Megan Wilson    
1256 Leavenworth, Apt. A
San Francisco, CA 94109
Bio > Bio > Resume

Megan Wilson

Solo Exhibitions:
mural on Jalan Ireda, Yogyakarta, Indonesia.
Flower Interruption, 7 th & Market Streets, San Francisco.
Artists Books retrospective, San Francisco Public Library.
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.
, & ampersand international arts, San Francisco.
The Irresistible Terror of Loveliness, Southern Exposure, San Francisco.
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 .
, Fort Mason Center, San Francisco, CA.
Feminine Protection, Diego Rivera Gallery, San Francisco, CA .

Group Exhibitions:
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.

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.

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

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

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

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

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

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

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 will be 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
Co-founder of online arts and culture publication. 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, 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.

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.

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 - Present Clarion Alley Mural Project
Currently Administrative 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:
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

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, 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., "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.

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.

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., '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.

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

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

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.

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.

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

$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.

$ 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.

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

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.

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:
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.

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.

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.

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

Villa Montalvo
, artist's talk.

Meridian Gallery, artist's talk.

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
•  Review “Code 33,” July/August 2001. (2000-2002)
•  Co-founder (editor and publisher) of online arts and culture publication (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.
· “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).

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.