Curriculum
Vitae
Gail Rubini
July 26, 2007
GENERAL INFORMATION
University Address:
College
of Visual Arts, Theater and Dance
Department
of Studio Art / Design Area
Florida
State University
Tallahassee,
Florida 32306-1160
Phone:
(850) 644-0315
E-Mail Address: grubini@fsu.edu
Web Site:
grubini.com
Professional
Preparation
1979-1981 MBA, University of
Illinois at Chicago (UIC), Chicago, Illinois.
Major: Management, Minor: Finance
Professional topic was managing a non-profit business.
1973-1975 MFA, Rhode Island School of Design,
Providence, Rhode Island.
Major: Photography, Minor: Glass Sculpture
Areas of emphasis: Photography, artists’ book publishing, and glass
sculpture.
Studies directed by Aaron Siskind and Harry Callahan and Dale Chihuly.
1969-1972 BFA, University of California at Los
Angeles.
Major: Fine Art, Minor: Math.
Graduated with
Department Honors in Fine Art
Studies directed by Robert Heinecken
Awards
1976
National Endowment for the Arts
Individual Artist Fellowship
1977
Illinois Arts Council Purchase
Award
1974
Rhode
Island School of Design (RISD) Teaching Award. (2/30)
Professional
Experience
1989
– present
Associate
Professor, design area of the Art Department, College of Visual Arts, Theatre
and Dance. I am responsible for teaching all levels of design for printing and
publishing.
I
received tenure in 1994.
From
1989 – 1996 I was Chair of the art department, College of Visual Arts,
Theatre and Dance. My responsibilities included coordinating all administrative
activities of the art department, developing the review of curriculum for
courses and the encouragement and evaluation of teaching and professional
activities for staff and students, including the Olgesby Art Gallery on campus
and the Florence Teaching Award for MFA students.
2003-06
Program Leader, European Graphic
and New Media Design Program, International Programs
at FSU.
I
developed an intensive summer program in new
media design American university students to the
European graphic and new media design community. Students live in central
London, meet and work with visiting professionals, and produce a capstone
project at the FSU Study Center in London. Courses include: web design,
graphic design, typography, digital photography and digital video.
http://londonnewmediadesign.com/ has samples of the student work and projects.
1986 – 87
Director of Education, SCS Business and Technical Institute, NY,
New York.
SCS Business and Technical Institute is a proprietary school that
offers hands-on training in the fundamentals of business applications. (5000 students/year) The position of
Director of Education reported directly to the Vice President of Operations for
the school. All full time faculty held the rank of Professor; all part time
faculty held the rank of Instructor.
Primary responsibilities:
administering the academic programs of the school including recruitment
and hiring of faculty, curricular development; preparing all applicable New
York State (NATTS, AICS) submissions; setting academic standards, encouragement
and evaluation of teaching and scholarship. Developed policies and procedures
relating to the faculty.
1981 – 86
Dean of Education, Center for the Media Arts, Manhattan, New York.
(This school was purchased by Baruch College in New York in 1988) A
professional art school for training in the media arts including video, audio
arts, computer graphics, photography, writing, and graphic design. (2500
students)
The position of Director of Education reported directly to the
President of the school. All full time faculty hold the rank of Professor; all
part time faculty hold the rank of Instructor.
Primary responsibilities: This was a new school and I prepared the
New York State (NATTS, AICS) submission for the Design Division to be
successfully accredited in Computer Graphics and Graphic Design. This included
recruitment and hiring of faculty, curricular development and setting academic
standards and procedures relating to the faculty. Developed and administered
the academic budget in consultation with the President. Created marketing
strategies for expanding the academic programs and overall school recognition.
Promoted and gave seminars throughout the New York Area on technical training
in the media arts.
1976 – 95
Chief Financial officer and co-founder of Artists' Production
Press, Inc. a.k.a. Chicago Books, 1976–1980 located in Chicago, Illinois.
1981–1989 located in Tribecca, NYC
I was responsible for developing and writing all the grants and
working as the artist/designer/printer collaboratively with the artists who
were invited to produce a limited edition artist book or print.
Chicago Books was an experimental offset printing and publishing
workshop that produced artists’ books and limited edition prints in editions of
1000. Artists’ Books are multiple original art ideas using the book format.
Artists’ Books are not reproductions of past work or collections, but rather
original art pieces that use the printing process experimentally.
Chicago Books was nationally recognized through funding by the
National Endowment for the Arts, the New York State Council for the Arts and
the Illinois Arts Council. Funding from these agencies is peer reviewed and
very competitive. Other art activities of Chicago Books included an artists’
performance series, Franklin Street Window exhibition program, and conferences
on alternative spaces for the arts. The history of Chicago Books and its impact
on art in the 1970’s has been included in several exhibitions, articles and
books. In 2002 the University of Iowa’s Museum of Art had an exhibition on the
Artists’ Books Movement that included all of the Artists’ Books produced at
Chicago Books. In 2003, a similar exhibition was held at Columbia College,
Chicago, Illinois and in 2004 at Yale University.
1979 – 81
Assistant Director of Public Affairs, Funding Coordinator, Chicago
Council For the Fine Arts, Chicago Illinois
Primary responsibilities: developing new funding, exhibition, and
job opportunities for artists involved in Public Art Programs throughout the
Chicago area. Prepared budget information and administered grant monies. I
wrote public relation announcements for both print and radio media, originated
marketing brochures used for audience development projects and coordinated art
openings and technical assistance workshops.
1976 – 78
Professor of photography, Columbia College, Chicago, Illinois
This was my first full time teaching position. In addition to my
course work, I was responsible for the creation of the slide library.
Visiting Professorships
1978 – 79
Visiting Professor of photography, (SAIC) School of the Art Institute of Chicago, Chicago,
Illinois.
All full time faculties hold the rank of Professor; all part time
faculties hold the rank of Instructor.
1974 – 75
Visiting Artist, Whitney Museum of American Art, Program for
Independent Study. This is a very competitive program for visual artists to be
given studio space and an exhibition in the Whitney Museum space for new talent
in lower Manhattan. I was the first photographer selected for the program.
1974 – 78
Prairie State College, Chicago, Illinois, (Visiting lecturer,
photography department)
Polarizing Workshop, Boston Museum School, (Visiting Professor)
University of Minnesota, Art Department (Visiting Lecturer on
Artists’ books)
Rhode Island School of Design, Photography Dept., (Summer Faculty)
College Art Association, (CAA)
International Digital Media Arts Association, (iDMAa)
University Film and Video Faculty Association, (UFVA)
American Institution of Graphic Arts, (AIGA)
TEACHING
Courses Taught
ART 4928C European Graphic & New Media Design
ART 3112C GD2: Typography
ART 4926C Design Problems
ART 4928C Design Issues and Advanced Projects
*ART 1201C Basic 2D
Design
*ART 2003 Survey of
Studio Art
*ART 1300C Drawing 1
*PGY 2401C Photography 1
*ART 4943 Internship
in Creative Art
New Course Development
ART 4943 Internship in Creative Art. I
developed the Internship course for art students to work in the field as part
of their degree experience.
BFA in Design is a new degree program that I developed
with three other faculty who teach design in the Art department. The College of Visual Arts, Theatre and
Dance has offered the BFA in Design for 4 years.
MFA Degree in Design, I am
currently working on developing this in conjunction with a
Design
Certificate in Entertainment Technology because there are currently no Master
Level or
Doctoral
Programs in the Art Department for Design.
Chair
of Master’s Thesis Supervisory Committee
John
DiMino (1999) MFA Department of Art
Member
of Master’s Thesis Supervisory Committees
Note,
the Art Department MFA program does NOT offer a MFA in Design, my area of
expertise.
Robbi
Smith (2006) MA Department
of Communication, Interactive Technologies
Katrina Fergurson (2005) MA Department of Communication,
Interactive Technologies
Resa Goff, (2005) MFA Department of Art
Chris
Schmitt (2005) MA Department of Communication, Interactive Technologies
Kyle
Brown (2003) MFA Department of Art
Muffin
Sills (2002) MFA Department of Art
Phil
Walker (2002) (MFA Department of Art
Chair
of Bachelor’s Thesis Supervisory Committees
Jane
King, (2007) BFA in Design, Department of Art
Matt
Larner, (2007) BFA in Design, Department of Art
Sunita Martini, (2007) BFA in Design, Department of Art
Kevin
Moore, (2007) BFA in Design, Department of Art
Silvana Perolini, (2007) BFA in Design, Department of Art
Oyd Craddock, II (2006) BFA in Design, Department
of Art
Nick Hardeman (2006) BFA in Design, Department of Art
Justin Lawrence (2006) BFA in
Design, Department of Art
Julian
Oh, (2006) BFA in Design, Department of Art
Joel
Brenson (2005) BFA in Design, Department of Art
Ryan
Ilano, (2005) BFA in Design, Department of Art
Wayman
Lui, (2005) BFA in Design, Department of Art
Pedro
Alex (2004) BFA in Studio Art, Department of Art
Andy
Cohen (2004) BFA in Design, Department of Art
Amanda
Reed, (2004) BFA in Design, Department of Art
Tamika
(2004) BFA in Studio Art, Department of Art
Jennifer
Beel (2003) BFA in Design, Department of Art
Grace
Jones (2003) BFA in Studio Art, Department of Art
Alex
Price (2003) BFA in Design, Department of Art
Ryan
Brubaker (2002) BFA in Studio Art, Department of Art
Sherill
Gross (2002) BFA in Studio Art, Department of Art
Pantelis
(2002) BFA in Studio Art, Department of Art
SCHOLARLY OR CREATIVE ACTIVITIES
Publications
Refereed
Publications
2004, March, International
Digital Art Awards feature in “Digital Photography
&
Design Magazine”, Australia, (Selected from over 4500 entries)
(international)
2003, February, International
Digital Art Awards featured in “Digital Photography & Design
Magazine”, Australia, February, 2003
(Selected from over 1500 entries) (international)
Non-Refereed
Publications
This section includes publications that do not
follow traditional formats as well as artist created publications.
Exhibition catalogues: The exhibition catalogues that are listed below I
have designed and edited are not reproductions of the exhibitions. They are
extensions of the exhibitions with additional edited articles and art pieces.
They are designed to extend the critical dialogue beyond the limited time that
an exhibition is seen.
Artist books: Artist Books are multiple original art ideas
using the book format. Artist Books are not reproductions or collections of art
works. Artist Books are original art pieces that use the printing process
experimentally.
Conrad
Gleber, Gail Rubini, M. Fujihata, 1996, Future
of the Book of the Future, Keio University Press, Tokyo, Japan, 96
pg, 1996, An exhibition catalogue with accompanying CD ROM. My role: design and editorial.
National
Dena Ebar and Gail Rubini, 2004,
“Ideas”, International Digital Arts Association, published by
Ball State University, Indiana
2004. A conference exhibition catalogue.
My
role: design of catalogue and
cover image.
Conrad Gleber, C.E. Licka and Gail
Rubini, 1995, “Future of the Book of the Future”, University of Alaska Press, October, 1995 An exhibition catalogue that
continued the examination of the role of the book format in the future. My
role: design and editorial
*Gail Rubini, 1984, Iowa City, Iowa, “6 of the Best”,
University of Iowa Press
Invited Artist to produce an edition of six silkscreen prints
prints.
My role: personal art
work
Local
Gail Rubini, 2002, “designX: critical reflections”, FSU Museum of Fine Arts, October,
exhibition catalogue in print and CD ROM form.The exhibition catalogue is being
distributed nationally through Printed Matter in New York City and distributed
Internationally through Magnum Bookstore in London, England.
*Gail Rubini, 1981, “Forever
Yours”, published by Chicago Books, Chicago, Illinois, 1981 artists’ book, edition of 1000 My role: personal artists’ book art work
*Gail Rubini, 1977, “Sweet Junk”, artists’ books, published
by Chicago Books, Chicago, Illinois, 10 pg artists’ book, edition of 1000 My role: personal artists’ book art work
*Gail Rubini, 1976, “Real Blue Skies”, published byThe
School of the Art Institute Publications Department, 1976 artists’ book,
edition of 50 My
role: personal artists’ book art
work
Reviews of my artists’ books:
*“Some Zines”, 1993, American Alternative and Underground
Publications, Idaho
*”Definitely Not Suitable for Framing”, 1981, Dec., Art News
Magazine
*“Artists’ books and their creators”, 1979, Dec., Cultural Post
Newsletter, Washington D.C.
*“Chicago Books Workshops”, 1979, Chicago, The Chicago Reader
Magazine
*"Chicago Books", 1978, NY, Afterimage Magazine
*“McLuhan's Mistake, the book is Back", 1978, Chicago, New
Art Examiner
Invited Papers Presented at
Conferences and Symposia
2004
Gail Rubini, 2004, Fall, Journal Vol.
1, No. 2 “Fitting Digital Media
Arts into the Academy”, presented at the International Digital Arts
Association, (iDMAa) sponsored by Electronic Arts Corporation and University of
Central Florida. (national)
2003
Gail Rubini, 2003, “Design: Refining Our
Knowledge”, International Graphic Design Education conference. Sponsored by
Dept. of Design, University of Minnesota. (national)
2002
Gail Rubini, 2002, December, “Visualization in
Science, a middle school science project”, ArtSci2002:
International Symposium on Collaboration, New
York, Presented paper on producing CD ROMs to deliver
Science Education, the pedagogy and the process.
(national)
2002
Gail Rubini, 2003, “Examining
Interface Design”, Invited to present at: The 6th World
Multi-conference on Systematics, Cybernetics and Informatics, Orlando, Florida.
Presented on Interface Design for the Web. (national)
2001
Gail Rubini and George Dawson,
2001, July, “Visualization
in Science: A Melding of Art, Science an
Pedagogy”, Gordon Research
Conference on Science Education and Visualization, (poster presentation)
Vasser College, New York. This
is a very selective conference; only 100 researchers are invited to
participate, Article on
producing CD ROMs to deliver Science Education, the pedagogy and the process.
(national)
1999
Gail Rubini and Ben Davis, 1999,
Feburary, “Visual/Human Interface for Virtual Exhibitions”, College Art
Association of America Annual
Conference, Los Angeles, California, (co-chair of a session and presented
materials based on our work in
this field. Co-chair with Ben Davis, Program Manager for Communication
for the Getty Information
Institute. (national)
1998
Gail Rubini, 1998, April,
“Visual/Human Interface for Virtual Exhibitions”, Museums and the Web
Conference, Toronto, Canada.
Presented paper discussing the “On-Line Learning” website as a virtual
museum and classroom space.
(national)
1984
Gail Rubini, 1984,
"A New Orientation to Vocational Training," National
Association of Trade Schools, New York, l988. Presented paper on the role of vocational training after a
traditional 4 year college education. (national)
Presentations
Invited
Presentations or Symposia
2006
”What Designers Do”, Dec., University of Pennsylvania,
Philadelphia, PA
(national)
2005
“Mobile
Media Symposia: Personal Media – Public Good”, November, Athens, GA
I was
the art director and produced 5 short video designed for cell phone delivery
sponsored
by the Mobile Media Consortium at the University of Georgia. The groups
explored ways that mobile media interaction can be used to enhance the social
quality of life. Teams of filmmakers, artists, technicians, social activists,
industry representatives, and students will combine forces to produce examples
that will explore the way that mobile media might address a community
challenge. The teams produced a short video to be distributed to cell phones
demonstrating their finding and ways in which mobile media can strengthen a
community. (national)
2002
Chaired panel on “Tech and Pedagogy for Cuba” Digital Arts
Conference Havana, Cuba
(international)
2001
“Cuba Biennial” artist panelist representing digital photographic
collages at the Art Museum in Pinar, Cuba (international)
Exhibitions and Collections
Collections:
This list refers to art collections which include
my personal individual artworks of artist books and/or photographic prints.
Museums have art collections that are separated
by media and managed by a curator with an accomplished record of research in
their area of expertise. The curator selects the artwork for that particular
art collection. The collections are generally made up of individual artists’
works that represent the highest quality in the field. Where my personal art
work was collected is indicated by the name of the institution, e.g., the
Metropolitan Museum in New York; followed by a list of the specific artworks.
The following artist books are in collections as
specified:
"Forever
Yours", published by Chicago Books, Chicago,
Illinois, 1981
Artist book, edition of 1000
"Sweet
Junk", artist book, published by Chicago Books,
Chicago, Illinois, 1977 10 pg
Artist book, edition of 100
"Real
Blue Skies", The School of the Art Institute
Publications Department, 1976
Artist
book, edition of 50
International
International
Digital Award, Contemporary Museum of Art, Perth, Australia, 2003
1
digital print was collected through a purchase prize
Museum
de Pinar, Cuba, 2002
A suite
of 10 digital photographic collage prints was selected for the print
collection.
*Art Gallery of Hamilton, Canada
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
National
*Museum of Modern Art, Sachner Collection of
Artist Books, NY
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Museum at the State University of California at
Long Beach, the Artist Book
Collection is part of the Photo Collection of the Museum.
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Art Institute of Chicago Museum, Artist Book
collection is within the Prints and Drawing Collection, Chicago, Illinois
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*School of the Art Institute, The Joan Flash
Artist Book Collection, Chicago, Illinois
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Hemmingway Center for the Book, University of
Idaho, Boise, Idaho
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Metropolitan Museum of Art, Artist Book
Collection is located within the Print Collection, New York, "Forever
Yours", "Sweet Junk", "Real Blue Skies”
*Center for Creative Photography
(CCP) at the University of Arizona, Arizona
5 photographs were collected through a purchase
award.
7 additional photographs were donated from
collection of Robert Heineken
*Southern Illinois University grant from the Ill.
Art Council
3 photographs were collected through a purchase
award
*Northwestern University Museum of Art, Special
Collections, Illinois
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*University of Iowa Museum of Art, Iowa City,
Iowa
“6 of the Best”, silkscreen prints
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Franklin Furnace Archives, New York City
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*National Archives, Washington D.C.
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
*Boston University, Museum Book Collection, Boston, Mass
"Forever Yours", "Sweet
Junk"
*Museum of Contemporary Art, Artist Book
Collection, Chicago, Illinois
"Forever Yours", "Sweet
Junk"
*The Walker Art Center
"Forever Yours", "Sweet
Junk"
*The University of California at Los Angeles Art
Museum
"Forever Yours", "Sweet
Junk", "Real Blue Skies”
3
photographs donated from the Robert Heineken Collection
*The San Francisco Art Institute, Artist Book
Collection, CA
"Forever Yours", "Sweet
Junk"
*University of Chicago, Studio Area Library,
Artist Book Collection, Illinois
"Forever Yours", "Sweet
Junk",
Invited
Exhibitions
2007
– 2009
“Rivers
Project: US” A
global exhibition featuring art works that approach
water issues at the cultural, social-political, economic, ethical,
philosophical and scientific interface. After seeing “Trickles to
Transport” (my
current video about the Delaware river) Irene Klaver, Professor and Director Philosophy of Water Issues Program, University
of North Texas, asked to me to participate in an International Exhibition
called: Rivers Project:.
2007
– 8
Invited
by curator Julliet Davis, Professor at the University of Tampa and Curator, to
produce an artwork for WE2
an experimental interactive media adaptation of Yevgeny Zamyatin's classic
novel entitled We. we2interactive.net/
Juried
Exhibitions
My individual artworks that were exhibited below
are photographic prints, video installations and artist books.
“invitation” indicates that the curator of the
exhibition contacted me directly to exhibit.
“juried” indicates that the work was reviewed and
selected for exhibition. In most cases, I was not given information as to % of
acceptance. This is not a common practice in the art world.
2005-2007
Video
In the Built Environment (v1b3.com).
v1b3
focuses on the integration of new media art with the built environment through
curated site-specific interventions, screened presentations and collaborations
with architects and developers. It is a growing collaboration that involves
over 100 international artists, architects and designers interested in issues
of public and urban interaction with new media art.
My
videos are included on 3 v1b3 DVD video collections. There are 12 artists
videos included on each
collection. The artists were selected from 50 submissions/collection on
average. All of the collections were peer reviewed by Cezanne
Charles, Executive Director of New Media Scotland and Kate Taylor,
curator of the BBC’s Big Screens”, England.
The
collections have been been included in many installations and screenings
including:
vidi festi in Valencia, Spain 2007
v1b3 mobile video, Castlefield Gallery, curated by Daria Martin,
Manchester, UK 2006
Americans for the Arts Conference, Milwaukee, WI, 2006
Chapman University in Orange, California, 2006
ArtSpace,
College Art Association, Boston, 2006
v1b3:
Collection 1, Orlando & Manchester, UK, Exchange exhibition 2006
v1b3:
Collection 2, Chicago, Manchester & Liverpool, UK, Simultaneous exhibition
2006
London Study Center, 2006
Singapore,
Gnee Ann Polytechnic, 2006
v1b3:
Site: Chicago Loop, Four site-specific video works projected in the south loop
2005
University
of Kansas, Collections 1 & 2, 2005
Miami
University, Collections 1 & 2, 2005
University
Film & Video Association, Formal Screenings Event, 2005
Film
& Video Festival, University of Tennessee, Collections 1, 2005
Gnee
Ann Polytechnic, Singapore, Collection 1, 2005
Publications and Citations:
Articles and Reviews that include v1b3
Kate Taylor, 2006, Milwaukee, WI “Material Meaning: Process,
Product and Preservation in Public Art”, Americans for the Arts Conference.
Kate Taylor, 2005, “Programming Video Art for Urban Screens in
Public Space”, BBC conference in London, England
“First Monday”, (online peer reviewed journal), Special Issue #4,
2005
Michelle Kasprzak, “The Art of the Interstitial”, Glowlab
(http://glowlab.com/), 2005, (An article about public video screens, she has
included a link to v1b3.com)
“Wouldya” and “Swerve to Look”
video’s were included in this exhibition that was shown for two weeks on the
Big Screen in Manchester, England, March 2005 (the Big Screens are large outdoor monitors set up by the
(BBC) British Broadcasting Center and located in town centers.
Ars Electronica, 2005, a video
“Nowhere to Look” was designed for view on the internet was accepted to be
include in a web based exhibition, Austria, June 2005 (this is one of the
largest and oldest new media exhibitions, the exhibition is one part of the
prestigious conference on new media)
“2004 International Digital Art Exhibition”, Traveling
Digital Photo Exhibition, Australia (two
digital photographs selected for the exhibition) (Selected
from over 4500 entries)
2004,
Australia, “International Digital Art Awards Exhibition”, featured in 'Digital Photography
& Design
Magazine
“Learning to Love you More” Bristol Art Center Project,
London, UK, July, 2004 (one photograph selected for the web exhibition)
“Endangered Sounds Project” sound piece included in the
Biennale of Electronic Arts in Perth, Australia Nov, 2004
“Daumenkino” (The flip book
show) Kunsthalle Dusseldorf,
Germany, May 2005
(my Real Blue Skies artist
book was selected for this exhibition and DVD catalogue) (invitation)
Outside
of a Dog: Books by Artists, Baltic Center for Contemporary Art, England, 2004
(invitation)
Academy
Gallery, University of Tasmania, Australia 2004 (juried)
QIT Art Museum, Brisbane, Australia 2004 (juried)
VAC Gallery, University of Melborne, Australia,
2004 (juried)
2003,
Australia, “International Digital Art Awards Exhibition”, featured in 'Digital Photography
& Design
Magazine (Selected
from over 1500 entries)
Museum Exhibition in Pinar, Cuba 2002 (juried)
IV Salon Y Coloquio Internacional de arte
digital, Havana Cuba (digital printmaking and photography, 2002 (conference and
juried exhibition)
Digital Art: Languages and Poetics,
2001, Havana, Cuba (invitation)
Prix Arts Electronica exhibition in
computer and multimedia art, Germany, 2000 (juried)
Museums and Web Conference Exhibition, Toronto,
Canada, 1998 (invitation)
*“Telematic Proto Art,” Museum of Contemporary Art, Sao Paulo,
Brazil, 1992 (juried)
*"Learn to Read Art: Artists' Books", Hamilton Gallery,
curated by Wendy Woon, Canada, 1990 (juried)
National group exhibitions:
“Trickles To Transport”, Denton, Texas, 2007
(juried) (highest rank in selection process)
“Artist Books revisited”, Yale University
Library, 2006 (invitation)
Digital Art Extravaganza, Limner
Gallery, May 2005 (digital
photograph selected for exhibition)
“Ideas” exhibition and catalogue held
in conjunction with the International Digital Arts Association conference (3
digital photographs selected for the exhibition, one selected for the
catalogue)
Los Angeles Center for Digital Art,
Digital Art Exhibition, (one digitial photograph selected) Los Angeles, Feb.
2005
Public.exe: Public Execution, Exit Art Gallery,
New York City, 2004 (invitation)
Art & Science Collaborations, Inc. (ASCI),
New School of Social Work Exhibition Area,
December 2002 (invitation)
Digital02 Exhibition, New York Hall of Science,
NY City, October, 2002 ((juried))
The American Museum of Natural History, NY City,
Nov. 2002 ((juried))
60 Square Inches, Purdue University Galleries,
Indiana, 2002 (juried)
TarantoLabs Gallery, NY City, December, 2002
(juried)
Franklin Furnace's 25th Anniversary
exhibition at the Museum of Modern Art, Brooklyn Branch, NY City, 2001
(invitation)
Museum of Contemporary Art of Chicago, Chicago,
Illinois 1997 (invitation)
Nexus Multimedia Events, Chicago, Illinois,
1996 (invitation)
MIT teleconference Open Gallery, MIT Creative
Lab, Massachusetts, 1996
(invitation)
“Recent
Works, Language Photographic Pieces,” University of Alaska Gallery, Alaska,
1993 (invitation)
*“Some Zones: American Alternative Publications”, Boise State
University, Idaho, 1992-3
*“On Works of Paper”, University of Delaware Biennial Exhibition
in their Art Museum, 1992
*"Works on Paper", McNeese National, Honorable Mention,
1992
Franklin Furnace, Franklin Furnace Gallery, NY City, l985
*"The Terminal Show", Terminal Building in Brooklyn, New
York l983
*"Women Artists' Books", Dia Center, New York City,
curated by Lucy Lippard, l980
*"Unique Format", Virginia Commonwealth University Art
Museum, Virginia, l980
*"Art in Print: Books and Periodicals", West Hubbard
Gallery, Illinois, l978
Prairie State College Art gallery, Illinois, l978
*"Pictures", Diablo Valley College Art Gallery, New
Mexico, l978
*"The Art of Offset Printing", The School of the Art
Institute of Chicago, School Art Gallery, l978
*"Artwords and Bookwork’s', Los Angeles Institute of
Contemporary Art, l978
Gallery Association of New York State Exhibition, l977-78
*"Women", Center of Photography, Austin, Texas
*"Xerox", University of Colorado Art Museum, l977
*"Four for Illinois", Columbia College Art Museum,
Chicago, l976
*”Prints California”, Oakland Museum, California, l975
*Woods-Gerry Mansion, RISD Student Art Gallery, Rhode Island, l975
*"Women Look at Women", Connecticut Council for the
Arts, l974
*”New Photographics”, Central Washington, l972
Regional and Local group exhibitions:
2003, 2 photographs from the “50:50”
landscape photographs on view at State office building.
2002, Lillian Garcia-Roig and Gail Rubini,
“Abstracted Landscapes: 2 Views”, City Hall
Gallery, Tallahassee
1996, 4 photographs from the “Beach” photographs
were selected to be on view, Vice President
of Research Office, FSU
1994, “Southern Women Invitational”, Le Moyne Art
Foundation, Tallahassee
*"Works on Paper IV", Valdosta State College, 1992
*"Orlando Museum Juried Invitational", Orlando Museum of
Art, 1992
*"Women Faculty Members" FSU University Gallery, 1992
*"FSU Faculty Invitational", Center for Professional
Development, 1991, 1993
*"Cultural Artifacts", Florida School of the Arts,
l978" Books as Original Art", Florida School of
the
Arts, l978
Non-Juried
Exhibitions:
(curatorial and designer):
Below are exhibitions that I had the lead role as
curator and designer.
This involves developing the core idea for the
exhibition, securing the grants needed to produce the exhibition, identifying
the site and installing the exhibition, designing and producing the catalogue
and distributing the catalogue nationally and internationally.
I included the reviews specific to the
exhibition/catalogues in this section.
National
(curatorial and designer)
2005-8
“New
Media / New Work”
Exhibitions during the College
Art Association
conference
in Boston, 2006, New York, 2007 and Dallas, 2008 I will be curating exhibitions
that highlight and examine the work of new media artists.
“New
Media/New Work”
was exhibited at Art Interactive Gallery in Boston, 2006. New Media/New Work collected a
cross-section of cutting-edge video and new media work that highlights diverse
technical and thematic approaches to the medium including experimental
abstractions and formal and narrative explorations. “New Sound Waves” will be an exhibition of sound
pieces to be experienced during the College Art Association Conference in New
York, 2007 “Projections in Exteriors” is an exhibition of videos created during the College
Art Association Conference and projected via cell phones in Dallas, 2008
I am a
curator of the new media exhibitions for The New Media Caucus. The New Media
Caucus is a non-profit, international membership organization formed to advance
the conceptual and artistic use of digital media. The caucus represents artists
whose media are expanding with developments in digital technology and artists
working in newly emerging media such as robotics, virtual reality, interactive
and installation environments as well as artists working in established digital
areas of video, sound and graphics. By providing a forum for the critical
review of new media practice, the caucus increases the visibility and presence
of new media practitioners.
National
and International (curatorial and designer)
1994-8
The
Future of the Book of the Future http://grubini.com/grwebhtml/fob.html was a hybrid artist installation/exhibition
work
that was designed as a collaborative project between traditional artists, book
artists,
poets,
writers, historians, scientists and Internet activists on the impact of
information
technology
on text, book publishing and culture. The first exhibition was at the Florida
State
Museum, then the University of Alaska, Anchorage and finally it was the
inaugural
exhibition
for the opening of a new building to house the Japanese Department of
Information
Infrastructure in Tokyo, Japan. To maintain the idea of the exhibit as a
cultural
collaboration, artists and others from each new venue had to generate work for
the
exhibit. Only a few works from previous shows traveled. Events such as poetry
reading,
technology demonstrations, seminars and panel discussions were all part of the
project.
Many of the ideas and artifacts have been included on a website that captures
some of
the original anticipation and energy of that formative period when the Internet
became
public.
The The Future of the Book of the Future
project was co-curated with Conrad Gleber, Director of Digital and Media Arts
at La Salle University. My specific role was develop the core idea, secure the
grant funding, edit all material and design the catalogue and other published
material that was produced for the FSU Museum of Fine Arts exhibition and the
University of Alaska exhibition.
Reviews
about the The Future of the Book of the
Future exhibition:
1994, “The
Future Book”,
June, National Public Radio
1994, April, “On surfing through great literature,
courtesy computers”,
Tallahassee Democrat
1994, March, “When old books go bad, what’s a
librarian to do?”
Tallahassee Democrat
1994,
Feb., “Facing the future of books and buildings”, Tallahassee Democrat
1994, Oct., “Museum muses on art with theater of the
absurd”,
Anchorage Daily News
1994,
Oct., “Future of the Book’ A look at the meaning of art”, Anchorage Daily News
1994,
Oct., “Future of the Book", 6 pm news story, Anchorage TV News
1994,
Oct., “Books meet technology in a new exhibit that brings the future of
books to life”,
The Northern Light, Anchorage, Alaska
1980
*“Chicago: Although Marco Polo Never Heard of Chicago, its
Story Really Begins With Him”, Franklin Furnace Gallery, New York City.
This was an exhibition of art and artifacts that examined the “second city”
identity of Chicago. The exhibition included a catalogue with a record and four
evening performance events.
I co-curated this exhibition with Bob Peters, Professor at University
of Chicago, Bob Roesler, a new media artist living in Los Angeles and Conrad
Gleber, Director of Digital and Media Arts at La Salle University in
Philadelphia. My specific role was the design of the exhibition catalogue that
was a newspaper with an embedded record and other artifacts, and contributing
the art piece that dealt with the social values of Chicago.
Reviews about the “Chicago: Although Marco Polo Never Heard of
Chicago, its Story Really Begins With Him”, exhibition:
1980, Oct., “Best Bet of the Week”, New York Times
Local (curatorial and designer)
2002
designX: critical reflections, An art exhibition and
exhibition catalogue that focused on the
design process and the fundamental role of designers in our culture, The FSU
Museum of Fine Arts, October, 2002
The exhibition included interactive media and
computer-network interfaces by designers that use new dimensions of sound,
motion, time and virtual space. Each designer was chosen to represent a
specific perspective on design practice and contribute to the critical dialogue
on the development of contemporary design.
I was
the lead curator on the project. I developed the core idea, secured the funding
through grants, selected the designers, designed, and edited the catalogue. The
exhibition was local. Keith Roberson was the co-curator
for the exhibition.
Reviews
about the designX: critical reflections exhibition or the catalogue for designX:
critical reflections:
2004, designX:
critical reflections,
Clive Philpot, British Council for the Arts, Newsletter
(review of the catalogue)
2003,
February, Communication Arts Magazine, (notation of catalogue in the book
review
section)
2002,
Oct, “Designing new age of art” Florida Flambeau, (review of the exhibition)
1990
*“SEE JANE RUN; SHORT SWEET GONE; TRANS MISS IONS”, There were two
sites that had parallel exhibitions and were linked by broadcast transmissions:
The FSU Museum of Fine Arts, Tallahassee and The Grolier Club in New York City
had a one-night exhibition of art and theater pieces and readings that
reflected communication and technology. It featured the Read It Once, a piece by William
Gibson that was simultaneously being broadcast in New York, London, and Berlin.
The book was read once and then a virus destroyed it while it was being
broadcast.
I co-produced this
event with Kevin Begos, a New York publisher of limited edition artists’ books,
and Jerry Stern, author and Professor at FSU. This involved selecting the
artists, writers and poets, securing the necessary funding, exhibition space
and broadcast technologies.
Review of the “SEE JANE RUN; SHORT SWEET GONE; TRANS MISS IONS” exhibition and
performances:
“Read It Once”, 1991, May, Esquire, this review was unusual in that it was
a review of the book when it no longer existed because a virus destroyed the
book at the time of the broadcast.
“Technology runs
amok”,
1990, Dec, Florida Flambeau
1977 – 88
*Artists' Window Program at Chicago Books, Artist Production
Press Exhibition Area, New York City, a one-month exhibition program funded by
the New York State Council for the Arts and the National Endowment for the
Arts.
My role was the curator for selection of the artists and I
designed all print and media materials.
Reviews of Artists'
Window Program at Chicago Books:
“Best Bet of the Week”, New York Times, The window exhibition was
often featured in the weekend “must see” column.
1978
*“Art in Print: Books and Periodicals”, The Art Institute of
Chicago Print and Drawing Exhibition Area, Chicago, Illinois1978
1977
*“The Art of Offset Printing”, The School of the Art Institute of
Chicago Gallery, November, 1997 This was an exhibition in conjunction with a
conference on Alternative Art Spaces. I was co-chair of the conference and curated
the art exhibition.
Publications
The exhibition catalogues that are listed below I
have designed and edited are not reproductions of the exhibitions. They are
extensions of the exhibitions with additional edited articles and art pieces.
They are designed to extend the critical dialogue beyond the limited time that
an exhibition is seen.
National
2004
Ideas, International Digital Arts
Association, published by Ball State University, Indiana 2004.
conference exhibition catalogue.
My role: design and cover image
1995
Future of the
Book of the Future, University of Alaska Press,
October, 1995,
exhibition catalogue, 38 pg
My role: design and editorial
1978
*Gail Rubini, 1978, "Liquid Emulsions" Darkroom Dynamics,
Curtis and London,
Wrote book chapter on using liquid photographic emulsions on glass
surfaces.
Local
2002
designX: critical reflections, FSU
Museum of Fine Arts, October, 2002
exhibition catalogue in print and CD
ROM form
The exhibition catalogue is being
distributed nationally through Printed Matter in New York City and distributed
Internationally through Magnum Bookstore
in London, England.
My role: design and editorial
Future of the
Book of the Future, FSU Museum of Fine Arts, October,
1994
exhibition catalogue.
My role: design and editorial
Information and Communication Technology
DVD,
CD and Internet Web Site Development
2005
“New Media/New Work”, My role; Curated the
videos to accept and designed the DVD packaging for the video collection.
2004-5
“Burning
Issues II –
The Role of Fire in Ecosytems”, (DVD) U.S. Department of the Interior,
Bureau of Land Management,
Washington D.C. Grant for project:
$340,000.
Burning Issues II, a DVD about the role of fire in the natural
environment, funded by the US Department of the Interior’s Bureau of Land
Management and the Science Education area of FSU. This is an expansion of the
award winning Burning Issues CD we produced with a redesign of the original
project and the addition of new ecoVentures sections.
My
role: Art Director: responsible for all of the graphic design and production Burning Issues II (DVD). Designed the
introduction splash screen and all of the print and packaging for the DVD.
Released, Fall 2005.
2003-4
Interactive Media Science Projects,
Science Education, FSU
My role was: Website designer
designed the interface and programming.
2002-3
“Fire in Wildhorse Basin”. Wyoming Bureau of Land Management
Grant for project: $69,000. 2001 - 2003
http://www.fsu.edu/~imsp/wildhorse
Fire in Wildhorse Basin is an
interactive web site to teach students in middle grades
(5-9) about the role of fire in
natural ecosystems, the use of fire in ecosystem management, and the techniques
and strategies used to rehabilitate ecosystems that have been damaged by wild
fire. Produced by the Science Education area of FSU and funded by the U.S.
Department of the Interior, State Office of the Bureau of Land Management in Wyoming.
My role: Art Director: produced all
aspects of the site including overall design, graphics, flash and html
programming.
2001-2
“Silent
Invaders” - A
web site about Invasive Species. Funded by the US Department of the Interior’s
Bureau of Land Management, U.S. Department of the Interior, $100,000
www.blm.gov/education/LearningLandscapes/explorers/lifetime/invasive.html
Silent
Invaders, Developed by Florida State University's Science Education Department
in cooperation with the Bureau of Land Management, Department of the Interior,
to engage middle school students in learning about invasive plants and animals.
The website includes a colorful and informative field guide to the top 20 most
troublesome plant and animal species, an invasive plant control game, videos
offering basic background information, and an educator's guide.
My
role: Art Director: produced all aspects of the site including overall design,
graphics, flash and html programming.
1999-2001
“Burning Issues - The Role of Fire
in Ecosystems”, U.S. Department of the Interior,
Bureau of Land Management. Grant for
project: $270,000.
Burning
Issues is an award winning multimedia CD ROM to help middle school students
learn about the role of fire in ecosystems and explore the exciting but
dangerous world of wild land fire management practices. It includes 5
panoramic views of natural ecosystems, links to an extensive field guide
with more than 300 slides, videos, interviews, interactive games, and a
simulation program used by fire managers. Produced by the Science Education
area of FSU and funded by the US Department of the Interior’s Bureau of Land
Management.
Each
year from 2001- 2004 over 7,000 discs have been distributed including one for
every middle school child in Colorado.
My role:
Graphic Designer including overall design and graphics production.
1997
“The
On-Line Learning Environment”, Mary Brogan Museum of Art and Science, Tallahassee.
This was a web site based on a cultural center with virtual exhibitions,
interactive access to virtual exhibits and live video conferencing of lectures
and demonstrations for students to explore and to enhance their classroom
activities and enrich their education.
The
website was developed as a prototype and was demonstrated at the opening of
the
museum, and used as an important component of a Knight Foundation Grant that
was awarded to the Museum.
My
role: I designed the interface, produced the panoramic VR’s of the virtual
exhibitions and worked with a programmer to complete the web site.
1996
Future of the Book of the Future Website: grubini.com
My
role: I co-designed and produced this website with Chris Schmitt. This includes
the interface design and all the technical programming. Chris Schmitt is the
author of several books on the web.
Future of the Book of the Future web site wins Como Award for
excellence in web content and design, 1997.
Future of Book of the Future web site wins High Five Award
for excellence in Design, 1996
Grants
Grants Funded
This area includes grants for projects I had a lead role in.
This is similar to grants for research, but the resource level in
the arts is significantly lower because grants in the arts do not include
operational or indirect expenses. Many of these grants were at the maximum
allowed by the granting entity. For example, the grants from the Florida Arts
Council for both the “Future of the Book”
project and the “designX: critical reflections” were the maximum grant allowed
in the exhibition area.
International and National
2007–2009
Jennifer
Burg, Wake Forest University and Conrad Gleber, La Salle University(s).
Making Connections in Computer Science by Linking
Science to Practice through Digital Media.
A series of summer workshops was funded by National
Science Foundation.
My role: The grant was initiated from roundtable
discussions with faculty from both the digital
media and computer science areas about ways to
reinvigorate computer science curriculums.
A growing number of computer science educators have come
to believe that the problem is in the
computer science curriculum, where theory is not linked
sufficiently to practice, and science is
not linked sufficiently to hands-on applications in art,
business, biology, and all the other
potentially related disciplines. Because of my work in
both design and science education, I am
the project leader for the Florida State University
workshop.
2003 – 2005
Research Grant: Burning
Issues 2 – The Role of Fire in Ecosystems, funded by the U.S. Bureau
of Land Management, Department of the Interior, Washington D.C. project grant
award: $340,000
My role was art director and graphics designer for the project. I
designed and produced all of the graphics used in the project.
1996
Grants received for the Future
of the Book of the Future exhibition and catalogue publication. $30,000
Grant from the Office of Information and Infrastructure Protection Agency,
Tokyo, Japan, $20,000 Grant from
Keio University, Tokyo, Japan
National
1995
Grants received for the Future
of the Book of the Future exhibition and catalogue publication. $1500
funded from the PacTel Foundation, The PacTel Corporation is the
telecommunications company for the Alaska and a corporate Sponsor for the Arts
in the Northwestern U.S. $2000
funded, University of Alaska, Presidents Grant
State/Local
2002
$10,000 Grant from Apple Computers for the “designX: critical
reflections” exhibition
To cover all technical needs for the exhibition.
2002
$12,000 funded Florida Arts Council grant, for the “designX:
critical reflection” exhibition and catalogue. (external funded)
1997
$7000 Grant from JL Properties (a corporate sponsor with a
continued interest in funding new media arts projects.), Salt Lake, Utah to
develop the On-Line Learning Environment. This was a prototype for a web-based
museum in the arts and science. It was developed using interactive 3-D and
sound/video transmission technologies and designed to improve public access of
science and art through the use of high-quality telecommunication and
information technologies.
1994
Grants received for the “Future
of the Book of the Future” exhibition and catalogue publication.
Florida Arts Council,
$12,000
Apple Computers, $15,000
Microsoft Corporation, $2000
Begos Publishing,
$5000
There were many in-kind contributions from national publishing
companies who donated books published on CD ROMs. There was additional local
technical support from IBM to install and maintain the computers used during
the month long exhibition.
University
2002
University one semester sabbatical to work on “designX:
critical reflections” publication and exhibition.
2001
Faculty Research (COFRS) Regular Summer award to develop “designX:
critical reflections” publication and exhibition. $8000.
2001
Office of Research, Equipment and Infrastructure Enhancement Grant
(EIEG) to develop virtual visiting artist series using web and teleconferencing
techniques. $5000.
1996
FSU Office of Research Planning Grant for the ” Future of the Book of the Future” for
the publication of a CD ROM and Web Site $5000
1993
Office of Research, Equipment and Infrastructure Enhancement Grant
(EIEG) Grant to add Digital Imaging to the Graphic Design labs, $5000 (internal
funded)
1976 -78
Polaroid Corporation Grant,
SX70 photographic material in the Photography Level 1 course at the
School of the Art Institute Chicago (SAIC).
SERVICE
Florida State University
University
Digital Media Discipline Committee, Statewide Common Course Numbering System, (2006-currently).
Computer
Literacy and Fine Arts Committee, Undergraduate Policy Committee, (1996–2006).
Fine
Arts committee Chair, Undergraduate Policy committee, (2000 – 2002)
University
Fellowship Committee, Fine Arts Committee, (1989 – 1994)
Student
Affairs, Student Mentoring Program (1994 – 2000)
Department
of Studio Art
Chair
of Art Department, College of Visual Arts, Theater and Dance (1989–1996)
Design
Area Committee member, Department of Art, (1997–2007).
MFA
Committee member, Department of Art (2004–6).
Promotion
and Tenure Committee member, Department of Art (2006)
Art
Students League faculty sponsor, Department of Art (1991-1995)
Program
Leader
Program Leader, London Program
for Design and Media Art, International Programs
(2003–2006)
The Profession
Service
to Professional Associations
Conference
Coordinator, International Digital and Media Arts Association
(2006–2007).
Board
Member, International Digital and Media Arts Association (2005-2007).
Exhibition
Committee Chairperson, New Media Caucus, College Art Association
(2004–2007)
External Advisory Committee, Electronic Arts, School of
Contemporary Arts, University of
Western
Sydney, Australia (2004) (review
the BFA program)
Publications
Committee Member, International Digital and Media Arts Association
(2003–2006)
Task
Force Member, Guidelines for promotion and tenure for
New Media Artists, College Art
Association (2005–2007)
(selected to be one of five members of the committee)
Paper
Reviewer, International Conference on Computer and Communication Technologies,
University of Texas, Austin,
(2003-04)
Service
to the Community
Founding
Board Member, Brogan Museum of Art and Science (1992–2000).
Committee
Member, Women’s Build and American History Week, Zonta (2003–2005).
Committee
Member, Capital Womens Network (1999–2005).