Brian Gross Fine Art: Artists: Anna Valentina Murch

b. Scotland, 1948; d. San Francisco, CA, 2014
Education: 1971–73; Royal College of Art, London, England; 1973–74; Architectural Association, London, England
Teaching: 1991–2014; Professor of Art, Mills College, Oakland, California
Awards: 2008; Confluences, Americans for the Arts Public Art Network Award; 2007; Water Scores, Americans for the Arts, Public Art Year in Review; Honor Award, US General Services Administration, United States Courthouse, Fresno, California; 2006; Waterscape, Americans for the Arts, Public Art Year in Review; 2005; Danforth Chair, Mills College Oakland; 1996; Design for Transportation National Award National Endowment for the Arts, Washington DC, The Metrolink Design Collaboration; 1995; Presidential Design Awards, Federal Design Achievement Award, Bi-State Development Agency/Arts in Transit; 1994; Merit Award for Excellence in Architecture, St. Louis Chapter of the American Institute of Architects; 1992; Artists Fellowship, California Arts Council; 1987; SECA Award, San Francisco Museum of Modern Art
Solo Exhibitions: 2008; Dissolving, Brian Gross Fine Art, San Francisco, California; 1987; Voyages, San Francisco Museum of Modern Art, California; 1986; Ways In, Ways Out, Kala Institute, Berkeley, California; Khiya Gallery, San Francisco, California; 1985; Folded Light, Center for Contemporary Arts of Santa Fe, New Mexico; 1981; The Crack, 80 Langton Street, San Francisco, California; 1980; Runaways, Works Gallery, San Jose, California; Tectonics, Center for the Visual Arts, Oakland, California
Selected Group Exhibitions: 2006; A Private Look at the Public Art of the Carnival Center for the Performing Arts, Miami Herald, Art Basel, Miami Beach; 2004; Sacatar Artists, Gallery Acbeu, Salvador, Brazil; 2002; Parallels & Intersections, San Jose Museum of Art, San Jose, California; 1990; All for One Earth: Artists & Ecologists in Collaboration, SOMAR Gallery Space, San Francisco, California; Art from the Exploratorium, World Trade Center, New York, New York; 1989; Memory, Mincher Wilcox Gallery, San Francisco, California; Designing Visions: The Metro Link Artists, Forum, St. Louis, Minnesota; 1987; On the Horizon: Emerging in California, Fresno Arts Center & Museum; 1985; Art Department Faculty, Worth Ryder Art Gallery, University of California, Berkeley; Dealer’s Choice, San Francisco Airport, San Francisco, California; A Summer Place, Sarah Rentschler Gallery, New York, New York; The Use of Shadow in Contemporary Art, Bruce Velick Gallery and Gensler Associates, San Francisco, California; 1984; Art Department, UC Berkeley, Berkeley, California; 1982; Illuminated Sculpture, Berkeley Arts Center, Berkeley, California; 14 Proposals for Battery Hill 129, UC Berkeley College of Environmental Design, Berkeley, California; Illuminated Sculpture, In conjunction with the International Sculpture Conference through the Berkeley Arts Center; 1981; Three Sculptors: “Edges,” Kaiser Center Sculpture Gallery, Oakland, California; 1980; Sculpture in Public Places, San Mateo County Arts Council Invitational; 1978; Two-Person Show: Installations, Southern Exposure, San Francisco, California; Four Bay Area Artists, College of Notre Dame, Belmont, California; 18 Bay Area Women: “Inside Outside,” The Women’s Building, Los Angeles, California; 1977; Holiday Exhibition: “Art for Giving & Collecting”, San Francisco Museum of Modern Art, San Francisco, California; Variations on the Sculpture Idea, Center for the Visual Arts, Oakland, California; Four Californian Artists: Sculpture Now, Inc., Max Hutchinson Galleries, New York, New York; 1976; The Women’s Free Arts Alliance, London, England; 1974; Cockpit Theatre, London, England; 1973; Tent Installation, Computer Arts Society, Edinburgh Festival,; 1972; Environmental Media Exhibition, Royal College of Art, London, England
Commissions: 2006; Confluences, Lobby Ceiling Installation, King County Office Building, Seattle, Washington; La Fiesta Plaza, Brea, California; Water Scores, Wave Ramps and Benches connecting Dolores and Sanford Ziff Ballet Opera House and the Carnival Symphony Hall , Performing Arts Center Plaza, Miami, Florida, Commissioned by Miami-Dade Art in Public Places; 2005; Waterscape, for San Jose Civic Center Plaza In Collaboration with Douglas Hollis, Artist,Through the Public Art, Cultural Affairs Division, City of San Jose, California; Once Upon a Time in Fresno, US Federal Courthouse, Fresno, California, Commission by General Services Administration; 2003; Arroyo Suite, a series of elements creating a passageway MGM Tower, Constellation Place, Century City, Los Angeles, Commissioned by Urban Retail Properties for Cultural Affairs Department, City of Los Angeles; 2001; Nine San Francisco Ecologies, 525 Golden Gate Avenue, San Francisco Art Commission; 2000; Gravity, a series of sculptures in the Vestibule, US Mission to the United Nations New York, General Services Administration
2001 Conceptual Design Approval; 1998; Skytones, a time based light volume sculpture; Third Avenue Arcade and Recital Hall Lobby for Benaroya Hall, Commissioned by Seattle Arts Commission and Seattle Symphony with support from Seattle City Light; Cycles, The Courtyard, Queens Civic Court, Percent for Art Program of the of New York City Department of Cultural Affairs and the New York City Department of Design and Construction; Design for Embarcadero Metro Stations in collaboration with Sasaki Associates, San Francisco; 1996; Edenvale Garden Park, Hayes Renaissance Conference Center, San Jose, California; Design for Rockridge Branch Library through City of Oakland Cultural Arts Division with Community Group and Marquis Associates, Architects; 1995; Sky Dance, Grand Hall, New Denver Airport, CO; 1993; Light Passageway, Metro Link, Washington University Medical Center Tunnel, St. Louis with Austin Tao Associates, Landscape Architects & Robert Banashek, Electrical Engineer; Design for Memorial Union North Courtyard, University of California, Davis, with Hargreaves Associates and Douglas Hollis; One of 6 Artists for Design Team with Engineers & Architects for 18 Mile long St. Louis Metro System. which included bridge piers, tunnel stations and station canopy, Design team funded by The National Endowment for the Arts; 1992; Everett Arbor, Everett Community College, Washington, Washington State Arts Commission; 1989; Chaotic Chains, The Exploratorium, San Francisco, California; 1988; Railway Suite, Cal Train, Santa Clara Station, California Arts Council; 1987; If Wishes Were Fishes We Would All Cast Nets, Suspended Light Sculpture for Ferrucci Junior High School, Puyallup, Washington, Washington State Arts Commission
Artist in Residence: 2003; Sacatar Foundation, Bahia, Brazil; 1999; The American Academy in Rome; 1989; The Hirsch Farm Project, Hillsboro, Wisconsin; 1988–89; The Exploratorium, San Francisco; 1986; Djerassi Foundation, Woodside, California
Selected Bibliography: 2008; Public Art / A World’s Eye View: Integrating Art Into the Environment throughout the World pg. 180-195 pg. 200-201, published by ICO ISBN 978-4-931154-32-2; Catherine Mason: A Computer in the Art Room: The Origins of British Computer Arts 1950-1980, Published by JJG Publishing; 2007; Design Awards, U.S. General Services Administration, US Federal Courthouse Fresno CA. P.06 -09; 2006; UC General Services Administration, Federal Courthouse Fresno, California; From Vision to Reality: Public Art at Carnival Center for the Performing Arts. Miami Dade County P. 24 - 29; The Culture of the Structure, directed by Konstantia Kontaxis, film commissioned by Miami-Dade Art in Public Places; Scott Johnson: The Big Idea, Criticality & Practice in Contemporary Architecture; Shawn Bean: “Center of Attention. The Miami Performing Arts Center”: Florida International Magazine; 2005; John King: Chronicle Urban Design Writer, “Half-baked dome Mayor's insistence on rotunda detracts from new San Jose City Hall” San Francisco Chronicle; Kelly Flaherty Curley: “Groundbreakers, ” p.39: Silicon Valley; Brad McKee: United States Courthouse, Fresno California, Catalogue; Catherine Mason: “Anna Valentina Murch’s Tent at Interact” Bulletin of the Computer Arts Society – Northern Hemisphere, Page Sixty Two, Special Terminate Cache Issue:; Jack Fischer, Mercury News, Outside, “A parade of floats and a large, cooling water feature will adorn plaza”; 2004; Jusina Marinho e Cesar Romero, Correio Da Bahia, Salvador, Brazil “Arts Plasticas Interacao Plural Galeria Acbeu e Fundacao Sacatar Promovem exposicao com artistas estrangeiros; 2003; Robert Bersson, Responding to Art: Form, Content and Context, McGraw Hill ISBN 0-697-25819-X Chapter 10, “Architecture and Community Design,” p. 26; 2002; Mark Johnstone and Leslie Aboud Holzman, Epicenter: San Francisco Bay Area Art Now Chronicle Books, San Francisco, ISBN 0-8118-3541-3 “Anna Valentina Murch, ” pp.166–169; Garrison Roots, ed., Designing The World’s Best Public Art, Images Publishing, Australia. ISBN 1-8647008-2-3 “Anna Valentina Murch, ” pp. 82–91; 1999; “Skytones” Art in America, Public Art in Review; “The Embarcadero, San Francisco, California, ” Land Forum 01, pp. 60–63; Virginia Kent Dorris, “Queens Civil Courthouse, Queens, New York, ” Architectural Record, pp.114–116; 1998; James Corner, “Light Passageway, ” pp. 61, 156; and “The Landscape Project, ” p. 35, Designed Landscape Forum 1, Pacemaker Press. ISBN 1-888931-12-4; Public: Art: Space: Pierhead Liverpool P. 84 – 85 Merrell Holberton Publishing London, ISBN:1-85894-048-6; Seattle Arts: Volume 21 No. - 2 , A Seattle Arts Commission Publication, Benaroya Hall Opening; Kristian F. Kofoed, Seattle Weekly “Art for our sake; Art—in all its forms— may be Benaroya Hall's most significant civic contribution.”; “Anna Valentina Murch, Cycles 1997, Queens, New York” Sculpture Vol. 17 No.6, Commissions; 1997; Peter Whoriskey, The Miami Herald “The Seven. This Diverse group of artists was chosen from among; “PAC Makes Final Artist Selection”; 1996; Sally B. Woodbridge, “A Time and a Place” Anna Novakov, “Veiled Extracts, ” Veiled Histories Conference, Public Art Review; Process Architecture, 128, Hargreaves: Landscape Works Memorial Union North Courtyard, p.120–123 Material appears in English & Japanese; 1995; “Denver Airport’s Dawn to Dusk Sky Dance” World Architecture, Issue No, 40; Dick Egner, “Oak Grove Design OK’d for Park” “Oak Grove to Reflect Edenvale History” San Jose Mercury News; Mary Voelz Chandler, “DIA’s ‘SkyDance’ Moves Sight and Subconscious, ” Rocky Mountain News; Stephanie Sanders, “Artist Taps Community for Edenvale Project Ideas” San Jose Mercury News; 1994; Jean-Edith Weiffenbach: Art Journal, “What Bay Area?”; Tanya Yatzeck, “Metro Link Rail, St. Louis: A Design Team Collaboration” Maquette, International Sculpture Center; “A Curious Alliance: The Role of Art in a Science Museum” Exploratorium publication; “Rockridge Voters Want This One, ” Daily Pacific Builder “Rockridge Branch Library, ” Progressive Architecture; “Artists Design St. Louis Metro” Art World section, Art in America; 1993; “Light Passageway, ” St. Louis Post Dispatch, West End World; “Light Passageway, ” St. Louis Post Dispatch; Channel 2 Evening News (ABC); Channel 5 Evening News (NBC); Mary Voelz Chandler, “Artistic project plays on light at the new Denver airport” Rocky Mountain News; Virgil Tipton, “Glass Brightens Tunnel Vision, ” St. Louis Post Dispatch; Patricia Ravarra, “Artists and Architects in Collaboration, ” Oakland Artscape; 1992; “Design for Carnegie and Armory Park Blocks” Tucson Arts District Newsletter; Tessie Borden, “Firm unveils plans for amphitheater, landscaping in Armory Park area, ” The Arizona Daily Star; 1991; Jeff Huebner, “Unlimited Visibility: Public Art at the New Denver Airport, ” Public Art Review; 1989–90; Louise Steinman, “The Underworld Perspective of an Environmental Artist, ” Contemporary Architecture Volume II; Lausanne, Switzerland; 1989; Beth Wilcox, “ Creating Art at Artpark, ” Sculpture; Dorothy Burkhart, “Three Who Broke Barriers, ” cover story, San Jose Mercury News; 1988; “Conversations with Artpark Artists, ” Arts in Buffalo; Ellen S. Comerford, “A Touching Diversity in Artpark Projects, ” Niagara Gazette; Nancy D’Ambrosio, “Bay Area Artists, ” Horizon; “A Study in Light & Shadow, ” Landscape Architecture; 1987; Phoebe Bradley, “The Short List, Art”, Bay Guardian; David Wright, “Installation by Murch”; 1986; Graham J. Beal, “SECA Art Award 1987 Anna Valentina Murch” Catalogue, San Francisco Museum of Modern Art; Ann Seymour, “Favorite Art Picks Around Town” Center Voice, San Francisco Chronicle; David S. Rubin, “Anna Valentina Murch at Khiva, ” Art in America; 1985; MaLin Wilson, “Engaging Artist Invites Viewers to Join Her on Higher Ground, ” The New Mexican, Pasatiempo section; Francis Butler, “Shadow in the Visual Arts, ” American Craft; 1983; “Video Time Distance”: Audio Visual Installations in Western Australia, The Art Gallery of Western Australia; 1982; 80 Langton Street: Documentation Catalogue for Presentations from May 1981 through April 1982; “Project Sculpture, ” Catalogue in conjunction with the International Sculpture Conference, Oakland; Who’s Who in American Art; 1981; Janice Ross, “Gallery Round Up, ” Oakland Tribune; 1980; Guest Speaker, KPFA-FM: “Sculpture in Public Places”; Dorothy Burkhart, “High Season in Full Swing at the Galleries, ” San Jose Mercury News; Janice Ross, “Sculpture with Light and Sound, ” Oakland Tribune; Video Shown at Venezia Biennale, Venice, Italy; 1979; Video Shown at Centre Pompidou, Paris, France; Guest Speaker, KUSF-FM: “Fine Arts Spectrum”; 1978; Eric Hellman, “Materials Made Alive, ” Artweek; Joanne Dickson, “Sculpture Displays Tough Elegance, ” Palo Alto Times; Ruth Askey, “Inside and Outside the Women’s Building, ” Artweek; 1973; “Travels with McGill, ” Evening Standard, London, England
Collections: Joan Eckart Residence, San Francisco, CA; Hargreaves Associates, San Francisco, CA; Sidney and Nancy Unobsky Residence, San Francisco, CA; The Fashion Institute, San Francisco, CA; Roselyne C. Swig, Art Source, San Francisco, CA


		b. Scotland, 1948 d. San Francisco, CA, 2014 Education 1971–73 Royal College of Art, London, England 1973–74 Architectural Association, London, England Teaching 1991–2014 Professor of Art, Mills College, Oakland, California Awards 2008 Confluences, Americans for the Arts Public Art Network Award 2007 Water Scores, Americans for the Arts, Public Art Year in Review Honor Award, US General Services Administration, United States Courthouse, Fresno, California 2006 Waterscape, Americans for the Arts, Public Art Year in Review 2005 Danforth Chair, Mills College Oakland 1996 Design for Transportation National Award National Endowment for the Arts, Washington DC, The Metrolink Design Collaboration 1995 Presidential Design Awards, Federal Design Achievement Award, Bi-State Development Agency/Arts in Transit 1994 Merit Award for Excellence in Architecture, St. Louis Chapter of the American Institute of Architects 1992 Artists Fellowship, California Arts Council 1987 SECA Award, San Francisco Museum of Modern Art Solo Exhibitions 2008 Dissolving, Brian Gross Fine Art, San Francisco, California 1987 Voyages, San Francisco Museum of Modern Art, California 1986 Ways In, Ways Out, Kala Institute, Berkeley, California Khiya Gallery, San Francisco, California 1985 Folded Light, Center for Contemporary Arts of Santa Fe, New Mexico 1981 The Crack, 80 Langton Street, San Francisco, California 1980 Runaways, Works Gallery, San Jose, California Tectonics, Center for the Visual Arts, Oakland, California Selected Group Exhibitions 2006 A Private Look at the Public Art of the Carnival Center for the Performing Arts, Miami Herald, Art Basel, Miami Beach 2004 Sacatar Artists, Gallery Acbeu, Salvador, Brazil 2002 Parallels & Intersections, San Jose Museum of Art, San Jose, California 1990 All for One Earth: Artists & Ecologists in Collaboration, SOMAR Gallery Space, San Francisco, California Art from the Exploratorium, World Trade Center, New York, New York 1989 Memory, Mincher Wilcox Gallery, San Francisco, California Designing Visions: The Metro Link Artists, Forum, St. Louis, Minnesota 1987 On the Horizon: Emerging in California, Fresno Arts Center & Museum 1985 Art Department Faculty, Worth Ryder Art Gallery, University of California, Berkeley Dealer’s Choice, San Francisco Airport, San Francisco, California A Summer Place, Sarah Rentschler Gallery, New York, New York The Use of Shadow in Contemporary Art, Bruce Velick Gallery and Gensler Associates, San Francisco, California 1984 Art Department, UC Berkeley, Berkeley, California 1982 Illuminated Sculpture, Berkeley Arts Center, Berkeley, California 14 Proposals for Battery Hill 129, UC Berkeley College of Environmental Design, Berkeley, California Illuminated Sculpture, In conjunction with the International Sculpture Conference through the Berkeley Arts Center 1981 Three Sculptors: “Edges,” Kaiser Center Sculpture Gallery, Oakland, California 1980 Sculpture in Public Places, San Mateo County Arts Council Invitational 1978 Two-Person Show: Installations, Southern Exposure, San Francisco, California Four Bay Area Artists, College of Notre Dame, Belmont, California 18 Bay Area Women: “Inside Outside,” The Women’s Building, Los Angeles, California 1977 Holiday Exhibition: “Art for Giving & Collecting”, San Francisco Museum of Modern Art, San Francisco, California Variations on the Sculpture Idea, Center for the Visual Arts, Oakland, California Four Californian Artists: Sculpture Now, Inc., Max Hutchinson Galleries, New York, New York 1976 The Women’s Free Arts Alliance, London, England 1974 Cockpit Theatre, London, England 1973 Tent Installation, Computer Arts Society, Edinburgh Festival, 1972 Environmental Media Exhibition, Royal College of Art, London, England Commissions 2006 Confluences, Lobby Ceiling Installation, King County Office Building, Seattle, Washington La Fiesta Plaza, Brea, California Water Scores, Wave Ramps and Benches connecting Dolores and Sanford Ziff Ballet Opera House and the Carnival Symphony Hall , Performing Arts Center Plaza, Miami, Florida, Commissioned by Miami-Dade Art in Public Places 2005 Waterscape, for San Jose Civic Center Plaza In Collaboration with Douglas Hollis, Artist,Through the Public Art, Cultural Affairs Division, City of San Jose, California Once Upon a Time in Fresno, US Federal Courthouse, Fresno, California, Commission by General Services Administration 2003 Arroyo Suite, a series of elements creating a passageway MGM Tower, Constellation Place, Century City, Los Angeles, Commissioned by Urban Retail Properties for Cultural Affairs Department, City of Los Angeles 2001 Nine San Francisco Ecologies, 525 Golden Gate Avenue, San Francisco Art Commission 2000 Gravity, a series of sculptures in the Vestibule, US Mission to the United Nations New York, General Services Administration 2001 Conceptual Design Approval 1998 Skytones, a time based light volume sculpture Third Avenue Arcade and Recital Hall Lobby for Benaroya Hall, Commissioned by Seattle Arts Commission and Seattle Symphony with support from Seattle City Light Cycles, The Courtyard, Queens Civic Court, Percent for Art Program of the of New York City Department of Cultural Affairs and the New York City Department of Design and Construction Design for Embarcadero Metro Stations in collaboration with Sasaki Associates, San Francisco 1996 Edenvale Garden Park, Hayes Renaissance Conference Center, San Jose, California Design for Rockridge Branch Library through City of Oakland Cultural Arts Division with Community Group and Marquis Associates, Architects 1995 Sky Dance, Grand Hall, New Denver Airport, CO 1993 Light Passageway, Metro Link, Washington University Medical Center Tunnel, St. Louis with Austin Tao Associates, Landscape Architects & Robert Banashek, Electrical Engineer Design for Memorial Union North Courtyard, University of California, Davis, with Hargreaves Associates and Douglas Hollis One of 6 Artists for Design Team with Engineers & Architects for 18 Mile long St. Louis Metro System. which included bridge piers, tunnel stations and station canopy, Design team funded by The National Endowment for the Arts 1992 Everett Arbor, Everett Community College, Washington, Washington State Arts Commission 1989 Chaotic Chains, The Exploratorium, San Francisco, California 1988 Railway Suite, Cal Train, Santa Clara Station, California Arts Council 1987 If Wishes Were Fishes We Would All Cast Nets, Suspended Light Sculpture for Ferrucci Junior High School, Puyallup, Washington, Washington State Arts Commission Artist in Residence 2003 Sacatar Foundation, Bahia, Brazil 1999 The American Academy in Rome 1989 The Hirsch Farm Project, Hillsboro, Wisconsin 1988–89 The Exploratorium, San Francisco 1986 Djerassi Foundation, Woodside, California Selected Bibliography 2008 Public Art / A World’s Eye View: Integrating Art Into the Environment throughout the World pg. 180-195 pg. 200-201, published by ICO ISBN 978-4-931154-32-2 Catherine Mason: A Computer in the Art Room: The Origins of British Computer Arts 1950-1980, Published by JJG Publishing 2007 Design Awards, U.S. General Services Administration, US Federal Courthouse Fresno CA. P.06 -09 2006 UC General Services Administration, Federal Courthouse Fresno, California From Vision to Reality: Public Art at Carnival Center for the Performing Arts. Miami Dade County P. 24 - 29 The Culture of the Structure, directed by Konstantia Kontaxis, film commissioned by Miami-Dade Art in Public Places Scott Johnson: The Big Idea, Criticality & Practice in Contemporary Architecture Shawn Bean: “Center of Attention. The Miami Performing Arts Center”: Florida International Magazine 2005 John King: Chronicle Urban Design Writer, “Half-baked dome Mayor's insistence on rotunda detracts from new San Jose City Hall” San Francisco Chronicle Kelly Flaherty Curley: “Groundbreakers, ” p.39: Silicon Valley Brad McKee: United States Courthouse, Fresno California, Catalogue Catherine Mason: “Anna Valentina Murch’s Tent at Interact” Bulletin of the Computer Arts Society – Northern Hemisphere, Page Sixty Two, Special Terminate Cache Issue: Jack Fischer, Mercury News, Outside, “A parade of floats and a large, cooling water feature will adorn plaza” 2004 Jusina Marinho e Cesar Romero, Correio Da Bahia, Salvador, Brazil “Arts Plasticas Interacao Plural Galeria Acbeu e Fundacao Sacatar Promovem exposicao com artistas estrangeiros 2003 Robert Bersson, Responding to Art: Form, Content and Context, McGraw Hill ISBN 0-697-25819-X Chapter 10, “Architecture and Community Design,” p. 26 2002 Mark Johnstone and Leslie Aboud Holzman, Epicenter: San Francisco Bay Area Art Now Chronicle Books, San Francisco, ISBN 0-8118-3541-3 “Anna Valentina Murch, ” pp.166–169 Garrison Roots, ed., Designing The World’s Best Public Art, Images Publishing, Australia. ISBN 1-8647008-2-3 “Anna Valentina Murch, ” pp. 82–91 1999 “Skytones” Art in America, Public Art in Review “The Embarcadero, San Francisco, California, ” Land Forum 01, pp. 60–63 Virginia Kent Dorris, “Queens Civil Courthouse, Queens, New York, ” Architectural Record, pp.114–116 1998 James Corner, “Light Passageway, ” pp. 61, 156; and “The Landscape Project, ” p. 35, Designed Landscape Forum 1, Pacemaker Press. ISBN 1-888931-12-4 Public: Art: Space: Pierhead Liverpool P. 84 – 85 Merrell Holberton Publishing London, ISBN:1-85894-048-6 Seattle Arts: Volume 21 No. - 2 , A Seattle Arts Commission Publication, Benaroya Hall Opening Kristian F. Kofoed, Seattle Weekly “Art for our sake; Art—in all its forms— may be Benaroya Hall's most significant civic contribution.” “Anna Valentina Murch, Cycles 1997, Queens, New York” Sculpture Vol. 17 No.6, Commissions 1997 Peter Whoriskey, The Miami Herald “The Seven. This Diverse group of artists was chosen from among “PAC Makes Final Artist Selection” 1996 Sally B. Woodbridge, “A Time and a Place” Anna Novakov, “Veiled Extracts, ” Veiled Histories Conference, Public Art Review Process Architecture, 128, Hargreaves: Landscape Works Memorial Union North Courtyard, p.120–123 Material appears in English & Japanese 1995 “Denver Airport’s Dawn to Dusk Sky Dance” World Architecture, Issue No, 40 Dick Egner, “Oak Grove Design OK’d for Park” “Oak Grove to Reflect Edenvale History” San Jose Mercury News Mary Voelz Chandler, “DIA’s ‘SkyDance’ Moves Sight and Subconscious, ” Rocky Mountain News Stephanie Sanders, “Artist Taps Community for Edenvale Project Ideas” San Jose Mercury News 1994 Jean-Edith Weiffenbach: Art Journal, “What Bay Area?” Tanya Yatzeck, “Metro Link Rail, St. Louis: A Design Team Collaboration” Maquette, International Sculpture Center “A Curious Alliance: The Role of Art in a Science Museum” Exploratorium publication “Rockridge Voters Want This One, ” Daily Pacific Builder “Rockridge Branch Library, ” Progressive Architecture “Artists Design St. Louis Metro” Art World section, Art in America 1993 “Light Passageway, ” St. Louis Post Dispatch, West End World “Light Passageway, ” St. Louis Post Dispatch Channel 2 Evening News (ABC) Channel 5 Evening News (NBC) Mary Voelz Chandler, “Artistic project plays on light at the new Denver airport” Rocky Mountain News Virgil Tipton, “Glass Brightens Tunnel Vision, ” St. Louis Post Dispatch Patricia Ravarra, “Artists and Architects in Collaboration, ” Oakland Artscape 1992 “Design for Carnegie and Armory Park Blocks” Tucson Arts District Newsletter Tessie Borden, “Firm unveils plans for amphitheater, landscaping in Armory Park area, ” The Arizona Daily Star 1991 Jeff Huebner, “Unlimited Visibility: Public Art at the New Denver Airport, ” Public Art Review 1989–90 Louise Steinman, “The Underworld Perspective of an Environmental Artist, ” Contemporary Architecture Volume II; Lausanne, Switzerland 1989 Beth Wilcox, “ Creating Art at Artpark, ” Sculpture Dorothy Burkhart, “Three Who Broke Barriers, ” cover story, San Jose Mercury News 1988 “Conversations with Artpark Artists, ” Arts in Buffalo Ellen S. Comerford, “A Touching Diversity in Artpark Projects, ” Niagara Gazette Nancy D’Ambrosio, “Bay Area Artists, ” Horizon “A Study in Light & Shadow, ” Landscape Architecture 1987 Phoebe Bradley, “The Short List, Art”, Bay Guardian David Wright, “Installation by Murch” 1986 Graham J. Beal, “SECA Art Award 1987 Anna Valentina Murch” Catalogue, San Francisco Museum of Modern Art Ann Seymour, “Favorite Art Picks Around Town” Center Voice, San Francisco Chronicle David S. Rubin, “Anna Valentina Murch at Khiva, ” Art in America 1985 MaLin Wilson, “Engaging Artist Invites Viewers to Join Her on Higher Ground, ” The New Mexican, Pasatiempo section Francis Butler, “Shadow in the Visual Arts, ” American Craft 1983 “Video Time Distance”: Audio Visual Installations in Western Australia, The Art Gallery of Western Australia 1982 80 Langton Street: Documentation Catalogue for Presentations from May 1981 through April 1982 “Project Sculpture, ” Catalogue in conjunction with the International Sculpture Conference, Oakland Who’s Who in American Art 1981 Janice Ross, “Gallery Round Up, ” Oakland Tribune 1980 Guest Speaker, KPFA-FM: “Sculpture in Public Places” Dorothy Burkhart, “High Season in Full Swing at the Galleries, ” San Jose Mercury News Janice Ross, “Sculpture with Light and Sound, ” Oakland Tribune Video Shown at Venezia Biennale, Venice, Italy 1979 Video Shown at Centre Pompidou, Paris, France Guest Speaker, KUSF-FM: “Fine Arts Spectrum” 1978 Eric Hellman, “Materials Made Alive, ” Artweek Joanne Dickson, “Sculpture Displays Tough Elegance, ” Palo Alto Times Ruth Askey, “Inside and Outside the Women’s Building, ” Artweek 1973 “Travels with McGill, ” Evening Standard, London, England Collections Joan Eckart Residence, San Francisco, CA Hargreaves Associates, San Francisco, CA Sidney and Nancy Unobsky Residence, San Francisco, CA The Fashion Institute, San Francisco, CA Roselyne C. Swig, Art Source, San Francisco, CA