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Patricia Fuller ResumeResumĀŽ PATRICIA GLEASON FULLER Address:1577 Bay Road #205 Miami Beach, FL 33139 Phone617.759.5657 Professional Experience 2006 - 2010. Public Art Curator, MIT List Visual Arts Center, Cambridge, MA. Responsible for Percent-for-Art artist selection and project implementation; interpretation, and overseeing care and maintena Collection. Percent-for-Art commissions completed with Matthew Sarah Sze, Sol LeWitt, Dan Graham, Lawrence Weiner, Cai Guo-Qia and Martin Boyce 1998 à 2006Public Art Consultant to MIT, Cambridge, MA. Advisor to Associate Provost for the Arts; Public Art Project Co for MITÈs ongoing Percent-for-Art program. Conducted a full-sca for-Art program at MIT for the MIT Council for the Arts, with po recommendations. Implemented aspects of the report, including d Practice to guide implementation of art projects within the Inst and project implementation for major commissions to Matthew Ritc Sze, and Dan Graham. 1985 - 1998Independent Consultant Advisor to public and not-for-proÐt agencies on planning, fundin implementation of art in public places; independent curator and design. (see Selected Projects) 1983-1985Executive Director, Art in Public Places, Dade County, FL Dade County's Art in Public Places Ordinance provides for the se of 1 1/2% of the construction cost of new public buildings for a generating over $5,000,000 in funds for art between 1983-85. A the Art in Public Places Trust, oversees the program. As Execut complete reorganization, including appointment of a national adv ongoing basis, I worked with County agencies to identify art fun recommend artwork projects to the Trust. I managed the artist s responsible for implementation of artwork projects in the commun liaison with users and community groups, and public information Additional responsibilities included recommendation to the Count acceptance and siting of gifts of works of art, grantsmanship an liaison with the County's other cultural organizations. The pro was over $100,000 and I supervised a staff of 5 full-time employ contractors, and various consultants. 1981-1983Independent Consultant Advisor to public and not-for-proÐt agencies on planning, fundin implementation of art in public places; freelance curator and wr public art. (see Selected Projects) 1978-1981Coordinator, Art in Public Places, National Endowment for the Ar Washington, D.C. The Art in Public Places program awards matching grants for the commission of works of art by living American artists for public traditional museum context. As Program Coordinator, I advised o development of projects, appointed and chaired panels of contemp and recommend on funding of applications, and monitored implemen projects. Responsible for the NEA's advisory role to other Federal agencie I appointed and chaired artist selection panels for the art-in-a General Services Administration and the Veterans Administration. Federal Railroad Administration in the development of, and conve panels for, their project to commission works of art at Northeas between Washington, D.C. and Boston, Mass. Additional responsibilities included policy and program developm information on NEA programs and art in public places nationally, local levels on public art policy and legislation. I also admin Planning Grants to Artists and Visual Arts in the Performing Art staff and several contractors, and worked with a number of consu 1976-1978Coordinator, Art in Public Places, Seattle Arts Commission, Seat Washington Seattle's "1% for Art" ordinance provides an annual budget (over $300,000) in 1978) for commission of works of art in public plac program guidelines and administrative procedures were developed ordinance. As program manager, I worked with architects and cit sites for artwork, developed and recommended to the arts commiss public art plan, and directed the implementation of the plan, wo artists, city ofÐcials, and representatives of state and Federal Further responsibilities included administering review and accep art to the city, grant development and administration, and manag the arts commission from the city's visual arts exhibiting insti 1974-1975Curatorial Intern, International Museum of Photography, George Eastman House, Rochester, New York Orientation included projects in each department of the museum: conservation, exhibitions, publications, print collection, Ðlm a research library. Independent projects included preparation of an educational slid research, redesign and installation of sections of the permanent development of photography; research and script draft for redesi technology of photography exhibit. Directed 70-print exhibition, "Control Processes: Pictorialism Manipulated Print." Lectured at University of Rochester on History of Twentieth Cent Photography. June 1974 to August 1975Research Assistant to Beaumont Newhall, Albuquerque, New Mexico Inventoried and catalogued private research library. August 1973 toGraduate Assistant to Beaumont Newhall, Visiting Professor of Ar May 1974College of Fine Arts, University of New Mexico Research for preparation of lectures; prepared and administered examinations; graded examinations and undergraduate term papers collections. January 1970University - New Careers Liaison, Center for Action Research, to July 1972University of Colorado Responsible for $40,000 Department of Labor contract to Universi provide education and training services to New Careers program a Dakota; structured and coordinated program of specialized course February 1968Assistant Project Director, Oglala Sioux Tribal New Careers Prog to December 1969Pine Ridge, South Dakota Assigned to reorganize program to meet Federal guidelines; as ac project director remained to recruit and train Native American s successfully run the program within a year. Responsibilities in positions within community human service agencies, and developme training, adult education and accredited coursework to support c trainees. September 1967 toProgram Analyst, New Careers Program, Action for Boston January 1969Community Development Evaluated program performance and developed proposals to meet program needs of the city community action agency's Ðve work-tra Careers, Job Corps, Mainstream, Foster Grandparents, and Neighbo Responsibilities included participation in recruitment and couns and grant proposal development. Formal Education DegreeInstitution B.A., ArtColby College Minor, SociologyWaterville, ME Graduate Study in Art HistoryUniversity of Colorado Boulder, CO Graduate Study in Art History*University of New Mexico Albuquerque, NM *Coursework completed for M.A. in Art History, with specialty in graphic arts, minor in museum practices. Publications and Exhibitions Bibliography, Edward Weston: Fifty Years, by Ben Maddow. New York: Aperture, 1973. Bibliography, Peter Henry Emerson, by Nancy Newhall. New York: Aperture, 1975. "Nancy Newhall." Image, February 1975. Review of Julia Margaret Cameron, by Helmut Gernsheim. Library Journal, July 1975. Review of Baron De Meyer, by Phillippe de Julian. Library Journal, August 1976. Review of Roger Fenton of Crimble Hall, by John Hannavy. Library Journal, August 1976. Control Processes: Pictorialism and the Manipulated Print, exhibition for the International Museum of Photography at George Eastman House, Roc New York, 1975. Alma Lavenson, retrospective exhibition and catalogue for the California Museum of Photography, University of California, Riverside, 1979 The Alternative Image, John Michael Kohler Art Center, Sheboygan, Wisconsin, 1982. Organized historical section of the exhibition catalogue essay. Five Artists at NOAA, illustrated publication about this inÑuential project to commission public art as an integral part of the site plan at NO (National Oceanic and Atmospheric Administration), in Seattle, W Real Comet Press, Seattle, Washington, 1985. Patricia Gleason Fuller Page 5 "Martin Puryear: Public Places, Personal Visions," in Martin Puryear: Public and Personal, catalog for the exhibition at the Cultural Center, Chicago, Il 1987. "Integrating Art into Design," NC Arts, Spring, 1987. New Works: A Public Art Project Planning Guide, Durham, N.C., 1989. Imperfect Utopia: Site Plan, North Carolina Museum of Art, Raleigh, 1989. Essay describing the collaborative process to plan for a program of ar museum's 140-plus acre site. Other Professional Activities Loeb Fellowship, Harvard University, 1992-3 Consultant to Visual Arts Program, National Endowment for the Ar Washington, D.C. Grants Panelist, Services to the Field, 1977. Photography Fellowships, 1978. On-site evaluations, Artists Spa Consultant on Art in Public Places policy, 1984. Applicant on-s Member national advisory panel on public art policy, 1986-88. CGoing Public: A Field Guide to Art in Public Places, published by the NEA in 1988. Member, Advisory Board, Stuart Foundation Sculpture Collection, University of California San Diego at La Jolla. 1983-present. Founding member, Photography Council, Seattle Art Museum, Seattl Washington, 1977. Board vice-chair of Artspace Projects, Inc., Minneapolis, Minnes non-proÐt organization devoted to securing low-cost studio and p artists and organizations, 1982-83. Member, National Advisory Committee, Knight Gallery, Spirit Squa Charlotte, North Carolina. 1983-85. Board Member, The Harpo Foundation, Miami, FL, which makes grant to arts organizations and artists to support new work. 2007-pres Board Member, Miami Beach Community Development Corporation, 2011 - present