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Eve-Andree LARAMEE
Brooklyn, NY
Neighborhood: Williamsburg



ARTIST STATEMENT: My omnivorous curiosity draws me to interdisciplinary research-based work that addresses the history of science, environmental ethics, natural phenomena, innovative sustainable practices and metafiction. Cultures use technology and art as devices to construct belief systems about the natural world, mediating zones between fact and fiction. I believe artists are agents of change in the evolution of consciousness. My work is a form of environmental whistle blowing and offers inventive solutions to ecological problems through low-tech DIY sensibilites combined with beautiful high-tech tools of delivery.
For the past 20+ years, I have made numerous sculptures, installations, photographs and works on paper dealing with the pollution of water with radioactive isotopes from uranium mining and milling; plutonium production for nuclear weapons research and development; and the production of fuel rods and storage of waste from the nuclear power industry.
A recent installation, “Halfway to Invisible” http://halfwaytoinvisible.blogspot.com questions the environmental and biological impact of uranium mining in the Southwest affecting a large number of Native American nations, including the Navajo, Laguna, Zuni, Ute, Hopi, Acoma and other Pueblo cultures, many of whom worked in the 4,000+ mines, mills and processing plants. They were poorly paid, and seldom informed of the dangers of working with uranium nor were they given appropriate protective gear, resulting in increased incidents of radiation-induced cancers, miscarriages, and birth defects. I have also begun work on a project dealing with the historical streams, creeks and ponds of North Brooklyn, NY. Current projects I am working on include tracing the historical streams, creeks and springs of the Greenpoint/Williamsburg neighborhoods of North Brooklyn; a project on Yucca Mountain and the Waste Isolation Pilot Plant facilities for long-term storage of radioactive waste; a project on the radiotoxins in the Great Miami Aquifer in Ohio, among others.
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ARTIST RESUME:


EDUCATION
MFA, San Francisco Art Institute, 1980
BA, San Diego State University, 1978, with honors, with distinction in art


HONORS AND AWARDS
2010 Pollock Krasner Foundation, Grant
2009 Goldwell Open Air Museum, Rhyolite, NV; Artist in Residence Grant, Slouching Towards Yucca Mountain
2009 Maryland Institute College of Art, Brenner Faculty Development Grant, Yucca Mountain project
2009 Emory University Center for Creativity and Arts, Interdisciplinary Grant for Halfway to Invisible
2008-9 Maryland Institute College of Art, Faculty Research Grant, Desert Trilogy project
2008 Maryland Institute College of Art, Faculty Development Grant, Luminous Darwin project
2007 Maryland Institute College of Art, Lucas Grant, SLSA Conference
2007 Maryland Institute College of Art, Lucas Grant, Burning Man project
2006 Maryland Institute College of Art, Faculty Development Grant, SLSA Conference
2005 Maryland Institute College of Art, Lucas Grant, Fluid Geographies project
2004 Pollock-Krasner Foundation, Grant
2004 MacDowell Colony Fellowship, Peterborough, NH.
2004 Santa Fe Art Institute, Studio Residency, Santa Fe, NM
2003 MacDowell Colony Fellowship, Peterborough, NH
2003 Fairfield University Faculty Research Grant, Hudson River Project
2003 Fairfield University Humanities Institute Grant
2002 Fairfield University Summer Research Stipend, Fluid Geographies: Los Alamos Project
2002 Fairfield University Faculty Research Grant, Netherzone project
2001 New York Foundation for the Arts, Fellowship, Performance Art/Multidisciplinary Works
2001 MacDowell Colony Fellowship, Peterborough, NH
1998/9 Delaware Center for Contemporary Arts, NEA Education & Access Grant
1995 Mid-Atlantic Arts Foundation, Regional NEA Grant, Sculpture
1995 New York Foundation for the Arts, Artist-in-Residence Grant (Arts in Education)
1995 ART/OMI, Studio Fellowship, Omi, New York
1994 Pilchuck Glass School, Artist-in-Residence Fellowship, Stanwood, WA
1992 Guggenheim Museum, Sculptor-in-Residence Fellowship, Chesterwood, MA
1992 The Andy Warhol Foundation for the Visual Arts, Grant, set design
1992 John Michael Kohler Arts Center, Artist-in-Residence Fellowship, Kohler, WI
1992 New York Experimental Glass Workshop, Artist-in-Residence Fellowship, Brooklyn
1990 Art Matters, Inc, Fellowship, New York, NY
1990 The Shifting Foundation, Grant, Chicago, IL
1989 New York Foundation for the Arts, Fellowship, Emerging Forms, New York, NY
1987/8 Institute for Contemporary Art, The Clocktower, NYC. National Studio Program Fellowship
1986 CEPA, Buffalo, NY, Artist-in-Residence Grant
1984-6 New Mexico Arts Division, Artist-in-Residence Grant


FORTHCOMING EXHIBITIONS, PROJECTS & PRESENTATIONS

2010
• ISEA2010 RUHR (Inter-Society for Electronic Arts) Dortmund, Germany. Halfway to Invisible
• Museu de Arte Brasileira, Sao Paulo Brazil. Art, Sustainability and Technology
• Texas State University, San Marcos, TX, Substainability
• B.L.A.N.D. Corporation, undisclosed location in the Mojave Desert, CA; Secret Mojave Desert Tea House (B.L.A.N.D. is a collaboration between Tom Jennings, Six Silberman and Eve Andrée Laramée).
• Texas Tech University, Lubbock, TX; Land Arts of the American West lecture “Landscape as Knowledge”


SOLO EXHBITIONS AND INSTALLATIONS
2010
Museum of the American Philosophical Society, Philadelphia, PA,
Luminious Darwin: The Lost Notebooks of Charles Darwin
2009
Emory University Art Gallery, Atlanta GA. Halfway to Invisible
2004
Linda Durham Gallery, Galisteo, NM. A Natural History of Discontinuity
2003
Wave Hill, Bronx, New York, Hudson River Project: Sugar Mud
2001
Mass MoCA, North Adams, MA, Apparatus for the Distillation of Vague Intuitions
2000
Austin Museum of Art, Austin, TX. Eve Andrée Laramée: New Works
1999
M.I.T. List Center for the Arts, Massachusetts Institute of Technology, Cambridge, MA. A Permutational Unfolding
Delaware Center for the Arts, Wilmington DE, Secret History: Strangers in the Laboratory
1998
Contemporary Arts Museum, Saint Louis. Apparatus for the Distillation of Vague Intuitions
1997
Islip Art Museum, East Islip, NY. Secret History: Yves Fissiault: Artist of the Cold War Era
1996
John Gibson Gallery, New York, NY. Eve Andrée Laramée: Sculpture and Drawings
The New York Kunsthalle, New York, NY. A Scientific Observation of a Private Obsession
Rice University Art Gallery, Houston, TX. Facts are Slippery
University Art Gallery, San Diego State University, San Diego, CA. Cellular Memories
1995
Moltkerei Werkstatt, Köln, Germany. A Scientific Observation of a Private Obsession
55/51 Raum fur Zeitkunst, Monchengladbach, Germany. To Cause a Disappearance
1994
TZ'Art & Co. Gallery, New York, Apparatus for the Distillation of Vague Intuitions
Randolph Street Gallery, Chicago, IL. Apparatus for the Distillation of Vague Intuitions
Robert Lehman Gallery, UrbanGlass, Brooklyn, NY. The Science of Approximation
Donna Beam Gallery, University of Nevada, Las Vegas. Voltaic Cell Drawings
1993
John Gibson Gallery, New York, NY. Instruments and Apparatus
James Madison University Gallery, Harrisonburg, VA. Eve Andrée Laramée: Drawings, 1983-1993
1992
College of Saint Rose, Albany, NY. A Brief Episode of Clarity
1991
John Gibson Gallery, New York, NY. New Sculpture
Art 3, Groupe de Recherche et de Mediation en Art Contemporain, Valance, France. Valence: The Capacity to Combine
Sandra Gering Gallery, New York, NY. Voltaic Cell
Rotunda Gallery, Brooklyn, NY. Requiem for a Blue Fluid
1990
Zilkha Gallery, Wesleyan University, Middletown, CT. The Eroded Terrain of Memory
1988
Real Art Ways, Hartford, CT. The Effect of Forces upon Matter
Franklin Furnace, New York, NY. Circular Waves on Water: Fermi's Eyes
1987
White Columns, New York, NY. The Reason For
1986
Museum of New Mexico, Santa Fe, NM. X-Ray Yankee Zulu & the Amps, Part II
1985
Los Angeles Institute for Contemporary Art, CA. X-Ray Yankee Zulu and the Amps , Part I
Center for Contemporary Arts, Santa Fe, NM. The Messenger
Performance Projects, Tucson, AZ, Solidified Time: Hydrocarbon Hell (for Los Angeles)
1983
The Albuquerque Museum, Albuquerque, NM. Venusian Lagoons
1982
Downtown Center for the Arts, Albuquerque, NM. Antarctica: Inertial Residue
1980
A.R.E., San Francisco, CA Vaporization


GROUP EXHIBITIONS (selected)
2010
Texas State University Art Gallery, San Marcos, TX SubStainability
Borowsky Gallery, Philadelphia, PA. Mapping: Outside/Inside
Exit Art, New York, NY, What Matters Most?
2009
Jonathan O’Hara Gallery, New York, NY, The Funnyface Project
Woven Spaces, Brooklyn, NY. Luxury Condos, and the Rest: The Making of a Place
Center for Contemporary Art, Santa Fe, NM. Mapping the Green Future
2008-9
La Villa Arson, Nice, France, Acclimation
SlashSeconds, online exhibition on slashseconds.org, United Kingdom; Vanishing Point
2007
Boulder Museum of Contemporary Art, Weather Report: Art and Climate Change
Armand Hammer Museum of Art and Cultural Center, at UCLA, Los Angeles, CA. Hammer
Contemporary Collection Part 1
Fine Art Galleries, Bowling Green State University, WATER, Bowling Green, Ohio; AER
Green Museum, online Greenmuseum.org exhibition curated by Andrea Polli
2006
Shanghi Zendai Museum of Modern Art, Shanghai, China, Lovely Shanghai Music
Hannover Kunstverein, Hannover, Germany, Lovely Shanghai Music
Exit Art, New York, The Drop
Abington Art Center, Jenkintown, PA Elements
New Image Gallery, James Madison University, Harrisonburg, VA, Contemporary Mathematical Photography and New Media
Affect Images, Universität zu Köln, Cologne, Germany, Deleuzian Events,
2005
Akademie der Künste, Berlin, Germany, Anthology of Art (traveling exhibition)
Bizart Gallery, Shanghai, China, Record 404/Lovely Shanghai Music
2004
Museum of Modern and Contemporary Art, Geneva, Switzerland, 404, Yellow Pages
Brooklyn College at the Brooklyn War Memorial, NY. Floorplay
Dorsky Gallery, Long Island City, NY. Residue
Sonoma Museum of Visual Art, Santa Rosa, CA. Trace
Kunsthalle Palazzo Liestal, Bazel, Switzerland, 404: Yellow Pages
Martin-Gropius-Bau, Berlin, Germany. Anthology of Art
ZKM (Zentrum fur MedienKunst), Karsruhe, Germany. Anthology of Art
Akademie der Kunst, Berlin, Germany, Anthology of Art
Bundeskunsthalle, Bonn, Germany. Anthology of Art
Turm Gallery, Helmstedt, Germany 404,Yellow Pages
Dabora Gallery, Brooklyn, NY. Mortis Dabora: Tall Tales of Death III
Exit Art, New York, NY, Public Execution/Big Glass (collaboration with Serkan Ozkaya)
Brent Sikkema Gallery, NY. Postcards from the Edge
2003
Museum für Angewandte Kunst, Frankfurt, Germany, Corporal Identities: Body Language
Klingspor Museum, Offenbach, Germany, Corporal Identities: Body Language
Chicago Atheneum, Chicago, IL, Corporal Identities: Body Language
American Museum of Arts and Design, New York, NY. Corporal Identities: Body Language
Cincinnati Art Museum, Cincinnati, Ohio. Drawings of Choice from a New York Collection
Georgia Museum of Art, Athens, GA, Drawings of Choice from a New York Collection
Gallerie Lelong, New York, NY; Postcards from the Edge
Santa Fe Art Institute, Santa Fe, NM. H2O
Bowdoin College Museum of Art, Brunswick, ME, Drawings of Choice from a New York Collection.
Rochester Institute of Technology, NY, Bausch & Lomb Gallery, Poetry of Science
Arkansas Art Center, Little Rock, AK, Drawings of Choice from a New York Collection
Santa Fe Art Institute, Santa Fe, NM. H2O
A.I.R. Gallery, New York, NY. Wish You Were Here Too!, Benefit exhibition
2002
Bienal de São Paulo, Brazil, Plural Maps: Lost in São Paulo , (collab. w/ Lucia Leao)
Art in Embassies Program, United States Department of State, American Embassy in Ottawa, Canada.
Sperone Westwater Gallery, New York, NY. Postcards from the Edge (Visual AIDS Benefit)
Köln Art Fair, Köln, Germany (work sponsored by Linda Durham Gallery, NYC)
Krannert Art Museum, Champaign, IL, Drawings of Choice from a New York Collection
Bronx River Museum Art Center, Bronx, NY; Artsthma
Shepard Fine Art Gallery, University of Nevada, Reno, “Drawings”
Vancouver Access, Vancouver, BC, Canada, con/quest
Rotunda Gallery, Brooklyn, NY. 20/02
Cooper Union for the Advancement of Art and Science, Urban Visionaries Benefit Exhibit
New York Foundation for the Arts Benefit Exhibition, Tribeca Gallery, New York
Community Word Project Benefit Exhibition, Bronx, New York
2001
MASS MoCa, North Adams, MA. Unnatural Science (installation, see above) (2000-2001)
Art in Embassies Program, United States Department of State, American ambassador to Canada, Ottawa
Palm Beach Institute of Contemporary Art, Palm Beach, FL, BROOKLYN!
Sara Meltzer Gallery, Visual AIDS: Postcards from the Edge, benefit exhibition
Kresge Art Museum, Michigan State University, East Lansing, MI. Botanica: Contemporary Art and the
World of Plants (traveling exhibition)
Robert Hull Fleming Art Museum, University of Vermont, Burlington, VT. Botanica
University Gallery, University of Delaware, Newark, DE. Botanica
Western Gallery, Western Washington University, Bellingham, WA; Botanica
2000
John Michael Kohler Art Center, Sheboygan, WI. Garden of Pleasure
Untitled (Space) with the Yale School of Medicine, New Haven, CT. Foreign Bodies
Plymouth State College Art Gallery, Plymouth, NH. Textiles and Technology
The Sharjah Arts Museum, Sharjah, United Arab Emirates, Outreach Exhibition
Carleton College Art Gallery, Northfield, MN, Botanica: Cont. Art and the World of Plants
Alexandria Museum of Art, Alexandria, LA, Botanica
University Galleries, Illinois State University, Normal, IL, Botanica
Tarble Arts Center, Eastern Illinois University, Charleston, SC. Botanica
Chicago Cultural Center, Chicago, IL, Botanica: Contemp. Art and the World of Plants
Pelham Art Center, Pelham, NY. The Third Dimension
Eyewash Gallery, Brooklyn, NY. Valentine
Eyewash Gallery, Brooklyn, NY. Selections from Williamsburg
1999
Ludwig Forum für Internationale Kunst, Aachen, Germany. Natural Reality: Artistic Positions Between
Nature and Culture (public art installation & museum show)
Arti et Amicitiae, Amsterdam, The Netherlands. The Mind on Scale.
Hudson River Museum, Yonkers, NY. Drip, Blow, Burn, (installation)
Tweed Museum of Art, University of Minnesota, Duluth. Botanica: Contemp, Art and the World of Plants
Plains Art Museum, Fargo, ND, Botanica: Contemporary Art and the World of Plants
Alexander & Bonin Gallery, New York, NY; Postcards from the Edge
Hallwalls, Buffalo, NY. Phenotypology
1998
Palazzo Osterio Magno, Cefalù (Palermo), Italy. EUROPE-USA
John Gibson Gallery, New York, NY. RAW IDEA
Mandeville Gallery, Union College, Schenectady, NY. Into Focus: Art on Science
White Box, Philadelphia, PA. Visible/Invisible
1997
Venice Biennale XLVII, Venice, Italy. Unimplosive Art
John Gibson Gallery, New York, NY. Mother Nature
The Rotunda Gallery, Brooklyn, NY. Suture
1996
Katonah Museum, Katonah, New York. Making Sense: Five Installations on the Senses
John Gibson Gallery, New York, NY. 21 Century Sculpture
Museo de Arte Extremeno Iberoamericano, Badajoz, Spain. Los Ojos del Guadiana, Guandiana River Project, Spain and Portugal. Além da Agua (collaboration with Gratis collective)
Silverstein Gallery, New York, NY. Menu du Jour
University of Arizona Gallery, Tempe, AZ. Fossil Abstractions
Coffin Creek Gallery, Mudgee, New South Wales, Australia. Ways of Seeing: Drawings by Eleven
International Artists
Robert Lehman Gallery, UrbanGlass, Brooklyn, NY. ”People Who Live in Glass Houses...”
Richmond Art Center, CA. Generations: The Lineage of Influence in Bay Area Art
Kunstform Weil der Stadt, Weil der Stadt, Germany. Johannes Kepler
1995
Gallerie des Archives, Paris, France. Conversational Archive
New Museum of Contemporary Art, New York, NY. Human/Nature
Desert Sculpture Park, Mitzpe-Ramon, Israel. Construction in Process V: Coexistence
Lombard/Freid Fine Arts, New York, NY. Wheel of Fortune
University Art Galleries, Illinois State University, Normal, IL. Residue
Art Omi, Omi, New York. Open Studio (installation: Slipping Through Holes in the System) 871 Fine Arts, San Francisco, CA. The Multiple from Duchamp to the Present
Domestic Setting Gallery, Los Angeles, CA. A Vital Matrix
Mad River Post, New York, NY. Lines of Flight
1994
The High Museum, Atlanta, GA. Metaphysical Metaphors
Manes Kunsthalle, Prague, The Czech Republic. The Cave of Making
Basel Art Fair, Basel, Switzerland. Margarete Roeder Gallery, New York and Köln
Berlin-Shafir Gallery, New York, NY. Free Falling
Fordham University Gallery, New York, NY. Gene Culture
1993
John Gibson Gallery, New York, NY. The Nineties
The International Artists Museum, Lodz, Poland. Construction in Process IV
TZ'Art & Co. Gallery, New York, NY. NATURALUNNATURAL
Salama-Caro Gallery, London, England. Irony & Ecstasy
Elga Wimmer Gallery, New York, NY. As Above, So Below
Jessica Berwind Gallery, Philadelphia, PA. Drawings from 55 Ferris Street
The Drawing Center, New York, NY. The Return of the Cadavre Exquis (traveling show)
The Corcoran Gallery of Art, Wash. DC. The Return of the Cadavre Exquis
Santa Monica Museum of Art, Santa Monica, CA. The Return of the Cadavre Exquis
Forum for Contemporary Art, St. Louis, MO. The Return of the Cadavre Exquis
The American Center, Paris, France. The Return of the Cadavre Exquis
Rotunda Gallery, Brooklyn, NY. Dirty Ornament
1992
Museum of Contemporary Art, Chicago, IL. Art at the Armory: Occupied Territory
John Gibson Gallery, New York, NY. Natural Science
Zilkha Gallery, Wesleyan University, Middletown, CT., Irony and Ecstasy: Contemporary
American Drawings
Institute of Contemporary Art, Moscow, Russia, Irony and Ecstasy: Contemp. American Drawings
The Artists Museum, Berlin, Germany. Red Cross
1991
Islip Art Museum, East Islip, NY. Featured Artists of the Permanent Collection
P.S. 1 Museum, Long Island City, NY. New York Diary: Almost 25 Different Things
Basel Art Fair, Basel, Switzerland, John Gibson Gallery, New York.
1990
The Hudson River Museum, Yonkers, NY. Natural Order
Contemporary Arts Museum, Houston, TX. Revered Earth (traveling show)
The Mint Museum, Charlotte, NC Revered Earth
Nexus Contemporary Art Center, Atlanta, GA. Revered Earth
University of Arizona Museum of Art, Tucson, AZ. Revered Earth
Center for Contemporary Arts, Santa Fe. Revered Earth
Parsons School of Design, New York, NY. Revered Earth
Gracie Mansion Gallery, New York, NY. The Fifth Essence
The New Museum of Contemporary Art, New York, NY. Benefit Auction
Art in General, New York, NY. Installations: Part II
Center for Photography at Woodstock, Woodstock, NY. Natural History Recreated
Parsons School of Design, New York, NY. A Selection of Selections: NYFA Fellows
1989
The New Museum of Contemporary Art, New York, NY. Strange Attractors: Signs of Chaos
Wallach Art Gallery, Columbia University, NY. Terra Firma: Land and Landscape in Art of the 80's
Tom Cugliani Gallery, New York, NY. Lydia Dona, Sue Etkin, Gretchen Faust, Eve Andrée Laramée,
Kiki Smith
Boston University Art Gallery, Terra Firma? - Earth Watch: Earth Sense: Earth Sites
1998
Stux Gallery, New York, NY. Fatal Strategies
Institute for Contemporary Art - P.S. 1, Long Island City, NY. Studio Artists Exhibition
City Gallery, Department of Cultural Affairs, New York, NY. Installations: Six Views
1987
Institute for Contemporary Art -The Clocktower, New York, NY. Open Studio
1986
Museum of New Mexico, Santa Fe, NM. Personal Environments
1985
Los Angeles Center for Photographic Studies, Los Angeles, CA. Strata: Time Exposures
1984
Downtown Center for the Arts, Albuquerque, NM. Artists Call Against U.S. Intervention in
Central America
1982
University of New Mexico, Albuquerque, NM , Process at Large
ZONE, Springfield, MA, Artists Books
1978
Los Angeles Institute of Contemporary Art, Artwords and Bookworks (traveling show)
Artists Space, New York, NY. Artwords and Bookwork
New Orleans Contemporary Arts Center; New Orleans, LA. Artwords and Bookwork
Heron School of Art, Indianapolis, IN. Artwords and Bookwork
1976
Camerawork and LaMamelle, San Francisco, CA. Photography and Language
Laguna Museum of Art, Laguna Beach, CA. 22nd Annual All California Show


TEACHING EXPERIENCE
Full Time
Maryland Institute College of Art, Baltimore MD, Professor of Interdisciplinary Sculpture, 2004-present
Fairfield University, Fairfield, CT, Assistant Professor and Director of Visual Art Program, 2001-2004
Part Time
Sarah Lawrence College, Bronxville, NY. Guest Professor, Sculpture/Installation/Performance Art, 1997-2001
James Madison University, Harrisonburg, VA. Installation, D.P. Wampler Art Professor, 1993
University of Nevada, Las Vegas, Artist in Residence, 1994 (one semester)
Adjunct
Cooper Union School of Art, New York, NY. Visiting Professor, Sculpture, Installation, 1999, 1995
Massachusetts Institute of Technology, Cambridge, MA. Visiting Professor (sabbatical replacement), 1992
Rhode Island School of Design, Providence, RI. Graduate Seminar (theory), Instructor, 1993, 1992
Vermont College of Norwich University, MFA in Visual Art Program, Artist-Teacher, 1995 – 2002
Maryland Institute College of Art, Baltimore, Adjunct Professor, Installation, Sculpture, Foundations, 1993-94,96
Cooper-Hewitt National Museum of Design, New York, NY. Art Educator, 1995
California College of the Arts, Oakland, CA. Summer Graduate School, Instructor, Summer 1995, Summer 1994
School of the Museum of Fine Arts, Boston, MA. Sculpture, Visiting Professor, 1990
New York University. Sculpture, Installation, Drawing for Sculptors, Art Theory, Adjunct Professor, 1989-1994


ADMINISTRATIVE EXPERIENCE
Chair of Interdisciplinary Sculpture, Maryland Institute College of Art, Baltimore MD, August 2004-present
Director of Visual Art Program, Fairfield University, Fairfield, CT, Sept. 2001 - June, 2004
Founder and Director, ART/MEDIA, Albuquerque and Santa Fe, NM curated exhibitions, lecture series,
performance series, artists projects in mass media billboards, TV, radio and print) including Hans Haacke, Jenny Holzer, Rachel Rosenthal and others. 1983-86


PROFESSIONAL EXPERIENCE
2001 Founder and Director, The AORTA Fund (Artists on the Road Travel Assistance: a “social sculpture”)
2000 Co-curator,Wunderkammer, exhibition at the Rotunda Gallery, Brooklyn, NY
1986-89 Editorial Design Production Associate, ARTFORUM Magazine, New York, NY.
1986 Curator, Subversive Acts: Artists Working with the Media Politically, Fine Arts Museum, Univ. of New Mexico, Albuquerque & the College of Santa Fe Gallery
1986 Curator,Tuning In: Video Exhibition, Museum of Fine Arts, Santa Fe and the College of Santa Fe
1982 Co-Curator,Off the Pedestal: Large Scale Sculpture, Downtown Center for the Arts, Albuquerque, NM
1978 Curator,Gray Matter, San Diego State University Art Gallery
1977 Curator, Group 5: An Environment, Casa Real, San Diego, CA
1976 Coordinator, 7th Annual Women's Festival of the Arts, San Diego, CA
1975 Assistant Coordinator, 6th Annual Women's Festival of the Arts, San Diego, CA


LECTURES, SYMPOSIA AND WORKSHOPS
2010 Lafayette College, Easton, PA, visiting artist
2009 Rhode Island School of Design, visiting artist lecture/critiques
Alfred University, Alfred, NY. visiting artist
University of Texas, Austin, TX, lecture: “Archiving the Invisible”
MICA Korea Program/Korean National University of the Arts; Seoul, S.Korea, remote visiting artist
Maryland Institute College of Art Ecology and Art Research Cluster; lecture “Research as a Power Tool”
MICA in Dumbo Program, Brooklyn, NY. lecture/studio visit
2008 MICA Korea, National University of the Arts; Seoul, South Korea, visiting artist, international program
Emory University, Atlanta, GA, visiting artist lecture
University of New Mexico, Albuquerque, NM
MICA in Dumbo Program, Brooklyn, NY. lecture/studio visit
Maryland Institute College of Art, Report from Burning Man 2008; LLC Department lecture
2007 MICA Korea, National University of the Arts; Seoul, South Korea, visiting artist, international program
Montclair Art Museum, “Extreme Nature”, panel discussion, Montclair, New Jersey
University of California, San Diego (UCSD); La Jolla, CA; lecture
Korean National University of the Arts, Seoul, Korea; lecture
Sarah Lawrence College, Bronxville, NY; lecture
Georgia O’Keefe Museum, Santa Fe, NM; workshop
Santa Fe Community College, Santa Fe, NM, lecture
MICA in Tribeca Program, Brooklyn, NY. lecture/studio visit
2006 Oxbow School, Napa, California, Artist-in-Residence
Keisho Art Academy, Hajima City Culture Center, Nagoya, Japan, lecture
Society for Literature, Science and the Arts Biannual International Conference, Amsterdam, Holland,
“Close Encounters” panel discussion paper presented: "Doubles, Dopplegangers and Clones"
MICA in Tribeca Program, Brooklyn, NY. lecture/studio visit
Georgia O’Keefe Museum, Santa Fe, NM; workshop
2005 Society for Literature, Science and the Arts Annual Conference, “Emerging Systems, Cognitive Environments,” paper presented “Doubles, Alter-egos, Doppelgängers, Shadows and other Surrogate
Selves: Exploring the Space between Sculpture, Performance, Literature and Science in Secret History”
Association of International Schools of Art Annual Conference, Baltimore, MD. “Techno-cultures in
Art,” lecture: “Two Projects”
Iowa State University, Ames, Iowa; “Breaking the Barriers: Art, Humanities, and Science,” symposium
presentation and workshop. Title of paper: “Art Meets Science in the 21st Century”, lecture and panelist
Maryland Institute College of Art, Alumni Weekend panel discussion “Art’s Moral Imperative?”
College Art Association annual conference; “Creating and Teaching ECOtistical Art” symposium
lecture/workshop presented: “The Pedagogical Challenges of Teaching Studio Ecological Art” focusing
on strategies and techniques for research for artists working with environmental scientists and activists.
Maryland Institute College of Art, “Seeing Science, Seeing Art” symposium on Art and Science
Tyler School of Art , Temple University, Philadelphia, PA; lecture and critiques
MICA in Tribeca Program, Brooklyn, NY. lecture/studio visit
2004 Indiana State University, Terre Haute, IN. Lecture, and juror of student art show
Maryland Institute College of Art, Baltimore, MD. Lecture, “Recent Work” and critiques
Hartford Art School, Hartford, CT. Lecture “Recent Work”
Hudson River Museum, Yonkers, NY. Panel discussion, “Imaging the Hudson River”
SUNY New Paltz, studio visit/lecture to graduate class
Dorsky Gallery, “Long Island City, NY, Processing Art: The Artist Perspective”
Wave Hill, Bronx, NY; “Hudson River Projects” panel discussion
MICA in Tribeca Program, Brooklyn, NY. lecture/studio visit
2003 Rhode Island School of Design, Providence, RI. Visiting Artist, Glass Department
Northern Illinois University, DeKalb, IL, Visiting Artist and Critic , Graduate Program
University of Nevada, Reno, NV. Visiting Artist and Critic
University of Akron, Akron, OH, Visiting Artist / Studio Lecture
2002 CBC Radio interview, Montreal, Canada Art-in-Embassies Program, U.S. Dept. of State
College Arts Association Conference, Philadelphia, PA. “Free Radicals: Visionary Artists, Maverick
Educators”; panelist
Queens College, Queens, New York, Visiting Artist
Brown University, Providence, RI. “Eve Andrée Laramée: Sculpture and Installation”
University of Wisconsin, Madison, WI. “Installation Art: From Spectacle to Process,” Lecture
Santa Fe Art Institute, Summer Workshop “Fluid Geographies”, Santa Fe, NM
Georgia O’Keefe Museum, Workshop on Alter-Egos, Santa Fe, NM
2001 Yale University School of Medicine, New Haven, CT. “Art and Science: A Permutational Unfolding”
Oberlin College, Oberlin Ohio, “Alter Egos and Dopplegangers” Workshop in the “Visionary
Artists, Maverick Educators” series. Funded by the Henry Luce Foundation.
Queens Museum of Art, Queens, (Corona Park) New York, “Art and Science” Lecture
The Lawrenceville School, Hamilton, NJ., Lecture
New York University, Tisch School of the Arts, New York, NY., Lecture
School of Visual Arts, Computer Arts Department, New York, NY. Lecture
2000 Yale University School of Medicine, New Haven, CT, Lecture “Art and Science”
SUNY New Paltz, New Paltz, NY. Lecture
1999 ANPAP Congress (Brazilian National Association for Researchers in the Visual Arts), Sao Paulo,
Brazil, paper presented: “A Permutational Unfolding: Art and the Culture of Science”
Austin Museum of Art, Austin, TX; lecture
MIT List Visual Art Center, Cambridge, MA; lecture
Maryland Institute College of Art, Baltimore, MD; lecture
1998 Eyebeam-Blast internet symposium, “Artistic Practice in the Network” Symposium Co-host,
Barnard College, New York, NY. “Hardwired: Science, Technology and the Construction of Gender”
Union College, Schenectady, NY, “In Focus: Art on Science”, panel discussion
San Francisco Art Institute, “Recycling and Installation Art”, lecture
Washington University, St. Louis, MO; lecture and critiques
1997 Documenta X, Kassel, Germany, “Blast Forum: Spatial Articulations” Internet symposium
San Diego State University, “Issues of Public Art”, lecture
1996 Rice University, Houston, TX, lecture
University of Illinois, Carbondale, IL, Visiting Artist
San Diego State University, Visiting Artist lecture
1995 California College of Arts and Crafts, Oakland, CA. "The Terrain of Objects" Grad. Wksp.
Illinois State University, Normal, Panelist, "Residue"
University of Illinois, Champagne-Urbana, Visiting Artist
1994 Seattle Art Museum, Seattle, WA; lecture
School of the Art Institute of Chicago, Chicago, IL; Visiting Artist
California College of Arts and Crafts, Oakland, CA. "Reinventing Identity in the Age of the Desiring
Machines", Graduate Workshop
1993 San Francisco Art Institute, San Francisco, CA; Visiting Artist
California College of Arts and Crafts, Oakland, CA,Visiting Artist
San Francisco State University, Visiting Artist
Millersville University, Harrisonburg, VA; Visiting Scholar, "Earth: The Next Generation" Symposium
Syracuse University,Visiting Artist, "Matrilineage: Women, Art, Change" Symposium
1992 Rhode Island School of Design, Providence, RI; Visiting Artist
Museum of Contemporary Art, Chicago, Panelist, "Occupied Territory: Installation Art"
Artists Talk on Art,Panelist, "Site-Specific Installation," New York, NY
1991 Omega Institute, Panelist, "Chaos Theory in Science, Art and Culture", Rhinebeck NY
1990 Sarah Lawrence College, Bronxville, NY; Visiting Artist, lecture and critiques
Rhode Island School of Design, Visiting Artist lecture and critiques
1989 Chicago Academy of Sciences, Panelist, "The Spectacle of Chaos" Symposium
Bard College, Annandale-on-Hudson, NY, Visiting Artist
Rhode Island School of Design, Visiting Artist, "Time-based Art" lecture and critiques
1988 New York University, Visiting Artist
Rhode Island School of Design, Visiting Artist, "Installation and Time-based Art"
1987 National Sculpture Conference: Works by Women, Lecturer, "Installation", Cincinnati, OH
1986 The Cornish College of Art, Visiting Artist, "Installation & Time-based Art", Seattle
University of Buffalo, Visiting Artist, Buffalo, NY
College of Santa Fe, Workshop Instructor
1985 University of New Mexico, Visiting Artist, Albuquerque, NM
1984 University of New Mexico, Visiting Artist, Albuquerque, NM
1984-6 New Mexico Arts Division, Artist in Residence, various schools & institutions


PUBLIC ART WORKS
"Desertification" as part of Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art, CO
Finalist, National Oceanic and Atmospheric Administration (NAAO) Satellite Operations Facility, Suitland, MD;
General Services Administration Art-in-Architecture Program
Finalist, design commission, Brown University, Providence, RI. Neurosciences Building
“100 Years, 100 Stones”, San Diego State University, California 1997. Public art sculpture commission.
“Secret History”, University of Southern Maine, Gorham, ME. 2001. Public art printmaking commission.


PERFORMANCES AND COLLABORATIVE PROJECTS
Time Travel Machine, collaborative installation and performance at Burning Man, 2009. With Erika Wanenmacher, Benji Geary, Emily Montoya and Ethan Urbanik, Tom Jennings, Mykl Wells and David Forbes.
Deleuzian Events: “Gilles, the Singing Cowboy Philosopher: A Film for Hanjo Berressem”, Affect Images, Köln,
Germany, 2006
SEISMOGRAPH, Art Research Station, United Kingdom, 2006
Record 404/Lovely Shanghai Music, with Team404 and John Armleder, Bizart Gallery, Shanghai, China and the
Hannover Kunstverein, Hannover, Germany
The Center for Parascientific Research presents: Mia L’Amar, Oberlin College, Oberlin, OH. 2001
Yves Fissiault: Artist of the Cold War Era, Islip Art Museum, Dowling College, East Islip, NY. 1997
Gesture as Value, with Jerelyn Hanarahan’s collaborative project, Francesca Pia Gallery, Bern, Switzerland, 1996
Além da Agua, Guandiana River Project with GRATIS collective (collaborative project), Spain/Portugal, 1996
This Body is a Map, performance with Danny Tisdale, multiple sites in Egypt & Israel ,1995
Nothing Can Happen Only Once, set design for Bebe Miller Dance Company; Co-commissioned by the Wexner
Center for the Arts, Columbus, the Walker Art Center, Minneapolis, and Brooklyn Academy of Music, 1993-94
Center for Parascientific Research, ongoing collaboration with Duane Griffin, 1984 - 1999
Blast 1: The Blue Box and Blast 3: Remaking Civilization; Artists projects, 1991, 1993
Agribusiness: The John Deere Myth, Intersection for the Arts, San Francisco, CA. 1989
Notes from the Nuke Farm, performance, Albuquerque, NM, 1982
Coffee-Sugar Syndrome; Apart/A Part; Physics Problem; Parallel/Parallax/Paradox; Performances at the
San Francisco Art Institute, 1980


BIBLIOGRAPHY: EXHIBITION CATALOGS AND BOOKS
Despard, Erin and Monika Kin Gagnon. PUBLIC: Gardens (Canadian journal: publicjournal.ca), issue #41 on Gardens
Polli, Andrea. Transdiscourse, “Mediated Environments” Springer-Verlag (forthcoming 2010-1011)
Ramade, Bénédicte and Eric Mangion, Acclimation: Green Pandemonium (A Kind of Joyful Cult of the Darwinian
Missing Link), Monografik Publishers, France, 2010
Shanken, Edward A. Art and Electronic Media, (Themes and Movements Series), Phaidon Press, 2009
Robertson, Jean and McDaniel, Craig. Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, 2009 (also published in Korean by Soosung Publishing Company)
Ball, Phillip. Brilliante Denker, Kühne Pioniere: Zehn bahnbrechende Entdeckungen, pg. 218. 2007
Lippard, Lucy. Weather Report: Art and Climate Change, Boulder Museum of Contemp. Art, 2007
Eshoo, Amy. 560 Broadway: A New York Drawing Collection at Work, 1991-2006, Yale University Press, 2007
Leuthold, Steven. “Light, Color, Interiority and the Aesthetics of Enchantment” in Kronegger, Marlies and Anna-
Teresa Tymieniecka, The Aesthetics of Enchantment in the Fine Arts: Analecta Husserliana The Yearbook of
Phenomenological Research, Vol LXV, Springer Publishing, 2007
Ottman, Klaus. Thought Through My Eyes: Writings on Art, 1977-2005, pg. 109. Spring Publications, Inc. 2006
Armleder, John and Team 404. Record 404/Lovely Shanghai Music, book published by Ecart Publications,
recording issued by the Villa Magica Label, Geneva, Switzerland, 2005
Armleder, John and Ecart Editions. 404 Yellow Pages, Ecart Publications, Geneva, Switzerland, 2004
Freese, Peter, and Charles B. Harris. The Holodeck in the Garden: Science and Technology in Contemporary American Fiction, Dalkey Archive Press, original from the University of Michigan Press, 2004
Kimball, Roger. Art’s Prospect: A Challenge of Tradition in an Age of Celebrity, Ivan R. Dee, Publisher, 2004
Ball, Phillip. Chemical Aesthetics, UK Royal Society of Chemistry, 2005
Ball, Phillip. Elegant Solutions: Ten Beautiful Experiments in Chemistry, UK Royal Society of Chemistry, 2005
Miles, Malcolm. New Practices – New Pedagogies: A Reader; Routledge, London, 2005
Hönnighausen, Lothar, Julia Apitzsch, Wibke Reger. Space, Place, Environment, Pulbished by Stauffenburg Verlag, 2004, original from Indiana University
Weintraub, Linda. In the Making: Creative Options for Artists, New York, NY: DAP Press, 2003
Museum of Art and Design. New York, Klingspor Museum Offenback, Germany, and the Museum für
Angewandte Kunst, Frankfurt, Germany; Corporal Identity: Body Language, 9th Triennial for
Form and Content, 2003
Joe Thompson, Virginia Shore, Anne Johnson. MASS MoCA - The Arts Revitalize a City/ MASS MoCA - Les Arts
Revitalisent Une Ville, United States Embassy Ottawa, Art in Embassies Program, Washington DC, 2003
Kimball, Roger. Art’s Prospect: The Challenge of Tradition in an Age of Celebrity, pg. 19. University of Michigan Press,2003. and Blackstone Audiobooks, narrated by Christopher Lane, 2003
McEvilley, Thomas; John Cage, Dove Bradshaw. The Art of Dove Bradshaw: Nature, Change and Indeterminacy, pg. 110. Mark Batty Publisher, 2003.
Gamwell, Lynn. Exploring the Invisible: Art, Science and the Spiritual, Princeton, NJ: Princeton Univ. Press, 2002
Gerz, Jochen, Anthologie der Kunst/Anthology of Art, DuMont Verlag and Actes Sud Publishers, Nürnberg and
Köln, Germany, 2004
Krannert Art Museum, Drawings of Choice from a New York Collection, Univ. of Wash. Press, 2002
Tabbi, Joe. Cognitive Fictions, pg. 29. University of Minnesota Press, 2002
Gaddis, William. The Rush for Second Place: Essays and Occasional Writings, Penguin Publishers, 2002
Armleder, John. 404: Yellow Pages, Ecart Publications JRP Editions, Geneva, Switzerland, 2003
Crandall, Jordan and Scholder, Amy, Editors. Interaction: Artistic Practice in the Network, Eyebeam Atelier and
D.A.P. Inc., New York, 2001
Wilson, Steve . Information Arts: Intersections of Art, Science and Technology, MIT Press, Cambridge, MA. 2001
Stafford, Barbara Maria and Frances Terpak. Devices of Wonder: From the World in a Box to Image on a Screen,
Getty Research Institute, Getty Museum, Los Angeles, 2001
Berressem, Hanjo and Uwe Schwagmeier, editors. “The Illustrated Biography: The Fissiaultian Paradigm”,
CD-ROM in conjunction with the book, From Mercator Projection to Freudian Phantasm: The Myth of the
Hollow Earth in Literature, Science and Culture. Amsterdam / New York: Rodopi (2002)
Beardon, Colin and Lone Malmborg, Digital Creativity: A Reader; Taylor & Francis Publishers, 2002
Heon, Laura and Ackerman, John. Unnatural Science, MASS MoCA, North Adams, MA, 2000
Kronegger, Marlies, Editor. The Aesthetics of Enchantment in the Fine Arts, Springer, 2000
Marcus, George E. Zeroing in on the Year 2000: The Final Edition, Univ. of Chicago Press, 2000
Yelle, Richard. Glass Art from UrbanGlass, Schiffer Publishing, book, 2000
Miles, Malcom. The Uses of Decoration: Essays in the Architectural Everyday, pgs. 133, 244. University of Michigan Press, 2000
Bernstein, Marianne and Thomas Duffy. Foreign Bodies: Art, Medicine, Technology, Untitled(Space),
New Haven, 2000
Reynolds, Ann. “Histories of Science, Histories of Art,” Austin Museum of Art exhibit brochure, 1999
Crary, Jonathan, Barbara Maria Stafford, Jennifer Riddell, Jessica Riskin. MIT List Center for Visual Art,
Eve Andrée Laramée: A Permutational Unfolding, Cambridge, MA. 1999
Spooner, Peter. Botanica: Contemporary Art and the World of Plants, Tweed Museum of Art, 1999
Strelow, Heike. Ludwig Forum für Internationale Kunst, Natural Reality: Artistic Positions Between Nature and
Culture, Aachen, Germany. 1999
Strano, Carmello. Europe - U.S.A. and the Epoch of Unimplosive Art, published by the Sicilian
Government - Tourism Department, Italy, book 1998
Watkin, Mel. “Eve Andrée Laramée: Apparatus for the Distillation of Vague Intuitions” Forum for Contemporary
Art, Saint Louis, MO. 1998
Kelley, Michael, Encyclopedia of Aesthetics, Oxford University Press, pg. 504. 1998
Damjanov, Jadranka. UMJETNOST AVANTURA (ART ADVENTURE), “Umjetnost I Povijest – Razvoj Moderne
Osjetljivosti” (Art and History – The Development of Modern Sensibility”, Ministry of the Culture of the
Republic of Croatia, Zagreb, 1998
Strano, Carmello. Unimplosive Art, Venice Biennale XLVII, Venice (Giudecca), Italy. 1997
Klein, Adrienne and Joachim Frank. Union College, Into Focus Art on Science, Schenectady, NY. 1998
Wasko, Ryszard, Editor. The Artists Museum: International Provisional Artists Community, The Artists Museum,
Lodz, Poland, 1997
Hart, Jane. Domestic Setting Gallery, Los Angeles, CA. A Vital Matrix, Los Angeles, 1995
Kahn, Robin; Kathy Acker, Avital Ronell. Time Capsule: A Concise History by Women Artists, pgs. 501-501, pg. 684. Creative Time in cooperation with SOS International, 1995
Phillips, Patricia C. Katonah Museum, Making Sense: Five Installations on Sensation, New York, 1996
Pryzbilla, Carrie. The High Museum of Art, Metaphysical Metaphors, Atlanta, exhibit brochure,1994
Klein, Ulricke. The Business of Art Unveiled: New York Art Dealers Speak Up, pg. 72. 1994
Oliveria, Nicholas, Nicola Oxley, Michael Petry. Installation Art, book Smithsonian Institution Press, Wash. DC
and Thames & Hudson, London. 1994
Schnaffner, Ingrid, Charles Simic, Mary Ann Caws, The Drawing Center, New York, NY. The Return of the
Cadavre Exquis. 1993
Condé, Susan. Fractalis: La complexité fractale dans l'art, La Diffárence, Paris. 1993
Rorimer, Ann, and Beryl Wright. Museum of Contemporary Art, Chicago, IL, Art at the Armory: Occupied
Territory. 1991
Briggs, John. Fractals: the Patterns of Chaos, Simon and Schuster, New York, 1992
Armitage, Diane. Revered Earth, Center for Contemporary Arts, Santa Fe, NM. 1990
Bloemink, Barbara. A Natural Order, The Hudson River Museum, Yonkers, NY. 1990
Ottmann, Klaus. The Eroded Terrain of Memory, Wesleyan University, Middletown, CT. 1990
Boston University Art Gallery, Terra Firma? Earth Watch, Earth Sense, Earth Sites, 1989
Ferrer, Elizabeth and Muffett Jones. Terra Firma: Land and Landscape in Art of the 80's, Columbia University,
Wallach Art Gallery, New York, NY. 1989
Ottmann, Klaus. Strange Attractors: The Spectacle of Chaos, KAOS Inc., Chicago, IL. 1989
Real Art Ways, Hartford, CT, Eve Andrée Laramée, exhibit brochure, 1989
Trippi, Laura. Strange Attractors: Signs of Chaos, New Museum of Contemporary Art, New York. 1989
Institute for Contemporary Art - P.S. 1, National and International Studio Programs 1987-1988, NY. 1988
Ottmann, Klaus. Fatal Strategies, Stux Gallery, New York, NY. exhibit brochure, 1988
Squibb Gallery. Interaction: Science and Art, Princeton, NJ. 1987
White Columns. Update 1986-87, New York, NY. 1987
Museum of Fine Arts. Personal Environments, Santa Fe, NM. 1986
The Albuquerque Museum. Eve Laramée, Albuquerque, NM. 1983


BIBLIOGRAPHY: ARTICLES AND REVIEWS (selected)
Albright, Thomas. "Eve Laramée: Better Art Through Chemistry," San Francisco Chronicle, 9- 6-80
Anker, Suzanne. “Gene Culture: Molecular Metaphor in Visual Art”, Leonardo, v. 33 no. 5, 2000
Askey, Ruth. "The Mailbox as Museum," Artweek, March 18, 1978
Baker, Kenneth. "Military Armory Undergoes Art Exorcism" San Francisco Chronicle, 11/8/92
Broadrup, Elizabeth. "Commissions," Sculpture, January-February, 1991
Ball, Edward, "The Greening of Art," Village Voice, July 31, 1990
Boyce, Roger. “UnNatural Science”, New Art Examiner, Dec/Jan 2000/2001
Bless, Nancy. “Signs and Wonders”, Sculpture, December, 1999, Vol. 10 No. 10
Burns, David. Eve Andree Laramee: Topophilia, CAA Art Journal, Spring, 2006
Cochran, Rebecca Dimling. “Eve Andrée Laramée” review, Sculpture Magazine, November 2009
Condé, Susan. "Les Methodes et Techniques du Fractal," Ligeia #9-10, 4/1991
Cornwell, Regina “Lucy Lippard on Eco Art and Climate Change,” December 6, 2007,
http://womensmediacenter.com/ex/120607_main.html
Cook, Sarah. “Form over Content”, MUTE: Culture and Politics After the Net, Sept. 9, 2001
D’art et de Culture #3, “Acclimation: Ailleurs – Nice Expositions” Automne, 2008 issue.
DeLue, Rachel Z., Amerian Art, “Art and Science in America” Vol. 23, No. 2, Summer, 2009
Despard, Erin. PUBLIC Journal, “Gardens”, Canada. Spring 2010
DeVolksrant, VKBlog (Netherlands) “Darwin in Philadelphia”, Sept. 17, 2009
Durfee, Roy. "ART/MEDIA," Artspace, Vol. 10 No. 3, Summer, 1986
Durland, Steven. "ART/MEDIA Offers an Alternative to the Status Quo in New Mexico," High Performance,
number 33, 1986
Dyson, Freeman J. “Miracles of Rare Device”, The Sciences, March/April 1999
Fairfield, Douglas. “Twilight’s Last Greening” The Santa Fe New Mexican, October 9, 2009
Fehrenkamp, Ariane. “Eve Andrée Laramée: 100 Years, 100 Stones.” Sculpture, October, 1998
Flusser, Villem. "Environment," Artforum, April, 1989
Friere, Emerson, Pedro Peixoto Ferreira, Cecilia Diaz-Isenrath. “Code et Création: En distillant des intuitions”
Multi Ciencia, Revista Interdisciplinar dos Centros e Nucleos da Unicamp, A Mente Humana #3, outubro de
2004. http://www.multiciencia.unicamp.br/rede_1_3_f.htm also published as: “Código e Criação: Destilando
Intuiçoes” in NADA #3, Sept. 2004. Also presented at “Challenges for a Ubiquitous Identity” Ciber Art Bilbao
Conference, Bilbao, Spain
Gamble, Allison. "Strategic Occupation", New Art Examiner, Jan. 1993
Gerz, Jochen. Anthology of Art, School of Visual Arts of Braunschweig, Germany and the University
of Rennes, France. (forthcoming in 2002)
Goldbert, Michael,. “The Butterfly Effect: the Natural History Museum, Visual Art and the Suspenstion of Belief”,
The Museum of Contemporary Art, Sydney, Australia, 2005 Conference: New Constellations: Art, Science and
Society Conference paper, 2005
Goodeve, Thryza Nichols. “Eve Andrée Laramée: MIT List Visual Art Center,” ARTBYTE, November, 1999
Gutterman, Scott. "Review: The Fifth Essence," Art International, Fall, 1990
GLASS Magazine, #87: Twenty-fifth Anniversary Issue, Summer, 2002. pp. 25, 37, 47.
Grimm, Julie Ann. “A Colorful Collaboration on Climate Change” The New Mexican, Oct 1, 2009
Hagen, Charles. "Eve Andrée Laramée", John Gibson Gallery, The New York Times Oct. 11, 1991
Haithman, Diane. “U.S. Diplomacy Gets a Little Help from Artists”, Los Angeles Times, 9/13/02
Halary, Charles. “Les Rapports Ondulatoires de L’Electromagnétisme avec les Artistes” 2009
Harrison, Helen A. “Works of Curious, Conflicting Directions: Yves Fissiault: Artist of the Cold War Era,”
New York Times, Long Island Edition, April 13, 1997
Harper, Kelsey. Eve Andrée Laramée Opens for Evolve”, Emory Wheel, Atlanta, GA, Feb. 9, 2009
Hart, Jane, “Eve Andrée Laramée at San Diego State University,” Zing magazine, Winter 96/Spring 97
Heartney, Eleanor. "Eve Laramée at John Gibson", ARTnews October,1991
Holst, Lise. "Terra Firma: Land and Landscape in Art of the 1980's," ARTnews January, 1990
Honigman, Ana. “Questioning Authority, A Conversation with Eve Andrée Laramée”, Sculpture Magazine Vol. 21
No. 6, July/August 2002
Hunter, Allison. “Unfolding Laramée” review in Electronic Book Review, ebr11: WebArts,
http://www.altx.com/ebr/ebr11/laramee.htm
Jones, Muffe. "Fetish, Process and the Waste Stream: Artists' Anxieties and Contemporary Art," New Observations,
#81, Spring, 1991
Keenan, Annabel. “Invisible Exposure,” Emory Wheel, Atlanta, GA. Feb. 9, 2009
Kernan, Nathan. Review: Unnatural Science, Burlinton Magazine, Vol 142, No. 1172
Kimball, Roger. The New Criterion, “The Museum as Fun House”, Volume 19, No. 6, Feb. 2001
Kimmelman, Michael. "Searching for Order in a Show Based on Chaos,", The New York Times, Sept. 15, 1989
Kimmelman, Michael. “Natural History, The Early Version”, The New York Times, Nov. 24, 2000
Klein, Jennie. “Internet Inter Alia,” PAJ: A Journal of Performance and Art, PAJ 73 (Vol. 25:1), Johns Hopkins
Press, 2003
Knight, Christopher. "A Parting Shot for Chicago's Armory" Los Angeles Times, Sept. 30, 1992
Kramer, Hilton. “Greatest Generation? Not By a Long Shot, But Interesting Show: Laramée, Johns and Kelly
Travel,” New York Observer, May 19, 2003
Kurt, Hildegard. “Wo ist die Natur? Natural Reality. Künstler Positionen zwischen Natur und Kultur”
http://www.hildegard-kurt.de/publi09.htm
Kurt, Hildegart. “Kultur und Kunst in der Agenda 21: Anmerkungen zu einem schwierigen Verhältnis,” conference,
“Nature, Art, Aesthetics, Ecology,” Munich, 1999
La Strada, “Acclimation”, 3-16 Novembre 2008 and 12 janvier-1fevrier, 2009
Levin, Kim. "Choices: Eve Andrée Laramée," Village Voice, October 1, 1991
Levin, Kim. "Choices: New York Diary," Village Voice, April 30. 1991
Levy, Ellen K. "Natural History Re-Created," Center Quarterly, Vol II, No. 4 1990
MacDonal, Christine. “CyberArts: Shaping the Imagination”, Art New England, April/May, 1999
McCraken, David. "Bringing Order to the 'Spectacle of Chaos," Chicago Tribune, Sept. 8, 1989
McQuaid, Cate. “Exploring the nexus of art, science and history, The Boston Globe, June 8, 1999
Mahoney, Robert. "Fatal Strategies," ARTS, May, 1988
Melrod, George. "Natural Science", ARTnews, January, 1993
Melrod, George. "Eve Andrée Laramée at TZ'Art & Co." Art In America, July 1994
Miles, Malcolm, Cultural Geographies, Vol. 17 # 1, “Representing Nature: Art and Climate Change, 2010
Miles, Malcolm, Urban Design Quarterly The Quarterly Journal of the Urban Design Group, Issue 76, “Public Art,
Urban Space and Democracy”, October 2000
Morgan, Cynthia. “Residue” New Art Examiner, v. 23, September, 1995
Morgan, Robert C. “Shelagh Keeley, Samm Kunce and Eve Andrée Laramée, Review, 5/15/97
Morgan, Robert C. "Regaining the Rights of Reproduction: Artists Who Look Back on the Natural," Center
Quarterly, Vol. II, Number 4, 1990
Morgan, Robert C. "Fatal Strategies," CEPA Quarterly, Vol 3, Issue 2/3, 1988
Morgan, Robert C. "New York Diary, P.S. 1 Museum", ARTS, October, 1991
Myers, Terry R. "Construction in Process", FLASH ART, Jan./Feb. 1994
Nelson, Gayle. “Art Seen New York: Eve Andrée Laramée”, SIREN, Summer 1997. p. 22
Nereim, Anders. "Whose Muse? The Spectacle of Chaos," Inland Architect, Jan,1990
Nickard, Gary. "Eve Laramée," CEPA Quarterly, Vol. 2, Issue 1, Fall, 1986
Oldknow, Tina. Corning Museum of Glass, New Glass Review 23, 2002. pp. 28-30, 39
Oliveira, Nicolas, Oxley, Nikola & Petry, Michael. "On Installation" A/D Art & Design Magazine #30
Ottmann, Klaus. "L'activite Fractaliste," Art Press, February, 1990
Ottmann, Klaus. "The Spectacle of Chaos," Flash Art, Vol 62, #9, Summer 1987
Peterson, Kristen. “For members of one artist residency, the desert is their muse,” Las Vegas Sun, Aug. 13, 2009
Phillips, Patricia C. "Eve Andrée Laramée" Review, ARTFORUM, December, 1993
Phillips, Patricia C. “Sculptor's Drawings: Marking Time and Space”, Sculpture, Jan-Feb 1995
Phillips, Patricia C. "Faith and Reason, Function and Fiction: On the Work of Eve Andrée Laramée", GLASS,
Number 54, Winter,1993
Phillips, Patricia C. “UrbanGlass”, Sculpture, Vol. 16, No.8, October, 1997
Pincus, Robert. “For Role in Centennial, SDSU casts ‘100 Stones’”, San Diego Union-Tribune, May 30, 1997
Pincus, Robert. “Blood and Salt and Soul” San Diego Union-Tribune, May 2, 1996
Ramade, Benedicté. “Acclimation”, La Strada,3-16 Novembre 2008 and 12 janvier-1fevrier, 2009
Ramade, Benedicté. “Acclimation”, Saison des Cultures, , September-October, 2008
Rothstein, Edward. “Hear the One About the Goofy Robot?,” New York Times, September 30, 2000
Saison des Cultures, “Acclimation”, September-October, 2008
Sculpture Magazine, News: New Sculpture Chair for MICA, October, 2004, page 12
Saper, Craig. “Introduction: GIS Databases in Digital Humanities, or, ZeitGIS(t): Imaging Place From Deep
Thoreau(t) to U(l)mer FREsBEE”, 2001
Sardy, Marin. “Media Mix”, Santa Fean Magazine, June-July 2009.
SIAM News, the News journal of the Society for Industrial and Applied Mathematics, review of: “Exploring the
Invisible” (Princeton University Press), April, 2003
Smith, Roberta. "In Installation Art, A Bit of the Spoiled Brat", The New York Times, Jan. 3, 1993
Smith, Roberta. “In Their Own Worlds: Giant Hybrids of Fact and Fantasy”, N.Y. Times, 9/11/2000
Sozanski, Edward. “ Lending Art to Darwin’s Science”, The Philadelphia Inquirer, 5/10/2009
Sureck, Suzy, Editor. "Construction in Process", New Observations #102
Tauches, Karen. “Eve Andrée Laramée at Emory Visual Arts Gallery, BURNAWAY Blog, March 3, 2009
Temin, Christine. “'Unnatural' selection at MASS MoCA,” The Boston Globe, July 28, 2000
Txopitea, Ainize. “What is the Impact of Chaos Theory on Digital Art?”, YoChaos, London, 2003
VVork Blog, The Real Thing curated by Vvork for MU Einhoven 2/27/09 – 3/22/09, “Halfway to Invisible” http://www.vvork.com/?p=13788
Wei, Lilly. “Wunderkammer: Wonderworks”, Art News, vol. 99 no. 1, October, 2000
Yood, James. "Art at the Armory: Occupied Territory", ARTFORUM,1992


PUBLISHED WRITINGS BY THE ARTIST
“Halfway to Invisible,” self-published exhibition catalog
“Misty’s Disappearance,” /seconds online journal, issue number 4; U.K., slashseconds.org, 2008
(special issue on the film, Vanishing Point (1971)
“CORPOS D’AGUA (Bodies of Water),” Revista NADA Journal, Lisbon, Portugal, 2008
“Fluid Geographies,” Revista NADA Journal, Lisbon, Portugal, 2008
"Wandering: Psychogeographical Explorations of Space and Place," Exhibition essay, Middendorf Gallery,
Maryland Institute College of Art, November, 2006
“Introduction,” Interdisciplinary Sculpture Senior Commencement Exhibition Catalog, 2006
“Ann Reynolds and Eve Andrée Laramée in Conversation with Joan Waltemath on Smithson at the Whitney Museum,” Brooklyn Rail, October 2005
“Netherzone: A Psychogeographical Farce”. CAA Art Journal, Fall 2004, (issue on art and risk)
“Sugar Mud”, Chain (magazine) #12 , “Facts” issue, 2005
“ONLY QUESTIONS”, in Interaction: Artistic Practice in the Network, Eyebeam/D.A.P., New York, 2001
“Netherzone”, New Observations, Cultural Travelers Guide, Spring-Summer 2001
“A Permutational Unfolding: Art and the Culture of Science”, ANPAP Congress (Brazilian National
Association for Researchers in the Visual Arts), Sao Paulo, Brazil. 1999
“Wandering” (with Lewis DeSoto) in Innerscapes: An Anthology of Artists’ Writings, Maurizio Pelligrin, editor,
Trieste Contemporanea, Trieste, Italy, 1998
“A Permutational Unfolding” , New Observations, issue on Cultures of Cyberspace edited by Alan Sondheim, Winter, 1998
"No Vacancy", Artist Project, Journal of Contemporary Art, Spring 1992, Vol 5 #1
"The Messenger", New Observations #82, Fall, 1991
"Inventing Wilderness: The National Parks", New Observations #81, Spring, 1991
"The Eroded Terrain of Memory", catalog essay, Zilkha Gallery, Wesleyan Univ, Middletown, 1990
"The effects of forces upon matter...", brochure, Real Art Ways, Hartford, 1989
“Belle Notorious”, High Performance Magazine, v. 5 no. 1, 1986
"Process and Natural Phenomena as Conceptual Points of Departure in Extended Format Sculpture,"
LEONARDO, Journal for the Arts, Sciences and Technology, Vol. 18, Issue 1, 1985
"Notes on Sculpture," catalog essay, The Albuquerque Museum, Albuquerque., NM, 1983
"One Becomes the Table," Artproof, Volume 1, Number 2 1978


WEB PROJECTS & CD-ROMS
“Misty’s Disappearance,” text and image project on /seconds 4 (slashseconds.org) on Vanishing Point
“Netherzone”, Splash page: Newsgrist, web project May, 2002. www.newsgrist.com
“Secret History: Yves Fissiault, Artist of the Cold War Era” CD-ROM, published in conjunction with the book:
From Mercator Projection to Freudian Phantasm: The Myth of the Hollow Earth in Literature, Science and
Culture. Hanjo Berressem and Uwe Schwagmeier, eds. Amsterdam/New York: Rodopi. 2001
“El Gólem Informático: notas sobre esthética del techno arte”, CD-ROM, Directed by Margarita Schultz,
Universidad de Chile, 2000
“The Origins of jodi.org”, ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Germany,1998 and
“Beyond Interface”, website for the “Museums and the Web” International Conference, and GASBOOK 5,
published by SHIFT, Japan


FILMS AND VIDEOS ON THE ARTIST
“Downside Up: How Art can Change the Spirit of a Place”, Nancy Kelly, Director, Mass MoCa, Banff Center for
the Arts Co-producers; Corporation for Public Broadcasting
“Visionary Artists/Maverick Educators” Pedagogical Archives of Oberlin College, funded by the Henry Luce
Foundation, (forthcoming)
“100 Years 100 Stones”, Georg Eversheim, director, San Diego State University, producer, 1998
“How to Make a Public Art Work”, Georg Eversheim, director, San Diego State Univ., producer, 1998
“Unnatural Reality: Parks on Trucks”, German television, Harriet Weber-Schäfer, Director, Ludwig Forum
Museum, Co-Producer, 1999
“Art/Media”, New Mexico Arts Division & CCA, producer, shot by Steina & Woody Vasulka, 1986


PUBLIC COLLECTIONS
The MacArthur Foundation, Chicago, IL
Museum of Modern Art, New York, NY
Museum of Contemporary Art, Chicago, IL
Massachusetts Institute of Technology, Cambridge, MA
Smithsonian Institution, Cooper-Hewitt, National Design Museum
Fogg Art Museum , Harvard University, Cambridge, MA
UCLA Armand Hammer Art Museum, Los Angeles, CA
Geneva Art Museum, The Cabinet des Estampes, Geneva, Switzerland
The Albuquerque Museum, Albuquerque, NM
The Islip Art Museum, East Islip, NY
Vescom B.V., Deurne, Holland
Fine Arts Museum of Long Island, Hempsted, NY
The International Artists Museum, Lodj, Poland and Berlin, Germany
Art 3, Groupe de Recherche et Mediation de Arte Contemporain, Valence, France
The AIDS CARE Hospice Collection, Chicago, IL
University of Nevada
San Diego State University
University of Southern Maine
James Madison University, Harrisonburg, PA

BLOGS - Administrator and primary contributor
Wandering http://wndrng.blogspot.com
Flying Out of This World http://flyingoutofthisworld.blogspot.com
Doubles, Dopplegangers, Clones & Other Surrogate Selves http://micadouble.blogspot.com
Halfway to Invisible http://halfwaytoinvisible.blogger.com
MICA Waterhole http://micawaterhole.blogspot.com
Misplaced Data http://misplaceddata.blogspot.com
Seoul (Sub)title http://eveinsoul.blogspot.com
Netherzone http://netherzone.blogspot.com/

 








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