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photo by Eric Swanson

American artist MERIDEL RUBENSTEIN began her professional career in the early 1970s, evolving from photographer of single photographic images to artist of extended works and multi-media installations.  From the beginning her art making has argued for an awareness of how we are connected to place. Her works are known for their unusual combinations of materials and ideas as seen in the work Oppenheimer’s Chair. Here a transparent photographic armored sentry figure guards a glass house filled with white sand. A ghost tree, sandblasted onto the back wall, frames a glass chair upon which video imagery is projected, suggesting the shedding of defensive postures. Commissioned for the 1st Site Santa Fe International Biennial in 1995, this seminal work marked the 50th anniversary of the first atomic test at Trinity, the date on which the Biennial opened.

Her newest work Heaven Turned on its Side focuses on intersections of nature and culture in relationship to ecological and social imbalance. Part I -Photosynthesis contains images of seasons, and of people in relationship  to trees. Printed on large floating sheets of paper to give a quality of light and air, the images suggest a reciprocal exchange of oxygen and carbon dioxide between trees and people and a more Edenic time when things might have been in balance. Part II involves the Volcano Cycle with images made along the Ring of Fire in Indonesia in collaboration with the Earth Observatory Singapore. Part III will be comprised of images and an art/ecology  wastewater garden made at the site of the original Garden of Eden in S. Iraq in collaboration with Dr. Mark Nelson and Nature Iraq, El-Chibaish, Iraq. She is a recent fellow of the World Academy of Arts and Sciences.

Meridel Rubenstein maintains her art studio in Santa Fe, New Mexico. She has been an active arts educator for over 30 years.  Since 2006 she has been a Visiting Associate Professor at the School of Art, Design, and Media at Nanyang Technological University in Singapore one semester a year. From 1990-95 she was the Harnish Visiting Artist at Smith College, in Northampton, Massachusetts. She has created photography programs at the College of Santa Fe(1976-80) and the Institute of American Indian Arts in New Mexico(1990-96) and directed the Photography Program at San Francisco State University in California, the oldest Master of Fine Arts program in the USA(1985-90).

She has exhibited widely including most recently the Louvre in Paris and the Irish Museum of Modern Art in Dublin as well as in numerous gallery and museum exhibitions. Her works are in prominent collections including the National Museum of American Art in Washington, the San Francisco Museum of Art, and the Museum fur Kunst und Gewerbe, Hamburg, Germany.  She is currently represented in San Fransisco, CA by Brian Gross Fine Art, in Palm Desert, CA by Greg Bennett Contemporary Art, and in Santa Fe, NM by David Richard Gallery.

Meridel Rubenstein has received fellowships from the Guggenheim Foundation and the Bunting Institute at Harvard University, awards from the National Endowment of the Arts, as well as the Pollock-Krasner and the Rockefeller Foundations. She was educated at Sarah Lawrence College in New York and did special graduate studies at M.I.T. with the eminent photographer, Minor White. She received an M.A. and M.F.A. from the University of New Mexico, Albuquerque, in 1974 and 1977, where she studied with noted art and photography historian and museum directors Beaumont Newhall and Van Deren Coke.

In October 2004, BELONGING: Los Alamos to Vietnam, Photoworks and Installations, was published by St. Ann’s Press. This major monograph of twenty years of her work, includes texts by environmental writer Terry Tempest Williams, cultural theorist Elaine Scarry, and reknown art writers James Crump, Lucy Lippard, and art and cultural critic Rebecca Solnit.  Solnit has written of Rubenstein:
a consummate maker of metaphors, an artist who can never talk about only one thing at a time, but speaks of things in relationship, of lives to landscapes, of corporeal location and homing in terms of labyrinths and minotaurs, of bombs in terms of other myths, of physicists in relationship to pueblos.


Born Detroit, Michigan, March 26, 1948, US Citizen



University of New Mexico, Albuquerque, New Mexico, MA, 1974, MFA, 1977. MFA Dissertation: “The Circles and the Symmetry–The Mutual Influence of Georgia  O’Keeffe and Alfred Stieglitz”
Special Graduate Student in Photography, Massachusetts Institute of Technology, Cambridge, MA, student of Minor White
Sarah Lawrence College, Bronxville, NY, BA. Film and Social Sciences



Tier 1 Research Award, Nanyang Technological University, Singapore,   for Eden In Iraq Environmental Art and Design Project
Tier 0 Research Award, Nanyang Technological University, Singapore, for Photography of Volcanos
Pollock-Krasner Award, NYC
Spring 2006:
Residency, Sirius Arts Centre, Cobh,Ireland
Kahn Institute Fellowship, Smith College, Northampton, MA
Smith College Faculty Development Awards, book project
Rockefeller Fellowship, Joiner (Vietnam Study) Center, University of Massachusetts, Boston, MA
Award, New Mexico Women in the Arts, Santa Fe, NM
Peter S. Reed Foundation, NYC
National Millennium Survey, National Endowment for the Arts, via The Museum of Photographic Arts, San Diego, CA
Fellow, Bunting Institute, Harvard University, Cambridge, Mass
Pollock-Krasner Award, NYC
May 1997:
Artist in Residence-New Genres, Djerassi Foundation, Woodside, CA
SITE Santa Fe, artist installation commission, Santa Fe, NM
National Endowment for the Arts, Photographer’s Fellowship, also 1981
Western States Regional Media Arts Fellowship, Portland Art Museum/ Film Center/American Film Institute
New Forms Regional Initiative Grant, (National Endowment for the Arts /Rockefeller  Foundation), Diverse Works, Houston, TX
National Endowment for the Arts Inter-Arts Grant (with Steina and Woody Vasulka, and Ellen Zweig)
John Simon Guggenheim Fellowship



Visiting Associate Professor, School of Art, Design, and Media, Nanyang Technical University, Singapore
December 2009:
Visiting Artist, Santa Catalina High School, Monterey, CA
Spring 2006:
Artist Residency, Sirius Arts Centre, Cobh, County Cork, Ireland
Harnish Visiting Artist and Lecturer, Smith College, Northampton, MA
Santa Fe Community College, Santa Fe, New Mexico
Professor of Art, Institute of American Indian Arts, Santa Fe, NM
Associate Professor, Head, Photo Area and Graduate program, Art Department, San Francisco State University, San Francisco, CA
Trustee,  Friends of Photography, Ansel Adams Center, San Francisco, CA




















March 2014:
EDEN IN IRAQ –  Research trip to S. Iraq with NTU Tier 1 Team member: Dr. Mark Nelson. Regional and local meetings, funding and administrative solutions, design, video and photography
March 2013/March 2014:
EDEN IN IRAQ – Research trip to S. Iraq with NTU Tier 1 Team: Drs. Nelson and Tocchetto and work study. Meetings, design, photography, video
June-Nov 2013:
RING OF FIRE : BETWEEN HEAVEN AND EARTH – NTU Tier 0, studio time preparing files and first print tests


Spring 2016:           
Eden Turned on its Side: Part 3, David Richard Contemporary, Santa Fe, New Mexico
Sept 2015:    
RING OF FIRE: Between Heaven and Earth, Brian Gross Fine Art, San Francisco, CA
April\May 2015:
Eden Turned on its Side: Parts 1 and 2, David Richard Contemporary, Santa Fe, New Mexico
August 2014:
Eden Turned on its Side: Selections from Eden Turned on its Side, David Richard Contemporary, Santa Fe, New Mexico
November 2012:        
Heaven Turned on its Side, Brian Gross Fine Art, San Francisco, CA
June 2012:
Heaven Turned on its Side: Photosynthesis, Workshop on Photosynthesis, Nanyang Technological University, Singapore
May 2012:
Heaven Turned on its Side: Photosynthesis, Chan Hampe Galleries, Singapore
March-June 2010:
Millennial Forest, LewAllen Galleries, Santa Fe, NM
September 2005:
The Lowriders, Smith College Museum of Art, Northampton, MA
May 2005:    
Belonging: From Los Alamos to Vietnam, exhibit and booksigning, Locco Ritoro Gallery , Boston, MA
March 2005:    
Belonging: From Los Alamos to Vietnam, exhibit and booksigning, Brian Gross Fine Art, San Francisco, CA
December 2004: 
Belonging; From Los Alamos to Vietnam, exhibit and booksigning LewAllen Contemporary, Santa Fe, NM
October 2004:    
Special Projects, exhibit & booksigning, Brian Gross Fine Art, San Francisco, CA
September 2001:
Brian Gross Fine Arts, San Francisco, CA, also 1998,1996, at Fuller Gross: 1987
December 2000 & June 2001:
Joan’s Arc/ Vietnam parts, 2 & 3, LewAllen Contemporary, Santa Fe, NM, also 1998, 1996,1995, 1993, 1992, 1990
May 1999:          
Joan’s Arc/ Vietnam, part 1, The Bunting Institute Gallery, Harvard University  Cambridge, MA
The Defining Eye, St. Louis Art Museum, St. Louis, MO, traveling exhibition and book
Critical Mass, collaborative photo, video, text installation, Museum of Fine Arts, Santa Fe, NM, with Ellen Zweig and Steina And Woody Vasulka. Traveling exhibit to MIT List Center; SE Mus of Photo, Fla.; Scottsdale Ctr  for the Arts, Arizona; The Univ of Wyoming, Laramee; Museum of Contemporary Photography, Chicago, IL; catalogue
The Forum for Contemporary Art, St. Louis, MO
Troyer, Fitzpatrick, Lassman Gallery, Washington D.C., also 1988
Rena Bransten Gallery, San Francisco, CA
Meier Gallery, Houston, TX , Houston Festival of Photography, book
California Museum of Photography, University of California, Riverside, CA
Center for Creative Photography, University of Arizona, Tucson, AZ
The Lowriders, Consejo Mexicano de Fotographia, Mexico City.
The Lowriders, an installation, Artists Space, NYC,
The Lowriders, -A Car and Photo Installation, on the Santa Fe, NM, Main Plaza, NM Museum of Fine Arts. Limited edition portfolio, video
Galerie Michelle Chomette, Paris, France
La Gente de la Luz, Museum fur Kunst und Gewerbe, Hamburg, Germany; New Mexico Museum of Fine Arts, Santa Fe, NM; catalogue



March 2016:
Fotofest, Houston, Texas “Changing Circumstances, Looking at the Future of the Planet”  Exhibition, March 12-30
Dubai Photo Exhibition, Dubai Design District, March 16-19, Curated by Natasha Egan, Director of Museum Contemporary Photography ChicagoMarch March 2015:
Altered Landscapes, Judith Bear Isroff Gallery, Akron Art Museum.
December 2014:
GROUND WORK, a Fundraising Exhibition in Support of DECK
November 2014:
All That Glitters is Not Gold: Platinum Photography from the Center for Creative Photography, Phoenix, Arizona
March-August 2014:
Grounded, New Mexico Museum of Art, Santa Fe, NM
April-May 2014:
The Armory Show, Center for Contemporary Art, Muñoz Waxman Main Gallery, Santa Fe, NM
May 2014:
El Agua es Vida: Acequias in Northern New Mexico, Maxwell Museum of Anthropology, Albuquerque, NM
December 2013:
Decisive Moments: Photographs from the Collection of Cherye R. and James F. Pierce, Honolulu Museum of Art.
September 2012-January 2013:
Eden Again, a collaborative land art commission, for the International  Symposium on Electronic Arts(ISEA), Albuquerque, NM to make a Art/Ecology Wastewater Garden mirroring the proposed Art/Ecology Wastewater Garden to be built in the S. Iraq Marshes, hopefully 2012-13
August-September 2012:
Earth Messages: Perspectives from Environmental Artists, NTU Museum, Nanyang Technological University, Singapore
February 2011- April 2012:
Conversations, Photography from The Bank of America Collection,  Museum of Fine Arts, Boston;  Museo del Novacento, Milan,Italy; Irish Museum of Modern Art, Dublin
November 2011-Spring 2012:
Les Musées Sont  du Monde, Stage Contemporain, Musee de Louvre, Paris
November 2010-March 2011:
Case Studies from the Bureau of Contemporary Art, Selectionsfrom the New Mexico Museum of Art contemporary collection, New Mexico Museum or Art, Santa Fe, NM; Archimedes’ Chamber, collaborative video/photo/sound installation with  Ellen Zweig
October 2010-January 2011:
Know The Rules – Then Break Them, Di Rosa Gatehouse Gallery, Napa, CA
August-November 2008:

PHOTOGRAPHY: New Mexico, University of New Mexico Museum of Art, Albuquerque, New Mexico, book
July-August 2008:
LewAllen Contemporary, Santa Fe, NM
Spring 2008:
Brian Gross Fine Art, San Francisco, California
February 2008:
Giving Shelter, 516 Arts, Albuquerque, New Mexico, poster image
February-May 2007:
Big Picture, Provisions for the Arts of Social Change, Nathan Cummings Foundation, NYC
January-February 2007:
(REAL): Photographic Construct, Center for Visual Art, Denver, CO
January-March 2007:
Faith Placed: The Intersection of Spirituality and Location in Contemporary Photography, De Saisset Museum, Santa Clara, CA.
November 2005:
Terra Firma, Blue Sky Contemporary Art Center, San Antonio, TX
November 2005:
The Art of Engagement, Jack Rutberg Fine Arts, Los Angeles, CA
October 2005:
Heartfelt, Museum of Fine Arts, Florida State University, Jacksonville, FL
March 2005:
Charlotte Jackson Fine Art, Beyond Monochrome, Santa Fe, NM
October 2004:
Ditto, Museum of Contemporary Photography, Columbia College, Chicago, IL
Summer 2000-05:
LewAllen Contemporary, Santa Fe, NM
Fall 2003-05:
Faculty exhibit, Janotta Gallery, Art Dept., Smith College
January 2004:
In Focus, Smith Museum of Art, Northampton, Mass
September-December 2002:
Boats and Vessels, installation and lecture, Brattleboro Museum, Vermont
March 2002:
Visions of Passage. curated by James Enyeart, Museum of Photographic Arts, San Diego, traveling exhibition and book
December 2001:
A Handful of Soldiers-S Site Los Alamos, NM Office of Cultural Affairs, traveling exhibit and catalogue
September 2001:
Conceptual Color: in Albers’ Afterimage, Fine Arts Gallery, San Francisco State University, San Francisco, CA
January 2001:
Contemporary Configurations, The Museum of Art and History, Santa Cruz, CA
Customized, Institute of Contemporary Art, Boston, Mass and book, Sandy Carson Gallery, Denver, CO
The Defining Eye, St. Louis Art Museum, traveling exhibition and book
Eye of the Beholder, International Center of Photography, NYC
A Natural Selection, curated by Dominique Nahas, Z Gallery, NYC
Ars Scientia (Oppenheimer’s Chair), Museum of Contemporary Photography, Chicago, IL
Contemporary Art in New Mexico, SITE Santa Fe, Santa Fe, NM, book
SITE Santa Fe, “Longing and Belonging”; curated by Bruce Ferguson, an International Biennial of commissioned works
Between Home and Heaven, National Museum of American Art, Smithsonian Institution, Washington, DC., book
Videoworks, Ron Feldman Gallery, NYC
Nuclear Matters, San Francisco Camerawork, SF, CA. Catalogue
Nature and Culture: Conflict and Reconciliation in Recent Photography” The Ansel Adams Ctr, San Francisco, CA
The Photography of Invention-Photography in the Eighties, National Museum of American Art, Smithsonian, Washington, D.C., book
Myth/Ritual, San Francisco Camerawork, San Francisco, CA., catalogue
Reclaiming Paradise: American Women Photograph the Land, Tweed Museum Art, Duluth, Minnesota, catalogue, traveling
The Essential Landscape, New Mexico Museum of Fine Arts, Santa Fe, NM., book
International Festival of Photography, Arles, France


• Meridel Rubenstein, Belonging: From Los Alamos to Vietnam, Photoworks and Installations, St. Ann’s Press, Los Angeles, with essays by Terry Tempest Williams, Rebecca Solnit, Lucy Lippard, Elaine Scarry, and James Crump, October, 2004.

• MERIDEL RUBENSTEIN The Volcano Cycle, Hearne Pardee, The Brooklyn Rail, Octotber 5, 2015.
Critical Reflection: Eden Turned on Its Side, Richard Tobin, THE Magazine Volume XXIV #1, Santa Fe, pp 65, July 2015.
• Meridel Rubenstein (Contributor) Two images Julia Margaret Cameron and Emmet Gowin, pg 115, essay in Stories from the Camera, Edited by Michele M. Penhall (Editor). University of New Mexico Press, December, 2015.
• ISEA 2012 Albuquerque: Machine Wilderness, Radius Books 2012. p.82.
• PHOTOGRAPHY: New Mexico, Thomas Barrow, editor/curator, with essays by Kristin
Barendsen and Stuart Ashman, Fresco Fine Art Publications, Albuquerque, New Mexico, pp. 231-37, August 2008.
• Conversations – Photography from the Bank of America Collection, Irish Museum of Modern Art, 2011, pp. 50,51.
• Les musées sont des mondes, J.M.G. Le Clézio, Gallimard et Musee du Louvre, Paris, 2011, p. 37
• Weekends with O’Keeffe, C.S. Merrill, University of New Mexico Press, 2010, pp.41, 58, 77, 109-10, 197
• Lost Homelands: Ruin and Reconstruction in the 20th Century Southwest, Audrey Goodman,The University of Arizona Press, 2010, Jacket photo: Tilano’s Garden 1993: pp. 7, 99, 100, 109-113
• Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas, Silvia Spitta, University of Texas Press, 2009 p. 129
• FLUX-Reflections in Contemporary Glass, ed. Laura Addison, New Mexico Museum of Art, Museum of New Mexico Press, 2008 pp. 17-19, with reproduction.
• Carey Lovelace,Making it Together:Women’s Collaborative Art + Community, Bronx Museum of the Arts, NY, exhibiton catalogue, reproduction. 2009
• Sarah S. King, “On View”, photograph, vol. 4 no.5,, New York, NY, May/June 2007, pp.80-81.
• Rebecca Solnit, Storming he Gates of Paradise, Landscapes for Politics, University of California Press, 2007, pp.167-6, 272.
• LAND, ART: A Cultural Ecology Handbook, edited by Max Andrews, the RSA (Royal Society for the encouragement of Arts, Manufacture & Commerce), December 2006, pp.35-37.
• 100 artists of the Southwest , ed. Douglis Bullis, 2006, Schiffer Publishing Ltd, Atglen, Scotland
• One of A Kind: Portraits from the La Salle Bank Collection, D.A.P., New York, 2007, p.15.
• Susan Boulanger, “Meridel Rubenstein, Millennial Forest-Narrative Photoworks,” Art New England Boston, Oct/Nov 2005, p.28, reproduction.
• Barbara Riley, “Southwest Bookshelf -Belonging: From Los Alamos to Vietnam,” New Mexico Magazine, September 2005, p.20.
• Cate McQuaid,“Meridel Rubenstein:Millennial Forest,” Gallery Pick, Boston Globe, June 9, 2005, p.22,reproductions.
• Arden Reed, “Meridel Rubenstein at LewAllen Contemporary,” Art in America, May 2005, p.177, repro.
• “An Alchemist’s Helper,” The Chronicle of Higher Education, April 8, 2005, p. B 19, text & repro.
• Kenneth Baker, “Galleries”, San Francisco Chronicle, April 2, 2005, reproduction.
• Sulak Sivaraska, TransThai Buddhism and Envisioning Resistance, Bangkok:Suksit Siam, 2004,Cover.
• Sandra Matthews, Icons, Heroe,s and Stories of Survival, in Masquerade: Women’s Contemporary Portrait Photography, ed. Kate Newton and Christine Rolph, London: FOTOGALLERY, pp.126-33.
• “Reconciliation,” Inquiring Mind, Vol 21, np.1, Fall 2004, pp. 13-16, 21.
• Phototextualities, eds. Alex Hughes and Andrea Noble, University of New Mexico Press, 2003, cover image, and including Judith Davidov, “Narratives of Place: History and Memory and the Evidential Force of Photography in Work by Meridel Rubenstein and Joan Myers,” pp.41-63, illus pp.43-47, and Cover.
• James Enyeart, Photographs, Writers, and the American Scene-Visions of Passage, Santa Fe: Arena Editions 2002, reproducution p.82, 324, 334.
• Sarah S. King, “Meridel Rubenstein at LewAllen Contemporary”, Art in America, March 2002, p.136.
• Susanna Carlisle, “Meridel Rubenstein: Trees at Sea,” THE Magazine, Sept. 2001,p.54.
• Francine Miller, “Customized,” Artforum, March 2001, pp.147-48.
• Cate McQuaid, “Customized,” The Boston Globe, November 10,2000, pp. E1-12, reproduction.
• Mokha Laget, “The Killing Fields,” The Santa Fe Reporter, December 27, 2000, p. 25.
-Customized, ed. Nora Donnelly, Harry N.Abrams, Inc, in association with the Institute ofContemporary Art, Boston, 2000, six color reproductions, bio, and essay.
• Mark Van Proyen, “San Francisco E-Mail,” Art Issues, Los Angeles, pp.38-39, review and reproduction, Nov/Dec 1999.
• Arte Contemporary, vol 1, issue 1, Santa Fe, artist feature, 2 reproductions and statement, pp.36-37, Fall 1999.
• Susan Mulski, “Bunting Institute at Radcliffe College/Cambridge, “Meridel Rubenstein: Joan’s Arc,Vietnam 1998-99,” Art New England, p.39, Aug/Sept 1999.
• Dottie, Indyke, “Poison into Nectar,” Pasatiempo Magazine, Santa Fe New Mexican,
cover and pp. 32-33, review and reproductions, Sept. 11, 1998.
• John Upton and Barbara London,”Mixed Media,” Photography, p.186 reproduction and text, Addison Wesley 1998
• The Defining Eye, The St. Louis Museum of Modern Art, 1998, exhibition catalogue.
• Alicia Miller, “Meridel Rubenstein at Brian Gross “ Artweek, San Francisco, CA, March 1997.
• Jan Adlmann and Barbara McIntyre, Contemporary Art in New Mexico, Craftsman House, Australia, 1996,pp.174-75, 222.
• Harmony Hammond, “Ups and Downs of Site Santa Fe “, Sculpture Magazine, March 1996, Washington DC, vol 15, no.3,pp. 26-29, reproduction on COVER.
• Bruce Ferguson, Longing and Belonging from the Faraway Nearby, SITE Santa Fe.
• Ferdinand Protzman, “A Fusion of Nuclear Reactions,” The Washington Post, October
21,1995, p. H2, gallery review and reproduction.
• Meridel Rubenstein and Ellen Zweig, “Critical Mass,” Conjunctions, Bard College, Spring Issue 1995, pp.164-88, images and text.
• Naomi Rosenbloom, A History of Women Photographers, Abbeville Press, 1994, pp.225, 319, 345, 27, colorplate.
• James Crump, “Subversion Encantada: El Tiempo, El Honor, Y El Tema en La Fotografia Contemporanea,” Luna Cornea, 1995, Numero 744.
• Lucy Lippard, “Philosophical Fallout”, Z Magazine,vol.7, no.4, Boston, MA, pp.52-54.
• Meridel Rubenstein and Ellen Zweig with the Vasulkas, CRITICAL MASS, exhibition brochure, New Mexico Museum of Fine Arts, Santa Fe,10 pgs with esays, text, images.
• John Bloom, ed.,Photography at Bay, Univ of New Mexico Press, 1993, interview, reprod.
• Meridel Rubenstein, “Georgia O’Keefe as a Role Model,”
in From the Faraway Nearby: Georgia O’Keeffe as Icon,
ed. Christopher Merrill and Ellen Bradbury, Addison-Wesley, 1992,pp.187-92.
• Tim Davis, “Beyond the Sacred and the Profane: Cultural Landscape Photography in
America,” 1930-1990,” in Mapping American Culture, ed. Wayne Franklin and Michael
Steiner, Univ. of Iowa Press, Iowa City, 1992, COVER and pps. 191-230.
• Between Home and Heaven, exhibition catalogue, The National Museum of American Art, Smithsonian Institution, Washington, DC, published by UNM Press, March 1992.
• The Photography of Invention – American Pictures of the 1980’s, eds. Joshua P. Smith and Merry A. Foresta, National Museum of American Art, MIT Press, pp.166-67.
• Reclaiming Paradise: American Women Photograph the Land ed. Gretchen Garner,
Tweed Museum of Art, University of Minnesota, Duluth, February 1987, pp. 38-39.
• The Essential Landscape, ed. Steve Yates, Univ of New Mexico Press,1985,pp.23,132-5.
• Landscape as Photograph, ed., Estelle Jussim, Yale University Press, 1985, pp. 17, 18, 128-30.
• Jonathan Green, American Photography -A Critical History, Harry Abrams, 1984,
pp. 149,154, 211.
• The Portrait Extended, ed. Charles Desmarais, Mus of Contemporary Art, Chicago,1980.
• La Gente De La Luz, by Meridel Rubenstein, NM Museum of Fine Arts, Santa Fe, 1977.



Akron Art Museum, Akron, OH; ATT; Avon Collection, NYC; The Bank of America, Chicago; Bibliotheque Nationale, Paris; Center for Creative Photography, Tuscon, AZ; Deloit and Touche, San Francisco, CA; Denver Museum of Art; Houston Museum of Fine Arts, Texas; Fine Arts Museum, University of New Mexico, Albuquerque; The High Museum,Atlanta; The William Joiner Center for the Study of War and Social Consequences; Lasalle Bank Collection, Chicago; University of Massachusetts, Boston; The Minneapolis Institute of Arts; Museum of Albuquerque; Museum fur Kunst und Gewerbe, Hamburg, Germany; National Museum of American Art, Washington, D.C.; New Mexico Museum of Fine Arts, Santa Fe; Portland Art Museum; Principal Financial Group; Saint Louis Museum of Art; Rocky Mountain Energy Co., Denver, CO; San Francisco Museum of Modern Art; San Francisco Public Utilities Commission; Santa Barbara Museum of Art; Smith College Museum of Art, Northampton, MA; Valley National Bank of Arizona, Phoenix; Vesti Corporation, Boston, MA; California Museum of Photography, University of California,Riverside; The Wheelwright Museum, Santa Fe, NM.



By Meridel Rubenstein:

Eden in Iraq, a 12 minute video of the S. Iraq marshes by Meridel Rubenstein and soundtrack by Rahim Al Hag, reknown oud player, editing assistance by John Donalds

from installation: Trees at Sea
below, above, drown, swim
twelve-minute video loop places a millennial image/object forest of trees and people, as well as the viewer, below and above the sea, evoking both the precariousness and wonder of the journey. Video projection onto mirror below and up to ceiling: In the gallery two enemy forests face each other on either wall. Thousand-year-old trees root on either shore. For a thousand years, war. In between, a mirrored pool reverses heaven and earth, projecting a video of the roiling below and above. People come and go. Adopteds, vets, war brides, those who return home. Trees fall into water, dugout for the journey. Tree ladders reach to Heaven we can climb our way up or down. Four standing glass portraits circle the mirror pool, standing in for the countless adopteds, vets, and for those who have returned home.
LewAllen Contemporary, Santa Fe, NM June 2001

from installation: eleemosynary (el-e-mos’ i-na-ri), a. and n. [<ML. eleemosynarius, pertaining to alms, one who gives or receives alms
9 minute video projection into glass bowl on steel stand ; surrounded by three portrait transparencies with sandblasted images in lightboxes, 17” x 14” x 4” on 3 surroundingwalls, viewer is the 4th portrait
The Bunting Institute, Harvard University, May 1999
1995 for installation: Oppenheimer’s Chair
The Glass House, 9 minute video projection, commissioned for the first SITE Santa Fe
International Biennial, New Mexico, with technical assistance by Steina Vasulka

1989-93 for the installation: Critical Mass
• Artistic Director/Collaborative photo/video project: CRITICAL MASS. Videos include
If Archimedes, a four-channel video installation(part of “The Portal to Archimedes’ Chamber”), a video/audio/photographic installation. First shown at San Francisco Camerawork, San Francisco, CA in “Nuclear Matters” and now part of the collaborative installation and traveling exhibition CRITICAL MASS
• Other videos include “The Dinner”, a seven track video play, and “The Meeting”, single track work inset in a 40 piece photo grid; technical assistance the Vasulkas

• Project director with Sam Samore; Unraveling Sound — A slow-scan image exchange with twelve American and twelve French photographers at the Paris Biennale and the New Mexico Museum of Fine Arts

• Slow-Scan Image Exchange between Brussels and Boston, Guest Artist, International Electronic Arts Festival, Brussels, Belgium, with Wendy MacNeil, MIT, Cambridge, Mass.
• Assistant Editor, Video Production; The Lowriders, Portraits from New Mexico(by Meridel Rubenstein); produced by Public Media.; edited by Don Foresta; directed by Sam Samore, Gary DeWalt.

About Meridel Rubenstein:

• Participant in film  The Desert is No Lady, for the BBC London,, by Shelley Long and
Sue Palmer, about southwest women artists including Sandra Cisneros, Harmony Hammond and Luci Tapahanso.

• Tom McCarthy, Critical Mass at The New Mexico Museum of Fine Arts, Santa Fe, New Mexico, with guided tour with Meridel Rubenstein, New Mexico Museum of Fine Arts

• A Spirited Place: The Arts of New Mexico, written and directed by David Turner, Director, New Mexico Museum of Fine Arts. Extensive interview with Rubenstein