e l i n    o ’ H a r a    s l a v i c k
CB# 3405, Hanes Art Center, University of North Carolina, Chapel Hill, NC 27599
919-962-0216 studio    eoslavic@email.unc.edu    fax: 919-962-0722     http://www.unc.edu/~eoslavic

E d u c a t i o n :
1991   The School of the Art Institute of Chicago, MFA in Photography, with financial scholarship, Top Prize for Graduate Work: Raymond Traveling
                 Fellowship
1988    Sarah Lawrence College, BA, Bronxville, New York, with financial scholarship
1985    Tyler School of Art, Philadelphia, PA, guest year, Dean’s List

S o l o    E x h i b i t i o n s :
2007    Oma Auma, curated by Rob Sikorski and Kathy Hudson, The John Hope Franklin Center, Duke University, Durham, NC
2006    Heroic Correspondence, with Laura Sharp Wilson, Bryce’s Barber Shop Gallery, Olympia, WA
2005    Road In Sight: Workers Dreaming, with Mel Chin, an exhibition of solo shows at Duke University, Center for Documentary Studies, Durham, NC,
                 catalogue with an essay by Kristine Stiles
2003    Two Projects: Workers Dreaming and Mutter, curated by Terry Glispin, Brownlee O. Currey Jr. Gallery, Watkins College of Art and Design,
                 Nashville, TN
            Two Projects: Workers Dreaming
- photographs and Protesting Cartography - drawings,  curated by Juan Puntes, presented by White Box, The
                  Annex New York, NY
            Protesting Cartography
, curated by Rob Sikorski and Kathy Hudson, The John Hope Franklin Center, Duke University, Durham, NC
2001    Protesting Cartography, Women's Studies Program, UNC, Chapel Hill, NC
2000    New Frontiers IV, curated by Todd Smith, The Mint Museum, Charlotte, NC, catalogue with an essay by Todd Smith
            Collection, Galerie Fait Sa Broc, Lyon, France
1999    Workers Dreaming, with Jane Marsching, Brewhouse Space 101, Pittsburgh, PA
            Bragg Murders - a violent cartography, The Modern Museum, Durham, NC
1997    Labour < > Leisure (Global Economy), Lump Gallery, Raleigh, NC
1996    mutter, The Other Gallery, Banff Centre for the Arts, Alberta, Canada
            Brother, I Never Knew You (mutter), The Modern Museum, Durham, NC
1995    A Retrospective, The Grove, Raleigh, NC
            Pleasures of Gender, Artspace, Raleigh, NC
            Inheritance, Site-specific installation at old slave quarters, Wilmington, NC
            List, performance/installation with Jane Marsching, Art Center, Wilmington, NC
1992    A Wall of Incoherent Dresses, curated by Danny Tisdale and Martha Wilson, Franklin Furnace, NY
            Matter, The Gold Bar, New York, NY
1991    Embodiment, curated by Angela Kelly, Randolph Street Gallery, Chicago, catalogue

S e l e c t e d    G r o u p    E x h i b i t i o n s :
2008    Uncoordinated: Mapping Cartography in Contemporary Art, curated by Claire Norwood, Contemporary Art Center, Cincinnati, OH
            Mirror Image: Contemporary Artists Re-invent Art History, curated by Linda Johnson Dougherty, North Carolina Museum of Art, Raleigh,
                 forthcoming catalogue
            Expressive Bodies: Contemporary Art Photography from The Kinsey Institute, Indiana University Northwest Contemporary Gallery in Gary, Indiana
            Heroes, LUMP Projects, Raleigh, NC
            North Carolina Fellowship Exhibition, Rocky Mount Art Center, Rocky Mount, NC
            Art and Social Conscience: the Holocaust, Cameron Art Museum, Wilmington, NC
            Paper Quilts, Essex Art Center, Lawrence, MA
2007    The Big Picture, Contemporary Photography, North Carolina Museum of Art, Raleigh
            Paper Politics, Esplanade Loft Project Gallery, Montreal, Canada  
            Glimpse, SACI (Studio Art Centers International), Florence, Italy
            Expressive Bodies: Contemporary Art Photography from The Kinsey Institute, The Indiana University School of Fine Arts Gallery in Bloomington, Indiana; Herron Gallery at the Herron                School of Art and Design in Indianapolis
            Practicing Contemporaries, Ackland Art Museum, Chapel Hill, NC
            Heroes, Bryce’s Barber Shop Gallery, Olympia, WA
2006    New Cartography, LeBot Gallery, Oakland, CA
            Terror?, Intersection for the Arts, San Francisco, CA
            Paper Politics, Portland State University Gallery, OR
            Restating Empire, curated by Deborah Paine, Gallery 110, Seattle, WA
            Bunker than Thou, Bemis Underground, The Bemis Center for Contemporary Art, Omaha, NE
            Crosscurrents, Mint Museum of Art, Charlotte, North Carolina, catalogue
            Paper Politics, 5+5 Gallery, Brooklyn, NY
            Racing Pages, New York Lesbian, Gay, Bisexual & Transgender Community Center, NY
2005    Image Acts, Amnesty International Firefly Project: "And So Forth: A Post-Inaugural Assembly," selected by Whitney Museum of Art curators Apsara DiQuinzio and Tina Kukielski,
                 Office Ops, a cooperative arts space, Williamsburg, Brooklyn, NY
            PatriART: Artists Defend Civil Liberties, Puffin Cultural Forum, Teaneck, NJ
            Paper Politics, Phinney Gallery Center, Seattle, WA, http://www.seattleprintarts.org/paperpolitics.html
            Workers of the World, A Shenere Velt Gallery, Los Angeles, CA
            Crosscurrents, North Carolina Museum of Art, Raleigh, catalogue
            Art / Work
, Tufts University Gallery, Medford, MA       

           The Simnuke Project, curated by Sasha Harris-Cronin and Max Carlson, Rx Gallery, San Francisco, CA                                                                        

           Two for the Seesaw, curated by Bill Thelen, Branch gallery, Carrboro, NC
2004    News from Home, curated by Moniek Voulon, The Annex, New York, NY, catalogue
            Felix Variations: Artists Respond to Felix Gonzalez-Torres, curated by Meredith Talusan, Play Space, California College for the Arts, San Francisco, CA
            Women in the Middle: Border, Barriers, Intersections: an exhibition of contemporary feminist art,   curated by Flo Oy Wong, Gail Tremblay, Clarissa Sligh, Tey Marianna Nunn,                              and Helen Klebesadel, the University of Wisconsin in Milwaukee Union Art Gallery, Milwaukee, WI           
            Active Duty, Armed Artists of America, curated by Lee Wells, Studio 84, Williamsburg, Brooklyn, NY    
            The Art of Politics, curated by Lee Wells and Nicole Dupont, Ashmore Gallery, Miami, FL
            Toxic Landscapes: Artists Examine the Environment
, curated by Tim Blunk and Ben Jones for the Puffin Foundation, Long Beach Island Foundation of the Arts and Sciences Art                              Center, Loveladies, NJ, catalogue with essays by Eliades Acosta Matos, Tim Blunk, Ben Jones, John Passacantando and Ellen Dorsey
            Hall of Portraits, curated by Gary Kachadourian, Pinkard Gallery, Maryland Institute College of Art, Baltimore
            Bad Touch 6, Beaker Gallery, Tampa FL
            LOOM 3: Labeler, Old Label Mill, Pittsboro, NC
            Lost Weekend, Lump Gallery, Raleigh, NC
            Tiny Works, Project Gallery, Wichita, KS
2003    Les Fables de la Fontaine, The Jacob Lawrence Gallery, University of Washington, Seattle
            Les Fables de la Fontaine, The Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD
            The New Normal, curated by Gerard Brown and Cheryl Harper, Borofsky Gallery, Philadelphia, PA
            Violent Violence, curated by elin o’Hara slavick, Arti et Amicitiae, Amsterdam, Holland
             Bad Touch 5, Rose Art Museum, Boston, MA
            Bad Touch 4, Keith Talent Gallery, London, England
2002    Bad Touch 3, curated by Bill Thelen, Ukrainian Institute of Modern Art, Chicago, IL
            Art Basel / Miami, Art Positions, curated by Janet Phelps, Miami, FL
            Dream: A Painter Looks at Photography, curated by Tom Dowling, Squareblue Gallery, Los Angeles, CA
            Coloring Words, Fotogalerie, Fringe Club, Hong Kong, China
            Figurative Works, curated by Olga Viso of the Hirshhorn Museum, Armory Art Center, West Palm Beach, FL, catalogue
            Toxic Landscapes: Artists Examine the Environment, Reino de este Mundo International Gallery, Biblioteca Nacional Jose Marti, Havana, Cuba; The Puffin Cultural Forum,                     Teaneck, NJ
           Les Fables de la Fontaine: Exhibition Space of Temple University, Rome, Italy; Centre pour l’Art et la Culture, Institut Americain Universitaire et Maryland Institute College of Art,                     Aix-en-Provence, France
            Majority Rules, organized by Tara McDowell and Letha Wilson, Free Gallery, Glasgow, Scotland
            Some Kind of Dream, curated by Raphaela Platow, Contemporary Art Museum, Raleigh, NC, catalogue
            Towards Tomorrow, curated by Tammy Rae Carland, LUMP Gallery, Raleigh, NC
             Let Freedom Ring, curated by Elliot Blades, Page Walker Art and History Center, Cary, NC
             LOOM 2, Chatham Label Mill, Pittsboro, NC
2001    Paradise in Search of a Future: a Series of Solo Exhibitions Exploring Travel and Tourism, curated by Lisa Fischman, CEPA, Buffalo, NY http://cepa.buffnet/  
            New Art 2001, curated by Bill Arning, Kingston Gallery, Boston, MA
            Ladyfest, Arches Theatre, Glasgow, Scotland
            A Social Event Archive, Hermetic Gallery, Milwaukee, WI
            Toxic Landscapes: Artists Examine the Environment, Associated Artists of Pittsburgh Gallery, Pittsburgh, PA
            30 Hours of Photography, Chatenay, France
            Media/Tonic, curated by Esther Millouh, Pittsburgh Filmmakers, PA
            Homegrown, curated by Douglas Bohr and David Brown, SECCA, Winston-Salem, NC
            Postcards to New York, Macy Gallery, New York, NY
            LOOM 1, Chatham Label Mill, Pittsboro, NC
            Flesh and Blood V, John Batten Gallery, Hong Kong
            Counter Productive Industries, 1926 Exhibition Space, Chicago, IL
            La Trace Poiein (The Poetic Trace or the Trace of the Original), Chatenay, France
            Visual Artist Fellowship Exhibition, Weatherspoon Art Museum, Greensboro, NC, catalogue
            Flesh and Blood IV, 1708 Gallery, Richmond, VA, catalogue
1999    Seeds of Peace, State Street Church, Portland, Maine
            Requiem: Living Artists Eulogize a Dying Century, curated by TABOO, Nexus Contemporary Art Center, Atlanta, GA
            Flesh & Blood III, The New Gallery, Miami, FL
            What Will You Miss? curated by Jane Blocker and Nancy Floyd, Georgia State University Gallery, Atlanta, GA
            National Exposure, curated by Colin Westerbeck, ARC Gallery, Chicago, IL
            Flesh and Blood II, Lump Gallery, Raleigh, NC
            Tough and Tender, curated by Bill Thelen, Lump Gallery, Raleigh, NC
            Art/Audience: Understanding Contemporary Art, curated by Jennie Moore, Green Hill Center for Art, Greensboro, NC, catalogue
                      Community, Oiga Gallery, Chapel Hill, NC
1998    Context, curated by Anne Raman and Gerard Brown, Nexus Foundation for Today’s Art, in conjunction with the Fringe Festival, Philadelphia, PA, catalogue with an essay by Judith Barry
            Steel, Brew House Space101, Pittsburgh, PA
            Women in the Visual Arts, Erector Square Gallery, New Haven, CT
            Art on Paper, curated by Amy Cappellazzo and Laura Hoptman, Weatherspoon Art Museum, Greensboro, NC, catalogue
            The Human Habit, William King Arts Center, Abingdon, VA, brochure
            World View, Ten Thousand Villages Gallery, Raleigh, NC
           Art of the Spirit III, Bangor Theological Seminary, Portland, ME
1997    Flesh and Blood, Hewlett Gallery, Carnegie Mellon, Pittsburgh, PA, catalogue
            Yellow, Lump Gallery, Raleigh, NC
            Women in the Arts, curated by Susanna Coffey, Erector Square Gallery, New Haven, CT
            Round Up, Rogue Art Gallery, Victoria, BC, Canada
            Art of the Spirit II, Pilgrimage Gallery, Portland, ME
1996    White Columns at Green Hill, curated by Bill Arning, Green Hill Center for Art, Greensboro, NC
            Artists Exhibition, curated by Donald Kuspit, Raleigh Fine Arts Society, NC
            Art of the Spirit I, Pilgrimage Gallery, Portland, ME
1995    Meanwhile, Warehouse, Durham, NC
            To Be Rather Than To Seem, NC Pride ‘95, Durham
            Beacon, Studio 1 & 2, Raleigh, NC
1994    Art on Paper, Weatherspoon Art Museum, Greensboro, NC, catalogue
            National Fiber Arts, curated by Annette Cowenberg, Creative Arts Guild, Dalton, GA
            Female Trouble, City College Gallery, New York, NY
            Revenge, site-specific installation, Chamber Gallery, New York, NY
            Flash Bash, City Gallery, Raleigh, NC
1993    Wall to Wall, Tribeca 148 Gallery, New York, NY
            Beyond Body, 494 Gallery, New York, NY
            Fate of the Earth, Ceres Gallery, New York, NY
1992    Neurotic Art: The Return of the Repressed, Artists Space, New York, NY  
            Queer Bodies, Evergreen State College Gallery, Olympia, WA, brochure     
1991    Crude Thinking, MWMWM Gallery, Chicago, IL, brochure
            Furious Women, Furious Work, Artemesia Gallery, Chicago, IL
            Small Things, Northern Illinois Gallery, Chicago, IL
1990    Evidence, Artemesia Gallery, Chicago, IL
            Gigantic Women / Miniature Work, Gallery 2, Chicago, IL, catalogue with an essay by Jane Blocker
            Personal / Political - Sexuality Self-Defined, Gallery 2, Chicago, IL
            Women Speak for Themselves, Beacon Street Gallery, Chicago, IL
            Through a Mask, Darkly, Prairie Avenue Gallery, Chicago, IL
                                                                                                                                   
I n v i t a t i o n a l   A u c t i o n s   +   B e n e f i t s :
2005    Visual AIDS: Postcards from the Edge, Robert Miller Gallery, New York, NY
            Daylight Magazine Benefit, North Carolina Museum of Art, Raleigh, NC
2004    Postcards from the Edge, Visual AIDS Benefit, Brent Sikkema Gallery, New York, NY
            Squareblue Benefit Auction, Squareblue Gallery, Los Angeles, CA
            Benefit Auction, curated by Gary Sangster, Art Institute of Boston at Lesley University, MA
2003    SECCA Collects, Art Auction, Winston-Salem, NC
2002    Sixth Biennial Photography Art Auction, CEPA Gallery, Buffalo, NY, catalogue
           White Box Benefit Auction, White Box, New York, NY
2001    SECCA Collects, an Art Auction, SECCA, Winston-Salem, NC
           14th Annual Auction, A Benefit for the Orange County Rape Crisis Center, Chapel Hill, NC

C u r a t o r i a l    E x p e r i e n c e :
2008    Curator, Pacifism, Group Exhibition, Unitarian Universalist Church, Chapel Hill, NC
            Co-Curator, with Laura Sharp Wilson, Heroes, LUMP Projects, Raleigh, NC
2005    Curator/Advisor, Images That Matter: Us and Them, Honors Seminar: Collaborative Visual Projects, selections from the permanent collection,
                      Ackland Museum, Chapel Hill, NC
            Curator /Juror, Annual Photography Exhibition, Carrboro Arts Center, NC
            Organizer, From the Collection of Archibald Honeythistle, a collaborative student installation in the Student Union based on a fictional
                      anthropologist, ethnographer and professor
2004    Curator, Loom 3: Labeler, with Jeff Waites, an exhibition of 40 national artists exploring labor, labeling and post-industrial sites, Old Label Mill,
                      Pittsboro, NC      
            Organizer, Dangerous Seams, a student group show from my Body Imaging class, Undergraduate Allcott Gallery, UNC, Chapel Hill
2003    Curator, Violent Violence, an exhibition of 30 American artists dealing with issues of violence for Gallery Arti et Amicitiae, Amsterdam, Holland
            Co-Curated and Advised, LOOM 2 and LOOM 1, group exhibitions at the old Chatham Label Mill,   Pittsboro, NC
2002    Organizer, Embedded, a collaborative student project in the Allcott Gallery and on campus
2001    Organizer, Perpetuating History: A Duty to Truths, a student site-specific and performative collaboration at Silent Sam, a statue to a confederate soldier, UNC campus
            Organizer, Personal History Artifacts, an exhibition in the Allcott Gallery, UNC, Chapel Hill
1999    Organizer, Depth of Crotch, a student project in the Undergraduate Alcott Gallery, UNC, Chapel Hill

            Juror, Persistence of Memory, an exhibition in the Undergraduate Alcott Gallery, UNC, Chapel Hill
1998    Juror, In the Flesh, an exhibition of student work, Alcott Gallery, UNC, Chapel Hill
            Organizer, Queer Strategies and Advanced Mixed Media, group exhibitions of student work in the Allcott Gallery, UNC, Chapel Hill
            Organizer, LIVE ART! parade on UNC, Chapel Hill campus
1997    Curator, Mother Smother Other Lover, with Beth Grabowski, group show in the Alcott Gallery, UNC, Chapel Hill
1996    Organizer, Experimental Photography, a student exhibition, Hanes Art Center, UNC, Chapel Hill
            Organizer, The Windows Project, a student collaboration, 6 store windows, downtown Chapel Hill, NC
1995    Organizer, Body Imaging, an exhibition of student work, Hanes Art Center, UNC, Chapel Hill
            Organizer, Vessel, an exhibition of student work at Stray Studios, Raleigh, NC
            Organizer, Fiasco, a performance/installation night on campus, Chapel Hill, NC
            Organizer, Day Without Art for AIDS Awareness in The Glass Gallery, UNC, Chapel Hill
1994    Curator, Bodily Functions, with Carol Mavor, a group exhibition at The Student Union, UNC
            Organizer, Rinse and Spin, a group student exhibition at 8 business locations, Chapel Hill, NC
            Organizer, Plot, a performance art night on campus, Chapel Hill, NC

 

S e l e c t e d   P u b l i c a t i o n s   by elin o’Hara slavick :
B o o k s  :
Bomb after Bomb: A Violent Cartography, fall, 2007, monograph on my work with essays by Howard Zinn, Carol Mavor, and Catherine Lutz, Charta Art Books, Milan, Italy, distributed by DAP
Fables of La Fontaine, 2006, Constantine and Koren Christofides, University of Washington Press, Seattle/London, page 68
Not Just Any Dress: Narratives of Memory, Body, and Identity, 2004, edited by Sandra Weber and Claudia Mitchell, Peter Lang USA, "Collecting Loss," Carol Mavor, with reproductions of my work
Autobiographical Writing Across the Disciplines, Diana Freedman and Olivia Frey, editors, Duke University Press, 2003, cover photograph
The Zine Yearbook, Volume Six, an Annual Collection of Excerpts from the Best Zines Publishing Today, Become the Media, 2002, “Interview with Sue Coe,” pp.87-91
Homefront: A Military City and the American Twentieth Century, Catherine Lutz, with photographs by elin o’Hara slavick, Beacon Press, fall, 2001
Centuries, Joel Brouwer, Four Ways Press, 2002, front cover photography
Exactly What Happened, Joel Brouwer, Purdue University Press, 1999, front cover photography
The Untimely Present, Postdictatorial Latin American Fiction and the Task of Mourning, Idelber Avelar, Duke University Press, 1999, front cover photography

M a g a z i n e s   /   N e w s p a p e r s   /    J o u r n a l s   /  C a t a l o g u e s :
Red Pepper Magazine, London, UK, “Bomb After Bomb,” inside back cover
Oxfam Magazine, Hong Kong, China, “Workers Dreaming,” p. 28, No. 2, 2006; "Places the USA has Bombed," p. 35, No. 1, 2003
American Ethnologist, November 2006, Issue 33(4), photographs
Daylight Magazine, Issue #5, 2006, Workers Dreaming Photographs by elin o'Hara slavick, Chapel Hill,   NC, New York, NY and London, UK, pp. 54-59
Cartographic Perspectives, forthcoming, an essay by Denis Wood with reproductions from elin o'Hara slavick's Protesting Cartography: Places the U.S. has Bombed, Washington DC
Cultural Politics, July, 2006, Field Report – Protesting Cartography: Places the U.S. has Bombed, by elin o'Hara slavick, Oxford, UK, pp. 245-254
The Anniston Star, August 6, 2006, “Places We Bombed,” by elin o’Hara slavick, cover of the Insight section, pp. 1E and 4E, Anniston, Alabama
Paper Politics, An Exhibition of Politically and Socially Engaged Printmaking, Curated by Josh McPhee, Phinney Center Gallery, Seattle, WA, catalogue, Seattle Print Arts, 2005, p. 45
Not In My Name: Silvia Velez, Adelaide, Australia, 2005, "Scraps of Hope for a Nameless Flag," catalogue essay by elin o'Hara slavick, pp. 36-39
Chapel Hill Herald, March 8, 2005, "Need to Clarify Stance on Popes", Guest Columnist, page 2, NC
Pittsburgh Post-Gazette, May 29, 2004, "Artists often fill their houses with own Work," Kevin Kirkland
Paper Politics: An Exhibition of Politically and Socially Engaged Printmaking, exhibition catalogue, Seattle Print Arts, 2005, p. 45
American Anthropologist, New York, NY, Volume 104, Number 3, September, 2002, cover photograph, photographs pp. 728 and 730                         
Southern Atlantic Quarterly, Durham, NC, spring, 2002, “Dissent from the Homeland: Essays after September 11,” photographs p. 289
Southern Exposure: a Journal of Politics and Culture, Vol. XXX, Nos. 1 & 2, Durham, NC, summer, 2002, photographs pp. 21-23,42, 51; “LUMP Gallery: Free Expression in Jesse’s Backyard” and                “Suffragettes to She-Devils,” 1998, pp.62-63
The Independent, Durham, NC: “Pictured Southern: Contemporary Southern Photography from Walker Evans to Sally Mann – a photo essay curated by elin o’Hara slavick,” cover story, January 2-8,                2002; “Life in War’s Shadow,” November 7-13, 2001, photographs pp. 7, 30-31; “Otherworldly,” November 7-13, 2001, p. 33; “Best Bet,” August 22-28, 2001, p. 51
Endeavors, Chapel Hill, NC, winter, 2002, “Service and the City: An Anthropologist seeks the Fayetteville outsiders don’t see,” Angela Spivey, photographs, pp. 23-24 and back cover
Ex-Voto/Plumbum/History Attached to my Heels, 2001, David Solow, catalogue, photograph, p. 8
Fireweed, Graphics Issue 70, Toronto, Canada, winter, 2001, “Post Colonial Girl Doll,” pp. 8-89
Media Reader, Chicago, No. 4, summer, 2001, “Art < > Activism, an Interview with Sue Coe,” pp. 4-10
            “Public Health? An Interview with Epidemiologist Dr. David Richardson,” No. 3, Jan., 2001, pp. 3-6
Adbusters, Vancouver, BC, Canada, January, 2001, “Global Economy Postcard,” p.6
The Progressive, Madison, WI, January, 2000, “A Doll for the Global Economy,” p. 15
Art Papers, Atlanta, GA: "Leah Bailis at Branch Gallery," Sept/Oct, 2005, pp. 42-43; “Memories of Nature,” Sept/Oct., 2001, pp. 39-40; “The Lyon Biennale,” Nov/Dec., 2000, pp. 55-56; “URDLA,                Photography as a Form of Printmaking,” Sept/Oct., 2000, pp. 55-56; “Sarah Jones and Clementina Hawarden: Kindred Spirits of Photography,” Aug., 2000, pp. 47-48; “Artist Page,”                March/April, 1998, p. 31; “Wild Life at the Weatherspoon,” Sept/Oct., 1998, pp.50-51; “The Quiet In The Land: Everyday Life, Contemporary Art, and the Shakers,” Feb. 1999, pp. 52-52;                “The First Central American Painting Biennial at DUMA,” March/April, 1999, p.55;  “Ben Vautier: Any Photograph Will Do,” Sept/Oct., 1999, pp.42-43
Printed Matter, Inc., NY, distribution of Post Colonial Girl Paper Doll, slavick, 1998, booklet printed by Paper Crane Press, 10 pages, 1999 distribution
Arts Media, Boston, MA, “Piero Manzoni at Serpentine Gallery,” May, 1998, p.15
The Prism, Chapel Hill, NC, “Selections from Post Colonial Girl ‘Zine,” 1998, p.5
Iris, UNC journal of medicine, literature and art, “Dr. Alice Stewart,” 1999, pp. 17-18, “Adam & Eve,” 1997, p.20
Extimacy, Chapel Hill, NC, edited by Rhada Vatsal and Lisa Stevenson, spring, 1996
Whitewalls, Chicago, IL, “A Wretch Like Me,” edited by Robert Blanchon, fall, 1994, p. 39

S e l e c t e d   P u b l i c a t i o n s   about elin o’Hara slavick  :
ArtUS, Los Angeles, CA, forthcoming, Book Review Essay, Ryan Griffis, fall, 2007
Green Resistance, Lebanon, “Good News: Powerful book revealing the amorality of war,” Rania Masri, http://greenresistance.wordpress.com/, August 23, 2007                                         

Big, Red and Shiny, Boston, MA, http://www.bigredandshiny/cgi-bin/retreive.pl?issue=issue66&section=review&article=BOMB_AFTER_BOMB_1192825, “Bomb After Bomb, a Book Review,”             Matthew Nash, July 17, 2007; “Art and Activism,” April 8, 2007
Friendly/Agitate, feature post, http://www.friendlyagitate.net/2007/07/17/bomb-after-bomb-a-violent-cartography/, July 17, 2007
Arthur, http://www.arthurmag.com/magpie/index.php?s=slavick, “For Your Formal Consideration,” Robby Herbst, July 11, 2007       
Moon River, feature post, http://mooonriver.blogspot.com/, July 4, 2007
Critical Spatial Practice, feature post, http://criticalspatialpractice.blogspot.com/, July 3, 2007
The Agony of Communication: New Military Visualities, New Technologies of the Disappearing Self , John Armitage, forthcoming book featuring the work of elin o’Hara slavick, 2008
On The Left Side, Countermapping, http://www.rainer-rilling.de/blog/?p=151, February 22, 2007
V is for Virilio: Culture, Theory, Speed, lecture by John Armitage, featuring the work of elin o’Hara slavick, Royal College of Art, London, March 7, 2007
Signal Fire: A Blog for the Arts of Social Change, http://signalfire.provisionslibrary.org/, April 12, 2007
Big, Red and Shiny, Boston, MA, “Art and Activism,” April 8, 2007
Omaha City Weekly, NE: “Gimme Shelter,” Michael Joe Krainik, February 1, 2006
Paul Virilio and the Arts Symposium, John Armitage, ZKM, Karlesruhe, Germany: “Virilio over Hypermodern America: On the Recent Art of Jordan Crandall, Joy Garnett, and elin o'Hara slavick.”
News and Observer, Raleigh, NC: "Weaving Art Into an Archival Setting," Caitlin Cleary, May 23, 2004; "Art Fills Old Mill," Caitlin Cleary, May 21, 2004; “Dream Weavers,” Max Halperen, April          19, 2002;   “Students, Critics Praise Award-Winning Artist,” Twardy, Feb. 25, 1995
City Paper, Baltimore, Maryland, "Hall of Portraits," J. Bowers, July 21, 2004
San Francisco Chronicle, California, "Mixing Painting and Identity Politics," Kenneth Baker, May 8, 2004
The Miami Herald Street Weekly, Florida, "Call to Arts: Armed Artists of America Rally Against the War in Iraq with an Exhibit at Ashmore Gallery," Carlos Suarez de Jesus, October 29, 2004
The Guardian, London, England, "Within These Walls," Craig Taylor, December 17, 2003
Volkskrant, Amsterdam, Netherlands, "Critical Art from America," Rutger Pontzen, Saturday, July 19, 2003
Endeavors, UNC, Chapel Hill, "Picturing truth with as lowercase t," spring, 2003, Volume XIX, Number 3, pp. 1 and 33
Coast, Newport Beach, California, “Art Access: Legendary Imagery,” Lauri Mendenhall, pp. 152-153, November, 2002         
Utne Reader Web Watch, website review, Erica Sagrans, www.utne.com/webwatch/archive.tpl?=11/18/2002
Mediachannel.org, Editor's Pick Archive, "Art and Bombing," 2002
Daily News, West Palm Beach, Florida, “Photos Click in Armory,” Jan Sjostrom, October 1, 2002
La Provence, Aix-en-Provence, France, “Ces gens de la Fontaine,” Samir Heddar, April 13, 2002
Aix-en-Dialogue, Aix-en-Provence, France, “Les Fables de la Fontaine,” Jean-Francois Hubert, March, 2002
The Spectator, Raleigh, NC:  “World on Its Head,” Lissa Brennan, June 22, 2002; “Documenting The Self,” Lissa Brennan, May 29, 2002, p. 28; “In Light of Recent Events,” Glenn Perkins, January           24, 2002; “A Mercurial Talent, On the trail of an artist’s career,” Natale, April 21, 1999, p.21; “The Unhappiness of Gender,” Linda Dougherty, March 2, 1995
NPR, All Things Considered, “Anti-War Professors,”  October 9, 2001
Pittsburgh Tribune Review, PA, “Pair of shows comment on environmental issues facing our nation – and the world,” Kurt Shaw, November 16, 2001
The Boston Globe, MA, “New Art 2001,” July, 2001, p. D
The Herald-Sun, Durham, NC: "Snapshot: Best Bet in Arts, Loom 3: Labeler," May 21, 2004; “Exhibit shows photo world upside down,” Eric Ferreri, May 27, 2002; “Durham Artist Wins Right To           Show,” J. Tew, March 3, 1995
Blue Dog, Buffalo, NY, “Paradise Found,” Jessica Kourkounis, June 27, 2001, p. 26
New Frontiers IV, catalogue essay, Todd Smith, Curator of American Art, Mint Museum, 2000
Creative Loafing, Charlotte, NC, “Political Messenger,” Amy Shafer Swisher, April 6, 2000
South China Post, Hong Kong, “The Beauty of Flesh & Blood,” Fionnuala McHugh, January 9, 2000, p. 6
Independent, Durham, NC; “elin o'Hara slavick charts history's nightmares in Bomb After Bomb: A screaming comes across the sky,”  http://www.indyweekly.com/gyrobase/Content?oid=oid%3A159150, Brian Howe, August 22, 2007; "Best Bet: in label making and unmaking," Kirk Ross, May 19, 2004; “The Anti-Warriors: In a             year consumed by war, triangle peace activists helped keep debate and dissent alive” Jon Elliston, p. 22, November 27, 2002; “Protest  Maps; slavick’s work maps the fatal seduction of             distance,” Elizabeth Howie, November 13, 2002; “Zine Stream,” John Valentine, July 31, 2002; “Triangle Art Awards, elin o’Hara slavick, Artist/Activist,” June 25, 2002;  “The Personal is             Political,” Clancy Nolan, June 20, 2001, pp.28-29        
Winston-Salem Journal, NC: “A Little like Home,” Tom Patterson, June 17, 2001; “Eclectic Mix,” Tom Patterson, July 2, 2000; “Not in Mint Condition,” Tom Patterson, June 4, 2000; “Art of the             State,” Tom     Patterson, May 21, 2000, Arts Section, front page, p. E1; “Pictures with Punch,” Tom Patterson, April 30,  2000, p. E5; “Art as Politics,” Tom Patterson, April 9, 2000, Arts             Section front page, pp. E1-E2; “Getting it to Make Sense,” Tom Patterson, October 24, 1999, p. E4
Ming Pao Daily, Hong Kong, “Four Faces, Daughters, Sisters, Nerves,” Carol Liu Ying Kei, Jan. 29, 2000, p. 22
Becoming, Duke University Press, Carol Mavor, 1999, pp.135-173
New Art Examiner: Chicago, IL, “Requiem,” Cedric DeSouza, May, 1999, pp.61-62; “Artist Wins Censorship Fight in Raleigh,” Woody Holliman, May/June, 1995; “Sister Serpents,” Bill Stamets,             April, 1991, p.35
Art Papers, Atlanta, GA: "Loom 3: Labeler," Ann Millett, Sept/Oct, 2004, pp. 44-45, “Some Kind of Dream,” Julia Ridley Smith, Sept/Oct, 2002, pp. 38-39; “Flesh & Blood,” Dinah Ryan, Sept/Oct,             2000, pp. 43-44; “Requiem,” Jason Forrest, May/June, 1999; “Studio Visit with elin o’Hara slavick,” Linda Dougherty, March, 1998, pp.29-31; “Labor < > Leisure (Global Economy),” Linda             Dougherty, Jan., 1998, p. 59; “The Pleasures of Gender,” Woody Holliman, July/Aug., 1995, pp. 58-59; “7th Annual Fiber Arts Exhibition,” Bill Alexander, March, 1995, pp. 50-51
Atlanta Press, “Taboo’s Requiem,” Christina Kline, January 22, 1999
Creative Loafing, Atlanta, GA, “Requiem: Death rattle for the millennium,” Byrd, Jan. 1, ‘99, pp.39-46
Flesh & Blood, exhibition catalogue essay, “Too Close to See”, Carol Mavor, 1998
Media Performance Along the Border, Johannes Berringer, John Hopkins University Press, 1998, p. 246
Philadelphia Weekly, “Context,” Miriam Seidel, Sept. 2, 1998, pp. 37-38
Cultural Studies, Routledge/London, “Collecting Loss,” Carol Mavor, spring, 1997, pp. 113-137
Pittsburgh Post-Gazette, “Family weaves symbolism into exhibition,” Thomas, Dec. 13, 1997, p. B-8
Pittsburgh Tribune-Review, “Flesh and Blood has Chekhov Drama,” Shearing, Nov. 30, 1997, p. E6
Chapel Hill Herald, “Professor’s Presentation Sparks Discussion on Equality,” Fugate, Nov. 3, 1997
Artistic Freedom Under Attack, People for the American Way, DC, “Case Studies,” Vol. 4, 1996, pp.20
Curve Magazine, San Francisco, “Southern Going,” Zelie Pollen, July/August, 1995, pp. 58- 60
Chapel Hill News, NC: “An upside-down World,” Dave Hart, cover story + p. A8; “Art Flap Spotlights Issues of Gender,” Vicky Jiggetts, March 1, 1995
National Public Radio, “Pleasures of Gender,” review by Joseph Covington, March 24, 1995
Binocular, Australia, “From Dada to Mama: Feminism, The Ready-Made and Contemporary Practice,” Margaret Morgan, 1994, pp. 11-29
New York Post, “The Dress off Her Back,” Jerry Tallmer, December 11, 1992
P-Form, Chicago, “Embodiment: Sharing Our Wounds,” Johannes Birringer, Issue 25, 1992
Fiberarts, “BASF Fiber Show: Powerfully Disturbing,” Bill Alexander, March, 1995, pp. 60-62

                                                                                                                           
S e l e c t e d   C o n f e r e n c e s    +    P a n e l s :
2007    Charta Books for Peace, with Howard Zinn, Michael Lally and Moises Saman, Cooper Union, New York, NY
            Art + Activism, with Kanarinka / the Institute for Infinitely Small Things and Jane Marsching, Boston, MA
            Bomb After Bomb: A Violent Cartography, North American Cartographic Information Society (NACIS) Conference, St. Louis, MO
2005    Anthropology, Art and Activism: Wars Unfinished, U.S. Military Bases in Okinawa and Korea, Brown University, Providence, RI
            Southern Arts Federation Visual Arts Summit, Atlanta, GA                                                 
2004    Regarding the Pain of Others in Sebastio Salgado's Photographs, The Ackland Art Museum, Chapel Hill, NC
2002    Balance and Accuracy in Journalism, “Bursting the Bubble of U.S. Propaganda and Iraq,” Community Church, Chapel Hill, NC
            Art as Activism, SURGE (Students United for a Responsible Global Environment) Glocal Conference, Chapel Hill, NC
            Poets for Peace, reading, UNC, Chapel Hill
2000    Photography and Memory, Chatenay, France
1999    Art < > Audience, Green Hill Center for Art, Greensboro, NC
            Art, Culture and the Movement, SURGE (Students United for a Responsible Global Environment) Conference, Chapel Hill, NC
            Local / Global Photographic Practices at the End of the Millennium, Co-Chair with Jane Marsching, College Art Association, Los Angeles, CA
            A Feminist Perspective on Women in the Arts, The Women’s Center, Chapel Hill, NC       
1997    The Index of Beauty, Society for Photographic Education: “Skin Deep: Beauty, Displeasure, Agency”, Los Angeles Contemporary Exhibits, CA
            Feminist Navigations, Keynote address, “Photographic Feminisms,” Chapel Hill, NC
            The Rhetoric of Art, Censorship, and Public Funding, Claremont McKenna College, Claremont, CA
            Talking through Surrealism in Val Telberg and Ralph Eugene Meatyard’s Photographs, with Amy Ruth Buchanan, The Ackland Museum, Chapel Hill, NC
1996    Performance Studies Formations, “Maternity, Visuality, Performativity”, with Jane Blocker, Carol Mavor, and Della Pollock, Northwestern, Chicago, IL
            Vertigo, On Autobiography and Identity, “Body Biographies: mutter,” Chapel Hill
                                                                                                                                   
A r t i s t    L e c t u r e s  :      
2007    The School of the Museum of Fine Arts, Eight Photographers Series, Museum of Fine Arts, Boston, MA
            School of Oriental and African Studies, University of London, England
            Warwick College, Warwick, England
            Manchester University, England
            Ithaca College, Ithaca, NY
            Massachusetts College of Art, Boston
            Rhythm and Muse Books, book signing + reading, Boston, MA
            Democracy Center, book reading + signing with Howard Zinn Boston, MA
            Internationalist Books, book signing + reading, Chapel Hill, NC
            McIntyre’s, book signing + reading, Pittsboro, NC
            Bull’s Head Bookshop, book signing + reading, Chapel Hill, NC
2005    Brown University, Providence, RI
            University of Alabama, Tuscaloosa
            Ackland Art Museum, UNC, Chapel Hill
            North Carolina Museum of Art, Raleigh, NC
2004    School of Oriental and African Studies, University of London, England
            University of Buffalo, NY
2003    Studio Art Center International (SACI), Florence, Italy
            Watkins College of Art and Design, Nashville, TN                                                                           
2002    Jose Marti National Library, Havana, Cuba, in conjunction with the group exhibition “Toxic Landscapes”  The Center for Advanced Art and Culture, Maryland Institute College of Art,            Aix-en-Provence, France
2001    SECCA (Southeastern Center for Contemporary Art), Winston-Salem, NC
            Winthrop University, Rock Hill, SC
            The Women’s Center, Chapel Hill, NC, Keynote Address
            “Images of War,” teach-in “Understanding Terror: What is War? What is Peace?” Journalism School, UNC, Chapel Hill
           “Protesting Cartography,” Curriculum in Women's Studies, Johnson Center, UNC, Chapel Hill     
2000    The Center for Advanced Art and Culture, Maryland Institute College of Art, Aix-en-Provence, France
            The Mint Museum, Charlotte, NC
            La Trace Poiein, Chatenay, France
1999    University of Miami, Florida 
1998    Brewhouse Space 101, Pittsburgh, PA          
            Carnegie Mellon University, Pittsburgh, PA
            Duke University, Durham, NC
            Women's Issues Network, Chapel Hill, NC
            Morality and Law Class, UNC, Chapel Hill
            Academic Enhancement Program, UNC, Chapel Hill, NC
            Ackland Art Museum, UNC, Chapel Hill, NC
            Lump Gallery, Raleigh, NC   
1997    Feminist Philosophy Class, UNC, Chapel Hill
            Claremont McKenna College, Claremont, CA
            Chapel Hill High School
1996    University of Alberta, Edmonton, Canada
            Duke University, Durham, NC
            DePauw University, Greencastle, IN
            Banff Centre for the Arts, Alberta, Canada
1995    American Civil Liberties Union Annual Conference
1994    California International School, Hong Kong                                                                          
1992    Rochester Institute of Technology, Rochester, NY
            Syracuse University, NY
1991    Yale Summer School at Norfolk, CT             
            Sarah Lawrence College, Bronxville, NY
            University of Maryland, Baltimore County

A w a r d s    +    R e s i d e n c i e s :            
2007    Scholarly Research and Exhibitions Award for Bomb After Bomb: A Violent Cartography
            University Research Council Award for Bomb After Bomb: A Violent Cartography
2006    North Carolina Arts Council Visual Artist Fellowship
2004    Kenan Faculty Fund, retention of promising and outstanding faculty in the face of unprecedented competition from peer institutions                                                                  
2002    Best of Show Award, Figurative Works, curated by Olga Viso of the Hirshhorn Museum, Armory Art     
                        Center, West Palm Beach, FL
            Triangle Art Award, The Independent Weekly, Durham, NC
            University Research Council Grant for “Places the United States has Bombed”
            Institute for the Arts and Humanities Fellowship
2001    Vermont Studio Center, Artist in Residence (declined)
            Brandes Course Development Award for “Collaborative Visual Ethnographic Projects” with Anthropologist Catherine Lutz
            Pearman Undergraduate Research Fund Fellowship for Isaac Trogdon’s Honors Thesis                                                                                                                                  
2000    Scholarly Research and Exhibitions Award for “New Frontiers”
1999    University Research Council Grant for “Fayetteville Project”
            Scholarly Research and Exhibitions Award for “Global Economy”
            Center for Teaching and Learning Mini-Grant for Course Enhancement
1998    Philadelphia Exhibitions Initiative / Pew Charitable Trust Public Art Award
            North Carolina Arts Council Visual Artists Fellowship
            Tanner Award for Excellence in Undergraduate Teaching
            University Research Council Grant for “Flesh and Blood”    
1997    Faculty Fellows Opportunity Grant for Guillermo Gomez-Pena, Visiting Artist Lecturer
            Williamson Course Development Grant for “Queer Strategies in Studio Art Practice”
            University Research Council Grant for “Travel Photographs”
            Lupton Course Development Grant for Photography
1996    The Banff Centre for the Arts, Alberta, Canada, July Artist-in-Residence
            Third Place Award, Raleigh Fine Arts Society, Juror: Donald Kuspit
            University Research Council Grant for “Mutter”

            Scholarly Research and Exhibitions Awards for: “Inheritance”, “List,” and “Mutter”
            Lupton Course Development Grant for Photography
            University Research Council Grant for “Mutter”                   
1995    Junior Faculty Development Grant for “Mutter”
            Scholarly Research and Exhibitions Award for “Locker”
            Institute for the Arts and Humanities Fellowship for fall, UNC
            Third Prize in International Photography Competition, Curve Magazine, San Francisco
            Lupton Course Development Grant for Photography
1994    First Place, National Fiber Arts Exhibition, Dalton, Georgia
1993    Honorable Mention by Ronald Feldman Gallery, 148 Gallery, NY                                                                                                                           

P r o f e s s i o n a l     E x p e r i e n c e :
2006 – Present: Director of Undergraduate Studies, Art Department, University of North Carolina at Chapel          Hill
2002 – Present: The University of North Carolina at Chapel Hill, tenured Full Professor
2004 – 2005: Director of Graduate Studies, Art Department, University of North Carolina at Chapel Hill
2004 – 2005: Associate Chair, Art Department, University of North Carolina at Chapel Hill
1999 - 2002: The University of North Carolina at Chapel Hill, tenured Associate Professor of Art
1994 - 1999: The University of North Carolina at Chapel Hill, tenure-track Assistant Professor of Art
1995 - Present: Fellow, The Institute for the Arts and Humanities

Chair/Curator, 1999-02, John and June Allcott Gallery Committee, responsible for bringing Julie Heffernan, Sue Coe, Joyce Kozloff, Lonnie Graham, Andrew Johnson, Jim Kellough, Jane Marsching, Jeff Whetstone, and others for solo exhibitions and lectures and organizing Alumni, Graduate, and Undergraduate Exhibitions                                                                                                                         
Chair 1994-96, member 1996-97 of the Visiting Artist Lecture Committee, responsible for bringing Janine Antoni, Doris Salcedo, Susan Stewart, Carrie Mae Weems, Terry Allen, Kerry James Marshall, Fred Wilson, Sue Coe, Guillermo Gomez-Pena and Roberto Sifuentes, Trinh T. Minh-Ha, Cornelia Hesse-Honegger, Bill Arning, Jeff Wall, Joyce Kozloff, Julie Heffernan, among others, to campus for lectures and graduate studio visits
                                                                                   
F a c u l t y    A d v i s o r   t o   c o m m i t t e e s:
Hanes Visiting Artist Lectures                       
Undergraduate Art Association                                  
Students for Economic Justice                                   
Teaching Assistants, all MFA students                      
Loom Exhibitions                               

PROGRESS (Progressive Students and Staff)
Campaign to End the Death Penalty    Carolina Socialist Forum
                                                                                                                                   
O t h e r    C o m m i t t e e s  :                       
Administrative Advisory Committee of the Ackland Museum, 2004-2007               
Contemporary Art History Search, 2006                                           
Faculty Council, 2002-2005   
Faculty Council Subcommittee on Academic Freedom, 2005
Frey Professor in American Art Search, 2004
Chair, Studio Space, 2004
Steering Committee, Art Department, 2004
Chair, Photography Search, 2001
Photography Search, 1998
Co-Founder of the Progressive Faculty Network
Space, 2007-08
Intellectual Life, 2007-08       
Established Lectures                           
Library and Slides                                          
Studio Art Honors Program                                                                                                                           
Carolina Women's Center Advisory Board
Alcott Travel                                      
Institute for Arts and Humanities Planning                
Undergraduate Art     
Arts Education Agenda
Graduate Art                                      
Salary 
Academy of Distinguished Teaching Scholars
Chancellor's Intellectual Task Force on Public Space                                                                                     
Personnel Reviews                             
Allcott Gallery
Pearman Fund Committee                  
Post-Tenure Review
                                                                                                                                   
C o u r s e s    T a u g h t :
Basic, Intermediate, Advanced, Conceptual, and Experimental Photography
Independent Studies in Painting, Sculpture, and Photography                       
Basic Drawing and Composition       
Undergraduate Honors and Graduate Advising
Honors Seminar in Collaborative Visual Projects                              
Graduate Teaching Practicum                                     
Mixed Media                                      
Body Imaging            
Collaborative Installation
Queer Strategies in Studio Practice    
Introduction to Artmaking      
Professional Seminar
Graduate Seminar in Studio Art
‘Zines for Teens
Documentary Photography    

O t h e r    P r o f e s s i o n a l    E x p e r i e n c e :
2007    Summer Training Workshop, History and Practice of Documentary Photography, Student Action with Farm Workers, Warren Wilson College, Asheville, NC
            Culture Works, organizing committee member, Washington DC                                                                                                                             
2006    Present: Advisory Board, Student Action with Farm Workers, Center for Documentary Studies, Duke University, Durham, NC
            Interdisciplinary Research Group: New Cartographies, Networks, and the Mapping of Economic Life, Cultures of Economies Working Group, University Program in Cultural Studies,
                 UNC

            Juror, PTA Reflections Program, Children’s’ Art Contest, Chapel Hill, NC
            Promotion Review, Steven Kurtz/Critical Arts Ensemble, University of Buffalo, NY
            Radio Discussion, Dick Gordon’s The Story, with John Carey, London Times literary critic
            Southern Artist Registry, http://www.SouthernArtistry.org
2005    Regional Nominator, Creative Capital Foundation, New York, NY
            Faculty Mentor, Transart Institute, Krems, Austria
            Juror, Annual Photography Contest, The Arts Center, Carrboro, NC
            Contributing writer, since 1998, to Art Papers, Atlanta, Georgia
            Grant Reviewer, The City University of New York, NY
            Tenure Review, Michael Oliveri, Lamar Dodd School of Art, Athens, GA
2004    WUNC, Discussion with Romulus Linney about Politics and Art
            Ackland Art Museum Advisory Board, 2004 - 2007
2003    Summer School, Conceptual Photography, SACI, Florence, Italy     
            Tenure Review, Millie Chen, University of Buffalo, NY                              
2002    Contributing writer, since 2000, to The Independent Weekly, Durham, NC
            Contributing writer, since 1999, to Media Reader, Chicago, Illinois
            Interviewed British musician Billy Bragg on WXYC, UNC, Chapel Hill
            North Carolina Writers’ Network, taught two “Hot Ink for Teen Writers” workshops on ‘zines
            Organized and constructed a Camera Obscura with my Conceptual Photography class as part of the Alumni Sculpture Garden
2001    Co-Organized a series of five Teach-Ins in response to September 11, 2001, receiving international press
2000    Photographer for Triangle Yoga Center, Chapel Hill, NC     
            Tenure Review, Larry Jens Anderson, Atlanta College of Art, GA

1999    Interviewer for the North Carolina Fellows Program 
            Group Facilitator, Teaching Assistant Training, Center for Teaching and Learning
1998    Group Facilitator, UNC Safe Zone Program
1997    Group Facilitator, Teaching Assistant Training, Center for Teaching and Learning
1996    Co-Organized, with Erika Simon, “Love Makes A Family - Living in Gay and Lesbian Families” Panel Discussion, Student Union, UNC, Chapel Hill
1995    Co-Sponsored the AIDS Quilt in the Great Hall on campus
1994    Co-Sponsored the AIDS Quilt in the Great Hall on campus
1993    Assistant to Photographer Joel Sternfeld, driving across country for two months and doing research for the book On this Site
1992    Assistant to Roark Dunn, Photographer’s Representative, New York, NY
            Book Store Manager, The New Museum, New York, NY
                                                                                                                                   
W o r k s    i n   t h e   C o l l e c t i o n s    o f :
The North Carolina Museum of Art, Raleigh, NC
John Hope Franklin Center for Interdisciplinary and International Studies at Duke University, Durham, NC
The Law School at the University of North Carolina at Chapel Hill
Diego Cortez / Partobject Gallery, New York, NY
The Kinsey Institute, Bloomington, IN
The Weatherspoon Art Gallery, University of North Carolina at Greensboro
The New York Lesbian, Gay, Bisexual, Transgender Community Center, NY                     
Howard Zinn, Boston, MA
Kurt Vonnegut, New York, NY
Wendy Wilder Larsen, New York, NY                  
                                                                                                                        

Laura Balance, Durham, NC
Daniel Blinkoff, Los Angeles, CA     
Christophe Seyve, Lyon, France        
Rebecca Frankel, New York, NY
Jane Marsching, Boston, MA
Todd Fjelsted, Los Angeles, CA                                                                                
Kenneth Sean Golden, New York, NY
Lillian Ball, New York, NY                                                                                                                           
Laura Wilson, Olympia, WA
Catherine Lutz, Providence, RI
Joel Brouwer, Tuscaloosa, AL
Tammy Rae Carland, Oakland, CA
Carol Mavor, Manchester, England
Cyrille Noirjean, Lyon, France
Denis Wood, Raleigh, NC
Mary Huber Cooley, Madison, WI