Brian Gross Fine Art: Artists: Meridel Rubenstein

Born: 1948; Detroit, Michigan
Education: 1977; MFA, University of New Mexico, Albuquerque, NM; 1974; MA, University of New Mexico, Albuquerque, NM; 1972-73; Special Graduate Student in Photography, MIT, Cambridge, MA, student of Minor White; 1965-70; BA, Sarah Lawrence College
Website: www.meridelrubenstein.com
Solo Exhibitions: 2022; Recent Work, Brian Gross Fine Art, San Francisco, CA; exhibition catalog; 2019; Eden in Iraq, Brian Gross Fine Art, San Francisco, CA; exhibition catalog; 2018–19; Oppenheimer’s Chair and The Meeting, ATOMIC HISTORIES, New Mexico History Museum, Santa Fe, NM; 2018; Eden Turned on Its Side, Peters Projects, Santa Fe, NM; Meridel Rubenstein: Tickling the Dragon’s Tail, Peters Projects, Santa Fe, NM; Eden Turned on Its Side, University of New Mexico Art Museum, Albuquerque, NM; 2017; Eden in Iraq, National Design Center, Singapore; 2015; Meridel Rubenstein: The Volcano Cycle, Brian Gross Fine Art, San Francisco, CA; Eden Turned on its Side: Parts 1 and 2, David Richard Contemporary, Santa Fe, NM; 2014; Eden Turned on its Side: Selections from Eden Turned on its Side, David Richard Contemporary, Santa Fe, NM; 2012; Heaven Turned on its Side: Photosynthesis, Brian Gross Fine Art, San Francisco, CA; Heaven Turned on its Side: Photosynthesis, International Workshop on Photosynthesis, Nanyang Technological University, Singapore; Heaven Turned on its Side: Photosynthesis, Chan Hampe Gallery, Tanjong Pagar, Singapore; Millennial Forest, LewAllen Galleries, Santa Fe, NM; 2005; Belonging: From Los Alamos to Vietnam, Loco Ritoro Gallery, Boston, MA; Belonging: Selected Works, Brian Gross Fine Art, San Francisco, CA; The Lowriders, Smith College Museum of Art, Northampton, MA; 2004-05; Belonging: From Los Alamos to Vietnam, LewAllen Contemporary, Santa Fe, NM; 2001; Millennial Forest, Brian Gross Fine Art, San Francisco, CA; 2000–01; Joan’s Arc / Vietnam: Part 2 & 3, LewAllen Gallery, Santa Fe, NM; 1999; Brian Gross Fine Art, San Francisco, CA; Bunting Institute Gallery, Radcliffe College, Cambridge, MA; 1998; LewAllen Gallery, Santa Fe, NM; The Defining Eye, St. Louis Art Museum, traveling exhibition and book; 1997; Museum of Contemporary Photography, Chicago, IL; 1996; Brian Gross Fine Art, San Francisco, CA; Horwitch LewAllen Gallery, Santa Fe, NM; 1993-97; Critical Mass, collaborative photo, video, text installation, New Mexico Museum of Fine Arts, Santa Fe, NM, with Ellen Zweig and Steina and Woody Vasulka. Traveling exhibit to MIT List Center; Southeast Museum of Photography, FL; University of Wyoming, Scottsdale Center for the Arts, among others; 1995; Forum for Contemporary Art, St. Louis, MO; Troyer, Fitzpatrick, Lassman Gallery, Washington D.C.; 1992; Selections from Critical Mass, Rena Bransten Gallery, San Francisco, CA; 1990; Labyrinths and Constellations, University of Texas, Arlington; 1988; Jones Troyer Fitzpatrick gallery, Washington DC; Fuller-Gross Gallery, San Francisco, CA; 1987; Labyrinths and Constellations, Center for Contemporary Art, Santa Fe, NM; 1986; Jack Meier Gallery, Houston, TX; 1985; California Museum of Photography, University of California, Riverside; 1983; Center for Creative Photography, University of Arizona, Tucson; 1982; New Mexico Museum of Fine Arts, Santa Fe, A/Un Ranch, an installation of slow scan images sent via telephone to the Paris Beinnale; The Lowriders, Consejo Mexicano de Fotographia, Mexico City, Mexico; 1981; The Lowriders, Artists Space, New York, NY; The Lowriders, New Mexico Museum of Fine Arts, Santa Fe, NM; 1979; La Gente de la Luz, Museum fur Kunst und Gewerbe, Hamburg, Germany; 1977; La Gente de la Luz, New Mexico Museum of Fine Arts, Santa Fe
Selected Group Exhibitions: 2021; Photo Based: Works by Tony Berlant, Dana Hart-Stone, Robert Hudson, Keira Kotler, Meridel Rubenstein, and Paul Sarkisian, Brian Gross Fine Art, San Francisco, CA; Breath Taking, New Mexico Museum of Art, Santa Fe, NM; 2020; Trinity: Artist Reflections on the Bomb, Albuquerque Museum, NM; WORD PLAY, New Mexico Museum of Art, Santa Fe, NM; 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA; exhibition catalog; Rooted—Trees in Contemporary Art, Palo Alto Art Center, Palo Alto, CA; 2018; “In the Marshes: Eden in Iraq,” CURRENTS NEW MEDIA 2018, El Museo Cultural, Santa Fe, NM; Uber-Vernacular, Art Gallery, School of Art, Design, and Media, Nanyang Technological University, Singapore; 2016; Con Carino: Artists Inspired by Lowriders, NM Museum of Art, Santa Fe, NM; Lowriders, New Mexico History Museum, Santa Fe, NM; Zen Landscapes, Honolulu Museum of Art, Hawaii; Changing Circumstances, Looking at the Future of the Planet, Fotofest, Houston, TX; Dubai Photo Exhibition, Dubai, United Arab Emirates; 2015; Altered Landscapes, Judith Bear Isroff Gallery, Akron Art Museum, Akron, OH; 2014; All That Glitters is Not Gold: Platinum Photography from the Center for Creative Photography, Phoenix Art Museum, Phoenix, AZ; Grounded, New Mexico Museum of Art, Santa Fe, NM; The Armory Show, Center for Contemporary Art, Muñoz Waxman Main Gallery, Santa Fe, NM; El Agua es Vida: Acequias in Northern New Mexico, Maxwell Museum of Anthropology, Albuquerque, NM; 2013; Decisive Moments: Photographs from the Collection of Cherye R. and James F. Pierce, Honolulu Museum of Art; 2012; Earth Messages: Perspectives from Environmental Artists, NTU Art & Heritage Museum, Nanyang Technological University, Singapore; Eden Again, a collaborative land art commission, for the International Symposium on Electronic Arts(ISEA), Albuquerque, New Mexico to make a Art/Ecology Wastewater Garden mirroring the proposed Art/Ecology Wastewater Garden to be built in the S. Iraq Marshes hopefully 2012-13; Conversations, Photography from The Bank of America Collection, Museum of Fine Arts, Boston; Museo del Novacento, Milan,Italy; Irish Museum of Modern Art, Dublin; 2011-2012; Les Musées Sont du Monde, Stage Contemporain, Musee de Louvre, Paris; 2011; Case Studies from the Bureau of Contemporary Art, Selections from the New Mexico Museum of Art contemporary collection, New Mexico Museum or Art, Santa Fe, NM ; Archimedes’ Chamber, collaborative video/photo/sound installation with Ellen Zweig; Know The Rules – Then Break Them, Di Rosa Gatehouse Gallery, Napa, CA; 2008; PHOTOGRAPHY: New Mexico, University of New Mexico Fine Arts Museum, Albuquerque, New Mexico, book; LewAllen Contemporary, Santa Fe, NM; Brian Gross Fine Art, San Francisco, CA; Giving Shelter, 516 Arts, Albuquerque, New Mexico, poster image; Big Picture, Provisions for the Arts of Social Change, Nathan Cummings Foundation, NYC; 2007; (REAL): Photographic Construct, Center for Visual Art, Denver, Colorado; Faith Placed: The Intersection of Spirituality and Location in Contemporary Photography, de Saisset Museum, Santa Clara University, Santa Clara, CA; 2005; The Art of Engagement, Jack Rutberg Fine Arts, Los Angeles, CA; Beyond Monochrome, Charlotte Jackson Fine Art, Santa Fe, NM; Heartfelt, Museum of Fine Arts, Florida State University; TerraFirma, Blue Sky Contemporary Art Center, San Antonio, TX; 2004; Ditto, Museum of Contemporary Photography, Columbia College, Chicago, IL; In Focus, Smith College Museum of Art, Northampton, MA; 2003; LewAllen Contemporary, Santa Fe, NM; A Handful of Soldiers-S Site Los Alamos, New Mexico Office of Cultural Affairs, traveling exhibit and catalogue; 2002; Boats and Vessels, installation and lecture, Brattleboro Museum, VT; Visions of Passage. Museum of Photographic Arts, San Diego, CA , traveling exhibition and book; 2001; Conceptual Color; In Albers’ Afterimage, San Francisco State University Art Gallery, San Francisco, CA; Contemporary Configurations- Peter Alexander, Meridel Rubenstein and Ted Orland, The Museum of Art and History, Santa Cruz, CA; 1998; The Defining Eye, St. Louis Art Museum, (traveling exhibition and book); 1997; Eye of the Beholder, International Center for Photography, New York, NY; A Natural Selection, curated by Dominique Nahas, Z Gallery, New York, NY; Art Scientia, Museum of Contemporary Photography, Chicago, IL; 1996; Art and the Law, traveling exhibition, West Publishing Co., Minneapolis, MN; Contemporary Art in New Mexico, SITE Santa Fe, Santa Fe, NM; 1995; Longing and Belonging, SITE Santa Fe, Santa Fe, NM; Mapped Out: Reinventing the New Mexico Landscape, Art Gallery, University of California, Irvine; 1994; Jonson Gallery Visiting Artists, Spring, University of New Mexico, Albuquerque; 1992; Ronald Feldman Gallery, New York, NY; The Country Between Us: Contemporary American Landscape Photographs, Massachusetts College of Art, Cambridge; Between Home and Heaven, National Museum of American Art, Smithsonian Institution, Washington DC; 1991; Selections from the Permanent Collection: The Big Picture, San Francisco Museum of Modern Art, San Francisco, CA; Critical Reactions, Rena Bransten Gallery, San Francisco, CA; Identity Crisis: Portraits in the Eighties, Center for Creative Photography, University of Arizona, Tucson; Nuclear Matters, Camerawork, San Francisco, CA; 1990; Shelters and Structures, Rena Bransten Gallery, San Francisco, CA; 1989; Witness, Fuller Gross Gallery, San Francisco, CA; Nature and Culture: Conflict and Reconciliation in Recent Photography, The Friends of Photography, Ansel Adams Center, San Francisco, CA; 1987; Myth/Ritual, Camerawork, San Francisco, CA; 1986; Reclaiming Paradise: American Women Photograph the Land, Tweed Museum of Art, Duluth, MN; 1985; The Essential Landscape, New Mexico Museum of Fine Arts, Santa Fe, NM; 1981; International Festival of Photography, Arles, France
Selected Grants and Fellowships: 2020; Green Citizen Award, UNESCO, for Eden in Iraq Wastewater Garden; 2017; Exhibition Award, School of Art, Design, and Media, Nanyang Technological University, Singapore; 2012–15; Tier 1 Research Award, Nanyang Technological University, Singapore; 2012–13; Tier 0 Research Award, Nanyang Technological University, Singapore; 2010; Fellow, World Academy of Arts and Sciences; 2007-08; Pollock-Krasner Award, New York City, NY; 2006; Residency, Sirius Arts Centre, Cobh,Ireland; 2003-04; Kahn Institute Fellowship, Smith College, Northampton, Massachusetts; 2002-5; 3 Smith College Faculty Development Awards, book project; 2002-3; Rockefeller Fellowship, Joiner (Vietnam Study) Center, University of Massachusetts, Boston, Massachusetts; 2001; Award, New Mexico Women in the Arts, Santa Fe, New Mexico; 2000; Peter S. Reed Foundation, New York, New York; 1999-2000; National Millennium Survey, National Endowment for the Arts, via The; Museum of Photographic Arts, San Diego, California; 1998-99; Fellow, Bunting Institute, Harvard University, Cambridge, Mass; 1998; Pollock-Krasner Award, New York City, NY; 1997; Artist in Residence-New Genres, Djerassi Foundation, Woodside, CA; 1994-95; SITE Santa Fe, artist installation commission, Santa Fe, New Mexico; 1992; National Endowment for the Arts, Photographer’s Fellowship, also 1981; 1991; Western States Regional Media Arts Fellowship, Portland Art Museum/Film Center/American Film Institute; 1990; New Forms Regional Initiative Grant, (National Endowment for the Arts /Rockefeller Foundation), Diverse Works, Houston; 1988-89; National Endowment for the Arts Inter-Arts Grant (with Steina and Woody Vasulka, and Ellen Zweig); 1981-82; John Simon Guggenheim Fellowship
Selected Work Experience: 2020; Visiting Researcher, Department of Science and Technology, Media and Information Technology, Linköping University, Norrköping, Sweden; 2014–; Adjunct Professor, School of Sustainability, Arizona State University; Research Associate, Institute of Ecotechnics, Santa Fe, NM and UK; 2011–; Project Director, Eden in Iraq Wastewater Garden Project, Southern Iraq; 2010–2018; Visiting Associate Professor, School of Art, Design, and Media, Nanyang Technical University, Singapore; 2009; Visiting Artist, Santa Catalina High School, Monterey, CA; 2007–2009; Senior Fellow, School of Art, Design, and Media, Nanyang Technical University, Singapore; 2006; Visiting Artist, School of Art, Design, and Media, Nanyang Technical University, Singapore; Artist Residency, Sirius Arts Centre, Cobh, County Cork, Ireland; 2000-05; Harnish Visiting Artist and Lecturer, Smith College, Northampton, Massachusetts; 1997-2000; Santa Fe Community College, Santa Fe, New Mexico; 1990-96; Professor of Art, Institute of American Indian Arts, Santa Fe, New Mexico; 1985-90; Associate Professor, Head, Photo Area and Graduate program, Art Department, San Francisco State University, San Francisco, CA; 1988-95; Trustee, Friends of Photography, Ansel Adams Center, San Francisco,CA
Public and Corporate Collections: Akron Art Museum, Akron, OH; Albuquerque Museum, NM; AT&T; Avon Collection, New York, NY; Bank of America, Chicago, IL; Bibliotheque Nationale, Paris, France; California Museum of Photography, University of California at Riverside, CA; Center for Creative Photography, Tucson, AZ; Cleveland Museum of Art, Cleveland, OH; Deloitte and Touche, San Francisco, CA; Denver Art Museum, CO; di Rosa Center for Contemporary Art, Napa, CA; High Museum of Art, Atlanta, GA; Honolulu Museum of Art, HI; The LaSalle Bank Photography Collection, Chicago, IL; Minneapolis Institute of Art, MN; Museum für Kunst und Gewerbe, Hamburg, Germany; Nanyang Technological University Art & History Museum, Singapore; New Mexico Museum of Art, Santa Fe, NM; Portland Art Museum, Portland, OR; Principal Financial Group; Rocky Mountain Energy Co, Denver, CO; San Francisco Museum of Modern Art, San Francisco, CA; San Francisco Public Utilities Commission, San Francisco, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Smith College Museum of Art, Northampton, MA; Smithsonian American Art Museum, Washington D.C.; Saint Louis Art Museum, MO; The Houston Museum of Fine Arts, Houston, TX; The Museum of Modern Art, New York, NY; Tia Collection, Santa Fe, NM and Mumbai, India; Valley National Bank of Arizona, Phoenix; Vesti Corporation, Boston, MA; Wheelwright Museum of the American Indian, Santa Fe, NM; William Joiner Center for the Study of War and Social Consequences, University of Massachusetts, Boston, MA; University of New Mexico Art Museum, Albuquerque, NM
Bibliography: Eden Turned on its Side: Photoworks by Meridel Rubenstein, University of New Mexico Press: Albuquerque, forward by Arif Kahn, essays by Dr. Shawn Michelle Smith and Alan Weisman, October 2017.; Meridel Rubenstein, Belonging: From Los Alamos to Vietnam, Photoworks and Installations, St. Ann’s Press: Los Angeles, essays by Terry Tempest Williams, Rebecca Solnit, Lucy Lippard, Elaine Scarry, and James Crump, October 2004.; Pelts, Sam. “Meridel Rubenstein, Eden in Iraq: Water Extraction and Restoration”, EXTRACTION: Art on the Edge of the Abyss, Codex Foundation, Berkeley, CA, January 2021, pp. 512-513.; Rubenstein, Meridel. “Adam and Eve in the Southern Iraq Marshes,” DARK MOUNTAIN, issue 17, Dark Mountain Project, UK , Spring 2020, p. B4.; Guzman, Alicia Inez. “What to Read This Month, ‘Eden Turned on its Side: Photoworks by Meridel Rubenstein,’” New Mexico Magazine, Santa Fe, NM, February 2020, p.1.; Roth, David M. “Meridel Rubenstein @ Brian Gross,” Squarecylinder.com, March 18, 2019.; Chua, Melanie. “Recovering Eden, Making for Sustainable Community,” (essay with portfolio), BRACK—The Energy Issue, no.4, 2019.; ‘Genesis of Hope,’ Trend Magazine, Santa Fe, New Mexico, June 2018, pp.48-57.; Orale! lowiders: Custom Made in New Mexico, Museum of New Mexico Press: Santa Fe, essay by Don Unser, interview with Meridel Rubenstein by Kate Ware, 2016, pp.39-57.; Davide Tocchetto (testo) and Meridel Rubenstein (fotos), ‘Mesopotamia A Secco’, La Nuova Ecologia, anno XXXVI, numero 1, Gennaio 2016, pp. 62-64.; Changing Circumstances, Looking at the Future of the Planet, Fotofest 2016, Biennial, ed. Wendy Watriss, Schilt Publishing: Amsterdam, 2016, pp58-63.; Dubai Photo, exhibition catalogue, Dubai, 2016, pp.454-455.; Hearne Pardee, MERIDEL RUBENSTEIN, The Volcano Cycle, The Brooklyn Rail, October 5, 2015.; Meridel Rubenstein ‘Two images Julia Margaret Cameron and Emmet Gowin’, Stories from the Camera: Reflections on the Photograph, ed. Michele M. Penhall, University of New Mexico Press: Albuquerque, 2015, p. 115.; Jonathan Curiel, ‘Meridel Rubenstein at Brian Gross Fine Art,’ San Francisco Weekly, September 23, 2015.; Jon Carver, ‘Artist Profile: Meridel Rubenstein,’ art ltd, Los Angeles, July/August 2015, pp. 24-25.; Richard Tobin, ‘Critical Reflection: Eden Turned on Its Side’, THE Magazine, Summer 2015.; Lois Rudnick, ‘The Arts of Nuclear (Dis)enchantment’, El Palacio Magazine, The Museum of New Mexico, Santa Fe, vol 20, no.1, Spring 2015, pp.39-40.; Anderson Turner, ‘Altered Landscapes Enchant,’ Akron Beacon Journal, Sunday Life Section, March 1, 2015, p. E1, E5, reproduction.; Mark Nelson, ‘Adam and Eve’s Sewage Problem, Solutions for a sustainable and desirable future,’ The Solution Journal, Vol 5, Issue no.4, Jan. 2015, pp 17-22.; Hannah Hoel, ‘Meridel Rubenstein: Eden Turned on Its Side: Selections from Photosynthesis’, THE Magazine, Santa Fe, September 2014, pp. 60.; Michael Abatemarco, ‘Back to the Garden’, Pasatiempo Magazine, Santa Fe New Mexican, August 1 , 2014, cover and pp. 46-47.; Suzanne Sbarge, ISEA 2012 Albuquerque: Machine Wilderness, Radius Books 2012, p.82.; Shapeshifting:Transformations in Native American Art, ed. Karen Kramer Russell, Peabody Essex Museum, Salem, Massachusetts, p.35, 2012; Dr. Sri Kartini Leet, Reading Photography: A Sourcebook of Critical Texts 1921-2000, Lund Humphries, London,pp.273,274,277, 2011; Conversations – Photography from the Bank of America Collection, Irish Museum of Modern Art, 2011, pp. 50,51.; Les musées sont des mondes, J.M.G. Le Clézio, Gallimard et Musee du Louvre, Paris, 2011, p. 37; Rebecca Blythem “Return to Eden,” Elements Magazine, photo p.27, New Zealand, July 2011; PHOTOGRAPHY: New Mexico, Thomas Barrow, editor/curator, with essays by Kristin Barendsen and Stuart Ashman, Fresco Fine Art Publications, Albuquerque, New Mexico, pp. 231-37, August 2008.; Weekends with O’Keefe, C.S. Merrill, University of New Mexico Press, 2010, pp.41, 58, 77, 109-10, 197; Lost Homelands: Ruin and Reconstruction in the 20th Century Southwest, Audrey Goodman,The University of Arizona Press, 2010, Jacket photo: Tilano’s Garden 1993 pp. 7, 99, 100, 109-113; Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas, Silvia Spitta, University of Texas Press, 2009 p. 129; FLUX-Reflections in Contemporary Glass, ed. Laura Addison, New Mexico Museum of Art, Museum of New Mexico Press, 2008 pp. 17-19, with reproduction.; Carey Lovelace, Making it Together: Women’s Collaborative Art + Community, Bronx Museum of the Arts, NY, exhibition catalogue, reproduction. 2009; Sarah S. King, “On View”, photograph, vol. 4 no.5,, New York, NY, May/June 2007, pp.80-81.; Rebecca Solnit, Storming The Gates of Paradise, Landscapes for Politics, University of California Press, 2007, pp.167-6, 272.; LAND, ART: A Cultural Ecology Handbook, edited by Max Andrews, the RSA (Royal Society for the encouragement of Arts, Manufacture & Commerce), December 2006,pp.35-37.; 100 artists of the Southwest, ed. Douglis Bullis, 2006, Schiffer Publishing Ltd, Atglen, Scotland; One of A Kind: Portraits from the La Salle Bank Collection, D.A.P., New York, 2007, p.15.; Susan Boulanger, “Meridel Rubenstein, Millennial Forest-, Narrative Photoworks,’, Art New England, Boston, Massachusetts, Oct/Nov 2005, p. 28, reproduction.; Barbara Riley, review of “Belonging: From Los Alamos to Vietnam,” Southwest Bookshelf, New Mexico Magazine, September 2005, p. 20.; Cate McQuaid, “Meridel Rubenstein: Millennial Forest,” Gallery Pick, Boston Globe, June 9, 2005, p. 22, reproductions.; Arden Reed, “Meridel Rubenstein at Lew Allen Contemporary,” Art in America, May 2005, p. 177, reproduction.; “An Alchemist’s Helper,” The Chronicle of Higher Education, April 8, 2005, p. B19, text and reproduction.; Kenneth Baker, “Galleries,” San Francisco Chronicle, April 2, 2005, reproduction.; Sulak Sivaraska, Trans Thai Buddhism and Envisioning Resistance, Bangkok: Suksit Siam, 2004, Cover.; Sandra Matthews, “Icons, Heroes and Stories of Survival,” in Masquerade: Women’s Contemporary Portrait Photography, ed. Kate Newton and Christine Rolph London: FOTOGALLERY, pp. 126-33.; “Reconciliation” Inquiring Mind, Vol 21, np.1, Fall 2004, pp. 13-16, 21.; Phototextualities, eds. Alex Hughes and Andrea Noble, University of New Mexico Press, 2003, cover image, and including: Judith Davidov, “Narratives of Place: History and Memory and the Evidential Force of Photography in Work by Meridel Rubenstein and joan Myers,”, pp. 41-63, illustration, pp. 43-47 and Cover.; James Enyeart. Photographs, Writers and the American Scene-Visions of Passage, Santa Fe: Arena Editions 2002, reproduction p. 82, 324, 334.; Sarah S. King, “Meridel Rubenstein at LewAllen Contemporary,” Art in America, March 2002, p. 136.; Susanna Carlisle, “Meridel Rubenstein: Trees at Sea,” THE Magazine, Sept 2001, p. 54.; Francine Miller, “Customized,” ArtForum, March 2001, pp. 147-48.; Cate McQuaid, “Customized,” The Boston Globe, November 10, 200, pp. E1-12, reproduction.; Mokha Laget, “The Killing Fields,” The Santa Fe Reporter, December 27, 200, p. 25.; Customized, ed. Nora Donnelly, Harry N. Abrams, Inc. in association with the Institute of Contemporary Art, Boston, 200, six color reproductions, bio, and essay.; Mark Van Proyen, “San Francisco E-Mail,” Art Issues, Los Angeles, pp. 38-39, review and reproduction, Nov/Dec 1999.; Arte Contemporary, vol 1, issue 1, Santa Fe, artist feature, two reproductions and statement, pp. 36-37, Fall 1999.; Susan Mulski, Bunting Institute at Radcliffe College/Cambridge, “Meridel Rubenstein: Jona’s Arc, Vietnam 998-99,” Art New England, Boston, MA, p. 39, Aug/Sept 1999.; Dennis Jarrett, “Hall of Reunification,” Santa Fe Reporter, Sept 16,1998.; Dottie, Indyke, “Poison into Nectar,” Pasatiempo Magazine, Santa Fe, New Mexico, cover and pp. 32-33, review and reproductions, Sept. 11, 1998.; John Upton and Barbara London, “Mixed Media,” Photography, p. 186, reproduction and text, Adison Wesley 1998.; The Defining Eye, The St. Louis Museum of Modern Art, 1998, exhibition catalogue.; Alicia Miller, “Meridel Rubenstein at Brian Gross,” Artweek, San Francisco, CA, March 1997.; “Jan Adlmann and Barbara McIntyre, Contemporary Art in New Mexico, Craftsman House, Australia, 1996, pp. 174-75, 222.; Harmony Hammond, “Ups and Downs of Site Santa Fe,” Sculpture Magazine, March 1996, Washington D.C. vol 15, no. 3, pp. 26-29, reproduction on Cover.; Bruce Ferguson, Longing and Belonging from the Faraway Nearby, SITE Santa Fe.; Ferdinand Protzman, “A Fusion of Nuclear Reactions,” The Washington Post, October 21, 1995, p. H2, gallery review and reproduction.; Meridel Rubenstein and Ellen Zweig, “Critical Mass,” Conjunctions, Bard College, Spring Issue 1995, pp. 164-88, images and text.; Naomi Rosenbloom, A History of Women Photographers, Abbeville Press, 1994, pp. 225, 319, 345, 27, colorplate.; James Crump, “Subversion Encantada: El Tiempo, El Honor, Y El Tema en La Fotografia Contemporanea,” Luna Cornea, 1995, Numero 744.; Lucy Lippard, “Philosophical Fallout,” Z Magazine, vol. 7, no. 4, Boston, MA, pp. 52-54.; John Bloom, ed. Photography at Bay, University of New Mexico Press, 1993, interview and reproduction.; Meridel Rubenstein, “Georgia O’Keefe as a Role Model,” in From the Faraway Nearby: Georgia O’Keefe as Icon, ed. Christopher Merrill and Ellen Bradbury, Addison-Wesley, 1992.; Tim Davis, “Beyond the Sacred and the Profane: Cultural Landscape Photography in America,” 1930-1990,” in Mapping American Culture, ed. Wayne Franklin and Michael Steiner, University of Iowa Press, Iowa City, Iowa1992, Cover and pp.191-230.; Between Home and Heaven, exhibition catalogue, The National Museum of American Art, Smithsonian Institution, Washington D.C., published by UNM Press, March 1992.; The Photography of Invention – American Pictures of the 1980’s, eds. Joshua P. Smith and Merry A. Foresta, National Museum of American Art, MIT Press.; Reclaiming Paradise: American Women Photograph the Land, ed. Gretchen Garner, Tweed Museum of Art, University of Minnesota, Duluth, February 1987, pp. 38-39.; The Essential Landscape, ed., Steve Yates, University of New Mexico Press, 1985, pp. 23, 132-5.; Landscape as Photograph, ed., Estelle Jussim, Yale University Press, 1985, pp. 17, 18, 128-30.; Jonathan Green, American Photography – A Critical History, Harry Abrams, 1984, pp.149, 154, 211.; The Portrait Extended, ed., Charles Desmarais, Museum of Contemporary Art, Chicago, 1980.; La Gente De La Luz, by Meridel Rubenstein, New Mexico Museum of Fine Arts, Santa Fe,1977.


		Born 1948 Detroit, Michigan Education 1977 MFA, University of New Mexico, Albuquerque, NM 1974 MA, University of New Mexico, Albuquerque, NM 1972-73 Special Graduate Student in Photography, MIT, Cambridge, MA, student of Minor White 1965-70 BA, Sarah Lawrence College Website www.meridelrubenstein.com Solo Exhibitions 2022 Recent Work, Brian Gross Fine Art, San Francisco, CA; exhibition catalog 2019 Eden in Iraq, Brian Gross Fine Art, San Francisco, CA; exhibition catalog 2018–19 Oppenheimer’s Chair and The Meeting, ATOMIC HISTORIES, New Mexico History Museum, Santa Fe, NM 2018 Eden Turned on Its Side, Peters Projects, Santa Fe, NM Meridel Rubenstein: Tickling the Dragon’s Tail, Peters Projects, Santa Fe, NM Eden Turned on Its Side, University of New Mexico Art Museum, Albuquerque, NM 2017 Eden in Iraq, National Design Center, Singapore 2015 Meridel Rubenstein: The Volcano Cycle, Brian Gross Fine Art, San Francisco, CA Eden Turned on its Side: Parts 1 and 2, David Richard Contemporary, Santa Fe, NM 2014 Eden Turned on its Side: Selections from Eden Turned on its Side, David Richard Contemporary, Santa Fe, NM 2012 Heaven Turned on its Side: Photosynthesis, Brian Gross Fine Art, San Francisco, CA Heaven Turned on its Side: Photosynthesis, International Workshop on Photosynthesis, Nanyang Technological University, Singapore Heaven Turned on its Side: Photosynthesis, Chan Hampe Gallery, Tanjong Pagar, Singapore Millennial Forest, LewAllen Galleries, Santa Fe, NM 2005 Belonging: From Los Alamos to Vietnam, Loco Ritoro Gallery, Boston, MA Belonging: Selected Works, Brian Gross Fine Art, San Francisco, CA The Lowriders, Smith College Museum of Art, Northampton, MA 2004-05 Belonging: From Los Alamos to Vietnam, LewAllen Contemporary, Santa Fe, NM 2001 Millennial Forest, Brian Gross Fine Art, San Francisco, CA 2000–01 Joan’s Arc / Vietnam: Part 2 & 3, LewAllen Gallery, Santa Fe, NM 1999 Brian Gross Fine Art, San Francisco, CA Bunting Institute Gallery, Radcliffe College, Cambridge, MA 1998 LewAllen Gallery, Santa Fe, NM The Defining Eye, St. Louis Art Museum, traveling exhibition and book 1997 Museum of Contemporary Photography, Chicago, IL 1996 Brian Gross Fine Art, San Francisco, CA Horwitch LewAllen Gallery, Santa Fe, NM 1993-97 Critical Mass, collaborative photo, video, text installation, New Mexico Museum of Fine Arts, Santa Fe, NM, with Ellen Zweig and Steina and Woody Vasulka. Traveling exhibit to MIT List Center; Southeast Museum of Photography, FL; University of Wyoming, Scottsdale Center for the Arts, among others 1995 Forum for Contemporary Art, St. Louis, MO Troyer, Fitzpatrick, Lassman Gallery, Washington D.C. 1992 Selections from Critical Mass, Rena Bransten Gallery, San Francisco, CA 1990 Labyrinths and Constellations, University of Texas, Arlington 1988 Jones Troyer Fitzpatrick gallery, Washington DC Fuller-Gross Gallery, San Francisco, CA 1987 Labyrinths and Constellations, Center for Contemporary Art, Santa Fe, NM 1986 Jack Meier Gallery, Houston, TX 1985 California Museum of Photography, University of California, Riverside 1983 Center for Creative Photography, University of Arizona, Tucson 1982 New Mexico Museum of Fine Arts, Santa Fe, A/Un Ranch, an installation of slow scan images sent via telephone to the Paris Beinnale The Lowriders, Consejo Mexicano de Fotographia, Mexico City, Mexico 1981 The Lowriders, Artists Space, New York, NY The Lowriders, New Mexico Museum of Fine Arts, Santa Fe, NM 1979 La Gente de la Luz, Museum fur Kunst und Gewerbe, Hamburg, Germany 1977 La Gente de la Luz, New Mexico Museum of Fine Arts, Santa Fe Selected Group Exhibitions 2021 Photo Based: Works by Tony Berlant, Dana Hart-Stone, Robert Hudson, Keira Kotler, Meridel Rubenstein, and Paul Sarkisian, Brian Gross Fine Art, San Francisco, CA Breath Taking, New Mexico Museum of Art, Santa Fe, NM 2020 Trinity: Artist Reflections on the Bomb, Albuquerque Museum, NM WORD PLAY, New Mexico Museum of Art, Santa Fe, NM 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA; exhibition catalog Rooted—Trees in Contemporary Art, Palo Alto Art Center, Palo Alto, CA 2018 “In the Marshes: Eden in Iraq,” CURRENTS NEW MEDIA 2018, El Museo Cultural, Santa Fe, NM Uber-Vernacular, Art Gallery, School of Art, Design, and Media, Nanyang Technological University, Singapore 2016 Con Carino: Artists Inspired by Lowriders, NM Museum of Art, Santa Fe, NM Lowriders, New Mexico History Museum, Santa Fe, NM Zen Landscapes, Honolulu Museum of Art, Hawaii Changing Circumstances, Looking at the Future of the Planet, Fotofest, Houston, TX Dubai Photo Exhibition, Dubai, United Arab Emirates 2015 Altered Landscapes, Judith Bear Isroff Gallery, Akron Art Museum, Akron, OH 2014 All That Glitters is Not Gold: Platinum Photography from the Center for Creative Photography, Phoenix Art Museum, Phoenix, AZ Grounded, New Mexico Museum of Art, Santa Fe, NM The Armory Show, Center for Contemporary Art, Muñoz Waxman Main Gallery, Santa Fe, NM El Agua es Vida: Acequias in Northern New Mexico, Maxwell Museum of Anthropology, Albuquerque, NM 2013 Decisive Moments: Photographs from the Collection of Cherye R. and James F. Pierce, Honolulu Museum of Art 2012 Earth Messages: Perspectives from Environmental Artists, NTU Art & Heritage Museum, Nanyang Technological University, Singapore Eden Again, a collaborative land art commission, for the International Symposium on Electronic Arts(ISEA), Albuquerque, New Mexico to make a Art/Ecology Wastewater Garden mirroring the proposed Art/Ecology Wastewater Garden to be built in the S. Iraq Marshes hopefully 2012-13 Conversations, Photography from The Bank of America Collection, Museum of Fine Arts, Boston; Museo del Novacento, Milan,Italy; Irish Museum of Modern Art, Dublin 2011-2012 Les Musées Sont du Monde, Stage Contemporain, Musee de Louvre, Paris 2011 Case Studies from the Bureau of Contemporary Art, Selections from the New Mexico Museum of Art contemporary collection, New Mexico Museum or Art, Santa Fe, NM ; Archimedes’ Chamber, collaborative video/photo/sound installation with Ellen Zweig Know The Rules – Then Break Them, Di Rosa Gatehouse Gallery, Napa, CA 2008 PHOTOGRAPHY: New Mexico, University of New Mexico Fine Arts Museum, Albuquerque, New Mexico, book LewAllen Contemporary, Santa Fe, NM Brian Gross Fine Art, San Francisco, CA Giving Shelter, 516 Arts, Albuquerque, New Mexico, poster image Big Picture, Provisions for the Arts of Social Change, Nathan Cummings Foundation, NYC 2007 (REAL): Photographic Construct, Center for Visual Art, Denver, Colorado Faith Placed: The Intersection of Spirituality and Location in Contemporary Photography, de Saisset Museum, Santa Clara University, Santa Clara, CA 2005 The Art of Engagement, Jack Rutberg Fine Arts, Los Angeles, CA Beyond Monochrome, Charlotte Jackson Fine Art, Santa Fe, NM Heartfelt, Museum of Fine Arts, Florida State University TerraFirma, Blue Sky Contemporary Art Center, San Antonio, TX 2004 Ditto, Museum of Contemporary Photography, Columbia College, Chicago, IL In Focus, Smith College Museum of Art, Northampton, MA 2003 LewAllen Contemporary, Santa Fe, NM A Handful of Soldiers-S Site Los Alamos, New Mexico Office of Cultural Affairs, traveling exhibit and catalogue 2002 Boats and Vessels, installation and lecture, Brattleboro Museum, VT Visions of Passage. Museum of Photographic Arts, San Diego, CA , traveling exhibition and book 2001 Conceptual Color; In Albers’ Afterimage, San Francisco State University Art Gallery, San Francisco, CA Contemporary Configurations- Peter Alexander, Meridel Rubenstein and Ted Orland, The Museum of Art and History, Santa Cruz, CA 1998 The Defining Eye, St. Louis Art Museum, (traveling exhibition and book) 1997 Eye of the Beholder, International Center for Photography, New York, NY A Natural Selection, curated by Dominique Nahas, Z Gallery, New York, NY Art Scientia, Museum of Contemporary Photography, Chicago, IL 1996 Art and the Law, traveling exhibition, West Publishing Co., Minneapolis, MN Contemporary Art in New Mexico, SITE Santa Fe, Santa Fe, NM 1995 Longing and Belonging, SITE Santa Fe, Santa Fe, NM Mapped Out: Reinventing the New Mexico Landscape, Art Gallery, University of California, Irvine 1994 Jonson Gallery Visiting Artists, Spring, University of New Mexico, Albuquerque 1992 Ronald Feldman Gallery, New York, NY The Country Between Us: Contemporary American Landscape Photographs, Massachusetts College of Art, Cambridge Between Home and Heaven, National Museum of American Art, Smithsonian Institution, Washington DC 1991 Selections from the Permanent Collection: The Big Picture, San Francisco Museum of Modern Art, San Francisco, CA Critical Reactions, Rena Bransten Gallery, San Francisco, CA Identity Crisis: Portraits in the Eighties, Center for Creative Photography, University of Arizona, Tucson Nuclear Matters, Camerawork, San Francisco, CA 1990 Shelters and Structures, Rena Bransten Gallery, San Francisco, CA 1989 Witness, Fuller Gross Gallery, San Francisco, CA Nature and Culture: Conflict and Reconciliation in Recent Photography, The Friends of Photography, Ansel Adams Center, San Francisco, CA 1987 Myth/Ritual, Camerawork, San Francisco, CA 1986 Reclaiming Paradise: American Women Photograph the Land, Tweed Museum of Art, Duluth, MN 1985 The Essential Landscape, New Mexico Museum of Fine Arts, Santa Fe, NM 1981 International Festival of Photography, Arles, France Selected Grants and Fellowships 2020 Green Citizen Award, UNESCO, for Eden in Iraq Wastewater Garden 2017 Exhibition Award, School of Art, Design, and Media, Nanyang Technological University, Singapore 2012–15 Tier 1 Research Award, Nanyang Technological University, Singapore 2012–13 Tier 0 Research Award, Nanyang Technological University, Singapore 2010 Fellow, World Academy of Arts and Sciences 2007-08 Pollock-Krasner Award, New York City, NY 2006 Residency, Sirius Arts Centre, Cobh,Ireland 2003-04 Kahn Institute Fellowship, Smith College, Northampton, Massachusetts 2002-5 3 Smith College Faculty Development Awards, book project 2002-3 Rockefeller Fellowship, Joiner (Vietnam Study) Center, University of Massachusetts, Boston, Massachusetts 2001 Award, New Mexico Women in the Arts, Santa Fe, New Mexico 2000 Peter S. Reed Foundation, New York, New York 1999-2000 National Millennium Survey, National Endowment for the Arts, via The Museum of Photographic Arts, San Diego, California 1998-99 Fellow, Bunting Institute, Harvard University, Cambridge, Mass 1998 Pollock-Krasner Award, New York City, NY 1997 Artist in Residence-New Genres, Djerassi Foundation, Woodside, CA 1994-95 SITE Santa Fe, artist installation commission, Santa Fe, New Mexico 1992 National Endowment for the Arts, Photographer’s Fellowship, also 1981 1991 Western States Regional Media Arts Fellowship, Portland Art Museum/Film Center/American Film Institute 1990 New Forms Regional Initiative Grant, (National Endowment for the Arts /Rockefeller Foundation), Diverse Works, Houston 1988-89 National Endowment for the Arts Inter-Arts Grant (with Steina and Woody Vasulka, and Ellen Zweig) 1981-82 John Simon Guggenheim Fellowship Selected Work Experience 2020 Visiting Researcher, Department of Science and Technology, Media and Information Technology, Linköping University, Norrköping, Sweden 2014– Adjunct Professor, School of Sustainability, Arizona State University Research Associate, Institute of Ecotechnics, Santa Fe, NM and UK 2011– Project Director, Eden in Iraq Wastewater Garden Project, Southern Iraq 2010–2018 Visiting Associate Professor, School of Art, Design, and Media, Nanyang Technical University, Singapore 2009 Visiting Artist, Santa Catalina High School, Monterey, CA 2007–2009 Senior Fellow, School of Art, Design, and Media, Nanyang Technical University, Singapore 2006 Visiting Artist, School of Art, Design, and Media, Nanyang Technical University, Singapore Artist Residency, Sirius Arts Centre, Cobh, County Cork, Ireland 2000-05 Harnish Visiting Artist and Lecturer, Smith College, Northampton, Massachusetts 1997-2000 Santa Fe Community College, Santa Fe, New Mexico 1990-96 Professor of Art, Institute of American Indian Arts, Santa Fe, New Mexico 1985-90 Associate Professor, Head, Photo Area and Graduate program, Art Department, San Francisco State University, San Francisco, CA 1988-95 Trustee, Friends of Photography, Ansel Adams Center, San Francisco,CA Public and Corporate Collections Akron Art Museum, Akron, OH Albuquerque Museum, NM AT&T Avon Collection, New York, NY Bank of America, Chicago, IL Bibliotheque Nationale, Paris, France California Museum of Photography, University of California at Riverside, CA Center for Creative Photography, Tucson, AZ Cleveland Museum of Art, Cleveland, OH Deloitte and Touche, San Francisco, CA Denver Art Museum, CO di Rosa Center for Contemporary Art, Napa, CA High Museum of Art, Atlanta, GA Honolulu Museum of Art, HI The LaSalle Bank Photography Collection, Chicago, IL Minneapolis Institute of Art, MN Museum für Kunst und Gewerbe, Hamburg, Germany Nanyang Technological University Art & History Museum, Singapore New Mexico Museum of Art, Santa Fe, NM Portland Art Museum, Portland, OR Principal Financial Group Rocky Mountain Energy Co, Denver, CO San Francisco Museum of Modern Art, San Francisco, CA San Francisco Public Utilities Commission, San Francisco, CA Santa Barbara Museum of Art, Santa Barbara, CA Smith College Museum of Art, Northampton, MA Smithsonian American Art Museum, Washington D.C. Saint Louis Art Museum, MO The Houston Museum of Fine Arts, Houston, TX The Museum of Modern Art, New York, NY Tia Collection, Santa Fe, NM and Mumbai, India Valley National Bank of Arizona, Phoenix Vesti Corporation, Boston, MA Wheelwright Museum of the American Indian, Santa Fe, NM William Joiner Center for the Study of War and Social Consequences, University of Massachusetts, Boston, MA University of New Mexico Art Museum, Albuquerque, NM Bibliography Eden Turned on its Side: Photoworks by Meridel Rubenstein, University of New Mexico Press: Albuquerque, forward by Arif Kahn, essays by Dr. Shawn Michelle Smith and Alan Weisman, October 2017. Meridel Rubenstein, Belonging: From Los Alamos to Vietnam, Photoworks and Installations, St. Ann’s Press: Los Angeles, essays by Terry Tempest Williams, Rebecca Solnit, Lucy Lippard, Elaine Scarry, and James Crump, October 2004. Pelts, Sam. “Meridel Rubenstein, Eden in Iraq: Water Extraction and Restoration”, EXTRACTION: Art on the Edge of the Abyss, Codex Foundation, Berkeley, CA, January 2021, pp. 512-513. Rubenstein, Meridel. “Adam and Eve in the Southern Iraq Marshes,” DARK MOUNTAIN, issue 17, Dark Mountain Project, UK , Spring 2020, p. B4. Guzman, Alicia Inez. “What to Read This Month, ‘Eden Turned on its Side: Photoworks by Meridel Rubenstein,’” New Mexico Magazine, Santa Fe, NM, February 2020, p.1. Roth, David M. “Meridel Rubenstein @ Brian Gross,” Squarecylinder.com, March 18, 2019. Chua, Melanie. “Recovering Eden, Making for Sustainable Community,” (essay with portfolio), BRACK—The Energy Issue, no.4, 2019. ‘Genesis of Hope,’ Trend Magazine, Santa Fe, New Mexico, June 2018, pp.48-57. Orale! lowiders: Custom Made in New Mexico, Museum of New Mexico Press: Santa Fe, essay by Don Unser, interview with Meridel Rubenstein by Kate Ware, 2016, pp.39-57. Davide Tocchetto (testo) and Meridel Rubenstein (fotos), ‘Mesopotamia A Secco’, La Nuova Ecologia, anno XXXVI, numero 1, Gennaio 2016, pp. 62-64. Changing Circumstances, Looking at the Future of the Planet, Fotofest 2016, Biennial, ed. Wendy Watriss, Schilt Publishing: Amsterdam, 2016, pp58-63. Dubai Photo, exhibition catalogue, Dubai, 2016, pp.454-455. Hearne Pardee, MERIDEL RUBENSTEIN, The Volcano Cycle, The Brooklyn Rail, October 5, 2015. Meridel Rubenstein ‘Two images Julia Margaret Cameron and Emmet Gowin’, Stories from the Camera: Reflections on the Photograph, ed. Michele M. Penhall, University of New Mexico Press: Albuquerque, 2015, p. 115. Jonathan Curiel, ‘Meridel Rubenstein at Brian Gross Fine Art,’ San Francisco Weekly, September 23, 2015. Jon Carver, ‘Artist Profile: Meridel Rubenstein,’ art ltd, Los Angeles, July/August 2015, pp. 24-25. Richard Tobin, ‘Critical Reflection: Eden Turned on Its Side’, THE Magazine, Summer 2015. Lois Rudnick, ‘The Arts of Nuclear (Dis)enchantment’, El Palacio Magazine, The Museum of New Mexico, Santa Fe, vol 20, no.1, Spring 2015, pp.39-40. Anderson Turner, ‘Altered Landscapes Enchant,’ Akron Beacon Journal, Sunday Life Section, March 1, 2015, p. E1, E5, reproduction. Mark Nelson, ‘Adam and Eve’s Sewage Problem, Solutions for a sustainable and desirable future,’ The Solution Journal, Vol 5, Issue no.4, Jan. 2015, pp 17-22. Hannah Hoel, ‘Meridel Rubenstein: Eden Turned on Its Side: Selections from Photosynthesis’, THE Magazine, Santa Fe, September 2014, pp. 60. Michael Abatemarco, ‘Back to the Garden’, Pasatiempo Magazine, Santa Fe New Mexican, August 1 , 2014, cover and pp. 46-47. Suzanne Sbarge, ISEA 2012 Albuquerque: Machine Wilderness, Radius Books 2012, p.82. Shapeshifting:Transformations in Native American Art, ed. Karen Kramer Russell, Peabody Essex Museum, Salem, Massachusetts, p.35, 2012 Dr. Sri Kartini Leet, Reading Photography: A Sourcebook of Critical Texts 1921-2000, Lund Humphries, London,pp.273,274,277, 2011 Conversations – Photography from the Bank of America Collection, Irish Museum of Modern Art, 2011, pp. 50,51. Les musées sont des mondes, J.M.G. Le Clézio, Gallimard et Musee du Louvre, Paris, 2011, p. 37 Rebecca Blythem “Return to Eden,” Elements Magazine, photo p.27, New Zealand, July 2011 PHOTOGRAPHY: New Mexico, Thomas Barrow, editor/curator, with essays by Kristin Barendsen and Stuart Ashman, Fresco Fine Art Publications, Albuquerque, New Mexico, pp. 231-37, August 2008. Weekends with O’Keefe, C.S. Merrill, University of New Mexico Press, 2010, pp.41, 58, 77, 109-10, 197 Lost Homelands: Ruin and Reconstruction in the 20th Century Southwest, Audrey Goodman,The University of Arizona Press, 2010, Jacket photo: Tilano’s Garden 1993 pp. 7, 99, 100, 109-113 Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas, Silvia Spitta, University of Texas Press, 2009 p. 129 FLUX-Reflections in Contemporary Glass, ed. Laura Addison, New Mexico Museum of Art, Museum of New Mexico Press, 2008 pp. 17-19, with reproduction. Carey Lovelace, Making it Together: Women’s Collaborative Art + Community, Bronx Museum of the Arts, NY, exhibition catalogue, reproduction. 2009 Sarah S. King, “On View”, photograph, vol. 4 no.5,, New York, NY, May/June 2007, pp.80-81. Rebecca Solnit, Storming The Gates of Paradise, Landscapes for Politics, University of California Press, 2007, pp.167-6, 272. LAND, ART: A Cultural Ecology Handbook, edited by Max Andrews, the RSA (Royal Society for the encouragement of Arts, Manufacture & Commerce), December 2006,pp.35-37. 100 artists of the Southwest, ed. Douglis Bullis, 2006, Schiffer Publishing Ltd, Atglen, Scotland One of A Kind: Portraits from the La Salle Bank Collection, D.A.P., New York, 2007, p.15. Susan Boulanger, “Meridel Rubenstein, Millennial Forest-, Narrative Photoworks,’, Art New England, Boston, Massachusetts, Oct/Nov 2005, p. 28, reproduction. Barbara Riley, review of “Belonging: From Los Alamos to Vietnam,” Southwest Bookshelf, New Mexico Magazine, September 2005, p. 20. Cate McQuaid, “Meridel Rubenstein: Millennial Forest,” Gallery Pick, Boston Globe, June 9, 2005, p. 22, reproductions. Arden Reed, “Meridel Rubenstein at Lew Allen Contemporary,” Art in America, May 2005, p. 177, reproduction. “An Alchemist’s Helper,” The Chronicle of Higher Education, April 8, 2005, p. B19, text and reproduction. Kenneth Baker, “Galleries,” San Francisco Chronicle, April 2, 2005, reproduction. Sulak Sivaraska, Trans Thai Buddhism and Envisioning Resistance, Bangkok: Suksit Siam, 2004, Cover. Sandra Matthews, “Icons, Heroes and Stories of Survival,” in Masquerade: Women’s Contemporary Portrait Photography, ed. Kate Newton and Christine Rolph London: FOTOGALLERY, pp. 126-33. “Reconciliation” Inquiring Mind, Vol 21, np.1, Fall 2004, pp. 13-16, 21. Phototextualities, eds. Alex Hughes and Andrea Noble, University of New Mexico Press, 2003, cover image, and including: Judith Davidov, “Narratives of Place: History and Memory and the Evidential Force of Photography in Work by Meridel Rubenstein and joan Myers,”, pp. 41-63, illustration, pp. 43-47 and Cover. James Enyeart. Photographs, Writers and the American Scene-Visions of Passage, Santa Fe: Arena Editions 2002, reproduction p. 82, 324, 334. Sarah S. King, “Meridel Rubenstein at LewAllen Contemporary,” Art in America, March 2002, p. 136. Susanna Carlisle, “Meridel Rubenstein: Trees at Sea,” THE Magazine, Sept 2001, p. 54. Francine Miller, “Customized,” ArtForum, March 2001, pp. 147-48. Cate McQuaid, “Customized,” The Boston Globe, November 10, 200, pp. E1-12, reproduction. Mokha Laget, “The Killing Fields,” The Santa Fe Reporter, December 27, 200, p. 25. Customized, ed. Nora Donnelly, Harry N. Abrams, Inc. in association with the Institute of Contemporary Art, Boston, 200, six color reproductions, bio, and essay. Mark Van Proyen, “San Francisco E-Mail,” Art Issues, Los Angeles, pp. 38-39, review and reproduction, Nov/Dec 1999. Arte Contemporary, vol 1, issue 1, Santa Fe, artist feature, two reproductions and statement, pp. 36-37, Fall 1999. Susan Mulski, Bunting Institute at Radcliffe College/Cambridge, “Meridel Rubenstein: Jona’s Arc, Vietnam 998-99,” Art New England, Boston, MA, p. 39, Aug/Sept 1999. Dennis Jarrett, “Hall of Reunification,” Santa Fe Reporter, Sept 16,1998. Dottie, Indyke, “Poison into Nectar,” Pasatiempo Magazine, Santa Fe, New Mexico, cover and pp. 32-33, review and reproductions, Sept. 11, 1998. John Upton and Barbara London, “Mixed Media,” Photography, p. 186, reproduction and text, Adison Wesley 1998. The Defining Eye, The St. Louis Museum of Modern Art, 1998, exhibition catalogue. Alicia Miller, “Meridel Rubenstein at Brian Gross,” Artweek, San Francisco, CA, March 1997. “Jan Adlmann and Barbara McIntyre, Contemporary Art in New Mexico, Craftsman House, Australia, 1996, pp. 174-75, 222. Harmony Hammond, “Ups and Downs of Site Santa Fe,” Sculpture Magazine, March 1996, Washington D.C. vol 15, no. 3, pp. 26-29, reproduction on Cover. Bruce Ferguson, Longing and Belonging from the Faraway Nearby, SITE Santa Fe. Ferdinand Protzman, “A Fusion of Nuclear Reactions,” The Washington Post, October 21, 1995, p. H2, gallery review and reproduction. Meridel Rubenstein and Ellen Zweig, “Critical Mass,” Conjunctions, Bard College, Spring Issue 1995, pp. 164-88, images and text. Naomi Rosenbloom, A History of Women Photographers, Abbeville Press, 1994, pp. 225, 319, 345, 27, colorplate. James Crump, “Subversion Encantada: El Tiempo, El Honor, Y El Tema en La Fotografia Contemporanea,” Luna Cornea, 1995, Numero 744. Lucy Lippard, “Philosophical Fallout,” Z Magazine, vol. 7, no. 4, Boston, MA, pp. 52-54. John Bloom, ed. Photography at Bay, University of New Mexico Press, 1993, interview and reproduction. Meridel Rubenstein, “Georgia O’Keefe as a Role Model,” in From the Faraway Nearby: Georgia O’Keefe as Icon, ed. Christopher Merrill and Ellen Bradbury, Addison-Wesley, 1992. Tim Davis, “Beyond the Sacred and the Profane: Cultural Landscape Photography in America,” 1930-1990,” in Mapping American Culture, ed. Wayne Franklin and Michael Steiner, University of Iowa Press, Iowa City, Iowa1992, Cover and pp.191-230. Between Home and Heaven, exhibition catalogue, The National Museum of American Art, Smithsonian Institution, Washington D.C., published by UNM Press, March 1992. The Photography of Invention – American Pictures of the 1980’s, eds. Joshua P. Smith and Merry A. Foresta, National Museum of American Art, MIT Press. Reclaiming Paradise: American Women Photograph the Land, ed. Gretchen Garner, Tweed Museum of Art, University of Minnesota, Duluth, February 1987, pp. 38-39. The Essential Landscape, ed., Steve Yates, University of New Mexico Press, 1985, pp. 23, 132-5. Landscape as Photograph, ed., Estelle Jussim, Yale University Press, 1985, pp. 17, 18, 128-30. Jonathan Green, American Photography – A Critical History, Harry Abrams, 1984, pp.149, 154, 211. The Portrait Extended, ed., Charles Desmarais, Museum of Contemporary Art, Chicago, 1980. La Gente De La Luz, by Meridel Rubenstein, New Mexico Museum of Fine Arts, Santa Fe,1977.