BILL BRAND
Website: http://www.billbrand.net


 Selected Curriculum Vitae


EDUCATION
Antioch College, Yellow Springs, Ohio, B.A., 1972 (Art)
The School of the Art Institute of Chicago, M.F.A., 1974 (Film)


TEACHING
Hampshire College, Professor Emeritus of Film and Photography (1991-Present)
New York University, Cinema Studies, graduate Moving Image Archiving and Preservation, Adjunct Professor (2005-Present)
Sarah Lawrence College, Bronxville, NY, Faculty in Filmmaking (1975-85)


FILMOGRAPHY/VIDEOGRAPHY
Untitled (market) [color, silent, HD 11 minute loop] (2016)
Untitled (orchard) [color, silent, HD 4 minute loop] (2016)
Ornithology 4 [color, silent, HD, 30 second loop] (2015) for "Peephole Cinema - Kinetoscopic Records," Susie’s Ghost [color, sound, 16mm, 7 minutes] in collaboration with Ruthie Marantz (2011)
Down The Alley [color, sound, HD, 8 minutes] (2011)
Sicómoro [color, sound, HD, 5 minutes] text by Carolina Noblega (2011)
Rampla Juniors [color, sound, HD, 16 minutes] (2011)
Mistakes, Out Takes and Good Deeds [3 projector film and video installation] (2006)
Swan’s Island [color, sound, 16mm, 5 minutes] co- directed with Katy Martin (2005)
Suite [color, sound DV video, 29 minutes] (2003). Includes:
    My Father’s Leg [color, silent, DV video, 3 minutes]
    Interior Outpost [color, sound, DV video, 10 minutes]
    Moxibution [color, sound, DV video, 8 1/2 minutes]
    Double Nephrectomy [color, sound, DV video, 4 minutes]
    Gazelle [color, sound, DV video, 3 1/2 minutes]
Skinside Out [color, sound, 16mm, 10 minutes] co- directed with Katy Martin (2002)
I’m a Pilot Like You, color, sound DV video, 40 minutes co- directed with Ruth Hardinger (2000)
Dialysis, Living With Choices, color, sound, DV video, 15 minutes, made with students at Hampshire College (1997)
Housing Discrimination Project [color, sound, video, 8 minutes] made with students at Hampshire College (1996)
Human Resources Unlimited [color, sound, video, 6 minutes] made with students at Hampshire College (1995)
Home Less Home [color, sound, 75 minutes] (1990)
Coalfields [color, sound, 39 minutes] (1984)
Tracy's Family Folk Festival [color, sound, 10 minutes] (1983)
Chuck's Will's Widow [color, silent, 13 minutes] (1982)
Masstransiscope, animated public artwork in NYC subway tunnel, 300 ft. painting in illuminated enclosure. (1980) Split Decision [color, sound, 15 minutes] (1979)
Works In The Field [color, silent, 40 minutes] (1978)
T.F.W. March For Human Rights [color, sound, 7 minutes] (1977)
The Trail To Koskimo, His First Hunt [color, sound, 35 minute] (1976)
Cartoons [color and b/w, sound and silent, 40 minutes total] (1974-75). Includes:
    An Angry Dog [color, silent, 5 1/2 minutes] (1974)
    It Dawn Down [color, silent, 5 1/2 minutes] (1974)
    The Central Finger [color, silent, 5 1/2 minutes] (1974)
    Before The Fact [color, sound, 6 minutes] made with Saul Levine and Students at S.U.N.Y. at Binghamton (1974)
    The Autobiography Of Benjamin Franklin [color, silent, 4 minutes] (1975)
    New York State Primaries [color, sound, 5 1/2 minutes] (1975)
    Still At Work [color, sound, 4 minutes] (1975)
Demolition Of A Wall [b/w, sound, 30 minutes] (1973)
Touch Tone Phone Film [b/w, sound, 8 minutes] (1973)
Acts Of Light [color, sound, 55 minutes total] (1972-74). Includes:
    Circles Of Confusion [color, sound, 15 minutes] (1974)
    Angular Momentum [color, sound, 20 minutes] (1973)
    Rate Of Change [color, sound, 18 minutes] (1972)
Moment [b/w, sound, 25 minutes] (1972)
Zip Tone Cat Tune [color, silent, 8 minutes] (1972)
Pong Ping Pong [film and sound environment, b/w, sound, 25 minutes] (1971) Always Open/Never Closed [color, silent, 13 minutes] (1971)
Tree [b/w, sound, 8 minutes] (1970)
Organic Afghan [color, sound, 4 minutes] (1969)


EXHIBITIONS
2016
College of Fine Arts, Shanghai University, "The Modeling of of the Medium" curated by Ding Beili, Shanghai, China
Galerie Arnaud Lefebvre, "Bill Brand & Katy Martin," Paris, France.
Light Cone, Scratch Projection series, "Bill Brand & Katy Martin," Paris, France.
CRATER-Lab,Barcelona, Spain

2015
Docs, "Peephole Cinema - Kinetoscopic Records," Brooklyn, NY
Union Docs, "Refracting Lumière: Avant Garde Revisions of the Lumière Brothers," Brooklyn, NY

2014
Mono No Aware, The Center for Performance Research, "Split Decisions," Brooklyn, NY

2013
Alliance Française of Buenos Aires, Argentina

2012
La Fundación de Arte Contemporáneo de Montevideo, Uruguay
Centro de Documentactión y Estudios Avanzados de Arte Conteporáneo, "Seminario Bill Brand," Murcia, Spain
Off Limits, "Cine hecho a mano: Charla sobre cine familiar," Madrid, Spain
"A Color Box Opens," Heliopolis, Brooklyn, NY
Black Maria Film Festival
dm contemporary, "♥+Art: Artist Couples Collaborating and Exhibiting Together," New York, NY

2011
National Gallery of Art, "A Co-op Omnibus" in series "Film-makers’ Coop at Fifty," Washington D.C. BAMCinématek, "All City Shorts: NY Stories" in "BAMcinemaFest," Brooklyn, NY
Echo Park Film Center, "Perceptive Frame: Films by Bill Brand," Los Angeles, CA
LA Filmforum, "Interior Landscapes: Films by Bill Brand," Egyptian Theater, Hollywood, CA MassArt Film Society, "Bill Brand," Massachusetts College of Art, Boston, MA

2010
"Critical Mass: The Legacy of Hollis Frampton," University of Chicago

2009
The Arts Exchange, White Plains, NY, "It All Started Here! New York's 103 year relationship with the Animation Industry," curated by Howard Beckerman and J. J. Sedelmaier
Anthology Film Archives, NY
Vision Festival, NY

2008
Rotterdam International Film Festival
Whitney Museum of American Art, NY, "Between The Still and Moving Image"
Museum of Modern Art, NY, "To Save and Project: The Sixth MoMA International Festival of Film Preservation," introducing Hollis Frampton's magnum opus, "Hapax Legomena I-VII" (1971-72)

2007
Pacific Film Archive, Avant-Garde Preservation Series, Berkeley, CA
Cinema Project, Portland, OR
Northwest Film Study Center, workshop on film and video preservation, Portland, OR
NewYorkRioToyko "e.V. and Ex’N’Pop," Berlin, Germany
Essential Documentaries: Classic New Directors/New Films, Lincoln Center, NY
Milwaukee Underground Film Festival
Espace Gantner, Belfort, France, “Paul Sharits, Figment”
Orchard, "Projection/Performance: Living Cinema Workshop" with Ruthie Marantz and Anya Maddow-Zimet in exhibition "On the Collective for Living Cinema," New York

2006
Tribeca Film Festival, "In Black and White and Living Color," New York
The Tank, solo exhibition of film and video work, New York
Queens Arts Festival, "Through Our Own Eyes," Belfast, Northern Ireland
Dashanzi Arts Festival, "Art as a Form of Conversation," 798 Galleries, Beijing, China
Anthology Film Archives, "Results You Can't Refuse: Celebrating 30 Years of BB Optics," a 4-week retrospective, New York
Shanghai Duolun Museum of Modern Art, "12+ Retrospective," Shanghai, China

2005
Barbican Art Gallery, "Colour After Klein: Films," London

2004
Art World Magazine (Yishushijie), 12+, Shanghai Doulun Art Museum, China, solo exhibition of films and videos.
Princeton University, "Gloria! The Legacy of Hollis Frampton" conference, moderated panel on “The Algorithmic Aesthetic: Frampton as Digital Pioneer”
Association of Moving Image Archivists annual conference, Minneapolis, exhibition and panelist for "Fixing the Moment: Preserving Expanded Cinema." Talk titled “Artist as Archivist: A Preservation Pickle”
Art in General, "Through our Eyes," exhibition and panel discussion, organized by Jo Wood-Brown, NY
"Chicago Filmmakers 30th Anniversary Show," Chicago Filmmakers, Chicago
"Chicago Filmmakers 30th Anniversary Show," Anthology Film Archive, NY

2003
Tribeca Film Festival
Chicago Filmmakers
San Francisco Cinematheque
California Institute of the Arts
Ocularis at Golapagos Art and Performance Space, “Scratch, Sniff, Pet: Open Zone Friends & Co-Conspirators Program,” Brooklyn, NY, “My Father's Leg.”
Massachusetts College of Art Film Society, Boston

2002
Museo Nacional Centro de Arte Reina Sofia, “Cine y casi cine,” Madrid, Spain
Donnell Media Center, New York Public Library, "Meet the Maker" series
Brooklyn Academy of Music, in "The Nearest Far Away Place" as part of the "Next Wave Festival"

2001
Museum of the Moving Image, Astoria, NY Cinema Ritrovato, Bologna, Italy

2000
Bennington College, VT, (reconstruction of 1971 film installation “Pong Ping Pong” plus other work) Dallas Video Festival, TX

1999
Whitney Museum of American Art, “American Century,” NYC
Fundació Antoni Tápeis, “Calculated Cinema", Barcelona, Spain

1998
Barbican Centre, Lux Cinema, Underground America, “Ways of Seeing”, London
Lux Cinema, “Underground America” curated by Mark Webber, London

1997
Harvard University Carpenter Center for the Visual Arts

1993
Pacific Film Archive, Berkeley

1992
Rotterdam International Film Festival, Netherlands

1991
Berlin Film Festival, "Forum of New Films," Germany
Museum of Modern Art, "New Directors/New Films," NY
New York Historical Society, "Race and Class in N.Y.C.", NYC
Munich Documentary Festival, Germany
Pacific Film Archive, Berkeley, CA
JFK Center for the Performing Arts, Washington, D.C.
AFI LA Film Festival, LA
American Film and Video Festival, Philadelphia, PA
Edinburgh Film Festival, Scotland
Montreal World Film Festival, Canada
George Eastman House, Rochester, NY
Wexner Art Center, Columbus, OH
PS122, New York, NY
Massachusetts College of Art Film Society, Boston, MA

1990
Rutgers University, Visiting Artist, NJ

1989
Collective for Living Cinema, NY
Pyramid Art Center, Rochester, NY
Whitney Museum of American Art, "Image World", NYC

1988
American Museum of the Moving Image, "Independent America: New Film, 1978 1988", Astoria, NY

1987
Collective for Living Cinema, NYC

1986
Filmforum, Los Angeles
Munson Williams Proctor Institute, "Frames of Mind," Utica, NY Three River Arts Festival, Pittsburgh, PA
Pacific Film Archive, Berkeley, CA

1985
New York Public Library "Bill Brand presents Coalfields" in "Meet the Makers: Experiments in Documentary Film," Donnell Library, NYC
Gallery 400, "Sites and Solutions," University of Illinois at Chicago.
Visual Studies Workshop, Rochester, NY
PS1, NYC
Black Maria Film Festival, NJ
Ann Arbor Film Festival, Michigan
Bromfield Gallery, "Independent Film Series," Boston, MA.

1984
Collective for Living Cinema, NYC
Freedman Gallery, "Sites and Solutions," Albright College, Reading, PA Edinburgh Festival, Scotland

1983
Berks Filmmakers', Reading, PA
The Cinematheque, San Francisco, CA
Pacific Film Archives, Berkeley, CA
Pasadena Filmforum, Pasadena, CA
Otis Art Institute, Los Angeles, CA
The Kitchen, "Filmworks '83", NYC
The Exploratorium, "Light Currents" by Eye Music, S.F., CA Bleeker Street Cinema, "Film Pulse", NYC

1982
PS1 (Institute for Art and Urban Resources), Long Island City, NY

1981
Collective for Living Cinema, Idiolects Benefit, NYC Media Study/ Buffalo, NY

1980
International Center of Photography, NYC
Artists Space, NYC
Pittsburgh Filmmakers, Pittsburgh, PA
Institute of Contemporary Art, "Urban Encounter," University of Pennsylvania, Philadelphia, PA

1979
London Film-makers' Cooperative, London, England
California Institute of the Arts, Los Angeles, CA
Oasis Films at Los Angeles Institute of Contemporary Arts, CA
The Cinematheque, San Francisco, CA
Millennium Personal Cinema, NYC
Chicago Filmmakers, Chicago, IL
Hayward Gallery, "Film as Film, Formal Experiment in Film, 1910-1975", London, England
Third International Avant Garde Film Festival, "Film London", London, England
The Kitchen, "Filmworks '79", NYC
Pittsburgh Filmmakers, Pittsburgh, PA

1978
Museum of Modern Art, NYC Collective for Living Cinema, NYC

1977
Millennium Personal Cinema, NYC
Canyon Cinema, San Francisco, CA
Pacific Film Archives, Berkeley, CA
Filmgroup at N.A.M.E. Gallery, Chicago,IL
Anthology Film Archives, NYC
Artists Space, NYC
Municipal Building Arcade, "Arcade", outdoor sound and film show, curated by Charlie Ahearn, NYC
Chicago Filmmakers, Chicago, IL
Theater Vanguard, Los Angeles, CA

1976
Invitational: "MOVED", John Weber Gallery, NYC

1975
London Film-makers' Cooperative, London, England
Collectif Jeune Cinema, Paris, France
Arsonal Cinema, Berlin, Germany
Kommunales Kino, Frankfurt, West Germany
Oesterreichisches Filmmuseum, Vienna, Austria
Whitney Museum of American Art, NYC
Anthology Film Archives, NYC
Museum of Art, Carnegie Institute, Pittsburgh, PA
Festival International du Jeune Cinema, Toulon, France

1974
Millennium Personal Cinema, NYC
Fifth International Experimental Film Competition at Knokke Heist, Belgium
American Film Festival, "Film as Art", NYC

1973
Millennium Personal Cinema, NYC
Festival of Independent Avant garde Film, London, England
Filmgroup at N.A.M.E. Gallery, Chicago,IL
Anthology Film Archives, NYC
Filmmakers Cinematheque, organized by Jonas Mekas at the Elgin Theater, NYC

1972
Western College, Ohio

1971
Antioch College, Yellow Springs, Ohio


TELEVISION SHOWINGS OF “HOME LESS HOME” 1991-95
WNET, New York, "Independent Focus" ZDF, Germany
Denmarks Radio, Denmark
RTE, Ireland

SBS, Australia
CDN, Canada
NHK, Japan
Super Channel, England


TELEVISION SHOWINGS OF “MASSTRANSISCOPE”
PBS, “Treasures of New York - Art Underground”, 2012
WNYC, "Brooklyn Magazine", NYC, April 9, 1982
Fuji Telecasting Co., "Science and Art", Itsuo Sakane, Tokyo, March 6, 1982 WPIX, "Action News", Frank Casey, NYC, Sept. 19 & 21, 1980
NBC, National Network News, "John Chancelor Show," Sept. 18, 1980 NBC, "Channel 4 News", NYC, Sept. 17, 1980


WORKS IN THE COLLECTION OF:
Smithsonian American Art Museum
Archives du Film Experimental D'Avignon, France
Carnegie Institute, Museum of Art, Pittsbrugh, PA
Espace Gantner, Belfort, France
MTA Art & Design, NYC
Royal Film Archives of Belgium, Brussels, Belgium
New York Public Library, NYC
Educatinal Film Library Association, NYC
Rochester Public Library, Rochester, NY
The Toledo Lucas County Public Library, Toledo, Ohio
West Virginia Library Commission, Charleston, WV
University of Puerto Rico, Rio Piedras, PR
The School of the Art Instutute of Chicago Film Center, Chicago, IL Antioch College, Yellow Springs, Ohio
Hampshire College/ Five-College Film Collection, Amherst, MA


BIBLIOGRAPHY:
2015
Bloodworth, Sandra, and William Ayres. “New York’s Underground Art Museum: MTA Arts & Design.” New York, The Metropolitan Transit Authority and The Monacelli Press, 2014: 110-111.
Dika, Vera, ‘Notes From Inside the Black Box,’ in “Art in America,” March 2015: 124-149.
Dell'Aria, Annie, ‘The Enchanting Subway Ride: Bill Brand's Masstransiscope,’ in “Performing Art Dialogue,” Volume 5, Number 2, 2015: 141-161.
MacDonald, Scott M. “Binghamton Babylon: Voices From the Cinema Department 1967-1977.” New York, State University of New York, 2015. Print.
Ramey, Kathryn. “Experimental Filmmaking: Break the Machine.” London: Focal Press, 2016.

2014
Camporesi, Enrico, ‘Bill Brand: Archive Instinct,’ in “Moving Image Review & Art Journal” MIRAJ, vol 3. no. 1: 82-93.

2013
Griffen, George, ‘Take the B-Train: reconstructing the proto-cinematic apparatus,’ in “Pervasive Animation” (AFI Film Readers), edited by Suzanne Buchan, 275-291. New York: Routledge, 2013.
Kabak, Benjamin. ‘Video: Restoring the damaged Masstransiscope.’ “Second Ave. Sagas.” August 29, 2013.
Kabak, Benjamin. ‘After Sandy, re-restoring the Masstransiscope.’ “Second Ave. Sagas.” August 27, 2013.
Mann, Ted. ‘Subway Artwork, Plunged into Darkness by Sandy, Is Reborn.’ “The Wall Street Journal.” August 23, 2013.

2012
Brand, Bill. ‘Artist as Archivist in the Digital Transition.’ “The Moving Image: The Journal of the Association of Moving Image Archivists” 12, no. 1 (Spring 2012): 92-95.
Collado, Sánchez Esperanza. “Paracinema: La Desmaterialización Del Cine En Las Prácticas Artísticas.” Madrid: Trama, 2012. Print. “Moment.”
Puetz, Michelle Adrianna. ‘Variable Area: Hearing and Seeing Sound in Structural Cinema, 1966-1978.’ Diss., University of Chicago, 2012. “Moment,” “Angular Momentum,” “Rate of Change,” “Acts of Light,” “Circles of Confusion.”
Storm, Jessica. ‘The Medium is the Medium: The Complexities of the Preservation of Rate of Change and Color Series’ (unpublished paper, reworked from diss., UCLA MIAS, 2011), 2012. “Rate of Change.”

2011
Menkin, Robin. ‘LA Filmforum Presents: Filmmaker Bill Brand, May 15.’ “Cinema Without Borders,” May 10, 2011. http://cinemawithoutborders.com/news-issues/2605-bill-brand.html.
Modrak, Rebekah, and Bill Anthes. “Reframing Photography: Theory and Practice.” London: Routledge, 2011. Print.

2010
MacDonald, Scott. ‘Canyon Cinema: The Life and times of an Independent Film Distributor.’ Berkeley: University of California, 2008. Print. “Trail to Koskimo,” “Touch Ton.”

2009
American for the Arts. ‘America’s Best Public Art Projects Recognized at National Arts Conference.’ News release, June 20, 2009. http://www.artsusa.org/news/press/2009/2009_06_16f.asp.
Fossati, Giovanna. From Grain to Pixel. Amsterdam: Amsterdam University Press, 2009. BBoptics.
Kennedy, Randy. ‘Attention Passengers! To Your Right, This Trip Is About to Become Trippy.’ “The New York Times” 1 Jan. 2009: C1. “The New York Times.” 31 Dec. 2008. Web.
Schlenoff, Daniel C. ‘50, 100 and 150 Years Ago: Kidney Transplantation; Plant Misinformation; Saving Civilization.’ “Scientific American,” September 25, 2009. http://www.scientificamerican.com/sciammag/?contents=2009-10.

2008
Brand, Bill. ‘The Artist as Archivist.’ Paul Sharits. Bourogne, France: Espace Multimédia Gantner, 2008. 63-69. Published in conjuction with the exhibition “Paul Sharits, Figments” shown at Espace Multimédia Gantner, October 13, 2007-February 3, 2008.
Kabak, Benjamin. ‘Tempering the BMT Brighton Line Enthusiasm.’ “Second Avenue Sagas” (web long), September 12, 2008. http://secondavenuesagas.com/2008/09/12/tempering-the-bmt-brighton-line-enthusiasm/.
‘Moving Pictures: Attaining Underground Momentum with Bill Brand’s Masstransiscope.’ “Film Society of Lincoln Center” (web log), November 7, 2008. http://filmlinc.wordpress.com/2008/11/07/moving-pictures-attaining-underground-momentum-with-bill-brands-masstransitscope/trackback/.
Wells, Paul, and Johnny Hardstaff. ‘Re-imagining Animation: Contemporary Moving Image Cultures.’ Lausanne: AVA Academia, 2008. Print.

2007
Gartenberg, Jon. ‘The Fragile Emulsion.’ “Journal of Film Preservation” 73 (April 2007): 39-51. Reprinted from “The Moving Image” 2, no. 2 (Fall 2002): 142-52.
Zimmer, Amy. ‘Underground Art in Brooklyn: Zoetrope's Artist Wants to Restore Work in Subway Tunnel.’ “Metro” (New York, NY), March 9-11, 2007, Weekend ed.

2006
Artdaily.com. ‘Through Our Eyes: Belfast/New York.’ Accessed October 9, 2006.
Choi, Jinhee. ‘Apperception on Display: Structural Films and Philosophy.’ “The Journal of Aesthetics and Art Criticism” 64, no. 1 (Winter 2006): 165-72.
Dargis, Manohla. ‘Short Films, Symbolic, Subversive and Silent.’ “New York Times,” October 7, 2006. BBoptics
Lampert, Andrew, ed. ‘Results You Can't Refuse: Celebrating 30 Years of BB Optics.’ New York: Anthology Film Archives, 2006.
Woo, Counrtney. ‘Experimental Film Retrospective: Western Filmmakers Nudge Shanghai’s Nascent Experimental Film Scene to Life.’ “City Weekend” (Shanghai, China), January 19, 2006, E24.
Zryd, Michael. ‘The Academy and the Avant-Garde: A Relationship of Dependence and Resistance.’ “Cinema Journal” 45, no. 2 (Winter 2006): 17-42.***

2005
Fernando, Juan. ‘¡Pero Si Estaba Acqí Hace Un Minuto!’ “El Diario” (New York, NY), May 1, 2005.
Schnepp, Suzanne R. ‘On Time: Approaches to the Conservation of Film, Videotape, and Digital Media.’ “Museum Studies” 31, no. 2 Conservation at the Art Institute of Chicago (2005): 96. BBoptics.
Skoller, Jeffrey. “Shadows, Specters, Shards: Making History in Avant-garde Film.” Minneapolis, MN: University of Minnesota, 2005. Print. “Home Less Home”

2004
Brand, Bill. Interview by Haijian Zhu. “Art World Magazine,” December 2004, 48-51. (in Chinese)

2003
Camper, Fred. ‘Senses Working Overtime: Remembering Stan Brakhage.’ “Chicago Reader,” April 18, 2003, sec. 1.
Camper, Fred. ‘Skinside Out: Film and Video by Bill Brand.’ “Chicago Reader” Guide to Movies. Accessed April 17, 2003. http://www.chicagoreader.com/chicago/skinside-out-film-and-video-by-bill-brand/Film?oid=1052973.
Chin, Daryl, and Larry Qualls. ‘Try to Remember: A Cinematic Year in Review 2002.’ “PAJ: A Journal of Performance and Art” 25, no. 2 (2003): 48-64. doi:10.1162/152028103321781547.
Frye, Brian, and Bill Brand. ‘The Accidental Preservationist: An Interview with Bill Brand.’ “Film History” 15, no. 2, Small-Gauge and Amateur Film (2003): 214-19.
Gartenberg, Jon, Ken Jacobs, and Bill Brand. ‘Ken Jacobs, Bitemporal Vision : The Sea.’ In “Permanence Through Change: The Variable Media Approach,” 86-91. New York: Solomon R. Guggenheim Museum, 2003. bboptics.
Glassman, Carl. ‘A Film from Center Ring of a Media Circus.’ Tribeca Trib (New York), June 2003. “I’m a Pilot Like You.”
Pogrebin, Robin. ‘Fledgling Festival Seeks an Identity.’ “The New York Times,” May 2, 2003. http://www.nytimes.com/2003/05/02/movies/fledgling-festival-seeks-an-identity.html?pagewanted=all&src=pm. “I’m a Pilot Like You.”
Reiter, Elfi. ‘Cinema 2, Il Cinema Ritrovato, Bologna, Italy, July 2002.’ Review of Film Screening “Cinema2: Old Images, New Films” in the Festival Il Cinema Ritovato, Cineteca Del Comune Di Bologna. “The Moving Image” 3, No. 1., Spring 2003: 158- 161. “Demolition of a Wall.”

2002
Cine y Casi Cine. Museo Nacional Cetro de Arte Reina Sofia: Madrid, Spain, 2002. Published in conjuction with the exhibition "Cine y Casi Cine" shown at Salól de Actos. Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain, October 24-December 15, 2002. “I’m a Pilot Like You.”
Cook, David A. “Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam,” 1970-1979. Berkeley: University of California, 2002. Print. “Rate of Change,” “Touch Tone Phone Film,” “Demolition of a wall.”
Gartenberg, Jon. ‘The Fragile Emulsion.’ “The Moving Image” 2, no. 2 (Fall 2002): 142-52. Reprinted in “Journal of Film Preservation” 73 (April 2007): 39-51.
Lowder, Rose, and Alain-Alcide Sudre, eds. ‘L’image en mouvement, 25 ans d’activité pour la défense du cinéma comme art visuel.’ Avignon, France: Archives Du Film Expérimental D'Avignon, 2002.
Pogrebin, Robin. ‘TriBeCa Festival Celebrates Film And Resilience.’ “The New York Times,” May 7, 2002. http://www.nytimes.com/2002/05/07/movies/tribeca-festival-celebrates-film-and-resilience.html.
Sitney, P. Adams. “Visionary Film: The American Avant-garde, 1943-2000”. Oxford: Oxford UP, 2002. Print. Bill and a filmmaker

1998
MacDonald, Scott. “A Critical Cinema 3: Interviews with Independent Filmmakers.” Berkeley: University of California, 1998. Print. “Chuck’s Will's Widow.”

1996
Carroll, Noël. “Theorizing the Moving Image.” Cambridge: Cambridge University Press, 1996.

1994
Rabinowitz, Paula. ‘They Must Be Represented: The Politics of Documentary.’ London: Verso, 1994.

1993
‘1973-1993 Twenty Year of Chicago Filmmakers!’ “Celebrating 20 Year Chicago Filmmakers,” 1993, 8-9.
Barnouw, Erik. ‘Documentary: A History of the Non-fiction Film.’ New York: Oxford University Press, 1993. “Home Less Home.”

1992
Brand, Bill. ‘Programming Experimental Films for Children.’ In “Children’s Film Programming: A Handbook,” compiled by Gallery Association of New York State. Fort Atkinson, WI: Highsmith Press, 1992.
Carey-Webb, Allen. ‘Representing the Homeless.’ “American Literary History” 4, no. 4 (Winter 1992): 697-708. “Home Less Home.”

1991
Arthur, Paul. Review of “Home Less Home.” “Cinéaste” 18, No. 3, 1991: 43-44.
Brand, Bill, interviewed by Diana Lobdell. “Lightstruck: Journal of the Experimental Film Coalition” 7, no. 4. Summer 1991: 11-17. “Home Less Home.”
Holden, Steven. ‘Life Without the Gloss In New Directors Series.’ “The New York Times”, March 15, 1991.
Jaedicke, Tom. ‘Rückblick Auf Das Forum-Programm: Mit Kaurismäki an Den Amazonas.’ “Berliner Morgenpost,” February 27, 1991. James, Stan. Advertiser (Windham, CT), October 31, 1991. “Home Less Home.”
Korte, Peter. ‘Aus aller Welt: Filme von Treut/Mikesch, Sempel, Villaverde und Brand [From Around the World: Films of Treut/Mikesch, Sempel, Villaverde and Brand].’ “Frankfurter Rundschau,” February 20, 1991. (In German)
Mahrenholz, Simone. "Home Less Home." “Der Tagesspiegel” (Berlin), February 19, 1991, Feuilleton: 41. Internationale Filmfestspiele Berlin 1991 sec. (in German)
Maslin, Janet. ‘Problems of Homeless: The Individual Stories.’ “The New York Times,” March 21, 1991.
White, Armond. ‘Homelessness: A Movie Metaphor For Our Times.’ “The City Sun” (Brooklyn, NY), May 17, 1991. “Home Less Home.”
Yeaman, Simon. "Down to Earth." Advertiser (Windham, CT), November 5, 1991. “Home Less Home.”

1989
Forbes, Elizabeth. ‘Working the Crowd: Filmmaker Bill Brand Is Trying to Make Independent Films More Accessible to the Public.’ Preview for Screening of 26 films by Bill Brand, Pyramid Arts Center, October 21. Times-Union (Rochester, NY), October 19, 1989. “Works in the Field,” “Touch Tone Phone Fim,” “Rate of Change,” “Masstransiscope,” Coalfields,” “Home Less Home.”
Gidal, Peter. Materialist Film. London: Routledge, 1989. “Coalfields.”

1986
‘Frames of Mind: Recent Filmmaking in Central New Yo“rk.’ Museum of Art, Munson-Williams-Proctor Institute, Utica, NY, March 7-May 4, 1986. Program. “Chuck’s Will's Widow.”

1985
‘Sites and Solutions: Recent Public Art,’ Catalogue for Exhibition at Freedman Gallery, Albright College Reading, PA, October 12-November 18, 1984 and at Gallery 400, College of Architecture, Art, and Urban Planning, The University of Illinois at Chicago, January 9-February 2, 1985. Reading, PA: Freedman Gallery, Albright College, 1985. “Masstransiscope.”
Thomas, Lillian. Review of art show ‘Sites and Solutions: Recent Public Art,’ Gallery 400, University of Illinois. “Chicago Reader,” January 25, 1985. “Masstransiscope.”

1984
Contini, Anita. ‘Alternative Sites and Uncommon Collaborators: The Story of Creative Time.’ in “Insights/Onsights: Prespectives on Art in Public Places” ed. Stacy Paleologos Harris. Washington, D.C.: Partners for Livable Places. 1984. “Masstransiscope.”
Hoberman, J. ‘Chuck’s Will's Widow and Coalfields: Two Films by Bill Brand. At the Collective for Living Cinema, June 15.’ “Village Voice” (New York, NY), June 19, 1984.
Sterritt, David. ‘Ghostbuster': Fantasy and Zaniness Done Well; GHOSTSBUSTERS. Produced and Directed by Ivan Reitman. Original Screenplay by Dan Aykroyd and Harold Ramis. Columbia Pictures; COALFIELDS, Directed by Bill Brand; STREETS OF FIRE, a Rock and Roll Fable. Directed by Walter Hill. Universal-RKO.’ “Christian Science Monitor” (Boston, MA), June 14, 1984, Arts & Leisure; On Film sec.

1983
Hoberman, J. Review of “Filmworks” Show including works by Robert Breer, Marjorie Keller's, Grahame Weinbren and Roberta Friedman, Su Friedrich, Pooh Kaye and Elizabeth Ross, Henry Hills, Mary Filippo, Andy Anderson and Bill Brand (“Chuck’s Will’s Widow”), The Kitchen. “Village Voice” (New York, NY), April 19, 1983.
Sterritt, David. ‘And Now, an Alternative for the Performer Looking for His Own Niche . . .’ “Christian Science Monitor” (Boston, MA), August 17, 1983, Arts/Entertainment sec.

1982
Brand, Bill. ‘Avant-Garde Film and the Ideology of the Counter Culture,’ “Idiolects” 12 (Fall 1982): 2-4.
Rickey, Carrie. ‘Taking Care of Artists' Business.’ “Village Voice” (New York), December 30-January 5, 1982. “Masstransiscope.”
Rosen, Nancy. ‘Public Art: City Amblings.’ In “Ten Years of Public Art,” 1972-1982. New York, NY: Public Art Fund, 1982. Published in conjuction with the exhibition “Ten Years of Public Art, 1972-1982” shown at the Doris C. Freedman Gallery at the Urban Center, 457 Madison Avenue, New York, 20 May-18 June 1982. “Masstransiscope.”

1981
“New York Times.” ‘Award given to Archdiocese.’ Culture Desk. June 2, 1981, C sec. “Masstransiscope.”
Phillips, Deborah C. "New Faces in Alternative Spaces." ARTnews, November 1981, 90-100.
Russell, John. ‘ART PEOPLE; The Ride-by Subway Mural.’ “New York Times,” January 16, 1981. “Masstransiscope.”

1980
Fowler, Glenn. ‘Subways Are for Seeing Brooklyn ‘Movie' “New York Times,” September 17, 1980, Metropolitan Report sec. “Masstransiscope.”
Ginsberg, Merle, ed. This Week. “Soho News” (New York), September 17, 1980. “Masstransiscope.”
Glueck, Grace. ‘Art People.’ “New York Times,” September 26, 1980. “Masstransiscope.”
Rickey, Carrie. ‘Closely Watched Train Stations.’ “Village Voice” (New York), July 30-August 5, 1980. “Masstransiscope.”
Rickey, Carrie. ‘Myrtle Avenue.’ “Village Voice” (New York), September 17-23, 1980. “Masstransiscope.”
Taubin, Amy. ‘Captive Audience.’ “SoHo Weekly News” (New York), November 19, 1980. “Masstransiscope.”
The 'Vasari' Diary. ARTnews 79, no. 10 (December 1980): 34-36. “Masstransiscope.”

1979
Buchsbaum, Jonathan. ‘Composing for Film: The Work of Bill Brand.’ “Millennium Film Journal” 3 (Winter-Spring 1978-1979): 55-61. Discusses “Moment,” “Demolition of a Wall,” “Works in the Field,” and “The Trail to Koskimo,” “His First Hunt.”
Christie, Ian. ‘Film: Independents.’ review of “Split Decision,” “Works in the Field.” “Time Out” (London), July 13-19, 1979.
“Film as Film: Formal Experiment in Film, 1910-1975.” London: Arts Council of Great Britain, 1979. Published in conjuction with the exhibition at Hayward Gallery, South Bank, London SE1, May 3-June 17, 1979. “Tree.” “Always open / Never closed.” “Pong Ping Pong.” “Moment.” “Zip Tone Cat Tune.” “Rate of Change.” “Touch Tone Phone Film.” “Angular Momentum.” “Demolition of a Wall.” “Circles of Confusion.”
Rich, B. Ruby. ‘What You See Is What You Get.’ review of “Works in the Field,” Chicago Filmmakers, March 17, 1979. Chicago Reader, March 16, 1979.

1978
Carroll, Noel. ‘The Other Cinema.’ review of Works in the Field, by Bill Brand (film), Collective for Living Cinema. “SoHo Weekly News” (New York), December 14-20, 1978.
“New York Times.” ‘A Room with a View—New York, N.Y.’ January 12, 1978. On artists decorating lofts in lower Manhattan with camera obscuras. Photograph by Bill Brand.

1977
Chin, Daryl. ‘Outdoor Parameters.’ review of performances by Colen Fitzgiben, Robin Winters, Gordon Matta-Clark, Virginia Pierol, Jacki Och, Charles Ahern and Bill Brand (“Circular Flow of Economic Life”), Manhattan Municipal Building. “SoHo Weekly News” (New York), May 19, 1977.
Gross, Linda. ‘Trilogy Explores Nature of Color.’ review of “Acts of Light,” “Cartoons,” “Touch-Tone-Phone-Film.” “Los Angeles Times,” April 23, 1977.
LeGrice, Malcolm. ‘Abstract Film and Beyond.’ London: Studio Vista, 1977. “Moment.”

1976
Brand, Bill, interview by Gunvor Nelson, “Canyon Cinemanews” 76-4. 1976. Discusses “Always Open/Never Closed,” “Angular Momentum,” and “Rate of Change.”

1975
Wollen, Peter. ‘The Two Avant-Gardes.’ “Studio International”, The Avant-Garde Film in England and Europe (November/December 1975). Reprinted in “Edinburgh '76 Magazine” 1. 1976: 77-85.

1974
Christie, Ian. ‘Time and Motion Studies: Structural Cinema and the Work of Bill Brand’ “Studio International”, June 1974. Discusses “Moment,” “Rate of Change,” “Touch Tone Phone Film,” “Angular Momentum.”

1973
Mekas, Jonas. Review of “Moment” by Bill Brand (film).“Village Voice” (New York, NY), January 4, 1973.
Mekas, Jonas. Review of “Touch Tone Phone Film,” “Moment,” “Zip-Tone-Cat-Tune,” “Rate of Change,” “Angular Momentum,” by Bill Brand, (films), Millenium, New York.“Village Voice” (New York, NY), June 7, 1973.
Mekas, Jonas. Review of “Moment,” “Rate of Change,” “Touch Tone Phone Film,” “Angular Momentum’”by Bill Brand (films). “Village Voice” (New York, NY), Oct 13, 1973.


AWARDS:
Anthology Film Archives Film Preservation Honoree (2006)
Hampshire College, MacArthur Chair (1994-97)
Blue Ribbon for Home Less Home, American Film and Video Festival (1991)
Ann Arbor Film Festival (1985)
Three River Arts Festival, Pittsburgh, PA (1983)
Certificate of Merit, The Municipal Art Society of New York for Masstransiscope (1981)


ORGANIZATIONS:
Mono No Aware, advisory board, (2015-present)
Orphan Film Symposium, advisory board (2008-present)
Board of Trustees, Flaherty Film Seminar (2008-2014)
Parabola Arts Foundation, Inc. founding member and artist director (1982-present)
Collective For Living Cinema, Board of Directors, Treasurer (1985-91)
New York State Council on the Arts, Film Panelist (1985-88)
Artists’ Call Against U.S. Intervention in Central America, film and steering committees (1983)
Chicago Filmmakers, Chicago, IL, founder (Filmgroup at N.A.M.E. Gallery) (1973)


GRANTS:
Josef and Anni Albers Foundation for restoration of Masstransiscope (2005)
Massachusetts Cultural Council, Film Production (1995)
National Endowment for the Arts, film production (1990)
New York Foundation for the Arts, fellowship in film (1990)
New York State Council on the Arts, Production Assistance Grant (1989)
New York Council for the Humanities (1989)
New York State Council on the Arts, Production Assistance Grant (1987) New York Foundation for the Arts, fellowship in film (1985)
Jerome Foundation (1984)
American Film Institute, Independent Filmmaker Program (1982)
National Endowment for the Arts, Art in Public Places/ Planning Grant for Artists (1978-79) New York State Council on the Arts, Production Assistance Grant (1978-79)
Creative Artists Public Services (CAPS), film section (1978-79)

Artist Images