Resume

Amber Hasselbring amber [at] art-eco [dot] org (415) 401-7471 Born in Basalt, CO, 1979 Lives in San Francisco, CA
Education
2002	Maine College of Art, BFA, Portland, ME.
2001	California College of Arts and Crafts, Oakland and San Francisco, CA.
1998	The School of the Art Institute of Chicago, Chicago, IL.
1996	Colorado Mountain College, Aspen, CO.
Selected Collaborations & Performances
2007	*RENAMING BUSH STREET* with Jerome Grand (May 2007). Renaming Bush Street is an artwork that incorporated conducting a survey over four days at four locations on Bush Street in San Francisco. Playing off the name Bush Street and its possible identifications with our 41st and 43rd Presidents, the survey recorded the reactions of passersby to the name Bush Street. The survey was purposely framed by the highly controversial Bush presidencies to elicit impassioned responses. These responses, or lack thereof, reveal how a cross section of San Franciscans feel about history, politics and cultural ideology.
	*MCLAREN PARK EARTH DAY* with Peter Brastow, Laura Castellini, Josiah Clark, Chris Giorni, Hakan Guven, Linda Harte, Dylan Hayes, Charlotte Hill, Rachel Kesel, Franco Mancini, Kathy Miller and Liam O’Brien (April 22, 2007). On Earth Day, a collaborative team of naturalists, artists, teachers and activists transformed San Francisco's John McLaren Park into an outdoor ecological classroom and festival space. What resulted from our common effort was a day full of activities and events including habitat restoration projects and tree plantings, local music, an earth day library installation, nature walks, interactive artworks, and earth-centered presentations of all kinds for children and adults. PLAY A POEM FOR THE EARTH with sound score by Kristin Miltner (April 22, 2007). For my contribution to McLaren Park Earth Day, I wrote a poem, which I read aloud on stage. The poem was a series of simple commands that participants played out with one another; the intended effect was to heighten participants’ awareness of each other and the McLaren Park environment.
2006	Angel Island ART & ECOLOGY Festival with Chris Giorni, Linda Ann Vorobik, Suzanne Lacy, Cliff Caruthers & Kristin Miltner, Anna Halprin’s Sea Ranch Collective, Katina Papson & Petrushka Bazin, Nicole Krauch, Anthony Carrillo, Minnette Lehmann, Isaac Amala & Liz Simpson, Satoru Nihei, Debbie Au and Lori Gordon (September 16, 2006). The Angel Island Art & Ecology Festival was a large-scale collaboration between artists, the natural island environment and festival attendees. This daylong artwork brought together dance, biology, storytelling, sculpture, history, sound recordings, drawing and photography. The festival was an opportunity for all participating to rediscover the creative, regenerative qualities of nature.
	SOUND EXCHANGE with Amy Stacey Curtis. Curtis on the East Coast recorded nine sounds, and I on the West Coast recorded nine sounds. Then we exchanged these recordings, and each of us made nine drawings representative of the other person's recordings.
2005	*ART ON BART: AN ARTIST GUIDED TOUR OF THE BAY AREA URBAN ECOSYSTEM* with Lori Gordon, Nicole Krauch, Jessamyn Lovell, Bill Owens, Rick Prelinger, Temescal Amity Works, Levana Saxon, Jenny Selgrath and Toph Woodward (October 1, 2005). ART on BART was a day of performance art, readings, music and activism incorporating the work of 14 artists aboard Bay Area Rapid Transit (BART). The tour was designed to investigate the group’s relationship with the urban ecosystem. We began in San Francisco and continued outward through the commuter towns, and industrial and rural areas that make up the body of our region. Together, we visited the ends of each train line, explored the Bay Area and celebrated public transportation.
2004	I STAND with video by Monja Merkel and photographs by Rob Yepez (November 6, 2005). I STAND was a street action intended to amass a thinking conversing group of people at the intersection of 5th and Market Streets in San Francisco. The intersection separates an apathetic, bustling financial district from a margin of homelessness, boredom and drug trading. From sunrise to sunset, I stood at this location and made available markers and adhesive labels, printed I STAND. I asked participants to write onto the labels something they were willing to pronounce to passersby. Participants arrived, signed a guest book, wrote onto labels, and wore these personalized labels while discussing their thoughts with each other. Some people held vigil for five minutes, others stayed for hours.
Projects
2006-present	Sound Drawings. Drawings made to investigate the effects of sound on environments.
2003-present	A Map of Water in Arid Regions: Reverberations of San Francisco, Los Angeles and San Francisco. A mapping/photographic artwork about man-made waterways, which alludes to a tentative future for the West’s most integral natural resource.
2003-2005	Color Fields. Intending to evoke responsive communication, I distributed hundreds of 3.25” x 5” photos. I then sorted duplicate photos into stacks of similar colors, which altogether represent the passing of two years worth of giving and receiving. I then inserted the photographs by color into five 5’ x 4’ sewn vinyl panels.
2002	Dawn Pelletier, Kristan Chew, Cathleen Weggler and Marina Eddy. I worked collaboratively with four women who were healing from trauma, clinical depression, cancer, loss and disease to generate an installation that incorporated artist’s books and photographs, representative of four entirely unique healing processes.
2001	West Oakland. A photo documentary about environmental racism around the Port of Oakland. The Big Dig. A photo documentary about the highway construction project in Boston.
Group Exhibitions
2007	At The Edge, University of Illinois at Chicago, Gallery 400, Chicago, IL.
	SOUND EXCHANGE, Grothaus+Pearl Gallery, Kansas City, MO. (Reviewed)
2005	Black Market Auction, Independent School of Art, San Francisco, CA.
2002-2004	Epic. Southern Exposure, San Francisco, CA. Post Postcard. The Lab, San Francisco, CA. Mat Gonzalez for Mayor Headquarters, San Francisco, CA. Reading Room. Southern Exposure, San Francisco, CA.
2000-2002	Senior Thesis Exhibition. Institute of Contemporary Art at Maine College of Art, Portland, ME. Trisepalous. Student Gallery at Maine College of Art, Portland, ME. Next Generation II. Center for Maine Contemporary Art, Rockport, ME. Virulence. City of Portland Public Art, Western Promenade, Portland, ME.
Professional Experience
2006	World Savvy, San Francisco, CA. Artist Mentors: Collaboration with Katina Papson and high school students addressing immigration and identity during two artist-inspired field trips, one art-making workshop and a performance.
2005	Project Spera, San Francisco, CA. Artist Mentor: Collaboration with high school students, during an art-making workshop, to address the question: How can peace be achieved in such a violent world?
2004-present	Bill Owens, Hayward, CA. Photo Assistant: Conceptualize project strategy, edit and co-create shooting script, arrange photo shoots, on-site photo assistant. Studio Manager: Organize the digital workflow of a prolific photographer; digital photo, digital video and novel editing; Mac OS knowledge with expertise in iMovie, iPhoto, .mac homepage accounts and Constant Contact, an online newsletter publishing program.
2002-present	Steven Leiber, San Francisco, CA. Consultant: Oversee the design and function of a website, stevenleiberbasement.com, which offers inventory for sale and includes an educational archive sections; catalogue artists’ generated material from the1960s and ‘70s including books, photographs, prints, artist’s ephemera and unique artworks; co-design and fabricate sales catalogues; digital photography; maintain inventory online at abebooks.com; conduct reference library and online research, generate invoices, process sales, handle and ship books and artworks.
2002-2005	Marion Brenner, San Francisco, CA. Archivist/Studio Manager: Implement and maintain a digital storage system for a growing stock of over 4000 photographic transparencies; scanning, color management and fine printing; photo editing, filing, preparing and packing photographic stock selections; creating delivery memos and invoices; Mac OS troubleshooting and wireless network administration.
2004	William Laven, San Francisco, CA. Darkroom Assistant: Printed and processed 8” x 10” black and white negatives; assisted with platinum and palladium printing and processing.
2002	Jim Goldberg, San Francisco, CA. Studio Manager: Managed artistic, commercial and educational photographer's studio; corresponded with vendors and labs; curried prints, negatives, slides, and supplies; packed and shipped photographs and artwork; sorted and organized images, negatives, prints, slides and clippings; photographed artwork for copy; printed c-prints, gelatin silver prints and contact prints.
2000-2002	Institute of Contemporary Art, Portland, ME. Curatorial Assistant: Assisted operations of an institutional gallery: Co-curated Senior Thesis Exhibition 2002; assisted in designing, installing, lighting and de-installing exhibitions; photographed events as the ICA's official photographer; visited elementary schools to educate children about contemporary art ideas and practices; instructed children's weekend art work-shops; gallery attendant and docent.
Skills
	Mac OS: Adobe CS 2, FileMaker, QuickBooks, Microsoft Office, and Cumulus. Digital image capture, workflow and printing.
Bibliography
2007	Perris, A Place to Remember. Donning Company, Virginia Beach, VA. 2007.
Scholarships & Awards
2004	Anderson Ranch Arts Center Fellowship, Snowmass, CO.
2001	Albert K. Murray Fine Arts Educational Fund, Adamsville, OH. Irving B. Ellis and Judy Ellis Glickman Endowed Scholarship, Portland, ME.
2000	Merit Scholarship, Maine College of Art, Portland, ME.