Jim Pomeroy's Resume as of 9/3/91

Abbreviations used in this resume:

‘*’ indicates that a catalogue or program notes were published
‘B’ denotes performance of Blind Snake Blues
‘C’ denotes performance of Celestial Mechanix
‘I’ denotes performance of IKONIKIRONIK
‘L’ denotes performance of Listen to the Rhythm of the Reign
‘P’ denotes performance of Polarized Projections
‘W’ denotes performance of The Winner of Our Dis-Content

 

JAMES C. POMEROY

P.O. Box 1923, Arlington, TX 76004, (817) 261-7558

Department of Art and Art History, Box 19089, University of Texas, Arlington, TX 76019, Office: Fine Arts 332, (817) 273-2891

Born March 21, 1945, Reading, Pennsylvania

Master of Fine Arts, 1972, University of California, Berkeley

Master of Arts, 1971, University of California, Berkeley

Bachelor of Fine Arts, 1968, University of Texas, Austin

SOLO EXHIBITIONS

Views, Amarillo Art Center, Amarillo, TX; Nov. 1990-Jan. 1991

Spinners, Photography Gallery, Rhode Island School of Design, Providence; Apr. 8-22, 1990

Stereo Views, CEPA Gallery, Buffalo, NY; May-June 1988*

Clear Bulbs Cast Shark Shadows, Lamar University, Beaumont, TX; March 1988

Stereo Views, Light Work, Syracuse, NY; January 1988*

Clear Bulbs Cast Sharp Shadows, Pro Arts, Oakland, CA; Apr. 1987

Reading Lessons and Eye Exercises, California Museum of Photography, University of California Riverside; June 25-Aug. 3, 1986

It’s Only a Baby Moon, An Anamorphic Seance, University Art Gallery, State University of New York, Binghamton; Mar. 7-Apr. 20, 1986

It’s Only a Baby Moon, An Anamorphic Seance, New Langton Arts, San Francisco; Mar. 27-Apr. 21, 1984*

It’s Only a Baby Moon, An Anamorphic Seance, ZONE, Springfield, MA; Nov. 28-Dec. 23, 1983*

CEPA Gallery (with Albright-Knox Gallery and Media Study), Buffalo, NY; Jan. 9-31, 1981*

ANAGLADE installation, San Jose Museum of Art; Nov.-Dec., 1980

North Texas State University, Denton; Feb. 1980

Posed Farmalism, collaborative residency with Yura Adams, The Farm, San Francisco; Mar. 1980

Hayden Gallery, Massachusetts Institute of Technology, Cambridge; Sept.-Oct. 1979

Artists Space, NYC; Nov. 1978

MATRIX—University Art Museum, Berkeley; Sept. 1978*

Hansen Fuller Gallery, San Francisco; Mar. 1975

California State University, Sacramento; Mar. 1975

de Saisset Gallery, University of Santa Clara, CA; May 1974

Daniel Weinberg Gallery, San Francisco; July 1973

Union Gallery, San Jose State University, CA; Oct. 1971 and Apr. 1975

GROUP EXHIBITIONS (selected)

"1991 Dallas Video Festival," Dallas Museum of Art, TX; Nov. 17, 1991*

"S & L: Transactions in the Post-Industrial Ea" San Francisco Art Institute; Sept. 4-Oct. 5, 1991

"Photographic Book Art in the United States," University of Texas, San Antonio; Aug. 26-Sept. 27, 1991—on tour

"Motion and Document, Sequence and Time: Eadweard Muybridge and Contemporary American Photography," National Museum of American At, Washington; June 28-Sept. 8, 1991*—on tour

"Learn to Read Art: Artists’ Books," Gallery of Hamilton, Ontario; Nov. 1990-Jan. 1991

"Digital Image/Digital Photography," SIGGRAPH 90, Dallas Public Library; Aug.-Sept. 1990

"Mediations," Center for Research in Contemporary Art, University of Texas, Arlington; Mar. 1990

"150 Years of Sculpture in Texas," Huntington Gallery, University of Texas, Austin; June 15-Aug. 13, 1989*

"From This Day Forward, Photography Is Dead," University of Colorado, Boulder; Feb. 1989

"Re: Presentation—Conception/Perception," Fullerton Museum Center, Fullerton, CA; Oct. 14-Dec. 21, 1988

"Beyond the Camera Obscura," San Francisco Art Commission Gallery; Mar. 25-May 7, 1988

"Not for the Living Room," Diverse Works, Houston, TX; Feb. 27-Apr. 2, 1988*

"The Magic Lantern: Recent Slide Shows," SF Camerawork, San Francisco; Oct. 9-Nov. 8, 1986*

"El DÌa de los Muertos," GalerÌa de la Raza, San Francisco; Oct. 14-Nov. 8, 1986

"Seeing is Believing: The History of 3-D in Art and Popular Culture," Fort Wayne Museum of Art; July 1986-Jan. 1987

"Installed," Humboldt State University, Arcata, CA; May 1986

"The New Spirit of Photography," ArtisanSpace, Fashion Institute of Technology, NYC; March 26-May 4,1985

"Just a Minute—TV Works," 60-second videos compilation, California Institute of the Arts, Valencia; Feb. 1985

"SOUND/ART," BACA’s DCC Gallery, Brooklyn, NY; June 1-30 1984*

"A Decade of New Art," Artists Space, NYC; May 31-June 30, 1984*

"A Museum of Fun Part II," organized by Itsuo Sakane for the Asahi Shimbun, shown in Kobe, Nagoya, Chiba, Okayama, Tokyo, Hiroshima. Kagoshima, Kumamoto, Kokura, Fukuoka, and Kyoto, Japan; Aug. 1984-Mar. 1985*

"Photo Offset <Re>Productions," SF Camerawork, San Francisco; Mar. 27-May 5,1984

"Artists Call," Mission Cultural Center, San Francisco; Feb. 3-Mar. 3, 1984

"Visiting Artists Revisited," University Gallery, University of Idaho, Moscow; Oct. 7-31, 1982

"Sonic Art," California State University, San Bernardino; Feb. 13-Mar. 14, 1982*

"The Stereo Show," Photography at Open Space, Victoria, British Columbia; Nov. 4-Dec. 12, 1981*

"Fashion Moda—West," GalerÌa de la Raza, San Francisco; Nov. 21-Dec. 5, 1981

"Five Alarm Neighborhood," 80 Langton St., San Francisco; Aug. 4-15, 1981*

"A Sound Selection," University of Hartford, Jan. 1980; and Contemporary Arts Museum, Houston, TX, Aug. 1980*

"1 + 1 = 1," School of the Art Institute of Chicago; Apr. 1980

"Space/Time/Sound—1970’s," San Francisco Museum of Modern Art; Dec. 1979*

"Bay Area—New Strengths," Art Museum, University of California, Santa Barbara; Nov. 1979

"SOUND," Los Angeles Institute of Contemporary Art, July 1979; and Project Studios One, Long Island City, NY, Oct. 1979*

"ISBN: O//00.0 LCCN: 78–0000.." Franklin Furnace/Printed Matter, NYC; Oct. 1978

"Art for Binary Vision," and/or Gallery, Seattle; Oct. 1978*

"80 Langton Exchange," Kemein Prefecture Hall, Yokahama, Japan; Oct. 1977

"Bookworks," Mills College, Oakland; Mar. 1977*

"Art Stories," Libra Gallery, Claremont Graduate School, Claremont, CA; Feb. 1977

"Biennial of Sidney," Gallery of New South Wales, Sidney, Australia; Nov. 1976*

"Transportation," University of Nevada, Reno; Mar. 1976

"Exchange DFW/SFO," San Francisco Museum of Modern Art, Feb. 1976; Fort Worth Museum of Art, Aug. 1975*

"Visual Verbal," The Art Galleries, University of California, Santa Barbara; Oct. 1975

"Word Works II," San Jose State University, CA; Apr. 1975*

"Contemporary American Painting and Sculpture, 1974," Krannert Museum, University of Illinois, Champaign; Mar. 1974*

"The Ladder Show," Artists Contemporary Gallery, Sacramento; Oct. 1972*

"West Coast ’72," E. B. Crocker Art Museum, Sacramento; Sept. 1972*

"Bay Area Underground," University Art Museum, Berkeley; Jan. 1972

"Young Bay Area Sculptors," San Francisco Art Institute; Sept. 1971

"6 x & x 6," Walnut Creek Art Center, June 1971; also "Hardware," Jan. 1973

Hansen Fuller Gallery, San Francisco; Mar. 1970

PERFORMANCE

Eine Kleine NachtVid, "1990 Dallas Video Festival," Dallas Museum of Art, TX; Nov. 14, 1990*

"1989 Dallas Video Festival," The Video Bar, Dallas, TX; Nov. 12, 1989 (I)

"The Performance Revue," Deep Ellum Theatre Garage and Poetry Circus, Dallas, TX; May 27 1989

St. Lawrence University, Canton, NY; Apr. 21, 1989 (I)

"The Season Presents..." University of Texas at Arlington; Apr. 7, 1989 (I)

The Exploratorium, San Francisco, CA; March 25, 1989 (D)

Center For Contemporary Music, Mills College, Oakland, CA; Feb. 18, 1989 (I)

IKONIKIRONIK, commissioned by the Photographic Resource Center, Boston, performed at the Brattle Theatre, Cambridge; Feb. 3, 1989*

Celestial Mechanix, Center for Research in Contemporary Art, University of Texas, Arlington; Nov. 6, 1987

Het Apollohuis, Eindhoven, Holland; June 5, 1987 (C)*

Walker Art Center, Minneapolis, MN; Mar. 5, 1987 (C)

Center for Contemporary Art, Santa Fe, NM; Dec. 12-13, 1986 (C)

SUSHI, San Diego, CA; Dec. 5-6, 1986 (C)

Portland Center for the Visual Arts, OR; Oct. 17-18, 1986 (C)

The Winner of Our Dis-Content: Writing Between the Lines, New Langton Arts, San Francisco; July 11-12, 1986 (W)*

"New Music America 1986," High School of the Performing and Visual Arts, Houston, TX; Apr. 7, 1986 (W)*

Experimental Intermedia, NYC; Mar. 15 1986 (W)

State University of New York, Binghamton; Mar. 7, 1986 (W)

"New Music America 1985," Schoenberg Institute, University of Southern California, Los Angeles; Nov. 7, 1985

Naropa Institute with University of Colorado and Society for Photographic Education (SW Region), Boulder, CO; Oct 31, 1985 (W)

Listen to the Rhythm of the Reign, Visual Studies Workshop, Rochester, NY; June 21, 1985; (video document)

"Token Dreams," San Francisco Cinematheque at Video Free America; Feb. 10, 1985

Western Front, Vancouver, British Columbia; Dec. 16, 1984 (L)

Soundworks/Center on Contemporary Art, Seattle, WA; Dec. 14-15, 1984 (L)

Humboldt State University, Arcata, CA; Nov. 10, 1984 (L)

In VIRTUAL PLAY: the double direct monkey wrench in Black’s machinery, a videotape by Steve Fagin, San Francisco, Fall 1984

"New Music America 1984," Lincoln Theatre, University of Hartford, CT; July 3, 1984 (L)*

BACA’s Downtown Cultural Center, Brooklyn, NY; June 27, 1984 (L)*

POLARIZED PROJECTIONS/SPECIAL EFFECTS/REMOTE CONTROL, Experimental Intermedia, NYC; Nov. 30,1983

ZONE Art Center, Springfield, MA; Nov. 28. 1983 (P)

CEPA Gallery, Buffalo, NY; Nov. 16, 1983 (P)

Sun Valley Center for the Arts and Humanities, Sun Valley, Idaho; July 27, 1983

Center for Music Experiment, University of California, San Diego, at SUSHI, San Diego; Apr. 22, 1983 (P)

Los Angeles Contemporary Exhibitions, Los Angeles, CA; Apr. 14, 1983 (P)

"Fifth Annual Texas Sculpture Symposium," Opera Lab Theatre, University of Texas, Austin; Apr. 7, 1983 (P)

California Institute of the Arts, Valencia; Jan. 24 1983 (P)

London Regional Art Gallery, London, Ontario; Nov. 28, 1982 (P)

The Music Gallery, Toronto, Ontario; Nov. 27, 1982 (P)

Washington Project for The Arts, Washington, DC; Nov. 22, 1982 (P)

"International Theatre Festival," Intersection, San Francisco, CA; Aug. 11-12, 1982 (P)

Blind Snake Blues, "Twelfth International Sculpture Conference," Paramount Theatre, Oakland, CA; Aug. 7, 1982

Film in the Cities, St. Paul, MN; June 5, 1982 (B)

Mechanical Music performed by William Wynant, Arnold Center For Music Experiment, University of California, San Diego, at SUSHI, San Diego; May 22, 1982 (B)

SITE Benefit, Target Video, San Francisco; Apr. 10, 1982

"Musik der Zeit III-Begegnung mit den USA" WestDeutscher Rundfunk (WDR Radio), Cologne, West Germany; Feb. 13, 1982 (B)

WORKS, San Jose, CA; Dec. 11, 1981 (B)

Contemporary Arts Forum, Santa Barbara, CA; Dec. 4, 1981 (B)

Composition in Deep/Light at the Opera, 80 Langton St., San Francisco; Sept. 33, 1981*

Magnetic Music from Rod Staph ’n’ th’ Cumforts, "No Dancing" series, Ed Mock Studio, San Francisco; Aug. 29, 1981

"New Music America 1981," Japan Center Theatre, San Francisco; June 14, 1981*

"Explorations in Music" series, Heydt/Bair Gallery, Santa Fe, NM; Apr. 11, 1981 (B)

ZONE, Springfield, MA; Apr. 5, 1981 (B)

Real Art Ways, Hartford, CT; Apr. 4, 1981 (B)

Lowe Art Museum/WLRN-FM, Miami. FL; Mar. 20, 1981 (B)

The Performance Gallery (Fast/Type Production), San Francisco; Feb. 1, 1981(B)

Media Study, Buffalo, NY; Jan. 15, 1981 (B)*

The Kitchen NYC. Jan. 13-14, 1981 (B)

Tool and Die, San Francisco; July 4-5, 1980

Experimental Intermedia, NYC; Apr. 20, 1980

School of the Art Institute of Chicago; Apr. 17, 1980 (B)

Posed Farmalism with Yura Adams, The Farm, San Francisco; Apr. 8, 1980

North Texas State University, Denton; Feb. 25, 1980 (B)

University of Idaho, Moscow; Jan. 17, 1980 (B)

Washington State University, Pullman; Jan. 15, 1980 (B)

Eastern Washington State University, Cheney; Jan. 14, 1980 (B)

and/or, Seattle, WA; Jan. 12, 1980 (B)

Center for Contemporary Music, Mills College, Oakland, CA; Dec. 8, 1979 (B)

International Council/Museum of Modern Art, at Artists Space, NYC; Nov. 11, 1979

"SOUND," Project Studios One, Long Island City, NY; Oct. 7, 1979*

Hayden Gallery, Massachusetts Institute of Technology, Cambridge; Sept. 27, 1979

"SOUND," Los Angeles Institute of Contemporary Art; July 27, 1979*

"Custom and Culture II," U.S. Customs House at Bowling Green, Creative Time, NYC; May 29, 1979

Art Departments, University of California, Davis and Berkeley; May 1979

Philadelphia College of Art, PA; Nov. 21, 1978

What Cheer Arts/Rhode Island School of Design, Providence, RI; Nov. 16, 1978

MATRIX—Wadsworth Atheneum, Hartford, CT; Nov. 15, 1979*

Artists Space, NYC; Nov. 9, 1979

Artisan Resonance, Exploratorium, San Francisco, Aug. 31, 1978

In Rubber Band by Dick Dunlap, "Forms in Sound," San Francisco Art Institute; July 17, 1978

R-byte ist wurst, denn R-b’art, Mills College, Oakland; Mar. 29, 1979

R-byteÖ with Paul DeMarinis, Contemporary Arts Forum, Santa Barbara; Mar. 8, 1978

Improvisations in "Five Habitats" by Jock Reynolds, 80 Langton St., San Francisco; Mar 10 & 16, 1978*

Byte at the Opera, with Paul DeMarinis, Los Angeles Institute of Contemporary Art, June 12, 1977

Byte at the Opera, with Paul DeMarinis, 80 Langton St., San Francisco, Jan. 22, 1977*

NITEWIDDAMOOZ, "DFW/SFO," San Francisco Museum of Modern Art, Feb. 12, 1976*

Composition in Deed, "DFW/SFO," Fort Worth Museum of Art, TX; Aug. 27, 1975*

Chorus Line, Museum of Conceptual Art, San Francisco; Mar. 14, 1975

Composition in D, "South of the Slot," 63 Bluxome St., San Francisco; Nov. 4, 1974*

In Streets of Laredo by Paul DeMarinis, 1750 Arch St., Berkeley; Apr. 1974

In Hard Luck by John Fitz Gibbons, Pilot Hill, CA; May 1973

In Wheel of Life by graduate seminar with Wm. T. Wiley, University of California, Davis; May 1971

Assisted Jim Melchert, University Art Museum, Berkeley, Nov. 1970; Museum of Conceptual Art, San Francisco, Mar. 1971; de Saisset Gallery, University of Santa Clara, CA; Jan. 1974*

Watercolor Portrait, performed by Sara Estribou, Hansen Fuller Gallery, San Francisco; Mar. 1970

Assisted Allan Kaprow, Record, University of Texas, Austin; Apr. 1968*

LECTURES, PANELS, WORKSHOPS

Imagemaker and Ethics Panel, "Vision/Re-Vision," Southcentral Regional Conference, Society for Photographic Education, East Texas State University, Commerce, TX; Oct. 10-12, 1991

"Censorship and the Arts..." D.A.R.E. & Theatre Gemini at the Arcadia Theatre, Dallas, TX; May 18, 1991

"Alternatives for the Future: New Directions in Contemporary Art, Exhibition and Criticism," Contemporary Culture, Inc, Dallas Museum of Art; Apr. 27, 1991

Merged Media Digital Imaging Workshop, School of Visual Arts, NYC; Nov. 1990

Video Coordinator, Shakespeare’s The Tempest, College of Liberal Arts, University of Texas, Arlington; Nov. 1990

"3-D Space Tracings" with Ed Tannenbaum, Colossal Studios Cyberthon, San Francisco; Oct. 1990

Visiting Artist, Photography Department, Rhode Island School of Design; Apr. 1-5, 1990

"Devoted Strategies/Speculative Scenarios" Lecture Series, University of Illinois, Champaign; Nov. 16, 1989

Program Advisory Committee, Society for Photographic Education 1990 National Conference, Santa Fe, NM

Panel Organizer, "Electronic Imaging: Persistence of Memory/Persistence of Vision," Society for Photographic Education 1989 National Conference, Rochester. NY

Advisory Committee, The Orcas Conference: Creative Support for Creative Artists, New York Foundation for the Arts, Seattle, WA; Nov. 1988*

Digitography symposium, Houston Center for Photography; Oct. 21-22, 1988

Coordinator, Digital Photography Demonstration/workshop and Symposium, University of Texas, Arlington; Sept 9-10, 1988*

Panel, "Participatory Art," Precedings: Allan Kaprow Retrospective, CRCA Gallery, University of Texas, Arlington; Apr. 1988*

Panel, "Humor in Art," College Art Association 1988 National Conference, Houston, TX; Feb. 1988

Panel, "Changing Paradigms: Exchange/Production within Expanded Information Forms," Society for Photographic Education 1988 National Conference, Houston, TX; March 1988

Program Advisory Committee, Society for Photographic Education 1988 National Conference, Houston, TX*

Projects Selection Panel, Artpark 1988 Visual Arts Program, Lewiston, NY

Intermedia/New Genres/Artists’ Books Fellowship Panel, The Artists’ Foundation, Boston, MA; Apr. 1987

New Genres Fellowship Panel, Ohio Arts Council, Columbus; March 1987

"The Interdisciplinary Idea," Internal Affairs, Western Regional Conference, Society for Photographic Education, San Francisco; Oct. 31-Nov. 2, 1986*

Overview Panel Visual Arts Program, National Endowment for the Arts, Washington, DC; 1985, 1986

Individual Artists Fellowships Advisory Panel, California Arts Commission, Sacramento; 1986

Forum on Public Art, Artpark, Lewiston, NY; August 24. 1986

"Visual Arts Organizations: Past, Present, Future," Visual Studies Workshop, Rochester, NY; July 25-27, 1986*

"Imaginary Needs—Creative Support for the Creative Artist," New York Foundation for the Arts, Montauk, NY; May 68, 1986*

Interdisciplinary and Collaborative Forum, New Music America 1986, Diverse Works, Houston; Apr. 9-10*

Visiting Artist, University Art Gallery/Art Department, State University of New York, Binghamton, Mar. 3-8,1986

"Public Art Keeping Pace with Artistic Expressions," Visual Arts/Arts in Public Places Professionals Conference, Washington State Arts Commission, Seattle; Nov. 9, 1985

Visiting Artist, Fine Arts Dept., University of Colorado, Boulder, Oct. 27-Nov. 1, 1985

New Genres Panel, Visual Arts Program, National Endowment for the Arts, 1985

California Museum of Photography, UC Riverside; Jan. 24, 1985

Humboldt State University, Arcata, CA; Nov. 9, 1984

"Four Eyes, Three Deep, Two Ears," Society for Photographic Education Western/Southwestern Regional Conference, Incline Village, Nevada; Oct. 76, 1984

San Francisco Camerawork; Oct. 17, 1984

Artist Residencies Anniversary Symposium,The Exploratorium, San Francisco; Sept. 1984

"Visual ‘Sound’ Forum," New Music America ’84, Hartford CT; July 5, 1984

Panel, "New Directions in Education," Society for Photographic Education 20th National Conference, Philadelphia; March 18, 1983*

Closing Address, "ArtSpaces III," National Organization of Artists’ Organizations, Washington Project for the Arts, DC; June 1982

Sound-Art Workshop, Film in the Cities, St. Paul, MN; June 6, 1982

Center For Music Experiment, University of California, San Diego; May 21,1982

Coordinator, Visiting Artist Lecture Series, San Francisco Art Institute; Fall 1982

Albright-Knox Art Gallery, Buffalo; Jan. 18, 1981*

Stereo Photography Workshop, CEPA Gallery, Buffalo, NY; Jan. 17, 1981*

Photography Lecture Series, California Institute of the Arts, Valencia; Oct. 21, 1980

Art Access/Networking, International Computerized Teleconference for Art, Oct. 1980 (experimental computer/telephone linkage organized by Roy Ascott, Bath, U.K., with INFOMEDIA, San Mateo, CA and National Endowment for the Arts)*

Contemporary Arts Museum, Houston; Aug. 1980*

Wesleyan University, Middletown CT; Apr. 1980

Visiting Artist, consortium of Washington State University, Pullman; Eastern Washington State University, Cheney; University of Idaho, Moscow; Jan. 1980

"The New Arts Space," First National Conference of Alternative Art Spaces, Los Angeles Institute of Contemporary Art, Santa Monica, CA; Apr. 1978*

Panel, Research Division, Aug. 1978; Panel, Workshop and Alternative Spaces, Visual Arts Division, Dec. 1977; National Endowment for the Arts, Washington, DC

Other visiting artist lectures presented at School of Visual Arts, NYC, 11/3/89; Franklin and Marshall College, Lancaster PA, 11/1/89; St. Lawrence University, Canton, NY, 4/89; San Francisco Art Institute, 2/89; The Museum School, Boston, 3/86; NYSCC, Alfred, 3/86; CSU Sonoma, 12/84; SUNY, Buffalo, 1/81; CSU, Sacramento, 4/81; Hartford Art School, 4/81; Miami-Dade South College, 3/81; North Texas State University, Denton, 2/80; University of Oklahoma, Norman, 11/77; San Jose State University, 9/74; University of Santa Clara, ’72 & ’86; UC, Berkeley, ’74 & ’78; CSU, San Francisco, ’78 & ’86

WRITING, BOOKWORKS, TAPEWORKS

Curator’s statement, ...Public Notice: Photomontage of John Heartfield and Klaus Staeck, Center for Research in Contemporary Art, University of Texas, Arlington; Jan. 1992*

"An Afterword" (along with "RUSHMORE—Another Look") in New Perspectives in Public Art: Content, Context, and Controversy, edited by Harriet Senie and Sally Webster, Harper Collins, NY; Fall 1992*

"Sum notes..." essay for Pat Oleszko catalog, Center for Contemporary Art, Santa Fe, NM; Mar. 1991

"Black Box S-thetix: Labor, Research, and Survival in the He[Art] of the Beast," Technoculture, ed. by Constance Penley and Andrew Ross, University of Minnesota Press; Spring 1991

"Thinking Ahead," New Langton Arts: The First Fifteen Years, San Francisco, CA; Sept. 1990

"Gefangene Bilder, Fluchtiges Gedachtnis, Digitale Fotografie, Neue Montagen" (German translation of Digital Photography catalogue essay), Weiterbildung und Medien, Marl, FRG; May 1989

"The Hartford Address," with Jon English (computer speech/electronically processed version), on FALSE PHONEMES/Tellus, the Audio Cassette Magazine, #22, Spring 1989

Introduction, 1988 ARTPARK Visual Arts Program catalogue, Lewiston, NY; Spring 1989

Stereo Views, three Viewmaster reels with catalogue/viewer, pub. by Light Work: Syracuse, NY, Oct. 1988

Editor/Essay, Digital Photography: Captured Images/Volatile Memory/New Montage catalogue, SF Camerawork; June 1988

"Reflections on the perils of specialization and the dubious wisdom of stockpiling investments in media specific histories and other special interest memorabilia," exposure; Spring 1987

"Provocative Apocrypha," Afterimage; Oct. 1986

"Erregende Vibrationen" (German translation of Lucier report), MusikText 16: Zeitschrift f¸r Neue Musik, Cologne, FRG; Oct. 1986

"A Proposal" and "On Fellowships..." for Imaginary Needs—Creative Support for the Creative Artist, an invitational conference by the New York Foundation for the Arts, Montauk NY; May 6-8, 1986*

Reading Lessons and Eye Exercises, 3-D artist’s book bound with Kenneth Shorr’s Ethical Idiocy Esthetic Blindness, California Museum of Photography, University of California, Riverside; Fall 1985

"High Technology Stocks & Bonds," SPECTACLE, a Field Journal from Los Angeles, "Special Effects" No. 4; 1985

Listen to the Rhythm of the Reign, 25-minute videotape produced at Visual Studies Workshop, Rochester, NY, postproduction at Bay Area Video Coalition, San Francisco: Blind Snake Blues Press, 1985

ZOOM BI-SPEEL: Soundworks by Jim Pomeroy, 60-minute audio cassette, Blind Snake Blues Press; 1985

"Token Dreams," performance text, San Francisco Cinematheque/Video Free America; February 10, 1985

"The Hartford Address" with Jon English, for Real Art Ways during New Music America, Hartford, CT; July 6, 1984

"Mantra of the Corporate Tautologies," artist’s statement, SOUND/ART catalogue, SoundArt Foundation, NYC; May 1984

"Like a Razor to a Razor Blade Company: Technology, Profit, and the Friendly User at the Cutting Edge," Afterimage; Apr. 1984

"It’s Only a Baby Moon," artist statement/installation audiotext, ZONE, Springfield, MA; Nov.-Dec. 1983

APOLLO JEST: An American Mythology (in depth), eighty-eight stereoscopic bubblegum cards, Blind Snake Blues Press, San Francisco; May 1983

"Light at the Opera/Composition in Deep," High Performance #17/18; Spring-Summer 1982

Introduction to "Form Follows Finance," by Connie Hatch, OBSCURA, Journal of the Los Angeles Center of Photographic Studies, Apr. 1983; also San Francisco Camerawork, May 1982

"Alvin Lucier," 80 Langton St. Residence Program, 1981, published by 80 Langton St., San Francisco; Oct. 1982

"C0nf@$#!0n$ Of @ Benign Re@c+!0n@ry," SOUNDINGS TWELVE, Santa Fe, NM; June 1982

"Reflections on Art, History, and Santa Claus," LAICA Journal, Los Angeles; Apr. 1982

"Ruminations on Mythology, Pluralism, and a Non-Linear Precursor," New Music America, 1981; New Music Alliance, San Francisco, June 1981

Artist’s Statement, A Sound Selection, University of Hartford/Hartford Art School; Jan. 1980

Artist’s Statement. SOUND catalogue, Los Angeles Institute of Contemporary Art; July 1979

Artist’s Statement with MAKING THE WORLD SAFE FOR GEOMETRY and CONSIDERABLE SITUATIONS, stereoscopic photographs exhibited at Massachusetts Intitute of Technology, July 1979; University of California, Santa Barbara, Nov. 1979

"A Conversation" with Regan Louie, S.F.A.EYE; May 1979

"Re the Production of Work in the Age of Mechanical Art," LAICA Journal; Oct./Nov. 1979

"Viewing the Museum, The Tale Wagging the Dog," The New Arts Space, Los Angeles Institute of Contemporary Art, Apr. 1978; Cairn—Journal d’une coˆpÈrative d’artistes, No. 5, 1980, Paris (French translation)

RUSHMORE: Another Look, essay and exhibition catalogue, San Francisco Art Institute; Nov. 1976*

BIBLIOGRAPHY since 1977

"PORTFOLIO: Jim Pomeroy’s Dimensions of Dementia," Kinney Littlefield: Dallas Life Magazine, Dallas Morning News, Dec. 1, 1991

"AIR: JIM POMEROY," Contact Sheet #6, Light Work, Syracuse, NY, June 1990

"Toys ’R Art—Disk Drives Collectors," Russell Hart: American Photographer, May 1989

The Photographer’s Source: A Complete Catalogue, Henry Horenstein: Fireside/Simon & Schuster Inc., NY, 1989

Photography and Performance, exhibition catalogue, Anita Douthat & Clair Peeps essays: Photographic Resource Center, Boston, 1989

A Century of Sculpture in Texas, 1889-1989, Patricia D. Hendricks and Becky Duval Reese: Archer M. Huntington Art Gallery, University of Texas, Austin, 1989

Photos in chapter 5, "Special Cameras," The Creative Camera, Nancy Howell-Koehler: Davis Publications, Inc., Worcester, MA, 1989

"From Daguerrotype to Digital Photography?" Joanne Lukitsch: SPOT, Winter 1988

"Photographs Give Chilling Look at Future," Janet Tyson: Fort Worth Star Telegram, Sept. 26, 1988

"Machine Dreams," Christine Tamblyn: Afterimage, Sept. 1988

"Macintosh Enhances Creativity," Mikkel Aaland: MacWEEK, Aug. 23, 1988

"High Tech Comes Down to Earth...," Liz Lufkin: San Francisco Chronicle, July 17, 1988

"Art and The Electron," Jim Jordan: Artweek, June 15, 1988

"Contra-Positions," Joan Seeman Robinson: SPOT, Summer 1988

"Gentle Master of Hit-and-run Mockery," Richard Huntington: Buffalo News, May 27, 1988

"Artpark Sculpture Needs Direction," Richard Huntington: Buffalo Courier-Express, Aug. 16, 1987

"Jim Pomeroy ‘The Winner of Our Dis-Content’" by Alfred Jan: High Peformance #35, 1986

The Magic Lantern: Recent Slide Shows, by John Bloom and Jeanne Finley: catalogue, SF Camerawork, Oct. 1986

New Music America 1986, festival catalogue, The Houston Festival Foundation

"Anaglyphic Ironies from CMP," John Dennis: Stereo World, Nov/Dec.1985

"New Music America Festival Catalogue": High Performance #31, 1985

"Apollo Jest" reviewed by Samantha Clark Whitney: Afterimage, Summer 1985

"Token Dreams," Carl Heyward: High Performance #30, 1985

"Art Snickers," Peter Belsito: High Performance #28, 1984

"High Order Fetish and Subtle Wailing," Marina LaPalma: High Performance # 27, 1984

"New Music: Festival Marches on in Hartford," by John Rockwell: New York Times, July 5,1984

"A Decade of New Art at Artists’ Space," by Steve Whitesell: Arts Extra, WBAI, NYC, broadcast June 1984

"No Place Like Dome: Jim Pomeroy at Langton Arts," Melinda Levine: Focus, Apr. 1984

"Projections and Installations," Anthony Reveaux: Artweek, Apr. 14, 1984

"Pomeroy’s Sassy Show," Robin Karson: Springfield, MA Sunday Republican, Dec. 4, 1983

"Attractive Blind Alleys," Colin Gardner: Artweek, June 4, 1983

"Lost in Space: Apparatoids Gawk," David Trend: Afterimage, May 1983

"Performance Art in the San Francisco International Theatre Festival," Linda Frye Burnham, and "A Report On ARTSPACES III," Janet Ventura: High Performance, Issue 19 (V.51, # 3, 1982)

"View from Within," Kathi Norklun: Artweek, Nov. 7, 1981

"Music of Jim Pomeroy, Carlos Santos, and Paul William Simon," Program Two of Concerts By Composers, produced by Steve Cellum: Radio Experimental Intermedia, NYC, national distribution Summer 1981

"Turning on Laughs, Electronically," Robert Commandy: San Francisco Chronicle, June 12, 1981

"Spiegel, Pomeroy Headline Rich Program," Charles Shere: Oakland Tribune, June 11, 1981

"Music, Quality in All Varieties," Richard Pontius: San Francisco Examiner, June 11, 1981

"The Art Is the Performance," Peter Garland: Santa Fe Reporter, Apr. 16, 1981

SPACE/TIME/SOUND, Conceptual Art in the San Francisco Bay Area: The’ 70s, Suzanne Foley: San Francisco Museum of Modern Art, University of Washington Press, Seattle and London, 1981

"A Month of Performance Art," Robert Atkins: San Francisco Bay Guardian, Feb. 11, 1981

"Entertainment and Boredom in Two Acts," Mary Stofflet: Artweek, Feb. 28,1981

JIM POMEROY: 3-D Photos, catalogue and interview by Susan Krane: Albright-Knox Art Gallery/CEPA/HALLWALLS, Buffalo, 1981*

"Pomeroy Tops as Master, Jester," Richard Huntington: Buffalo Courier-Express, Jan. 17, 1981

New Music Performances at P.S. 1, documentary video tape: Communications Dept., Long Island University, Brooklyn Center, 1980

"Space/Time/Sound—1970s; A Decade in the Bay Area," by Mary Stofflet: images and issues, Summer 1980

"Six Counterformalists," Mindy Lorenz: Artweek, Nov. 24, 1979

"October a Feast for Photography Fans," Kyra Montagu: Boston Ledger, Nov. 1,1979

"Can You Hear The Music," Kay Larson: Village Voice, Oct. 29, 1979

"Sounds Like...," John Perrault, Soho Weekly News, Oct. 25, 1979

"Some Notes on Invention Art," Patrick Ready: Only Paper Today, Summer 1979

"And It Comes Out Here," Suzanne Muchnic: Calendar, Los Angeles Times, Aug. 12, 1979

"The Shapes of Sound," Adrienne Rosenthal: Artweek, Aug. 11, 1979

"SOUND," Richard Armstrong, SOUND catalogue and LP produced by Bob Wilhite: Los Angeles Institute of Contemporary Art, July 1979

"Jim Pomeroy at Artists Space," Jill Silverman: Art In America, Mar./Apr. 1979

"From New York" Judith Aminoff: FLASHART, Jan. 1979

"Jim Pomeroy at Artists Space," Carrie Rickey: Artforum, Jan 1979

Artists Sheet, MATRIX catalogue, Andrea Keller: Wadsworth Atheneum, Hartford, CT, Nov. 1978

Artists Sheet, MATRIX catalogue, Michael Auping: University Art Museum, Berkeley, Sept. 1978

"Conjunctions of Art and Science, "Judith Dunham: Artweek, May 6, 1978

"Toward a History of California Performance," Moira Roth: ARTS Magazine, Feb. 1978

"Byte at the Opera," High Performance, Feb. 1978

The Rubber Stamp Album, Joni Miller and Lowry Thompson: Workman Publishing, NYC, 1978

"Byte at the Opera," EAR, Sept./Oct. 1977

"Rooms with a Point of View," Ray Larson: Art News, Oct. 1977

"Report From San Francisco," Carter Ratcliff: Art in America, May/June 1977

CURATORIAL or ORGANIZATIONAL

Curator ...Public Notice: Photomontage of John Heartfield and Klaus Staeck, Center for Reserch in Contemporary Art, University of Texas, Arlington; Jan. 1997*

Technical Advisory Board, Arts Wire, New York Foundation for the Arts; 1991

Collection loaned to American Gothic and Mt Rushmore: From Art to Icon, J. M. Kohler Arts Center, Sheboygen, WI; May-June 1990

Artist Advisory Committee, Dallas Museum of Art; Feb. 1990 to [1991]

Co-curator w/Marnie Gillett, Digital Photography: Captured Images/Volatile Memory/New Montage, SF Camerawork, 6/88; toured CRCA/UTA, 9/88; Houston Ctr. Photography, 10/88; CEPA Gallery, Buffalo, NY 12/88; Museum Folkwang, Essen, West Germany, 3/89; Museet For Fotokunst, Odense, Denmark 7/89; Perspektief, Rotterdam, Holland, 10/89*

Exhibition and Planning Committees, Board, SF Camerawork; June 1986 to [1991]

Advisory Board, CEPA Gallery, Buffalo, NY; 1987

Editorial Board, exposure, quarterly journal published by the Society for Photographic Education; 1985 to [1991]

Guest curator, Tenth Anniversary Exhibition, New Langton Arts, San Francisco; June 1985

Coordinator, Masters ’85, 60+ MFA shows, Pier II/Fort Mason, San Francisco Art Institute; May 1985

Advisor, New Music America 1981, Robin Kirck Director

Guest Curator, Altered Photography, Project Studios One, Long Island City; May 1979

Chairman, San Francisco Art Institute Annual, Fort Mason San Francisco; June-Aug. 1977

Curator, RUSHMORE: Another Look, San Francisco Art Institute; Nov. 1976

Founding Member/Vice President, 80 Langton St., San Francisco; May 1975-Sept. 1976

EXPERIENCE

Associate Professor, Department of Art and Art History (Video Art/Photo), University of Texas at Arlington; 1987 to [1991], tenured 1990

Consultant, Seattle Design Team, Campus Mall Competition, Washington State University, Pullman, on-site charette Sept.-Nov. 1989

Visiting Artist, Visual Arts Faculty (Performance Art), Minneapolis College of Art and Design; Spring 1987

Faculty, Sculpture Department, San Francisco Art Institute, 1977-87; chair 1977-79; also taught Printmaking, Photography, & Humanities

Faculty, Photography Department, California Institute of the Arts, Valencia; 1982-83

Board of Trustees, Artist Member, San Francisco Art Institute; 1975-78

Adjunct faculty, Creative Arts Interdisciplinary Department, California State University, San Francisco; Fall 1975

Faculty, Art Department, California State University, Sacramento; Spring 1975

Adjunct faculty, Art Department, San Jose State University; 1974-76

Performance and Installation Photographer; 1970-[1991]

Senior Preparator, University Art Museum, Berkeley; 1970-74

Teaching Assistant, Art Department, University of California, Berkeley (w/ Jim Melchert & Brian Wall); 1970-72

Television Illustrator, U.S. Army Transportation Corps, Ft. Eustis, VA, 1968-69, Sp/4th Class (ret.), Honorable Discharge

COMMISSIONS

Baby MoonÖStone Mtn. Georgia, 6/29/90, print edition: Light Work Gallery, Syracuse, NY, Nov. 1990

IKONIKIRONIK, Performance on Photography, Photographic Resource Center, Boston; Feb. 3, 1989*

Cover illustration, The Future of an Illusion, Constance Penley: University of Minnesota Press, Spring 1989

It’s Only a Baby Moon, multimedia installation funded by Massachusetts State Arts Council New Works Program, commissioned by ZONE Art Center, Springfield, MA; residency during Nov. 1983

Cover Graphics, SOUNDINGS TWELVE, Santa Fe, NM ; June 1982*

DOUBLE READ FOR DUBBLED REEDS for SLOBOE and (tape) recorders, instrument/composition for Joseph Celli, Hartford; June 1980

Light Weight Phantoms, stereoscopic performance drawings/installation, The Exploratorium, San Francisco (funded in part thru NEA Artist in Residence Program); fabricated July 1976-Mar. 1977*

Edition of 150 unique catalogue binders: Society for the Encouragement of Contemporary Art, San Francisco Museum of Art, 1973*

GRANTS and FELLOWSHIPS

Independent Production Grant, Southwest Alternative Media Project (SWAMP), Houston, TX, 1991-92

Artist in Residence, Light Work Gallery, Syracuse, NY, May-June 1990

Project Artist, Artpark Lewiston, NY, Summer 1987

Artist in Residence, Visual Studies Workshop, Rochester, NY, June 1985

Artist in Residence, Keystone-Mast Collection, California Museum of Photography, UC Riverside, Jan. 1985

Visual Arts Fellowships—New Genres, National Endowment for the Arts, 1974-75, 1979-80, 1983-84

Eisner Prize, University of California, Berkeley, 1970

COLLECTIONS

The Exploratorium, San Francisco

Fort Wayne Museum of Art, IN

Longview Museum, Longview, TX

Mildura Art Center, Victoria, Australia

Levi Strauss & Co., San Francisco

University Art Museum, University of California, Berkeley

California Museum of Photography, University of California, Riverside

University of Niagara, Niagara Falls, NY

Private Collections

ASSOCIATIONS

New Langton Arts, San Francisco (co-founder)

The Exploratorium, San Francisco

Society for Photographic Education (advocacy committee)

Photographic Resource Center, Boston

San Francisco Cementwork (board)

Visual Studies Workshop, Rochester NY

CEPA, Buffalo, NY (advisory board)

Association of Independent Video and Filmmakers

National Campaign For Freedom of Expression

National Association of Artists’ Organizations