New York-based artist Liz Phillips has been making interactive multi-media installations for the past 50 years. She creates responsive environments sensing wind, plants, fish, audience, dance, water, and food. Audio and visual art forms combine with new technologies to create elastic time-space constructs. Sound is often the primary descriptive material.
Phillips has exhibited interactive multimedia installations at art museums, alternative spaces, festivals, and public spaces. These include; The Academy of Natural Sciences, The Milwaukee Art Museum, Queens Museum of Art, The Jewish Museum, The Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Spoleto Festival USA, the Walker Art Museum, Ars Electronica, Jacob’s Pillow, The Kitchen, Rene Block gallery and Frederieke Taylor gallery. Phillips has also collaborated with the Merce Cunningham Dance Company, Nam June Paik, Heidi Howard, Earl Howard, Simone Forti and Robert Kovich. Her work was presented by Creative Time, the Cleveland Orchestra, IBM Japan, and the World Financial Center. Public spaces as diverse as an alternative energy site in a wind turbine (1981) in the South Bronx, the anchorage under the Brooklyn Bridge, Peavy Plaza in Minneapolis and Art Park in Lewiston NY have been the locations of site-specific installations. “Waves Crossing” was commissioned and presented on Governors Island by Harvestworks and New York State Council on the Arts. “Relative fields in a Garden,” her largest sound installation, was commissioned for the center atrium at the Queens Museum. This twenty-two channel sound installation and mural were a collaboration with her daughter, Heidi Howard. It was installed in the museum for a year and a half. In 2022 Annea Lockwood and Liz Phillips were commissioned to create two installations in Philadelphia, “The River Feeds Back” and ‘Inside the Watershed” by The Academy of Natural Sciences. “Dyning in the Dovecote,” a new sound installation commissioned by Caramoor Center for Music and the Arts, will be open from May 1st – November 1st of 2023.
Phillips received a B.A from Bennington College in 1973. In 1981. she co-founded Parabola Arts Foundation, a not-for-profit organization created by five media artists from varied disciplines (music, sculpture, film, video). Phillips received a Guggenheim Fellowship and numerous Individual and collaborative commissions from New York State Council on the Arts and National Endowment for the Arts as a composer, video artist, audio artist and multi-media artist. She teaches workshops and lectures on Sound and Interactive Media (sculpture department) at Purchase College and at Columbia University in the MFA Sound Program. She has also curated several exhibitions of emerging artists and women making installations with sound.
Lives and works in Queens, New York.
1969-73 Bennington College, Bennington, Vermont, BA (Interdivisional:
Music and Art) 1973 Assistantship to Nam June Paik for A Tribute to John
1971 California Institute of the Arts, 3-month Arts Residency, invited and
advised by Allan Kaprow and Nam June Paik
1971 Riverside Research Institute, Artist in Residence
1970 The Rose Art Museum, Curatorial Assistantship to Russell Connor for
Vision and Television, Brandeis University
1970 MIT Center for Advanced Visual Studies, Artist Assistantship:
Gyorgy Kepes, Tsai Wen Ying, Ted Kraynick
2012 “Biyuu” and “Plant Fields” UMF Gallery, Farmington, ME.
2012 “Biyuu” with performer, Mariko Endo Reynolds, Roulette, Brooklyn, NY.
2010 “Here/Hear: Manhattan is an Island” “Ear to the Earth Festival” White Box, New York, NY.
2008 “Installations by Liz Phillips” The Richard L. Nelson Gallery, UC Davis, CA.
2007 “Gingko Afterglow” Safe T Gallery, Brooklyn, NY.
2004 “New Sound Works” Frederieke Taylor gallery, New York, NY.
2002 “Re-Sound/Sound Screen” Frieda and Roy Furman Gallery at the Walter Reade Theater, Lincoln Center, New York, NY.
2001 “Shaded Bandwidths” (collaboration with Anney Bonney) The Walter Reade Theater, Lincoln Center, New York, NY.
1999 “Echo-Evolution” The Kitchen, New York, NY.
1993 “Locating Web” Myers Fine Arts Gallery, SUNY Plattsburgh Art Museum, Plattsburg, NY.
1993 “Graphite Ground” Contemporary Art Center, Houston, TX.
1992 “Mersonic Illuminations” The World Financial Center, New York, NY.
1989 “Graphite Ground” Madison Arts Center, Houston, TX.
1988 “Fluid Sound” Kala Art Institute, Berkeley, CA.
1988 “Graphite Ground” The Whitney Museum, New York, NY.
1987 “Graphite Ground” Capp Street Project, SF, CA.
1985 “Cymbal” San Diego State University, San Diego, CA.
1985 “Sound Syzygy” Jacob’s Pillow, Lee, MA.
1984 “Zephyr” Walker Arts Center, Minneapolis, MN.
1984 “Zephyr” The Coffman Gallery, University of Minnesota, Minneapolis, MN.
1983 “Sunspots” Wadsworth Atheneum, Hartford, CT.
1982 “Sound Syzygy” Walker Art Center,
1981 “TV Dinners” collaboration with Steve Lawrence, PS1 Institute for Art and Urban Resources, Queens, NY.
1981 “Windspun” (in wind turbine in the South Bronx) Creative Time, Bronx, NY.
1981 “Sunspots” Tangeman Fine Arts Gallery, University of Cincinnati, OH.
1981 “Sunspots” Tyler School of Art, PA.
1978 “Metrosonic Province” Stedelijk Museum, Amsterdam, The Netherlands..
1978 “Metrosonic Province” Rene Block Gallery, Berlin, Germany.
1978 “Metrosonic Province” Haags Gemeentemuseum, Den Haag, The Netherlands.
1977 “City Flow: a work in sound” The City University Graduate Center Mall, New York, NY.
1975 “Broken/Unbroken Terracotta” Wadsworth Atheneum, Hartford, CT.
1975 “Broken/Unbroken Terracotta” The Kitchen, New York, NY.
1974 “Sound Structures” Artist’s Space, New York, NY.
1972 “TV Dinner” (collaboration with Steve Lawrence) The Kitchen, New York, NY.
1971 “Responsive Spaces” Reese Palley Gallery, San Francisco, CA.
2022 “The River Feeds Back,”, collaboration with Annea Lockwood, Academy of Natural Sciences, Philadelphia, PA.
2022 “Inside the Watershed,” collaboration with Annea Lockwood, New Paradise Laboratories, (Arbor on Schuylkill River) Philadelphia, PA.
2022 “Sea Gestures:Sound Swim,” Ilya Friedman Gallery, collaboration with Heidi Howard Curator: Phill Niblock, Experimental Intermedia.
2021 “A Question of Revival,” Frequencies of Tradition in collaboration with Alexander Keefe, Incheon Art Platform, Korea.
2020 “A Question of Revival,” Guangdong Times Museum, China. Curators: Mijoo Park and Hyunjin Kim.
2019 “Relative Fields in the Garden” with Heidi Howard, Queens International, Queens Museum, Queens, NY. Curators: Baseera Khan and Sophia Marisa Lucas.
2017 “Wave Crossings,” Harvestworks, Governors Island, NY.
2012 “A-MAZE-ING Water,” “Spectral Reservoir,” NY Aquarium, Brooklyn, NY.
2011 “The Ocean Reglitterized,” “Spectral Reservoir,” Pelham Art Center, Pelham, NY. Curator: Titia Hulst.
2011 “Ear to the Ear Festival 2010,” “Here, Hear: Manhattan is an Island”, White Box, New York, NY. Curator: Joel Chadabe, EMF
2010 “Beyond/In Western NY,” Albright-Knox Gallery, Buffalo, NY. Curator: Sandra Firman
2009 “Act/React,” Milwaukee Art Museum, Milwaukee, WI. Curator: George Fifield
2008 “Sensory Overload,” Milwaukee Art Museum, Milwaukee, WI. Curator: Joseph Ketner II
2005 “Echo-Location: Queens,” “CS/EP Intermedia Festival” UCSD, San Diego, CA.
2004 “Echo-Location: Queens,” “Queens International,” Queens Museum of Art, Queens, NY. Curator: Hitomi Iwasaki
2003 “10th Anniversary,” Frederieke Taylor gallery, New York, NY.
2002 “Re-Sound /Sound Screen,” Lincoln Center Festival 2002, New York, NY. Curator: Nigel Redden
2002 “Re-Sound /Sound Screen,” The New York Video Festival, New York, NY. Curator: Marian Masone
2002 “Magic of Light,” Hudson River Museum, Yonkers, NY.
2002 “Light x 8,” Jewish Museum, New York, NY.
2001 “Massless Medium,” Creative Time’s Anchorage Show (with Anney Bonney,) Brooklyn, NY.
2001 “Dangerous Waves,” Boston Museum School, Anderson Gallery (with Anney Bonney), Boston, MA.
1998 “Luistervissen”, Ijsbreker, Amsterdam. Curator: Paul Panhuysen
1996 “Natural Spectacles”; David Winton Bell Gallery, Brown University, Providence, RI, Curator: Debra Balken
1992 “The Interactive Show,” selected by Harvestworks, Threadwaxing Space, New York, NY.
1992 “Ten From Queens,” Selected By Queens Museum Of Art, Painewebber Gallery, New York, NY. Curator: Louis Grauchos
1991 “Ars Electronica ’91,” Linz, Austria.
1990 “Pulse 2,”University Art Museum, Santa Barbara, CA. Curator: Phyllis Plous
1988 “Ars Electronica ’88,” Brucknerhaus, Linz, Austria.
1988 “New Urban Landscape,” The World Financial Center, New York, NY. Curator: Anita Contini
1987 The Spoleto Festival USA, Gibbes Museum, Charleston, NC. Curator: Nigel Redden
1986 “Engaging Objects:The Art of Participatory Clocks, Mechanisms and Mirrors,” The Clocktower, The Institute for Art and Urban Resources, New York, NY. Curator: Tom Finkelpearl.
1985 “The 1985 Biennial Exhibition,” “Whitney Windspun,” Whitney Museum of American Art, New York, NY. Curator: John Hanhardt.
1984 “Sunspots”, “Think Pocket”, IBM Japan Tokyo, Japan. Curator: Itsuo Sakane.
1985 “Sonar Eclipse,” with the Merce Cunningham Dance Company, Park Avenue Armory, New York, NY. Curator: John Cage.
1982 “Soundings” Neuberger Museum, Purchase College, Purchase, NY. Curator: Suzanne Delehanty.
1981 “New Music America ’81,” San Francisco Museum of Modern Art, San Francisco, CA.
1980 “Fur Augen und Ohren,” Academie der Kunst, Berlin, Germany. Curators: Dieter Krickeberg, Siegfried Wendel, Wolf D. Kuhnelt, Juan Allende-Blin, Billy Kluver, Rene Block.
1980 “New Music America ’80,” Peavy Plaza, Minneapolis, MN. Curator: Nigel Redden.
1980 “Beyond Object,” Aspen Center for the Visual Arts, Aspen, CO. Curator: Philip Yenawine.
1973 ”Sumtime,” with Alison Knowles and Yoshimasa Wada, Everson Museum of Art, Syracuse, NY. Curator: James Harithas.
1973 “John Cage and Friends,” Harvard University, Cambridge, MA. Curator: Nam June Paik, Ivan Tcherepnin.
1971 “Eighth Annual New York Avant-Garde Festival,” 69th Infantry Regiment Armory, New York, NY. Curator: Charlotte Moorman.
2019 NYFA Fellowship / Music
2018 Queens Museum for “Relative Fields in a Garden.”
2015 NYSCA Individual Media for “Wave Crossings”
2015 David Bermant Foundation for “Wave Crossings”
2015 (Also: 2007, 2004, 2000, 1988, 1986, 1984) New York State Council on the Arts/Individual Artists Commissions
2012 David Bermant Foundation for “Biyuu”
2011 USA Artists Projects for “Biyuu”
2008 UCSB Interdisciplinary Humanities Fellowship
2004 Phaedrus Foundation
2003 Jewish Museum
2000 Franklin Furnace
1987 John Simon Guggenheim Fellowship
1987, 1984 National Endowment for the Arts/ Interarts
1985, 1983 National Endowment for the Arts/ New Genres
1981, 1976 National Endowment for the Arts/ Composer’s Fellowship
1982, 1977 Creative Artists Public Service Fellowship/ Mixed Media
1981 Beard Fund
2019 “Please Play,” Blueprint Performance, Neuberger Museum, Purchase, NY.
2007 Three Women: Architectural Sound Events, Issue Project Room, Brooklyn, (Miya Masaoka, Liz Phillips, Maryanne Amacher.) funded by Phaedrus Foundation.
2005 “From the Perception Lab/ Sound Show”, NYSCA Grant, Pelham Art Center, Pelham, NY.
2003 “Resound,” (Purchase College Affiliates Grant), Boston Museum of Fine Arts, Boston, MA.
2003 “The Quiet Sound Show,” Richard and Dolly Maas Gallery, Purchase College, Purchase, NY.
2004 “Resound II For Dedicated Loudspeakers”, Boston Museum of Fine Arts, Boston, MA.
Ahlstrom, David. “Liz Phillips: Sunspots Installation at the San Francisco Museum of Modern Art.” Computer Music Journal , Volume 6, Number 3, Fall 1982.
Baker, Kenneth. “Art for the Ears at Capp Street Project”. San Francisco Chronicle, January 1, 1988.
Balken, Debra. (exhibition catalog) Natural Spectacles, David Winton Bell Gallery, Brown University, 1996.
Barr, Vilma. “Hudson River Museum Presents The Magic of Light Exhibit” Contract Lighting, May/June, 2002.
Brenson, Michael, Art: ’Engaging Objects, Audience Participation in Cultural Zoo” The New York Times May 30, 1986.
Block, Rene. (exhibition catalog) Fur Augen und Ohren, Ademie der Kunste, 1980
Buckley, Tom. “Electrified Spaghetti on Avant Garde Fete Menu”. The New York Times, Sunday October 29, 1972.
Claudell, Robin. “Sound and light ‘sculpture’ interacts in Myers Gallery” Press Republican September 24, 1993.
Cohen, Randy. “Liz Phillips in New York City Synapse Magazine” January/February p. 14, 1977.
Close, Roy M. “Zephyr” St Paul Pioneer Press, May 28, 1984.
Close, Roy M. “Composer’s Work Lends New Meaning to Movement” St Paul Pioneer Press, December 13, 1982.
Concannon, Kevin. “Sound Sculptures – A Survey of American Work.” Ars Electronica archives, 1987.
Eppley, Charles, Windspun (1981): Liz Phillip,Sonic Public Art and the “Greening” of the South Bronx, Public Art Dialogue 11:1,48-84, DOI: 10.1080/21502552.2020.1868167.
Eppley, Charles & Asa Stjerna. “Sound Sites: Experiments in Sound and Place.” Public Art Dialogue, 2019.
Delehanty, Suzanne. (exhibition catalog) Soundings. Neuberger Museum, 1981.
Dunning, Jennifer. “Critic’s Choice/The Arts; Environmental Festival” The New York Times, February 28, 1992.
Fifield, George. (exhibition catalog) “Liz Phillips: Echo Evolution” Act React: Interactive Art. The Milwaukee Art Museum, 2009.
Firman, Sandra. (exhibition catalog) “Liz Phillips” Beyond/In Alternating Currents Western New York 2010, The Buffalo Fine Arts Academy, 2010.
Firman, Sandra. “Have you Artparked?” Artpark 1974-1984 The Buffalo Fine Arts Academy and Princeton Architectural Press, 2010.
Glueck, Grace. “Art in Review; Liz Phillips” The New York Times March 5, 2004.
Howard, Christopher. “Queens International 2004 Queens Museum of Art”, The Brooklyn Rail, February 2005.
Hughes, Jeffrey. “Liz Phillips”. Contemporary Arts Magazine, Review 19, Vol. #63 2004, p.35-43.
Iwasaki, Hitomi. “Liz Phillips” Queens International 2004. Queens Museum of Art, 2004
Karson, Robin “This Show Isn’t Just For Looking” Springfield News, March 10, 1983.
Krewani, Angela. “The Innocence of Food: Female Artists in the Digital Age”, “Sex and Sexuality in a Feminist World” edited by Karen A Kitzenhoff and Katherine A. Hermes, Cambridge Scholars Publishing 2009.
Krewani, Angela. “Immaterialising Sculpture-Transforming Spaces: Liz Phillips. sound sculpture”. Artefakte Artefiktionen, 2000, p. 301-311.
Licht, Alan.” Sound Art Revisited.” Bloomsbury Press. 8-22-2019.
La Barbara, Joan. “Liz: Phillips: from visual to aural” Hi Fidelity Magazine”. May, 1979.
Lovejoy, Margot. Digital Currents: art in the electronic age, Routledge, 2004. p.202.
Mirapaul, Matthew. “Art Festivals Buzz With Digital Deviltry,” New York Times, June 13,2002.
Morrow, Charlie. “Sumtime,” The Soho Weekly News, March 7, 1974 r-11.
Oskamp, Jacqueline.”Harmless Guppies Sound Stew” Volksrant, August 1, 1998, p.9.
Passey, Charles. “Liz Phillips” The Norton/Grove dictionary of women composers edited by Julie Anne Sadie and Rhian Samuel, The Macmillan Press Limited, 1995.
Phillips, Patricia. “Liz Phillips Whiney Museum of Art”. Artforum, October 1988, p.147.
Pollack, Barbara. “Digital Media/Ambient Art” Art in America, November 2001.
Rabinowitz, Paula. “The Sounds of Sculpture / Liz Phillips: new sound works” NY Arts Magazine.” #82, 2004.
Rabinowitz, Paula. “The Sound of Reformed Space, Liz Phillips’s Responsive Installations”. Performance Art Journal “, MIT Press, PAJ #72, 2002.
Raynor, Vivian. “Art; Technology as a Medium for Artists; Yonkers” New York Times, February 22, 1981.
Reveaux, Tony. “The Responsive Rocks”. Art Week, December 26, 1987, Volume 18 Page 5.
Roads, Curtis. “The Musicians Interface” The Computer Tutorial, Massachusetts Institute of Technology 1996, p.687.
Roads, Curtis. “Liz Phillips: Windspun”. Computer Music Journal Fall, 1981, Volume 5 Number 3.
Rockwell, John. “Avant-Garde: Liz Phillips Sound”. The New York Times, Thursday May 14, 1981.
Russell, John. “Sound in 20th Century Art” The New York Times, December 6, 1981.
Sakane, Itsuo. “The Trip Along the Borderline Between Science and Art” Asahi Shimbun March 28, 1980.
Sanders, Linda. “ Catching the Night Plain Sonic Syzygy ” The Village Voice, Vol. XXX No.35 August 27, 1985.
Semmerling, Linnea.” Listening on Display, Exhibiting Sounding Artworks 1960s-now.” 2020.
Singer, Mark. “Talk of the Town: Output” The New Yorker, April 18, 1977.
Smith, Roberta. “Massless Medium—Explorations in Sensory Immersion” The New York Times, July 20, 2001.
Stearns, Robert. (exhibition catalog) “Sound Syzygy” Walker Art Center, 1982.
Weibel, Peter. “Sound Art. Sound as a Medium,” MIT Press, 2019.
Wooster, Ann-Sargent. “Art Sounds” Art in America, February, 1982.
Zimmer, William. “Liz Phillips Frontier Composting Site, Hunts Point, Bronx; permanent installation.” The Soho Weekly News, May 20,1981.
Zummo, Peter. “City Flow” Soho Weekly News, May 5, 1977.
Phillips, Liz and Rabinowitz, Paula, “Wave Crossings,” Kunstmusik #18, 2019.
Phillips, Liz, “Harnessing Waves and Elastic Space,” Leonardo Music Journal 2008.
Liz Phillips and Paula Rabinowitz, “On Collaborating with an Audience” AC: Collaborative Summer 2005- Spring 2006.
Phillips, Liz, “Sound Structures” Radical Software, Number 3, Spring, 1971.
Selected Internet, Radio and Television Programs
2020 “Bubble Orchestra” Virtual Dream Center in collaboration with Precog
Magazine, “Heidi Howard & Liz Phillips: Relative Fields in a VR Garden.”
2019 “Please Play” Neuberger Museum, a vimeo document of the performance and talk on sound art: Liz Phillips with 9 composers, by Oliver Divone and Noah Campbell.
2016 “Circuit Scores: An Interview with Liz Phillips”
2013 Biyuu Excerpts video document by Mary Lucier
2011 United States Artists, Invited Artist
2010 VBS-TV Motherboard Soundbuilders, “Liz Phillips.”
1988 PBS Art & Technology “Innovations” 1981 Fuji Television Series “ Art & Technology” curator: Itsuo Sakane
1982 “Soundings” Neuberger Museum, Kit Fitzgerald and John Sanborn
1983 “Sound Syzygy” Walker Art Center, James Byrne
1974 “Interview with Sound Artist Liz Phillips” University of Buffalo Radio, Terry Gross.
Professional Teaching Experience
1998-Present Lecturer, Purchase College, School of Art & Design, “Collaborative
Media/ Audio”, “Sound/Interactive Media I & II,” “Art in the Age of Electronic Media,” and “Immersive Sound Architecture.”
2020 Mentor, Columbia University, MFA Art department/Sound Program.
2017 Visiting Professor, Wesleyan University, Music Graduate Program, “Contemporary Music Seminar.”
2016-2017 Lecturer, Columbia University, Sound Art MFA program, “Critical Issues I & II.”
2004 Master Lecturer, University of the Arts, Philadelphia, Film and Video Department, “Intermedia II”
2001-2003 Visiting Artist, School of the Museum of Fine Arts, Boston, Sonic Arts Department. “Sound IV /Advanced Projects, ” 2 year position.
1993-1994 Purchase College, Adjunct Lecturer, Art & Design.
1975 Woodstock Community Video, “Art & Technology,” 11 week course/NEA funded
1973-4 Teaching Assistant, NYU, Film School, Creative Sound for Television
Selected Recent Visiting Artist /Lectures
2019 Columbia University Sound MFA program and Visual Arts MFA program
2018 New School at Harvestworks
2016 Columbia University Sound Program MFA
2014 Columbia University, Visual Art Program, MFA.
2012 University of Farmington, School of the Arts
2008 Brown University, Music Department
2004 Pratt Institute, Art Department
2002 MIT, Visual Arts Department
Selected Artist Residencies (Artist-in-Residence)
2017 Colloquium and Event, Music Graduate School, Wesleyan University, Middletown, CT.
2009 Penn State University, John M Anderson Lecture Series, Art, State College,
2008 UC Davis, Art Department, Davis, CA.
2008 Interdisciplinary Humanities Center, UCSB, Santa Barbara, CA.
2007 University of Wisconsin, Milwaukee, Film Conceptual Studies, Madison, WI.
1988 Kala Institute, Berkeley, CA.
1987 Capp Street Project. San Francisco, CA.
1986 Lynn Community College, Lynn, MA.
1982 Minneapolis College of Art and Design, Minneapolis, MN.
1981 Jacobs Pillow, Becket, MA.
1975 Broward Community College, Music Department, Fort Lauderdale, FL.
1973 State University of New York at Albany, Albany, NY.
1972 California Institute of the Arts, Valencia, CA.
1971 Riverside Research Institute, New York, NY.
1971 California Institute of the Arts, Valencia, CA.
2017 Re-embodied Sound Symposium, opening speaker/event, Columbia University, New York, NY.
2017 “Remembering Pauline Oliveros,” Applebox Orchestra, Park Avenue Armory and “Tribute to Pauline Oliveros,” Fridman Gallery, New York, NY.
2016 “Circuit Scores: Electronics after David Tudor,” School for Poetic Computation, New York, NY.
2011 NYU “Visible Evidence 18” Paper: Here/Hear: Manhattan is an Island,” presentation, New York, NY.
2011 University of Buffalo, ArtPark, panelist. (with Glen Phillips and Richard Tuttle), Buffalo, NY.
2005 “Symposium on Sound Art” University of the Arts, panelist, Philadelphia, PA.
2001 Boston Museum of Fine Arts “Dangerous Waves,” panelist. (Anney Bonney, Thurston Moore, Elliott Sharp, Zeena Parkins), Boston, MA.
Other Lectures, Panels and Exhibitions
Academie der Kunste
Boston Museum of Fine Arts
Broward Community College
California Institute of the Arts
Capp Street Project
Cooper Union Harvard University
Minneapolis College of Art and Design Milwaukee Art Museum MIT Visual Arts Program Pratt Institute PS1 Institute for Art and Urban Resources
Riverside Research Institute
San Diego State University State
University of New York at Albany State University of New York at Plattsburgh
Mills College, New York University
University of Maryland Baltimore Campus University of California at Santa Barbara Stedelijk Museum
Tyler School of Art
University of Cincinnati
Whitney Museum of American Art
Expert Witness in New York State Court on Sound Art
New York State Council on the Arts, Media Program; Panelist and organization reviewer Jerome Foundation, Sound Art Program panelist
Massachusetts Council on the Arts, Media program panelist
Artists Space Jury