{"id":336,"date":"2011-07-25T01:31:54","date_gmt":"2011-07-25T05:31:54","guid":{"rendered":"http:\/\/melchin.org\/oeuvre\/?page_id=336"},"modified":"2024-03-20T09:49:02","modified_gmt":"2024-03-20T13:49:02","slug":"cv","status":"publish","type":"page","link":"https:\/\/melchin.org\/oeuvre\/cv\/","title":{"rendered":"CV"},"content":{"rendered":"

Mel Chin<\/strong><\/p>\n

Born in Houston, Texas, 1951<\/p>\n

EDUCATION<\/strong><\/p>\n

Peabody College, Nashville, TN, BA, 1975<\/p>\n

ACADEMIC APPOINTMENTS<\/strong><\/p>\n

Lamar Dodd Professorial Chair of Fine Arts, University of Georgia, Athens, GA (1994-97)
Consulting Professor, Stanford University, Stanford, CA (Winter 1998)
Sculpture Professor, Cooper Union, New York, NY (Fall 1999)
Paula and Edwin Sidman Fellow in The Arts, Institute for the Humanities
\u00a0 \u00a0 University of Michigan, Ann Arbor, MI (Fall 2001-Spring 2002)
Roman J. Witt Visiting Professor in the School of Art and Design
\u00a0 \u00a0 University of Michigan, Ann Arbor, MI (Fall 2002-Spring 2003)
Basler Chair of Excellence, East Tennessee State University, Johnson City, TN
\u00a0 \u00a0 (Fall 2004)
McIlroy Family Visiting Professor in the Visual Arts, Univ. of Arkansas,
\u00a0 \u00a0 Fayetteville, AR (Winter 2009)
MIT CoLab Mel King Community Fellow (2014-2016)
William Wilson Corcoran Visiting Professor of Community Engagement,
\u00a0 \u00a0 Corcoran School of Arts and Design at George Washington University
\u00a0 \u00a0 (2016-2017)
Black Mountain College Legacy Fellow, University of North Carolina,
\u00a0 \u00a0 Asheville, NC (2017-2018)<\/p>\n

AWARDS \/ GRANTS<\/strong><\/p>\n

Visual Arts Commission, Houston Festival, 1982
Founder’s Day Grant, Uranian Phlanstery: The First NY Gnostic Lyceum,
\u00a0 \u00a0 1988
National Endowment for the Arts Fellowship, 1988
Pollock\/ Krasner Foundation Fellowship, 1989
Louis Comfort Tiffany Foundation Grant, 1989
New York State Council for the Arts, Sponsored Projects Award, 1989-1990
Mid Atlantic Art Foundation, Residency: Pittsburgh Center for the Arts, 1990
Art Matters, Inc.: Artist’s Fellowship, 1990
National Endowment for the Arts: Artist’s Projects\/New Forms, 1990\/91
Englehard Award, 1991
Penny McCall Foundation Award, 1991
Cal Arts Alpert Award in the Visual Arts, 1995
Rockefeller Foundation Grant, 1996
Joan Mitchell Foundation Award, 1997
Creative Capital Grant, 2001
Nancy Graves Foundation Award, 2004
Honorary Doctorate, Rhode Island School of Design, 2006
Art Matters, 2007
Pedro Sienna Award, Best Animation, Nat. Council for Arts and Cultures,
\u00a0 \u00a0 Chile, for 9-11\/9-11, 2007
Project Row House Artist Award, 2007
Voices Breaking Boundaries, Biennial Valiente Award, 2007
Cross Currents Foundation, 2008
Nathan Cummings Foundation, Award 2008
Transforma Projects\/National Performance Network, 2006, 2007, 2008
Honorary Doctorate, Maryland Institute College of Art, 2008
Joan Mitchell Foundation, 2008
Honorary Doctorate, Green Mountain College, 2010
United States Artists, Fellow, 2010
Fritschy Prize, Sittard, Netherlands, 2010
Public Art Network Award, 2012
Alice Award, Interdisciplinary Art, 2012
A Blade of Grass Distinguished Artist Fellow, 2013-2016
Guggenheim Fellowship, 2015
Lee Krasner Award, Pollock Krasner Foundation, 2017, 2018, 2019
MacArthur Fellowship, 2019
American Academy of Arts and Letters, Elected Life Member, 2021
Honorary Doctorate, University of North Carolina, Asheville, NC, 2021
American Academy in Rome, Resident, Fall, 2023<\/p>\n

ADVISORY BOARDS<\/strong><\/p>\n

Fabric Workshop and Museum, Artist Advisory Board, Philadelphia, PA
S.O.U.R.C.E. Studio, Burnsville, NC<\/p>\n

ONE PERSON EXHIBITIONS<\/strong><\/p>\n

Robinson Galleries, Houston, TX, 1976, 1977
“Modus Operandi: 1974-1985,” Diverse Works, Houston, TX, 1985
“The Operation of the Sun Through the Cult of the Hand,” Loughelton
\u00a0 \u00a0 Gallery, NYC, 1987 *
“Selected Weapons,” Frumkin\/Adams Gallery, NYC, 1988
“Directions: Mel Chin,” Hirschhorn Museum and Sculpture Garden,
\u00a0 \u00a0 Washington, DC, 1989 *
“Viewpoints: Mel Chin,” Walker Art Center, Minneapolis, MN, traveling
\u00a0 \u00a0 exhibition, 1990 *
“Mel Chin,” Menil Collection, Houston, TX, 1991 *
“Degrees of Paradise,” Storefront for Art and Architecture, NYC, 1991 *
“Soil and Sky,” The Fabric Workshop and Swarthmore College, Philadelphia,
\u00a0 \u00a0 PA, 1992 *
“Anxious Objects,” Colorado State Univ., Fort Collins, CO, 1995
“Inescapable Histories,” Exhibits USA, traveling exhibition, 1997-1999 *
“Knowmad,” Frederieke Taylor Gallery, NYC, 2001
“Render,” Frederieke Taylor Gallery, NYC, 2003
\u201cDo Not Ask Me,\u201d Station Museum, Houston, TX, 2006 *
\u201cLamentations,\u201d Frederieke Taylor Gallery, NYC, 2007
\u201cDisputed Territories,\u201d Museum Het Domein, Sittard Netherlands, traveling
\u00a0 \u00a0 exhibition, 2010 *
\u201cMel Chin,\u201d Thomas Rehbein Galerie, Cologne, Germany, 2011
\u201cThe Funk and Wag From A to Z,\u201d traveling exhibition, Nave Museum,
\u00a0 \u00a0 Victoria, TX, 2011-2012
\u201cHigh Low and In Between,\u201d Asheville Art Museum, 2012
\u201cIt\u2019s Not What You Think,\u201d Galerie Steinek, Vienna, AUS 2012
\u201cReMatch, Retrospective Exhibition\u201d New Orleans Museum of Art, New
\u00a0 \u00a0 Orleans, LA, traveling exhibition, 2014 *
\u201cAll Over the Place,\u201d Queens Museum, New York, NY, April – August 2018
\u201cPoints of View,\u201d Five Points Museum of Contemporary Art, Victoria, TX,
\u00a0 \u00a0 2021
\u201cMel Chin, Inescapable Histories,\u201d University of Texas, Arlington, 2022
\u201cMel Chin: There\u2019s Something Happening Here,\u201d Madison Museum of
\u00a0 \u00a0 Contemporary Art, Madison, Wis, 2022<\/p>\n

PROJECTS, INSTALLATIONS AND PUBLIC COMMISSIONS<\/strong><\/p>\n

“A SUBURBAN CELL,” 3511 Main Street, Houston, TX, 1976
“THE EARTH WORKS: SEE-SAW,” Houston Arts Festival, Hermann Park,
\u00a0 \u00a0 Houston, TX, 1976
“THE MANILA PALM,” Contemporary Arts Museum, Houston, TX, 1978-
\u00a0 \u00a0 present
\u201cWATER WHEEL\/KEEPING STILL (The Great Wheel of China),”
\u00a0 \u00a0 U of H\/Clearlake, TX, 1976
“MYRRHA\/P.I.A,” Bryant Park (Public Art Fund), NYC, 1984-85;
___Max Hutchinson Sculpture Fields, Kenoza Lake, NY, 1986-2012
“ECLIPTIC FENCE,’ commissioned work, private collection, Houston, TX,
\u00a0 \u00a0 1986
“FORGETTING TIANANMEN, KENT STATE, TLATELOLCO,” performance and
\u00a0 \u00a0 production in collaboration with the Corcoran School of Art, Washington,
\u00a0 \u00a0 DC, 1989
“CONDITIONS FOR MEMORY,” installation: Central Park Arts Commission,
\u00a0 \u00a0 NYC, 1989
“GHOST,” site specific installation: Real Art Ways, Hartford, CT, 1990*
“SUPPORT: INSTALLATION AND RESPONSE TO JUNE 10, 1991,” Simon
\u00a0 \u00a0 Watson Gallery, NYC, 1991
“REVIVAL FIELD: MINNESOTA,PENNSYLVANIA” implemented: June 1991,
\u00a0 \u00a0 Harvested: October 1991, 1992, and 1993
___Site: Pig’s Eye Landfill, St. Paul, MN (a designated Hazardous Waste State
\u00a0 \u00a0 Superfund site)
___Site: Palmerton, PA (a designated Hazardous Waste Federal Superfund
\u00a0 \u00a0 site)
“REVIVAL FIELD\/NETHERLANDS: SIMULTANEOUS REPLICATED FIELD
\u00a0 \u00a0 TEST,” Initiated: Spring 1992, Sites: Floriadepark, Zoetermeer \/ rural
\u00a0 \u00a0 Netherlands
“GALLERY,” simultaneous installation: Capp Street Project, San Francisco,
\u00a0 \u00a0 CA, Three Rivers Arts Festival, Pittsburgh, PA, May, 1992*
“STATE OF HEAVEN,” collaborative international project, US, Canada,
\u00a0 \u00a0 Turkey, 1992-ongoing
“HEARTFELT\u201d Storefront for Art and Architecture, Eco Tec International,
\u00a0 \u00a0 Corsica, France, 1994
“GOUGE,” Monuments to Murder Victims, New York Times Magazine, April
\u00a0 \u00a0 9, 1995
“LANDMIND,” West Queens High School, Percent for Arts Commission,
\u00a0 \u00a0 permanent installation, NYC, 1995
“SIGNAL,” Broadway\/Lafayette Subway Station Design, Metro Transit
\u00a0 \u00a0 Authority, Commission,\u00a0NYC, permanent installation, 1995
“SCRATCH,” Thread Waxing Space, New York, NY, 1996*
“HOUSTON SESQUICENTENNIAL PARK MONUMENT,” Commission,
\u00a0 \u00a0 permanent installation, Houston, TX, 1996-1998
“ADDISON ROAD PROJECT,” Commission, national competition, team design
\u00a0 \u00a0 with Michael Van Valkenburg Associates, permanent installation,
\u00a0 \u00a0 Addison, TX, 1996-1999
“RECOLECCIONES: SAN JOSE LIBRARY PROJECT,” commission, national
\u00a0 \u00a0 competition, permanent installation, San Jose, CA, 1999-2005
“S.O.S. MOMENT,” in association with Art 21, video documentary, 2004
“UNTITLED HISTORY,” City of Corpus Christi, TX, Commission, national
\u00a0 \u00a0 competition, permanent installation, 2005
\u201c911-911,\u201d animated film, U.S.\/Chile production, 2007
\u201cSAFEHOUSE\u201d installation, St. Rock Community, New Orleans, LA 2008-2010
\u201cUNCOMMON WEALTH BY THE PEOPLE OF PHILADELPHIA,\u201d The Fabric
\u00a0 \u00a0 Workshop Museum, Philadelphia, 2010-2011
\u201cTHE CABINET OF CRAVING,\u201d Asia Society of Houston, Houston, TX 2012
\u201cTHE USE AND ABUSE OF HISTORY,” special presentation at 21 St. Projects,
\u00a0 \u00a0 New York, NY, 2013
\u201cRECAP,\u201d McColl Center for Visual Art, Charlotte, NC, 2013
\u201cBEST LAID PLANS AND UNAUTHORIZED COLLABORATIONS,\u201d Thomas
\u00a0 \u00a0 Rehbein Galerie, Cologne, Germany, 2013
\u201cMORE GREATEST HITS,\u201d Jonathan Ferrara Gallery, New Orleans, LA, 2014
\u201cGALA POOL,\u201d Red Bull Studio, New York, NY, exhibition concurrent with \u201cTOTAL PROOF: The Gala Committee 1995-97\u201d, 2016
\u201cTHE FUNDRED RESERVE,\u201d The Corcoran School of the Arts and Design,
\u00a0 \u00a0 Washington DC, 2017
\u201cTWO ME,\u201d Monument Lab, Philadelphia, PA, 2017, Toledo Museum of Art,
\u00a0 \u00a0 Toledo, OH 2019
\u201cSAN ANTONIO PORTAL,\u201d San Antonio River Foundation, TX, Spring, 2018
\u201cWAKE\u201d & \u201cUNMOORED,\u201d Times Square, New York, NY, Summer, 2018
\u201cWAKE,\u201d Asheville Public Art Program, Asheville, NC, 2021, Atlanta Beltline,
\u00a0 \u00a0 2023-2024
\u201cBETTER TOGETHER,\u201d Frieze Art Fair, New York, NY; Dallas Museum of Art,
\u00a0 \u00a0 Dallas, TX 2021<\/p>\n

SELECTED GROUP EXHIBITIONS <\/strong><\/p>\n

“Houston Area,” Blaffer Gallery, University of Houston, TX, 1977
“Fire,” Contemporary Arts Museum, Houston, TX, 1979
“Prisoners of Conscience,” traveling exhibition organized by Amnesty
\u00a0 \u00a0 International, Studio One, Houston, TX, 1982*
“Showdown\/Lowdown: Art of the Southwest,” Alternative Museum, NYC,
\u00a0 \u00a0 1983
“Seen\/Unseen,” Diverse Works, Houston, TX, 1983
“Benefit for Amnesty International, USA,” Diverse Works, Houston, TX,
\u00a0 \u00a0 1983*
“The Texas Landscape 1900 -1986,” Museum of Fine Arts, Houston, TX, 1986*
“The Double Bind,” Loughelton Gallery, NYC, 1987
“Notes on the Virtual,” Loughelton Gallery, NYC, 1987
“Spectrum: New Developments in Three Dimensions,” Frumkin\/Adams
\u00a0 \u00a0 Gallery, NYC, 1988
“Texas Art: Selections from the Menil Collection, the Museum of Fine Arts
\u00a0 \u00a0 and the Trustees’ Collections of the Contemporary Arts Museum,\u201d Menil
\u00a0 \u00a0 Collection, Houston, TX, 1988*
“Public Art in Chinatown,” Asian American Arts Center, NYC, 1988
“Sculpture: Part II,” Frumkin\/Adams Gallery, NYC, 1989
“Tradition and Innovation: A Museum Celebration of Texas Art,” Museum of
\u00a0 \u00a0 Fine Arts, Houston, TX,1990
“This Land: The State of Texas,” Lawndale Art and Performance Center,
\u00a0 \u00a0 Houston, TX, 1990
“The Conceptual Impulse,” Security Pacific Gallery, Costa Mesa, CA, 1990 *
“Garbage Out Front: A New Era of Public Design,” The Municipal Art Society,
\u00a0 \u00a0 NYC, 1990
“Diverse Representations,” Morris Museum, Morristown, New Jersey, 1990*
“Glass: Material in the Service of Meaning,” Tacoma Art Museum, Tacoma,
\u00a0 \u00a0 WA, 1991*
“Salvage Utopia,” A\/C Project Room, NYC, 1991
“Beyond Glory: Re-Presenting Terrorism,” Maryland Institute College of Art,
\u00a0 \u00a0 Baltimore, MD, 1992*
“The Retangled Bank,” E. M. Donahue Gallery, NYC, 1992
“Allocations: Art for a Natural and Artificial Environment,” Floriadepark,
\u00a0 \u00a0 Zoetermeer, Netherlands, 1992
“Putt Modernism,” traveling exhibition, Artists Space, NYC, 1992
“Fragile Ecologies,” traveling exhibition, Smithsonian Museum, originating
\u00a0 \u00a0 The Queens Museum of Art, NYC, 1992*
“From Destruction to Reclamation: Art and the Environment in the
\u00a0 \u00a0 Nineties,” Southeastern Center for Contemporary Art, Winston-Salem, NC,
\u00a0 \u00a0 1993*
“Exposition Differentes Natures,” traveling exhibition, La Defense, Paris,
\u00a0 \u00a0 France, 1993*
“Kunst-Kultur-Okologie,” Bea Voigt Gallery, Munich, Germany, 1993
“Markets of Resistance,” White Columns, NYC, 1993*
“New York Artists,” Prague, Czech Republic, February, 1994
“Out of This World,” Contemporary Arts Museum, Houston, TX, 1994
“The Lure of the Local,” University of Colorado at Boulder, 1994
“The Garbage Show,” Real Art Ways, Hartford, CT, 1994
“Public Interventions,” ICA, Boston, MA, 1994
“Landscape As Metaphor,” Denver Art Museum, Denver, CO, traveling
\u00a0 \u00a0 exhibition, 1994*
“Equal Rights and Justice,” High Museum, Atlanta, GA, 1994*
“Fifth Biennial of Havana,” National Museum of Fine Arts, Centro Wifredo
\u00a0 \u00a0 Lam, Havana, Cuba: 1994*
“Old Glory: The American Flag in Contemporary Art,” Cleveland Center for
\u00a0 \u00a0 Contemporary Art, OH, 1994*
\u201cBlack Male: Representations of Masculinity in Contemporary American
\u00a0 \u00a0 Art” Whitney Museum of American Art, NYC, 1994*
Armand Hammer Collection, Los Angeles, CA
“Murder,” Bergamot Station Art Center, Santa Monica, CA, 1995*
Thread Waxing Space, NYC
Centre Gallery, FL
“Magic Objects,” Munich, Germany, 1995*
“Texas Myths and Realities,” Museum of Fine Arts, Houston, TX, 1995
“Thinking Print,” Museum of Modern Art, NYC, 1996
“Is It Art? Katonah Museum of Art, Katonah, NY, traveling exhibition, 1996*
“Art at the End of the 20th Century,” Whitney Museum, NYC, 1996*
National Gallery and Alexandros Soutzos Museum, Athens, Greece*
Museu d’Art Contemporani de Barcelona, Spain
Kuntsmuseum Bonn, Germany
In the Name of the Place,\u00a0<\/em>“Uncommon Sense,” Museum Of Contemporary
\u00a0 \u00a0 Art, Los Angeles, CA, 1997*
Kwangju Biennale, Kwangju, Korea* Grand Arts, Kansas City, MO*
Lawing Gallery, Houston, TX
“In Print: Contemporary Artists at the Vinal Haven Press,” 1996*
Portland Museum of Art, Portland, ME, 1997
Boston College, Boston, MA, 1997
“Embedded Metaphor,” Ringling Museum of Art, 1996*
Western Washington University
Bowdin College Museum of Art
Contemporary Art Center of Virginia
Wesleyan University
“Natural Reality, Artistic Positions Between Nature and Culture,” Ludwig
\u00a0 \u00a0 Forum for International Art, Aachen, Germany, 1999*
“World Views,” Weisman Art Museum, University of Minnesota,
\u00a0 \u00a0 Minneapolis, MN, 1999*
“Botanica, Contemporary Art and the World of Plants,” Tweed Museum of
\u00a0 \u00a0 Art, University of Minnesota, Duluth, MN, July 20 -October 12, 1999,
\u00a0 \u00a0 traveling exhibition, 1999-2000*
“Money-Making: The Fine Art of Currency,” The Federal Reserve,
\u00a0 \u00a0 Washington, DC, traveling exhibition, 2000*
“Texas,” Museum of Fine Arts, Houston, TX, 2000*
Lyon Biennial, Lyon, France, 2001*
“Tele(Visions),” Kunsthalle, Vienna, Austria 2001*
“One Planet Under A Groove,” Bronx Museum of the Arts, Bronx, NY,
\u00a0 \u00a0 traveling, 2002*
“A New World Trade Center: Design Proposals,” Max Protetch Gallery, NYC,
\u00a0 \u00a0 traveling, 2002
“Selections from the Collection of Wilhelm Schurmann,” Stadehaus
\u00a0 \u00a0 Museum, Dusseldorf, Germany 2002*
“The Culture of Violence,” Amherst College Museum, Amherst, MA,
\u00a0 \u00a0 traveling, 2002*
“Ecoventions,” Cincinnati Art Center, OH, 2002
Max Protetch Gallery, NYC, 2002
“Signatures of the Invisible,” PS1, NYC, 2003
“Freedom Salon,” Deitch Projects, NYC, 2004
“Road In Sight,” Duke University, Durham, NC, 2005
“Down the Garden Path: The Artist’s Garden After Modernism,” Queens
\u00a0 \u00a0 Museum, NYC, 2005*
\u201cWunderkammer: A Century of Curiosities<\/em>,\u201d Museum of Modern Art, NYC,
\u00a0 \u00a0 2008
\u201cClose Encounters: Facing The Future,\u201d American University Museum,
\u00a0 \u00a0 Washington, DC, 2008
\u201cNo Zoning,\u201d Contemporary Art Museum, Houston, TX 2009*
\u201cForbidden Love: Art in the wake of Television Camp\u201d, Kolnischer
\u00a0 \u00a0 Kunstverein, 2010*
\u201cLiving As Form,\u201d Creative Time, NYC, 2011*
\u201c<\/em>ARTIFACTUAL realities,\u201d Station Museum of Contemporary Art, Houston,
\u00a0 \u00a0 TX, 2012*
\u201cThis Side of Paradise,\u201d presented by No Longer Empty at the Andrew
\u00a0 \u00a0 Freedman Home, Bronx, NY, 2012
\u201cNo Man May Carry a Fish into a Bar,\u201d Blum and Poe Gallery, Los Angeles,
\u00a0 \u00a0 CA, 2012
\u201cHow Much do I Owe You?,\u201d No Longer Empty, Long Island City, NY, 2012
“no emotion: Drawings by William Anastasi, Mel Chin and Jochem
\u00a0 \u00a0 Hendricks,” Thomas Rehbein Galerie: Bruxelles, Belgium, 2013
“Carbon 14: Climate is Culture Exhibition,” Royal Ontario Museum, Institute
\u00a0 \u00a0 for Contemporary Culture, Toronto, Canada, 2014
\u201cExperiments With Truth: Gandhi and Images of Non-Violence,\u201d The Menil
\u00a0 \u00a0 Collection, Houston, TX, 2014-2015 *catalogue
\u201cConnecting the World: The Panama Canal at 100,\u201d Mint Museum, Charlotte
\u00a0 \u00a0 NC, 2014*
\u201cGuns in the Hands of Artists,\u201d Jonathan Ferrara Gallery, traveling
\u00a0 \u00a0 exhibition, 2014
\u201cUnloaded,\u201d Space, Pittsburgh, PA, traveling exhibition, 2015
\u201cTELE:Gen,\u201d Kunst Museum Bonn, February \u2013 May 2016, Kunstmuseum,
\u00a0 \u00a0 Liechtenstein, October 2015 \u2013 January 2016
\u201cThe Value of Food,\u201d Cathedral of St. John the Divine, New York, NY 2015-
\u00a0 \u00a0 2016*
\u201cTOTAL PROOF: The Gala Committee 1995-97\u201d Red Bull Studio, New York,
\u00a0 \u00a0 2016
\u201cIn(di)visible, Station Museum, Houston, TX, 2018
\u201cOccupy Colby\u201d Colby College Museum of Art, Waterville, Maine 2019-2020
\u201cProof of Stake,\u201d Kunstverein, Hamburg, GR 2021
\u201cArt at a Time Like This,\u201d Ministry of Truth 1984\/2020, New York, NY, 2020
\u201cToward Common Cause,\u201d Smart Museum, Univ. of Chicago, Sweetwater
\u00a0 \u00a0 Foundation, Chicago, Il, 2021*
\u201cThe Slipstream: Reflection, Resilience, and Resistance in the Art of Our
\u00a0 \u00a0 Time,\u201d Brooklyn Museum, New York, NY 2021-2022
\u201cNew Members Exhibition,\u201d American Academy of Arts and Letters, 2022
\u201cSpirit in the Land,\u201d Nasher Museum, Duke University, Durham, NC
\u00a0 \u00a0 traveling exhibition, 2023-2024*
\u201cSix Scenes from Our Future,\u201d Contemporary Art Museum, Houston, TX,
\u00a0 \u00a0 2023-2024
\u201cLonging, Grief, and Spirituality: Art Since 1980,\u201d Menil Collection, Houston,
\u00a0 \u00a0 TX 2023-2024<\/p>\n

*catalogue<\/p>\n

PUBLIC COLLECTIONS<\/strong><\/p>\n

Art Car Museum, Houston, TX
Birmingham Museum, Birmingham, AL
Bowdoin College, Brunswick, ME
City of Corpus Christi, TX
City of Houston, TX
Columbus Museum of Art, Columbus, OH
El Paso Museum of Art, El Paso, TX
The Federal Reserve, Washington, DC
High Museum of Art, Atlanta, GA
The Menil Collection, Houston, TX
Museum of Fine Art (MFAH), Houston, TX
Museum of Modern Art, New York, NY
New York Public Library, New York, NY
Walker Art Center Minneapolis, MN
Harold Washington Library, Chicago, IL
The Weatherspoon Gallery, University of North Carolina at Greensboro, NC
Whitney Museum of American Art, New York, NY<\/p>\n

SELECTED BIBLIOGRAPHY <\/strong><\/p>\n

Adams, Amy. \u201cLet a Thousand Flowers Bloom . . . \u201d New Scientist<\/em>, (December
\u00a0 \u00a0 1997): 2626.
Adams, Alice. \u201cGardens, Art Space, Downtown\/Neartown.\u201d Houston
\u00a0 \u00a0 Chronicle<\/em>, July 16, 1997: 1.
Adams, Debra. \u201cFaith Congregational: black church\u2019s roots date back to
\u00a0 \u00a0 1819.\u201d Hartford<\/em>Current<\/em>, February 3, 1991.
Akhtar, Suzanne. \u201cHouston Artist brings world view to Irving Arts Center.\u201d
\u00a0 \u00a0 Star-Telegram<\/em>, July 27, 1997.
Alan, John. Urban Mythologies: The Bronx Represented Since the 1960s<\/em>, exh.
\u00a0 \u00a0 cat. Distributed Art Publishers, 1999.
Art: 21: Art in the Twenty-First Century.<\/em> Produced by Art:21, Inc., New York:
\u00a0 \u00a0 PBS, 2001.
Barbier, Laurence. Biennale de Lyon Art Contemporarin<\/em>. Montreal: Musee
\u00a0 \u00a0 d\u2019Art Contemporain, 2001.
Barbiero, Daniel. “Mel Chin.” Sculpture,<\/em> (May\/June 1989): 92.
Borasi, Giovanna and Mirko Zardini, ed. Imperfect Health: The
\u00a0 \u00a0 Medicalization of Architecture<\/em>, exh. cat. \u00a0Quebec, Canada: Canadian Centre
\u00a0 \u00a0 for Architecture, pg. 178-179, 2012.
Bauer, Ute Meta and Fareed Armaly. \u201cMel Chin Conversando con Ute Meta
\u00a0 \u00a0 Bauer y Fareed Armaly.\u201d Trans> arts.culture.media <\/em># 8, (2000): 174-182.
Beardsley, John. \u201cMel Chin.\u201d in Visions of America: Landscape As Metaphor
\u00a0 \u00a0 in the Late Twentieth <\/em>Century<\/em>, exh. cat. Denver, Colorado: Denver Art
\u00a0 \u00a0 Museum and Columbus Art Museum, 1994.
Bernstein, Emily. \u201c\u2018Magic\u2019 Plants That Clean Up Soils.\u201d San Francisco
\u00a0 \u00a0 Chronicle<\/em>, September 20, 1992.
Bijvoet, Marga. \u201cNatural Reality: Art Between Science and Nature.\u201d in
\u00a0 \u00a0 Artistic Positions between <\/em>Nature and Culture<\/em>. Aachen: Ludwig Forum for
\u00a0 \u00a0 International Art, 1999.
Bjelajac, David. American Art: A Cultural History<\/em>. New Jersey: Prentice Hall,
\u00a0 \u00a0 Inc., 2005.
Bloodworth, Sandra and William S. Ayres. Along the Way: MTA Arts for
\u00a0 \u00a0 Transit<\/em>. New York: Monacelli Press, 2006.
Bookhardt, D. Eric. \u201cFrom Field Testing to Even Exchange: Mel Chin
\u00a0 \u00a0 Discusses Operation Paydirt and Safehouse.\u201d Art Papers,<\/em>
\u00a0 \u00a0 January\/February 2009.
Boswell, Peter. Viewpoints: Mel Chin<\/em>, exh. cat. Minneapolis, MN: Walker Art
\u00a0 \u00a0 Center, 1990.
_____. Sculpture at the Point<\/em>, exh. cat. Pittsburgh, PA: Carnegie Museum of
\u00a0 \u00a0 Art, 1992.
Brand, Peter and Catelijne De Muynck, Jouke Kleerebezem, eds. Allocations:
\u00a0 \u00a0 Art For a <\/em>Natural and Artificial Environment<\/em>. Zoetermeer: Floriade
\u00a0 \u00a0 Foundation, 1992.
Carr, C. “The Endangered Artists List.” Village Voice <\/em>Vol.XXXV, no.34, (August
\u00a0 \u00a0 21,1990): 84.
Cembalest, Robin. \u201cLettuce in the Landfill.\u201d ARTnews<\/em> (November, 1991): 43.
Chin, Mel, Lucy R. Lippard and Benito Huerta. Inescapable Histories: Mel
\u00a0 \u00a0 Chin<\/em>, exh. cat. Exhibit USA, 1996.
______. \u201cMrs. D and Me.\u201d In Art and Activism: Projects of John and Dominique
\u00a0 \u00a0 de Menil<\/em>, edited by Josef Helfstein and Laureen Schipsi, 270-271. Houston:
\u00a0 \u00a0 The Menil Collection, 2010.
Chin, Mel. \u201cDas Revival Field Project.\u201d Translated by Klaus Binder in ERDE,
\u00a0 \u00a0 Kunst und Ausstellungshall<\/em>der Bundesrepublik Deutschland<\/em>.\u00a0
\u00a0 \u00a0 Schriftenreihe, Forum: Band 11, 2002.
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______. “A drawing–while digressing from meditations on power and art–a
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\u00a0 \u00a0 Pasternak and Lucy Lippard, 118-119. Princeton: Architectural Press,
\u00a0 \u00a0 2007.
_____. \u201cMel Chin: Operation Paydirt.\u201d Public Art Review<\/em> 20, no. 2
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\u00a0 \u00a0 1992): 2-3.
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\u00a0 \u00a0 Contemporary Art, 2011.
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\u00a0 \u00a0 1991): 38-45.
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\u00a0 \u00a0 1990): 1515.
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\u00a0 \u00a0 Times<\/em>, November 27, 1990.
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\u00a0 \u00a0 Pragmatism.\u201d Art<\/em>Voices<\/em>, 21 (2009): 30-32.
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\u00a0 \u00a0 Art Works.”
The Houston Chronicle<\/em>, March 26, 1982.
_____. “Houston artist hits N.Y. mark.” The Houston Chronicle<\/em>, January 23,
\u00a0 \u00a0 1985: 4.
_____. “Mel Chin: Poetic, Pragmatic With a Rare Sensitivity.” The Houston
\u00a0 \u00a0 Chronicle<\/em>, September 22, 1985: 19.
_____. “Artist tackles the universe, assisted by alchemy.\u201d The Houston
\u00a0 \u00a0 Chronicle<\/em>, November 30, 1987.
_____. “Works More Complex Than Appearance Suggests.” The Houston
\u00a0 \u00a0 Chronicle<\/em>, September 18, 1988.
_____. “True to Form: Houston-Born Mel Chin Addresses Power & Politics in
\u00a0 \u00a0 Three New Sculptures.” The Houston Chronicle<\/em>, April 16, 1989.
_____. “Taking The Plunge\/ 4 ex-Houston Artists Talk About Risks, Rewards of
\u00a0 \u00a0 Moving to the Big Apple.”The Houston Chronicle<\/em>, April 23, 1989.
_____. “Inquiring Mind: Survey of Work Reveals Mel Chin’s View of the
\u00a0 \u00a0 World.” The Houston<\/em> Chronicle<\/em>, April 28, 1991.
_____.\u201cChin\u2019s art test soil decontaminates.\u201d The Houston Chronicle<\/em>, August 14,
\u00a0 \u00a0 1991.
_____. “Artist Visits Project with BBC in Tow.” The Houston Chronicle<\/em>,
\u00a0 \u00a0 December 7, 1997.
_____. \u201cArt Reflects Politics at Station.\u201d The Houston Chronicle<\/em>, October 30,
\u00a0 \u00a0 2004: Star 3.
_____. \u201cPBS Show Spotlights Downtown\u2019s Finest.\u201d The Houston Chronicle<\/em>,
\u00a0 \u00a0 April 23, 2006: Zest 5.
_____. \u201cThe Aviator in the Poem . . .\u201d The Houston Chronicle<\/em>, January 29,
\u00a0 \u00a0 2006: Zest 12.
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\u00a0 \u00a0 August 2, 2003.
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\u00a0 \u00a0 Chin’s Revival Field.” Art <\/em>Criticism<\/em> 10, no. 2 (1995): 82-93.
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\u00a0 \u00a0 (2007).
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\u00a0 \u00a0 1990.
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\u00a0 \u00a0 Contemporary <\/em>Artists\u2019 Interpretations and Solutions<\/em>. New York: Rizzoli,
\u00a0 \u00a0 1992.
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\u00a0 \u00a0 Post<\/em>, November 22, 1990.
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\u00a0 \u00a0 Artforum <\/em>(March\u00a01988).
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\u00a0 \u00a0 Sky. <\/em>Philadelphia: The Fabric Workshop, 1993.
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\u00a0 \u00a0 The Morning Call<\/em>, May 20, 1993.
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\u00a0 \u00a0 Show.\u201d Athens<\/em>Banner-Herald,<\/em> March 10, 1997.
_____. \u201cTelevision a Gallery for Athens Artist and University Students.\u201d
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\u00a0 \u00a0 Architects <\/em>Worldwide.<\/em> New York: Regan Books, 2002.
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\u00a0 \u00a0 Picayune<\/em>, November 1, 2008: 11.
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\u00a0 \u00a0 Sculpture Garden, 1989.
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\u00a0 \u00a0 Denver Post<\/em>, May 8, 1994.
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\u00a0 \u00a0 (Fall\/Winter 1994): 30.
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\u00a0 \u00a0 2009): 24-25.
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\u00a0 \u00a0 Hand, <\/em>exh. cat.,<\/em>New York: Loughelton Gallery, 1987.
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\u00a0 \u00a0 Sculpture<\/em>, (Sept.\/Oct.1991): 40.
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\u00a0 \u00a0 December 7, 1990.
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\u00a0 \u00a0 Worldviews.\u201d World Views: Maps and Art<\/em>. Minneapolis, MN: Weisman Art
\u00a0 \u00a0 Gallery, 1999.
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\u00a0 \u00a0 2000) illus.
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\u00a0 \u00a0 Inc: New York, 2001.
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_____. \u201cThe See through woman of Bryant Park.” The New York Times<\/em>,
\u00a0 \u00a0 August 14, 1984.
_____. \u201cSculpture in the Park.\u201d The New York Times<\/em>, January 17, 1985.
_____. \u201cSculptor\/human rights activist Mel Chin to discuss work.\u201d Stanford
\u00a0 \u00a0 Report<\/em>, January 21, 1988.
_____. \u201cAbove and Beyond,\u201d The New Yorker,<\/em> November 6, 1989.
_____.\u201cFrohnmayer Sparks New Flap by Rejecting Grant.\u201d Los Angeles Times<\/em>,
\u00a0 \u00a0 November 24, 1990.
_____. \u201cNEA rejects grant to Houston artist.\u201d Houston Chronicle<\/em>, November
\u00a0 \u00a0 27, 1990.
_____. \u201cNEA Chairman Rejects New Grant.\u201d Art in America <\/em>(January 1991):
\u00a0 \u00a0 35.
_____. \u201cChin\u2019s \u2018Ghost\u2019 still standing\u201d The Hartford Courant<\/em>, March 29, 1991.
_____. \u201c Artist Recreates Nation\u2019s Third-Oldest Free Black Church on Original
\u00a0 \u00a0 Site in Hartford.” Say you Saw It in the Northend Agents Newspaper<\/em>,
\u00a0 \u00a0 Friday February 1, 1991.
_____. “Historic Church.\u201d The New York Times<\/em>, Sunday February 10, 1991.
_____. \u201cChin exhibits five years of creativity.\u201d Houston Chronicle<\/em>, April 28,
\u00a0 \u00a0 1991.
_____.\u201cRibbon Protest.\u201d New York Post,<\/em> June 11, 1991.
_____.\u201cMenil\u2019s \u2018Mel Chin\u2019 draws to a close.\u201d Houston Chronicle<\/em>, August 23,
\u00a0 \u00a0 1991.
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\u00a0 \u00a0 147.
_____.\u201cLandscape as Metaphor: Visions of America at the End of the
\u00a0 \u00a0 Century.\u201d Art in America, <\/em>(August 1995): 33.
_____. \u201cMel Chin, Frederieke Taylor.\u201d New York Times<\/em>, December 15, 2000.
_____. \u201cRecolecciones.\u201d Public Art Review <\/em>15, no.1 (Fall\/Winter 2003).
_____. \u201cNew and Notable.\u201d Houston Chronicle<\/em>, November 10, 2007.
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\u00a0 \u00a0 1993): 33.
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\u00a0 \u00a0 (September 2011): 360.
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\u00a0 \u00a0 Pursuit of a Sustainable Planet<\/em>. University of California Press, 2012: 135-
\u00a0 \u00a0 140.
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\u00a0 \u00a0 13-14.
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\u00a0 \u00a0 Los Angeles: MOCA, 1997.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Mel Chin Born in Houston, Texas, 1951 EDUCATION Peabody College, Nashville, TN, BA, 1975 ACADEMIC APPOINTMENTS Lamar Dodd Professorial Chair of Fine Arts, University of Georgia, Athens, GA (1994-97)Consulting Professor, Stanford University, Stanford, CA (Winter 1998)Sculpture Professor, Cooper Union, New York, NY (Fall 1999)Paula and Edwin Sidman Fellow in The Arts, Institute for the Humanities\u00a0 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-336","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/pages\/336","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/comments?post=336"}],"version-history":[{"count":89,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/pages\/336\/revisions"}],"predecessor-version":[{"id":7684,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/pages\/336\/revisions\/7684"}],"wp:attachment":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/media?parent=336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}