emeritus.htm

I. BIOGRAPHICAL

b 1932, Bridgeport Illinois, USA

Previous Rank: University of Iowa, Iowa City, Department of Art: Assistant Professor Date of Rank Sept. 1, 1972-1975

Present Rank, University of Minnesota Duluth, Department of Art and Design: Emeritus Professor (Sept 19 1975- retired May 2002 (to REDICEBERG ARCHIVES )

II. EDUCATION
Year Institution Field Degree

M.F.A.1972 School of the Art Institute of Chicago, Audible Sculpture

Diploma 1970 School of the Art Institute of Chicago* Undergraduate, Drawing, painting,
printmaking, audible sculpture

* - non-art academic credits earned through The University of Chicago & Midway Studios

III. PROFESSIONAL EXPERIENCE

Employing Title of Primary Institution Position Responsibilities Dates

University of Professor Art in Technologies, 3-Dimensional 9/87-present
Minnesota Duluth Studies, Art Today, Creating Across Disciplines, 3D Digital Design
Sabbatical, 1998-99

Single Quarter Leave, Fall 1995

University of Associate Three-dimensional 9/79 - 8/87
Minnesota-Duluth Professor studies/Art Today
(liberal education)

University of Assistant Three-dimensional 9/76 - 8/79
Minnesota-Duluth Professor studies

University of Assistant Head, Art Forms 9/72 - 8/76
Iowa (Iowa City) Professor foundation program

School of the Art Institute of Chicago Initiate course in 9/70 - 8/72 Independent Graduate Teaching Ass't. Audible Constructs: sound studies for artists

'06 - '07 update and recap of Leif Brush soundworks

IV. RECOGNITIONS AND DISTINCTIONS

Charter Member, UMD Digital Imaging Lab, 1999-2000

Mcknight Foundation Fellowship Finalist 1990-91
Bush Foundation Artist Fellowship finalist 1989
Bush Foundation Artist Fellowship finalist 1988

Residency Fellow in Interdisciplinary Art, the Yellow Springs Institute for Contemporary Studies and the Arts, Chester Springs, Pennsylvania, (Includes commissioning and July-Aug., 1987 performance of new work and participation in artist forum)

Arrowhead Regional Arts Council artist production grant of
$3,000, for Seasons, a performance/sound/ awarded 1986
collaboration with Suzanne Lacy and Gloria DeFilipps Brush

Visual Studies Workshop Artist-in-Residence awarded 1983, for (Applications for video artist-in-residence use accepted nationwide for the V.S.W. Program in May-June, 1984 Rochester, New York. Panelists: Prof. Harland Snodgrass, SUNY-Alfred; Nancy Norwood, Media Studies, Buffalo; Nathan Lyons, Director, V.S.W.) Funding by
the National Endowment for the Arts.ent

National Endowment for the Arts Visual Arts Fellowship Awarded 1983 of $15,000, Performance/Conceptual/New Genres for use in Program. (Panel: Robert Stearns, Director of 1983-1984 Performing Arts, Walker Art Center; Adrian
Piper, Artist, Critic, Philosopher, Ann Arbor, Mi.;
Suzanne Lacy, artist, Los Angeles; Bill Buchen,
Artist, Composer, Musician, New York City; William
Wegman, artist, Richmond, Va.; Jock Reynolds,
artist, San Francisco) (In the Visual Arts Fellowship categories overall, about 2% of applicants are funded nationally.)

Jerome Foundation Artist Production Grant Award, $6,000 1982 for support of Teleconstructs Spacework at the
Hudson River Museum, New York; ARAC Production
Grant, $1,600.

McKnight Foundation Artist Fellowship of $5,000 1981
(Panel: Mary Jane Jacob, Curator, Museum of Contempo-
rary Art, Chicago; Don McNeil, Curator, General Mills
Collection, Minneapolis; Irving Sandler, art critic, New York City)

Bush Foundation Artist Fellowship of $8,000 1980
(Panel: Ralph T. Coe, Director, Nelson Gallery, Kansas City; Standish Lawder, filmmaker, San Diego, Dianne Vanderlip, Curator of Contemporary Art, Denver Art Museum; Benjamin Lifson, photographer and critic,New York City; Linda Pastan, poet, Potomac, Md; Irving Petlin, artist, NYC; William Ransom.)

Minnesota State Arts Board Artist Fellowship of $10,000 1979-80

Biographical entry, 1978 and subsequent editions, Who's Who 1978-present in American Art, Jacques Cattell Press, Arizona
Minnesota State Arts Board Artist Project Grant, $1,335 1976

Exhibition Award, Des Moines Art Center (Juror: Daniel J.1975 Robbins, former curator, Guggenheim Museum and Director,Fogg Museum, Harvard University

National Endowment for the Arts Visual Artist Grant of $3,000 1973

Part 1: Art Institute of Chicago Fellowship Award of $2,500 1970 --(Rediceberg Memory, fans (major winds playings), Haloids Lithographs, Sound sculpture

Part 2: Art Institute of Chicago Fellowship Award of $1,100 1972 --Kent State Hexagram, Windscube, Meadow Piano, Terraplane Chorography, soundworks

TEACHING

A. Subject areas taught at college level during last five years:

Art in Technologies; Sculpture; 3 D design; 3 D Computer Design; Creating Across Disciplines; Art Today

B. New Courses and Course Improvements

Leif Brush : Windwitnessing, eine künstlerisch-technologische Vision (Englisch) ... Leif Brush. Klangkunst im Internet. Klangkunst im Internet. (Seminar ...) 2008

Leif Brush : Weltweites Lauschen / Workshop in Natur- und Windbeobachtung in ... Leif Brush : Klangkunst im Internet / Seminar (Jeweils Englischkenntnisse...) 2006

Developed topic for ES 5001 Environmental Studies Seminar for Environmental Studies majors, offered fall, 2000 (new teaching assignment)

Art 3030/5030 Art in Technologies developed as a studio elective for all art majors and a requirement for students in the Pregraduate Art-Emphasis Art and Technology major, first offered, 1999-2000

ITV critique/ joint enrollments with Hibbing Community College, 97-98

Website created for exhibiting student show work and work from classes, spring, 1997

Created and pioneered use of two-way ITV with joint instructional project with Hibbing Community College, spring, 1996

Research involving the College of Education's CU-SeeMe internet multiple image interactive video/audio conferencing software system, for use in my own work and as an adjunct to future ITV usage for classes, 1995-96

Increased emphasis on presenting artists from diverse ethnic and cultural backgrounds in all of my courses, since 1992; continued to increase slide and videotape resources specifically for this purpose, 1993-96; computer projections are added, Fall 95

Prepared new course, Art 1014 3D Computer Design, as a computer-based departmental core course, 1995, first offered spring quarter, 1996

Approximately 600 new slides, audio and video tapes have been added to my personal class collections for use in all my courses. Teaching Art Today requires constant renewal of slide, computer and video resources.

C. General Advisor for 20-25 undergraduates annually; served on M.A. examining committees for Samantha Deskins, 98-99; Gayle Gorman and Steve Bardolph, spring/summer, 1997; chaired committee of David Smith, 1993-94

In 1987-88 proposed and taught (to present) FA 1200 and 5200 (now 1300/5300) Creating Across Disciplines, which explores cross-disciplinary and collaborative projects in the arts through exposure to guest artists and tapes. Co-ordination of final production of student performance works. .Funded two years by the Educational Development Program of the University of Minnesota.

1984-87, initiated a program of workshops at the conclusion of Art Today courses, for the purpose of helping students to become active as well as passive appreciators of the arts.

Developed and taught, collaboratively with Thomas Wegren of the UMD Music Department, the course Divergent Harmonies in the Arts, summer,1977

V SCHOLARLY ACHIEVEMENT

A. PUBLICATIONS AND CITATIONS

1. Articles, Essays, Publications and Workshops

Perth, West Australia Curtin University Citation: Master of Electronic Art, 2009

libri_interviste Art and Electronic Media . phaidon 2009

German only Publication: "New music in the tension between science and technology", editor: Jörn Peter Hiekel, ISBN: 978-3-7957-1839-8, Publisher: Schott Music, Marz, 2009; (Chapter III Volker Staub on WINDRIBBONING)

ARTE Marco Enrico Giacomelli, Tecnicamente Arte, 2009

so-on.be-masterclass door de Amerikaanse Leif Brush, pionier van sonificatie workshop

Institut für Neue Musik und Musikerziehung Neu Musik Darmstadt Intro by Volker Staub Author Mai/08

2007 Internet 1: Blog, RHIZOME, Public Hearing

wnmf_n[you]- Leif Brush : Weltweites Lauschen / Workshop in Natur- und Windbeobachtung in Klangkunst im Internet / Seminar, 2006

Citations in Alan Licht's "SOUND ART beyond music, between categories", published by Rizzoli International Publications, NY, p. 73, 2007-ISBN: 978-0-8478-2969-9 (0-8478-2969-3)

Citation in Javier Arize's "Sound Images: A reading plurisensorial in twentieth century art," Cuenca: Ediciones de la Universidad de Vastilla-La Mancha, 2003- ISBN 8484272524

Citation/image in Stephen Wilson's Information Arts: a Survey of Artists And Researchers Working at the Intersection of Art, Science and Technology, published by MIT Press, 2000 ref

"Working Within the System," Tim Anderson, Ripsaw, review of the All System Go faculty exhibition at Tweed, cited as "most unique of the show."

"All Circuits Are Go," by Ann Klefstad, review of the Tweed Museum of Art endeavor: I Ask You exhibition, Duluth News-Tribune, 11/2/97

"Technology Transforms Tweed: UMD Art Professor's 20-Year Vision Realized in New Exhibit," by Jason Skog, front page article with photograph for Tweed's
endeavor: I Ask You exhibition, Duluth News Tribune, October, 1997

-Tweed Museum of Art is presenting its first-ever entirely computer interactive exhibition called "Endeavor: I Ask You." Conceived and organized by Leif Brush of the art department, this project centers on 11 presentations that link artists around the world. The exhibition Web site is http://www.d.umn.edu/~lbrush/I_ask_you_info.html. Exhibit will continue through Dec. 21.

"Sound Shards: Chicago's Sonic Arts," by John Corbet, in ART IN CHICAGO 1945-1995, the catalog for the exhibition of the same name, published by the Museum of Contemporary Art in Chicago, January, 1997

Contributor by invitation, Project InterCommunication Center's CD-ROM version of The Artists' Database, a project of Nippon Telegraph and Telephone Corporation, Tokyo. One of 300 artists worldwide working with electronic media invited to submit photographs, sound, and biographical material. Produced as a working research version, 12/94. The final revised version coincided with the opening of the new Tokyo ICC center in April, 1997. CD

Publication in progress: responded to invitation to submit materials for Urban Design Research, Inc.'s Art & Techno-Science Dictionary, now being edited in Tokyo, Japan. The dictionary ia a reference source for the InterCommunication Center, which opened in 1996 in Tokyo. The dictionary includes a compendium of key concepts from the history of techno-artistic interaction, a basic bibliography, profilesof important artists and their work, and an overview of related organizations worldwide.

"Leif Brush: Aspects of the Terrain Instruments, pdf" cover feature and article, Experimental Musical Instruments, July, 1992 (Vol. VII, No. 6), Nicasio, California.

"The Terrain Instruments Soundworks," Article reissued*, in Leonardo magazine's Sound/Music Theme Pack, a collection of the journals ten most-requested articles
in an area of topical interest. Leonardo is an international, refereed journal of the
Arts, sciences and technology edited in Berkeley, California and published by
Pergamon Press. Fall, 1989.

Featured artist, U.S.-Ear: The New Music Review for Radio, pro-duced by Frank
Hoffman with support from the Corporation for Public Broadcasting. To be aired
nationally, 1987-88.

"Music from Trees, Icefloes and Other Natural Phenomena: An Interview with
Leif Brush," Musicworks 30, Winter, 1985, Toronto. Interview by Musicworks editor Gordon Monahan at the New Music America Festival; magazine includes a sound cassette tape of the Brush work.

"TeleSuonovision: Sound's Image,", EAR magazine, New York City, Fall, 1985 (Vol. 9, No. 5). Article selected for the issue on the theme "The Composer and the Moving Image."

Article co-authored with Gloria DeFilipps Brush, "MONITORING NATURE'S
SOUNDS WITH TERRAIN-BASED CONSTRUCTIONS," Vol.17, pp.4-7, 1984,
Leonardo: International Journal of Art, Science & Technoloy, refereed through
California State University, published by Pergamon Press, Oxford, England pdf ref

Article co-authored with Eleanor Heartney, "Direct Broadcast Sateilite distribution of Terrain Instruments," Vol.8. No.5, p.7, 1984 published by EAR Magazine, N.Y. pdf

Leif Brush's soundsworks perspective by macCormac / sylvi, 2001 & 2003

Article by Leif Brush, "Nature's Voltages as orchestra," Vol.9, No p.,17, 1984,
published by EAR magazine, NYC

Article , "OUT THROUGH IN The Soundworks of Leif Brush," No.16, Wi 83/84,
published by Lightworks Magazine, Birmingham, Michigan

National Gallery of Canada Library & Archives,(soundworks) Art Metropole Collection Catalogue

Article, "MN/NY Collaborative Sound Performance," Vol.2, No.2, 10/ 1982, published
by Artpaper, Minneapolis Author, "Perspectives," September, 1981 issue

Contributor, special issue of Leonardo: of the Inter-national Society for the Arts. Sciences, and Technology, titled "New Foundations: classroom Lessons in Art/Science/Technology for the 1990s" (Leonardo 23, Berkely, Ca.) Article subsequently reviewed in Leonardo 25 by Craig Rowland of the University of Florida, who saw this issue as a compass for art educators seeking to create "a 'new foundation,' for their students to create new tools, new ideas, and new art forms." (March, 1993).

Met with Volker Staub of Frankfort, Germany, on December
12 and 13, 1992, in Duluth. Staub, a composer and author, interviewed me for a book on international makers of handmade instruments.

"Leif Brush: Terrain Instruments Windinch/Windscube Drawings," published in Format: Art and the World, Vol.1, No.3, 12/1978 (publish by C.L. Morrison, St.
Charles, Illinois, correspondent for Artforum

"The Iowa Riverharps: a Generative Public-Use Sculpture," published in Iowa Transit, Vol.LXXVIII, No.3 12/1973, and in Numus West Magazine, Vol.II, No.I, 7/1975, Mercer Island, Washington Issue devoted to the proposals and projections of Leif Brush's work

YONY, Generative Systems Journal of the School of the Art Institute Chicago, Fall, 1975 Leif Brush's research and TerraInstruments

Collage and text in Fifth Assembling, journal of experimental writing and art published by Richard Kostelanetz, New York, 1975

Contributor to 12X l2, arts publication, SUNY-Alfred, New York, 1975

Contributor, Volume Two, Center for New Performing Arts, University Iowa, Iowa
City, 1973

User:Indrian/History of video and computer games University of Iowa art professor Leif Brush establish the university's first computer art class, 1974-'75

Contributor, 1.70, 2.70, 3.70, publications, School of the Art Institute of Chicago,
1970-72

2. Multiples: Recordings, Prints, Audio, and Video Tapes

Soundwork included in Kim Kascone's Layeral Intersect I (of a planned series), Deadtech/Anechoic label CD, 2000
Soundwork in the CD ZERO , a project devised and curated by Colin Fallows, commissioned by the Foundation for Art and Creative Technology (FACT) , U.K.,
published with support from the Liverpool Art School, 3/2000.

Soundwork in the TRACE CD, distributed as part of the Liverpool Biennial of Contemporary Art, (September 24 November 7, 1999), Liverpool, UK, hosted by
such sponsors as the Centre for Art International Research, Liverpool John Moores University, and Tate Gallery Liverpool. The CD is a collection of the work of artists working in sound internationally.

Variations on Sounds of Leif Brush, Warren Burt: NEW EXPERIMENTAL COMPUTER MUSIC 1995 Mills College Center for Contemporary Music, Oakland, California, 1995

Leif Brush Terrain Instruments soundwork featured on the January 6, 1994, broadcast of Sztuka Fabryka Radio in Tielrode, Belgium. The station presents industrial, experimental, independent and contemporary music and sound from around the world.

Soundwork and artist interview featured, Pulse of la et radio program (producer: Jim Metzner). The program is heard on over 200 public and commercial stations in the United States and 130 countries around the world (January, 1994).

Soundwork and TerraInstruments featured, Experimental Musical Instruments Vol. VII with audio cassette, Nicasio, California, October, 1992.

Soundwork featured, The Aerial #4: a Journal in Sound, Nonse-quitur Foundation, Santa Fe, New Mexico, March, 1992. (Part of an ongoing series of compilations of
experimental music, audio and language art from around the world. Available on CD and audio cassette.) Publication on the work of the artists accompanies the CD/tape.

Soundwork accepted for inclusion on Artware's LPs/CDs Textual, Wiesbaden, Germany, 1991

Featured artist, Vol. 6, No. 1, 1990 edition of Stamp Axe, "Instruments/ Handinstrument," with other internationally recognized sound artists. Issue edited by Pier Lefebvre. Issued as tape recordings with accompanying catalog, Montreal,
Canada.

Featured artist, Soundview: Sources, a cassette anthology of audio art distributed with an accompanying publication by Non-sequitur in Santa Fe, New Mexico, January, 1990. Among other artists included in the anthology are Bill Fontana, Charlemagne Palestine, Liz Phillips and Pauline Oliveros.

Featured artist, New Music America 87, Program four of an eight program series produced by WNYC, New York Public Radio and Relache, distributed by the American Public Radio network nationwide and worldwide by satellite, 1987-88

Leif Brush: Imaging Particulate Matter, a 28-minute documentary film-to-3/4 VHS video by Chicago
filmmaker Seton Coggeshall, premiered at Chicago Filmmakers on May 31, 1987.

Inclusion of the current Terrain Instruments work in the David Moss series U.S. Ear,
broadcast over the National Public Radio network, February, 1986

Inclusion in Sound Sculptors-Art You Can Hear, radio series produced by David Moss
with support from the National Endowment for the Arts, featuring work initially
performed in public places, national museum installations, media broadcasts, and live
performances. Aired nationally in 1985- 86.

WGBH-FM, Boston, Real Artways, Hartford and National Public Radio, Washington,
D.C. produced and sponsored musicNow, featuring "TeleSuono Hologram
Soundwork," on the American Public Radio Network, carried by Minnesota Public
Radio, February 15, 1985

Image Perturbations/Sound Chorographics, performance quadrophonic audiotape,
Walker Art Center, May, 1984; and Real Art Ways, Hartford, Connecticut, installation
via satellite, July, 1984

Video Reflected Soundwork, holographic video/audio installation and color tape Visual
Studies Workshop, Rochester, New York, June, 1984

Teleconstructs III (23) DAT version

Teleconstructs Spacework II, installation via satellite, stereo audio tape, Academy of Sciences Auditorium, Washington, D.C., and University of Wisconsin-Stevens Point,
1983

Contributor, Audio Arts (magazine + cassette), featuring international artists, Vol.6, Nos.2 and 3, 1983, London, England, produced with assistance from the Arts Council
of Great Britain

Contributor, Mail Music Project-. a Collective Work, a long-playing record of work of artists using sound, international participation, produced by Nicola Frangione, Italy, 1983

Teleconstructs Spacework II two hour performance via satellite on B&W reel-to-reel video and audio tapes, Hudson River Museum, New York, 1982

British Library SOUND ARCHIVE CATALOGUE, Teleconstructs Spacework I, 1982

Terraplane Chorography II: International Listening, choreographed performance in the
landscape; VTR tape produced by Walker Art Center, Mpls., 1980

Terrain Instruments in Audio Arts Magazine on cassette, London, William Furlong, editor, Vol. 7 1CA0012481 S2 BD20, 1984 1CA0012481 S2 BD7 Teleconstructs Spacework II extract from longer recording (privately issued tape)1980

Terraplane Chorography I, choreographed performance, audio tape and live piano
Tweed Museum of Art, Duluth, Minnesota, 1979

Citation, "Journal of New Music Research," Volume 5, Issue 2 November 1976, pages 149- 170

Contributor, The Ripoff Show, visual Studies Workshop, Rochester, New York,
invitational offset exhibition, 1974

Contributor, The Oxbow Print Portfolio, published Saugatuck, Michigan, by the
Oxbow Foundation and Phyllis Kind Gallery, Chicago, 1969

Contributor, Sound, Art Institute of Chicago, long-playing record, School of the Art Institute of Chicago, 1972

Contributor, The Portable Postcard Exhibition, Art Inst. Chicago, 1978

3. Citations of Work by Others, Exhibition catalogs, Internet

"Continuo's weblog Reassessed aural delicacies, A Leif Brush round up ," 2007

"Niko Tinbergen's Visual Arts", Robert Root-Bernstein, Leonardo, Vol. 40, No. 1, Pages 67-69, Feb., 2007

"Out To The Stars, Into The Heart: Spatial Movement in Recent and Earlier Music, "Blue" Gene Tyranny, NewMusicBox, 2003

"I Built It! The Built Environment In American Music", By Nicole V. Gagné, NewMusicBox, 2003

"atmospheric conditions / leif brush," sylvi macCormac , 2001 ()

Leif Brush's Terrain Instruments work on Collin Fallow's CD "Zero" was cited in Alice Angus' Liverpool Roundup, a review of video and net projects published on- line by physicsroom's Log Illustrated Magazine, Christchurch, New Zealand, Issue Ten, winter 2000.

Bowery, Jim, creator of Spasim, the first 3D Multiplayer Networked Game in 1974; his URL cites Leif Brush with introducing him to to PLATO graphics terminal technology and concepts at the University of Iowa Lindquist Computer Center in 1974, leading to the development of this seminal e;lctronic game. 2000.

Means, David, "Zone of Magnified Power: Site-Specific Sound Art," Public Art Review, Vol.11, No. 2, Spring/Summer 2000, Brush New Music America Walker Art Center Loring Park installation photograph published in this feature article, along with citation of Brush's Terrain Instruments soundworks.

McCartney, Andra, "Soundwork in the Park, with Hildegard Westercamp",
Musicworks Explorations in Sound, No. 72, 1998, cites her web site's participation as
part of the Leif Brush-curated Tweed Museum technology exhibition, I ask you.

Work cited and shown by Beverly Reiser and Fred Stitt in their presenta on artist soundworks
at the 1990 Second International symposium on Electronic Arts in Groningen, Holland, 1990

Exhibition catalog, CRASH (Computer-Assisted Hardcopy), Wright Museum of Art, Beloit
College, Beloit, Wisconsin, 1989

AUDIO ART, "Leif BRUSH (USA) natuurinstallaties en natuurgeluiden in combinatie met hedendaagse technologie," Logos Foundation, Moniek Darge

"Wilderness As Reentrant Form," David Dunn, 1988 pdf

Exhibition catalog, New Music America 87, accompanying sound installation in Philadelphia's
Fairmount Park

Hugh Davies, Mittwoch, 10, 1987 pdf

Exhibition catalog, "Making Waves, An Interactive Art/Science Exhibition tracing the
history of the Generative Systems movement, curated by Catharine Reeve for the Evanston
Art Center, Evanston, Illinois, October, 1986

Work cited, Using Computers to Create Art, Stephen Wilson, Prentice-Hall, Englewood Cliffs,
New Jersey, 1986

Work cited, "A Legacy Maintained: Constructivissm in Kansas City," article by Virginia Hillix in
The New Art Examiner, Chicago, October, 1986, p. 33

"Leif Brush: De voltages van de natuur de impulsen voor de toekomst," by Jean Quist, Buma
Stemra Magazine, Oktober, 1985, published by the Vereniging Buma/Stichting Stemra in
Amstelveen, Holland. (Quist is writer for Music International, Amsterdam, as well as many other
European journals.)

Article and review by Jean Quist, "Teleconstructs," 6e jaargang/no. 67, mei, 1984, Jazz Nu,
Amsterdam cited in article by Jean Quist, 6e jaargang/no 68, 1984, Jazz Nu, Amsterdam

Catalog by Carol Emmons, "Devices: An Exhibition of Technological Art," Published by the
University of Wisconsin System Board of Regents and the Wisconsin Humanities Committee,
1984

Article by Leslie Bellavance, "Tech Art Tamed in 'Devices' show," Vol.11, No.3, 12/1983,
published by the New Art Examiner, Chicago

Exhibition catalog, New Music America '84, artist statement, photograph published by Real Art
Ways, Hartford, Connecticut, July, 1984

Companion to Contemporary Musical Thought (Routledge Encyclopaedias), by John Paynter (Author);

25: "New Musical Instruments in the Computer Age: Amplified Performance and Related Examples

of Low-level Technology," Hugh Davies. p. 500-501, 1984 pdf

Exhibition catalog, New Music America/Washington. D.C. 1983, artist statement, biography,
photograph of installation, published by the Washington Performing Arts Society, 9th Street
Crossings Festival and District Curators, Inc., Washington, D.C., 1983

Leif Brush: the Terrain Instruments-Soundworks, half-hour color documentary videotape
commissioned by Curator Carol Emmons, the University of Wisconsin-Stevens Point, with
support from the Wisconsin Humanities Committee and the Wisconsin Arts Board, 1983

Work cited, "Home Sweet Chicago," by Linda Novak (performance artist and assistant
editor, The Drama Review, New York University), article in the Performance History
section of the national magazine High Performance, published in Los Angeles,
Spring-Summer, 1982

Exhibition catalog, Seventh Annual International Audio Video Exhibition:Magnetic Image 7,
Atlanta College of Art, Georgia, 1982

Exhibition catalog, Eight McKnight Artists, with artist statement, photographs, biography, and
essay on work by Eleanor Heartney, Minneapolis College of Art and Design, 1982

Exhibition review, "Suono e ambiente per la vita," by Lauro Boselli, in Bergamo Oggi, Bergamo,
Italy, 7 March, 1982

Exhibition review, "Sonorita Prospettiche," by Rossella Bonfiglioli, in Flash Art (Italian Edition), Milan, Italy, March, 1982 issue

Work cited, "A Message from Minnesota," by Tom Johnson, The Villagle Voice, New York City, November 3, 1982

Radio interview series in eight parts, with excerpts from Teleconstructs Spacework I, on "The Avant Garden," Series, KUMD-FM, 1982-83

Feature video segment, "He Makes Trees Sing," produced by John Summer, WDIO-TV, Duluth, April, 1982

Feature video segment on Teleconstructs Spacework, produced on site in Duluth, WCCO-TV,
Minneapolis, 1982

Exhibition overview, "Art Sounds," by Ann-Sargent Wooster, in Art in America, February, 1982 issue

"For Brush, Sound is Profound," article by Susan Decker, UMD Statesman, January, 1982

Artist interview and sound excerpts, KAXE-FM, Grand Rapids, Minnesota, produced by Terry O'Brien, 1982

Feature video segment, produced by John Summer, WDIO-TV, televised twice on ABC Television Network, October, 1982 and July, 1984

"The Sounds of Snowflakes," by art critic Sarah Lansdell, in the Louisvill Courier-Journal, March 21, 1982

"Air I," by Martha Elsen, in the Louisville Times, March 22, 1982

Work cited, "Soundings at SUNY," by Peter Frank, in The Art Journal, journal of the College Art Association of America, spring, 1982 issue

Exhibition catalog, Soundings: an International Survey of Sound in the Plastic Arts, with
photograph and essay by Suzanne Delehanty, Director, Neuberger Museum, SUNY at
Purchase, New York, 1981

"New Music America," a series narrated by Nigel Redden, Director of Per forming Arts, Walker Art Center, Minneapolis, for MPR state radio network, 1981

Work cited, "A History of Performance Art in Chicago," lecture by Linda Novak at the School of the Art Institute of Chicago, December, 1981

Work cited, "Taking it to the Streets," by Kirk Nielsen, d'Art, Minneso Daily, March, 1981

Work broadcast, WXPN-FM, Philadelphia, Pennsylvania, on the program Dir rections in Music. which presented works from the exhibition Soundworks curated by Peter Frank at Franklin
Furnace, New York, June, 1981

Work cited, "New Music: America," by Jeanyne Bezoier Slettom, Minnesota Monthly, St. Paul,

National Sound Archive, the British Library, London (1986); Teleconstructs Spacework I; more, cont.

Documentation Centre of the Provincial Museum, Hasselt, Belguim, acquir October,
1982

The Atlanta College of Art, Atlanta, Georgia, 1982

Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Centr Georges
Pompidou, Centre National d'Art et de Culture, Paris-Beauborg, France, 1981

Arrowhead Library System art collection, Virginia, Minnesota, 1981

Shadow K&M Electroakustik, Erlangen, Germany, 1980

School of the Art Institute of Chicago Video Data Bank, Chicago, 1978

"Sound From Scientific Trash," by Jennifer Heath, Colorado Daily, November 21, 1975 pdf

"Leif Brush and the Earth Philharmonic," by Dave Helland, NEW TIMES, December, 1974 pdf

Groupe de Musique Experimentale de Bourges, France, 1974, 1976 update

"NEW TEACH: ELECTRONICS & KINETICS," by Gloria DeFilipps Brush, SAIC NEWSLETTER, 1972 pdf

Mills College, Oakland, California, audio cassette, 1972

3. Curatorial Activities

Curated endeavor: I Ask You, the first cyberspace exhibition at the Tweed
Museum of Art, which included a series of workshops, sound walks, public
sound events, and on-line activities in cyberspace and in the Museum. The
show was focused on the theme of acoustic ecology and artists' responses
to developing electronic technologies. Aspects of the exhibition were funded
by the Chancellor's Small Grants program, the Tweed, and the Center for
Community and Regional Research. This exhibition was two years in the making,
requiring 3-4 hours a day of research and organizational work.

C. Membership on Juries and Selection Qommittees

Member, UMD Digital Imaging Lab committee to select initial research proposals, fall,
1999, 2000

Juror, 1993-94 exhibition season selection, reviewing national submiss-ions, Berkshire
Artisans, the Art Center, Pittsfield, Mass., fall, 1990

Manuscript reviewer (referee), Leonardo: an International Journal of the Arts, Sciences &
Technology, edited in Berkeley, California, for Pergamon Press; 1989-90

Juror, Jerome Foundation Media Art Installation Commissions, UC Video, Minneapolis,
Minnesota, March, 1987

Juror, Grand Rapids Public Schools Youth Art Festival, with Gloria Brush, March 6, 1987

Juror, 83rd Annual Art Institute Fellowships, School of the Art Institute of Chicago, May
16-19, 1985, with Moira Roth and Richard Artschwager

Juror, with Walker Art Center curator Graham J. Beal, for Outdoor Art 8 environmental
works hosted on outdoor sites in the Twin Cities area by Forecast Gallery, Minneapolis,
1982

Juror, Air I, regional exhibition sponsored by the Water Tower Art Center, Louisville,
Kentucky, 1982

Production panel member, Minnesota State Arts Board, statewide review, 1978-1980
Juror, Duluth Art Institute Arrowhead Exhibition, 1978

D. Membership in Professional societies

World Forum for Acoustic Ecology, Simon Fraser University, Canada

YLEM, Michigan (new technologies organization)- to present

ISAST, Leonardo, ongoing

E. Project and Research Grants

Chancellor's Small Grant, for continuing electronic explorations, $750, February, 2000

Chancellor's Grant, to share time as a member of IRCAM's Forum, a reciprocating
United States to France creative sound/data "Studio on Line," $680, May, 1998

Center for Community and Regional Research, UMD, $ 3,000 grant in support of the
Tweed Museum exhibition endeavor: I Ask You, September, 1997

Chancellor's Grant, for data to image and spatial and editable visual representational
software. October, 1997, $750

Chancellor's Grant, "equipment and software for ITV instruction,"
October, 1996, $500.

Information Services Software Fund grant for Sound Editing software use in CCtr 25 ,
Jan, 96

Continuing Education Evening Course Development Grant to establish a computer-based 3D Design course, to be taught spring, 1996, $1,250.

UMD Faculty & Academic Staff Professional Development Fund, $600 grant to purchase
DAT recorder, 12/93

SFA Dean's Professional Development Fund, grant to purchase QuickTime software,
1993

UMD ICR Funds Equipment Grant, with Gloria DeFilipps Brush, $5,359, 1993

SFA Dean's Faculty Development Fund grant, $750, with Gloria DeFilipps Brush, 1990

Meet the Composer/Arts Midwest grant of $250, with Gloria D. Brush, for Annea
Lockwood residency at UMD, 1990

Duluth Public Arts Commission, grant of $1,100, with Gloria D. Brush, for a residency at
UMD by Annea Lockwood, 1989-90

Duluth-Superior Area Community Foundation, grant with Gloria D. Brush to bring
environmental sculptor Alan Sonfist from New York for the Artist Lecture Series, 1988 for
1989-90

University of Minnesota Educational Development Program, with Gloria D. Brush, funding
secured for the Creating Across Disciplines guest artist series and course, 1987-88,
1988-89

Shea Fund, Lake Superior Association of Colleges and Universities, support
to bring new music composer and performer Joseph Celli from Miami for the
Art Department Artist Lecture Series, 1988-89

University of Minnesota Graduate School Grant-in-Aid of Research,
$3,000, in support of personal artistic research, 1987-88

Council on Liberal Education Small Grants Program, University of
Minnesota, $787, for upgrading the Art Today course, 1981-82

Minnesota State Arts Board Sponsor Assistance grant, to bring New Work in Abstract
Video Imagery exhibition from the Everson Museum, Syracuse, New York, to Tweed
Museum of Art, 1979

University of Minnesota Graduate School Grant-in-aid of Research, $7,58 for "Terrain
Instruments: sound orchestration through optical and vibra tional sensing of outdoor
sculptural configurations and atmospherics, 1979

Arrowhead Regional Development Commission arts production grant of $600 for the
Artists Interchange Series, 1979

Council on Liberal Education Small Grants Program, University of Minnesota, $965, for
revising approaches to sculpture and three dimensional course, 1978

Minnesota State Arts Board Sponsor Assistance grant, to bring A History of the Avant
Garde cinema series for screenings, 1978

Council on Liberal Education Small Grants Program, University of Minnes $935, to initiate
the Visiting Graduate Students in the Arts series, 1977

University of Iowa Graduate College research grant of $600, to investig sound imaging using scanning electron microscope, 1975-76

University of Iowa Lindquist Center Fellowship of $2,200, for study of computer's possible applications in the arts, 1973

Independent Graduate Teaching Assistantship to formulate course in soun for visual artists (became base for present audio program), School of the Art Institute of Chicago, 1970-72
Oxbow Summer School of Art, Saugatuck, Michigan, summer scholarship, 1966
Ford Foundation tuition Scholarships, 1967-1970

F. Consultantships and Lectures

Participant, COSTART (Computer Support for Artists) survey, a project of the U.K. Engineeringand Physical Science Research Council, through the Telecommunications and ComputerHuman Interaction Research Centre at Loughborough University, Loughborough, U.K., 2/99

Presentation of sound workshop as part of the week-long workshop "Reading the Landscape: Linking Arts and t he Environment," Wolf Ridge Environmental Learning Center, Finland,
Minnesota; program sponsored by the Minnesota Center for Arts Education and Hamline
University, June 12, 1990

Visiting artist presentation, The Marshall School, Duluth, Minnesota, April 24, 1990.

Videotape presentations on contemporary art and artists for the Tweed Museum of Art docents
group, three times during 1990-91.

Review participant, McKnight Foundation Arts Funding Plan, December, 1989

Participant, University of Minnesota Communication Services focus group "Media Resource
Selection and Use in the Classroom," Gange & Assoc., Duluth, October 12, 1988

Visiting Artist, Art Department, University of Wisconsin, Madison, Wisconsin, March 10-12, 1988

Board Member, the national New Music Alliance (plans the annual New Music America Festival in
an American or Canadian city, elected in Philadelphia, 1987)

Visiting Artist, Fine Arts Division Art Department, Lakehead University, Thunder Bay, Ontario,
Canada, April, 1987

Evanston Art Center, Evanston, Illinois, October, 1986, in conjunction with the exhibition Making Waves:An InteractiveArt/Science Exhibittion

Virginia Commonwealth University, Art Department, April 18-21, 1985

Visiting lecturer, "Technology in a Human[e] Society," College of Liber Arts 6th Annual Humanities
and Arts Colloquim, March 15, 1985

Visiting artist, Visual "Sound" Forum panelist, New Music America 84,
Real Art Ways Gallery, with Alvin Lucier, Liz Phillips, Phil Niblock, Jim Pomeroy, Hartford, Connecticut

Environmental Sculpture Symposium, St. Cloud State University, sponsored by the University Program Board, January 13-15, 1982

Visiting Artist, Water Tower Art Center, Louisville, Kentucky, February 1982

Art Research Center, 15th Anniversary Symposium on Structure and Sequence, Kansas City, 1981 Overhead planes of helium-filled balloons each w/FM transmitter

Breaking Harness with Madness, West Hubbard Gallery, Chicago, Illinois, April 4-5, 1981

Visiting Artist and Seminar Guest, Bemidji State University, Minnesota, "Sources for Art: The Artist and the Environment," with William Staffor Emmet Gowin, and Byron Burford; and "Found Art in Minnesota," with Robe Bly, Gendron Jensen, Robert T. Smith, and Jim Zazoski, February 8-10, 19

Artist-in-residence, Oxbow Summer School of Art, Saugatuck, Michigan, with support from the National Endowment for the Arts, August 6-15, 1979

Visiting Artist, University of North Dakota at Grand Forks, April 17-20 1979

Artist-in-residence, ZBS Foundation, competitive award, Saratoga Spring New York, summer, 1979

Visiting Artist, Art Research Center, Kansas City, June 18-19, 1978

Wright State University, Dayton, Ohio, April 24-28, 1978

Arts Symposium speaker, University of Wisconsin-Superior, May 3, 1978

University of Maryland-Baltimore County, Guest artist for "Progressions series an public
access to artists in the visual and performing arts, with support from the Maryland Arts
Council and the National Endowment, May 11-13, 1977

Guest artist, Grand Rapids, Minnesota public school system, March, 1977

Visiting Artist, University of Chicago, February 2, 1977

SUNY at Alfred, New York, December, 1976

Goodman Theatre, Chicago, "New Music from Chicago: Explorations in Sight and Sound," May 26, 1976

University of Colorado at Boulder, November, 1975

Visiting Artist, Scattergood School, West Branch, Iowa, 1975, 1974

University of Victoria, Victoria, B.C., 1973

Simon Fraser University, Vancouver, B.C., 1973

Telelecturer, (Willard Van de Boagart's classses) University of Pittsburgh, 1973
Visiting Artist, St. Xavier College, Chicago, 1972
Visiting Artist, DuPage College, DuPage, Illinois, 1969

F. Conference/Workshop Participation

Presentor, visual arts imaging technologies, UMD TechFest 98, April 30, 1998

Participant, Instructional Development Service workshop, "Weaving Threaded Discussions
into Your Courses, October 30, 1998

Participant, ITV Video Editing Workshop, Instructional Development Service, March 7, 1996

Participant, Using Interactive Television with Grace and Ease, Instructional Development Service workshop, January 12, 1996

Participant WWW Home Pages Workshop hosted by Info. Services, June 28 and 29, 1995
Gopher Workshop, six sessions, on-line, August, 1994

ITV Teacher Training Workshop, UMD/CSS, at the College of Saint Scholastica,
2-day workshop, August , 1994

SFA representative, "Writing to Learn" conference and workshop, University of Minnesota,
Minneapolis, February, 1987

Dr. Lucie Arbuthnot's "Group Discussion" seminar on teaching, UMD Instructional Service, 1984

Workshop Participant, Linda Hilsen's "Asking Questions and Stimulating Thinking," UMD Instructional Development Service, October 18,1984

Participant, national "Media Arts in Transition" conference, June 8-10, 1983 at the Walker Art Center, Minneapolis; co-sponsored by Walker Art Center; the National Alliance of Media Centers; Minneapolis
College of Art and Desi University Community Video; and Film in the Cities, St. Paul

Participant, "New Medium/New Market Updates," conference on electronic media for artists,
University Community Video, Minneapolis, March 30,'18

Panel Participant, with John Greyson, 1110th International Sculpture Conference," York University, Toronto, Ontario, Canada, May, 1978

VII. SERVICE

A. Campus-Wide Service

Presentor, UMD TechFest, April 30, 1998

Member, Environmental Studies Major (CLA) Advisory Board, 1995-96

Member, UMD Commission on Disabilities, 1995-96; Sub- Committees: Health
Tunneling, Closed Captioning Videos

Member, Research Grant Conflict-of-Interest Review Committee, 1996

Faculty Artist Presentation, Art Department/Tweed Museum Lecture Series September
23, 1986

Search Committee, UMD Computing Services Director, 1985-86

Consultant to Prof. Joseph Gallian on proposed High School for the Art! and Sciences,
Duluth, 1983

All-campus Committee on Computing, 1977-1980

Project Director, New Work in Abstract Video Imagery program screenings
Tweed Museum of Art, 1979

Panel moderator, Arts Leadership Conference, 1978

All-campus Open House Committee, 1978

Participant, UMD Faculty Seminars on Innovation, 1978-79

Project Director, A History of the Avant Garde Cinema screenings, 1978

University of Iowa Computer Committee, 1972-1976

B. School of Fine Arts Service

Charter Member, UMD Digital Imaging Laboratory, and Member, digital Imaging Lab
committee to select research projects for 1999-2000

Outreach, Planning and Extension Committee, 1980-81

Student Affairs Committee, 1977-78, 1978-79, 1984-85, 1985-86, 1986-87
Faculty Grievance Committee, 1977-78
Lecturer to Prof. Jean Swanson's Music Theory class, May, 1977
Lecturer to Prof. Pete Raby's Theatre class, May, 1977

C. Art Department Service

Along with Catherine Ishino, responsibility for researching software and hardware possibilities to serve both fine arts and graphic design students in the department's electronically-based
programs.

Departmental Senior Survey analyst, 2000-01

Agreed to present at the UMD TechFest, for 2001

Co-Consultant on establishing ditgital video courses in the department, 1999-00 and beyond

Member, Art/Tweed Joint Ventures Board, 1992-98, 99-2000

Member, Studio Semesters Planning Department Subcommitee, winter/spring, 1996, 1997-98

Senior Exhibition Evaluator, Winter Quarter, 1996 and 1997

Member, Graduate Program Subcommittee, 1994-96

Member, Anuual Art Student Exhibition Committee, 1994-95

Senior Exhibition Evaluator, Winter Quarter, 1995

Information Services Academic Information Co-ordinator for Art Department, 1993-94 (network connection completed 2/94)

Tweed Museum Docent Presentation, "Form and Meaning," 11/18/92

Chair, Art Today Subcommittee (to review course in light of new campus diversity initiatives), February, 1993

Art Department Tweed Associates Liaison, 1990-91, 1989-90

Senior Exhibition Evaluator, fall, 1993, winter quarter, 1993

Graduate Review organizer, winter quarter, 1991, and later

Representative to the Graduate Faculty Committee, winter quarter, 1989

Member, Art Department Annual Student Exhibition Committee, 1988-89

Search committee for tenure-track Art Historian and sabbatical replace-ment in
Print Processes, 1986-87

Visiting Artist Committee member, 1989-90

Curriculum Committee member, 1986-87, 1987-88, 1989-90

Search committees for temporary positions in ceramics/Art Today, painting, and 3-Dimensional Design, 1985-86

Panelist, "The Fine Arts Life," spring, 1986

Annual Student Exhibition Faculty Committee, 1985-86

Scholarships Committee, 1983-84

Lecturer to Dr.Lucie Arbuthnot's Survey of the Arts course, 1983

Annual Student Exhibition Faculty Committee, 1982, later

Honors Committee, 1977-78, 1978-79

Activity Calendar Committee, 1977-78

Statewide Arts Consortium Representative, 1978-79

National Association of Schools of Art Accreditation Report Committees Chairman #7,
Member #5, 1978

Faculty Committees for Review of Student Exhibitions, 1976-1983

Short and Long Range Planning Committee, 1977-78

Recruitment Committee, Chairman, 1977-78

Field trip coordinator, Minneapolis College of Art and Design Laser/
Holography exhibition, November, 1976

Program Director, Visiting Graduate Students in the Arts, 1976-77,
1977-78

Co-ordinator, Grantswriting Workshop for students, 1978
Lecturer to Mary Washburn's Careers in Art course, winter, 1977
Lecturer to Prof. Robin Poyner's Art and Culture class, November,
1976

D. Professionally Related Public Service

Steering Committee member for the United States, World Forum for Acoustic Ecology,
formed during the Banff Centre Tuning of the World conference, August, 1993.

Artist exhibition interview, KUMD-FM, UMD, September, 1986

Featured artist, Arts in Duluth, WSCD-FM, Duluth, Minnesota, 1986

Juror and quest speaker for the Youth Art Festival in the Grand Rapids, Minnesota school
system, April 3, 1986

Participant, University of Minnesota-Duluth "Technology Day," Kirby Student Center,
October 15, 1983

Guest lecturer, "Contemporary Uses of Sound in Sculpture and Other Aspects of the
Visual Arts," Central High School, Duluth, 1981

Guest speaker, Friends of Tweed docents group, October, 1978-present

Host and Lecturer, Depot Poetry Workshop, St. Louis County Heritage and Arts Center,
April, 1978

E. Other Community Service

Springwatch bird reporter, ongoing

Minnesota State Horticultural Society annual conference volunteer, summer, 1995

WDSE-TV Area Educational Television telethon volunteer, 1980-85

Vol.14, No.6, 1980

Exhibition catalog, with statement and photographs, Minnesota Energy: an artist-curated
exhibition, published by the University of Minnesota cooperation with the Tweed Museum of Art
and the Duluth Summer Festival Arts, with Jerome Foundation support, 1980

Terraplane Chorographv II: International Listening, half-hour, 3/4" color documentary videotape produced by the Walker Art Center, Minneapolis, I980

Work cited, "New Music America Festival," article by Michael Anthony, Musical America,
November, 1980

Walker Art Center, Minneapolis, June 1980, Nigel Redden, Program Director, with New Times music critic John Rockwell, 1980

Minneapolis PM Magazine, "Leif Brush Terrain Instruments and Performance" recorded and aired June, 1980, during New Music America

KTCA-TV, Minneapolis: Re Sounding: Variations on New Music, with host L Larsen, produced by Kathryn Allen, June, 1980

Work cited, "The Endless Scale: Computer Composers and Microtonalists Expand Musical
Experience," by Doug Carr, Omni magazine, March, 1980

Work reviewed, "New Music America," by Allen Robertson, in the Minneapolis Star, June, 1980

Work reviewed, "Breaking Harness with Madness," by Mark Michael Leonhar in the New Art Examiner, Chicago, May, 1980

Work reviewed, critic's choice, with Harry Bouras, WFMT-FM, Chicago, 1979

Exhibition catalog, National Sculpture 79, with introduction by Robert Pincus-Witten, 1979

Artist interview by Claudia Hampston of WSCD-FM, Duluth on MPR state radio network's
Noonday, January, 1979

Tape broadcast, Inside The Hidden Landscape with Leif Brush, WDSE-TV, Duluth, July, 1978

Artist interview, Insight, WDTH-FM, Duluth, April, 1978

Feature videotape, Inside The Hidden Landscape with Leif Brush, half-hour color videotape,
produced by the Minneapolis Institute of Arts with the Minnesota Artists Exhibition Program and Jerome Foundation, 1978 (was avail able for purchase or loan from the Institute)

Work cited, "NAME that Event: Gallery"s New Series," Chicago Tribune, October 21, 1977

"Leif Brush: Terrain Instruments," feature article by Gloria DeFilipps Brush in the School of the Art Institute of Chicago Alumni Newsletter, summer issue, 1977

Work cited, "Sound Sculpture," St. Paul Dispatch, January 6, 1977

Work cited, "A Kick in the Arts," by Carl Lavin, in The Grey City Journal, Chicago,
February 4, 1977

Terrain Instrument work featured, KBJR-TV, Duluth, evening news, Octobe 2, 1977

Work cited, "Experiencing Art," by Carl Lavin, in The Chicacgo Journal, Chicago, January 26,
1977

"Famous Artists: One foot in the Art World, the Other in the Classroom, University of
Minnesota-Duluth Alumnotes, winter issue, 1977

Exhibition catalog, Performance/Midway, published by R.A.U. Connection, with the Illinois Arts
Council and the University of Chicago, 1977

"Live Sounds from Forest in Duluth Accompany Opening of Audible Sculpture Exhibition," feature in Lively Arts section, St.Paul Sunday Pioneer Press, November, 1977

"Performance Art: Music of the Trees," in The University of Chicago Magazine, Vol.LXIX, No.3, Spring, 1977

Work cited, "UMD/UWS Dance Theatre," review by Allen Robertson, in the Minnesota Daily, April 8, 1977

Work cited, "Performance: Some Afterthoughts," lecture by Reagan Upshaw, University of
Chicago Midway lecture series, March 11, 1977

Work cited, "A Choice Exhibition Takes a Critical Turn," by Alan Artner, Chicago Tribune, October 10, 1976

Work cited, exhibition review by Harold Hayden, Chicago Sun-Times, October, 1976

Work reviewed, "Critic's Choice," Harry Bouras, WFMT-FM, Chicago, April 4, 1976.

"His is Definitely Sound Art," by Janet Burns, Duluth News-Tribune, December 19, 1976

Cover photograph, WDTH-FM Log, University of Minnesota-Duluth, December 19, 1976

Work cited, "Faculty Work Exhibits Great Diversity," by D. Cox, in the Statesman, November 11, 1976

Work reviewed, N.A.M.E. Gallery exhibition, by C. L. Morrison, in natio magazine Artforum, with photograph, June, 1976

Work cited, "Art on Tape," review by D. Weinstein, Artweek, Oakland, California, July 3, 1976

Work cited, Space Time Sound/Conceptual Art in San Francisco Bay Area: the 70s, San
Francisco Museum of Modern Art, 1976

Sound playings, "Channel Twenty," WDTH-FM, The University of Minnesota- Duluth, December,
1976

Interview by Wayne Jarvis, KUNI on Oscar Brand's "Voices in the Wind," NPR, 1973, MP4

"Leif Brush Makes Art of Today's Scientific Trash," by Jennifer Heath, Colorado Daily, Boulder, Colorado, November 21, 1975

"Leif Brush and the Earth Philharmonic," in New Times, New York, January, 1975

"Artist, Inventor Par Excellance," Daily Iowan, summer edition, 1975

Sound playings, Terrain Instruments, KCSB-FM, Berkeley, California, 1975

Artist interview, "Conversations," WSUI-FM, University of Iowa, 1975

"Natural Sound Recordings at UI," Iowa City Press-Citizen, April 5, 197

"Tramp Tramp Tramp," feature article by Dave Helland, Sunday Des Moines Register picture section, October 6, 1974

Feature videotape, by the Brazilian Globo Televison Network, Sao Paulo and Rio de Janiero,
1975

"Harp Would Put Iowa on Cultural Map," Daily Igwan, October 4, 1973

"New Computer Art Course Planned," Iowa City Press-Citizen, December 2, 1973

Work cited, "Unforgettable History Lesson," by Donald J. Anderson, Chicago Today, 1973

Work cited, review by Franz Schulze, Chicago Daily News Panorama, June, 1972

Work cited, review by Jane Allen and Derek Guthrie, Chicago Tribune, June 8, 1972

Work reviewed, St. Xavier College Gallery exhibition, by Donald J. Anderson, Chicago Today, March 5, 1972

Work cited, "The Art That Says Participate," by Thomas J. Willis, Chicago Tribune, June 21,
1970

ARTISTIC ACHIEVEMENT

1. Internet, Exhibitions and Commissions

Spannungsfelder. Neue Musik im Kontext von Technik, Natur und Wissenschaft, Darmstadt, Mittwoch, 26. März 2008 pdf

Terrain Instruments 2nd retrospective and faux Microflown soundwork 2008 1, 2

Terrain Instruments Frost Printer 1973 construction; "Frost pictures machine PIE, 2007"

Institut International de Musique Electroacoustique ' H2O ', Leif BRUSH (USA) w d a s a-June'74-Mar'06

"N[you] Musik in der vernetzten Welt Kinder- und Jugendkongress: Leif Brush : Weltweites Lauschen / Workshop in Natur- und

Windbeobachtung in Echtzeit-Audio-Streaming; Klangkunst im Internet / Seminar (Jeweils Englischkenntnisse der Teilnehmer

erforderlich, möglichst Erfahrung mit Computer und neuer Technologie", Stuttgart, 2006 pdf

Terrain Instruments soundwork mars moon snatch, positioning played as part
of the GMEB Le Festival Synthese 2001, a project of the Institut International
Electroacoustic in Bourges, France

Terrain Instruments soundwork broadcast as part of the Other Worlds program
on Australian National Radio, late 2000. The program was presented by Bert
Clough and programmed by sound artist Warren Burt. Annea Lockwood, Hildegard
Westerkamp and David Dunn were among the other international artists included
in the program.

Soundworks presented, Art, Design and Music in the Electronic Age, Center for the
Humanities, University of Missouri at St. Louis, March 10-12, 1999 (also included
Johanna Drucker, Morton Subotnik, Eduardo Kac, and others); also discussed recent
work with IRCAM's real-time digital forum

Represented artist (of three hundred worldwide), Tokyo NTT InterCommunication
Center (ICC) on-line database profiling artists who have brought arts, technology
and communications together in their work. The Center opened to the public in 1998, and
the on-line project is on integral part of its activities. 1998

YLEM/Artists Using Science and Technology, national organization's Art on the Edge
Website featuring acoustic experiments from Leif Brush's endeavor: I Ask You
exhibition at the Tweed Museum of Art, October-December, 1997

Ear to the Ground, interactive sound installation, all campus Faculty Exhibition,
Katherine E. Nash Gallery, Wiley Hall, University of Minnesota, January, 1997

Creating Across Disciplines class Terrain Instruments video/sound/multiple slide
projections performance work, May 13, 1996

Presentation of computer-manipulated Terrain Instruments soundworks in the Listening
Room at the San Francisco Art Commission Gallery from April 3-13, 1996, as part of
SoundCulture 96, a trans-Pacific festival of sonic art and contemporary sound practice
sponsored by the Mills College Center for Contemporary Music, the San Francisco Art
Institute, The Lab, and New Langton Arts

Sonic environment presentation as part of Magma Morphose, digital Terrain Instruments
tapes, The Space Gallery, Minneapolis, March 31, 1996

Multimedia and interactive works in the December-January, 1995 Faculty Biennial
Exhibition, Tweed Museum of Art, include "Jukebox-in-the-sky over deconstructed voting
booth" installations, utilizing lights and sound

One of fifteen artists from the U.S., Canada, Switzerland and Australia whose work was
exhibited in Lend Me Your Ears: Sound City Spaces, curated by Charles de Mestral.
Terrain Instruments Soundwork with video and slides, Creating Across Disciplines class
performances to the public, May 7, 1995, in UMD's Bull Pub

Ongoing World Wide Web page on the Internet established in 1995 published under MIT's
Leonardo magazine's "Electronic Directory" at URL
http://www.mitpress.mit.edu/Leonardo/rolodex/brush.leif.html

Red Eye Theater, Minneapolis, November 4 and 5, 1994.Collaboration with Warren Burt,
Philip Blackburn, Carolyn Ehler , Miriam Gerberg and Mark Nowak, in a performance work
involving music, Brush's Terrain Instruments sound, video, koto and khene performance,
set design, texts, and reading. Brush's sound was computer-processed. Sponsored by the
Minnesota Composer's Forum.

The Sound Symposium, Arts and Culture Center, St. John's, Newfoundland, Canada, July 15-23, 1994

Sztuka Fabryka Radio, Tielrode, Belgium, Brush Terrain Instruments work broadcast, May
26, 1994.

University of Minnesota-Duluth, Terrain Instruments Soundwork, as part of the Creating
Across Disciplines annual performance, May, 1994

Presentation of the Terrain Instruments work for Tuning of the World, the First International Conference on Acoustic Ecology sponsored jointly by the Banff Centre and the University of Calgary (August B-14, 1993, the Banff Centre for the Arts, Brush presentation August 11, 1993).

Center for the Arts Gallery, Moorhead State University, Moorhead, Minnesota, Art & Science: Method & Metaphor, an invitational group exhibition (February 1-25, 1994).

Tweed Museum of Art, 1993 Faculty Exhibition, sound sculpture installation, December 5-
January 23, 1994

Northern State University, Aberdeen, South Dakota, international invitational Electronic Art Exhibition, curated by James Gibson, January-February, 1992.

Tweed Museum of Art, Duluth, Minnesota, Faculty Exhibition, January 18-February 24, 1991

Charles A. Wustum Museum of Fine Arts, Racine, Wisconsin, ForBirds, an exhibition with an avian theme, June 1-September 13, 1990. Catalog.
University of Illinois at Chicago Gallery 400, Chicago, Illinois, invitational exhibition Faxart, July 13- August 17, 1990

Dudley Experimental Theatre, Marshall Performing Arts Center, University of Minnesota-
Duluth, collaborative performance with new music composer/performer Annea Lockwood
and two students, Spirit Catchers, May 7, 1990

Toelgyfa Galeria, Budapest, Hungary, telephone-controlled Brush soundworks presented by
Mathias Fuchs of the Hochschule for Ange-wandte Kunst in Vienna in the MAPS exhibition,
December 1-15, 1989.

Cleveland Performance Art Festival, The Radio Art Project, tapes broadcast, December,
1989-January, 1990.

Minneapolis Institute of Arts Pillsbury Auditorium, The Telephone FinalyEarns Its Keep,
premiere of new performance work presented by the Minnesota Artists Exhibition Program
in conjunction with Film in the Cities, February 25, 1989 (two performances).

Wright Museum of Art, Beloit College, Beloit, Wisconsin, CRASH (Compute Assisted
Hardcopy), invitational exhibition opening October 23, 1988 an traveling to: West Bend
Gallery of Fine Arts, Wisconsin, September-Octo 1989; The Morris Museum, Morristown,
New Jersey (December 22-February 1, 1990; Freeport Art Museum and Cultural center,
Illinois, spring, 1990; Elvehjem Museum of Art, University of Wisconsin, Madison, fall, 1991, and other locations

New Music America 1987, commissioned work for the interdisciplinary visual arts/
performance section of this annual national festival, Philadelphia, October, 1987; with funding through the NEA

Sound co-artist and consultant,The Crystal Ouilt, with performance artist Suzanne Lacy,
IDS Tower, Minneapolis, May 10, 1987

Evanston Art Center and Noyes Cultural Arts Center, Evanston, Illinois, Making Waves: An
Interactive/Art/ScienceExhibition, history and performance exhibition of the Generative
Systems movement, curated by Catharine Reeve, October 17-November 16, 1986

Tweed Museum of Art, University of Minnesota-Duluth, A SuonoHologram, August 27-September 24, 1986

Intraspace, a dance/audio collaboration with choreographer Marni Mahaffey, University of
Minnesota-Duluth, Dance Concert, April, 1986

Minneapolis Institute of Art, Tenth MAEP Anniversary Exhibition, invitational, Dayton-
Hudson Gallery, February 15 - April 20, 1986

Northern State College, Aberdeen, South Dakota, The Dakota Video_Review, national
invitational

"Unattended Terrain Instruments by Leif Brush," color video tape with sound, traveling in
1985-86 to Phillips Academy, Andover, Mass.; University of Denver; University of South
Dakota, Vermillion; The University of North Dakota Cable Television Network; Aberdeen
Public Schools Cable TV Network; St. Mary's College of Notre Dame, Indiana; Syracuse
University (five artists were chosen nationally)

University of Minnesota Coffman Galleries, Minneapolis, invitational, 1986

Technology in a Human(e) Societv, February 18 - March 15, 1985

Real Art Ways, Hartford, Connecticut, South Carolina Educational Radio
Network, Columbia; Alabama Educational commission, WLRH-FM, Huntsville,
"Image Perturbations/Sound Chorographics II, 11 via Westar V satellite;
panelist: "Sound Forum," New Music America 84

Walker Art Center, Performance Series, "Image Perturbations/Sound Chorographics,"
sponsored by Minneapolis public FM radio station KFAI, May 1, 1984

Visual Studies Workshop, Rochester, New York, video and sound installation, May-June,
1984

The Image Resource Center, Cleveland, Ohio, Electrostatics International, international
invitational, January 6 - February 3, 1984 (curator: Will Larson, Tyler School of Art,
Temple University, Philadelphia)

Academy of Science Auditorium, Washington, D.C., Teleconstructs Space-work II,
commissioned by New Music America 83; carried live from the Terrain Instruments site to
Washington via Westar V satellite, October 7, 1983

University of Wisconsin-Stevens Point, Devices : an Exhibition of Tech-nological Art
Sculpture Incorporating Electricity, Light, Sound. Motion, Neon and Lasers, national
invitational, September 25 - October 14, 1983 curated by Carol Emmons; October 7,
1983 Washington, D.C. transmission simultaneously on the Wisconsin campus and
broadcast over public radio stations in the United States; project support from
the Wisconsin Human ities Commission and the Wisconsin Arts Board

Tweed Museum of Art, University of Minnesota-Duluth, Eight McKnight Artists, traveling
invitational exhibition, January, 1983

Center for the Arts Gallery, Moorhead State University, Eight McKnight Artists, traveling
invitational exhibition, April, 1983

Kiehle Gallery, St. Cloud State University, Minnesota, Eight McKnight Artists, traveling
invitational exhibition, December, 1982

Terrain Instruments sound playings, Spring Concert, University of Minn-esota-Duluth dance program,

Marshall Performing Arts Center, 1982

Hudson River Museum, Yonkers, New York, Teleconstructs Spacework I, soundwork
performance via Westar IV satellite, in collaboration with minneso and New York artists,
with production support from Jerome Foundation, St. Paul, October 9, 1982

Atlanta College of Art, Atlanta, Georgia, Magnetic Image 7, 7th Annual International-
Aud.io-.Video Exhibition, curated by Ben Davis, November 1-1982

Minneapolis College of Art and Design, Eight McKnight Artists, Septem-ber, 1982

Biennale de Paris, France, soundworks, invitational exhibition, October and November,
1982

Suono/Ambiente/Musica, Rimini, Italy, international invitational, photo murals and
soundworks, 1982, traveling in 1982-83 to the Venice Biennal Kulturforum of
Bonn, Germany; Kulturreferat, Munich, Germany; Turin, It and the Oggi Musica, Lugano,
Switzerland

Neuberger Museum, SUNY, Purchase, New York, Soundings: an International Survey of
Sound in the Plastic Arts, international invitational, September 20 - December 23, 1981,
curated by Suzanne Delehanty, with support the National Endowment for the Arts, and
the Neuberger and Wallach Foundations

Art Research Center, Kansas City, invitational Apparative Art, April, 1, 1981
Franklin Furnace, New York City, Soundworks II, national invitational curated by Peter
Frank, May, 1981

The Downey Museum of Art, Downey, California, waves in Space/New Art an Technology,
curated by Craig O'Rourke, February-April, 1981, with suppot from Rockwell
International, JPL-Caltech, and NASA-Goddard Space Flight Training Center

Minneapolis Jewish Community Center, juried group exhibition Conceptual Art, 1981

Forecast Gallery, Minneapolis, Minnesota, Color Copy Art: the Middle States, Midwestern
juried exhibition, 1981

West Lake Street Gallery, Chicago, The Red Wedge Show, invitational, 1981

Walker Art Center, Minneapolis, New Music America 80 national invitational, Terraplane
Chorography II: Internat.ional Listening, curated by Nigel Redden, June, 1980

West Hubbard Gallery, Chicago, three-artist invitational, Breaking Harnness with
Madness, curated by Gary Justis, 1980

Minneapolis Institute at Arts, Technology: an Introductory Gallery Exhi ition, 1979

School of the Art Institute of Chicago, wire Trees in Four Vectors, a collaborative sound/videotape performance by Leif Brush, Stuart Pettigrew, Gunther Tetz and Phillip Lee Morton; traveled to the University of Michigan, Ann Arbor; the Everson Museum, Syracuse, New York; and California State University, 1979

Laser Soundwork, Oxbow Summer School of Art, Saugatuck, Michigan, July, 1979

University Galleries, University of North Dakota at Grand Forks, solo invi tational exhibition, April 16- 20, 1979

Tweed Museum of Art, University of Minnesota-Duluth, Terraplane Choro graphy, Part I, 1979

Art Research Center, Kansas City, invitational Enter the Ether: Multiple Balloon Sound and
Spacework, during "Ten Acres Over Kansas City Parks," May 19-25, 1979

Georgia Southern College, National Sculpture 79, national juried exhibtion, February, 1979
(traveled to Appalachian State University, April, 1 Handshake Gallery, Atlanta, April, 1979;
University of Alabama at Huntsville, April, 1979; Columbia Museum of Art, September, 1979; Rodgers Museum of Art, Laurel, Mississippi, December, 1979; Juror: Robert Pincus-Witten. New York)

Works Gallery, San Jose, California, two-artist invitational, January, 1978

Walker Art Center, Minneapolis, Brush II soundwork choreographed by Sharon Friedler, April 21,
1978

Tweed Museum of Art, University of Minnesota-Duluth, Leif Brush: Exactly What is he Doing?, 1978

Wright State University Gallery, Dayton, Ohio, solo invitational s -able Atmospheres, April-May, 1978

Marshall Performing Arts Center, University of Minnesota-Duluth, Brush soundwork choreographed by Sharon Friedler, 1978

N.A.M.E. Gallery, Chicago, invitational Daley's Tomb exhibition, March 1978

N.A.M.E. Gallery, Chicago, invitational Seven by.Nine, curated by Ellen Lanyon, June, 1978 (work acquired by the Museum of Contemporary Art, Chicago)

Duluth Art Institute, Duluth, Minnesota, invitational Containers, 1978

Art Research Center, Kansas City, invitational solo "Proposals" exhibition, May-Jun 1978

St. Louis County Heritage and Arts Center, Duluth, Minnesota, Terrain Instruments sound playings, Depot Theatre, 1978

Minneapolis Institute of Arts, Minnesota, solo invitational exhibition, Imported Sources : Forest Compression/Real Time Satellite Transmission and Plaving from the TerraInstruments Structure Series Installation. Duluth, Out door Courtyard, Minnesota Artists Exhibition

Program, October, 1977Art Research Center, Kansas City, invitational Telic exhibition, 1977

N.A.M.E. Gallery, Chicago, solo invitational Imported Sources: Forest Compression Series,
December, 1977

University of Maryland, Baltimore County, solo invitational Imported Sources: Terrain Instruments and Tree Clusters, May, 1977

Marshall Performing Arts Center, University of Minnesota-Duluth, Brush choreographed by Sharon Friedler and Tara Givens, 1977

Minnesota Museum of Art, St. Paul, Minnesota, Sculpture Unlimited exhi-bition, 1977

Tweed Museum of Art, University of Minnesota-Duluth, traveling Button, Button exhibition, originating
from SUNY-Alfred, New York, 1977 (also shown at the University of Colorado; Appelgarth Follies, London, Ontario Photoworks, Richmond, Virginia; the University of Oklahoma; and Albion College, Michigan)

Itasca Community College, Grand Rapids, Minnesota, UMD Art Faculty Exhibition, 1977

University of Chicago, Midway Studios, Chicago, Illinois, invitational Imported Sources, as part of the Performance/Midway Series, February, 1976

Tweed Museum of Art, University of Minnesota-Duluth, Faculty Exhibition 1976

University of Kansas, Lawrence, Kansas, national invitational Audio Art December, 1976

State University of New York at Alfred (SUNY), solo invitational exhi-bition, Terrain Instruments Structure Series and Voltages From Nature, December,1976

Gallery 1134, Chicago, Illinois, Critics Choose Artists, invitational, October. 1976

LaMamelle Gallery, San Francisco, California, Recorded Works invitation July, 1976 (traveled in 1977)

N.A.M.E. Gallery, Chicago, Illinois, solo invitational exhibition, Orchestral Concept Array, Terrain Instruments, and..Personal Scans, March-Apri 1976

Center for New Performing Arts, University of Iowa, Iowa City, Clapp Re cital Hall, All Occurrences are Linked: terraInstruments, thunders, 2 county modulated laser/telephone recordings, April and October, 1975; Collaborative sound and video performance, Multimedia Area, 1975

Art Research Center, Kansas City, invitational Sensorium, sponsored by National

Endowment for the Arts workshop grant, 1975

Museum of Art, University of Iowa, Iowa City, faculty invitationals, 1976

Kemper Gallery, Kansas City Art Institute, invitational Pictorial History of the World, 1975

Bradley University Gallery, Peoria, Illinois, juried prints exhibition, 1975

Davenport Art Museum, Iowa, juried exhibition, 1974

Sioux City Art Center, Iowa, group juried shows, 1973 and 1974

Des Moines Art Center, Iowa, juried exhibitions, 1974 and 1975

Visual Studies Workshop, Rochester, New York, invitational, 1974

Joslyn Museum, Omaha, Omaha Flow Systems, group invitational, 1973

University of Iowa Museum of Art, Iowa City, Free Spectral Ranae, using the Cross-Jeffries
Video Laser II system, 1972

Design Center, Iowa State University, Ames, Iowa, Regents Invitational, 1972

Henry Gallery, Seattle, Washington, invitational group show, 1973

Lindquist Computer Center, University of Iowa, Iowa City, group invitational, 1972

SUNY at Alfred, New York, 12Xl2, invitational group, 1972

St. Xavier College Gallery, Chicago, Illinois, solo invitational, 1972

Paw Paw and Lawton, Michigan, satellite conducts and roadside sound sculpture installations, 1971

School of the Art Institute of Chicago, 1/2 hexagram, roof sound installation, 1971

Illinois Arts Council Gallery, Chicago, Illinois, solo invitational, 1971

University of Wisconsin-Whitewater, invitational group sound exhibition, 1970

Art Institute of Chicago, juried fellowship satellite/wind/sound exhibitions, 1970 and 1972

Hyde Park Art Center, Chicago, invitational group exhibition, 1970
Frumkin Gallery, Chicago, group invitational, 1970

Renaissance Gallery, University of Chicago, Illinois, juried show, 1971

Wabash Transit Gallery, Chicago, represented, 1970-1971
Art Institute Sales and Rental Gallery, Chicago, represented, 1970-1971

Museum of Contemporary Art, Chicago, live performance, Sunday as Monday, sound
performance with Gloria DeFilipps Brush, May 26, 1969

Rosner Gallery, Chicago, invitational group exhibition, 1968

2. Public Collections
Natural Art Laboratory, Milan, Italy

"Aspects of the Terrain Instruments" by Leif Brush. 5 pages; 14 photos
Brush's article describes his systems for creating and listening to and sometimes modifying the sounds of hidden natural events. In one of his outdoor installations, galvanized and stainless steel wires strung between trees can be monitored. The large-scale site-specific pieces use special contact sensors or transducers, attached to wood or ribbons, to amplify microsound events. FM radio transmitters are used to carry preamplified vibrations of atmospheric phenomena acting upon man-made sources. In some cases sounds are presented as they are, in others sounds are manipulated electronically. Among the many installations shown here are Insect Recording Studio, Chord Draft Monitor, Meany Ice Floe, Treeharps Network, Terraplane Chorography II, and The Telephone Finally Earns Its Keep. One concept involves solar powered electronics and satellite transponders. [Additional keywords: electroacoustic, nature sounds, soundscapes, interactive arts]