Curriculum Vitæ

 Holly  Crawford

Born in CA, lived in NYC for 21 years, now back in CA


Fellow  2004-2005  NYU Psychoanalytic Center

Ph.D.   2003  Art History and Theory,  University of Essex Dissertation: Picasso Seizes Donald Duck:  An Analysis of Disney Images in Contemporary Art Advisor: Dr. Neil Cox, Examiners: Professor Peter Selz and Dr. Michaela Geilbelhausen

M.A.    ABD  Economics, UCLA M.S.   Public Health,  Behavioral Science Division, UCLA National Institute of Mental Health Fellowship Thesis: Non-Verbal Communication Between Doctor-Patient B.A    Economics, UCLA Art Courses: UCLA and Otis Parsons

Professional Teaching Experience:

2005   Studio Instructor, Sculpture & New Genre, Summer Residency Program, SVA, New York

1995-96   Visiting Assistant Professor, UCLA Art Department

1997-1998    Studio Program Instructor, Drawing, Palo Alto Art Center Palo Alto, CA  

Professional  Service: 

2004-present  Founder and Director AC Institute and AC Books

2016-2017  Appointed Member Mamaroneck Arts Council

2008-2012 President of the Board, American Friends of the University of Essex. 

2003    Teaching Fellow, (Visiting Artist and Scholar Lectures) The New Museum of Contemporary Art, New York  

1995     SPACES: Project Arts: A Collaboration: arts, education, and the community. Created project & supervised  two interior spaces at the Bell Shelter, a homeless shelter for 300 people in South Central Los Angeles, by UCLA undergraduate art and design students

Selected exhibitions, performances, site specific installations (arranged chronologically and serially and not a complete c.v.):

2023: In the Spirit of Art, Platforms, Athens, Greece

2022Alchemy of Art and the Gift, Fringe Bath, Bath UK

Museum is My New Studio, Darling Pearls, Platforms, Athens Greece

2021:  The Silence Drew Off, Darling Pearls, Platforms, Athens Greece

2020: The Silence Drew Off, Laughing with Medusa, Pearling Pearls, Hackney, UK. Curated by Alexandra Falbo.

2019-2020  The Silence Drew Off, Laughing with Medusa (part of Unicorn & Medusa curated by Alexandra Falbo). Cable Depot, UK.  Four video artists and installation of 200+ works on paper.

2019-2015:   Art Alchemy and the Gift, interactive performance, Platforms, Athens Greece, 2019;   2017 Alchemy of Art and the Gift, interactive performance installation, Economia, Natlab, Eindhoven, NL;  2015 Alchemy of Art and the Gift interactive performance, Others Art Fair, Torino, It.

2017-2019 I’m…, who are YOU? Oh so sorry.  But nothing will happen to me.  interactive performance, Borders, curated by Jeanette Doyle, CAD, Dublin participation in Research Pavilion, Venice Biennale, Oct 1.

     2019 Talk and short performance School of Art, University of Wolverhampton, UK

2017 The Hospital Waiting Room, In the Spirit of Art installation/ interactive performance, with photographs by Roberta Marroquin, Others Art Fair, Turin, It.

2017   Ants on a Shrimp, Thoughts, interactive performance at the Arena Theatre, as part of Dirty Practice, Wolverhampton Art School, Wolverhampton UK.

2015    Through A Cell, in Time and Space, Darkly, interactive installation with Roberta Marroquin in former prison, Others Art Fair, Turin, It.

2013   Essence of the Rock, Engineer’s Office Gallery, NYC, September 2013.

2015-2002  13 Ways of Looking at a Blackbird (interactive site specific installations)

         2015     Day of the Dead, Pico House,  Los Angeles 

         2013    Art Box #508, NYC

          2012    Gallerie Bosque Nativo, Puerto Varas, Chile

   2007      Public After Party, After Frieze (to raise money and awareness)     SeOne, London,

                       The Lab (Roger Smith), NYC

          2006     Riverside Art Museum, Riverside CA

          2005     Color Elefante, Valencia, Spain

           2004  Berliner Kunst Projekt. 

          2002      United States Consulate Art Gallery, Florence, Italy

2012    Economic Crisis Observatory (site specific installation and performance) in “Capital Offense, The End(s) of Capitalism,”  curated by Jennifer Gradecki & Renée Fox,  Beacon Arts Building, Los Angeles, CA.

2011     Economies of Resistance, Orphans Offer Up paintings,  group exhibition, curated by John O’Hara, Wolstenholme Creative Space, Liverpool, UK

2010 Orphans Offered Up, installation, empty gallery (500), 547 W. 27th St, NYC (

I can get you in,” video in (inside ) joke, curated by Sherry Mayo, Augusta Savage Gallery, U. Mass, Amherst, MA

2010-2005  Entropy Slices  collaborative performance with 11 others (project and text by Holly Crawford)

2010    Lakeside Theatre Gallery, University of Essex

2005  Bowery Poetry Club

2009  Voice Over NY to Wels, special twittered  performance, as part of  Soundleak:TheRoom by O.blaat at Medien Kultur Haus, Wels, Austria

May I have your autograph?  Miami Basel Art Fair

2008-2005 Limo Projects (documentation video and printed books on conversations)

      2008   Critical Conversations in a Limo, Intervene! Interrupt! Rethinking Art as Social Practice, The Lab SF, art exhibitions and conference, UCSC

               Live in the Limo, interactive performances, Armory Art Fair.

      2007 Critical Conversations in a Limo and Sound Art Limo, Melbourne International Arts Festival, Melbourne, Australia

      Flatland Limo, Amory Art Fair, NYC

     2006  Sound Art Limo, Armory Art Fair,  NYC

     2005   Outsouced Critics &Critical Conversations in a Limo, Armory Art Fair, NY also 2019 Screening Toots Space Australia

2012-2002 Found Punctuation Performance and Video Screening

       2012   The Theater, Art School, University, Porte Monte,  Chile

       2010  Lakeside Theatre Gallery, University of Essex

        2007   Emily Dashing, interactive performance and screening, Take a Deep Breath, Tate Modern, UK

       2005    Found Punctuation, interactive performance, Bowery Poetry Club, March 17.

2002  Performance of Found Punctuation. Beyond Baroque, Los Angeles CA. July 27,   Beyond Baroque, Los Angeles, CA.


*”Open Adoption for Art–Looking for a New Relationship,”  interactive performance & installation, Pool Art Fair, Room 722, NYC, July 7-10.

“Hyphens-Five Senses,” interactive performance & installation, Brown Bag Contemporary, Photo San Francisco

Hyphens-Primary Connection, interactive performance/installation, Basel-Miami Art Fair, NY Arts

Hyphens-Five Senses, performance/installation, Broadway Gallery, Photo NY,

1998   Offerings, .net participant,  Prix Ars Electronica, Linz, Austria.

1997-1996  The Dinner Party, sound art installation

           1997  The Dinner Party, Will You Play with Me? audio installation, earart, 1078 Gallery, Chico, CA, curated  by William Houck.

           1996 The Dinner Party, Will You Play with Me?  audio installations, Hotel Triton Contemporary Art Fair, Biennial,  David Raymond Fine Art, suite #221, San Francisco, CA.

1996  Empty Bluebooks, QUESTIONING EQUALITY: An Artistic Dialogue,  site specific installation,  Riverside Art Museum,  Riverside, CA.

 1996-1992 Water Project 

1996  Water! Water$ Water?, and  The Road: The Century Freeway, The Benicia City Art Gallery, Benicia, CA.

1994 (Whose) Water! Water$ Water?, Installation, Indian  Water Rights Conference, Stanford Law  School, Kresge Auditorium, Stanford University, Stanford CA.

Water! Water$ Water?, Installation (version two), Stanford School Law Library, Stanford, CA.

Water! Water$ Water?, installation, Artists on Water,  Vacaville  Museum, Vacaville, CA,

1993  Water! Water$ Water? installations,  Museum of  Art,  Downey CA.

1992 Water! Water$ Water? installation Euphrat Museum of Art, De Anza   College,  Cupertino CA.

The Road  1991-1996

            1996  The Road: The Century Freeway, The Benicia City Art Gallery, Benicia, CA.

              1993   The Road: Century Freeway Project Museum of Art, Downey CA.

The Road: Century Freeway Project, installation California Department of Housing, Ingelwood, CA.

             1991 Road: Century Freeway Project, installation South Bay Contemporary Museum of Art, Torrance, CA. (two person exhibition).

1993     George’s Dream, drawing, Five Years of Accessions, Art Collection of the Federal Reserve Board, Federal Reserve Board Gallery, Washington DC.

Feminine Ascension: Pegan Brooke, Holly Crawford, Jenny Quint, Phyllis Shafer, and Linda Stark, curated by David Walker  Momentum Gallery  Ventura Arts Council, Ventura, CA.


Implications, interactive sculpture, Center for Polish Sculpture, Oronsko, Poland.

1990 Holly Crawford: Roots, selected paintings and pastels. Wade Gallery, Los Angeles, CA.

Holly Crawford: Prints, small monotypes, John Thomas Gallery, Los Angeles, CA.

Holly Crawford: Form, Land: Land, Form, paintings, drawings, and monotypes. Rebecca Cabo Gallery,  La Jolla, CA.

1989 Holly Crawford: Furnishings, paintings and drawings and monotypes, Gwydion Gallery, La Jolla, CA.

1988  Holly Crawford: Paintings, Drawings, and Monotypes, Gwydion Gallery,  La Jolla, CA.

Untitled, monotype, in Prints from Angeles Press, group, Conejo Valley Art Museum,  Conejo, CA.

Untitled, work on paper, group exhibition, Positive Negative III, Carroll Reece Museum, Tennessee.  Juried by Lisa Phillips, Associate Curator, The Whitney Museum of American Art, New York City.

4th  Untitled, painting, Annual Exhibition, SCWCA, Los Angeles Harbor College, CA. Juried by Melinda Wortz, Director, UC Irvine Gallery.

1983   Future (Art) World, Future World Expo, interactive art project, Los Angeles Convention Center

Artist’s Residencies:

2019 Dirty Art Practice–Infecting , Art School, University of Wolverhampton, UK

2017 Dirty Art Practice, Art School University of Wolverhampton, UK.

2010   University of Essex, Lakeside Gallery, UK

1991  Notaro Intl. Exhibit, Sculpture Center of Poland, Oronsko, Poland.

Books and essays:

7 Days, Your Life in Art, Holly Crawford, project and editor, AC Books, 2017.

Barking and Meowing, Claude Closky, with essay by Holly Crawford,  artist book that is a pseudo-monograph with pseudo-essay. AC Books, 2017.

eat this, Detroit, collaged photographs, (t)here, art magazine,  vol 16, 2016.

“Critical Conversations in a Limo, An Experimental & Collaborative Vehicle in Art and the Unexpected: Please Feel Free to Interrupt and Intervene,” essay in Viz. Inter-Arts, Interventions, A Trans-Genre Anthology, ed. by Roxanne Power, UC Santa Cruz, 2016.

Art is Alive! & Robert Fillou, catalog essay, Proposition Art Fair,  Brussels, 2015.

Outsourced Critics & Critical Conversations in a Limo, Holly Crawford, project by & editor, AC Books, 2013.

Art Engaging Gangs, catalogue essay, AC Books, 2013.

 Claude Closky, catalogue essay, AC Institute, 2012.

“Who Gets to Play?’ in Popular Culture Values and the Arts Essays on Elitism versus Democratization:  edited by Ray B. Browne  and  Lawrence A. Kreiser, McFarland, 2009.

Catalogue essay “Disney and Pop Art”, Once Upon a Time Disney,  Grand Palais and Fine Art Museum, Montreal,  2008.

Artistic Bedfellows (editor), UPA/Roman & Littlefield, 2008.

“Temporary Bedfellows:Claes Oldenburg, Maurice Tuchman and Disney,”  essay in Artistic Bedfellows, 2008.

“Having  Their Cake and Eating It Too: The case of Christo’s and Jeanne-Claude’s  Im(permanence) and Exclusivity,”  essay in  Artistic Bedfellows,  2008.

“Disney and Pop Art”, Once Upon a Time Disney,  Bruno Girveau, (Editor & Curator) Grand Palais and Fine Art Museum, Montreal (two editions-one in French and one in English)  Prestel,  2007.

Attached to the Mouse, Disney and Contemporary Art   (2006) UPA/Roman & Littlefield, 2006.

 “What’s New,” catalogue essay, DIVA (Digital and Video Art Fair), Paris, 2005.

DVD and Videos: Economic Crisis, The Preview, (4.5 min) 2012, part of Economic Crisis Observatory (by Holly Crawford) installation Beacon Arts Building, Los Angeles, 2012. Critical Conversations in a Limo, The Trailer, (3 min) 2010, U. Mass, Amherst, 2011. Critical Conversations in a Limo, NYC, Melbourne & San Francisco, project created  and edited. 8 DVDs, 18 hours, 2006-2009.  Screened University of Essex, UK, 2010 Found Punctuation, 2006. Screened the Tate Modern, Breath Conference

Published Poetry:

“Emily Dashing”  and “Duchamp,”  in Last Vispo Anthology Visual Poetry, 1998-2008 edited by Crag Hill &Nico Vassilakis,  Fantagraphics,  2012.

Entropy Slices, Lokke, 2012.

Down the Rabbit Hole, with essay by Peter Frank,  Lokke, 2012 (five punctuation chapbooks combined with essay)

Buttons, Hooks & Eyes, Lokke, 2012.

“Voice Over—5th Ave Dressing,”  published in Van Gogh’s Ear, edited by Ian Ayers, French   Connection Press (Paris),  2010.

Three poems from Buttons, Hook, & Eyes published in Van Gogh’s Ear, edited by Ian Ayers, Winter 2005.

 {S}0111 from  Entropy Slices published in  Van Gogh’s Ear (number 3) (New York) and   French   Connection Press (Paris), edited by Ian Ayres, Winter, 2004.

Found Narrative Project, 2 poems, near south, edited by Garin Cycholl, no.4, Fall 2003.

. ikhnos, three concrete poems,  published in Proliferations,  no. 5, 1999. Edited by Mary Burger and Chris Vitiello.  Distributed by Small Press Distribution, Berkeley, CA.

Press: Alessandro Berni, The Magnificent 9 New York. The Week of Renzo Piano, Artribune, Newsletter, 13 maniere di guardare un Uccello nero. July 5, 20012 Christine Palma, interview, Echo in the Sense, KXLU, Jan 29, 2012 and blog review posted Feb 13, 2012 Megan Garwood,  “Do You ‘include yourself in that us or not?’” On-the Verge, Alternative Art Criticism (online journal, CUE Foundation, NYC), May 15, 2011. Rie Kasini Kadour, “Jason Hackenwerth at the Firehouse,” Art Map Burlington June 6, 2009 (review of his work had a paragraph on my installations) Jeffrey Cyphers Wright, Chelsea Now, September 19, 2009: “Dancers and Demons in the Domains of Art” Daniel Durning interview with Holly Crawford, WPS1 Radio, May 19, 2008: “Edition #24: Flatland Limo” Amanda Smith, ABC National Radio, October 14, 2007, “Artworks: Art in a Limo” James Panero, The New Criterion, April 2007: “Art, The New York Art Fairs”, October 18, 2007: “Art Movement”, 2007: “Sound Art Limo” Jacquelyn Lewis,, February 23, 2007: “Armory Wee: Sound Art to Go, in Style”, January 25, 2007: “Artnet News” Michael Dwyer, The Age, Oct 5, 2007: “Scamming the Festival” Stephanie Bunbury, The Age, October 19, 2007: “Art That’s Going Places” Fenella Kernebone, reporter and producer, ABCTV National Sunday October 21, 2007: “Sound Art Limo” Interview Holly Crawford, “art on words,”, no. 17, 2007. (Article on Critical Conversations in a Limo, New York published in Holland Cotter, New York Times, Art Review, March 10, 2006: “The World Tour Rolls into Town…” Jan Herman,, March 10, 2006: “Here’s a Stretch”, March 13, 2006: “Review: Critical Conversations in a Limo” Hayden-Guest, FT,  March 2006 Other Press for Critical Conversations in a Limo: Loretta Hall, “Mobile Talk stretched to the limo,” Herald Sun, Oct 17; Daniel Ziffer and Gabriella Coslovich, “Festival hits the right pitch,” The Age, Oct 20; Stephanie Bunbury, “Art That’s Going Places,” The Age, Oct 19; Lily Bragge, Sound and Art, 48 hours, the critical guide, Oct 20; ABC National TV, Sunday Arts Program, interview, October 21, ABC National Radio, Sunday Show with Helen Razer (interview) Oct 14; Fiona Gruber Public Radio, interview Oct 14 Papel  Color Elefante, number 4, 2005,  edited by Carles Casanova, Valencia, Spain, 2005 (installation photographs), n.p. Tara Dennard, ” Holly Crawford: Bursting New Bubbles,” NY Arts, Nov-December, 2004. (Posted at: Lucy Gallun, “Holly Crawford: Deconstruction,” NY Arts magazine, Sept/October 2004 “Culture: Art-Florence, Public Will Be Able  To ‘Blow Up Sculptures,’” Cultura E Scuola, Notiziario speciale per la Presidenza de Conisiglio, URL: Kay Turner. Beautiful Necessity. The art and meaning of women’s altars. London: Thames and Hudson, 1999. Hannes Leopoldseder and  Christine Schopf. Cyber  Arts, International Compendium Prix Ars Electronica. Vienna  and  New York: Springer,  1997. Enterprise-Record, “Here’s an art show you’ve never seen heard before,” by Michele French, Visual Arts Critic, Chico,  May 24, 1997. Enterprise-Record, ‘Something New Up Your Ears,” Geoff  Earl, Chico, CA. 1997. ZINES,, “Zines for  the ’90’s”,  review of  Offerings by Patrick Joseph on web sites, November, 1996. “News &Announcements” (Report on the Bell shelter project), UCLA School of the Arts and Architecture, Fall  1995. The Vacaville Reporter, Billboard section, “Water Proof,” article by feature writer Brian Hamlin, April 1, 1994. The Fairfield Daily Republic, “Water Art,” review by Matt Peiken, March 25, 1994. Artists on Water, Solano County Water Series, catalogue Vacaville Museum, essay by Shelley Willis, guest curator, 1994. Artweek, “Make me an offer,” News, Leigh Ann Clifton, January 20, 1994. Press-Telegram (Long Beach), “Artist tackles social, political issues,” article by Peter Frank, Special to Press-Telegram, July 11, 1993. Press-Telegram (Long Beach), “The first look at the new Century Freeway,”  article  by Rachel  D’Oro, staff  writer, April 20, 1993. Visions, Art Quarterly, “Feminine Ascension, at the Momentum Gallery,” Ventura Arts Council, review by Joan Crowder, art critic,  Spring 1993. “TREASURE: The Community College Enriching Our Lives, Focus De Anza,”  catalogue  Euphrat Art  Museum,  De Anza College,  interview by Judy Goddess on Water! Water$ Water?,  1992. Los Angeles Times, “Arts and Entertainment, Women’s Work,”  by Josef Woodward, Special to the Times, July 23, 1992. Star Free Press (Ventura), “Women’s Art,” by Lisa McKinnon staff writer, July 17, 1992. Los Angeles Times, “Art Reviews, Images of Choice,” July 9, 1992. Century Freeway Monthly Newsletter,  “Local Art Exhibition Showcases Century Freeway,” by Sheryll Zangeneh, editor, May 1992. Federal Reserve Board,  “The Art Collection of the Federal Reserve Board, Five Years of Accessions,” catalogue essay by Mary Anne Goley curator,  1992. Press-Telegram (Long Beach), “Artist’s Eye View” by Rachel D’Oro, Staff Writer, 12/27/1991. Los Angeles Times, “Calendar of Event, Best Bet” 12/22/91, article by Donnette Dunbar, Staff Writer. San Francisco Chronicle, “An Artwork is Unfurled,”D3, 10/10/1991 interview, Sam Whiting, Chronicle Staff Writer. Visions Art, Quarterly,  “Views of the Land: Vital Force and Metaphors in Southern California,” feature article  by  Judith Christensen, art critic, Summer 1991. LA Weekly, “Holly Crawford–Pick of the Week,” by Peter Frank, art critic, December 14-20, 1990. Los Angeles Times, Sunday Calendar Section, 11/11/90;  “first solo show.”  article  by Shauna Snow,  Staff Art Critic. Artscene, “Previews,” highlighted painting, by Bill Lasrow, Editor, March 1990. “Monotypes,” Conejo Valley Art Museum Newsletter, 1988. Holly Crawford: Paintings, Drawings & amp; Monotypes, catalogue with Introduction essay by Peter Frank critic and independent curator, Gwydion Gallery, 1988. “Positive Negative III,” juried by and catalogue with statement by Lisa Phillips, Associate Curator Whitney Museum, East Tennessee University, 1987. “4th Annual Exhibition,” catalogue, Southern California Women’s Caucus on Art. Juried  and essay by Melinda Wortz, Director, UC Irvine Gallery, 1984.

Other material: Multiples of  Found Punctuation, a 12 minute VHS tape of my performance, with  instructions and package for participating. Documentation from my Beyond Baroque performance, Los Angeles CA. July 27, 2002. The Dinner Party, 1996,  Sound art CD, 4 minutes. Offerings, Sound art, 30 minutes, edition of 100, 1995-96. Offerings, a documentation of US legal-social history, edition of 200, 1993. Water! Water$ Water?  text, edition of 200, 1992. Road: Century Freeway Project, a documentation text, edition of 200, 1991

Publications: Published Documentation & Artist’s Books: 

Critical Conversations in a Limo, Melbourne and San Francisco, (transcript of conversations) project & edited by Holly Crawford, AC Books, 2014 Outsourced Critics & Critical Conversations in a Limo, Holly Crawford, project by & editor, AC Books, 2013. 13 Ways of Looking at a Blackbird, 2002-2012,  Lokke, 2013  Economic Crisis Observatory,  A Service Economy: Atlantic City,  Lokke, 2013 Consumed,  (photographs), Lokke, 2013 Orphans Offered Up, Lokke, 2013 Hyphens, Five Senses,  Lokke, 2012 (photo-documents of performance/installation) Primary Connection Lost, First Scar, Lokke, 2012 (photodocumentation of performance/installation). Voices Over Art, Lokke, 2012

Readings: CBGB, New York, Van Gogh’s Ear, reading and performance, 12/11/03. Beyond Baroque, Beyond Text Festival, 2002. The Factory School, audio,, In the Sense’s  performance, 2002. KXLU, Los Angeles,   Christine Palma’s Echo In the Sense. Interview and reading (performance) of  Hollow Dog, dog days, and parts of Entropy Slices, August 18, 2001 (CD documentation, 22 minutes).


“Case Study, Hyperallergic and Media”, AICA-International November 2018

“Making of Iconic Mouse,” Icons: Past, Present and Future, University of Amsterdam, January 2018.

“Anxious Object: Enemy Alien Medals from British WW1 Internment Camps,” Art Du Puissant, Objet Multiple: Medailles et Jeton,  Colloque International, INHA, Paris, 30 Mar-1 April.

“The Artist Striped Naked, the public art of Zefrey Throwell,” Anarchist Studies Conference, Loughborough University, 3-5th September, 2012

(Im)permanence: Culture In/out of Time, Carnegie Mellon, presenter unpublished  paper–“The Case of Christo and Jean Claude…” Oct-12-15. 2004

The Cleveland Art Institute,  Symposium: “The Aethetic Object:Globalization, Commodification, and the Limits of Consumer Culture,”  November 4-6, Unpublished  paper on “Disneyfication of the Aesthetic Object,” 2 session 1 hour talk on research and dissertation, November 5, 2004

Institutional Collections Museum of Modern Art/Franklin Furnace/Artist Book Collection Board of Governors of the Federal Reserve System Gallery, Washington D.C. Warburg Pincus, Los Angeles Offices Los Angeles County Natural History Museum University of California, The Magnetic Fusion Library, Lawrence Livermore Labs, Livermore, CA The Springs Resort, Palm Springs, CA.

Member: AICA,  ArtTable