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Mierle Laderman Ukeles

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Birthplace
Denver, Colorado

Birth year
1939

Lives in
New York City

Works in
New York City

Representing galleries
Ronald Feldman Gallery

Statement

Mierle Laderman Ukeles is a public artist for whom labor and the environment are central themes. She incorporates many kinds of labor into her performances and conceptual pieces, including service work and the urban environment. Ukeles gained national recognition for her amazing thirty-year-long artist’s residency in the New York Department of Sanitation. Touch Sanitation, her large-scale performance completed as part of this residency in June of 1980, is widely considered to be among the most important public art works of all time. The performance itself lasted for eleven months and involved shaking the hands of each one of the city’s 8,500 sanitation workers while saying, "Thank you for keeping New York City alive." Ukeles is a recipient of multiple awards from the NEA and the New York State Council on the Arts and has been awarded support from the Guggenheim and Andy Warhol Foundations, among others. Her work has been shown in public spaces, triennial art expos, museums, and private galleries throughout the world.

 

 

 

 

WORKS

INSTALLATIONS / MIXED MEDIA / PERFORMANCES

2005 QUEENS QOOKIES / SWEET SPLITS. Performance and installation for Odd Lots:
Revisiting Gordon Matta-Clark’s Fake Estates, September – October, 2005, Curators: Jeffrey Kastner, Sina Najafi, and Frances Richard. A collaborative installation with bakeries located in Queens in close proximity to Odd Lots #3, 6, and 15; an interactive installation at White Columns where visitors/purchasers cut out an Odd Lot shaped qookie from the qookie field, mirroring Matta-Clark’s work. Catalogue.


2003 SNOW WORKERS’ BALLET, performance work for The Echigo-Tsumari Art Triennial, Echigo-Tsumari Region, Japan, July 21, 2003, General Director: Fram Kitagawa; US Curator: Tom Finkelpearl. I hr work with 10 parts: DEFINE THE BOUNDARIES OF THE “STAGE;” SNAKE; DANCE OF THE TIRE DOZERS: ROMEO AND JULIET; DANCE OF THE TIRE DOZERS: MOTOR GRYDER DESTROYS LOVE; DANCE OF THE TIRE DOZERS: BABY ROTARY CHASES MOTOR GRYDER AWAY; DANCE OF THE ROTARYS: ZIG ZAG; DANCE OF THE ROTARYS: RUNNING SPIRAL; ROTARYS’ SHOOTERS DANCE; FINALE; FINALE: LONG DIAGONAL. Catalogue.

2001 PENETRATION AND TRANSPARENCY: MORPHED, with Kathy Brew and Roberto Guerra, video installation for Fresh Kills: Artists Respond to the Closure of the Staten Island Landfill, Snug Harbor Cultural Center, Newhouse Center for Contemporary Art, Staten Island, NY, October 14, 2001-May 27, 2002, Curator: Olivia Georgia, Part of Phase I – Reconnaissance, the initial stage of the Fresh Kills Landfill Percent for Art commission (awarded 1989). A work in three parts with a six channel video installation, two full wall projections, and four monitors placed in two adjoining galleries. Also shown in truncated version at the Staten Island Mall, Spring 2002, and at the exhibition/conference “Reclaimed: Brown Fields/Grey Waters,“ Harvard Graduate School of Design, Cambridge, MA, Fall 2001.Catalogue.

1999 EVAPOTRANSPIRATION – THIS LAND LIVES AND BREATHES, installation for Hiriya in the Museum: Artists’ and Architects’ Proposals for Rehabilitation of the Site, Helena Rubenstein Pavilion for Contemporary Art, Tel Aviv, Israel, November 17, 1999-February 2000, Curator: Dr. Martin Weyl; Associate Curator: Idit Amihai; Responsible Curator: Irith Hadar. Installation with text and drawings for the rehabilitation of the Hiriya landfill. Internationl invitational. Catalogue.

1998 Mierle Laderman Ukeles/MATRIX 137, Wadsworth Atheneum, Hartford, CT, September 20-November 15, 1998, Curator: Andrea Miller-Keller; Guest Curator: Sherry Buckberrough. Selected works from 1969 to 1984. Catalogue.

Eleanor Antin: Portraits of Eight New York Women, 1970/Mierle Laderman Ukeles: Maintenance Works, 1969-1979, Ronald Feldman Fine Arts, New York, NY, May 8-June 13, 1998. Selected works from 1969 to 1979.


1997 UNBURNING FREEDOM HALL including PEACETALKS AT THE HEARTH, installation for Uncommon Sense, Museum of Contemporary Art, Los Angeles, CA, March 16-July 6, 1997, Curators: Julie Lazar and Tom Finkelpearl. Catalogue.
"A halo of glass suspended from the ceiling, 36 ft above by stainless steel cables. Seats about 18 people. Surface is cobalt blue stained glass, sitting on 1.5" plate glass." "This table was the site for a series of 8 formal peacetalks during my work UNBURNING FREEDOM HALL 1997 at L.A. MOCA, led by the most important local "Peacebuilders" throughout Los Angeles, about 8 different ways to conceive of peace, such as peace in the family, inter-religious peace, inner peace, Pan Asian/African American peace efforts after 1992; city work as peacebuilding, led by Captain Vickers of the L.A. Fire Department a few blocks away from the Rodney King incident that sparked 1992 civil disturbances, etc. It was also the site where over 1000 people made individual "Unburnings" in glass vessels in the museum during this exhibition.


1996 METHANOGENESIS IV, Anderson Gallery, Virginia Commonwealth University, August- September 1996, Curator: Ray Kass. Re-installation of work from METHANOGENESIS with the Mt. Lake Workshop, 1994 (see below).

METHANOGENESIS III, installation for Views from Ground Level: Art and Ecology in the Late Nineties, Catherine J. Smith Gallery, Appalachian State University, Boone, NC, February 26- March 22, 1996, Curator: Hank T. Foreman. Re-installation of METHANOGENESIS with the Mt. Lake Workshop, 1994 (see below).

1995 FRESH KILLS: IMAGING THE LANDFILL/SCALING THE CITY, installation for City Speculations, Queens Museum of Art, Queens, NY, November 16-March 10, 1996, Curator: Patricia Phillips. Part of Phase I – Reconnaissance, the initial stage of the Fresh Kills Landfill Percent for Art commission. Catalogue.

MODEL FOR FENCE AROUND PUBLIC BUILDING, installation for The Edge of Town, Joseloff Gallery, University of Hartford, Hartford, CT, November 6, 1995-January 15, 1996, Director: Zina Davis; Co-Curator: Bob Chaplin. Installation with lights and 14 wooden racks of gloves and rod-branches from CERMONIAL ARCH III 1994 (see below), 48’ l x 8’ h x 4’ d. Catalogue.

METHANOGENESIS II: Mierle Laderman Ukeles and the Mountain Lake Workshop, Art Museum of Western Virginia, May 5-August 20, 1995, Curator: Mark Scala. Re- installation of work from METHANOGENESIS with the Mt. Lake Workshop, 1994 (see below). Catalogue.

DREAMS FOR MITZPE RAMONE, installation for Co-Existence, Negev Desert, Israel, April 1995, commissioned by the Artist’s Museum. Two thousand dreams written in multiple languages and dream objects sealed in two hundred bottles and then planted in sixty-ton mound of green recyclable glass on chalk ground.

1994 CEREMONIAL ARCH HONORING SERVICE WORKERS IN THE NEW SERVICE ECONOMY III, installation for Garbage! The History and Politics of Trash in New York City, Gottesman Hall, New York Public Library, New York, NY, November 12, 1994-February 25, 1995, Curators: Dr. Elizabeth Fee and Dr. Steven Corey. Re-installation of CEREMONIAL ARCH, 1988 (see below) with new collection of used workers gloves from 12 NYC agencies and a new column dedicated to the NYC Dept. of Sanitation. Additions and revisions in collaboration with New York City Department of Sanitation Commissioner John Doherty.

METHANOGENESIS with the Mt. Lake Workshop, Armory Art Gallery, Virginia Polytechnic University, Blacksburg, Virginia, June 21-July 16, 1994, Director: Ray
Kass with special assistance from Dr. James G. Ferry, Director Virginia Tech Anaerobe Lab. Installation with 72’ l x 8’ h drawing on plastic and bentonite landfill lining material and other media. 100 community participants.

1993 RE-SPECT, performance work on the Quai de la Navigation and the Rhone River, Givors, France, October 28, 1993, 5-6 pm, Directors: Alain Charre and Jacky Vieux; Project Coordinator: Amanda Crabtree; American Consultant: Tom Finkelpearl, commissioned by the Institute for Art and the City, in collaboration with the City of Givors; VMC Glassworks Rive-de-Giers; and the Rhone Navigation Department, Lyons. Supported by the Ministry of Culture/Visual Arts Department, Paris; DRAC Rhone-Alpes/Regional Arts Bureau, Lyons; the Ministry of Equipment, Paris; and the Head Office of Architecture and Urbanism, Paris. Multi-part, choreographed procession through town and a 4-movement ballet including: 27 city sanitation, park, and fire trucks, 3 barges, 100 tons of crushed cobalt glass, and 100 school children.

BLIZZARD OF RELEASED AND AGITATED MATERIALS IN FLUX, permanent installation for the Recycling through Art Museum, Taedok Science Town, Art Pavilion, Taejon, Korea, August 7-November 7, 1993, Curator: Terrie Sultan; Commissioner of Expo: Yungwoo Lee, commisioned by Taejon International Exposition. Recycled Styrofoam, 20, 000 hand-shapped objects of crushed cans, and shredded steel, 15.3’ h x 20.3’ l x 12.7’ w. Catalogue.

CEREMONIAL ARCH HONORING SERVICE WORKERS IN THE NEW SERVICE ECONOMY II, temporary installation for American Cultural Pavilion, Taedok Science Town, Taejon, Korea, August 7-November 7, 1993, Curator: Nancy Pressley; Project Manager and Director of Installation: Jane Keller, commisioned by Taejon International Exposition. Re-installation of CEREMONIAL ARCH, 1988 (see below) with additions and revisions. Korean workers’ gloves and new parks columns in collaboration with Korean gardener. New streets column with glassphalt created in collaboration with NYC Dept. of Sanitation. Catalogue.

1992 UNDERGARDEN II, installation for Dispossessed Installations, Florida State University Gallery & Museum, Tallahassee, Florida, August 24-October 4, 1992, Curators: Terri Lindbloom and Paul Rutkovsky. Unfurled “roll” of geosynthetic landfill liner on red north Florida clay, plastic liner, water, heavy tackle, and hoist, 12’ w x 35’ l x 9’10” h. Catalogue.

MOVIN’ ON ALONG: BARGE AND TOWBOAT BALLET, performance work for Three Rivers Arts Festival, Pittsburgh, Pennsylvania, June 21, 1992, Festival Director: Jeanne Pearlman. Choreographed ballet for two pushboats, three barges with recycled glass and steel, and a group of retired steel workers at the confluence of the Ohio, Allegheny, and Monongahela Rivers. Catalogue.

PIT/EGG: A NEW LOW FOR HOLLAND, installation for Allocations, World Horticultural Exhibition Floriade, The Hague and Zoetermeer, Netherlands, April 10-October 11, 1992, Curators: Maria Rosa Boezem, Jouke Kleerebezem, and Michiel den Ruijter. Landfill lining welded to fit excavated earth pit along canal and barge- rafts loaded with used work gloves from European countries. Catalogue.

1990 LANDFILL CROSS SECTION, installation for self-curated Garbage Out Front: A New Era of Public Design, Municipal Art Society, New York, NY, June-September 1990. Catalogue.

1989 RECYCLE WORKS, installation for one person exhibition, Clifford Gallery, Bronx Museum, New York, NY, June 8-September 4, 1989, Curator: Phillip Verre. Travel to: SUNY, Old Westbury, Long Island, NY, October- December 1989, Director/Curator: Eugenie Tsai. Installation with piled steel shavings from subway wheels and panels of recyclable materials including: glass, plastic, aluminum, rubber, and earth.

1988 CEREMONIAL ARCH HONORING SERVICE WORKERS IN THE NEW SERVICE ECONOMY, installation for The New Urban Landscape Exhibition, Olympia and York, World Financial Center, New York, NY, October-December 1988. Project Coordinator: Elka Gould; Architect: Andrew Kettler; Engineer: Samuel Harris; Chief Welder: Heidi Schlatter; Director of Arts Program, Anita Contini; Exhibition Architects: Frank Gehry and David Childs; and in collaboration with 12 urban service organizations via invitations from NYC Dept. of Sanitation commissioner, Brendon Sexton. Steel and materials from city agencies, 11’ l x 13’ h x 9’ d. Catalogue.

RE-ENTRY, installation for Out of the Studio: Art With the Community, P.S. 1, January- March 1988, Curator: Tom Finkelpearl. In collaboration with the NYC Dept. of Sanitation. 20 tons of recyclables forming the walls, ceiling, and floor of a ramp cut through 3 walls of the gallery, 90’ l x 18’ w x 13’ h, sound work with Stephen Erikson, prototype for FLOW CITY. Catalogue.

1987 THE PIT: A MEDITATION ON RACISM WITH 5 TEXTS, installation for Up South, Brooklyn Arts and Cultural Association Gallery, New York, NY, November 13- December 19, 1987, Curator: Bill Batson. In collaboration with the Jewish Community Relations Council. A pit cut right through the gallery floor and excavation down to 14’ in earth below gallery. Catalogue.

1986 IMMERSE AGAIN IMMERSE AGAIN: THE INCEPTION OF THE UNIVERSAL JEWISH IMMERSION PROJECT, performance work, Jewish Museum, New York, NY, November 16, 1986, Curator: Susan Goodman. Multi-media performance with multi-channel environmental video for projection screen and seven monitors, sound, and 40 performers. Video with Matthew Geller, Dieter Froese, and sound with Stephen Erickson.

MIKVA: THE PLACE OF KISSING WATERS, installation for Jewish Themes/ Contemporary American Artists II, Jewish Museum, New York, NY, July 15- November 16, 1986, Curator: Susan Goodman. Large site installation outside and inside of the museum, sound work with Stephen Erikson. Catalogue.

1985 VUILNISWAGENDIANS (CITY DANCE MACHINE), performance work in Perfo 3 exhibition in the International Art Festival, Rotterdam, May 16, 1985, Festival Director: Wink van Kempen. A Futurist ballet for 10 garbage vehicles in a public square, with a sound artwork composed on-site, with ROTEB, Municipal Sanitation Department. Catalogue and video produced by ROTEB.

WHAT IS THIS AND WHERE DOES IT BELONG? Brooklyn Arts and Culture Association, New York, NY, May 1985. Installation built out of recyclables.

1984 TOUCH SANITATION SHOW, New York, NY, two performance works and two ongoing simultaneous exhibitions, September 9-October 8, 1984, created over 5 years in collaboration with the NYC Dept. of Sanitation, and sponsored by Creative Time, Inc., Ronald Feldman Fine Arts, Inc., and the New York Foundation for the Arts.
Exhibition #1: TRANSFER STATION TRANSFORMATION, W. 59th Street and Hudson River, Pier 99: A multi-media installation exhibition transforming the entire 65,000 square foot Marine Transfer Station into an artwork.
Exhibition #2: MAINTENANCE CITY AND SANMAN’S PLACE, Ronald Feldman Fine Arts, Inc.: two multi-media installations called MAINTENANCE CITY; SANMAN’S PLACE: OLD FACILITY; and SANMAN’S PLACE: NEW FACILITY. Included: TV Garbage-Light Flasher, 4 min. loop, installed in a garbage truck light, 1984; Waste Flow Video, 3/4" color, 58 minutes, 1979-84; Snow/Flow Video, 3/4" color, 58 minutes, 1979-84; and, Sanman’s Place Video, 3/4" color, 58 minutes, 1979-84; created for the exhibition.
Performance work #1: MARRYING THE BARGES: A BARGE BALLET, a barge ballet for 2 tugboats and 6 Dept. of Sanitation barges in the Hudson River. Performance work #2: CLEANSING THE BAD NAMES, a performance work with 290 participants, from every sector of society, on Mercer Street in Soho, wherein performers washed away the bad names that people called Sanitation workers.

1983 SANITATION CELEBRATIONS: GRAND FINALE OF THE FIRST NYC ART PARADE, performance work, 42 blocks along Madison Avenue from sunset into night, September 27, 1983, Parade Director: Henry Korn. Co-sponsored by Creative Time, Executive Director: Anita Contini; and the Dept. of Sanitation NYC, Commissioner: Norman Steisel. A work in three-parts:
Part I: BALLET MECHANIQUE FOR SIX MECHANICAL SWEEPERS, a 5 movement Futurist Ballet choreographed with 6 of the finest sweeper drivers in the Dept. of Sanitation.
Part 2: SOCIAL MIRROR, a 20 cubic yard garbage collection truck clad in hand- fitted tempered glass mirror with smoke Plexiglas mirror trim: a permanent mobile public-art work. Proposed in 1979, completed in 1983.
Part 3: CEREMONIAL SWEEP, a work hierarchy reversal ritual, in which those who have power over sanitation workers take their place and sweep 42 blocks of the parade route, including the Sanitation Commissioner and entire Executive Committee, Union presidents, reporters, municipal leaders, art experts, and the artist’s family.

ALL YEAR LONG WORN OUT WORK-GLOVE PORJECT, New York, NY, city wide, Labor Day 1983 through Labor Day 1984.

WRAP/WRAP/WRAP, permanent installation, Islip Art Museum, Islip, NY, Spring 1983, Curator: Madeleine Burnside. 3 ½ tons recyclables sculpture.

1982 WALLS OF STRESS/BOWLS OF DEVOTION, Martin Luther King, Jr. Labor Center, District 1199 Gallery, Spring 1982, Curator: Lucy Lippard.

1981 Maintenance Art Mongo, AND/OR Center for Contemporary Art, Seattle, WA, August 1981, Curator: Norie Sato.

1980 INTERNATIONAL GLOVE EXCHANGE: AFTER THE REVOLUTION, WHO’S GOING TO PICK UP THE GARBAGE ON MONDAY MORNING? performance work, London, England, November 17, 1980. 22 hour performance with London “dustmen.”

1979 TOUCH SANITATION PERFORMANCE, performance work, New York, NY, all 59 community districts, July 1979-June 1980. A citywide facing of each of the 8,500 NYC Sanitation workers individually and saying to each: “Thank you for keeping NYC alive.” Also includes: ROLL CALL, HANDSHAKE AND THANKING RITUAL, and FOLLOW IN YOUR FOOTSTEPS.

1978 REVOLVING DOORS HAVE WINGS; MY HOUSE IN PARTS AND WHOLEE; HOLY HOUSE, HOME HOUSE, CITY HOUSE/SANITYSHINE DEPT., ARTIST HOUSE: IN UP OUT UP, Out of the House, Whitney Museum Downtown at 55 Water Street, New York, NY, January 26-March 1, 1978. Catalogue.

HELLO/ARE YOU ALL RIGHT?/GOODBYE: IN UP OUT UP, Out of the House, Whitney Museum Downtown at 55 Water Street, New York, NY, January 26-March 1, 1978. Catalogue.

MANIFESTO FOR MAINTENANCE ART AS INSTALLATION IN A RECONSTRUCTION SITE: IN UP OUT UP, Out of the House, Whitney Museum Downtown at 55 Water Street, New York, NY, January 26-March 1, 1978. Catalogue.

1977 MAINTENANCE ART TALES: MIKVA DREAMS, BATMAN IN THE HOSPITAL AND OTHER MAINTENANCE TALES, and 55 WATER STREET, performance and reading, Franklin Furnace, New York, NY, January 11, 1977.

MAINTENANCE ART WORKS MEETS THE DEPT. OF SANITATION, set of proposals, New York, NY, January 1977-79.

1976 I MAKE MAINTENANCE ART 1 HOUR EVERY DAY, performance work for Art<-->World, Whitney Museum Downtown at 55 Water Street, New York, NY, September 16- October 20, 1976, Director: David Hupert. 6-week long performance, 24 hrs/day, with 300 maintenance workers all over 55 Water Street building (3 ½ million sq. ft.) and concurrently in the Whitney Museum Downtown (2nd floor of same building and opened at midnight for night shift workers to participate). Brochure.

MAINTAINING NYC IN CRISIS: WHAT KEEPS NYC ALIVE?, performance work for Art
<-->World, Whitney Museum Downtown at 55 Water Street, New York, NY, September 16- October 20, 1976, Director: David Hupert.

BREAD BOX: 11 MAINTENANCE ART PROPOSAL PROJECTS, Art<-->World, Whitney Museum Downtown at 55 Water Street, New York, NY, September 16-October 20, 1976. Director: David Hupert.

MAINTENANCE ART QUESTIONNAIRE, Art<-->World, Whitney Museum Downtown at 55 Water Street, New York, NY, September 16-October 20, 1976. Director: David Hupert.

1974 FALL/SUITE: TIME SLICES: HUSBANDING THE EARTH – RAKING PIECE, THE TREES ARE HAVING THEIR PERIOD: MAKING A 50 FOOT SANITARY NAPKIN FOR A 100 YEAR OLD TREE, and CHILDREN’S PIECE: TIME STOP: MINGLING THE FALLEN LEAVES WITH MY BABIES’ HAIR-CUTTINGS, Vassar College Museum (outside), Poughkeepsie, NY, November 7, 1974, Curator: Peter Marrin.

MAINTENANCE ART IN ABSENTIA, performance work, Andler Gallery, Seattle, WA, September-October 1974, Curator: Anne Focke. One month long event.

SIDEWALK WASHING, performance work, A.I.R. Gallery, New York, NY, June 13, 1974, Curator: Lucy Lippard. 5 hrs.

MAINTENANCE ART INTERVIEWS WITH PASSERSBY ON THE SIDEWALK, performance work, A.I.R. Gallery, New York, NY, June 15, 1974, Curator: Lucy Lippard.

EARTH RANSOM EXCHANGE (ISRAEL EARTH), performance work, Israel Museum, Jerusalem, Israel, February 19, 1974, Curator: Yonah Fisher.

BOUNDRY WASHING (ISRAEL WASH), performance work, Israel Museum, Jerusalem, Israel, February 19, 1974, Curator: Yonah Fisher.

IT’S OKAY TO HAVE A BABYSITTER (INCLUDING LONG DISTANCE CALLS), performance work, Institute of Contemporary Art, Boston, MA, January 15, 1974, Curator: Lori Yarlow.

SECURITY IS MAINTENANCE – MEMORIAL TO MARTIN LUTHER KING JR., performance work, Institute of Contemporary Art, Boston, MA, January 15, 1974, Curator: Lori Yarlow.

SNOW REMOVAL/TRACKS/MAINTENANCE, performance work, Institute of Contemporary Art, Boston, MA, January 15, 1974, Curator: Lori Yarlow.

1973 NOW YOU HAVE HEIRS/AIRS M. DUCHAMP, performance work, Philadelphia Museum of Art/Moore College of Art and the distance in between, Philadelphia, PA, November 7, 1973, Curator: Diane Vanderlip. Anne D’Harnoncourt acting as Duchamp’s “Deputy Here on Earth.”

TRANSFER: THE MAINTENANCE OF THE ART OBJECT: MUMMY MAINTENANCE: WITH THE MAINTENANCE MAN, THE MAINTENANCE ARTIST, AND THE MUSEUM CONSERVATOR, performance work, Wadsworth Atheneum, Hartford, CT, July 20, 1973, Curator: Jack Cowart.

THE KEEPING OF THE KEYS, performance work, Wadsworth Atheneum, Hartford, CT, July 20, 1973, Curator: Jack Cowart. Performed in every part of the museum, including service and curatorial areas.

WASHING/TRACKS/MAINTENANCE: OUTSIDE, performance work, Wadsworth Atheneum, Hartford, CT, July 23, 1973, Curator: Jack Cowart. 4 hrs.

WASHING/TRACKS/MAINTENANCE: INSIDE, performance work, Wadsworth Atheneum, Hartford, CT, July 23, 1973, Curator: Jack Cowart. 4 hrs.

MAINTENANCE ART QUESTIONNAIRE, 1973.

1969 MANIFESTO FOR MAINTENANCE ART, 1969, wrote in Philadelphia, PA, October 1969, credo.

1968-72 MAINTENANCE ART PROCESS: CHILDBIRTH SERIES, New York, NY, collaborations with Jack Ukeles: Meir Thomas Ukeles, October 31, 1972, Raquel Margalit Ukeles, November 14, 1970, Yael Sara Ukeles, June 19, 1968.

1966-69 AIR ART

1963-66 BINDINGS

1962-65 BOXES and CONSTRUCTIONS


PERMANENT WORKS

2000 HONOR 2000, permanent public artwork, Firehouse Engine 75, Bronx, NY, commissioned by New York City Percent for Art Program.

1997 FLOW THRU OUT, permanent public artwork, Maine College of Art, Portland, Maine, installed November 1997, commissioned by Portland Percent for Art Program. Installation in the main entry of the Porteous Building. Winning proposal in national competition, awarded 1994.

1992 PREPOSITION PARK, TRI-MET WESTSIDE LIGHT RAIL EXTENSION, proposal for permanent public artwork, commissioned by the Metropolitan Arts Commission of Portland and Hillsboro, Oregon. Artist member on winning team of national
competition awarded 1992. Plans for artwork on 12 mile extension of rail system from Portland to Beaverton. Catalogue. (partially realized)

1989 TURNAROUND SURROUND, permanent public artwork, Danehy Park, Cambridge, MA, 1989-present, First Public Art Director: Pallas Lombardi; Second Public Art Director: Hafthor Yngvason; Landscape Architect: John Kissida; Deputy City Manager: Richard Rossi. Initiated through Art Insights, Cambridge Arts Council. A four-part project at restored 55-acre landfill.
Part 1: PATH, ½ mile long handicap access glassphalt walkway incorporating local recyclable glass collected by the community. 10 tons of stained glass donated by Spectrum Glass, Woodinville, WA, mirror donated by NYC Dept. of Sanitation, glassphalt tests in NYC donated by Dept. of Sanitation and Dept. of Transportation. Realized in 1993.
Part 2: ALLEES, SMELLERS AND WAVERS, landscape design along path with over 3000 plantings of Oaks, Maples, Ash, Cedar, native grasses, fragrant herbs and roses. Realized in 1993 and expanded in 2003.
Part 3: GALAXY DANCE FLOOR, realized in 2002, and THRONE ROOM FOR THE KING AND QUEEN OF THE HILL, to be installed Fall 2003. Two discs for top of the central mound (originally 6 discs).
Part 4: COMMUNITY IMPLANTS for top of the mound. In progress.

1983 FLOW CITY, proposed permanent public artwork, 59th St. Marine Transfer Station, New York, NY, begun in 1983. A permanent public art-video environment built as part of an operating waste disposal facility. Accepted by the NYC Dept. of Sanitation in 1983 and supported by 5 Commissioners of Sanitation. Project has 3 main interconnected components: PASSAGE RAMP, GLASS BRIDGE, MEDIA FLOW WALL. Construction of substructure of basic flow city components, elements for handicap accessibility, and zoning for fire safety. FLOW CITY video: multi- channel video wall-sculpture including live video and tapes. (partially realized)





MEDIA WORK

1986 IMMERSE AGAIN IMMERSE AGAIN, 3/4" color, 2 hours, multi-channel environmental video for projection screen and seven monitors.

1984 TV GARBAGE-LIGHT FLASHER, 4 min. loop, installed in a garbage truck light

1979-84 WASTE FLOW VIDEO, 3/4" color, 58 minutes.

SANMAN’S PLACE VIDEO, 3/4" color, 58 minutes, 1979-84.

SNOW/FLOW VIDEO, 3/4" color, 58 minutes, 1979-84.

Sanitation Celebrations, in progress.
Flow City video, multi-channel video wall-sculpture including live video and tapes (in progress).
Tracks for Trucks and Barges, 1/2 hour full 8 track soundwork installation on 1/2" tape, installed to saturate 32,000 sq. ft. of a sanitation work facility, composed of over 100 hours of taped interviews with workers and natural industrial music. Stephen Erikson, sound design.
This Land Is Your Land / This Land Is Our Land, (in development).




ARTIST’S WRITINGS

2007 Ukeles, Mierle. “Garbage and Mirrors: A Self Reflection.” Sh’ma (June 2007): 12.

2006 “Letters to a Young Artist.” An Art on Paper Book: 75-78.

2003 “Time Travel in Public Landscapes.” Landscape & Art, no. 29 (Summer 2003): 21-2.

2002 “Leftovers/It’s About Time For Fresh Kills.” Cabinet, no. 6 (Spring 2002): 17-20.
“Mierle Laderman Ukeles Artist’s Pages.” n. paradoxa 9 (January 2002): 43-47.


“Penetration and Transparency: Morphed.” Fresh Kills: Artists Respond. Staten Island,
NY: Snug Harbor Cultural Center, 2001. (catalogue)


1999 “Evapotranspiration: This Land Lives and Breathes.” Proposal 1998/1999. (Text published
in Hiriya in the Museum catalogue.)
Hiriya in the Museum. Tel Aviv, Israel: Tel Aviv Museum of Art, 1999. (catalogue)

1997 "Maintenance Art Activity (1973)." Documents, no. 10 (Fall 1997): 5-14.
“Unburning Freedom Hall.” Uncommon Sense. Los Angeles, CA: Museum of Contemporary Art, Los Angeles, 1997, pp. 153-165. (catalogue)

1992 “A Journey: Earth/City/Flow.” Art Journal 51, no. 2 (Summer 1992): 12-14.

1991 “Stretching the Canvas: Flow City.” Environmental Action 23, no. 1 (July/August 1991):
24-25.


1990 “Flow City: Transformative Visions.” Connections Quarterly 10, no. 1 (September 1990): 15-17.
“Sanitation Manifesto!” 2, no. 1 (1990).
“Three Memos.” White Walls, no. 25 (Spring 1990).

1984 “Why Sanitation can be used as a Model for Public Art.” May 8, 1984. (statement)
Worn-Out Work-Glove Book: "Dear Friend Sanman." Artist's booklet, edition 10,000 for
Sanitation workers and public; a component of the ALL YEAR LONG WORN OUT WORK GLOVE PROJECT, February 1984.


1983 Dear WRAP Worker/ Dear Islip Resident. Performance-letter distributed to the recycling
plant workers in the Town of Islip, and to Islip Residents; a component of a work at the Islip Museum: WRAP/WRAP/WRAP, March- May 1983.

1981 Dear Visitor/ Maintenance Art Mongo. Artist's booklet distributed to visitors at semi-
retrospective, And/Or Contemporary Arts Center, Seattle, Summer 1981.
“Re-Raw Recovery.” Heresies: Ecology Issue, no. 13 (Summer 1981).
“3 Maintenance Systems, 3 Maintenance Art Works.” DUMB OX, Allan Kaprow and Paul
McCarthy, eds., revised edition, first edition 1981 withdrawn.


1980 Dear Dustman. Performance-letter distributed to 200 London "dustmen" initiating 22 hour
performance: AFTER THE REVOLUTION, WHO’S GOING TO PICK UP THE GARBAGE/RUBBISH ON MONDAY MORNING? Institute of Contemporary Arts, London, November 1980.
Issue: Social Strategies by Women Artists, Lucy Lippard, editor and essay, catalog
statement, Institute of Contemporary Arts, London, 1980.


1979 "Good Morning. The maintenance artist is coming to..." Teletype series transmitted
citywide to all 59 New York City Sanitation districts every performance day for 11 months and exhibited on bulletin boards and read at roll calls. Communications component of TOUCH SANITATION PERFORMANCE, (NYC Department of Sanitation), July 1979-June 1980.
Dear Sanman. Artist's booklet distributed to 8,500 New York City Sanitation workers and
officers, media and visitors, initiating 11 month TOUCH SANITATION PERFORMANCE. Includes maps of spiraling itinerary form: 10 "sweeps" around and around NYC (Maintenance Art works/courtesy printing Avon, Inc., NYC), July 1979, edition of 9,000.


1978 "55 Water Street." Gnome Baker Art Magazine II & III, Spring, 1978.
"Mikva Dreams -- A Performance." Heresies: The Great Goddess, Spring 1978.


1977 "The Sorting of the Sox: Homage to MuCh'i." Heresies, no. 2 (1977).



1973 Dear Friend Worker. Artist's booklet distributed to 300 maintenance workers at 55 Water
Street, a New York City skyscraper, and to visitor's at the Whitney Museum Downtown, initiating a 6-week long performance: I MAKE MAINTENANCE ART 1 HOUR EVERY DAY, (Maintenance Art Works, New York), 1973.
Maintenance Art Questionnaire. Artist's booklet distributed at exhibitions all over USA
from 1973-1976, (Maintenance Art Works, New York), 1973.
Manifesto for Maintenance Art, 1969. Excerpted by Jack Burnham, "Problems of Criticism," Artforum, January, 1971; reprinted by Gregory Battcock, ed., IDEA ART, New York, NY: Dutton, 1973; also excerpted by Lucy R. Lippard, ed., Six Years: The Dematerialization of the Art Object, New York, NY: Prager, 1973.


SOLO / TWO-PERSON EXHIBITIONS

2007 Mierle Laderman Ukeles, The Armory Show 2007, New York, NY, February 23 – 26,
2007. One-person show (Booth 1117—Ronald Feldman Fine Arts), including The Social Mirror (in cooperation with the New York City Department of Sanitation) and other works.

1998 Mierle Laderman Ukeles/MATRIX 137, Wadsworth Atheneum, Hartford, CT, September 20-November 15, 1998, Curator: Andrea Miller-Keller; Guest Curator: Sherry Buckberrough. Selected works from 1969 to 1984. Catalogue.

Eleanor Antin: Portraits of Eight New York Women, 1970/Mierle Laderman Ukeles: Maintenance Works, 1969-1979, Ronald Feldman Fine Arts, New York, NY, May 8-June 13, 1998. Selected works from 1969 to 1979.

1984 TOUCH SANITATION SHOW, New York, NY, two performance works and two ongoing simultaneous exhibitions, September 9-October 8, 1984, created over 5 years in collaboration with the NYC Dept. of Sanitation, and sponsored by Creative Time, Inc., Ronald Feldman Fine Arts, Inc., and the New York Foundation for the Arts.
Exhibition #1: TRANSFER STATION TRANSFORMATION, W. 59th Street and Hudson River, Pier 99: A multi-media installation exhibition transforming the entire 65,000 square foot Marine Transfer Station into an artwork.
Exhibition #2: MAINTENANCE CITY AND SANMAN’S PLACE, Ronald Feldman Fine Arts, Inc.: two multi-media installations called MAINTENANCE CITY; SANMAN’S PLACE: OLD FACILITY; and SANMAN’S PLACE: NEW FACILITY. Included: TV Garbage-Light Flasher, 4 min. loop, installed in a garbage truck light, 1984; Waste Flow Video, 3/4" color, 58 minutes, 1979-84; Snow/Flow Video, 3/4" color, 58 minutes, 1979-84; and, Sanman’s Place Video, 3/4" color, 58 minutes, 1979-84; created for the exhibition.
Performance work #1: MARRYING THE BARGES: A BARGE BALLET, a barge ballet for 2 tugboats and 6 Dept. of Sanitation barges in the Hudson River. Performance work #2: CLEANSING THE BAD NAMES, a performance work with 290 participants, from every sector of society, on Mercer Street in Soho, wherein performers washed away the bad names that people called Sanitation workers.

GROUP EXHIBITIONS

2008 The Bronx Museum of Arts, Bronx, NY, Making It Together: Women’s Collaboration Art and Community, March 2 – July 27.
Neuberger Museum of Art, Purchase College, Purchase NY, Person of the Crowd: The Contemporary Art of Flânerie, January 20 – April 13.

2007 Kunstverein Wolfsburg, Wolfsburg, Germany, Green Dreams, November 17 – February 10, 2008.
American University Museum, Washington, DC, Claiming Space: The American Feminist Originators, November 12 – January 24, 2008.
Boulder Museum of Contemporary Art, Boulder, CO, Weather Report: Art & Climate Change, September 14 – December 21.
Art Sites, Riverhead, NY, Called into Action, May 5 – June 3.
Sharjah Biennial 8, Sharjah, United Arab Emirates, Still Life: Art, Ecology and the Politics of Change, April 4 – June 4.
The Museum of Contemporary Art, Los Angeles, CA, WACK! Art and the Feminist Revolution, March 4 – July 16; National Museum of Womens Art, Washington D.C., September 21 – December 16; P.S. 1 Contemporary Art Center, Long Island City, February 17 – May 12, 2008; Vancouver Art Gallery, Vancouver, October 4, 2008 – January 18, 2009.
The LeRoy Neiman Gallery, Columbia University, New York, NY, February 19 – March 16.

2006 Exit Art, New York, NY, Renegades: 25 years of performance at Exit Art, December 16 – January 27, 2007.
Stony Brook University Art Gallery, Stony Brook, NY, Civic Performance, November 4 – December 9.
Grey Art Gallery, New York, NY, The Downtown Show: The New York Art Scene, 1974- 1984, January 10 – April 1 and travel to: Andy Warhol Museum, Pittsburgh, PA, May 20 – September 3; Austin Museum of Art, Austin, TX, November 18 – January 28, 2007.
Stony Brook University Art Gallery, Stony Brook, NY, Civic Performance, November 1– December 9.
Generali Foundation, Vienna, Austria, …Concept Has Never Meant Horse, September 14 – December 17.
Kathleen Cullen Fine Arts, New York, NY, SAFE, September 7 – October 21.
Cubitt Gallery, London, England, What Have I Done to Deserve This?, July 26 –
August 13.
Singer Gallery, Mizel Arts Center, Denver, CO, The Armory Group: 40 Years, June 22 – August 20, 2006.
Stichting Stedelijk Museum, Amsterdam, The Netherlands, Mapping the Studio, May 11-August 21, 2006.
Bard Center for Curatorial Studies and Art in Contemporary Culture, Annandale-on-Hudson, NY, You don’t live here anymore, March-May, 2006.

2005 Mizel Center for Arts and Culture, Denver, CO, Upstarts and Matriarchs: Jewish Women
Artists and the Transformation of American Art, January 13 – March 27.
(catalogue)
Jeanette Assia Gallery (organized by Tel Aviv Museum of Art), Tel Aviv, Israel, March 17.
Center for Architecture, New York, NY, City Art, April 28 – September 3.
The Contemporary Jewish Museum, San Francisco, CA, Scents of Purpose, May 4 –
September 5. (catalogue)
Pratt Manhattan Gallery, New York, NY, Exceeding Paint/Expanding Painting, May 20 –
July 16.
Galerie im Taxispalais, Innsbruck, Austria, Work/labor, June 4 – August 14.
White Columns, New York, NY, ODD LOTS: Revisiting Gordon Matta-Clark’s Fake
Estates, September 9 – October 15. Travel to: Queens Museum of Art, Queens,
NY, September 11, 2005 – January 22, 2006.
Center for Art Production, Florence, Italy, The Gesture: A Visual Library in Progress,
October 6 – November 12.

2004 Credit Suisse Bank, New York, NY, A Universe of Art, September 14 – November 30.
Vlepo Gallery, Staten Island, NY, Life As Art, October 7 – October 28.
Reduce/Reuse/Reexamine, Wave Hill Glyndor Gallery, Bronx, NY, March 6 – May 31.

2003 Work Ethic, The Baltimore Museum of Art, Baltimore, MD, October 12, 2003-January 4, 2004, Curator: Helen Molesworth. Travel to: Des Moines Art Center, Des Moines, Iowa, May 15-August 1, 2004 LA County Museum of Art, Los Angeles, CA,
October 12 – January 4; Wexner Center for the Arts, Columbus, OH, September 17 – January 2, 2005. Catalogue.
Bronx Public Art: The Spotlight Series, Lehman College Art Gallery, Bronx, NY,
September 30 – December 20, 2003.
The Archive Project, Storefront for Art and Architecture, New York, NY, May 9-August 6, 2003, Curators: Sarah Herda and Kyong Park.
American Dream, Ronald Feldman Fine Arts, New York, NY, February 22-March 29, 2003. Catalogue.

2002 Outsourcing, The Space @ InIVA, London, England, November 13-December 6, 2002. SANMAN’S PLACE VIDEO, 1984, screened on November 29 in Work and Non- Work: A Presentation and Film Screening.
GLORIA: Another Look at Feminist Art in the 1970’s, White Columns, New York, NY, September 13-October 20, 2002, Director/Chief Curator: Lauren Ross; Curators: Catherine Morris and Ingrid Schaffner. Travel to: Moore College of Art & Design, Philadelphia, PA, January 21-February 26, 2003; Museum of Art, R.I.S.D.,
Providence, RI, November 21, 2003 – February 4, 2004. Catalogue.
Personal and Political: The Woman’s Art Movement, 1969-1975, Guild Hall of East Hampton, East Hampton, NY, August 10-October 20, 2002.
Ecovention, The Contemporary Arts Center, Cincinnati, Ohio, June 10-September 1, 2002, Curators: Amy Lipton and Sue Spaid. Catalogue.

2001 Reclaimed! Brown Fields & Gray Waters, Gund Hall Gallery, Harvard University Graduate School of Design, Cambridge, MA, October 25-November 25, 2001, Curators: Dr. Niall Kirkwood and George Hargreaves.
Environmental Interactions, Sharadin Art Gallery, Kutztown University, Kutztown, PA, October 18- November 18, 2001, Curator: Dr. Peg Speirs.

2000 Artworkers, Newlyn Art Gallery, Penzance, England, February 19-March 18, 2000, Curator: Melissa A. Feldman. Travel to: Oriel Mostyn Gallery, Llandudno, Wales, March 25-May 13, 2000 and Ferens Art Gallery, Hull, England, August 26- November 5, 2000. Catalogue.

1999 Measurement, Amelie A. Wallace Gallery, State University of New York/ College at Old Westbury, Long Island, NY, November 9-December 4, 1999.

1998 Not For Sale: Feminism and Art in the USA during the 1970s, Apex Art C.P., New York, NY, February 12-March 14, 1998, a video essay by Laura Cottingham.
Rage/Resolution: From Family Violence to Healing in the Works of Israeli and American Women, Hebrew Union College-Jewish Institute of Religion, New York, NY, September 17-January 30, 1998, Curator: Ayana Friedman.

1997 Changing Places, Cardiff Bay Art Trust, Cardiff, England, October 1-December 1997, Exhibition Coordinator: Carole-Anne Davies. Travel to: Memorial Gallery, Wrexham, January 6-February 1998; Llantarnam Grange, Cumbran, April 5-May 10, 1998; and, Wyeside Arts Centre, Builth Wells, July 4-August 8, 1998.
Vraiment Feminisme et Art, Centre National d’Art Contemporain de Grenoble, France, April 5- May 25, 1997, Curator: Laura Cottingham.
Fresh Kills Landfill Conference: Closure and Beyond, Center for the Arts, The College of Staten Island, Staten Island, NY, March 14, 1997, Gallery Coordinator: Craig Manister.

1996 Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History, Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA, April 24-August 18, 1996, Senior Curator: Elizabeth Shepherd.
The Materialization of Life Into Alternative Economies, Printed Matter, New York, NY, April 12-May 11, 1996, Curator: Ben Kinmont.
Art About the Environment II, Center for Art & Earth, New York, NY, March 12-May 17, 1996, Curator: Barbara Peterson.
Cultural Economies: Histories from the Alternative Arts Movement in New York City, The Drawing Center, New York, NY, February 24-April 6, 1996, Curator: Julie Ault. Catalogue.
Withdrawing, Ronald Feldman Fine Arts, New York, NY, January 13-February 17, 1996.
1995 Art About the Environment, Center for Art & Earth, New York, NY, November 14- December 22, 1995.
Waste Not, Detroit Focus, Detroit, MI, November 3-December 22, 1995, Curator: Mary Fortuna.
Family Portrait, 32 years show, July 10-August 3, 1995.
Garbage!, Thread Waxing Space, New York, NY, February 23-April 8, 1995. Travel to: Real Art Ways, Hartford, CT, April 9-May 6, 1995.
Endurance, Exit Art, New York, NY, March 4-April 5, 1995. Travel to other venues.
Division of Labor: Women’s Work in Contemporary Art, Bronx Museum of the Arts, Bronx, NY, February 17-June 11, 1995, Associate Curator of Contemporary Art: Lydia Yee. Travel to: Museum of Contemporary Art, Los Angeles, CA, September 24- January 7, 1996. Catalogue.

1994 Effect or Infect (Art and the Ecology), SOHO 20 Gallery, September 27-October 22, 1994, organized by Artists Representing Environmental Arts (AREA).
Reuse/Refuse, Honolulu Academy of Arts, Honolulu, HI, May 11-June 19, 1994, Curator: Sarah Bremser. Catalogue.
Public Interventions, The Institute of Contemporary Art, Boston, MA, April 27-July 17, 1994, Curator: Eleanor Heartney. Catalogue and video.
Jewish Women and Art – Jewish Women Transcending Time, Denver Jewish Community Center, Denver, CO, 1994.

1993 Edition, Kunst-Kultur-Okologie, Bea Voigt Galerie, Edition, Munich, Germany, September 10- November 30, 1993. Catalogue.
Art and Environment, National Arts Club, New York, NY, April 21-May 1, 1993.

1992 Fragile Ecologies: Artists’ Interpretations and Solutions, Queens Museum of Art, Flushing, NY, September 15-November 29, 1992, Curator: Barbara Matilsky. Travel to: Whatcom Museum of History, Bellingham, WA, February 6-May 2, 1993; San Jose Museum of Art, San Jose, CA, May 16-August 29, 1993; Salt Lake Art Center, Salt Lake City, UT, September 18-November 14, 1993; Madison Art Center, Madison, WI, December 4, 1993-January 30, 1994; De Cordova Museum, Lincoln, MA, February 18-April 19, 1994; and Center for Fine Art, Miami, FL, May 7-July 3, 1994. Catalogue.

1991 Everything Matters, Lorraine Kessler Gallery, Poughkeepsie, NY, October 18-November 30, 1991.
Discarded, Rockland Center for the Arts, Rockland, NY, October 6-November 15, 1991, Curator: Joyce Abrams.
Eighteen from New York, Galerie Loehrl, Moenchengladbach, Germany, September 15- October 25, 1991, Curators: Horst Winz and Clemens Weiss. Travel to other venues throughout Germany. Installation of UNDERGARDEN III.
Anti-nihilism, N.A.M.E. Gallery, Chicago, IL, September 6-October 11, 1991.
Editions, Ronald Feldman Fine Arts, New York, NY, June 12-July 26, 1991.
Show of Strength, a benefit for MADRE, Anne Plumb Gallery, New York, NY, April 27- May 4, 1991.
American Women Artists: 1945 to Present, National Museum of Women in the Arts, Washington, DC, March 18-May 23, 1991, Curator: Helaine Posner. Catalogue.

1990 International Sculpture Conference, Washington, DC, June 5-9, 1990.
Imperiled Shores, Baxter Gallery, Portland School of Art, Portland, ME, January 21- March 8, 1992. Installation of UNDERGARDEN I.

1988 A Contemporary Lenz on Jewish Experience: A Festival of Independent Film and Video, Jewish Museum, New York, NY, June 21, 1988.
City Hall Centennial: A Vision for Penn’s 5th Square in 2001, City Hall, Philadelphia, PA, June 1988 and the Marian Locks Gallery, July 11- August 26, 1988. Honorable Mention Winner (only non-architect) in a juried design competition for Ideas for Philadelphia, sponsored by the Foundation for Architecture.

1987 Above It All: Sculptors of the Bronx and Upper Manhattan, P.S. 39 Longwood Arts Project, Bronx, NY, March 28-April 25, 1987, Director: Fred Wilson; Curator: Kathleen Goncharov.

1986 Urban Portraits, Bronx River Art Center and Gallery, Bronx, NY, March 2-29, 1986, Curator: Deborah Ossoff.
Choices: Making an Art of Everyday Life, The New Museum of Contemporary Art, New York, NY, February 1-March 30, 1986, Curator: William Olander.

1985 Guerilla Girls at the Palladium, Palladium, New York, NY, October 18, 1985.
Twenty Years, Progresso Gallery, Denver, CO, March 1985, Organizer: Clark Irchart. Group Material at the Whitney Biennial, Whitney Museum of American Art, New York, NY, spring 1985.
After Tilted Arc, Storefront for Art and Architecture, New York, NY, November 7- December 1, 1985.

1983 Union Made, District 1199 Gallery, New York, NY, September 1983, Curator: Lucy Lippard.
First Planetary Congress Exhibition, Toronto, Canada, July 1983.
Spare Parts, NYC Gallery, Dept. of Cultural Affairs, New York, NY, May-June, 1983, Curator: Henry Geldzahler.

1982 Heresies Magazine Benefit Exhibition, Frank Marino Gallery, New York, NY, September 21-25, 1982.
Primer: Group Material, (Artists Collective) Artists Space, June 1982, Curator: Tim Rollins.
The M-5 Show, Group Material Gallery, New York, NY, May 1982, Curator: Mundy McLaughlin.
Brooklyn Arts and Cultural Association Video Festival, New York, NY, April 24, 1982, Director: Josephine Gear; Curator: Wendy Chambers.

1981 Enthusiasm Show, Group Material Gallery, New York, NY, November-December 1981, Curator: Tim Rollins.
Sponsors by Artists for a Sane Environment and Political Art Documentation/ Distribution, October 19-November 2, 1981.
Downtown-Uptown Show, City Gallery of the Dept. of Cultural Affairs, New York, NY, October-November 1981.
Sanitationmen Tribute Week Exhibition, Guest Artist, NY Telephone Co, Headquarters Lobby, New York, NY, July 1981.
Heresies Magazine Benefit Exhibition, Grey Art Gallery, NYU, New York, NY, June 1981. Performance Festival/5 Performance Artists, Williams College, May 10, 1981, Curator: Anne Rosenthal.
Consumption Show, Group Material Gallery, New York, NY, March 1981, Curator: Tim Rollins. Installation of EVERYBODY WANTS US TO PICK IT UP, BUT NOBODY WANTS US TO PUT IT DOWN.
New Energy Museum Show, Union Square Windows, New York, NY, February 1981, Curator: Candace Hill-Montgomery.
Ecology Show, Hunter Gallery, New York, NY, 1981.

1980 Issue: Social Strategies by Women Artists, Institute of Contemporary Art, London, England, November 14-December 21, 1980, Curator: Lucy Lippard.
15th Avant Garde Festival of New York, Passenger Ship Terminal, New York, NY, July 20, 1980. MAKE WAVES performance.
A Decade of Women’s Performance Art, Women’s Caucus for Art National Exhibition at College Art Association Conference, New Orleans Institute of Contemporary Art, New Orleans, LA, January-February 1980, Curator: Mary Jane Jacob. Catalogue.

1977 Documentation: Women and Nature, International Women’s Show, October 1977.

1976 Front/Back, Ellen Stragow Ltd., New York, NY, December 6, 1976.

1973 C7500 exhibition, The California Institute of the Arts, Valencia, CA; The Wadsworth Atheneum, Hartford, CT; Moore College of Art, Philadelphia, PA; The Institute of Contemporary Art, Boston, MA; Walker Art Center, Minneapolis, MN; Smith College Museum of Art, Northampton, MA; Vassar College Museum of Art, Poughkeepsie, NY; and, The Alley, London, England, and/or Seattle, WA, May 1973-June 1974, Curator: Lucy Lippard.

PROPOSALS

1998 PEACE TALKS IN PLACES ALL OVER NEW YORK CITY, proposal for citywide
performance and exhibition, commissioned by Creative Time, 1998. (unrealized)

1992 LA GUARDIA AIRPORT PROPOSAL, with Colin Franklin, Landscape Architect,
Andropogon Inc., Public Art Finalist, 1992. (unrealized)

1990 ILGWU (International Ladies Garment Workers Union). Winner of national competition for
commission for permanent sculpture in Union Square Park, New York, NY, awarded 1990. (unrealized)

1989 GREEN GLASSPHALT/ASPHALT, proposal for street in front of Bronx Museum, Bronx,
NY, Spring 1989. (unrealized)

1983 GLOVE ARCH HONORING SANITATION WORKERS IN MEMORY OF JOHN DELURY,
proposal leading to CEREMONIAL ARCH, 1983. (unrealized)

LIGHT BATH/COLOR WASH, proposal for competition for 59th Street Marine Transfer
Station on the Hudson River, 1983. (unrealized)

TRUCK WASHING FOUNTAIN, proposal, 1983. (unrealized)

1977 LANDFILL/EARTHWORKS: PROPOSALS, 1977-on. Proposals include:
INFRASTRUCTURE INTERFACE INC.; LAND-FULL, both a land-art site work for solid waste landfills and a non-site multi-media project focusing on the meaning of open land in cities and, beyond this, of Nature in Culture; HEAL THE EARTH; MONGO MIRROR PATCHWORK; THIS LAND IS YOUR LAND/THIS LAND IS OUR LAND, a multi-channel and single channel video art landscape focusing on the centuries’ old multi-cultural perception of Land through the symbolism of Woman in 4 guises: Sacred Earth Mother, Tamed Housewife, Beckoning Virgin, Old Sick Whore); METHANE MOVIES; and, ZIGGURAT DOWNSHOOTS. (unrealized)

RE-RAW RECOVERY, 1977. Project for a design competition for artists, landscape
architects, architects, earth creators, landfill workers, for landfill reclamation site works. In cooperation with the NYC Dept. of Sanitation. (unrealized)

1975 ISRAEL EARTH KISS, airport proposal, 1975. (unrealized)


RECENT AND FORTHCOMING LECTURES, ARTIST PANELS AND SELECTION PANELS

Museum of Modern Art (in conjunction with Columbia University), New York, NY, Feminist Practices and Art Institutions, March 28, 2008.
Pyle Center, University of Wisconsin, Madison, WI, “The Art of Seeing: Envisioning Jewishness”, April 24, 2007.
The Kitchen, New York, NY, public talk, August 1, 2006.
CUNY Queens College MFA Student Committee, Art in General, New York, NY, “Commodity and Gift: Transactions of Value and Worth,” April 2, 2006.
Sharadin Art Gallery, Kutztown, PA, “The Art of Healing,” November 17, 2005.
Whitney Museum of American Art, New York, NY, “Architecture Dialogues: Reclaiming Urban Wastes: Mierle Laderman Ukeles,” November 3, 2005.
Center for Architecture, New York, NY, “Fresh Kills Landfill: Art + Engineering = Public Art,” June 27, 2005.
Wexner Center for the Arts, The Ohio State University, Columbus, OH, November 10-11, 2004.
Westergasfabriek, Amsterdam, Netherlands, “Creativity and the City: an international conference about creativity, cities, public spaces, regeneration of industrial sites and cultural entrepreneurship”, September 25—September 26, 2003.
Cooper Union, New York, NY, “The Free Artist in the Ecological City”, May 5, 2003.
The New School, New York, NY, “Public Art?” April 2, 2003.
University of Washington, Seattle, Washington, March 4, 2003.
Franklin & Marshall College, Lancaster, Pennsylvania, “Creation/Freedom/Survival?”, February 26, 2003.
Atlanta Contemporary Art Center, Atlanta, Georgia, lecture at reception celebrating the first decade of public art in Fulton County, December 10, 2002.
Keynote Speaker, Women's Rites symposium, California State University San Marcos, San Marcos, CA, November 5, 2002.
Municipal Art Society and NYC Department of City Planning, New York, NY, “Fresh Kills: Landfill to Landscape,” April 18, 2001.
National Art Education Association Convention, New York, NY, “Conversations with New York Artists,” March 15, 2001.
Second Bi-Annual International Edah Conference, New York, NY, “The Quest for Holiness,” February 18-19, 2001.
Southern Illinois University at Carbondale, Carbondale, IL, March 6, 1994.
Thread Waxing Space, New York, NY, March 9, 1995. Discussion with Rirkrit Tirvanija in conjunction with Garbage! exhibition.
University of Minnesota, Landscape Studies Center, College of Architecture and Landscape, Minneapolis; January 31 - February 2, 1995.
Weber State University, Ogden, Utah, Lecture; critique of public art project at Johnny's Dairy Farm to turn manure into compost. November 18 - 21, 1994.
Tate Gallery, London, Art and the Public Realm Lecture Series, November 9, 1994, with the Public Art Development Trust.
Kunsthallen Brandts Klaedefabrik, Odense, Denmark, June 19, 1994.
The National Institute of Architectural Education, New York, Infrastructure Interface, May 31, 1994.
University of Wisconsin, Madison, Visiting Artist/Critic Program, April 21-22, 1994.
Neuberger Museum, SUNY/Purchase Visiting Art Lecture Series symposium, Social Sculpture: Public Art Beyond Beuys, March 10, 1994.
Mountain Lakes Workshop, Virginia Polytechnic Institute, Blacksburg, Virginia, Visiting Artist, March 15-17 and June 6-9, 1994.
The Office for the Arts at Harvard and Radcliffe, Cambridge, Massachusetts, Invention/Intervention, February 17, 1994.
Moore College for Art & Design, Philadelphia, Distinguished Artist Series, February 9, 1994.
Osher Fellowship Lecture at the Exploratorium, San Francisco, Beyond the Summit: Postscript for "Rising Above Our Garbage," February 2, 1994.
The Exploratorium, San Francisco, January 29-30, 1993, Rising Above Our Garbage, a symposium organized by Pallas Lombardi, Peter Richards and M.L. Ukeles, who gave presentations on Danehy Park and Fresh Kills Landfill.
Headlands Center for Arts, San Francisco, December, 1993.
Cambridge Arts Council, Art Insight - Public Art, Danehy Park Glassphalt Path, March 29 & 31, 1993.
MIT List Visual Arts Center, Cambridge, MA, Waste Today: Does Responsible Design Mean Boring Design?, June 10, 1992, in conjunction with The Process of Elimination exhibition.
University of Washington, Seattle, WA, Can Artists Make a Difference?, May 18, 1991.
University of Washington, Seattle, WA, The Arts Recycle, April 9, 1991.
Museum of Fine Arts, Boston, MA, October 30, 1991.
Keynote Speaker, Annual Awards Luncheon, Arts for Greater Rochester, October 24, 1991.
RISD Alumna Association with Haverford College, Fall 1991
California College of Arts and Crafts, Oakland, California, Critics' Symposium, Spring 1991.
Washington State University, The Arts Recycle lecture series, April 9, 1991.
Carnegie Mellon University , Art Department Lecture Series, March 6, 1991.
Institute for Environmental Studies, University of Illinois at Urbana-Champaign, Seminar Series on Solid Waste Issues, "Conversation with Mierle Ukeles," February 14, 1991.
Arizona State University, guest lecturer, December 3, 1990.
Decadence & Conscience: What is Art Doing?, Mountain Lake Symposium, Virginia Museum of Fine Arts, Richmond, VA, November 2 - 4, 1990.
Smithsonian Institution, Washington, D.C., panelist on Garbage! show, November 1990.
Claremont College Graduate School, California, guest instructor and lecturer, October 1990.
California State University @ Long Beach, symposium speaker, In Sites! The Dynamics of Public Art in Southern California, October 14, 1990.
DeCordova Museum, Lincoln, MA, guest lecturer, July 1, 1990.
National Association of Local Arts Agencies Conference on Public Art, San Diego, CA, panel of June 19, 1990.
The Business of Art, Islip Art Museum, NY, May 20, 1990
International Sculpture Conference, Washington, D.C., symposium speaker, June 19, 1990.
Culture Imperatives in the Ecological Age, Virginia Polytechnic Institute, Blacksburg, VA, March 24, 1990.
Media and Power: Public Discourse, SUNY Purchase, NY, March 20, 1990.
Parsons School of Design, Panel on Public Art, Patricia C. Phillips, moderator, March 8, 1990.
SUNY Old Westbury, guest lecturer, October 25, 1989.
City Sites, guest artist presentation in a municipal waste site for California College of Arts and Crafts, Oakland, May 1989. Suzanne Lacy, Dean and curator.
Storefront for Art and Architecture, May 25, 1989, guest lecturer.
Yeshiva University, New York, April 1989, guest lecturer.
Columbia University, New York, April 1989, guest lecturer.
Rhode Island School of Design, Providence, RI, guest lecturer, April 1989.
World Design 88. Industrial Design Society of America, International Conference, NYC, conference speaker, August 1988.
Percent for Art Program, New York City Department for Cultural Affairs, Selection Panelist, May 1988.
New York University, guest lecturer, May 1988.
Learning Alliance, New York, NY, guest lecturer, May 1988.
Columbia University, guest lecturer, April 1988.
Bezalel Art School, Jerusalem, Israel, December 1987.
Conference on Jewish Women in the Arts, UCLA and USC Jewish Student Organizations with Hebrew Union College. Keynote Address for "The Creator and Her Creation," Los Angeles, CA, Nov. 1987.
Conference on Jewish Women in the Arts, Hebrew Union College, National Council of Jewish Women, Nov. 1987.
Franklin Furnace, exhibition selection panelist, New York, NY, July, 1987.
New York University, guest lecturer, July 1987.
Art Violators, panel on public art with James Wines, Nancy Holt, Helen and Newton Harrison, Ronald Feldman, sponsored by Columbia University Schools of Art, Law and Business, held at Symphony Space, New York, NY, March 1987.
Jewish Museum, New York, NY. Opening lecture to museum docents and volunteers, Sept. 1986, and panelist United Jewish Appeal Women's Task Force, Jewish Women: Art & Identity", with Audrey Flack, Louise Fishman and Nessa Rappaport. Nov. 6, 1986.
State University of New York, Purchase, multi-media presentation, Fall 1986.
Jewish Theological Seminary, Rabbinical School, guest lecture, Nov. 1986.
University of Cincinnati and Cincinnati Women's Club, Jan. 1985.
Philadelphia University of the Arts, guest lecturer, Feb. 1985.


GRANTS / FELLOWSHIPS / AWARDS

Jewish Cultural Achievement Awards, National Foundation for Jewish Culture, 2003.
Anonymous was a Woman Foundation, 2001.
Joanne Stolaroff Cotsen Memorial Artist Fellowship, 1997.
Joan Mitchell Foundation, Artist's Fellowship, 1996-97.
Andy Warhol Foundation ($20,000) Turnaround Surround, Thomas W. Danehy Park, (a former
city landfill) Cambridge, Massachussetts, with the Cambridge Arts Council, Art In Site,
Pallas Lombardi, Director of Public Art, 1992-93.
National Endowment for the Arts ($20,000) Art in Public Places, Turnaround Surround, Danehy
Park, Cambridge, Massachusetts with the Cambridge Arts Council, Art In Site, 1991.
National Endowment for the Arts, Art in Public Places via New York Foundation for the Arts,
second grant for Flow City, 1990-92.
National Endowment for the Arts, Interarts Program, for Air/Earth/Water: A Second Turn, 1990
92.
New York State Council on the Arts and New York Foundation for the Arts, Sponsored Artist
Project, 1990-91, for Air/Earth/Water: A Second Turn.
Bronx Council on the Arts, 1990 BRIO: Bronx Recognizes Its Own: Excellence in Arts Award
New York State Council on the Arts, Individual Artists' Program, Media Production for Flow City
Video, 1989
New York State Council on the Arts, Architecture, Planning and Design Program to the Municipal
Art Society for Garbage Out Front: A New Era of Public Design, 1990, for catalogue and
public programs.
National Endowment for the Arts, Design Arts Program ($50,000) for curating and designing
Garbage Out Front: A New Era of Public Design, Municipal Art Society, NYC, 1990.
National Endowment for the Arts, Art in Public Places, (permanent) for FLOW CITY, by M.L.
Ukeles with the NYC Department of Sanitation at West 59th Street and Hudson River (in
construction), 1988-89.
New York State Council on the Arts, Public Art Commission (permanent) for FLOW CITY, 1987
88.
New York Foundation for the Arts' Artist's Fellowship, 1986-87.
The John Simon Guggenheim Memorial Fellowship, 1985-86.
National Endowment for the Arts' Artist's Fellowship, 1983-84.
Creative Artists Program Fellowship (CAPS), 1983-84.
National Endowment for the Arts, Inter-Arts Grant through the auspices of the New York
Foundation for the Arts, (held up and then released,) 1983-84.
The Signal Companies Charitable Foundation, through the auspices of the New York Foundation
for the Arts, 1984.
The Edna McConnell Clark Foundation, through the auspices of Creative Time, Inc., 1984.
Grants from 28 corporations and 3 individuals for TOUCH SANITATION SHOW, 1984.
New York State Council on the Arts, Visual Arts, through the auspices of the Urban Academy,
Inc. 1980-81.
National Endowment for the Arts, Art in Public Places Planning Grant, 1979.
National Endowment for the Arts, Design Arts Independent Project Fellowship, 1979.
New York State Council on the Arts, Visual Arts, through the auspices of the Urban Academy,
1979-80.
Kitchen Media Bureau, 1979.
Beard's Fund, Inc., 1979.
Cultural Council Foundation / CETA Artist's Project, Photographer's Services for Ukeles' Touch
Sanitation Performance, 1979.
National Endowment for the Arts, Artist's Fellowship, 1977-78.
Committee for the Visual Arts, Inc., 1976.

APPOINTMENTS

1977-present Artist-in-Residence (unsalaried), New York City Department of Sanitation
1992-1994 Executive Committee Member, New York City Department of Sanitation, under Commissioner Emily Lloyd

EDUCATION

1961 Barnard College, New York, B.A. Major: History and International Relations.
Thesis: "Checks and Balances in the History of Tanganyika Territory."
1962-4 Pratt Institute: Undergraduate studio studies in painting and sculpture
1958-63 University of Colorado, summers
1966 University of Denver, Fifth Year Certificate in Teaching Art in the University
1974 New York University, M.A, Inter-related Arts.

Recent Exhibits

Mierle Laderman Ukeles participated in these exhibits:

Feb, 2014 Complicated Labors
Mary Porter Sesnon Art Gallery
 
Jan, 2014 And How are We Feeling Today?
University Art Gallery, UCSD
 
Jan, 2014 Stay in Love, presented in collaboration with Laurel Gitlen
Lisa Cooley
 
Jan, 2014 Stay in Love
Laurel Gitlen
 
Sep, 2013 Maintenance Art Works 1969–1980
Arnolfini
 
May, 2013 Maintenance Required
Whitney Musuem of American Art
 
Click here to see all exhibits for Mierle Laderman Ukeles
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