Faith Wilding

Faith Wilding’s (b. 1943) work has been exhibited extensively over the last five decades including the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery. Additionally, Wilding’s work has been exhibited at Reina Sofia Museum (Madrid); Centre for Contemporary Arts (Glasgow); Bronx Museum of Art (New York); The Whitney Museum of American Art (New York); the Armand Hammer Museum (Los Angeles); The Drawing Center (New York); Documenta X (Kassel); the Singapore Art Museum. Publications include By Our Own Hands: The History of the Women Artists Movement in Southern California, 1970-76 (Double X, 1977) and Domain Errors! Cyberfeminist Practices! (Autonomedia, 2003). Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of two individual media grants from the National Endowment for the Arts. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Most recently, her work was included in “Fiber: Sculpture 1960 to Present” exhibition that originated at the ICA in Boston; her Crocheted Environment, 1972/1995, was shown in “Art Textiles” at The Whitworth Gallery in Manchester, England (where it graced the cover of the catalog); and documentation of the The Sacrifice (1971) was featured in “Axis Mundo: Queer Networks in Chicano L.A.”, organized by the Museum of Contemporary Art, Los Angeles.

 

EXHIBITIONS

Scriptorium Revisited, February 9 – March 9, 2019.

Faith Wilding

1943
Born in Paraguay
Lives and works in Rhode Island

Education

1971-1973
MFA-Visual Art, California Institute of the Arts, (Feminist Art; Performance; 2D; Critical Studies).
1969-1971
Postgraduate Studies in Studio Art and Art History, California State University, Fresno.
1966-1968
BA (Honors, English) University of Iowa, Iowa City, (English, Comparative Literature, Blake Studies).

Exhibitions: Solo or Collective Featured Installations, Performances

2019
Scriptorium Revisited, Anat Ebgi, Los Angeles, CA
2018
Art Basel Miami Beach, with Anat Ebgi, Miami, FL
Fearful Symmetries, Carnegie Mellon University, Pittsburgh, PA
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
2017
Un-Natural Parables, Western Exhibitions, Chicago, IL
2016
“Fearful Symmetries” University of Houston, Texas
2015
“Fearful Symmetries” Pasadena Armory Art Center
“Imago Femina” solo show, Loudhailer Gallery, L.A.
2014
“Fearful Symmetries” retrospective, 3 Walls, Chicago
“Fearful Symmetries” retrospective, Rhodes College, Memphis
2011
“Feminist Matter(s): Propositions and Undoings” (installation)
Pittsburgh Biennial, Miller Gallery, (Sep-Dec, 2011) subRosa.
2010
“The Long Loch: How do We Go On From Here”, CCA, Glasgow
International, (Installation and paintings) with Kate Davis
2009
“A Studio of Their Own”, Fresno Museum of Art, Fresno, CA
“Re-Act Feminism”, (performance) Akademie der Künste, Berlin
“Cell-Track: DIY Cell Lab”, (performance) Vitoria, Spain, sR
“Miss-Placed Women”, (performance) PSi conference, Zagreb, sR
2008
“WACK! Art and the Feminist Revolution”, PS 1 New York, (performance/Womb Room) and at Vancouver Art Gallery, Vancouver, Canada.
“A Week With/Without Women”, Academy of Arts, Zagreb, sR (Performances and installation at Gallery Nova).
“Gestations” New York University at Skopje, Macedonia (performances)
““Gender Battle” Centre for Contemporary Art, Santiago de Compostela (drawings, photos)
U-GEN-A-Chix” Performance, City of Women Festival, Ljubljana, Slovenia, sR
2007
“WACK! Art and the Feminist Revolution.” MoCA, LA (Perform/Installation) “Womb Room”
“Artist Body,” Centre d’Art Contemporaine, Geneva (performance/video)
“Feast of Affects,” Feeltank, Gallery 400, Chicago, IL (subRosa performance and installation)
“Encore” Gallery 4000, Chicago, IL , (“Wait-With” performance)
2006
“Love is Strong as Death,” (sR,Perform/Installation), Brown University
“Yes Species” Contemporary Art Space (EACC), Castellon, Spain (sR)
“Full Frontal,” Corbett vs. Dempsey Gallery, Chicago, IL, (drawings)
2005
“Yes Species,” (Performance and Installation), 1-0-1 Intersex, Neue Gesellschaft für Bildende Kunst, Berlin, Germany. (sR)
“EPIDERMIC: DIY Cell Track Lab” and “Cell Track: Mapping the Appropriation of Life Materials,” ( Performance/Installation), in YOUGenics, exhibition curated by Ryan Griffis, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL.(sR)
“International Markets of Flesh 2,” (Performance), Arte Nuevo InteractivA’05, Merida, Mexico. (sR)
2004
“Can You See Us Now?” (Installation & Performance),
The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams, MA. (sR)
“Infecting the Sick Society: Performance as Virus” and “Mapping Biopower: a guided walk with subRosa,” (Performances), Crossroads in Cultural Studies Conference, University of Illinois, Urbana-Champaign, IL.
“Cell Track: Mapping the Appropriation of Life Materials,” (Exhibition) Biennial of Electronic Art, Perth, Australia. (sR)
2003
“YOUGenics: Exploring the Social Implications of Genetic Technologies,” (Performance), Southwest Missouri State University, Art and Design Gallery, Springfield, Missouri.
“International Markets of Flesh,” (Performance), Ex Teresa Arte, Mexico City. sR
“Cloning Cultures,” (Performance), La Salle, SIA School of Art, Singapore. sR
“Matrixial Technologies,” (Artist Residency), National University of Singapore. sR
“The Spaces Between Us,” (Exhibition/Performance), Kunsthaus, Dresden (Drawings, Paintings, Sculpture)
2002
“Biopower Unlimited!,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Sex and Gender in the Biotech Century,” (Performance) with subRosa, St. Mary’s College, Maryland. sR
“US Premium Grade AAA Eggs,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Virtual Maintenance,” (Internet and Live Performance) with Marion von Osten, Institut fuer Buechkunst und Grafik, Leipzig, Germany.
2001
“Expo EmmaGenics,” (Commissioned Performance) with subRosa, Intermediale, Mainz, Germany. sR
“subRosa Projects,” International Sculpture Conference, PGH, PA.
“Double/Shift,” (Commissioned Performance), Custom House, Singapore. (Performance with Marge Yun)
“Knowing Bodies/Embryoworld,” (Painting Installation), SNACC, Winnipeg.
“Duration/Maintenance,” (Performance), Art and Design Institute, Zurich. (Solo performance)
“Vulva de/reConstructa,” (Video Screening), Akademie der Bildenden Kuenste, Vienna, Austria; Kunsthaus, Bremen, Germany.
Poster Performance, Very Cyberfeminist International, Hamburg, Germany. sR
2000
“Die Verletzte Diva,” (Drawing Installation), Taxispalais, Innsbruck.
“Knowing Bodies,” (Installation), Miller Gallery, Carnegie Mellon. sR
“Cult of the New Eve” (Performance) with CAE, Museum of Contemporary Art, Toulouse, France; Expo 2000, Brussels; Steirischer Herbst, Graz, Austria.
“Sex and Gender Ed in the Biotech Century,” (Commissioned Performance), Digital Secrets Think Tank, Arizona State University, Tempe, AZ. sR
1999
“Duration Performance,” Rensselear Institute of Technology, NY.
“Cult of the New Eve,” (Performance) with CAE, Zentrum fuer Kunst und Medien, Karlsruhe, Germany; and at Festival Atlantico, Portugal.
1998
“Embryoworld,” (Installation) Art Gallery, SUNY, Old Westbury, NY. (solo show, paintings, installation of objects)
“Duration Performance: The Art of Data Maintenance,” (solo Performance/Lecture), Ars Electronica Center, Linz, Austria.
l997 “Embryoworld,” (Installation) for Terra Firma, University of Maryland, College Park. (drawings/paintings)
“Embryoworld,” (Installation), University of Maryland, Salisbury, MD.
1996
“Womb Room,” (Installation) for Divison of Labor: Women’s Work in Contemporary Art. Museum of Contemporary Art, LA, CA.
“Fashions of Feminism,” Reed College Museum. Reed College, Portland. (Drawings/paintings/collages)
1995
“Womb Room and WomEnhouse,” (Installation), Division of Labor: Women’s Work in Contemporary Art, Bronx Museum of Art, NY.
1990
“Frontispiece,” (Artist Books), Minnesota Center for Book Arts, Minneapolis, MN. (Artist bookworks)
1987
“Flux Performance,” (Performance), Academy of Art, Warsaw, Poland. (assist Joan Jonas)
1989
“Daily Text,” (Etchings), Printmaking Workshop, NYC
1983
“Scriptorium,” (Installation) for At Home, Long Beach Museum of Art, Long Beach, CA. (Paintings, drawings)
1982
“Natural Parables,” (Paintings), Whitman College, WA. (paintings)
1981
“Leaf,” (Painting Installation), Libra Gallery, Claremont Grad School.
“The Incredible Shrinking Lunch,” (Performance), LACE gallery, LA, CA.
“Virginia and Emma: A Vision of Art and Politics,” (Performance), Orange County Contemporary Arts Center, Los Angeles, CA.
“Haunted Womanhouse,” (Environment/Performance), Los Angeles.
1980
“Invitation to a Burning” (Installation / Performance), Woman’s Building, Los Angeles, CA.
“Seedworks,” (Performance), United Nations Conference on Women, Copenhagen, Denmark.
“HungerStrike,” (Performance), Contemporary Arts Center, New Orleans, Louisiana.
1979
“Imago Femina,” (Paintings/Commissioned Live Performance), Douglass College, Rutgers University, NJ.
1978
“Bird of Paradise,” (Paintings/Drawings), University of California, Irvine, CA.
“Works of Nature,” (Painting Installation), Gallery 8, Pasadena, CA.
1976
“Forms of Aspiration,” (Prints/Drawings), Canis Gallery, Los Angeles, CA.
“Leaf Goddesses,” (collaborative Paintings), Woman’s Building, Los Angeles, CA.
“Emergences,”(Paintings/Constructions), Gallery 25, Fresno, CA.
1975
“Cracks in the Carapace,” (Paintings), Grandview Gallery, Los Angeles, CA.
1973
“Chambers,” (Installation), MFA show, Cal Arts, Los Angeles, CA.
1972
“Waiting,” (Performance), Womanhouse, Los Angeles, CA.
1971
“Sacrifice”(Installation/Performance), Feminist Studio, Fresno, CA.
1971-1972
Collaborative Performances with Feminist Art Program at UC Berkeley, Oakland Art Museum, and California State University at Fullerton.

Selected Group Exhibitions

2019
Frieze Los Angeles, with Anat Ebgi, Los Angeles, CA (Forthcoming)
2018
Still I Rise: Feminisms, Gender, Resistance, Nottingham Contemporary, Nottingham, UK; also traveled to De La Warr Pavillion, Bexhill-on-Sea, UK (catalog)
Axis Mundo: Queer Networks in Chicano L.A., Hunter College, New York, NY (catalog)
2017
Axis Mundo: Queer Networks in Chicano L.A., Museum of Contemporary Art, Los Angeles, CA (catalog)
2018
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
2015
“Art_Textiles”, Whitworth, Manchester, Gt Britain, (Womb Room)
2013-2014
“Fiber Sculpture” Ohio, and Des Moines, (Womb Room)
2012
“Fiber Sculpture” ICA, Boston (Womb Room)
2011
“Dance/Draw”, ICA, Boston, (Crocheted Environment), catalog
“Propositions” subRosa installation/performance, Pittsburgh Biennial
2009
“Cell Track”, Softpower I, Vitoria-Gasteiz, Spain sR
2008
The Way That We Rhyme,” Yerba Buena Center for the Arts, SF, (subRosa Performance/Installation)
“Deliciously Disposable Earth,”Three Rivers Art Gallery, Pittsburgh, (install)
2006
Video screenings of “Waiting” and subRosa work
2005
“Thought Crimes: The Art of Subversion,” DiverseWorks, Houston, TX. sR
2004
“Mapping_Part_II,” Mess Hall, Chicago, IL.
2003
“Field of Actions,” (Video Screening of “Expo EmmaGenics” and “Sex & Gender”), The Bass Museum of Art, Miami Beach, Florida
2002
“Activist Art,” subRosa Installation at Cornish College of Art, Seattle
1999
subRosa Campaign (Performance), Next Five Minutes, Amsterdam.
1998
“Duration Performance” (Computer Animation), Work & Culture show, Landesmuseum, Linz, Austria.
1997
“Cyberfeminism and the Body” (Multimedia Presentation), First Cyberfeminist International, Hybrid Workspace, Documenta X, Kassel, Germany.
“Body,”(Prints/Collages), Samuel Lallouz Gallery, Montreal,Canada.
“Interiors,”(Installation), Pittsburgh Center for the Arts, PA.
“Flesh Machine,” (Performance with Critical Art Ensemble) at Public Netbase, Vienna, Austria, and in Graz, Austria, and in Ljubliana, Slovenia.
“re-Tracing,” (Installation), Center for Art and Architecture, LA.
1996
“Sexual Politics,”(Paintings), Armand Hammer Museum, UCLA.
“Feminist Directions,”(Collages/ Wound Installation), Sweeney Gallery, UC Riverside, CA.
“8 Artists,” (Paintings), Brew House, Pittsburgh, PA.
1995
“The House Project,”(Installation), Museum of Contemporary Art, LA.
“Next of Kin,” (Drawings), Bronwyn Keenan Gallery, NYC..
1994
“Six Artists,” (Drawings/Collages), Bronwyn Keenan Gallery, NYC.
“Women’s Work,”(Collages), Roger Smith Gallery, NYC.
“A Decade of Women’s Performance Art,” Los Angeles, CA.
1993
“Immanent Domain,” (Collages), The Drawing Center, New York.
“Cadavre Exquis,” (Collage), The Drawing Center, New York, and traveled to the Corcoran Gallery of Art, The Foundation for Contemporary Art (Mexico City), The Santa Monica Museum, and the Forum (St. Louis, MO).
“The Abject in American Art” (video) Whitney Museum of Art, NY.
“Things to make our eyes happy,” (Collages), Muranushi Lederman Gallery, NY.
1992
“20th Anniversary Show,” Douglass College, Rutgers University, NJ.
“Sexual Harrassment,” (Collages), Triplex Gallery, NYC..
“10 Steps” (Painting Installation), Horodner Romley Gallery, NYC.
1990
“Sex and Subtext,”(Paintings), Ceres Gallery, NY.
1989
“Symbolism,” (Paintings), Cooper Union School of Art, NYC.
“Artists and the Book,”(Bookworks), NY Center for Book Arts.
1988
“Books and Pages,” (Bookworks), Cooper Union, NY.
“Leaves,”(Painting Installation), Herter Gallery, Mt. Holyoke, MA.
1987
“Passages,” (Paintings), Fresno Art Museum, Fresno, CA.
1986
“Important Americans,”(Paintings) ACA Gallery, NYC.
“Let’s Play House,” (Sculpture), Bernice Steinbaum Gallery, NYC.
1985
“State of the Art,” (Paintings), Federal Reserve Bank, Boston, MA.
“Animal as Metaphor,” (Paintings), Clark Gallery, MA.
1984
“Emerging Massachusetts Painters,” Boston Museum of Fine Arts, Boston, MA.
“Associates Show” (Bookworks), AIR Gallery, NYC.
1983
“Natural Parables,”(Installation), Occidental College, Los Angeles,
1982
“Visiting Artists,”(Installation), Montgomery Gallery, Pomona College.
1981
“Feminist Art of the 80’s,” Center for the Arts, Muhlenberg College
“Women Artists’ Retrospective,” Rutgers University, NJ.
“Heresies,” (Bookworks), Grey Art Gallery, NYC.
1980
“A Decade of Women’s Performance Art,” Contemporary Arts Center, New Orleans, LA.
“Artist as Magus,” (Installation), Woman’s Building. Los Angeles, CA.
1979
“intimate concerns,” University of New Mexico, Albuquerque, NM.
1978
“The Center,” (Paintings), Anhalt/Barnes Gallery, Los Angeles, CA.
“Metamagic,” (Paintings), UC Dominguez Hills, CA.
“XX+,” (Installation), LACE Gallery, Los Angeles, CA.
1977
“Contact: Women and Nature,” (Paintings), Greenwhich Museum, CT. (curated by Lucy Lippard).
“20 Artists,” (Drawings), Arco Plaza, Los Angeles, CA.
1975
“Woman as Viewer,” (Paintings), Winnipeg Museum of Art, Canada.
“Artist’s Choice,” (Paintings), Rental Galleries, LACMA, CA.
“20 Perspectives,” Floating Wall Gallery, Santa Ana, CA.
“Female Imagery,” Clark Humanities Museum, Scripps College, Claremont, CA.
1972 “Womanhouse,” (Feminist Collaborative Environment), Mariposa Street, Los Angeles, CA.
“Female Sexuality, Female Identity,” Womanspace Gallery, LA.
“National Women’s Invitational,” SUNY, Buffalo.
1971
“Slaughterhouse,” (Performance/Film) with Judy Chicago, Fresno, CA.

Grants, Commissions, and Awards

2015
Art Matters Grant (individual)
2014
Life-Time Achievement Award, Women’s Caucus for Art, CAA
2009
Guggenheim Fellow
2008
Grainger Research Grant, SAIC (individual)
2006
Faculty Enrichment Grant, SAIC (individual)
2005
Pennsylvania Council for the Arts grant, Performance, (subRosa).
2002-2005
Creative Capital, NY, (grant): Emerging Fields, (Wilding & subRosa).
2001
Pennsylvania Council for the Arts grant, Performance, (subRosa).
Expo EmmaGenics, commissioned by Intermediale, Mainz, Germany
2000
Digital Secrets Commission, ASU, Tempe, Arizona.
1998
Pennsylvania Council on the Arts Grant for works on paper (individual)
1992
NEA Individual Media Grant for Drift(hers): A Radio Romance.
1990
NEH Media Fellowship (with Everett Frost) for radio series Soundplay, broadcast nationally on NPR and in Europe.
1983
NEA and California Arts Council Grants for SoundArt radio series. (with Everett Frost).
1987
NEA Grants (with Everett Frost) for The Beckett Festival of Radio Plays.
1988
NY State Foundation for the Arts Fellowship in Artist Books.
NEA Individual Media Grant for radio drama “Hildegard and I,” broadcast nationally by NPR.
1987
Commission for radio drama “Hildegard und Ich,” from WDR Cologne, and RIAS Berlin. Broadcast in Germany and Austria.
Fluxus Visiting Artist Residency, Warsaw, Poland.
1984
Massachusetts Artist Fellow.
1976
California Arts Council Grant for By Our Own Hands.
1971-1973
Graduate Fellowship, California Institute of the Arts, CA.
1966-1968
NDEA Undergraduate Fellowship.

Media Work Produced and Exhibited

2009
“Wait-With” DVD of performance and conversation, Akademie der Künste, Berlin
2006
subRosa DVD published, screened on TV-TV Copenhagen, Denmark, and at Mess Hall, Chicago (October, 2006)
2005
“SmartMom,” WEB page in on-line exhibition, “Violence Without Bodies,” curated by Remedios Zafra, Museo Nacional Centro de Arte Reina Sofia, Madrid,
2004
“Cultures of Eugenics” Video, screened at YOUGenics, Smith College, MassMoCA, MA.
“Network of Commons” (weblinks) in Werkleitz Biennial in Germany.
2002
Websites: Biopower Unlimited, Expo Emmagenics. Installations.
Screenings of “Vulva de/ReConstructa” at Akademie der Bildenden Kuenste, Vienna; and Nevada State University, Reno.
2000
“Vulva De/Re Constructa,” Video ( with Christina Hung), Taxispalais, Innsbruck, Austria.
“SmartMom” WEB Page and Installation with Hyla Willis, MICA, Baltimore; and University of Montana (Billings, Bozeman, Missoula).
“Sex and Gender Ed Show” WEB page, Digital Secrets, ASU, Tempe.
1999
Video (with OBN) “What is Cyberfeminism?” ZKM, Karlsruhe
1998
“Duration Performance,” (Computer Animation) Work & Culture show, Landesmuseum, Linz, and at Ars Electronica Center, Linz.
“Society for Reproductive Anachronisms”, Web page, CD-ROM and performance with Critical Art Ensemble.
1997
“WomEnhouse: Domesticity for the 90’s” WWW pages in collaboration with Los Angeles Women in Architecture.
“Let’s Make A Baby” electronic children’s book on the new reproductive technologies. Produced in collaboration with Critical Art Ensemble and published on CD-ROM by mute. Exhibited at Documenta X, and on the Web.
“Waiting” performance included in “Not for Sale” a video on the history of feminist art by Laura Cottingham. Premiered at MOMA, NY, and distributed nationally by Hawkeye Productions.
1996
Writer/Producer: “Drift(hers): A Radio Romance”, 45 minute original radio drama. Broadcast nationally on NPR and Pacifica Radio.
“WomEnhouse” collaborative WWWEB work with women artists and critics. Exhibited in “Sexual Politics” show, Armand Hammer Museum, Los Angeles, CA.
1989-1991
Co-producer, SOUNDPLAY, a 26-part series of international radio dramas. Broadcast on National Public Radio and in Europe.
1984-1988
Associate Producer, THE BECKETT FESTIVAL OF RADIO PLAYS. Broadcast nationally in the US, and in Britain, Germany, and Austria.
1989
Writer/Producer, “Hildegard and I,” Original radio drama, broadcast on National Public Radio and Pacifica Radio.
1987
Writer/Co-Producer, “Hildegard und Ich,” Original radio drama commissioned, produced, and broadcast by RIAS Berlin, and WDR Cologne.
1984
Producer for original radio works commissioned from Elizabeth Swados and Susan Griffin. Broadcast on National Public Radio.
1976
“Imago Femina,” Soundpiece commissioned by Douglass College; broadcast on Pacifica Radio (l978).
1973
“Waiting,” performed for documentary of Womanhouse by KCET-TV, Los Angeles, and for 45 minute color film Womanhouse by Johanna Demetrakos. Has been distributed and screened worldwide.
Performs and appears in “Judy Chicago and the California Girls,” film by Judith Dancoff.
Performs and appears in “Atmosphere,” a color film by Judy Chicago.
Performed “Waiting” on a one-hour special on women artists on Channel 68, Los Angeles, CA.

Publications, Books

2018
Faith Wilding’s Fearful Symmetries, University of Chicago Press, illustrated monograph with essays by Shannon Stratton, Amelia Jones, Jenni Sorkin, et al.
2005
Yes Species, subRosa and James Pei-Mun Tsang, (Spanish/English edition), EACC, Castellon, Spain.
Yes Species, subRosa and James Pei-Mun Tsang, (German/English edition) Sabrosa Books, Chicago/Pittsburgh.
2003
Domain Errors: Cyberfeminist Practices, Eds. M. Fernandez, M.M. Wright, F. Wilding. A subRosa Project. (Autonomedia: New York, 2003).
1998
READ ME: Asci Culture and The Revenge of Knowledge, Autonomedia Books, Eds. G. Lovinck, F. Wilding, D. McCarty, P. Schultz, et al.
1977
By Our Own Hands: The History of the Women Artists' Movement in Southern California 1970-77. Los Angeles: Double X.

Articles in Books

2009
“Gestations in a Studio of Their Own: The Feminist Art Program in Fresno, CA, 1970-71” A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, Ed. Laura Meyer, CSU Fresno Press, 2009
2008
“Common Knowledge and Political Love, Tactical BioPolitics: Eds. Beatriz da Costa and Kavita Philip (Boston: MIT Press, 2007)
2004
“Sex and Gender in the Biotech Century,” BioMediale: Contemporary Society and Genomic Culture, Ed. Dmitry Bulatov, National Center for Contemporary Arts, Kaliningrad.
2003
“Duration Maintenance,” Norm Der Abweichung, Ed. Marion Von Osten (Institut für Theorie der Gestaltung und Kunst). Zurich: Edition Voldemeer.
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Sarai Reader 03: Shaping Technologies, Delhi: Sarai/CSDS.
2002
“Becoming Autonomous,” technics of cyber<>feminisim, Ed. Claudia Reiche and Andrea Sick. Bremen: thealit Frauen.Kultur.Labor.
2001-2002
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Klone und Mutanten. Ed. Dr. Birgit Richard and Sven Druehl, KunstForum Books, Frankfurt, Germany.
2000-2001
“Monstrous Domesticity,” M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism. Ed. Susan Bee, Mira Schor (Duke University Press: Durham, NC, 2000).
“Next Body,” Feminism and Visual Culture: A Reader .Ed. Amelia Jones. (Routledge, NY. 2001).
“Waiting” and “Where is Feminism in Cyberfeminism” Feminist Art Theory . Ed. Hillary Robinson. (Blackwells: UK, 2001)
“Virtually Embodied,” The Multiple Mutable Subject. St. Norberts Contemporary Art Center, Winnipeg, Canada.
“Die Vulva mit Einem Kleinen Unterschied” Politiken des Sexuellen Ed. Doris Guth, et al (Turia & Kant, Vienna, Austria. 2000).
1998
“Work at Home/Home at Work,” READ ME, Autonomedia Books.
1997
“As Above, So Below.” (with CAE) Flesh Machine, (Critical Art Ensemble), NY: Autonomedia Books.
1994
“The Feminist Art Programs at Fresno and CalArts, 1970-75.” The Power of Feminist Art, Ed. Norma Broude and Mary Garrard. New York: Harry N. Abrams.
1989
“The Feminist Art Movement Southern California Style, 1970-80.” Yesterday and Tomorrow: California Women Artists. New York: MidMarch Arts Press.
1975
“Waiting.” (Performance Script) Judy Chicago, Through the Flower. NY: Doubleday.

Articles in Journals

2011
“Bodies Unlimited: A decade of subRosa’s Art Practice,” Vol 28, n.paradoxa: International feminist art journal, July 2011.
2004
“Donde esta el Feminismo en el Ciberfeminismo?” in Lectora: Journal of Women and Textuality, Barcelona, vol 10.
2002
“Situating Cyberfeminisms,” (with Maria Fernandez) Debats, 2002, Valencia, Spain (illustrated profile of Wilding and subRosa work).
“Gestohlene Rhetorik: Die Aneignung der Wahl durch die Art Industrien,” Kunstforum International, January-March 2002, Volume 158.
2001
“Economies of ART (Assisted Reproductive Technologies),” nparadoxa #8, London, Summer, 2001 (6 page text/image).
1999-2000
“Don’t Tell Anyone We Did It,” Documents, Summer 1999.
“Roundtable on the State of Feminism,” Art Journal, Winter, 2000.
“Notes Toward the Political Condition of Cyberfeminism” (with Critical Art Ensemble) CAA, Art Journal, NY, Summer, l998, The Cyberfeminist Reader
“Where is the Feminism in Cyberfeminism?”, nparadoxa N.3 , London, Summer issue on Women in New Media.
“Duration Performance: The Art of Feminized Maintenance Work,” on-line publication for Intertwinedness II at Ars Electronica Center, Linz, Austria.
1997
“As Above, So Below.” Left Curve. No.21. San Francisco.
“Material Realities.” Catalog essay for “Between the Acts,” New York: Art in General.
1995
“Monstrous Domesticity.” M/E/A/N/I/N/G. #18. New York.
“(Teaching) Painting in the Age of Virtuality.” Painting. Cooper Union School of Art publication.
1989
“Silence.” Contribution to “Forum on Art Discourses.” M/E/A/N/I/N/G #5. New York.
“Blood and Milk: Musings on the Wound and the Breast.” M/E/A/N/I/N/G #6. New York.
“Cunts, Quilts, Consciousness.” (with Miriam Schapiro) Heresies #24, (l2th Anniversary Issue). New York.
1988
“Remembering Gran.” Heresies #23 (Coming of Age). New York.
1984
“Female Role Models in Education.” Art and Artist. New York.
1981
“Seed Works.” Heresies #13 (Feminism and Ecology). New York.
1980
“How the West Was Won.” Women Artists News. New York.
1976
“A Needle in the Ass: Feminist Programs at Cal Arts.” CalArts Alumni Publication, CA.
1974
“Waiting.” (Performance Script) Ms. New York.

Selected Bibliography (Articles, Catalogs, Reviews, and Reproductions of Artwork)

2018
"Ecofeminism: Faith Wilding Interviewed by Heidi Norton," Bomb Magazine, Feburary 19, 2018.
2017
Hawbaker, KT, "The feminist energies of William Blake and Faith Wilding take over Chicago," Chicago Tribune, December 20, 2017.
Fidler, Luke, "When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions," New City Art, December 4, 2017.
Cardoza, Kerry, "The radical nature of Faith Wilding’s fantastical watercolors," Chicago Reader, November 15, 2017.
2015
Lord, Benjamin, "Faith Wilding at The Armory Center for the Arts and LOUDHAILER," Contemporary Art Review Los Angeles, Issue 3, 2015.
Diehl, Travis, "Artforum Critic's Pick: Faith Wilding," Artforum online.
Art Textiles Catalogue
Knight, Christopher, "James Hayward's installation delivers contemplative bliss; Faith Wilding's 'Imago Femina' harmonizes feminine," LA Times, October 6, 2015.
2014
Cook, Greg, "A New History Of Fiber Artists Who Tried To Turn Craft Into Art," WBUR: The ARTery, October 1, 2014.
"Interviews: Faith Wilding," Artforum (online), February 3, 2014.
Capper, Beth, "Beauty as a Terrorist Tactic: An Interview with Faith Wilding," ArtSlant, February 10, 2014.
"Review: Faith Wilding/Threewalls," New City Art, January 22, 2014.
Fiber Sculpture Catalogue
“Fearful Symmetries” Illustrated Catalog
2007
Wack: Art and the Feminist Revolution Catalogue
2006
Buszek, Maria Elena, Pin-Up Grrrls: Feminism, Sexuality, and Popular Culture, Chapel Hill, Duke University Press.
2005
Thacker, Eugene, The Global Genome: Biotechnology, Politics, and Culture, Boston, MIT Press.
Selz, Peter, Art of Engagement: Political Art in California 1946- Present, Berkeley, University of California Press.
1-0-1 [one ‘o one} Intersex, NGBK & Vice Versa, Berlin, Germany.
2004
Mennicke, Christiane, “The Spaces Between Us”, Catalogue for Windstösse, Kunsthaus Dresden.
Berry Slater, Josephine. “Domain Errors!” (Review), Mute, Issue 27.
Guertin, Carolyn, “From Cyborgs to Hactivists: Postfeminist Disobedience and Virtual Communities” on www.electronicbookreview.com
Cotter, Holland, “Hometown of Utopia and Dissent,” NYTimes, July 23, 2004.
Blocker, Jane. What the Body Cost: Desire, History, and Performance, Minneapolis, University of Minnesota Press.
Thompson, Nato and Gregory Sholette, eds., The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life, MASS MoCa, North Adams, MA, 121-126.
2003
Ault, Julie, Alternative Art New York 1965-1985. (Full Page Photo of “Womb Room”).
Anker, Suzanne and Dorothy Nelkin, The Molecular Gaze: Art in the Genetic Age, New York, Cold Spring Harbor Laboratory, (Images from “Embryoworld”).
Blocker, Jane, Bodies Sought and Doubted: Historiography and Performance Art, Minnesota, University of Minnesota Press, (Photos and Texts of “Waiting”).
Frueh, Joanna, “Vaginal Aesthetics” in Hypatia vol.18, no. 4, pp 137-158.
2000
“Die Verletzte Diva” Catalog, Innsbruck, Austria
1998
Review of Embryoworld, NYTimes, November, l998
Catalog essay for “Embryoworld”, Helen Molesworth, SUNY, Old Westbury
Reproduction and discussion of “Waiting” in Roselee Goldberg, Performance:Live Art Since the l960’s , London:Thames and Hudson
1997
“Faith Wilding: Embryoworlds.”Kim Gladfelter. Terra Firma. (Catalog). The Art Gallery, University of Maryland.
“One Place After Another: Notes on Site Specificity.” Miwon Kwon, October #80. Boston: MIT
1996
Amelia Jones, Ed. Sexual Politics. (Catalog). Armand Hammer Museum: University of California Press.
Meyer, Laura. Ed. Feminist Directions. (Catalog) Los Angeles: Sweeney Art Gallery, University of California, Riverside.
1995
Yee, Lydia, Ed. Division of Labor: Women’s Work in Contemporary Art. (Catalog) New York: The Bronx Museum of Art.
“Women’s Work is Sometimes Done.” M.G. Lord. NY Times, February l9, l995. (Photograph and review of “Womb Room” and “Division of Labor” exhibition).
1994
Broude, Norma, and Garrard, Mary, Eds. The Power of Feminist Art, New York: Abrams.(Color and B&W. reproductions, with texts and descriptions).
Sandler, Irving. American Art of the l970’s and l980’s. New York: Abrams. (Photos and discussions of work).
“The Problem with Mike Kelley.” Terry Myers. New Art Examiner.
1993
Mahoney, Robert. “Immanent Domain.” (Catalog) New York: The Drawing Center.
Reviews of “Immanent Domain” in the Village Voice and The New Yorker.
1989
Gadon, Elinor. The Once and Future Goddess. New York: Harper and Row.
Malen, Lenore. Symbolism. New York: The Cooper Union. (Catalog)
1984
“Emerging Massachusetts Painters.” (Catalog) Boston: Boston Museum of Fine Arts.
1983
Lippard, Lucy. Overlay. New York:Pantheon Books.
Raven, Arlene. At Home. (Catalog ) Los Angeles: Long Beach Museum of Art.
1982
Roth, Moira. A Star is Born: A Decade of Women’s Performance Art. Los Angeles: Astro Artz.
1981
Women Look at Women: Feminist Art for the 80’s. Center for the Arts, Muhlenberg College, Pennsylvania.
1980
Loeffler, Carl. Performance Anthology. San Francisco: Contemporary Arts Press.
A Decade of Women’s Performance Art. (Catalog). Moira Roth.
1979
Loeb, Judy. Feminist Collage. New York: Teachers College Press.
1978
“Towards A History of California Performance Art.” Moira Roth. Arts.
“Birds of Paradise.” Melinda Wortz (Catalog essay) University of California, Irvine.
“Women Artists, Year 8.” (Catalog) Douglass College, Rutgers University.
Reviews of By Our Own Hands in Artweek, Chrysalis, Library Journal.
1977
“Feministische Kunst.” Kunstmagazin. Vol. l7. Nr.2. Mainz.
1975
Chicago, Judy. Through the Flower: My Struggle as A Woman Artist.. New York: Doubleday. (photos and text of “Waiting”).
Woman as Viewer. (Catalog) Winnipeg: Winnipeg Art Museum.
1972
Womanhouse. (Catalog). Los Angeles: California Institute of the Arts.
Time Magazine. Article on Womanhouse.

Selected Press

2019
Andy Campbell, "Review." Artforum, May 2019. (Link)

Faith Wilding

BIOGRAPHY

CV

Faith Wilding Great Spiral, 1979 Colored pencil, graphite, gold leaf, on paper, mounted on canvas 50 x 70" [HxW] (127 x 177.8 cm) Inventory #FW1014
Faith Wilding Moth Triptych, 1974 Watercolor, graphite and gold leaf on paper in vintage frames Each 40.5 x 26.5" [HxW] (102.87 x 67.31 cm) Inventory #FW1004
Faith Wilding Moth Triptych, 1974 Watercolor, graphite and gold leaf on paper in vintage frames Each 40.5 x 26.5" [HxW] (102.87 x 67.31 cm) Inventory #FW1004
Faith Wilding Moth Triptych, 1974 Watercolor, graphite and gold leaf on paper in vintage frames Each 40.5 x 26.5" [HxW] (102.87 x 67.31 cm) Inventory #FW1004
Faith Wilding Moth Triptych, 1974 Watercolor, graphite and gold leaf on paper in vintage frames Each 40.5 x 26.5" [HxW] (102.87 x 67.31 cm) Inventory #FW1004
Faith Wilding The Truth About the Body, 1975 Graphite on paper, framed 31.5 x 23.75" [HxW] (80.01 x 60.33 cm) Inventory #FW1002
Faith Wilding Forms of Aspiration, 1975 Graphite on paper, framed 31.5 x 23.75" [HxW] (80.01 x 60.33 cm) Inventory #FW1003
Faith Wilding Leaf Goddess: Snake Cactus, 1976 Mixed media on paper, framed 41.5 x 53" [HxW] (105.41 x 134.62 cm) Inventory #FW1010
Faith Wilding Leaf Goddess: Bird of Paradise Dance, 1976 Mixed media on paper, framed 41.5 x 53" [HxW] (105.41 x 134.62 cm) Inventory #FW1007
Faith Wilding Dance of the Skeleton Leaves, 1976 Graphite on paper, framed 31.5 x 24" [HxW] (80.01 x 60.96 cm) Inventory #FW1015
Faith Wilding Openings II, 1974
Watercolor, graphite and gold leaf on paper in vintage frame 30 x 22.5 inches / 76.2 x 57.15 cm
Faith Wilding Pages From the Scriptorium (Black Dog), 1985 Gouache, watercolor, ink on paper, framed 76 x 46" [HxW] (193.04 x 116.84 cm) Inventory #FW1021
Faith Wilding Pages From the Scriptorium (Blue Bird), 1985 Gouache, watercolor, ink on paper, framed 76 x 46" [HxW] (193.04 x 116.84 cm) Inventory #FW1022
Faith Wilding Constrictions, 2018 Watercolor and goldleaf on paper, framed 23.25 x 19.25" [HxW] (59.05 x 48.89 cm); 16 x 12.5" [HxW] (40.64 x 31.75 cm) Inventory #FW1025
Faith Wilding Angel of History, 2018 Watercolor on paper, framed 21.5 x 17.5" [HxW] (54.61 x 44.45 cm); 14.25 x 10.25" [HxW] (36.2 x 26.04 cm) Inventory #FW1028
Faith Wilding Remnants, 2018 Watercolor on paper, framed 23.25 x 19.25" [HxW] (59.06 x 48.9 cm) Inventory #FW1026
Faith Wilding Rooted, 2018 Watercolor on paper, framed 21.5 x 17.5" [HxW] (54.61 x 44.45 cm); 14 x 10" [HxW] (35.56 x 25.4 cm) Inventory #FW1027
Faith Wilding Becoming Seeds, 2018 Watercolor on paper, framed 23.25 x 19.25" [HxW] (59.06 x 48.9 cm) Inventory #FW1034
Faith Wilding Woven Leaves, 2016 Watercolor and ink on paper, framed 24 x 18" [HxW] (60.96 x 45.72 cm) Inventory #FW1043
Faith Wilding Propagations: Hildegard and I, 1985 Mixed media on paper, framed 22.25 x 30" [HxW] (56.52 x 76.2 cm) Inventory #FW1046
Faith Wilding Woman Clothed in the Sun, 1985 Mixed media on paper, framed 22.25 x 30" [HxW] (56.52 x 76.2 cm) Inventory #FW1044
Faith Wilding Leaf Scroll, 1985 Mixed media on paper, framed 28 x 81.5" [HxW] (71.12 x 207.01 cm) Inventory #FW1049
Faith Wilding In the beginning all creation greened, 1985 Mixed media on paper, framed 20.75 x 29.75" [HxW] (52.71 x 75.57 cm) Inventory #FW1058
Faith Wilding Woman Welcoming Pig, 1985
Mixed media on paper, framed 26 x 33.5 inches / 66. x 85.1 cm
Faith Wilding Woman Riding Deer, 1985
Mixed media on paper, framed 26 x 33.5 inches / 66 x 85.1 cm
Faith Wilding The Fire Next Time, 2018
Watercolor on paper, framed 21.5 x 17.5 inches / 54.6 x 44.5 cm
Faith Wilding The Force That Drives #2, 2018
Watercolor on paper, framed 21.5 x 17.5 inches / 54.6 x 44.5 cm
Faith Wilding Ring the Bell That Still Can Ring, 2018
Watercolor on paper, framed 21.5 x 17.5 inches / 54.6 x 44.5 cm
Faith Wilding Green Fuse, 2018
Watercolor on paper, framed 21.5 x 17.5 inches / 54.6 x 44.5 cm
Faith Wilding Untitled (This Duality), 1976 Watercolor and ink on paper, framed 20 x 16.5" [HxW] (50.8 x 41.91 cm) Inventory #FW1051
Faith Wilding Untitled (The Body of the Earth), 1975
Graphite on paper, framed 20.5 x 17.5 inches / 52.1 x 44.5 cm
Faith Wilding Untitled (The Truth About the Body), 1976
Graphite on paper, framed 20 x 16.5 inches / 50.8 x 41.9 cm

BIOGRAPHY

Faith Wilding’s (b. 1943) work has been exhibited extensively over the last five decades including the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery. Additionally, Wilding’s work has been exhibited at Reina Sofia Museum (Madrid); Centre for Contemporary Arts (Glasgow); Bronx Museum of Art (New York); The Whitney Museum of American Art (New York); the Armand Hammer Museum (Los Angeles); The Drawing Center (New York); Documenta X (Kassel); the Singapore Art Museum. Publications include By Our Own Hands: The History of the Women Artists Movement in Southern California, 1970-76 (Double X, 1977) and Domain Errors! Cyberfeminist Practices! (Autonomedia, 2003). Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of two individual media grants from the National Endowment for the Arts. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Most recently, her work was included in “Fiber: Sculpture 1960 to Present” exhibition that originated at the ICA in Boston; her Crocheted Environment, 1972/1995, was shown in “Art Textiles” at The Whitworth Gallery in Manchester, England (where it graced the cover of the catalog); and documentation of the The Sacrifice (1971) was featured in “Axis Mundo: Queer Networks in Chicano L.A.”, organized by the Museum of Contemporary Art, Los Angeles.

 

EXHIBITIONS

Scriptorium Revisited, February 9 – March 9, 2019.

CV

Faith Wilding

1943
Born in Paraguay
Lives and works in Rhode Island

Education

1971-1973
MFA-Visual Art, California Institute of the Arts, (Feminist Art; Performance; 2D; Critical Studies).
1969-1971
Postgraduate Studies in Studio Art and Art History, California State University, Fresno.
1966-1968
BA (Honors, English) University of Iowa, Iowa City, (English, Comparative Literature, Blake Studies).

Exhibitions: Solo or Collective Featured Installations, Performances

2019
Scriptorium Revisited, Anat Ebgi, Los Angeles, CA
2018
Art Basel Miami Beach, with Anat Ebgi, Miami, FL
Fearful Symmetries, Carnegie Mellon University, Pittsburgh, PA
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
2017
Un-Natural Parables, Western Exhibitions, Chicago, IL
2016
“Fearful Symmetries” University of Houston, Texas
2015
“Fearful Symmetries” Pasadena Armory Art Center
“Imago Femina” solo show, Loudhailer Gallery, L.A.
2014
“Fearful Symmetries” retrospective, 3 Walls, Chicago
“Fearful Symmetries” retrospective, Rhodes College, Memphis
2011
“Feminist Matter(s): Propositions and Undoings” (installation)
Pittsburgh Biennial, Miller Gallery, (Sep-Dec, 2011) subRosa.
2010
“The Long Loch: How do We Go On From Here”, CCA, Glasgow
International, (Installation and paintings) with Kate Davis
2009
“A Studio of Their Own”, Fresno Museum of Art, Fresno, CA
“Re-Act Feminism”, (performance) Akademie der Künste, Berlin
“Cell-Track: DIY Cell Lab”, (performance) Vitoria, Spain, sR
“Miss-Placed Women”, (performance) PSi conference, Zagreb, sR
2008
“WACK! Art and the Feminist Revolution”, PS 1 New York, (performance/Womb Room) and at Vancouver Art Gallery, Vancouver, Canada.
“A Week With/Without Women”, Academy of Arts, Zagreb, sR (Performances and installation at Gallery Nova).
“Gestations” New York University at Skopje, Macedonia (performances)
““Gender Battle” Centre for Contemporary Art, Santiago de Compostela (drawings, photos)
U-GEN-A-Chix” Performance, City of Women Festival, Ljubljana, Slovenia, sR
2007
“WACK! Art and the Feminist Revolution.” MoCA, LA (Perform/Installation) “Womb Room”
“Artist Body,” Centre d’Art Contemporaine, Geneva (performance/video)
“Feast of Affects,” Feeltank, Gallery 400, Chicago, IL (subRosa performance and installation)
“Encore” Gallery 4000, Chicago, IL , (“Wait-With” performance)
2006
“Love is Strong as Death,” (sR,Perform/Installation), Brown University
“Yes Species” Contemporary Art Space (EACC), Castellon, Spain (sR)
“Full Frontal,” Corbett vs. Dempsey Gallery, Chicago, IL, (drawings)
2005
“Yes Species,” (Performance and Installation), 1-0-1 Intersex, Neue Gesellschaft für Bildende Kunst, Berlin, Germany. (sR)
“EPIDERMIC: DIY Cell Track Lab” and “Cell Track: Mapping the Appropriation of Life Materials,” ( Performance/Installation), in YOUGenics, exhibition curated by Ryan Griffis, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL.(sR)
“International Markets of Flesh 2,” (Performance), Arte Nuevo InteractivA’05, Merida, Mexico. (sR)
2004
“Can You See Us Now?” (Installation & Performance),
The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams, MA. (sR)
“Infecting the Sick Society: Performance as Virus” and “Mapping Biopower: a guided walk with subRosa,” (Performances), Crossroads in Cultural Studies Conference, University of Illinois, Urbana-Champaign, IL.
“Cell Track: Mapping the Appropriation of Life Materials,” (Exhibition) Biennial of Electronic Art, Perth, Australia. (sR)
2003
“YOUGenics: Exploring the Social Implications of Genetic Technologies,” (Performance), Southwest Missouri State University, Art and Design Gallery, Springfield, Missouri.
“International Markets of Flesh,” (Performance), Ex Teresa Arte, Mexico City. sR
“Cloning Cultures,” (Performance), La Salle, SIA School of Art, Singapore. sR
“Matrixial Technologies,” (Artist Residency), National University of Singapore. sR
“The Spaces Between Us,” (Exhibition/Performance), Kunsthaus, Dresden (Drawings, Paintings, Sculpture)
2002
“Biopower Unlimited!,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Sex and Gender in the Biotech Century,” (Performance) with subRosa, St. Mary’s College, Maryland. sR
“US Premium Grade AAA Eggs,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Virtual Maintenance,” (Internet and Live Performance) with Marion von Osten, Institut fuer Buechkunst und Grafik, Leipzig, Germany.
2001
“Expo EmmaGenics,” (Commissioned Performance) with subRosa, Intermediale, Mainz, Germany. sR
“subRosa Projects,” International Sculpture Conference, PGH, PA.
“Double/Shift,” (Commissioned Performance), Custom House, Singapore. (Performance with Marge Yun)
“Knowing Bodies/Embryoworld,” (Painting Installation), SNACC, Winnipeg.
“Duration/Maintenance,” (Performance), Art and Design Institute, Zurich. (Solo performance)
“Vulva de/reConstructa,” (Video Screening), Akademie der Bildenden Kuenste, Vienna, Austria; Kunsthaus, Bremen, Germany.
Poster Performance, Very Cyberfeminist International, Hamburg, Germany. sR
2000
“Die Verletzte Diva,” (Drawing Installation), Taxispalais, Innsbruck.
“Knowing Bodies,” (Installation), Miller Gallery, Carnegie Mellon. sR
“Cult of the New Eve” (Performance) with CAE, Museum of Contemporary Art, Toulouse, France; Expo 2000, Brussels; Steirischer Herbst, Graz, Austria.
“Sex and Gender Ed in the Biotech Century,” (Commissioned Performance), Digital Secrets Think Tank, Arizona State University, Tempe, AZ. sR
1999
“Duration Performance,” Rensselear Institute of Technology, NY.
“Cult of the New Eve,” (Performance) with CAE, Zentrum fuer Kunst und Medien, Karlsruhe, Germany; and at Festival Atlantico, Portugal.
1998
“Embryoworld,” (Installation) Art Gallery, SUNY, Old Westbury, NY. (solo show, paintings, installation of objects)
“Duration Performance: The Art of Data Maintenance,” (solo Performance/Lecture), Ars Electronica Center, Linz, Austria.
l997 “Embryoworld,” (Installation) for Terra Firma, University of Maryland, College Park. (drawings/paintings)
“Embryoworld,” (Installation), University of Maryland, Salisbury, MD.
1996
“Womb Room,” (Installation) for Divison of Labor: Women’s Work in Contemporary Art. Museum of Contemporary Art, LA, CA.
“Fashions of Feminism,” Reed College Museum. Reed College, Portland. (Drawings/paintings/collages)
1995
“Womb Room and WomEnhouse,” (Installation), Division of Labor: Women’s Work in Contemporary Art, Bronx Museum of Art, NY.
1990
“Frontispiece,” (Artist Books), Minnesota Center for Book Arts, Minneapolis, MN. (Artist bookworks)
1987
“Flux Performance,” (Performance), Academy of Art, Warsaw, Poland. (assist Joan Jonas)
1989
“Daily Text,” (Etchings), Printmaking Workshop, NYC
1983
“Scriptorium,” (Installation) for At Home, Long Beach Museum of Art, Long Beach, CA. (Paintings, drawings)
1982
“Natural Parables,” (Paintings), Whitman College, WA. (paintings)
1981
“Leaf,” (Painting Installation), Libra Gallery, Claremont Grad School.
“The Incredible Shrinking Lunch,” (Performance), LACE gallery, LA, CA.
“Virginia and Emma: A Vision of Art and Politics,” (Performance), Orange County Contemporary Arts Center, Los Angeles, CA.
“Haunted Womanhouse,” (Environment/Performance), Los Angeles.
1980
“Invitation to a Burning” (Installation / Performance), Woman’s Building, Los Angeles, CA.
“Seedworks,” (Performance), United Nations Conference on Women, Copenhagen, Denmark.
“HungerStrike,” (Performance), Contemporary Arts Center, New Orleans, Louisiana.
1979
“Imago Femina,” (Paintings/Commissioned Live Performance), Douglass College, Rutgers University, NJ.
1978
“Bird of Paradise,” (Paintings/Drawings), University of California, Irvine, CA.
“Works of Nature,” (Painting Installation), Gallery 8, Pasadena, CA.
1976
“Forms of Aspiration,” (Prints/Drawings), Canis Gallery, Los Angeles, CA.
“Leaf Goddesses,” (collaborative Paintings), Woman’s Building, Los Angeles, CA.
“Emergences,”(Paintings/Constructions), Gallery 25, Fresno, CA.
1975
“Cracks in the Carapace,” (Paintings), Grandview Gallery, Los Angeles, CA.
1973
“Chambers,” (Installation), MFA show, Cal Arts, Los Angeles, CA.
1972
“Waiting,” (Performance), Womanhouse, Los Angeles, CA.
1971
“Sacrifice”(Installation/Performance), Feminist Studio, Fresno, CA.
1971-1972
Collaborative Performances with Feminist Art Program at UC Berkeley, Oakland Art Museum, and California State University at Fullerton.

Selected Group Exhibitions

2019
Frieze Los Angeles, with Anat Ebgi, Los Angeles, CA (Forthcoming)
2018
Still I Rise: Feminisms, Gender, Resistance, Nottingham Contemporary, Nottingham, UK; also traveled to De La Warr Pavillion, Bexhill-on-Sea, UK (catalog)
Axis Mundo: Queer Networks in Chicano L.A., Hunter College, New York, NY (catalog)
2017
Axis Mundo: Queer Networks in Chicano L.A., Museum of Contemporary Art, Los Angeles, CA (catalog)
2018
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
2015
“Art_Textiles”, Whitworth, Manchester, Gt Britain, (Womb Room)
2013-2014
“Fiber Sculpture” Ohio, and Des Moines, (Womb Room)
2012
“Fiber Sculpture” ICA, Boston (Womb Room)
2011
“Dance/Draw”, ICA, Boston, (Crocheted Environment), catalog
“Propositions” subRosa installation/performance, Pittsburgh Biennial
2009
“Cell Track”, Softpower I, Vitoria-Gasteiz, Spain sR
2008
The Way That We Rhyme,” Yerba Buena Center for the Arts, SF, (subRosa Performance/Installation)
“Deliciously Disposable Earth,”Three Rivers Art Gallery, Pittsburgh, (install)
2006
Video screenings of “Waiting” and subRosa work
2005
“Thought Crimes: The Art of Subversion,” DiverseWorks, Houston, TX. sR
2004
“Mapping_Part_II,” Mess Hall, Chicago, IL.
2003
“Field of Actions,” (Video Screening of “Expo EmmaGenics” and “Sex & Gender”), The Bass Museum of Art, Miami Beach, Florida
2002
“Activist Art,” subRosa Installation at Cornish College of Art, Seattle
1999
subRosa Campaign (Performance), Next Five Minutes, Amsterdam.
1998
“Duration Performance” (Computer Animation), Work & Culture show, Landesmuseum, Linz, Austria.
1997
“Cyberfeminism and the Body” (Multimedia Presentation), First Cyberfeminist International, Hybrid Workspace, Documenta X, Kassel, Germany.
“Body,”(Prints/Collages), Samuel Lallouz Gallery, Montreal,Canada.
“Interiors,”(Installation), Pittsburgh Center for the Arts, PA.
“Flesh Machine,” (Performance with Critical Art Ensemble) at Public Netbase, Vienna, Austria, and in Graz, Austria, and in Ljubliana, Slovenia.
“re-Tracing,” (Installation), Center for Art and Architecture, LA.
1996
“Sexual Politics,”(Paintings), Armand Hammer Museum, UCLA.
“Feminist Directions,”(Collages/ Wound Installation), Sweeney Gallery, UC Riverside, CA.
“8 Artists,” (Paintings), Brew House, Pittsburgh, PA.
1995
“The House Project,”(Installation), Museum of Contemporary Art, LA.
“Next of Kin,” (Drawings), Bronwyn Keenan Gallery, NYC..
1994
“Six Artists,” (Drawings/Collages), Bronwyn Keenan Gallery, NYC.
“Women’s Work,”(Collages), Roger Smith Gallery, NYC.
“A Decade of Women’s Performance Art,” Los Angeles, CA.
1993
“Immanent Domain,” (Collages), The Drawing Center, New York.
“Cadavre Exquis,” (Collage), The Drawing Center, New York, and traveled to the Corcoran Gallery of Art, The Foundation for Contemporary Art (Mexico City), The Santa Monica Museum, and the Forum (St. Louis, MO).
“The Abject in American Art” (video) Whitney Museum of Art, NY.
“Things to make our eyes happy,” (Collages), Muranushi Lederman Gallery, NY.
1992
“20th Anniversary Show,” Douglass College, Rutgers University, NJ.
“Sexual Harrassment,” (Collages), Triplex Gallery, NYC..
“10 Steps” (Painting Installation), Horodner Romley Gallery, NYC.
1990
“Sex and Subtext,”(Paintings), Ceres Gallery, NY.
1989
“Symbolism,” (Paintings), Cooper Union School of Art, NYC.
“Artists and the Book,”(Bookworks), NY Center for Book Arts.
1988
“Books and Pages,” (Bookworks), Cooper Union, NY.
“Leaves,”(Painting Installation), Herter Gallery, Mt. Holyoke, MA.
1987
“Passages,” (Paintings), Fresno Art Museum, Fresno, CA.
1986
“Important Americans,”(Paintings) ACA Gallery, NYC.
“Let’s Play House,” (Sculpture), Bernice Steinbaum Gallery, NYC.
1985
“State of the Art,” (Paintings), Federal Reserve Bank, Boston, MA.
“Animal as Metaphor,” (Paintings), Clark Gallery, MA.
1984
“Emerging Massachusetts Painters,” Boston Museum of Fine Arts, Boston, MA.
“Associates Show” (Bookworks), AIR Gallery, NYC.
1983
“Natural Parables,”(Installation), Occidental College, Los Angeles,
1982
“Visiting Artists,”(Installation), Montgomery Gallery, Pomona College.
1981
“Feminist Art of the 80’s,” Center for the Arts, Muhlenberg College
“Women Artists’ Retrospective,” Rutgers University, NJ.
“Heresies,” (Bookworks), Grey Art Gallery, NYC.
1980
“A Decade of Women’s Performance Art,” Contemporary Arts Center, New Orleans, LA.
“Artist as Magus,” (Installation), Woman’s Building. Los Angeles, CA.
1979
“intimate concerns,” University of New Mexico, Albuquerque, NM.
1978
“The Center,” (Paintings), Anhalt/Barnes Gallery, Los Angeles, CA.
“Metamagic,” (Paintings), UC Dominguez Hills, CA.
“XX+,” (Installation), LACE Gallery, Los Angeles, CA.
1977
“Contact: Women and Nature,” (Paintings), Greenwhich Museum, CT. (curated by Lucy Lippard).
“20 Artists,” (Drawings), Arco Plaza, Los Angeles, CA.
1975
“Woman as Viewer,” (Paintings), Winnipeg Museum of Art, Canada.
“Artist’s Choice,” (Paintings), Rental Galleries, LACMA, CA.
“20 Perspectives,” Floating Wall Gallery, Santa Ana, CA.
“Female Imagery,” Clark Humanities Museum, Scripps College, Claremont, CA.
1972 “Womanhouse,” (Feminist Collaborative Environment), Mariposa Street, Los Angeles, CA.
“Female Sexuality, Female Identity,” Womanspace Gallery, LA.
“National Women’s Invitational,” SUNY, Buffalo.
1971
“Slaughterhouse,” (Performance/Film) with Judy Chicago, Fresno, CA.

Grants, Commissions, and Awards

2015
Art Matters Grant (individual)
2014
Life-Time Achievement Award, Women’s Caucus for Art, CAA
2009
Guggenheim Fellow
2008
Grainger Research Grant, SAIC (individual)
2006
Faculty Enrichment Grant, SAIC (individual)
2005
Pennsylvania Council for the Arts grant, Performance, (subRosa).
2002-2005
Creative Capital, NY, (grant): Emerging Fields, (Wilding & subRosa).
2001
Pennsylvania Council for the Arts grant, Performance, (subRosa).
Expo EmmaGenics, commissioned by Intermediale, Mainz, Germany
2000
Digital Secrets Commission, ASU, Tempe, Arizona.
1998
Pennsylvania Council on the Arts Grant for works on paper (individual)
1992
NEA Individual Media Grant for Drift(hers): A Radio Romance.
1990
NEH Media Fellowship (with Everett Frost) for radio series Soundplay, broadcast nationally on NPR and in Europe.
1983
NEA and California Arts Council Grants for SoundArt radio series. (with Everett Frost).
1987
NEA Grants (with Everett Frost) for The Beckett Festival of Radio Plays.
1988
NY State Foundation for the Arts Fellowship in Artist Books.
NEA Individual Media Grant for radio drama “Hildegard and I,” broadcast nationally by NPR.
1987
Commission for radio drama “Hildegard und Ich,” from WDR Cologne, and RIAS Berlin. Broadcast in Germany and Austria.
Fluxus Visiting Artist Residency, Warsaw, Poland.
1984
Massachusetts Artist Fellow.
1976
California Arts Council Grant for By Our Own Hands.
1971-1973
Graduate Fellowship, California Institute of the Arts, CA.
1966-1968
NDEA Undergraduate Fellowship.

Media Work Produced and Exhibited

2009
“Wait-With” DVD of performance and conversation, Akademie der Künste, Berlin
2006
subRosa DVD published, screened on TV-TV Copenhagen, Denmark, and at Mess Hall, Chicago (October, 2006)
2005
“SmartMom,” WEB page in on-line exhibition, “Violence Without Bodies,” curated by Remedios Zafra, Museo Nacional Centro de Arte Reina Sofia, Madrid,
2004
“Cultures of Eugenics” Video, screened at YOUGenics, Smith College, MassMoCA, MA.
“Network of Commons” (weblinks) in Werkleitz Biennial in Germany.
2002
Websites: Biopower Unlimited, Expo Emmagenics. Installations.
Screenings of “Vulva de/ReConstructa” at Akademie der Bildenden Kuenste, Vienna; and Nevada State University, Reno.
2000
“Vulva De/Re Constructa,” Video ( with Christina Hung), Taxispalais, Innsbruck, Austria.
“SmartMom” WEB Page and Installation with Hyla Willis, MICA, Baltimore; and University of Montana (Billings, Bozeman, Missoula).
“Sex and Gender Ed Show” WEB page, Digital Secrets, ASU, Tempe.
1999
Video (with OBN) “What is Cyberfeminism?” ZKM, Karlsruhe
1998
“Duration Performance,” (Computer Animation) Work & Culture show, Landesmuseum, Linz, and at Ars Electronica Center, Linz.
“Society for Reproductive Anachronisms”, Web page, CD-ROM and performance with Critical Art Ensemble.
1997
“WomEnhouse: Domesticity for the 90’s” WWW pages in collaboration with Los Angeles Women in Architecture.
“Let’s Make A Baby” electronic children’s book on the new reproductive technologies. Produced in collaboration with Critical Art Ensemble and published on CD-ROM by mute. Exhibited at Documenta X, and on the Web.
“Waiting” performance included in “Not for Sale” a video on the history of feminist art by Laura Cottingham. Premiered at MOMA, NY, and distributed nationally by Hawkeye Productions.
1996
Writer/Producer: “Drift(hers): A Radio Romance”, 45 minute original radio drama. Broadcast nationally on NPR and Pacifica Radio.
“WomEnhouse” collaborative WWWEB work with women artists and critics. Exhibited in “Sexual Politics” show, Armand Hammer Museum, Los Angeles, CA.
1989-1991
Co-producer, SOUNDPLAY, a 26-part series of international radio dramas. Broadcast on National Public Radio and in Europe.
1984-1988
Associate Producer, THE BECKETT FESTIVAL OF RADIO PLAYS. Broadcast nationally in the US, and in Britain, Germany, and Austria.
1989
Writer/Producer, “Hildegard and I,” Original radio drama, broadcast on National Public Radio and Pacifica Radio.
1987
Writer/Co-Producer, “Hildegard und Ich,” Original radio drama commissioned, produced, and broadcast by RIAS Berlin, and WDR Cologne.
1984
Producer for original radio works commissioned from Elizabeth Swados and Susan Griffin. Broadcast on National Public Radio.
1976
“Imago Femina,” Soundpiece commissioned by Douglass College; broadcast on Pacifica Radio (l978).
1973
“Waiting,” performed for documentary of Womanhouse by KCET-TV, Los Angeles, and for 45 minute color film Womanhouse by Johanna Demetrakos. Has been distributed and screened worldwide.
Performs and appears in “Judy Chicago and the California Girls,” film by Judith Dancoff.
Performs and appears in “Atmosphere,” a color film by Judy Chicago.
Performed “Waiting” on a one-hour special on women artists on Channel 68, Los Angeles, CA.

Publications, Books

2018
Faith Wilding’s Fearful Symmetries, University of Chicago Press, illustrated monograph with essays by Shannon Stratton, Amelia Jones, Jenni Sorkin, et al.
2005
Yes Species, subRosa and James Pei-Mun Tsang, (Spanish/English edition), EACC, Castellon, Spain.
Yes Species, subRosa and James Pei-Mun Tsang, (German/English edition) Sabrosa Books, Chicago/Pittsburgh.
2003
Domain Errors: Cyberfeminist Practices, Eds. M. Fernandez, M.M. Wright, F. Wilding. A subRosa Project. (Autonomedia: New York, 2003).
1998
READ ME: Asci Culture and The Revenge of Knowledge, Autonomedia Books, Eds. G. Lovinck, F. Wilding, D. McCarty, P. Schultz, et al.
1977
By Our Own Hands: The History of the Women Artists' Movement in Southern California 1970-77. Los Angeles: Double X.

Articles in Books

2009
“Gestations in a Studio of Their Own: The Feminist Art Program in Fresno, CA, 1970-71” A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, Ed. Laura Meyer, CSU Fresno Press, 2009
2008
“Common Knowledge and Political Love, Tactical BioPolitics: Eds. Beatriz da Costa and Kavita Philip (Boston: MIT Press, 2007)
2004
“Sex and Gender in the Biotech Century,” BioMediale: Contemporary Society and Genomic Culture, Ed. Dmitry Bulatov, National Center for Contemporary Arts, Kaliningrad.
2003
“Duration Maintenance,” Norm Der Abweichung, Ed. Marion Von Osten (Institut für Theorie der Gestaltung und Kunst). Zurich: Edition Voldemeer.
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Sarai Reader 03: Shaping Technologies, Delhi: Sarai/CSDS.
2002
“Becoming Autonomous,” technics of cyber<>feminisim, Ed. Claudia Reiche and Andrea Sick. Bremen: thealit Frauen.Kultur.Labor.
2001-2002
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Klone und Mutanten. Ed. Dr. Birgit Richard and Sven Druehl, KunstForum Books, Frankfurt, Germany.
2000-2001
“Monstrous Domesticity,” M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism. Ed. Susan Bee, Mira Schor (Duke University Press: Durham, NC, 2000).
“Next Body,” Feminism and Visual Culture: A Reader .Ed. Amelia Jones. (Routledge, NY. 2001).
“Waiting” and “Where is Feminism in Cyberfeminism” Feminist Art Theory . Ed. Hillary Robinson. (Blackwells: UK, 2001)
“Virtually Embodied,” The Multiple Mutable Subject. St. Norberts Contemporary Art Center, Winnipeg, Canada.
“Die Vulva mit Einem Kleinen Unterschied” Politiken des Sexuellen Ed. Doris Guth, et al (Turia & Kant, Vienna, Austria. 2000).
1998
“Work at Home/Home at Work,” READ ME, Autonomedia Books.
1997
“As Above, So Below.” (with CAE) Flesh Machine, (Critical Art Ensemble), NY: Autonomedia Books.
1994
“The Feminist Art Programs at Fresno and CalArts, 1970-75.” The Power of Feminist Art, Ed. Norma Broude and Mary Garrard. New York: Harry N. Abrams.
1989
“The Feminist Art Movement Southern California Style, 1970-80.” Yesterday and Tomorrow: California Women Artists. New York: MidMarch Arts Press.
1975
“Waiting.” (Performance Script) Judy Chicago, Through the Flower. NY: Doubleday.

Articles in Journals

2011
“Bodies Unlimited: A decade of subRosa’s Art Practice,” Vol 28, n.paradoxa: International feminist art journal, July 2011.
2004
“Donde esta el Feminismo en el Ciberfeminismo?” in Lectora: Journal of Women and Textuality, Barcelona, vol 10.
2002
“Situating Cyberfeminisms,” (with Maria Fernandez) Debats, 2002, Valencia, Spain (illustrated profile of Wilding and subRosa work).
“Gestohlene Rhetorik: Die Aneignung der Wahl durch die Art Industrien,” Kunstforum International, January-March 2002, Volume 158.
2001
“Economies of ART (Assisted Reproductive Technologies),” nparadoxa #8, London, Summer, 2001 (6 page text/image).
1999-2000
“Don’t Tell Anyone We Did It,” Documents, Summer 1999.
“Roundtable on the State of Feminism,” Art Journal, Winter, 2000.
“Notes Toward the Political Condition of Cyberfeminism” (with Critical Art Ensemble) CAA, Art Journal, NY, Summer, l998, The Cyberfeminist Reader
“Where is the Feminism in Cyberfeminism?”, nparadoxa N.3 , London, Summer issue on Women in New Media.
“Duration Performance: The Art of Feminized Maintenance Work,” on-line publication for Intertwinedness II at Ars Electronica Center, Linz, Austria.
1997
“As Above, So Below.” Left Curve. No.21. San Francisco.
“Material Realities.” Catalog essay for “Between the Acts,” New York: Art in General.
1995
“Monstrous Domesticity.” M/E/A/N/I/N/G. #18. New York.
“(Teaching) Painting in the Age of Virtuality.” Painting. Cooper Union School of Art publication.
1989
“Silence.” Contribution to “Forum on Art Discourses.” M/E/A/N/I/N/G #5. New York.
“Blood and Milk: Musings on the Wound and the Breast.” M/E/A/N/I/N/G #6. New York.
“Cunts, Quilts, Consciousness.” (with Miriam Schapiro) Heresies #24, (l2th Anniversary Issue). New York.
1988
“Remembering Gran.” Heresies #23 (Coming of Age). New York.
1984
“Female Role Models in Education.” Art and Artist. New York.
1981
“Seed Works.” Heresies #13 (Feminism and Ecology). New York.
1980
“How the West Was Won.” Women Artists News. New York.
1976
“A Needle in the Ass: Feminist Programs at Cal Arts.” CalArts Alumni Publication, CA.
1974
“Waiting.” (Performance Script) Ms. New York.

Selected Bibliography (Articles, Catalogs, Reviews, and Reproductions of Artwork)

2018
"Ecofeminism: Faith Wilding Interviewed by Heidi Norton," Bomb Magazine, Feburary 19, 2018.
2017
Hawbaker, KT, "The feminist energies of William Blake and Faith Wilding take over Chicago," Chicago Tribune, December 20, 2017.
Fidler, Luke, "When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions," New City Art, December 4, 2017.
Cardoza, Kerry, "The radical nature of Faith Wilding’s fantastical watercolors," Chicago Reader, November 15, 2017.
2015
Lord, Benjamin, "Faith Wilding at The Armory Center for the Arts and LOUDHAILER," Contemporary Art Review Los Angeles, Issue 3, 2015.
Diehl, Travis, "Artforum Critic's Pick: Faith Wilding," Artforum online.
Art Textiles Catalogue
Knight, Christopher, "James Hayward's installation delivers contemplative bliss; Faith Wilding's 'Imago Femina' harmonizes feminine," LA Times, October 6, 2015.
2014
Cook, Greg, "A New History Of Fiber Artists Who Tried To Turn Craft Into Art," WBUR: The ARTery, October 1, 2014.
"Interviews: Faith Wilding," Artforum (online), February 3, 2014.
Capper, Beth, "Beauty as a Terrorist Tactic: An Interview with Faith Wilding," ArtSlant, February 10, 2014.
"Review: Faith Wilding/Threewalls," New City Art, January 22, 2014.
Fiber Sculpture Catalogue
“Fearful Symmetries” Illustrated Catalog
2007
Wack: Art and the Feminist Revolution Catalogue
2006
Buszek, Maria Elena, Pin-Up Grrrls: Feminism, Sexuality, and Popular Culture, Chapel Hill, Duke University Press.
2005
Thacker, Eugene, The Global Genome: Biotechnology, Politics, and Culture, Boston, MIT Press.
Selz, Peter, Art of Engagement: Political Art in California 1946- Present, Berkeley, University of California Press.
1-0-1 [one ‘o one} Intersex, NGBK & Vice Versa, Berlin, Germany.
2004
Mennicke, Christiane, “The Spaces Between Us”, Catalogue for Windstösse, Kunsthaus Dresden.
Berry Slater, Josephine. “Domain Errors!” (Review), Mute, Issue 27.
Guertin, Carolyn, “From Cyborgs to Hactivists: Postfeminist Disobedience and Virtual Communities” on www.electronicbookreview.com
Cotter, Holland, “Hometown of Utopia and Dissent,” NYTimes, July 23, 2004.
Blocker, Jane. What the Body Cost: Desire, History, and Performance, Minneapolis, University of Minnesota Press.
Thompson, Nato and Gregory Sholette, eds., The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life, MASS MoCa, North Adams, MA, 121-126.
2003
Ault, Julie, Alternative Art New York 1965-1985. (Full Page Photo of “Womb Room”).
Anker, Suzanne and Dorothy Nelkin, The Molecular Gaze: Art in the Genetic Age, New York, Cold Spring Harbor Laboratory, (Images from “Embryoworld”).
Blocker, Jane, Bodies Sought and Doubted: Historiography and Performance Art, Minnesota, University of Minnesota Press, (Photos and Texts of “Waiting”).
Frueh, Joanna, “Vaginal Aesthetics” in Hypatia vol.18, no. 4, pp 137-158.
2000
“Die Verletzte Diva” Catalog, Innsbruck, Austria
1998
Review of Embryoworld, NYTimes, November, l998
Catalog essay for “Embryoworld”, Helen Molesworth, SUNY, Old Westbury
Reproduction and discussion of “Waiting” in Roselee Goldberg, Performance:Live Art Since the l960’s , London:Thames and Hudson
1997
“Faith Wilding: Embryoworlds.”Kim Gladfelter. Terra Firma. (Catalog). The Art Gallery, University of Maryland.
“One Place After Another: Notes on Site Specificity.” Miwon Kwon, October #80. Boston: MIT
1996
Amelia Jones, Ed. Sexual Politics. (Catalog). Armand Hammer Museum: University of California Press.
Meyer, Laura. Ed. Feminist Directions. (Catalog) Los Angeles: Sweeney Art Gallery, University of California, Riverside.
1995
Yee, Lydia, Ed. Division of Labor: Women’s Work in Contemporary Art. (Catalog) New York: The Bronx Museum of Art.
“Women’s Work is Sometimes Done.” M.G. Lord. NY Times, February l9, l995. (Photograph and review of “Womb Room” and “Division of Labor” exhibition).
1994
Broude, Norma, and Garrard, Mary, Eds. The Power of Feminist Art, New York: Abrams.(Color and B&W. reproductions, with texts and descriptions).
Sandler, Irving. American Art of the l970’s and l980’s. New York: Abrams. (Photos and discussions of work).
“The Problem with Mike Kelley.” Terry Myers. New Art Examiner.
1993
Mahoney, Robert. “Immanent Domain.” (Catalog) New York: The Drawing Center.
Reviews of “Immanent Domain” in the Village Voice and The New Yorker.
1989
Gadon, Elinor. The Once and Future Goddess. New York: Harper and Row.
Malen, Lenore. Symbolism. New York: The Cooper Union. (Catalog)
1984
“Emerging Massachusetts Painters.” (Catalog) Boston: Boston Museum of Fine Arts.
1983
Lippard, Lucy. Overlay. New York:Pantheon Books.
Raven, Arlene. At Home. (Catalog ) Los Angeles: Long Beach Museum of Art.
1982
Roth, Moira. A Star is Born: A Decade of Women’s Performance Art. Los Angeles: Astro Artz.
1981
Women Look at Women: Feminist Art for the 80’s. Center for the Arts, Muhlenberg College, Pennsylvania.
1980
Loeffler, Carl. Performance Anthology. San Francisco: Contemporary Arts Press.
A Decade of Women’s Performance Art. (Catalog). Moira Roth.
1979
Loeb, Judy. Feminist Collage. New York: Teachers College Press.
1978
“Towards A History of California Performance Art.” Moira Roth. Arts.
“Birds of Paradise.” Melinda Wortz (Catalog essay) University of California, Irvine.
“Women Artists, Year 8.” (Catalog) Douglass College, Rutgers University.
Reviews of By Our Own Hands in Artweek, Chrysalis, Library Journal.
1977
“Feministische Kunst.” Kunstmagazin. Vol. l7. Nr.2. Mainz.
1975
Chicago, Judy. Through the Flower: My Struggle as A Woman Artist.. New York: Doubleday. (photos and text of “Waiting”).
Woman as Viewer. (Catalog) Winnipeg: Winnipeg Art Museum.
1972
Womanhouse. (Catalog). Los Angeles: California Institute of the Arts.
Time Magazine. Article on Womanhouse.

Selected Press

2019
Andy Campbell, "Review." Artforum, May 2019. (Link)