche / Lost in Translation, & ampersand international arts, San Francisco, Espace Hyphenate in Paris, France.
Needle Art, traveling exhibition: Ellen Noel Art Museum, Odessa, TX, Milton Hershey School Art Museum, Hershey PA, Blanden Memorial Art Museum, Fort Dodge IA.

2003
In The Street, presented by the Luggage Store, San Francisco, CA.
Makeshift World, Stephen Wirtz Gallery, San Francisco, CA.
Needle Art, traveling exhibition: J Wayne Stark University Center Galleries, College Station, TX.
Sama-sama/Together, Intersection for the Arts, San Francisco, CA.
Sama-sama/Together, French Cultural Center, Yogyakarta, Indonesia.

2002
Richard Heller's Desk,
Richard Heller Gallery, Santa Monica, CA.
Monster Drawing Rally, Southern Exposure, San Francisco, CA.

2001
The ArtCouncil Awards Show, Limn, San Francisco, CA.
Monster Drawing Rally, Southern Exposure, San Francisco, CA.
Synesthesia, Southern Exposure, San Francisco, CA.

1999
Miracle Chamber, ODC Gallery, San Francisco, CA.
Needle Art,
Bedford Gallery, Walnut Creek, CA.

1998
Body and Technology, San Francisco State University.
Retroperspective,
Gallery Site, San Francisco, CA.

1997
Women Represent Women in Method and Concept, Villa Montalvo, Saratoga, CA.
Stirred Not Shaken, Refusalon, San Francisco, CA .

1996
Confess
, Southern Exposure, San Francisco, CA.
snacks: a yummy treat, ACME, San Francisco, CA .
Swell, Meridian Gallery, San Francisco, CA.

Projects:
2006 Logos, Born Again In The USA
Since 9/11 and the U.S. War On Terror, the Bush Administration has used Christianity as a banner for U.S. Patriotism, pontificating to the world that America is spiritually and politically superior to all. Throughout both terms in office, George W. Bush has frequently used “God talk” to demonstrate his conviction that he's doing God's will. He called for a “crusade” against terrorists, he professed “our nation is chosen by God and commissioned by history to be a model to the world of justice,” and he declared "Americans are a free people, who know that freedom is the right of every person and the future of every nation. The liberty we prize is not America's gift to the world, it is God's gift to humanity."

At the same time the Bush Administration has used God as a mouthpiece to ordain public policy, Jesus has become an emblem for the hip, fashionable, and profit-driven. Celebrities, including Ashton Kutcher and Paris Hilton, have been sporting “Jesus Is My Homeboy” t-shirts by the Los Angeles-based company Teenage Millionaire (one million of the tees have sold). Fashion's 2005 fall season featured sweaters by Dquared with the slogan “Jesus Loves Even Me”; and collections by Derek Lam and Yves Saint Laurent included pieces with Christian iconography. According to the Christian Booksellers Association, sales of clothing and accessories at Christian bookstores and gift shops reached close to $84 million in 2004.

Capitalizing on these recent trends, Logos, Born Again in the USA explores the relationships between Christianity, fashion, and American patriotism and propaganda.

The posters have been and will be installed in different contexts:

In San Francisco they've been posted on commercial poster walls, competing with and adding to the propaganda of advertising; however, rather than selling products, they're selling the propaganda of US “patriotism.” The images are purposely ambiguous as to there meaning with the intent to create a dialogue.

In Yogyakarta Indonesia, I collaborated with a group of 10 young artists on a large wall that included the posters, stencils, and spray paint works. The project took place over 2 weeks with the initial phase being discussions around the message that the Bush administration is communicating to the Muslim World (Indonesia is the largest Muslim country in the world). The posters were installed in a configuration that highlighted the literal bombing of the Middle East as well as the bombing of propaganda, which included the dropping of leaflets on countries with American propaganda.

In the summer of 2006 the posters will be installed in Montana (my home state), a red state that primarily Christian and in support of the Bush administration. The state is not often exposed to such projects/messages.


2004 Becaks
I traveled to Yogyakarta, Indonesia for the 4th year in a row in the fall of 2004. The primary reason for this visit was to work on the catalogue for the Sama-sama/Together project to be published in the spring of 2005. However, it was also an opportunity to visit with old friends. One of these is my friend Gipar (who goes by the nickname Kuta). I met Gipar during my first trip to Yogya and over the years he's become a friend who I've looked forward to seeing and spending time with each year. In 2003, Gipar watched the progression of the Sama-sama/Together mural project. When I returned in the fall of 2004, he asked if I would paint his becak. I was honored to be asked, and said I'd love to.

Soon after I started painting in the becek yard, I was inundated with requests from other drivers to also paint their beceks. Due to time, I was only able to complete three and start three others. Since the flower design I used for my Bungas mural in Yogya had proven to be so popular and has also come to be my signature in the city, I used this imagery to paint on Gipar's becak, as well as on the inside of one that took the form of a ladybug. While I painted, the economic ramifications of doing this work became clear to me – by painting their “helicopters” I was creating the possibility for them to attract more business. It made me realize that this could also be applied to painting signs for the women who sell their goods at market (a potential future project). The becak drivers were very grateful for my work and would bring me food, coffee, and water throughout the day. They also arranged for a professional masseuse to come to my hotel and give me a massage (which was one of the best I've had!). In exchange for painting their becaks, the drivers also gave me political T-shirts from the presidential election in September 2004. I gave these T-shirts to friends upon my return.

2004 Bikes
Following my visit to Indonesia, I traveled to northern India in December 2004. The main purpose of this visit was to meet up with my friend Sarita and attend her cousin Vishal's wedding. However, I also was interested in initiating a project in India to paint rickshaws or autorickshaws similiar to my project painting becaks in Indonesia.

The opportunity presented itself in Jaipur, Rajasthan. However, rather than tricycles, I ended up painting two-wheelers -- a motorbike and a scooter at a textile shop, Mughal India Carpets & Textiles. The motorbike belonged to Sonu (or Sonny as he's called) and the scooter belonged to Rajesh.

2002/03 Flower Interruption
In 2002/03 I launched Flower Interruption , a four-part series that developed as a playful response to the monotony of the everyday and business-as-usual routine. Flower Interruption was a strategy for breaking up the expected. It was also a rejection of corporate values and the surface aesthetics of capitalism. Working in opposition to corporate advertising, the interruptions offered a respite in the landscape from the onslaught of profit-driven messages, which have become the backdrop for defining global culture and lining the pockets of an elite few. Beginning in the summer of 2002, I began hand-painting brightly-colored paper cutout flowers. I used acrylic paint on heavy printmaking paper that I glazed with a glossy “environmentally-friendly” polyurethane-type coating. In total I made 800 flowers that ranged in size from 5” x 5” to 5' x 5.' The flowers were installed in four locations: Tokyo Japan, Ubud, Bali (Indonesia), Yogyakarta, Java (Indonesia), and San Francisco. The slick technicolor flowers were a striking contrast to the grit and gray of the city and a surreal addition to the tropical jungle of Bali. They appeared as though they had been air dropped in by a cartoon plane. I chose flowers as a symbol of peace and giving and because they are so universal. They're very powerful in a subtle and embracing way as a delicate reminder of the fragility of life. They're also regenerating, rejuvenating. They need a great deal of care - yet they need no care - they're cultivated, yet they can also be wild. And they're associated with the femme.

2002/03 Sama-sama/Together
Sama-sama/You're Welcome was an international collaboration and exchange between community arts organizations and artists from San Francisco and Yogyakarta, Indonesia. The project was designed to foster understanding of contemporary art and culture between the two communities through the creation of new works, as well as through cross-cultural dialogue between participating artists and the public at large. This collaboration was especially timely given the great need at this juncture in history for understanding and dialogue between Muslim and non-Muslim countries - art can provide a powerful means to facilitate such exchanges. Specifically, in June/July 2003 six artists from San Francisco's Clarion Alley Mural Project ( Carolyn Castaño, Carolyn Ryder Cooley, Alicia McCarthy, Aaron Noble, Andrew J. Schoultz, Megan Wilson) in collaboration with Intersection for the Arts traveled to Yogyakarta, Indonesia and in August/September 2003 four artists from the Yogyakarta-based collective, Apotik Komik ( Arie Dyanto, Samuel Indratma, Arya Panjalu, Hendro Wiyanto) traveled to San Francisco. Each group spent 6 weeks on-site as visiting artists-in-residence and participate in the following:

•  Formal and informal dialogs with artists, arts organizations, students/educational institutions, and community members.
•  The creation of public works (murals, performances and installations).
•  Joint gallery exhibitions in both locations.
•  Presentations of artists' talks to the community.
•  An evening of independent film and video presentations from each community.
In addition, a catalogue was produced to accompany the project.

2002 Random Acts of Beauty
Importing a California sensibility of beauty, nature, peace, love, and playful fun, artists Carolyn Castaño (from Los Angeles) and Megan Wilson (from San Francisco) traveled to Tokyo, Denpasar, and Yogyakarta (Indonesia) to create surreptitious works of art in these mega city centers for their project Random Acts of Beauty . Castaño and Wilson's images of flowers, birds, and nature unexpectedly appeared in the urban landscape, making unabashedly, bold visual statements. However, these ephemeral works spoke of a quiet beauty, mimicking life's own pace, one that is a series of delicate, fleeting moments. Random Acts of Beauty is also a rejection of corporate values and the surface aesthetics of capitalism. These interruptions in the urban landscape work in opposition to the barrage of urban popular signage and advertising, offering respite from the onslaught of messages, which distract the inhabitants of the city away from being a member of a community to the role of consumer in a world economy.

2002 Market Street Art in Transit Program - Kiosk Poster Series
The Market Street Art in Transit poster series is a project administered through the San Francisco Art Commission. Every year four artists are selected to create six designs (four posters each for a total of 24 posters) that are displayed in the triangular kiosks located on Market Street between Embarcadero and Van Ness Avenue. The kiosk poster series provides an opportunity for artists to reach audiences outside of traditional art venues such as galleries and museums. For this project I built on my previous public project Better Homes and Gardens. I produced six designs that had the single word ‘Home' on each in six different languages that reflect those predominantly spoken in the South of Market, Tenderloin, financial and Civic Center districts: Tagalog, Vietnamese, English, Spanish, Chinese characters, and Arabic. The historic area of San Francisco's Market Street is a highly diverse region not typically thought of as a residential neighborhood. The project aims to bring awareness to those who are passing through to shop or work that these are neighborhoods that people also live in and deserve the respect of being a community - a home; and that these are neighborhoods which are rich with different cultures and languages.

2000 - 2002 Stretcher.org
Co-founder of online arts and culture publication. Stretcher.org is a regularly updated online publication that gives voice to visual art and culture in the Bay Area, while connecting with creative communities globally. The vision is to provide local and global communities with a critical, informative survey of visual art and culture in the Bay Area. By making this information easily accessible on-line, Stretcher.org seeks to educate and broaden the audience for Bay Area visual art.

2000 We Lose Space
In response to the massive displacement of the arts community, Megan Wilson and Gordon Winiemko created the installation, WE LOSE SPACE/YOU LOSE CULTURE! in the San Francisco Art Commission's Grove Street window space as a direct message to the City -- including the "leaders," sitting in their secure offices across the street - that the current state of business-as-usual was not acceptable or sustainable for San Francisco's cultural community. The installation included the voices and images of many of those in the arts community who had spent years contributing not only to San Francisco's culture, but also to the City's economic base as the draw for the millions of visitors who flock to San Francisco every year.

2000 Better Homes and Gardens
Created 250 signs, all with the single word Home painted in black against a color background. Within the “ H ” of each sign a flower was painted. The signs were painted on ¼” plywood and ranged in size from 12”x18” to 16”x30”. The signs were distributed in San Francisco to those living on the streets, businesses, and residents. Better Homes and Gardens attempted to use the same multiple-site tactic that advertisers use - placing the single-word message throughout neighborhoods in San Francisco in an effort to raise the consciousnesses of San Franciscans around the timely and critical issue of displacement. The project's goal was twofold: (1) to heighten awareness around the issues of “home” and (2) to cultivate a dialog within communities and amongst disparate groups.

2000 Art Strike's Back
Co-organized with Lise Swenson and Gordon Winiemko. Art Strike's Back was an 8-week series (July and August) of performances and actions by local artists as a response to the unprecedented growth and subsequent displacement in San Francisco, and specifically the Mission District.

Screenings
2001 Art Strike's Back (the movie):
San Francisco Film Arts Festival, Castro Theatre
Mill Valley Film Festival
Bulldozed! Film and Video Festival, ATA
Directed by Gordon Winiemko (Produced by Lise Swenson and Megan Wilson), 12 min, video, 2001, In the summer of 2000, a group of artists, faced with an enforced 'strike' brought on by the encroaching ersatz new economy, decided to strike back -- this videotape chronicles the ensuing dance, theater, music, and mayhem that took place right on the streets of one of culture and community's last and most endangered strongholds, The Mission district of San Francisco.

Associations:
2001 – 2002 Southern Exposure
Member of Board of Directors. Southern Exposure is a twenty-seven year old non-profit artists' organization in San Francisco's Mission District. Southern Exposure's programs offer visual art exhibitions, education programs, panels, symposia, and performances to over 23,000 people annually. Southern Exposure provides an accessible and energetic space where people come together to debate current issues, contemporary art, and culture.

2000 - Present TWDC (Together We Can Defeat Capitalism)
Associate of the artists' collective that undertakes stunning and controversial anti-capitalist projects. TWCDC's mission is to encourage discussion of the contradictions of late 20th Century capitalism and have some fun too. They aim to achieve this using a strategy they call guerrilla pop, which fuses hit-and-run undercover tactics with the wit and irony of pop art: Che Guevara meets Andy Warhol. Assisted in the following guerrilla pop projects: Guerrilla Tea Room, Media Conference, and May Day Project.

2000 - 2004 Clarion Alley Mural Project
Co- Director of project that has installed over 60 art works on Clarion Alley, including 2 sculptures and 6 poem walls over the past ten years. Four more murals have been painted on Sycamore, the next alley over. The Clarion Alley Mural Project (CAMP) was established in October 1992 by a volunteer collective of six North Mission residents. The founders of the project were Aaron Noble, Michael O'Connor, Sebastiana Pastor, Rigo 92, Mary Gail Snyder, and Aracely Soriano. CAMP has contributed to the tradition of labor muralism with offsite projects at ILWU Local 6, at 9 th and Clementina, and inside the Redstone Building at 16 th and Capp (the latter, a cluster of its own, includes twelve murals). CAMP has done major gallery installations at the San Francisco Art Institute, New Langton Arts, and Intersection for the Arts.

1996 San Francisco Art Institute's Artists Committee
Member of committee that curates the Annual Exhibition, Salon Series, and Day Without Art at SFAI.

Selected Media:
2006
Artweek, "Swell at Meridian Gallery" by David Buuck, October.
The Messenger 9.16.06, Logos: Born Again in the U.S.A. by Megan Wilson, September
SFGate, "Swell: New work by Amy Berk, Carolyn Castaño and Megan Wilson" by Jordan Essoe , July 27.
artUS, "Megan Wilson" by Laura Richard Janku, May - June.
trulyjogja.com
, " Jogja Mural Forum, Manusiawikan Tembok Kota" May 5.
Artweek,
"Albert Reyes and Megan Wilson at Ampersand," by Alison Bing, April.
San Francisco Chronicle
, "ON THE TOWN With Heather Bradley, A taste of S.F. nightlife and beyond," by Heather Bradley, January 8.


2005
Planet, 'Sama-Sama/Together' by TerryHwang, Winter.
Artweek,
'Material Matters at The Lab,' by Colin Berry, September.
SFGate
,' Raising Cash and Consciousness ' by Alison Bing, August 18, 2004
S.F. Bay Guardian, Best of the Bay 2004, "PUBLIC ART: Best Transnational Art Undertaking," August.


2004
SFGate,' Raising Cash and Consciousness ' by Alison Bing, August 18, 2004
S.F. Bay Guardian, Best of the Bay 2004, "PUBLIC ART: Best Transnational Art Undertaking," August.
Artweek, "D.I.Y. Art and Cultural Exchange," by Lindsey Westbrook, February.
S.F. Bay Guardian
, “Nuit Blanche (Lost in Translation),” by Lindsey Westbrook, January 21.
Art Papers, "San Francisco, California," by Robyn Wise, January/February 2004.
Giant Robot,
"Art Invasion," Issue31: Kreators, Spring 20


2003
SF Examiner ,
“Writing On The Wall,” by Bruce Bellingham, October 1.
KQED Pacific Time,
“One-Way Cultural Exchange Between U.S. and Indonesia” produced and hosted by Nguyen Qui Duc, September 11.
S.F. Bay Guardian, “Future tense: Politics' and art's intersections become surreal,” by Glen Helfand, August 27.
7 x 7 Magazine, “Hot Picks,” September.
Bernas, “Cinta Keindahan,” August 6.
Jakarta Post, “Collaboration, key to mutual understanding,” by Ade Tanesia, August 2.
Jakarta Post, “Artists work together on city mural project,” by Sri Wahyuni, August 2.
Bernas, “Pertanyakan Stigma Lewat Seni Mural,” July 26.
Bernas, “Lukisan Mural Kota,” July 25.
Radar Jogya, “Bersaing dengan Pembuat Iklan,” July 18.
Kedaulatan Rakyat, “Mural Kota 2003 Sama-sama/You Are Welcome, Kolaborasi Seniman Amerika-Indonesia,” July 18.
Radar Jogya, “Enam Bule Mural Jogja,” July 16.
Kompas, Mural Kota, July 12.
Kedaulatan Rakyat, “Artis San Francisco Ramaikan Mural Kota,” by (Fia)-z, July 8.
XYZed Magazine, "Interview with Megan Wilson," by René Lemire, April.

2002
withitgirl.com, Features, "Andrew J. Schoultz and Megan Wilson" 2002.
Public Art Review, History Lesson, Recent Projects - Random Acts of Beauty and Sama-sama, Issue #27.
SF Station, "The Clarion Alley Mural Project," by Amy Larkin Gelbach, November 24.
stretcher.org, "What's Left of Theory? The art of everyday life" by Amy Berk and Andy Cox.
SF Gate, "Megan Wilson and Andrew Schoultz" by Alison Bing, November 1.
S.F. Bay Guardian, "Wall Space" by Lynn Rapoport, October 23.
SF Examiner, ArtSpeak by Anne Crump, September 29.

2001
SF Gate, "SoExquisite," by Alison Bing, May 3.
Public Art Review, Nuts and Bolts, "Shoptalk" by Ricardo Barreto, Issue #25.
S.F. Bay Guardian, "Parking Lot Living" by Katharine Mieszkowski, October 17.
S.F. Bay Guardian, "Superfund Site" by Glen Helfand, September 19.
KQED Bay Window, "Home Front" by Jennifer Maytorena Taylor, September 7th and 9th.
Drop: Representation and Desecration of the Urban Environment, a publication produced by Pond gallery, 'Counterforms and Citizneships: Some Remarks on the Semiotics of Icon-Display and Megan Wilson's 'Better Homes and Gardens,' by Marisa Jahn, Fall.
Artweek, 'Stanley Chan and Christopher Duncan, Tucker Schwarz, Anna Von Mertens and Megan Wilson at Southern Exposure' by David Spalding, April.
The Gallery at Villa Montalvo: Selected Exhibitions from 1996 through 2000, catalogue.
Artweek, 'Are People More Important than Art? A look community-based public art projects' by Amy Berk, April.
Bang!, 'Bang!'s Best Bets - Art: Southern Exposure, March. Comet Magazine, Spring.
San Francisco Chronicle, 'A City Being Hollowed Out' by Adair Lara, February 27.
De Groene Amsterdammer, 'Dotcomjaloezie wordt dotcomleedvermaak' by Jim Schilder, February 12.
San Francisco Business Times, 'Anti-dot comers alive and making ugly faces' by James Temple, February 9.
Artweek, 'Viewpoint' by Berin Golonu, January.

2000
KUSF, RadioSegue, part-two of interview with Josh Wilson, December 21.
New York Times, 'Artists vs. Dot-Coms: Fighting San Francisco's Gold Rush' by Yoshie Furuhashi, December 14.
L.A. Weekly, 'Yuppie Dread' by Sandra Ross, December 1.
Salon.com, 'Is the Internet a bad, bad boy?' by Damien Cave, November 6.
KUSF, RadioSegue, one-hour interview with Josh Wilson, October 26.
San Francisco Chronicle, 'No Room for the Arts / The Economic Boom Threatens to Kill Off S.F.'S Cutting-Edge Culture' by Neva Chonin and Dan Levy, October 17.
Art Minimal & Conceptual Only, October 7.
London Telegraph, 'San Francisco 'dot-commies' hire guards to stop art attacks' by Simon Davis, October 7.
Drudge Report, October 7.
L.A. Times, 'Dot-Com Explosion Makes San Francisco a War Zone' by John M. Glionna, October 3.
All Things Considered, NPR, September 10.
California Report, NPR, September 1.
Rethinking Marxism, 'Fuck You Dot Com' by Sharla Sava, September.
San Francisco Weekly, 'Make Room for Art' by Michael Scott Moore, August 23.
San Francisco Chronicle, 'Art on the Streets' by Mark Martin, August 5.

1999
San Francisco Art Institute Magazine, Campus Notes, Summer.
S.F. Bay Guardian, 'Megan Wilson' by Glen Helfand, March 3.

1998
Golden Gater, 'Art for thought' by Chandler Harris, Septermber 17.


1997
Los Gatos Weekly Times, 'Women's art reflects many influences', by Shari Kaplan, Sept. 24
Bay Area Reporter, 'For your eyes only' by Steven Jenkins, March 27.
S.F. Bay Guardian, 'Stirred Not Shaken' by Glen Helfand, March 19.


1996
S.F. Bay Guardian, 'Confess' by Harry Roche, November 27.
Sculpture Magazine, 'San Francisco, California,' by Maria Porges, July/August.
S.F. Bay Guardian, Critic's Choice "Swell, " by Harry Roche, March 20.
S.F. Bay Guardian, 8 Days A Week "Snacks," by Harry Roche, March 20.


Awards:
2006
$5,000 Individual Artist Grant awarded by the SF Art Commission, San Francisco, CA.

2004

S.F. Bay Guardian's Best of the Bay 2004 for “PUBLIC ART: Best Transnational Art Undertaking,”

2003
$10,000 Grant awarded by the San Francisco Foundation for Sama-sama/You're Welcome.
$15,000 Grant awarded by the Ford Foundation, Jakarta, Indonesia, for Sama-sama/You're Welcome.
$10,000 Grant awarded by the Asian Cultural Council, New York, NY, for Sama-sama/You're Welcome.

2001
$ 8,500 Grant awarded by the SF Art Commission for the Market Street Art In Transit Program, San Francisco, CA.
$ 10,000 Grant awarded by The ArtCouncil/Artadia, San Francisco, CA.

2000
$ 2,000 Grant awarded by the Gunk Foundation, New York, NY.

Honors:
2005/06 Nominee, SECA award, SFMoMA
2002 Nominee, Fleishhacker Eureka Award, San Francisco.
2001/02 Nominee, In Site (formerly SECA) award, SFMoMA (nominated by Ed Gilbert, Gallery Paule Anglim).
2000 One of the artists selected to execute Sol Lewitt wall drawings at SFMoMA.
1999 Nominee, Altoids Curiously Strong Art Collection.

Residencies:
2007 Anetna Projects, 3-month residency, Yogyakarta Indonesia.
2003 Clarion Alley Mural Project, Sama-sama/Together, 7-week residency, Yogyakarta Indonesia.

Curatorial:
Juror, Diego Rivera Gallery, San Francisco Art Institute, 2004/05 Exhibitions, 2004
Sama-sama/You're Welcome, International Exchange Project with San Francisco and Yogyakarta, Indonesia, 2002/03
Selection Panel, Market Street Art in Transit program, San Francisco Art Commission, 2003
Guest Curator, San Francisco Art Commission Grove Street Gallery, 2002
Juror, Diego Rivera Gallery, San Francisco Art Institute, 2001/02 Exhibitions, 2000
Art Strike's Back, Organizer, 2000
Southern Exposure, Urban Renewal Laboratory, project coordinator, 1996-1998
Bridges: A Collaborative Project, Walter/McBean Gallery, 1997
Artists' Committee, San Francisco Art Institute, 1996

Public Speaking:
2006
UC Berkeley, guest lecturer, November 14.
Duta Wacana University, Yogyakarta Indonesia, guest lecturer, April 28.

Precita Eyes Mural Center, panel participant, May 19.

2005
CCA, guest lecturer, February 23.

2003

University of Michigan at Ann Arbor, visiting artist, Penny Stamps Distinguished Visitors Program, November.
CCA, guest lecturer, Oct. 16.
Cemeti Art House, Yogyakarta, Indonesia, artists talk for Sama-sama/You're Welcome, July 23.
San Francisco Art Institute, guest lecturer February 27, March 6, April 16.
CCA, guest lecturer, March 4.

2002
UC Berkeley, guest lecturer, November 12.
San Francisco Art Institute, guest lecturer, Worlds in Collision class, October 23.
Geleran Gallery, Yogyakarta, Indonesia, guest speaker, July 29.

2001
San Francisco Art Institute, guest lecturer, October 25.
San Francisco State University, guest lecturer, February 28.
The Commonwealth Club, “Dot-Com Backlash: The Real Estate Crunch & the Future of San Francisco,” panel with Tom Ammiano, Mara Brazer, Gavin Newsom, and Andrew Sullivan moderated by Rebecca Roberts, January 31.

2000
CCAC
, guest lecturer, September 27.
1998 San Francisco State University, artist's talk.
Southern Exposure, moderator, “Agents of Change.”

1997
Villa Montalvo
, artist's talk.

1996
Meridian Gallery, artist's talk.

Education:
San Francisco Art Institute: Master of Fine Arts, New Genres (1997).
University of Oregon: Bachelor of Arts, Fine Arts (1992).

Professional Experience:
Freelance Writer
Write reviews and essays on art and culture.
Public Art Review
•  Feature on San Francisco's International Airport public art project, Spring 2002
Afterimage
•  Review “Code 33,” July/August 2001.
Stretcher.org (2000-2002)
•  Co-founder (editor and publisher) of online arts and culture publication
Digitalcity.com (2001)
•  Weekly Contributing Writer, Arts and Culture reviews.
San Francisco Bay Guardian (2000-2001)
· Weekly Contributing Writer, Critics Choice: Art review.
San Francisco Art Institute
“Worlds In Collision,” Summer 2001.
ArtSpan
· “SF Artists - A Vanishing Species?” Fall 2000.

Non-Profit Development and Management
For the past ten years I have worked in non-profit development and management. My work has varied based on the needs of the organization – ranging from more in depth strategic planning and organizational development to solely grant writing and research. In addition, I've had extensive experience with program development. I've worked with many different types of organizations, but primarily youth-based, social justice, arts, and health. The size of the organization has also ranged considerably between small ($50,000/yr budget) to large (2M/yr budget).


Oakland Leaf

Development Consultant
(2006)
Oakland, CA
•Researched grants and wrote proposals to support
culturally relevant after-school and summer programs that interweave the arts, social justice, urban ecology, literacy, and youth empowerment to support the growth of very-low to low-income, ethnically diverse children, youth and their families in East Oakland.

509 Cultural Center & The Luggage Store
Development Consultant
(2006-present)
San Francisco, CA
•  Research grants and write proposals to support visual and performing art center dedicated to building community by broadening social and aesthetic networks in order to improve the quality of people's daily lives by encouraging the flow of images and ideas between different cultural communities.
•  Work with Co-Directors on long-term strategic planning for development and financial stability.


Kid Serve
Development Consultant
(2006)
San Francisco, CA
•Researched grants and wrote proposals to support Service-Learning mural projects to empower children in ways that can make a significant impact on their personal and academic lives.


People's Community Partnership Credit Union
Development Consultant
(2006)
Oakland, CA
• Worked with staff and Board on long-term strategic planning for development and financial stability, including the production of a 2006 Development Plan.
•Researched grants and wrote proposals to support economic empowerment in Oakland's low-income neighborhoods by increasing the community's use of, access to, and control over financial services.


Creative Growth Art Center
Development Consultant (2005-present)
Oakland, CA
• Provide support to Executive Director, Board, and staff on Capital Campaign to raise funds to renovate the oldest and largest arts and disabilities center in the world.
•Research grants and write proposals to support Capital Campaign.


Family Connections
Grant Writer/Development Consultant (2005 - present)
San Francisco, CA
• Research grants and write proposals to support neighborhood-based family resource center in Portola and Excelsior neighborhoods.


Young Women United For Oakland
Oakland, CA
Grant Writer/Development Consultant (2004)
Oakland, CA
•  Wrote and researched grants to support youth-led organization whose mission is to increase safety, resources, sense of community, and improve conditions for young women of color in Oakland.

Asian Pacific Islander American Health Forum (APIAHF) San Francisco, CA
Grant Writer/Development Consultant (2003)
•  Wrote and researched grants to support national health organization serving the API community.

YouthSpace San Francisco, CA
Grant Writer/Development Consultant (2002)
•  Wrote and researched grants to support youth-run and directed programming for youth in San Francisco.
•  Worked with Director and Board on long-term strategic planning for development and financial stability, including the production of a Strategic Business Plan for 2002-2005.
•  Worked with Director to develop annual organization and program budgets and cash flow.
•  Created Public Relation materials to increase visibility.

SOMCAN (South of Market Community Action Network) San Francisco, CA
Grant Writer/Development Consultant (2002-present)
•  Write and research grants to support community organizing and networking in SOMA.
•  Work with Director and Board on long-term strategic planning for development and financial stability.
•  Work with Director to develop annual organization and program budgets and cash flow.
•  Work with Director to develop and produce public relation materials.  

Streetside Stories San Francisco, CA
Grant Writer/Fundraising Consultant (2001)
· Wrote and researched grants for storytelling program in San Francisco schools.
· Assisted Executive Director on long-term strategic planning for development.

Oasis For Girls San Francisco, CA
Development and Marketing Consultant (2000-present)
· Work with Director and Board on long-term strategic planning for development and financial stability.
  Write and research grants to support arts programming for girls in the South of Market district.
· Develop Annual Visibility and Development plans and strategies.

TILT (Teaching Intermedia Literacy Tools) San Francisco, CA
Development Associate (1999-2002)
· Wrote and researched grants to support media literacy programs for youth.
•  Developed Strategic Plan for organization.
· Responsible for the direction of a capital campaign to raise $120,000 towards leasehold improvements.

Southern Exposure San Francisco, CA
Development Associate, Interim Position (July-December, 1999)
· Assisted in the direction of the organization's fundraising activities during Executive Director Search.

The National Conference for Community and Justice San Francisco, CA
(Human Relations Organization)
Program/Development Specialist (1997-1999)
· Developed and implemented fundraising activities, including foundation and corporate solicitation, individual giving and special events.
· Directed High School Press Awards, an annual essay contest that asks high school students to consider their community and their responsibility to it around issues of racial, ethnic, religious, gender, sexual, and economic diversity.
· Conducted classroom presentations in high schools to promote the essay contest and facilitate student dialogue on the issues of diversity, identity, responsibility, and community.
· Served as a member of the Television Race Initiative's Multi-Cultural Community Brain trust, which helps direct and organize community awareness and activities in conjunction with the Initiative's national broadcasts that have included: Family Name, Africans in America: America's Journey through Slavery, Beyond Black and White: Affirmative Action in America, and Facing the Truth with Bill Moyers.

Southern Exposure San Francisco, CA
Project Coordinator, Urban Renewal Laboratory (1996-1998)
· Worked with curators on direction and implementation of gallery and on-line exhibition, including grant writing, research, outreach, and coordination.
· Wrote proposals for grants that secured $85,000 for project budget.

Meridian Gallery San Francisco, CA
Co-Director, Instructor , Meridian Interns Program (1996-1997)
•  Developed program, including curriculum and raised funds for arts education and office administration program directed at low-income high school students.
· Taught program that included: Art and design projects, gallery and museum visits, public relations experience, writing assignments and computer knowledge. Final project included an exhibition of the students' work and forum discussion by students.

The Samaritans of Boston (Suicide Prevention Agency) Boston, MA
Director of Development and Public Relations (1993-1994)
· Developed and implemented fundraising activities for suicide prevention agency, including foundation and corporate solicitation, individual giving, and special events.
· Assisted Executive Director in the management of $350,000 agency budget.
•  Developed and produced public relations materials, annual report, and newsletter.

Crisis Intervention Volunteer (1992 - 1994)
· Volunteered over 500 hours answering crisis calls on 24-hour suicide prevention hotline.
· Assisted in the training and direction of the SAMARITEENS Program -- a program, aimed specifically at training teens, aged 15-19 crisis intervention.

Teaching Experience:
San Francisco Art Institute San Francisco, CA
Visiting Professor, Painting Department (Spring 2004)
•  Co-taught SOLID/ FLUID:Approaches to Painting in Public with Aaron Noble to undergraduate and graduate students.
•  Course Description: The option of public art practice has enjoyed an explosive surge in the past decade, particularly in the Bay Area. Thanks in part to the lingering critical disrepute of community mural projects and the criminality and communal aesthetics of spraycan art, public painting remains an arena in which practice is ahead of theory. Following the first day of class, the class was held off campus. Each day began with a breakfast discussion at Intersection for the Arts 446 Valencia Street in the Mission District), followed by on-site study, guest presentations and project work. The discussion portion of the course analyzed the formal openings created by the decision to move outside of the gallery system and reviewed strategies running the gamut from the autonomy of illegal or quasi-legal postering, stickering or stenciling to the complex social negotiation of permissioned projects operating with public funding. Following introductory readings and discussion the class chose a topic of common concern to respond to in two parts. Solid group created a semi-permanent public mural while Fluid group created a linked project utilizing ephemeral strategies.

California College of Arts San Francisco, CA
Visiting Professor, Independent Study (Spring 2004)
Individual meetings and dialogues with student. Through these critical conversations, students learn to better articulate their concepts and aesthetic goals while refining the formal languages within their work.

Southern Exposure/San Francisco Conservation Corps San Francisco, CA
Instructor, Youth in Action (1999)
•  Taught program that combined painting, found object sculpture and installation to explore issues of community awareness, cultural identity, environmentalism, and recycling.

Meridian Interns Program San Francisco, CA
Co-Director, Instructor (1996-1997)
•  Developed and raised funds for program directed at low-income high school students.
•  Taught program that combined art education, art history, and arts administration. Curriculum included: art and design projects, gallery and museum visits, public relations experience, writing assignments and computer knowledge. Final project included an exhibition of the students' work and forum discussion by students.

EXCEL at Amherst College Amherst, MA
Resident Instructor (Summer 1996, 1997)
•  Taught 3-D Sculpture and Painting/Drawing to high school students.
•  Helped plan and direct all extracurricular student activities in pre-college program.

Oakland Museum Oakland, CA
Guest Instructor (June, 1997)
•  Worked with third grade students on sculpture project that utilized recycled and reused materials in conjunction with exhibition Hello Again: A New Wave of Recycled Art and Design.

San Francisco Art Institute San Francisco, CA
Instructor, undergraduate CORE Program (Fall, 1995)Taught Introduction to Printmaking section of CORE Program with Professor Al Smith.