Curriculum Vitae

Pat W Williams

June 15, 2017

General Information

University address:	Department of Art
College of Visual Arts, Theatre and Dance
220 Fine Arts Building
Florida State University
Tallahassee, Florida 32306-1150
Phone: (850) 644-0509

E-mail address:	pat.ward.williams@fsu.edu

Professional Preparation

1987	M.F.A., Maryland Institute College Of Art, Baltimore, MD. Major: Photography. 

1982	B.F.A., Moore College of Art, Philadelphia, PA. Major: Photography. 

Nondegree Education and Training

2010	TEFL Certification. 

Professional Experience

2000–present	Full Professor, Department of Art, Florida State University, Tallahassee, FL. 

2001–2005	Head of Photography Department, College of Visual Arts, Theater and Dance, Florida State University, Tallahassee, FL. 

1991–2000	Associate Professor of Art, University of California Irvine, Irvine, CA. 

1998	Visiting Faculty, Technikon Witwatersrand, Johannesburg, South Africa. 

1996–1998	Fulbright Research Fellow, University of the Witwatersrand. Fulbright Research Fellow.

1997	Photography workshop leader, Manu Technical College, Soweto, South Africa. 

1993	Visiting Faculty, University of Hawaii at Manoa, Honolulu, HI. 

1989–1991	Core Faculty for Program in Photography, California Institute of the Arts, Valencia, CA. 

1987–1989	Assistant Professor, College of Notre Dame of Maryland, Baltimore, MD. 

1987–1988	Adjunct Professor, Bowie State University, Bowie, MD. 

1984–1986	Faculty, Baltimore School for the Arts, Baltimore, MD. 

Language Proficiency

English - native in speaking, reading, and writing.

Areas of Expertise

Darkroom Photography. 
Digital Video Fine Art. 
Non-Silver Photography. 
Public Art Production. 

Visiting Professorship(s)

1998	Technikon Witwatersrand, Johannesburg, South Africa. 

1996–1998	Fulbright Scholar, University of the Witwatersrand. 

1997	Manu Technical College, Soweto, South Africa. 

1996–1997	Fulbright Regional Research Fellow. 

University of the Witwatersrand. 

1993	University of Hawaii at Manoa, Honolulu, HI. 

Artist/Designer in Residence

2015	Cafe Tissardmine. 

Artist residency in Erfoud, Morocco. 

2009	Hambidge Center for the Creative Arts. 

2006	Sansa, Kokobritey, Ghana. 

Triangle Artists Network. 

2005	Hambidge Center for the Creative Arts. 

2002	Greatmore Studios, Cape Town, South Africa. 

Triangle Artists Network. 

1997	Bag Factory (Fordsburg Studios), Johannesburg, South Africa. 

Triangle Artists Network. 

1995	Brooklyn Museum of Art. 

1974	Haystack Mountain School of Crafts, Deer Isle Maine. 

Current Membership in Professional Organizations

1988-2017 Member: College Art Association 
1992-1995, National Board of Directors, Society for Photographic Education 
1993-2000, Board of Directors, Black Gallery, Los Angeles, CA 
1996-1997 Board of Directors, Market Theatre Gallery, Johannesburg, South Africa 
1996-1997 Co-Chairperson, Concerned Photographers Group, Johannesburg, South Africa 
2003-present, Hambidge Center for the Creative Arts- Board Member 
Society for Photographic Education 

Honors, Awards, and Prizes

Florida State University New Directions Grant (2007). 
Florida State University Planning Grant (2007). 
State of Florida Artists Enhancement Grant (2007). 
Rowe Scholarship for study at the Hambidge Center for the Creative Arts And Sciences (2005). 
Florida State University Creative Research Grant (2003). 
DATA Award, Florida State University (2001). 
City of Los Angeles, Community Appreciation Award (1991). 
CityArts Individual Artists Grant, Baltimore, MD (1988). 
National Newspaper Publishers Award, Best News Photography (1987). 
North Avenue Centennial Project, Commissioned Photographer (1987). 
Ford Foundation Grant (1985). 

1985-1987. 

Fellowship(s)

Fulbright Regional Research Fellowship (1996–1998).

Based at the University of the Witwatersrand, Johannesburg, South Africa. 

California Community Foundation (1995).
Getty Trust Fellowship Individual Artists Grant (1995).
National Endowment for the Arts Photography Fellowship (1994).
National Endowment for the Arts Photography Fellowship (1990).
NEA / Mid-Atlantic Regional Visual Arts Fellowship for Works on Paper (1988).
Emily Sartain Traveling Fellowship for Photography (1980).

Travel to Nigeria 1981. 

Teaching

Courses Taught

	Advanced Workshop 270 (ART4929C)
	Advanced Worshop 274 (ART4929C)
	Advanced Workshop 11724 (ART4929C)
	DIR INDIV STUDY (ART4905)
	Graduate Workshop 13412 (ART5928C)
	Graduate Workshop 308 (ART5927C)
	Darkroom Photography (PGY2401C)
	Directed Individual Study (ART5907)
	Photographic Portrait (ART4924C)
	ADVANCED WORKSHOP: Public Art (LABORATORY) (ART4928C)
	DIS: Special Topic (ART5907)
	Directed Individual Study (ART4905)
	Graduate Workshop (ART5928C)
	Photography I (PGY2401C)
	Darkroom Photography PGY2401-C (PGY2401-C)
	Photography I (PGY2401-C)
	Graduate Workshop (ART5927-C)
	Graduate Workshop (ART5928-C)
	Graduate Workshop (ART5927C)
	Advanced Workshop (ART4929)
	Advanced Workshop (ART4929-C)
	Advanced Workshop (ART4929C)
	Graduate Workshop (ART5927)
	Graduate Workshop (ART5928)
	Media Workshop: Photography (ART4924)
	Media Workshop: Photography (ART4924-C)
	Media Workshop: Photography (ART4924C)
	Photography I (PGY2401)
	Advanced Workshop (ART4928)
	Advanced Workshop (ART4928-C)
	Photography II (PGY3410)
	Photography II (PGY3410-C)
	Photography II (PGY3410C)

New Course Development

	Darkroom Photography (2013)
	Public Art Studio Laboratory (2013)
	Public Art Program (2012)
	Photo Possibilities (2010)
	Street Clothes (2001)

Curriculum Development

	Worked on committee to establish FSU's groundbreaking Public Art Specialization Program (2012)
	Worked as committee member to rewrite FSU Graduate Studies Program and expand it from 2 years to 3 years (2004)

Master's Committee Chair

	Sharon Norwood, graduate. (2017). 
	Melinda Swift, graduate. (2012). 

Master's Committee Member

	Norwood, S., graduate. (2018). 
	Eduardo Carriazo, graduate. (2012). 
	Orman, J. P., graduate. (2009). 
	Rankin, M. C., graduate. (2009). 
	Al John Fontanilla, graduate. (2005). 
	Browning, J., student. 
	Guillory, S., student. 

Supervision of Student Research Not Related to Thesis or Dissertation

	Alsinaa, L. (Apr–Dec 2017). 

	Ali, B Ra-el (Jan–May 2017). 

	Dwight, A. (Jan–May 2017). 

	Klien, C. (Sep 2016–May 2017). 

	Lauren Alsina (2016–17). 

major supervising professor. 

	Balcaitis, A. (Sep–Dec 2016). 

	Menika Lue (2016). 

honors in the major class. 

Additional Teaching Not Reported Elsewhere

#	Williams, P. W. (1988–2005). "MOVE?". 

Experimental documentary film based on a police bombing in Philadelphia PA, Screened at: Southeast Center for Contemporary Art, Winston-Salem, NC Los Angeles Center for Photographic Studies, Los Angeles Fayerweather Gallery, University of Virginia, Charlottesville, VA INTAR Gallery, New York, NY (solo screening) Denise Bibro, New York, NY Wertz Galley, Atlanta, GA Atlantic Center for the Arts, Daytona Beach, FL Light Factory, Charlotte NC Ernest G. Welch School of Art & Design, Atlanta GA Watts Tower Art Center LA CA. 

Filmography

#	Williams, P. W. (1998–2005). "MOVE?". 

Experimental documentary film based on a police bombing in Philadelphia PA, Screened at: Southeast Center for Contemporary Art, Winston-Salem, NC Los Angeles Center for Photographic Studies, Los Angeles Fayerweather Gallery, University of Virginia, Charlottesville, VA INTAR Gallery, New York, NY (solo screening) Denise Bibro, New York, NY Wertz Galley, Atlanta, GA Atlantic Center for the Arts, Daytona Beach, FL Light Factory, Charlotte NC Ernest G. Welch School of Art & Design, Atlanta GA Watts Tower Art Center LA CA. 

Research and Original Creative Work

Collections exhibited at the following:
Whitney Museum of American Art, New York, NY
Eileen Harris Norton and Peter Norton Family Foundation, Santa Monica, CA
JB Speed Museum, Louisville, KY
Smith College Museum of Art, North Hampton, MA
Afro-American Historical & Cultural Museum, Philadelphia, PA
Mott-Warsh Collection, Flint, Michigan
High Museum of Art, Atlanta, GA, University of Delaware.

Program of Research and/or Focus of Original Creative Work

I have been using personal family photographs and snapshots as source material for my photographic art work for many years. My Fulbright project enabled me to research the fundamental inspiration of my creativity and broaden its expression in my photographic art works. I traveled to South Africa to investigate that region's family photographs: their content, style, and presentation as well as their oppositional stance over negative images and their power to question and contradict other visual materials. This unique opportunity still sxists in South Africa where artists and scholars are studying issues of racial stereotype and identity. My explorations of family photographs and their biographical/autobiographical information offer insight and pose new questions in South Africa's redefinition of "family", "group", and "countryman". 

Public Art Commissions (As Sole Artist)

	Williams, P. W. (2010). "Rosa Parks Park", Long Beach Arts Council/Long Beach Transit Authority, Long Beach, CA, completion date: 2011, artist's budget, $80,000. 

Commision in Public Art (as solo artist) http://www.presstelegram.com/news/ci_14848085. 

	Williams, P. W. (2004). "Everyday People", Pasadena Blue Line, Lake Avenue Station, Los Angeles Municipal Transportation Authority, completed 2004, artists' budget-$170,000. 

Commission in Public Art (As solo artist) http://metro.net/about/art/artworks/everyday-people/ http://libguides.usc.edu/content.php?pid=31652&sid=605313. 

	Williams, P. W. (2002). "Starbursts", Hollywood and Highland Entertainment Center, Hollywood, CA, Completed: 2002, artists' budget-$245,000. 

Commission in Public Art (As solo Artist) http://www.publicartinla.com/sculptures/hollywood_highland/. 

#	Williams, P. W. (1999). "Cultural Explainers: Portals Project," Social and Public Art Resource Center, (Not Funded). 

http://www.palgrave-journals.com/udi/journal/v7/n3/abs/9000080a.html. 

#	Williams, P. W. (1995). "Gilbert W. Lindsay Memorial", Los Angeles Convention Center, Los Angeles, Completed: 1995, artists' budget-$275,000. 

Commission in Public Art (As solo artist) http://www.you-are-here.com/sculpture/lindsay.html. 

Exhibitions

Invited Exhibitions

	Williams, P. (2017, September–2018, January). Photo Handwork [Art Photography]. Smith College Museum of Art, Smith College Museum of Art: Smith College. 

	Williams, P. (2017, June–September). PhilAesthetic [art photography]. African American Museum in Philadelphia, Philadelphia Pa: African American Museum in Philadelphia. 

	Williams, P. (2017, March). Fly Girl Style [Art Photography]. University of Delaware Museum of Art Gallery, Museum of Art Mechanical Hall: University of Delaware. 

	Williams, P. W. (2013). "Circles of Rhythm" [Museum]. Ho, Ghana: Volta Regional Art Museum. 

	Williams, Pat, Ward. (2009). "Undercover: Performing and Transforming Black Female Identities" [Group Exhibition]. Atlanta, GA: Spelman College Museum of Fine Art. 

	Williams, P. W. (2008). "Artists of Kokrobitey" [International Exhibition]. Kokrobitey, Ghana: Kokrobitey Institute. 

	Williams, P. W. (2008). "Comfort Zones" [International Exhibition]. Guangzhou Biennial, China. 

	Williams, P. W. (2007). "Comfort Zones" [International Exhibition]. Salt River, South Africa: SALT Project Space. 

	Williams, P. W. (2007). "Afro-Provocations" [Group Exhibition]. Tallahassee, FL: Mary Brogan Museum of Art. 

	Williams, P. W. (2006). Featured Exhibition [Solo Exhibition]. Atlanta, GA: National Black Arts Festival. 

	Williams, P. W. (2006). "Fabricated Harmonies" [Solo Exhibition]. Light Factory, North Carolina. 

Collaboration with artist Sue Williamson from South Africa. 

	Williams, P. W. (2006). "Disorderly Conduct" [Group Exhibition]. New York, NY: Denise Bibro Gallery. 

	Williams, P. W. (2006). "Double Exposure" [Group Exhibition]. Hartford, CT: The Wadsworth Athenaeum Museum of Art. 

	Williams, P. W. (2006). "The Family Experience" [Group Exhibition]. Tallahassee, FL: FSU Museum of Fine Arts. 

	Williams, P. W. (2006). "Crossing Boundaries" [Group Exhibition]. Tallahassee, FL: International House. 

	Williams, P. W. (2005). "Isolated Incidents" [Solo Exhibition]. Atlanta, GA: Emory University. 

	Williams, P. W. (2005). "Political/Personal Landscapes" [Solo Exhibition]. Tallahassee, FL: LeMoyne Gallery. 

	Williams, P. W. (2005). "Florida Road Trip" [Solo Exhibition]. Orlando, FL: University of Central Florida. 

	Williams, P. W. (2005). "Framing the Triangle-Curated by Deborah Willis" [International Exhibition]. Accra, Ghana: Goethe-Institute. 

	Williams, P. W. (2005). "Having Our Say: Postmodernist Women Artists" [Group Exhibition]. Thomasville, GA: Thomasville Gallery. 

	Williams, P. W. (2005). "Potentially Harmful: American Censorship" [Group Exhibition]. Atlanta, GA: Mason Gross Gallery. 

	Williams, P. W. (2004). "Only Skin Deep" [Group Exhibition]. New York, NY: International Center of Photography. 

	Williams, P. W. (2004). "Fade" [Group Exhibition]. Los Angeles, CA: Luckman Gallery. 

	Williams, P. W. (2003). "Open Studio" [International Exhibition]. Cape Town, South Africa: Greatmore Artists' Studios. 

	Williams, P. W. (2002). "Parallels and Intersections: The Remarkable History of Women Artists in California, 1950-2000 [Group Exhibition]. San Jose, CA: San Jose Museum of Art. 

	Williams, P. W. (2001). "Black and Blue: Perspectives on Police Violence in America" [Group Exhibition]. Middletown, CT: Wesleyan University. 

	Williams, P. W. (2000). "Made in California" [Group Exhibition]. Los Angeles, CA: LACMA. 

	Williams, P. W. (2000). "Reflections in Black: A History of Black Photographers 1940 to Present" [Group Exhibition]. Washington, D.C: Smithsonian Museum. 

	Williams, P. W. (2000). "Colored Stories: Depictions of Race in Narrative Art" [Group Exhibition]. New York, NY: Scope Art Gallery. 

#	Williams, P. W. (1999). "Other Narratives" [Group Exhibition]. Houston, TX: Contemporary Arts Museum. 

#	Williams, P. W. (1999). "Some Other Narratives" [Group Exhibition]. San Antonio, TX: ArtPace Foundation for Contemporary Art. 

#	Williams, P. W. (1999). "Soothsayers: She Who Speaks the Truth" [Group Exhibition]. Philadelphia, PA: Painted Bride Art Center. 

#	Williams, P. W. (1999). "Bridges II: Three Women Artists" [Group Exhibition]. Los Angeles, CA: Williams Grant Still Arts Center. 

#	Williams, P. W. (1999). "Re-Righting History: Counter Narratives by Contemporary African-American Artists" [Group Exhibition]. Katonah, NY: Katonah Museum of Art. 

#	Williams, P. W. (1999). "Mumia 911". Watts Labor Action Community Center, Watts Labor Action Community Center, Los Angeles, CA: Watts Labor Action Community Center. 

#	Williams, P. W. (1998). "20 Artists/20 Years" [Group Exhibition]. Baltimore, MD: Maryland Institute College of Art. 

#	Williams, P. W. (1997). "Suspect" [Solo Exhibition]. Johannesburg, South Africa: Civic Theater Gallery. 

#	Williams, P. W. (1997). "Purity and Danger" [International Exhibition]. Johannesburg, South Africa: Gertrude Posel Gallery, University of the Witwatersrand. 

#	Williams, P. W. (1997). Trade Routes: Second Johannesburg Biennial [International Exhibition]. Cape Town, South Africa: The Castle of Good Hope. 

#	Williams, P. W. (1997). "A Hotbed of Advanced Art" [Group Exhibition]. Irvine, CA: University of California Irvine. 

#	Williams, P. W. (1996). "Words to Live By" [Solo Exhibition]. Houston, TX: Project Row Houses and Photofest. 

#	Williams, P. W. (1996). "Self-Possessed" [Solo Exhibition]. Los Angeles, CA: Watts Towers Cultural Arts Center. 

#	Williams, P. W. (1996). National Gallery of Jamaica [International Exhibition]. Kingston, Jamaica. 

#	Williams, P. W. (1996). Central Art Gallery [International Exhibition]. Nassau, Bahamas. 

#	Williams, P. W. (1996). "Projections in Public: Intermission Images" [Group Exhibition]. Los Angeles, CA: AMC Theaters. 

#	Williams, P. W. (1996). "Artscape" [Group Exhibition]. Baltimore, MD: Belmont Station. 

#	Williams, P. W. (1995). "Some of Us Were Brave" [Solo Exhibition]. Pittsburgh, PA: Manchester Craftsman's Guild. 

#	Williams, P. W. (1995). "Class" [Solo Exhibition]. Hartford, Connecticut: Atrium Gallery, University of Connecticut. 

#	Williams, P. W. (1995). Queens Park Gallery [International Exhibition]. Bridgetown, Barbados. 

#	Williams, P. W. (1995). Eric Williams Finance Building [International Exhibition]. Port of Spain, Trinidad. 

#	Williams, P. W. (1995). Guignard Gallery [International Exhibition]. Belo Horizonte, Brazil. 

#	Williams, P. W. (1995). Museu de Arte Moderna do Rio de Janeiro [International Exhibition]. Rio de Janeiro. 

#	Williams, P. W. (1995). Museu da Cravura Cidade de Curitiba [International Exhibition]. Curitiba, Brazil. 

#	Williams, P. W. (1995). Sala Rg A Venezuela (Romulo Gallegos) [International Exhibition]. Caracas, Venezuela. 

#	Williams, P. W. (1995). "Personal Narratives, Women Photographers of Color" [International Exhibition]. Brasilia, Brazil. 

#	Williams, P. W. (1995). "P.L.A.N.: Photography L.A. Now" [Group Exhibition]. Los Angeles, CA: Los Angeles County Museum of Art. 

#	Williams, P. W. (1995). "Black Male: Representations of Masculinity in Contemporary American Art" [Group Exhibition]. Los Angeles, CA: UCLA at the Armand Hammer Museum Art. 

#	Williams, P. W. (1995). "African-American Representations of Masculinity" [Group Exhibition]. Los Angeles, CA: Watts Towers Cultural Arts Center. 

#	Williams, P. W. (1995). "Articulations: Forms of Language in Contemporary Art" [Group Exhibition]. Whitney Museum of American. 

#	Williams, P. W. (1995). "Home is Where" [Group Exhibition]. Greensboro, NC: Weatherspoon Art Gallery, University of North Carolina at Greensboro. 

#	Williams, P. W. (1995). "Ascending Generations" [Group Exhibition]. Oakland, CA: Jane Steingart Gallery. 

#	Williams, P. W. (1995). "Face Foreward: Contemorary Self-Portraiture". Kohler Arts Center, Sheboygan WI: Kohler Arts Center. 

#	Williams, P. W. (1994). "Deuce of Clubs" [Solo Exhibition]. Camerawork, San Francisco, CA. 

#	Williams, P. W. (1994). "Be Black and Die (Things to Do)" [Solo Exhibition]. New York, NY: PPOW, 534 Broadway. 

#	Williams, P. W. (1994). "I Remember It Well". Houston, TX: Community Artist Collective. 

#	Williams, P. W. (1994). "The Fifth Havana Biennial: Art, Society and Reflection" [International Exhibition]. Havana, Cuba: The National Museum of Fine Arts and The Wifredo Lam Centre. 

#	Williams, P. W. (1994). BREDA FOTOGRAFICA 1994 [International Exhibition]. Breda, Netherlands: DeBeyerd Centre for Contemporary Art. 

#	Williams, P. W. (1994). The Biennial of Havana in Aachen [International Exhibition]. Kunst, Germany: The Ludwig Forum fur Internationale. 

#	Williams, P. W. (1994). "Black Male: Representations of Masculinity in Contemporary American Art" [Group Exhibition]. New York, NY: Whitney Museum of American Art. 

#	Williams, P. W. (1994). "Imagining Families: Images and Voices" [Group Exhibition]. Washington, D.C: Smithsonian Institution. 

#	Williams, P. W. (1994). "Urban Revisions: Current Projects for the Public Realm" [Group Exhibition]. Los Angeles, CA: Museum of Contemporary Art. 

#	Williams, P. W. (1994). "UCI Faculty: New Work" [Group Exhibition]. Irvine, CA: University Fine Arts Gallery, University of California Irvine. 

#	Williams, P. W. (1994). "Face to Face" [Group Exhibition]. Philadelphia, PA: Moore College of Art Gallery. 

#	Williams, P. W. (1994). "Thirtieth Annual Exhibition of Art on Paper" [Group Exhibition]. Greensboro, NC: Weatherspoon Art Gallery, University of North Carolina at Greensboro. 

#	Williams, P. W. (1993). "Discovery and Conquest" [Solo Exhibition]. Northampton, MA: Smith College. 

#	Williams, P. W. (1993). "Crossing the L.A.. Bridge" [Solo Exhibition]. Los Angeles, CA: Skirball Museum, Hebrew Union College. 

#	Williams, P. W. (1993). Louisiana Museum of Modern Art [International Exhibition]. Copenhagen Denmark. 

#	Williams, P. W. (1993). Neues Museum Weserburg [International Exhibition]. Bremen, Germany. 

#	Williams, P. W. (1993). Forum Studtpark [International Exhibition]. Graz, Germany. 

#	Williams, P. W. (1993). Museum Folkwang [International Exhibition]. Essen Germany. 

#	Williams, P. W. (1993). The Whitney Biennial in Korea [International Exhibition]. Seoul, Korea: Museum of Modern Art. 

#	Williams, P. W. (1993). "1993 Whitney Biennial Exhibition" [Group Exhibition]. New York, NY: Whitney Museum of American Art. 

#	Williams, P. W. (1993). "Crossing the L.A. Bridge" [Group Exhibition]. Los Angeles, CA: Skirball Museum of the Hebrew Union College. 

#	Williams, P. W. (1993). "Family Values" [Group Exhibition]. New York, NY: 494 Gallery. 

#	Williams, P. W. (1993). "L.A. Next" [Group Exhibition]. Contemporary Art Center, New Orleans, LA. 

#	Williams, P. W. (1993). "Family Values" [Group Exhibition]. 494 Gallery, New York, NY. 

#	Williams, P. W. (1993). "The Language of Power" [Group Exhibition]. Atlanta, GA: Arts Festival of Atlanta. 

#	Williams, P. W. (1992). "Vantage Point" [Solo Exhibition]. Santa Monica, CA: Santa Monica Museum of Art. 

#	Williams, P. W. (1992). "African-Americans and American Jews" [Group Exhibition]. New York, NY: The Jewish Museum. 

#	Williams, P. W. (1992). "Dirt and Domesticity" [Group Exhibition]. New York, NY: Whitney Museum of American Art. 

#	Williams, P. W. (1992). "Re-Framings" [Group Exhibition]. Chicago, IL: Randolph Street Galley. 

#	Williams, P. W. (1992). "This is my Body/This is my Blood" [Group Exhibition]. Amherst, MA: Amherst, College. 

#	Williams, P. W. (1992). "Photomontage in America" [Group Exhibition]. Sheboygan, WI: John Michael Kohler Arts Center. 

#	Williams, P. W. (1992). "RSVP" [Group Exhibition]. Charlotte, NC: The Hans and Walter Bechtler Gallery. 

#	Williams, P. W. (1992). "Photo biographers" [Group Exhibition]. Atlanta, GA: The Atlanta Gallery of Photography. 

#	Williams, P. W. (1992). "Re-Presenting Terrorism" [Group Exhibition]. Baltimore, MD: Maryland Institute College of Art. 

#	Williams, P. W. (1992). "No Justice, No Peace?" [Group Exhibition]. Los Angeles, CA: California Afro-American Museum. 

#	Williams, P. W. (1991). "Probable Cause" [Solo Exhibition]. Philadelphia, PA: Goldie Paley Gallery, Moore College of Art. 

#	Williams, P. W. (1991). "1992: Conquests Belong Not Only to the Past" [Group Exhibition]. New York, NY: INTAR Gallery. 

#	Williams, P. W. (1991). "Nnommo: Spirit of the Word" [Group Exhibition]. San Francisco, CA: Bomani Gallery. 

#	Williams, P. W. (1991). "News as Muse" [Group Exhibition]. Baltimore, MD: School 33 Art Center. 

#	Williams, P. W. (1991). "Image/Object/Place" [Group Exhibition]. Oakland, CA: California College of Arts and Crafts. 

#	Williams, P. W. (1990). "MOVE" [Solo Exhibition]. Los Angeles, CA: Los Angeles Center for Photographic Studies. 

#	Williams, P. W. (1990). "Pat Ward Williams" [Solo Exhibition]. Providence, RI: Redeye Gallery, Rhode Island School of Design. 

#	Williams, P. W. (1990). "The Decade Show" [Group Exhibition]. New York, NY: The New Museum of Contemporary Art. 

#	Williams, P. W. (1990). "The Next Generation" [Group Exhibition]. Winston-Salem, NC: Southeast Center for Contemporary Art. 

#	Williams, P. W. (1990). "Family Stories" [Group Exhibition]. New York, NY: Snug Harbor Cultural Center. 

#	Williams, P. W. (1990). "The Tell-Tale Heart" [Group Exhibition]. Washington, D.C: Washington Project for the Arts. 

#	Williams, P. W. (1990). "Art and Conscience" [Group Exhibition]. Washington, D.C: Wesley Theological Seminary. 

#	Williams, P. W. (1990). "Blues in the Night" [Group Exhibition]. Los Angeles, CA: Otis Parsons School of Art. 

#	Williams, P. W. (1989). "Brokenhearted" [Solo Exhibition]. New York, NY: Jamaica Arts Center. 

#	Williams, P. W. (1989). "Political Varieties" [Solo Exhibition]. Charlottesville, VA: Fayerweather Gallery, University of Virginia. 

#	Williams, P. W. (1989). "Black Photographers Bear Witness: 100 Years of Social Protest Photography" [Group Exhibiton]. Williamstown, MA: Williams College Museum of Art, Williams College. 

#	Williams, P. W. (1989). "Constructed Images" [Group Exhibition]. New York, NY: Studio Museum of Harlem. 

#	Williams, P. W. (1989). "Loaded" [Group Exhibition]. San Antonio, TX: Blue Star Art Space. 

#	Williams, P. W. (1989). "Sibling Rivalry" [Group Exhibition]. New York, NY: Tisch School of Art. 

#	Williams, P. W. (1989). "Dia De Los Muertos/Los Angelitos" [Group Exhibition]. New York, NY: Alternative Museum. 

#	Williams, P. W. (1989). "Hale Woodruff Memorial Biennial" [Group Exhibition]. New York, NY: The Studio Museum of Harlem. 

#	Williams, P. W. (1989). "Another Look" [Group Exhibition]. Minneapolis, MN: Film in the Cities. 

#	Williams, P. W. (1988). "Political Varieties" [Solo Exhibition]. New York, NY: INTAR Gallery. 

#	Williams, P. W. (1988). "Photographic Installations" [Solo Exhibition]. Gormley Gallery, The College of Notre Dame of Maryland. 

#	Williams, P. W. (1988). "Autobiography: In Her Own Image" [Group Exhibition]. New York, NY: INTAR Gallery. 

#	Williams, P. W. (1988). "Politically Charged" [Group Exhibition]. St. Louis, MO: First Street Forum. 

#	Williams, P. W. (1988). "Ford Foundation Grantees" [Group Exhibitions]. Baltimore, MD: Eubie Blake Cultural Arts Center. 

#	Williams, P. W. (1988). "New Black Photographers" [Group Exhibition]. Houston, TX: Society for Photographic Education. 

#	Williams, P. W. (1988). "Pat Ward Williams Photographic Installations", Gormley Gallery. Gormley Gallery, Baltimore, MD: College of Notre Dame of Maryland. 

#	Williams, P. W. (1988). "19 Visions/Divisions. Eubie Blake Cultural Center and Museum, Baltimore MD: Eubie Blake Cultural Center and Museum. 

#	Williams, P. W. (1987). "Social/Sexual/Personal Politics" [Solo Exhibition]. Washington, D.C: The Gatehouse Gallery. 

#	Williams, P. W. (1987). "Race and Representation" [Group Exhibition]. New York, NY: Hunter College. 

#	Williams, P. W. (1987). "Artscape '87: Rooms with Views" [Group Exhibition]. Baltimore, MD. 

Installation. 

#	Williams, P. W. (1987). "Image/Identity" [Group Exhibition]. Baltimore, MD: Maryland Art Place. 

#	Williams, P. W. (1987). "Eighth Annual National Exhibition" [Group Exhibition]. Louisville, KY: JB Speed Museum. 

Purchase Prize. 

#	Williams, P. W. (1987). "Homage to Sir John Hershel" [Group Exhibition]. Baltimore, MD: Gormley Gallery. 

#	Williams, P. W. (1986). "Baltimore Artists Exchange Exhibition" [Group Exhibition]. Philadelphia, PA: Painted Bride Art Center. 

#	Williams, P. W. (1986). "Sweet Land of Liberty" [Group Exhibition]. Baltimore, MD: School 33 Art Center. 

#	Williams, P. W. (1986). "Space: New Form, New Function" [Group Exhibition]. Gatlinburg, TN: Arrowmont School of Arts and Crafts. 

#	Williams, P. W. (1986). "Seventh Annual National Art Exhibition" [Group Exhibition]. First place purchase prize: Atlanta, GA. 

#	Williams, P. W. (1986). "Invitational Black Artists Exhibition" [Group Exhibition]. Baltimore, MD: Life of Maryland Gallery. 

#	Williams, P. W. (1986). "School 33 Resident Artists Exhibition" [Group Exhibition]. Baltimore, MD: School 33 Art Center. 

#	Williams, P. W. (1986). "Humor, Wit, and Whimsy" [Group Exhibition]. Laurel, MD: Montpelier Cultural Arts Center. 

#	Williams, P. W. (1985). "New Photo Artists" [Group Exhibition]. Baltimore, MD: Fox Gallery, Maryland Institute College of Art. 

#	Williams, P. W. (1985). "School 33 Resident Artists Exhibition" [Group Exhibition]. Baltimore, MD: School 33 Art Center. 

#	Williams, P. W. (1984). "Transitions/1984" [Group Exhibition]. Baltimore, MD: Baltimore School for the Arts. 

#	Williams, P. W. (1984). "GROUP Photography Show" [Group Exhibition]. Baltimore, MD: Alcazar Gallery. 

#	Williams, P. W. (1983). "Black Woman/Power and Image" [Group Exhibition]. Philadelphia, PA: Antioch University. 

#	Williams, P. W. (1982). "Photo Credit to Read: Pat Ward Williams" [Group Exhibition]. Philadelphia, PA: Temple Gallery. 

Juried Exhibitions

#	Williams, P. W. (1987). "23rd Annual Juried Exhibition" [Group Exhibition]. Easton, MD: New Museum of Contemporary Art, NY), Easton Academy of the Arts. 

Juried by Bill Olander. 

Non-Juried Exhibitions

	Williams, P. (contract). Zimbabwe Diary [permanent exhibition]. East Tower residential building of the Park Towne Place complex, East Tower residential building of the Park Towne Place com: Moore College of Art/ Geraldine Aldamar. 

Publications

Invited Monographs

#	Williams, P. W. (1992). Pat Ward Williams: Probable Cause. Philadelphia (PA). Goldie Paley Gallery, Moore College of Art and Design. 

14 b&w illus., checklist of 34 works, detailed narrative chronology by Moira Roth with statements by the artist. Texts by Kellie Jones and Moira Roth. 

Presentations

Invited Keynote and Plenary Presentations at Conferences

For invited keynote and plenary presentations at conferences, 100.0% were regional in scope.

#	Williams, P. W. (presented 1994). Keynote Presentation. Keynote presentation at Regional Convention, Society for Photographic Education, Monterey, CA. (Regional)

Invited Presentations at Conferences

For invited presentations at conferences, 66.7% were national, 33.3% were regional in scope.

#	Williams, P. W. (presented 1996). Words to Live By. Presentation at the meeting of Project Row Houses and Photofest, Houston, TX. (National)

#	Williams, P. W. (presented 1992). Exchanges in Direction. Presentation at the meeting of Society for Photographic Education, Santa Barbara, CA. (National)

#	Williams, P. W. (presented 1990). Pat Ward Williams: The Future. Presentation at Regional Conference, Society for Photographic Education, Monterey, CA. (Regional)

#	Williams, P. W. (presented 1989). Pat Ward Williams: New Works. Presentation at National Convention, College Art Association, San Francisco, CA. (National)

#	Williams, P. W. (presented 1989). Pat Ward Williams: The Future. Presentation at North-East Regional Convention, Society for Photographic Education, Rochester, NY. (Regional)

#	Williams, P. W. (presented 1988). Pat Ward Williams: The Future. Presentation at National Convention, Society for Photographic Education, Houston, TX. (National)

Keynote Address. 

Refereed Presentations at Conferences

For refereed presentations at conferences, 100.0% were international in scope.

#	Williams, P. W. (presented 1994). Pat Ward Williams: Summer Lecture Series. Presentation at African-American Festival of the Arts, University of Hawaii at Manoa, Honolulu, HI. (International)

Invited Lectures and Readings of Original Work

For invited lectures and readings of original work, 12.1% were international, 59.1% were national, 18.2% were regional, 7.6% were state, 3.0% were local in scope.

	Williams, P. W. (2015, May). Critiquing the Rebellion. Delivered at Maryland Institute College of Art, Fine Arts Photography. (National)

	Williams, P. W. (2015, February). Pat Ward Williams. Delivered at Cafe Tissardmine Artist Retreat, Erfoud, Morocco. (International)

	Williams, P. W. (2006). Pat Ward Williams: New Video Works. Delivered at Kokobritety Institute, Kokobritety Institute, Ghana West Africa. (International)

	Williams, P. W. (2001). Pat Ward Williams: New Works. Delivered at Wesleyan University, Middletown, CT. (National)

	Williams, P. W. (2000). Pat Ward Williams. Delivered at Florida State University, Tallahassee, FL. (National)

#	Williams, P. W. (1999). Pat Ward Williams. Delivered at Santa Monica Museum of Art, Bergamont Station, Santa Monica, CA. (National)

#	Williams, P. W. (1998). Pat Ward Williams: New Works. Delivered at University of Michigan, School of Art and Design, Ann Arbor, MI. (National)

#	Williams, P. W. (1998). Technikon Witwatersrand, Johannesburg, South Africa. Delivered at Technikon Witwatersrand, Johannesburg, South Africa. (International)

#	Williams, P. W. (1997). Pat Ward Williams: New Works. Delivered at Manu Technical College, Dobsonville, South Africa. (International)

#	Williams, P. W. (1997). Pat Ward Williams: New Works. Delivered at Manu Technical College, Dobsonville, South Africa. (International)

#	Williams, P. W. (1997). Pat Ward Williams: New Works and Fulbright Lecture. Delivered at Wits Technikon, Johannesburg, South Africa. (International)

#	Williams, P. W. (1997). Pat Ward Williams: Suspect. Delivered at University of the Witwatersrand, Johannesburg, South Africa. (International)

#	Williams, P. W. (1996). Pat Ward Williams: New Works. Delivered at Jones High School, Houston, TX. (Local)

#	Williams, P. W. (1996). Pat Ward Williams: New Works. Delivered at Rhode Island School of Design, Providence, RI. (National)

#	Williams, P. W. (1996). Pat Ward Williams: New Works. Delivered at California State University at Riverside, Riverside, CA. (Regional)

#	Williams, P. W. (1996). Pat Ward Williams: New Works. Delivered at Manchester Craftsman's Guild, Pittsburgh, PA. (National)

#	Williams, P. W. (1996). Pat Ward Williams: Project Row Houses. Delivered at Houston Public Art Commission. (National)

#	Williams, P. W. (1996). Pat Ward Williams: Street Gossip. Delivered at Watts Towers Cultural Art Center, Los Angeles, CA. (National)

#	Williams, P. W. (1995). Pat Ward Williams: New Works. Delivered at Weber State University, Ogden, UT. (National)

#	Williams, P. W. (1995). Pat Ward Williams: New Works. Delivered at Armand Hammer Museum, UCLA, Los Angeles, CA. (National)

#	Williams, P. W. (1995). Pat Ward Williams: New Works. Delivered at The Getty Center for the History of Art and the Humanities, Los Angeles, CA. (National)

#	Williams, P. W. (1995). Pat Ward Williams: New Works. Delivered at Carnegie Mellon University, Pittsburg, PA. (National)

#	Williams, P. W. (1995). Pat Ward Williams: New Works. Delivered at Cleveland Art Institute, Cleveland, OH. (National)

#	Williams, P. W. (1994). Pat Ward Williams: New Works. Delivered at Summer Media Institute, Ohio University, Athens, OH. (National)

#	Williams, P. W. (1994). Pat Ward Williams: New Works. Delivered at International Center for Photography, New York, NY. (International)

#	Williams, P. W. (1994). Pat Ward Williams: Things to Do. Delivered at Camerawork, San Francisco, CA. (National)

#	Williams, P. W. (1994). What You Lookin AtNew Works. Delivered at Whitney Museum of American Art, New York, NY. (National)

#	Williams, P. W. (1993). African-Americans and American Jews. Delivered at Skirball Museum, Hebrew Union College, Los Angeles, CA. (State)

#	Williams, P. W. (1993). Cultural Explainers. Delivered at University of Southern California, Los Angeles, CA. (State)

#	Williams, P. W. (1993). Pat Ward Williams: I Remember it Well. Delivered at Smith College, Northampton, MA. (National)

#	Williams, P. W. (1993). Pat Ward Williams: MOVE. Delivered at Southeastern Center for Contemporary Art, Winston-Salem, NC. (National)

#	Williams, P. W. (1993). Pat Ward Williams: MOVE. Delivered at Atlanta Arts Festival, Atlanta, GA. (Regional)

#	Williams, P. W. (1993). Pat Ward Williams: New Works. Delivered at Atlanta Arts Festival, Atlanta, GA. (National)

#	Williams, P. W. (1993). Pat Ward Williams: New Works. Delivered at University of California, Irvine, CA. (Regional)

#	Williams, P. W. (1993). Pat Ward Williams: Probable Cause. Delivered at Atlanta Arts Festival, Atlanta, GA. (National)

#	Williams, P. W. (1993). Pat Ward Williams: Things to Do. Delivered at San Francisco Art Institute, San Francisco, CA. (National)

#	Williams, P. W. (1993). The Blues Aesthetic. Delivered at Watts Towers Cultural Arts Center, Los Angeles, CA. (Regional)

#	Williams, P. W. (1993). The Language of Power. Delivered at Atlanta Arts Festival, Atlanta, GA. (Regional)

#	Williams, P. W. (1992). Art Talk Art. Delivered at Foundation for Art Resources, Los Angeles, CA. (Regional)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at Vermont College, MFA Program, Montpelier, VT. (National)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at Randolph Street Gallery, Chicago, IL. (National)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at Herron School of Art of Indiana University, Indianapolis, IN. (National)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at Contemporary Art Center, Cincinnati, OH. (National)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at University of Wisconsin - Milwaukee, Milwaukee, WI. (National)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at California Institute for Women at Chino, Chino, CA. (Regional)

#	Williams, P. W. (1992). Pat Ward Williams: New Works. Delivered at Mesa Community College, Mesa, AZ. (National)

#	Williams, P. W. (1992). Pat Ward Williams: Probable Cause. Delivered at Moore College of Art and Design, Philadelphia, PA. (National)

#	Williams, P. W. (1991). Pat Ward Williams: New Works. Delivered at University of California San Diego, San Diego, CA. (National)

#	Williams, P. W. (1991). Pat Ward Williams: New Works. Delivered at Center for Creative Photography, Tucson, AZ. (National)

#	Williams, P. W. (1991). Power Pictures. Delivered at Rutgers University, New Brunswick, NJ. (Local)

#	Williams, P. W. (1991). The Blues Aesthetic. Delivered at Watts Towers Cultural Arts Center, Los Angeles, CA. (State)

#	Williams, P. W. (1991). Theater of Refusal. Delivered at University of California at Irvine, Distinguished Lecturer Series, Irvine, CA. (State)

#	Williams, P. W. (1991). Pat Ward Williams: New Works. Delivered at Santa Barbara Museum of Art, Santa Barbara, CA. (National)

#	Williams, P. W. (1991). Pat Ward Williams: New Works. Delivered at Los Angeles Photography Center, Los Angeles. (National)

#	Williams, P. W. (1990). "Pat Ward Williams at the Women's Museum". Delivered at The Women's Museum, Washington, DC, The Women's Museum, Washington, DC. (National)

#	Williams, P. W. (1990). "The Fine Art of Collecting". Delivered at Studio Museum of Harlem, New York, NY, Studio Museum of Harlem, New York, NY. (National)

#	Williams, P. W. (1990). Affirmative Actions. Delivered at Art Institute of Chicago, Chicago, Illinois. (Regional)

#	Williams, P. W. (1990). MOVE. Delivered at Santa Cruz Museum of Art, Santa Cruz, CA. (Regional)

#	Williams, P. W. (1990). Pat Ward Williams: New Work. Delivered at University of California at Irvine, Irvine, CA. (State)

#	Williams, P. W. (1990). Pat Ward Williams: New Work. Delivered at Rhode Island School of Design, Providence, RI, Rhode Island School of Design, Providence, RI. (National)

#	Williams, P. W. (1990). Pat Ward Williams: New Works. Delivered at Visiting Artists Lecture Series, UCLA, Los Angeles, CA. (Regional)

#	Williams, P. W. (1990). Pat Ward Williams: New Works. Delivered at Rhode Island School of Design, Providence, RI. (Regional)

#	Williams, P. W. (1990). Pat Ward Williams: New Works. Delivered at The Women's Museum, Washington, DC. (National)

#	Williams, P. W. (1989). Black Photographers Bear Witness: 100 Years of Social Protest Photography. Delivered at Williams College, Williamstown, MA. (National)

#	Williams, P. W. (1989). Pat Ward Williams: New Works. Delivered at Cornell University, Ithaca, NY. (Regional)

#	Williams, P. W. (1989). Pat Ward Williams: New Works. Delivered at University of California Santa Cruz, Santa Cruz, CA. (National)

Original Creative Works

Image Published in a Book

	Williams, P. (contract). What You Lookin At [Art Photography]. In Anne Rice Petersen, Migration into Art: Transcultural identities and Art-Making in a Globalised World, by Anne Rice Petersen. Manchester University Press. 

	Williams, P. (in press). Accused/Blowtorch/Padlock [photo of artwork]. In Lisa Farrington, African American Art. Oxford University Press of Canada. 

	Williams, P. W. (2011). Accused/Blowtorch/Padlock. In Molly Rogers, & David Bligh, Delia's Tears: Race, Science, and Photography in Nineteenth-Century America (pp. 111). Yale University Press. 

	Williams, P. W. (2010). Accused/Blowtorch/Padlock. In Copeland, H., Bound to Appear: Art, Slavery, and the Radical Imagination (pp. 120). University of Chicago Press. 

	Williams, P. W. (2010). Accused/Blowtorch/Padlock. In Jackson, C., Violence, Visual Culture, and the Black Male Body (pp. 27). Routledge. 

	Williams, P. W. (2010). Accused/Blowtorch/Padlock. In Mira Schor, A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (pp. 49). Duke University Press. 

	Williams, P. W. (2010). Gilbert Lindsay Memorial. In Doss, Erica, Memorial Mania: Public Feeling in America (pp. 125). University of Chicago Press. 

	Williams, P. W. (2010). Negro Poster Girl. In Erina Duganne, The Self in Black and White: Race and Subjectivity in Postwar American Photography (pp. 207). University of Dartmouth Press. 

	Williams, P. W. (2009). Accused/Blowtorch/Padlock. In Jones, K., Eye-Minded (pp. 43). Duke University Press. 

	Williams, P. W. (2008). 32 Hours in a Box...Still Counting. In Edited by John Ernest, Narrative of the Life of Henry Box Brown, Written by Himself (pp. 70). University of North Carolina Press. 

	Williams, P. W. (2008). Accused/Blowtorch/Padlock. In Gonzales-Day, K., Lynching in the West, 1850-1935 (pp. 56). Duke University Press. 

	Williams, P. W. (2008). Negro Poster Girl and North Avenue. In Jeff Hoone, Light Work Annual 2008 (pp. 78). Light Work, Syracuse, NY. 

	Williams, P. W. (2007). Afro-Atlantic Dialogues: Anthropology in the Diaspora. In Yelvington, K. A., Afro-Atlantic Dialogues: Anthropology in the Diaspora (pp. 94). School of American Research Press. 

	Williams, P. W. (2007). MOVE. In Byrd, C., & Richmond, S., Potentially Harmful: The Art of American Censorship (pp. 90). Georgia State University. 

	Williams, P. W. (2005). Accused/Blowtorch/Padlock. In Zabunyan, E., Black Is a Color (pp. 35). Dis Voir Publishing. 

	Williams, P. W. (2005). Accused/Blowtorch/Padlock. In Hine, D. C., Black Women in America (pp. 29). Oxford University Press. 

	Williams, P. W. (2005). Accused/Blowtorch/Padlock. In Lynne Warren, Encyclopedia of 20th Century Photography (pp. 43). CRC Press. 

	Williams, P. W. (2005). Accused/Blowtorch/Padlock. In Wendy Walters, At Home in the Diaspora: Black International Writing (pp. 52, 149n44). University of Minnesota Press. 

	Williams, P. W. (2005). Accused/Blowtorch/Padlock. In Neil Irvin Painter, Creating Black Americans: African-American History and Its Meanings, 1619 to the Present (pp. 171). Oxford University Press. 

	Williams, P. W. (2005). Ghosts That Smell Like Cornbread. In Willis, D., Family, History, and Memory: Recording African-American Life (pp. 72). Hylas Publishing. 

	Williams, P. W. (2005). I Hear My Mother's Voice When I Speak to My Daughter. In Sidonie Ann Smith, & Julia Anne Watson, Interfaces: Women, Autobiography, Image, Performance (pp. 64). University of Michigan Press. 

	Williams, P. W. (2005). What You Lookn At. In Hesford, W. S., & Brueggemann, B., Rhetorical Visions: Writing and Reading in a Visual Culture (pp. 84). Ohio State/Pearson Publishing. 

	Williams, P. W. (2004). Accused/Blowtorch/Padlock. In Apel, D., Imagery of Lynching: Black Men, White Women, and the Mob (pp. 80). Rutgers University Press. 

	Williams, P. W. (2004). Accused/Blowtorch/Padlock. In Smith, S. M., Photography on the Color Line: W.E.B. Du Bois, Race, and Visual Culture (pp. 122). Duke University. 

	Williams, P. W. (2004). Accused/Blowtorch/Padlock. In Marquardt, J., & Eskilson, S., Frames of Reference Art History, and the World (pp. 85). McGraw Hill Publishing. 

	Williams, P. W. (2004). Accused/Blowtorch/Padlock. In Eisner, E., & Day, M. D., Handbook of Research and Policy in Art Education (pp. 87). Lawrence Erlbaum Associates. 

	Williams, P. W. (2004). I Hear my Mother's Voice When I Talk to my Daughter Ghosts That Smell Like Cornbread. In Smith, S., & Watson, J., Interfaces: Women, Autobiography, Image, Performance (pp. 87, 207). University of Michigan Press. 

	Williams, P. W. (2004). Only Skin Deep: Changing Visions of the American Self. In Coco Fusco, & Brian Wallis, Only Skin Deep: Changing Visions of the American Self (pp. 273). Harry N. Abrams Inc. Publications. 

	Williams, P. W. (2004). What You Lookin At Accused/Blowtorch/Padlock. In Wallace, M., Dark Designs and Visual Culture (pp. 200, 206). Duke University Press. 

	Williams, P. W. (2003). Accused/Blowtorch/Padlock. In Hubbard, D., The Souls of Black Folk: One Hundred Years Later (pp. 203). University of Missouri Press. 

	Williams, P. W. (2003). What You Lookin At. In Malloy, J., Women, Art, and Technology (pp. 27). The MIT press. 

	Williams, P. W. (2003). What You Lookin At Accused/Blowtorch/Padlock Ghosts That Smell Like Cornbread 32 Hours in a Box...Still Counting Oh, She Got a Head Fulla Hair I Hear my Mother's Voice When I Talk to my Daughter Loa [photo]. In Von Blum, P., Resistance, Dignity, and Pride: African-American Art in Southern California (pp. 256-269). Angeles. 

	Williams, P. W. (2002). 32 Hours in a Box...Still Counting Accused/Blowtorch/Padlock [photo]. In Fusco, C., The Bodies That Were Not Ours and Other Writings (pp. plate 1, 7, 8). London and New York. 

	Williams, P. W. (2002). Accused/Blowtorch/Padlock. In Doss, E., Twentieth-Century American Art (pp. 115,213, 276,288). Oxford Press. 

	Williams, P. W. (2002). I Hear my Mother's Voice when I Talk to my Daughter. In Willis, D., & Williams, C., The Black Female Body: a Photographic History (pp. 11). Temple University Press, Philadelphia, PA. 

	Williams, P. W. (2002). What You Lookin At [photo]. In Becker, C., Surpassing the Spectacle: Global Transformations and the Changing Politics (pp. 86-89). Rowman &Littlefield. 

	Williams, P. W. (2001). Delia. In Willis, D., Reflections in Black: A History of Black Photographers from 1840 to the Present (pp. 15). W. W. Norton and Company, Inc. 

	Williams, P. W. (2001). Ghosts That Smell Like Cornbread 32 Hours in a Box...Still Counting Lovely Ladies [photo]. In Bobo, J., Black Feminist Cultural Criticism (pp. 127,175,132). Blackwell Publishing. 

	Williams, P. W. (2000). What You Lookin At Accused/Blowtorch/Padlock [photo]. In Fuller, D., Parallels and Intersections: The Remarkable History of Women Artists in California, 1950-2000 (pp. 338-342). University of California Press. 

	Williams, P. W. (2000). What You Lookin At Accused/Blowtorch/Padlock Ghosts That Smell Like Cornbread 32 Hours in a Box...Still Counting Oh, She Got a Head Fulla Hair. In Miles, J. H., & Davis, J. J., Educator's Sourcebook of African American Heritage (pp. 20-27, 198). Prentice Hall. 

#	Williams, P. W. (1999). Accused/Blowtorch/Padlock [photo]. In Markovitz, J., Legacies of Lynching: Collective Memory, Metaphor, and Racial Formation (pp. 42, 298). Unspecified location and publisher. 

#	Williams, P. W. (1999). Accused/Blowtorch/Padlock [photo of artwork]. In Heyd, M., Mutual Reflections: Jews and Blacks in American Art (pp. 62,114,113,116,208). Rutgers University Press. 

#	Williams, P. W. (1999). Accused/Blowtorch/Padlock. In Boler, M., Feeling Power: Emotions and Education (pp. 183-84). Routledge. 

#	Williams, P. W. (1998). 32 Hours in a Box...Still Counting, Oh, She Got a Head Fulla Hair, Negro Poster Girl [photo]. In Grant H. Kester, Art, Activism, and Oppositionality: Essays from Afterimage (pp. 90. 174-176). Duke University Press. 

#	Williams, P. W. (1998). Accused/Blowtorch/Padlock. In Friedman, E., & Squire, C., Morality USA (pp. 98). Unspecified location and publisher. 

#	Williams, P. W. (1998). Accused/Blowtorch/Padlock Ghosts That Smell Like Cornbread 32 Hours in a Box...Still Counting [photo]. In Patton, S., African-American Art (Oxford History of Art) (pp. 225,263-265, 282). Oxford University Press. 

#	Williams, P. W. (1998). Ghosts That Smell Like Cornbread [photo]. In Roth, M., Difference Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage (pp. xi). Routledge. 

#	Williams, P. W. (1997). Lovely Ladies In Four Months I Will Hate My Hair [photo]. In Neimer, D., Reframings: New American Feminist Photographers (pp. 187.33). New York. 

#	Williams, P. W. (1997). What You Lookin At, Accused/Blowtorch/Padlock, Ghosts That Smell Like Cornbread, 32 Hours in a Box...Still Counting, Oh, She Got a Head Fulla Hair [photo]. In Barrett, T., Criticizing Photographs, Second Edition (pp. 33-43). New York. 

#	Williams, P. W. (1996). Accused/Blowtorch/Padlock. In Cahan, S., & Kocur, Z., Contemporary Art and Multicultural Education (pp. 97). The New Museum of Contemporary Art, New York, and Routledge, London. 

#	Williams, P. W. (1996). Accused/Blowtorch/Padlock [photo]. In Fatimah Tobing Rony, The Third Eye: Race, Cinema, and Ethnographic Spectacle (pp. 88). Duke University Press. 

#	Williams, P. W. (1995). Accused/Blowtorch/Padlock [photo]. In Unknown, NA, The 1995 International Yearbook (pp. 301). Collier's Encyclopedia, New York, Toronto, Sydney. 

#	Williams, P. W. (1995). Accused/Blowtorch/Padlock, 32 Hours in a Box...Still Counting, Oh, She Got a Head Fulla Hair, Negro Poster Girl, Ghosts That Smell Like Cornbread. In Leslie King-Hammond, Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists (pp. 278-284, 306). Midmarch Arts Press, New York, NY. 

#	Williams, P. W. (1994). A Sentimental History. In Jacobson, M., Art For Work: The New Renaissance in Corporate Collecting (pp. 74, 224). Harvard Business School Press, Boston, MA. 

#	Williams, P. W. (1994). Accused/Blowtorch/Padlock [photo]. In Zelanski, P., & Fisher, M., The Art of Seeing, 3rd edition (pp. 38). Prentice Hall Inc., Englewood Cliffs, NJ. 

#	Williams, P. W. (1994). Accused/Blowtorch/Padlock,, Loa, Ghosts that Smell Like Cornbread, 32 Hours in a Box...Still Counting, Oh She Got a Head Fulla Hair, MOVE. In Von Blum, P., Other Visions, Other Voices (pp. 177-203). University Press of America, Lanam Maryland. 

#	Williams, P. W. (1993). Ghosts That Smell Like Cornbread [photo]. In Lucie-Smith, E., Race, Sex, and Gender: In Contemporary Art (pp. 187). Harry N. Abrams. 

#	Williams, P. W. (1993). Looking Down. In University of California Irvine, FAULTLINE, Vol. 1 (pp. 23). University of California Irvine. 

#	Williams, P. W. (1992). 32 Hours in a Box...Still Counting. In Sean Cashman, African-Americans and the Quest for Civil Rights, 1900-1990 (pp. 297, 321). NYU Press. 

#	Williams, P. W. (1992). Accused/Blowtorch/Padlock. In Wallace, M., & Dent, G., Black Popular Culture (pp. 31). Dia Center for the Arts, Bay Press, Seattle. 

#	Williams, P. W. (1992). Accused/Blowtorch/Padlock, 32 Hours in a Box...Still Counting. In Berger, M., How Art Becomes History (pp. ix, xi, 87, 160, 92). HarperCollins. 

#	Williams, P. W. (1992). In Four Months I Would Hate my Hair. In Heyman, A., Flesh and Blood: Photographers' Images of Their Own Families (pp. 127). The Picture Project, New York, NY. 

#	Williams, P. W. (1991). Accused/Blowtorch/Padlock. In Rodriguez, G., Artists of Conscience: 16 Years of Social and Political Commentary (pp. 5, 27). Worldwide Books. 

#	Williams, P. W. (1990). Accused/Blowtorch/Padlock. In Lippard, L., Mixed Blessings: New Art in a Multicultural America (pp. 182). Pantheon Books, New York, NY. 

Image Published in a Journal, Magazine, or Newsletter

	Williams, P. W. (2006, May). Multiple Images. ArtThrob.

Published by Sue Williamson. 

	Williams, P. W. (2005, September). What You Lookin At Accused/Blowtorch/Padlock Ghosts That Smell Like Cornbread [photo]. ArtThrob, 227-229.

Sue Williamson. 

Films

	Williams, P. W. (Creator). (2010). "The Adinkra Method". United States. 

	Williams, P. W. (Creator). (2009). "The Old Chief's Funeral". United States. 

	Williams, P. W. (Creator). (2008). "An African Road Trip in a Little White Bus with Denise and Helena". United States. 

A personal documentation of a summer road trip in Ghana, Togo, and Benin, (trt: 6:02). 

	Williams, P. W. (Creator). (2008). "The Shrine in Nukpe's Village". United States. 

this film introduces the high priest of the Weto Shine in Ghana, (trt: 4:23). 

	Williams, P. W. (Creator). (2008). The Old Chief's Funeral [Experimental Documentary]. United States. 

Experimental documentation of the ceremonies held in Tamale Ghana in July 2007, (trt: 7:47). 

	Williams, P. W. (Creator). (2007). "Laugh (to keep from crying)". United States. 

This film juxtaposes the benefits of Laughter Yoga with the current election controversies. (trt: 6min.), Webster University. 

	Williams, P. W. (Creator). (2007). "Playing the Kora". United States. 

This film highlights the playing of the Kora, a west African string instrument by an accomplished amateur, Grey Parrot, and by concert artist, Mamadou Djibate. (trt: 5 min. 47sec.) Screened: Rockport, Maine. 

	Williams, P. W. (Creator). (2006). "Anquandah's Story". United States. 

This film is a segment of a larger interview with Professor James K. Anquandah, Professor of Archeology at the University of Ghana Legon. It presents anecdotal evidence of the Anquandah/Quanders family in Africa and later in America. (trt. 4 min. 27 sec.), Screened: Mary brogan Museum, Tallahassee FL. 

	Williams, P. W. (Creator). (2006). "Comfort Zones". United States. 

Interactive video, Black Arts Festival, Atlanta GA. 

	Williams, P. W. (Creator). (2006). "Descent". United States. 

This film is a personal and creative rendering of the emotions generated from a first time visit to the slave dungeons at The Cape Coast Slave Fort in Accra Ghana. It uses images, music, and a scholar's testimony. (trt: 7 min, 10 sec), Screened: 2007 Independent Black Film Festival, Atlanta GA, "Blacks In and Out of the Box", California African American Museum, CA. 

	Williams, P. W. (Creator). (2005). "Comfort Zones". United States. 

Interactive video, This video is a collaboration with Sue Williamson of South Africa and was commissioned by the Light Factory Gallery in Charlotte NC (trt: 56 min. + loop), Screened: Light factory Gallery, Charlotte, NC; Mary Brogan Museum, Tallahassee, FL, SALT Project Space, South Africa. 

Contracts and Grants

Contracts and Grants Funded

	Williams, P. (Aug 2014–Aug 2015). Dept of Art faculty sabbatical support grant. Funded by Florida State University. Total award $700. 

Departmental support of sabbatical award. 

	Williams, Pat W (PI). (Dec 2006–Nov 2007). PG_Home Again: A Joseph Project Year. Funded by FSU CRC. Total award $12,000. 

Reviews of My Research and Original Creative Work by Other Authors

Reviews Appearing in Journals

	Hrag Vartanian. (2016). "Art Does Change Things": A Conversation with Curator and Art Historian Kellie Jones. HYPERALLERGIC, p 1-5. 

	HighBeam Research. (2016). " Lives of Others" -. Artforum International, p 35. 

	John Tain. (2016). "The Theater of Refusal: Black Art and Mainstream Criticism,". Artforum Magazine, p 35. 

	Jerry Saltz and Rachel Corbett. (2016). "How identity Politics Conquered the Art World". New York Magazine, p 35. 

	Sofia de Guzman. (2016). "Identity Politics & Art,". New York Magazine, p 35. 

	Smith, S. M. (2012). Delia's Tears: Race, Science, and Photography in Nineteenth-Century America. Photography and Culture, 13. 

Berg Publishers. 

	Copeland, H. (2011). Perpetual Returns. Representations 113, 47. 

University of California Press. 

	Williams, P. W. (2008). "Object into Subject": Michelle Cliff, John Ruskin, and the Terrors of Visual Art. American Literature, 80(3), 501-526. 

	Cooks, B. (2006). Pan-African politics in African American visual art: Where have we been? Where are we going?". International Journal of Media and Cultural Politics, 44. 

	Cooks, B. (2003). "Suspect: Intersections". The Journal of Global Communications and Culture, 6. 

	Cooks, B. (2003). Suspect: Intersections. The Journal of Global Communications and Culture, 22. 

	Jackson, P. (2002). Re-living Memories: Picturing Death. JELE: Art e-Journal of the African World, Issue 5, 91. 

	Jackson, P. (2002). Re-living Memories: Picturing Death. JELE: Art e-Journal of the African World, 5, 61. 

	Sally Price. (2001). "Patchwork History: Tracing Art worlds In The African Diaspora". New West Indian Guide / Nieuwe West-Indische Gids, p 15. 

	Marquardt-Cherry, J. (2000). "B(l)ack Talk: African American Women's Confrontational Art". Exposure, Vol. 33:2, 122. 

#	Slate, M. (1999). "Mumia 911: Disturbing the Air". Revolutionary Worker, 1023, 23. 

#	Becker, C. (1998). "The Second Johannesburg Biennale". Art Journal, Vol. 57. 

#	Pindell, H. (1998). "The Johannesburg Biennial and an Interview with Olu Oglibu". International Review of African American Art, Vol.15, #3. 

#	Williams, P. W. (1997). Outskirts. Market Galleries, 55. 

#	Chandler, R. M. (1996). "Xenophobes, Visual Terrorism and the African Subject". Third Text, Volume 10, Issue 35. 

#	Fusco, C. (1996). "The Bodies that Were Not Ours". Nka, Journal of Contemporary African Art, #5. 

#	Goldsby, J. (1996). "The High and Low Tech of It: The Meaning of Lynching and the Death of Emmett Till". The Yale Journal of Criticism, 9.2. 

#	Hara, H. (1995). Acervos da Historia Negra. O Globo RioShow, 118. 

Historia Pessoai. 

#	Margutti, M. (1995). Fotografas Negras Afirmam Identidade. Journal de Commercio, 18. 

#	Thevenet, C. (1995). Narrativas Passoais: Fotografas Afro-Americanas. Journal de Brasil: Exposicoes, 93. 

#	Miranda, C. (1995). O Brasil c o Negro Sob Foco. Tribuna da Imprensa, 87. 

Narrativas Pessoais: Fotografas Afro-Americanas. 

#	Editor, T. (1995). Minismo Negro. Narrativivas Pessoais: Fotografas Afro-Americanas, 22. 

#	Henley, D. R. (1995). "Political Correctness in the Artroom: Pushing the Limits of Artistic License". Art Education, Vol. 48, No. 5. 

#	Barrett, T. (1994). Editorial: "Dropping Lots of Names". Studies in Art Education, 42. 

#	Williams, Pat, Ward. (1994). "Image and Identity: African-American Experience in 20th Century American Art. The International Review of African-American Art, Vol. 11 No. 3, p. 39. 

#	Sjoberg, L. (1993). Spranggamne av Grovsta kaliber pa Louisiana. Karlskoga, 20. 

#	Carlsson, L. (1993). Vara lidentiteter Belysta. Helsingborg Dagblad, 27. 

#	Jacobsen, K. (1993). Hva' glor du pa? Dansk Grafia, 90. 

#	Pedersen, A. R. (1993). Med bevigstgrelsen i front. Kristellgt Dagblad, 40. 

#	Niegelhell, F. (1993). Identitatsdebatte in Ausstellungsform. Freitag, 82. 

#	Richter, S. (1993). Mistaken Identities. Chronik, 04/1993, 27. 

#	Bech, T. Y., & Johnnessen, L. (1993). Racismens ansigt. Helsingborg Dagblad, 74. 

#	Golden, T. (1993). Photo Text. Poliester: Una Revista de Arte Contemporano, 27-28. 

#	Havens, M. A. (1991). The Art of Black Photographers. The Historian, 53 (4), 649-656. 

#	Berger, M. (1991). Rassismus in US Museen? Kunstforum International, 87. 

#	Jacobsen, C. (1991). "Redefining Censorship: A Feminist View". Art Journal, Vol. 50, No. 4, 22-32. 

#	Jones, K. (1990). "In Their Own Image". ARTFORUM, 12-14. 

#	Williams, Pat, Ward. (1990). "SigAlert". ARTFORUM, 82-83. 

#	Collischan Van Wagner, J. (1990). "Pat Ward Williams: Personal and Political Observations". CEPA Journal, Vol. 4, No. 1, 25. 

Reviews Appearing in Books or Monographs

	Celeste-Marie Bernier, H. D. (2016). "Visualizing Slavery: Art Across the African Diaspora". In Celeste-Marie Bernier, Hannah Durkin (Ed.), "Visualizing Slavery: Art Across the African Diaspora". Oxford University Press. 

	Lisa Farrington. (2016). Accused/Blowtorch/Padlock. In Oxford University Press (Ed.), African American Art 1e (pp. 57). 198 Madison AvenueNew York NY. 

Reviews Appearing in Magazines or Newsletters

	Kwame, A. (2007). "2nd SaNsA International Art Workshop Opens". Accra Daily Mail, 35. 

	Richmond, S. (2006, September). "Fabricated Harmonies: Atlanta". Art Papers, 56. 

	Cotter, H. (2006, May). "Disturbing the Peace/Carol Jacobsen". The New York Times, 6. 

	Cotter, H. (2006). "Disturbing the Peace". Art in Review, 25. 

	LaFleur, I. (2005, August). "Atlanta: Isolated Incidents". Art Papers, 47. 

	Fox, C. (2005, April). "Contemporary Emory Gallery Debuts with Personal, Political Artwork". The Atlanta Journal-Constitution, 3. 

	Bellows, L. (2005, March). "TALK OF THE TOWN: Isolated Incidents". Creative Loafing Atlanta, 3. 

	Harris. (2005). "Hunted Everywhere: Collaging the Capitol, a Manifesto". South Atlantic Quarterly, 104, 509-519. 

	Gurney, K. (2003). Pat Ward Williams Speaks at Michaelis. Arthrob, 5. 

	Thompson, C. B. (2002, September). "The Bodies That Were Not Ours". E-Zine, 1. 

	John-Hall, A. (2002, February). "For Love of the Body". The Philadelphia Inquirer, 6. 

	Pollack, B. (2001, September). "The New Look of Feminism". ARTnews, 3. 

	Copeland, H. (2001). "Slave as Fetish, Subjection as Sight: Pat Ward Williams, Glenn Ligon, and the Figure of Henry 'Box' Brown". The Northwestern 12th Annual Art History Graduate Symposium, 21. 

	Herszenhorn, D. M. (2000, December). "Violence by Police as a Theme for Art". The New York Times, 4. 

	Zimmer, W. (2000, December). "Strong Statements in a Serene Setting,". The New York Times, 3. 

#	Goldberg, V. (2000, April). "When Asserting A Self-Image is Self-Defense". The New York Times, 5. 

	Bless, N. (2000). "Welcome Home". Sculpture, Vol. 19, No. 5. 

	Smith, S. M. (2000). Looking at One's Self Through the Eyes of Others. African American Review, 21. 

WEB Du Bois's Photographs for the 1900's. 

#	Friedman, E. (1999). "PC". TCNJ Magazine, 15. 

#	Mayson and Sndier. (1999). "Swing it Sistahs". Philadelphia City Paper, 3. 

#	Atkinson, B. (1997, August). Defusing the Potential. Mail and Guardian, 16. 

#	Unknown. (1997, August). City Vision. The Gallery, Civic Theatre, 12. 

#	Frank, P. (1996, August). "Pick of the Week: Pat Ward Williams". LA Weekly, 3. 

#	Johnson, R. (1996, August). "Artist Ponders Shades of Gray, Self-Possessed". Daily News, 3. 

#	Taylor, N. (1996, March). "The Black Male Show". ARTWEEK, 5. 

#	Soussan, T. (1996, February). "Four Images in Cinema Slide Show Banned". Pasadena Star-News, 5. 

#	Wiggins, C. (1996, February). "Eye of the Storm". LA Weekly, 4. 

#	Wilson, L. (1996, February). "It's Not Art That Offends". Star News, 49-50. 

#	Dubin, Z. (1996, January). "A Project That Gives New Meaning to the Term 'Art House'". Los Angeles Times, 37-38. 

#	Frank, P. (1996, January). "Trailer Park". LA Weekly, 27-28. 

#	Smith, R. (1995, July). "Black Male: Representations of Masculinity in Contemporary Art at the Armand Hammer Art and Cultural Center". ARTWEEK, 17-18. 

#	Brown, M. (1995, May). "Black Male at Armand Hammer Museum: Exhibit is a Matter of Perception". Los Angeles Sentinel, 17-18. 

#	Unknown. (1995, May). "Is LA Ready for the Black Male?". BUZZ, 6. 

#	Acconelli, L. (1995, April). "Provocative Art". Daily Breeze, 5. 

#	Hernandez, S. (1995, April). "Response to the Call". L.A. Weekly, 10. 

#	unknown, N. (1995, March). Female Issues Through Art. Trinidad Guardian, 1/2, 17-18. 

#	Budney, J. (1995, February). "Black Male". FLASH ART, 8. 

#	George, L. (1995, February). "The Black Male Debate". Los Angeles Times, 02/1995, 87-88. 

#	Budney, J. (1995, January). "Spotlight-Black Male". FLASH ART, 180, 91-92. 

#	Willis, D. (1995). "Imagining Families: Images and Voices". Photo Review, 1995, 37-39. 

#	Kennedy, L. (1994, November). "Brothers and Others". Village Voice, 11/1994, 72-75. 

#	Klausner, B. (1994, October). "U.S. Contingent in Havana". Art In America, p. 44. 

#	Connor, C. (1994, May). "Social Sight". ARTWEEK, Vol. 25 No. 9, 127-29. 

#	Curitis, C. (1994, April). "Faculty Show is a Grade Above the Others". The LA Times, 04/1994, D-6. 

#	Harvey, D. (1994, February). "Color Theory-"Fade" to Black". LA Weekly, 02/1994, 78-79. 

#	Assim, J. (1993, September). "Art From A Political Perspective". St. LOUIS AMERICAN, 09/1993, 27, 45, 49. 

#	Ryan, R. (1993, July). "The Whitney Fiasco & the Critics". Commentary Magazine, 07/1993, 129. 

#	Curtis, C. (1993, April). "Seeing in Black and White". Los Angeles Times, 04/1993, B-135. 

#	Martin, V., & Vanexiano, D. (1993, February). "No Justice, No Peace.... Resolutions?". ARTWEEK, Vol. No. 3, 32-33. 

#	Ritchie, L. (1993, February). "Exhibition With a Mission". The New Art Examiner, 02/1993, 35. 

#	Klausner, B. (1993). "U.S. Contingent in Havana". ART IN AMERICA, p. 44. 

October 1994. 

#	Von Blum, P. (1992, December). The Work of Pat Ward Williams. Z Magazine, 5(12), 21-32. 

Institute for Social and Cultural Change, Boston, MA. 

#	Hess, E. (1992, February). "Window Pain". The Village Voice, 02/1992, 29-30. 

#	Sozanski, E. J. (1992, January). "On Galleries". The Philadelphia Inquirer, 01/1992, 29. 

#	Margolick, D. (1990, September). "Speaking Out: Some Distance to Go". ART IN AMERICA, vol.78, no.9, 82. 

#	Grundberg, A. (1990, August). "Ladies and Gentlemen, Welcome to my Life". THE NEW YORK TIMES, 08/1990, C-17. 

#	Margulis, S. (1990, May). "Pat Ward Williams at the Fayerweather Gallery". The New Art Examiner, 05/1990, 23. 

#	Miller, E. E., Coleman, W., & Mason, Keith Antar, Cleage ,Pearl. (1990). "Racism, Identity, and the Blues Aesthetic". High Performance, Vol. XIII, 17-22. 

#	WILLIAMS, P. W. (1990). "MOVE?". CENTER QUARTERLY, Vol. 2, No. 2, 23. 

#	Grundberg, A. (1989, July). "Photography View". The New York Times, 07/1989, C-18. 

#	Van Wagner, J. C. (1989, March). Pat Ward Williams. ARTS Magazine, 01/1989, 69. 

#	Roth, M., & Cobb, P. (1989, January). An Interview with Pat Ward Williams. AFTERIMAGE, 01/1989, Cover, pp. 15-17. 

Reviews Appearing on a Web Site

	Hrag Vartanian. (2016). "Art Does Change Things": A Conversation with Curator and Art Historian Kellie Jones". HYPERALLERGIC. 

Service

Florida State University

FSU University Service

	Grant Reviewer and Interviewer, Student Fulbright Committee (2000–2016).

	Grant referee, CRC COFRS Grant Panelist (2012).

FSU College Service

	chair, Visiting Artist committee (2016–present).

FSU Department Service

	member, Faculty Development/ Promotions and Tenure Committee (2016–present).

	chair, Visiting Artist Committee (2016–present).

	member, Master Craftsmen Studio Director search committee (2013).

The Profession

Judge for an Exhibition

	Men About Town. Southside Arts Complex: Southside Arts Complex (2012).

	Photofest Art Exhibition. Tallahassee Regional Airport (2006).

Exhibitions Curated

	"Men About Town". Southside Arts Complex, Tallahassee Florida: Southside Arts Complex (2012).

Reviewer or Panelist for Grant Applications

	State of Florida Council on Culture and Arts (2010–2012).

Service to Professional Associations

	Member Board of Directors, Board of Directors, Hambidge Center for the Creative Arts (2003–2013).

#	National Board Member, Society for Photographic Education (1993–1996).

Service to Other Universities

	Provided external peer review for a promotion to Associate Professor with tenure, Herron School of Art and Design in Indianapolis, Indiana (2012). 

	Provided external peer review for a promotion to Associate Professor with tenure, School of Art at the University of Arizona (2011). 

	Provided external peer review for a promotion from Associate Professor with tenure to Full Professor, University of Michigan (2006). 

	Provided external peer review for a promotion from Associate Professor with tenure to Full Professor, University of Colorado at Boulder (2005). 

	Provided external peer review for an Assistant Professor teaching position, Massachusetts College of Art (2004). 

#	Professional activities that occurred prior to my employment at FSU.