Steve Rowell
CV
EDUCATION
MFA with Distinction, University of Oxford
BA, Studio Art, University of Texas at Austin
AWARDS & GRANTS
MAJOR FELLOWSHIPS & NATIONAL AWARDS
2024
FilmNorth + McKnight Foundation, McKnight Media Artist Fellowship (Media Arts)
2019
John Simon Guggenheim Memorial Foundation, Fellowship (Film–Video)
2013
Creative Capital Award, (Emerging Fields: Interdisciplinary)
Graham Foundation for Advanced Studies in the Fine Arts, Grant (Film/Video)
INSTITUTIONAL AWARDS & GRANTS
2025
Reginald Moore Travel Grant for Research in Activism and Social Justice, Woodson Research Center, Rice University (Co–Grantee with Priyanka Basu)
2021
Institute on the Environment (IoNE) Mini Grant for “Extinction Simulation Landscapes: Midwest Chapter,” University of Minnesota, Primary Investigator (with Priyanka Basu)
2017
Kansas City Art Institute, Faculty Development Grant
2016
Erna Plachte Scholarship, University of Oxford
2010
HaSS Visiting Faculty Fellowship, Global Urban Research Unit, Newcastle University
2004
Annenberg Center for Communication Institute for Multimedia Literacy USC, residency
STATE & REGIONAL GRANTS
2025
Minnesota State Arts Board Grant
2022
Minnesota State Arts Board Grant
2006
The Durfee Foundation, Los Angeles, exhibition completion grant
2005
The Institute for Figuring, Los Angeles, research grant
AWARDS & GRANTS WITH CLUI
2001–2009
Programs and Exhibitions supported by: Cynthia Woods Mitchell Center for the Arts, Smithsonian American Art Museum, Annenberg Foundation, LEF Foundation, Los Angeles Cultural Affairs Department, Los Angeles County Arts Commission, National Endowment for the Arts, Nevada Humanities Committee, Lannan Foundation, Peter Norton Family Foundation, Andy Warhol Foundation for the Visual Arts, David and Lucille Packard Foundation, Nathan Cummings Foundation
SELECT PROFESSIONAL EXPERIENCE
2022–
Research Fellow and Lecturer, Minneapolis College of Art and Design, Minneapolis
2020–22
Lecturer in Moving Image and Photography, University of Minnesota, Minneapolis
2021
Distinguished Visiting Professor of Liberal Arts, University of Minnesota, Morris
2017–20
Assistant Professor of Photography, Kansas City Art Institute, Kansas City
2015
O’Brien Distinguished Visiting Professorship, Scripps College, Claremont
2000–13
Program Manager, Center for Land Use Interpretation (CLUI), Los Angeles
2005–12
Art Director, Program Manager, Metabolic Studio, Los Angeles
OTHER TEACHING, CURATORIAL, WORKSHOPS
2023–24
Advisor, Transart Institute for Creative Research
2021–22
Workshop Convener (with Priyanka Basu), “Un–/Learning Archives in the Age of The Sixth Extinction,” The Whole Life Academy Berlin, HKW, Berlin
2019
Workshop Participant, The Whole Life Academy Dresden, HKW + Staatliche Kunstsammlungen, Dresden
2018
Visiting Faculty, Alps Art Academy, Tenna, Switzerland (invited)
2016
Curator with Christina Vassallo, “Start Here. Finish Here,” Spaces Gallery, Cleveland
2015
Visiting Artist, Art + Technology Program, University of Florida, Gainesville (invited)
2014
Adjunct Instructor, School of the Art Institute of Chicago
2013
Artist residency lecture & studio visits, George Mason University, Fairfax (invited)
Visiting artist talks, School of the Art Institute of Chicago; tour & talk, Savanna Army Depot, Univ. of Iowa, (invited)
2012
Curator, “Suspension of Disbelief,” 5x5, DC Commission on the Arts & Humanities, Washington, D.C.
Visiting Lecturer/Curator, ArtCenter College of Design, Pasadena; Visiting Artist, Corcoran College of Art and Design, Washington D.C. (invited)
2011
Visiting Lecturer and Artist, University of Applied Arts Vienna; College of Fine Arts, Braunschweig (invited)
2010
Visiting Artist, Newcastle University, UK; Visiting Artist, UCL London; Visiting Artist, University College Falmouth, Cornwall (invited)
2009
Visiting Artist, University of Southampton; University of Houston (invited)
2005
Visiting Artist, Texas A&M University (invited)2002 Visiting Artist, California Institute of the Arts, Valencia, CA
ARTIST RESIDENCIES
2026
Mass MoCA Artist Residency
2021
MacDowell Fellowship and Artist Residency
2015
Zentrum für Kunst und Urbanistik (ZK/U) Artist Residency
Villa Aurora, Berlin Artist Residency
Pitzer College Library Artist Residency
2013
Provisions Library: Art for Social Change, George Mason University Research Residency
2012
Fogo Island Arts, Newfoundland, Canada Artist Residency
Acadia Summer Arts Program Artist Residency
2011
Acadia Summer Arts Program Artist Residency
2005
Texas A&M University Artist Residency and Visiting Instructor
INVITED TALKS
2023
Fine Art MA Program, Falmouth University, Falmouth, UK
2021
Cynthia Woods Mitchell Center for the Arts, University of Houston, Houston, TX
Jordan Schnitzer Museum of Art, Univ. of Oregon / Creative Capital (online), “Uncanny Sensing, Remote Valleys: A Conversation with Emily Eliza Scott.”
University of Minnesota Morris, Distinguished Visiting Professor of the Liberal Arts Lecture Series: “Uncanny Sensing, Remote Valleys” and Cold Coast Archive”
2019
Goethe–Institut Pop Up, Kansas City, MO2018 Storm King Art Center, New Windsor, NY
2018
Alps Art Academy, Tenna, Switzerland2016 University of Houston, Houston, TX
2016
Spencer Museum of Art / University of Kansas, Lawrence, KS
2015
Deutsche Bank KunstHalle, Berlin, Germany
University of Florida, Gainesville, FL2014 Museum of Contemporary Art Chicago, Chicago, IL2014 California Institute of the Arts, Valencia, CA
2014
Harvey Mudd College, Claremont, CA2014 University of Illinois Chicago, Chicago, IL
2013
St. Norbert College, De Pere, WI2013 Northwestern University, Evanston, IL
School of the Art Institute of Chicago, Chicago, IL
University of Illinois Chicago, Chicago, IL
University of Wisconsin–Milwaukee, Milwaukee, WI
Lawrence University, Appleton, WI
Columbia University, New York, NY
2012
Fogo Island Arts, Newfoundland, Canada
2011
Braunschweig University of Fine Arts, Braunschweig, Germany
University of Applied Arts, Vienna, Austria
2010
Fellow Lecture, Newcastle University, Newcastle, UK
2008
Alfred University, Alfred, NY
2007
TELIC, Los Angeles, CA
Carnegie Mellon University, Pittsburgh, PA
2005
Texas A&M University, College Station, TX
2004
MAK Schindler House, Los Angeles, CA
2002
California Institute of the Arts, Valencia, CA
PANELS, SYMPOSIA AND COLLOQUIA
2024
River of Fire: Art + Climate Justice Symposium, DiverseWorks, Houston, TX
Panelist, Arctic Science Summit Week, Edinburgh, UK
Panelist, Arctic Congress 2024, Bodø, Norway
Panelist, American Association of Geographers Annual Meeting, Honolulu, HI
2020
Speaker, Ways of Reading Symposium, e–flux / KADIST, New York, NY
2018
Speaker, Being in Two Places at Once: Art & the Geopolitics of Remote Sensing Colloquium, NYU Tisch School of the Arts, New York, NY
2017
Participant, World of Matter Symposium, University of Minnesota, Minneapolis, MN
2016
Speaker, Petcoke: Tracing Dirty Energy Symposium, Museum of Contemporary Photography, Chicago, IL
Screening + Conversation (with Brian Holmes), transmediale Festival Opening, Berlin, Germany
2015
Speaker, Art + Technology: Remote Sensing Panel, Caltech, Pasadena, CA
2013
Panelist, Omniscience & Contingency: Landscapes of Military Intelligence and Terror Simulation, CAA Annual Conference, New York, NY
Artistic Research Science Fair (hosted by D. Graham Burnett), MoMA, New York, NY
2012
Speaker, AAG Annual Conference, New York, NY
2010
Speaker, TelePort – A Tour of the Lizard's Landscape of Telecommunication, Falmouth Convention, Cornwall, UK
Speaker, Show and (Fore)Tell, Nottingham Contemporary, Nottingham, UK
Speaker, UCL, London, UK
“Experimental Ruins” Workshop, Convened by Gail Davies, Neal White and Steve Rowell, University College London
2009
Speaker, Fieldnotes on the Ultimate High Ground, The Program: Initiative for Art & Architecture Collaborations, Berlin, Germany
2009
Speaker, NGBK, Berlin, Germany
Speaker, UCL Institute of Archaeology, London, UK
2008
Speaker, University of Dundee, Dundee, UK
Speaker, HFBK Hamburg, Hamburg, Germany
2004
Speaker, SCI–Arc, Los Angeles, CA
VISITING ARTIST / CRITIC & SEMINAR APPOINTMENTS
2017
Guest Speaker, Department of Architecture, ETH Zürich, Switzerland
Guest Speaker, Chelsea College of Arts, London, UK
Guest Lecturer, Stanford University Overseas Program, Oxford, UK
2013
Seminar Lecture, Obermann Center for Interdisciplinary Research, U. of Iowa, Iowa City, IA
2012
Visiting Instructor, ArtCenter College of Design, Pasadena, CA
Visiting Artist, Corcoran College of Art and Design, Washington, D.C.
2010
Visiting Artist, University College Falmouth, Cornwall, UK
2009
Visiting Artist, University of Houston, Houston, TX
FILMOGRAPHY
2025
Lost Prairie Valley (14 min). 2024 edit premiered in Labocine: “The Ecosystem”
2023
Dead Zones (17 min) premiered at Antenna, New Orleans
2022
RCNWR (3 min) MacDowell Foundation permanent collection
Near Space Environment (3 min) MacDowell Foundation permanent collection
Walden; Version 2 (3 min). MacDowell Foundation permanent collection
2021
Comfort in Hydrology (13 min), Midwest Film Festival nominee; World Premiere, Overflow group show, Qarma, Minneapolis
2020
Make the World Go Away (2 min.)
2018
Water Castle (20 min), premiered at Art Safiental, Switzerland
2017
Humans Lived Here Once (23 min), MFA thesis film, Oxford University
2016
Midstream at Twilight (20 min). Premiered Museum of Contemporary Photography, Chicago; screened internationally, 2016–2019
2016
Parallelograms (32 min), premiered at transmediale, Berlin, multiple exhibitions
2015
Arrowhead (19 min), with site-specific installation, Harvey Mudd College, Claremont, CA
2014
In the Best of All Possible Worlds (5 min), multiple European and U.S. premieres
2012
Johnson Island Saturday Night (9 min), Artbound PBS and The Velaslavasay Panorama, Los Angles
2010
Scuttling Across the Floor of Silent Seas (18 min)
2009
Houston Petrochemical Corridor Landscan (14 min) with CLUI, premiered at Blaffer Gallery, Houston, multiple exhibitions
2006
Dissipation & Disintegration (20 min) with CLUI, premiered at CLUI, Los Angeles.
2005
Terminal Island Pentalogy (5 shorts ranging from 2 to 7 min) with CLUI, premiered at CLUI, Los Angeles
2000
Ballarat: Beneath Sentinel (5 min)
SOLO EXHIBITIONS
2020
“Uncanny Sensing, Remote Valleys,” Jordan Schnitzer Museum of Art, Univ of Oregon, Eugene
2019
“Background Listening: Steve Rowell,” Goethe Institut Pop Up, Kansas City
2016–17
“Flash! Steve Rowell,” California Museum of Photography, UCR ARTSblock, University of California, Riverside
2015
“Arrowhead,” video with map/photo installation, Harvey Mudd College, Claremont, CA
2014
“Uncanny Sensing (Texas Prototype),” CounterCurrent festival, Cynthia Woods Mitchell Center for the Arts, University of Houston (curated by Karen Farber)
2013
“Uncanny Sensing (Wisconsin Prototype)” INOVA Gallery, University of Wisconsin, Milwaukee
2005
“Weather Radio,” Materials & Applications, Los Angeles
COMMISSIONS
2018
“Points of Presence,” Telegraph Museum, Groundwork: International Art in Cornwall
2015
“Forest Threnody” projection w/ live performance, with Yii Kah Hoe, Scripps College
“Arrowhead,” video with map/photo installation, Harvey Mudd College, Claremont, CA
2014
“Uncanny Sensing (Texas Prototype),” Cynthia Woods Mitchell Center for the Arts
2013
“Uncanny Sensing (Wisconsin Prototype),” INOVA Gallery
“Ludlow”, billboard for Draft Urbanism–Biennial of the Americas, Denver
2012
“Suspension of Disbelief,” 5x5, DC Commission on the Arts & Humanities, Washington, D.C., Curatorial Commission (commissioned and curated works by Deborah Stratman and Steve Badgett, ZK/U—Zentrum für Kunst und Urbanistik, Neal White, Charles Stankievich, and Lize Mogel)
2011
“Cold Coast Archive and the Svalbard Global Seed Vault” with with Signe Lidén and Annesofie Norn, Long Now Foundation, Nordic Culture Fund, and Arts Council Norway
“The Ultimate High Ground,” Triple Canopy online interactive essay
2010
“Background Listening,” Fear Has Big Eyes (Angst hat große Augen), Werkleitz Festival, Halle an der Saale, Germany
2009
“Dark Places,” with Office of Experiments, Arts Catalyst and SCAN, John Hansard Gallery, Southampton, UK
2008
“TX AUX IN,” with Steve Badgett, Ballroom Marfa, “Sounds Across Town,” Marfa, TX
“Shepard Inversion Ghost,” Sound Design and Composition for Deborah Stratman, O’er the Land (2009)
2007
“Hydromancy,” with SIMPARCH, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso
2006
“Gloom and Doom II / Tactile Air II,” with SIMPARCH, Weston Art Gallery, Aronoff Center For The Arts, Cincinnati
“Gloom & Doom I / Tactile Air I,” with SIMPARCH, Center for Contemporary Art, Cincinnati
“Shock and Awe,” with SIMPARCH, Frieze Art Fair, London
COLLECTIONS
Acadia Summer Arts Program, Mount Desert Island, ME
Alps Art Academy /Institute For Land And Environmental Art, Zürich, Switzerland
Ballroom Marfa, Marfa, TX
CAST, Cornwall, UK
Desert Research Station, Center for Land Use Interpretation, Hinckley, CA
INOVA Gallery, University of Wisconsin, Milwaukee
John Hansard Gallery, Southampton, UK
Labocine, New York
Long Now Foundation, San Francisco
MacDowell Foundation, Peterborough, NH
Museum of Contemporary Photography (MoCP), Chicago
Nevada Museum of Art, Reno, NV
Rencontres Internationales Paris/Berlin
Storm King Art Center, New Windsor, NY
SELECTED GROUP EXHIBITIONS
2023
“Insurgent Ecologies,” Antenna Gallery, New Orleans
2021
”Overflow,” Watershed Art & Ecology, Chicago; “Overflow,” Qarma, Minneapolis
2019
“Esthétiques Biopolitiques,” L'île d'en face, L’Atelier, Nantes, France;
“NEW 5,” H&R Block Artspace, Kansas City;
“Environmental Impact,” Emily Lowe Gallery, Hofstra University Museum of Art, NY;
“Stormy Weather”, Museum Arnhem, the Netherlands;
“Diagrams of Power,” Onomatopee Projects, Eindhoven;
“Lineage and Impact,” Kansas City
2018
“Indicators: Artists on Climate Change”, Storm King Art Center, New York;
“Groundwork” expanded landscape group exhibition, Cornwall, UK;
Alps Art Academy, Tenna, Switzerland;
“Land Art Biennial Art Safiental,” Safiental, Switzerland;
“Digital Trash”, Stedman Gallery, Rutgers University;
“Diagrams of Power,” OCAD, Toronto
2017
“Thought Beside Itself” MFA graduate thesis exhibition, The Ruskin School of Art at University of Oxford, UK;
With CLUI: “Landschaft = Labor,” the Carinthian Museum of Modern Art/MMKK, Klagenfurt, Austria
2016
transmediale opening event and world premiere of “Parallelograms,” transmediale 2016, Berlin;
“Petcoke: Tracing Dirty Energy,” Museum of Contemporary Photography, Chicago; Screening,
“MoneyLab #3: Failing Better,” Institute of Network Cultures, Amsterdam;
“New Cities Future Ruins,” Meadows School of the Arts, Southern Methodist University, Dallas;
“Data (after)Lives: The Persistence of Encoded Identity,” University of Pittsburgh;
Screenings, ELSA Stockholm; Screening,
“Start Here. Finish Here,” Spaces Gallery, Cleveland;
“Krake Kapital,” Elbelandpartie festival, Hannover, Germany;
With CLUI: Istanbul Design Biennial; Istanbul, Turkey;
“Marfa Dialogues: Houston,” Ballroom Marfa, Marfa, TX;
“New Cities, Future Ruins,” Southern Methodist University, Dallas;
“L’image Volee,” curated by Thomas Demand, Fondazione Prada, Milan, Italy
2015
“Placing the Golden Spike: Landscapes of the Anthropocene,” INOVA Gallery, University of Wisconsin, Milwaukee;
With CLUI: “Rights of Nature,” Nottingham Contemporary, UK
2014
CounterCurrent Festival, Mitchell Center Houston; “DRS Open House,” with Lucy Raven, CLUI Desert Research Station, Hinkley;
“Art as Research,” George Mason University;
“Trans–farm,” Detroit;
“Presentism” Film Festival Atlanta;
“Encounters at the Edge of the Forest,” Gallery 400, Chicago;
“CounterIntelligence,” Barnicke Gallery, Toronto;
“Ecotone,” Actual Size, Los Angeles;
With CLUI: “CLUI: Houston Petrochemical Corridor Landscan,” Utah Museum of Contemporary Art, Salt Lake City, UT;
“Experimental Geography,” Museum London, London, Canada
2013
“The Way of the Shovel: Art as Archaeology,” MCA Chicago;
“Draft Urbanism,” Biennial of the Americas, Denver
With CLUI: “Perishable: An Exploration of the Refrigerated Landscape of America,” CLUI, Los Angeles
“Network Nation: The Landscape of the Internet in America,” CLUI, Los Angeles
2012
“Cold Coast Archive,” with Signé Liden and Annesofie Norn, Center for PostNatural History, Pittsburgh;
“Cold Coast Archive,” with Signé Liden and Annesofie Norn, Bergen Academy of Art;
“In the Best of All Possible Worlds,” Long Now Foundation, SALT seminar, San Francisco;
Screening, “Landscape is a Weapon: An Incendiary Traces Event,” The Velaslavay Panorama, Los Angeles
2011
With CLUI: “Experimental Geography,” Foreman Art Gallery, Bishop's University, Sherbrooke, Canada
2010
“unORTnung,” Vienna;
“An Atlas of Radical Cartography,” MoMA PS1;
“Theater of Peace,” NGBK Berlin;
“The Atrocity Exhibition,” FEINKOST Berlin;
“Aural Indicators,” Contemporary Conflict Institute, Troy;
“Routes of Least Surveillance,” as SITE–R, Saint Étienne International Design Biennial, Saint Étienne, France;
With CLUI: “Experimental Geography,” James Gallery, The Graduate Center at CUNY, New York
2009
“Dark Places,” John Hansard Gallery, Southampton, UK;
“Zeigen: An Audio Tour through Berlin,” Temporäre Kunsthalle Berlin;
“Crisis: Exercises in State of Emergency Art,” Villa Ichon Bremen;
“Not a Cornfield,” with Lauren Bon & The Metabolic Studio, George Eastman House, Rochester;
With CLUI: “Texas Oil,” Blaffer Gallery Houston;
“Urban Crude,” CLUI, Los Angeles;
“Radical Nature,” Barbican London;
“Experimental Geography,” Rochester Art Center, Rochester, MN;
“Experimental Geography,” Albuquerque Museum, Albuquerque, NM; Miller Gallery,
“Experimental Geography,” Carnegie Mellon University, Pittsburgh
2008
“TX AUX IN,” with Simparch, Ballroom Marfa; “Room Tone,” Tuned City Festival, Berlin;
“An Atlas of Radical Cartography,” as SITE–R, Redhouse Arts Center, Syracuse;
With CLUI: “Autotechnogeoglyphics: Vehicular Test Tracks in America,” Between Bridges, London;
“Experimental Geography,” Richard E. Peeler Art Center, DePauw University, Greencastle, IN
2007
“Hydromancy,” with Simparch, Rubin Center for the Visual Arts, University of Texas, El Paso”;
“An Atlas of Radical Cartography,” as SITE–R, LACE Los Angeles;
“An Atlas of Radical Cartography,” as SITE–R, Gallery 400, Chicago;
With CLUI: “CLUI Exhibition Posters,” Smithsonian American Art Museum;
“CLUI Exhibition Posters,” CLUI Los Angeles;
“CLUI Exhibition Posters,” Natural History Museum of LA;
“Weather Report: Art and Climate Change,” Boulder Museum of Contemporary Art, Boulder
2006
“Shock and Awe,” with Simparch, Frieze Art Fair, London;
With CLUI: “CLUI Touchscreens,” Whitney Biennial, NY;
“Land Sakes Alive,” Cal State Northridge
2005
With CLUI: “Interstate,” Nicole Klagsbrun Gallery NY;
“Emergency State” Columbia Univ. NY
2004
“Site:Nonsite:Quarzite,” with AUDC, High Desert Test Sites, Joshua Tree. CA;
With CLUI: “Formations of Erasure,” Princeton University; SCI–Arc Los Angeles
2003
“The Silent Key: Incursions into Knob Culture,” Live FM radio performance with Mason Cooley, various sites, UK;
With CLUI: Ibid Projects London; CLUI Los Angeles; Chapman University CA
2002
“Genius Loci,” Live FM radio performance with Mason Cooley, SCI–Arc, Los Angeles;
With CLUI: CLUI Los Angeles; California Museum of Photography; CCA, Cincinnati
2001
“Vision Embraces the World,” Performance with Mason Cooley, Echo Park Projects, Los Angeles;
With CLUI: "Back to the Bay: An Exploration of the Marginal Zones of the San Francisco Bay,” Yerba Buena Center for the Arts, San Francisco
SELECTED SCREENINGS, FESTIVALS, & EVENTS
2025
Rencontres Internationales Paris/Berlin
2024
“The Ecosystem,” Labocine
2023
Rencontres Internationales, Paris/Berlin;
Midwest Film Festival, Chicago
2022
“Hearkening #3,” Dreamsong, Minneapolis;
Whole Life Academy Berlin, HKW, Berlin
2019
“Whole Life Academy: Archives and Reality” Workshop, Haus der Kulturen der Welt, Berlin and Staatliche Kunstsammlungen, Dresden
2017
Rencontres Internationales Paris/Berlin;
ETH Zurich, Zurich
2015
“Forest Threnody” Projection and Sound Event, with Yii Kah Hoe, Scripps College;
“Arrowhead” Harvey Mudd College;
“Polar Film Club – The Journals of Knud Rasmussen,” The Velaslavasay Panorama, Los Angeles;
Villa Aurora Berlin;
“Current State,” Pitzer College
2011
“Hollow Earth,” Sound Installation and Performance, Performances in Hansaviertel, TiergartenEins, Berlin;
“Field Broadcast,” Washington D.C.;
“Incidental Soundscapes: High and Low,” Yerba Buena Center for the Arts, San Francisco
2010
“Background Listening Post,” Werkleitz Festival, Halle an der Saale, Germany;
“American Oil Vol. 1,” Framework and Resonance FM radio broadcast, London;
“Regional Spatialities: Two Tours Around Newcastle-Upon-Tyne,” Newcastle University
2005
“Weather Radio,” FM radio broadcast/installation, Materials & Applications, Los Angeles; “KDRS,” multi–year autonomous FM radio broadcast, CLUI Desert Research Station, Hinkley; 2001 “Mountain Radio,” Live FM radio performance with Mason Cooley, China Art Objects, Los Angeles; “100 Years of Radio,” Live FM radio performance with Mason Cooley, Los Angeles
SELECT BIBLIOGRAPHY (AS AUTHOR)
Steve Rowell. Field Guide to Environmental Crime: Houston and the Texas Oil Coast. Chicago: Half Letter Press. Commissioned by Cynthia Woods Mitchell Center for the Arts, Forthcoming 2026.
Steve Rowell and Priyanka Basu. “Dead Zones: Fertile Wastes at the Head and Tail of the Mississippi River.” In Decapitated Economies (intercalations 5), edited by Anna–Sophie Spring and Etienne Turpin, 191–204 and plates. Berlin: K. Verlag. Accepted; Forthcoming 2025.
Steve Rowell et al., “A Permafrost Tunnel Digital Twin: Web3D Applications for Infrastructure Visualization and Arctic Research,” Web3D ‘25: Proceedings of the 30th International Conference on 3D Web Technology (September 2025), 1–4.
Steve Rowell and Priyanka Basu. “Introduction: Landscape and/as Archive” and “Un–/Learning Archives in the Age of the Sixth Extinction.” With contributions by Jaime Allen, Tamara Becerra Valdez, Jeremy Bolen, Simon Browne, Susan Cahill, and Mél Hogan. The Whole Life Repository, Haus der Kulturen der Welt (2022), https://wholelife.hkw.de/landscape-and-as-archive/ and https://wholelife.hkw.de/un-learning-archives-in-the-age-of-the-sixth-extinction/.
Steve Rowell and Priyanka Basu. “Prairie Remnants: Settler–Colonial and Indigenous Histories in a Nontraditional Archive.” In Proximities: Folded Readings on the Archival. A Publication of the Whole Life Academy, edited by Lama Khatib et al. Berlin: Haus der Kulturen der Welt, 2022.
Steve Rowell. “Experimental Documentary Captures Oil Midstream,” Edge Effects (2019), https://edgeeffects.net/midstream-at-twilight/ .
Steve Rowell and Neal White. “Overt Research: Fieldwork and Transparency.” In The Routledge Research Companion to Military Research Methods, edited by Alison J. Williams et al, 387–405. London: Routledge, 2016.
Steve Rowell. “Parallelograms.” Cabinet Magazine 54 (Summer 2014): 34–39.
Steve Rowell. “Peaks and Nulls: Supersonic Amplitudes in the Airspace above the Mojave Desert.” Landscape: Editing Spatial Relations 3 (Spring/Summer 2013): 18–23.
Steve Rowell, “Johnson Island Saturday Night,” Artbound, PBS online (July 30, 2012), https://www.pbssocal.org/shows/artbound/johnston-island-saturday-night.
Steve Rowell, Sean Dockray, and Fiona Whitton. “Blocking All Lanes: Sig–Alerts, Detection Loops, and the Management of Traffic.” In Curiosity and Method: Ten Years of Cabinet Magazine, 409–15. Brooklyn, NY: Cabinet Books, 2012. (reprint of 2005 Cabinet Magazine publication)
Steve Rowell. “Quantum Danube.” Landscape: Editing Spatial Relations 2 (Fall/Winter 2012): 12–15.
Steve Rowell, “The Ultimate High Ground,” Triple Canopy 11 (2011), https://tc3.canopycanopycanopy.com/contents/the_ultimate_high_ground.
Steve Rowell. “A—Z West in Context: A Spatial Analysis.” Afterall: A Journal of Art, Context and Enquiry 27 (June 2011): 95–102.
Steve Rowell. “A Doubting World.” The Redactor (2010). (publication for group exhibition “The Incidental Person,” Apexart, New York, curator Anthony Hudek)
Steve Rowell and Neal White, Overt Research Project: A Fieldguide to Dark Places, South Edition, 2010, https://www.dark-places.org.uk/.
Steve Rowell, Sean Dockray, and Fiona Whitton. “Traffic: Blocking All Lanes.” In The Infrastructural City: Networked Ecologies in Los Angeles, edited by Kazys Varnelis, 102—117. Barcelona and New York: Actar, 2008. (reprint of 2005 Cabinet Magazine publication)
Steve Rowell (as SITE–R) with the Institute of Applied Autonomy. “Routes of Least Surveillance” Map. In An Atlas of Radical Cartography, edited by Lize Mogel and Alexis Bhagat. Los Angeles: Journal of Aesthetics and Protest Press, 2007.
Steve Rowell, “Playas New Mexico Braces for the Future.” In Desert America: Territory of Paradox, edited by Ramon Prat, 142–153. Barcelona: Actar Press, 2006.
Steve Rowell, Sean Dockray, and Fiona Whitton. “Blocking All Lanes: Sig–Alerts, Detection Loops, and the Management of Traffic.” Cabinet Magazine 17 (2005): 19–26.
Steve Rowell “Playas, New Mexico: A Modern Ghost Town Braces For The Future.” The Lay of the Land CLUI Newsletter #28 (Spring 2005).
Steve Rowell. “Twilight Capitol.” Forum Annual 2004. Los Angeles Forum for Architecture and Urban Design (2004): 11–18.
Steve Rowell, “The Best Dead Mall? A Photographic Documentation and Indefinite Installation,” The Lay of the Land CLUI Newsletter #26 (Winter 2003).
SELECT CATALOG, ARTICLE, INTERVIEW, AND REVIEW BIBLIOGRAPHY
Emily Roehl and Steve Rowell, “Petro–Landscapes and Political Imagination: Interview With Steve Rowell.” Imaginations: Journal of Cross–Cultural Image Studies 13, no. 1 (2022): 135–50.
Sara Callahan, Art + Archive: Understanding the Archival Turn in Contemporary Art, 275–76. Manchester: Manchester University Press, 2022.
Martine Drozdz, “Maps and Protest,” International Encyclopedia of Human Geography, 367–378. Amsterdam: Elsevier, 2020 (2nd ed.).
Stephen Graham, “Unearthly Domain: The Enigmatic Data Publics of Satellites,” Data Publics: Public Plurality in an Era of Data Determinacy, edited by Peter Mörtenböck and Helge Mooshammer, 95–115. London: Routledge, 2020.
Karen T. Albert, Environmental Impact, 38–39. New York: Emily Lowe Gallery, Hofstra University
Museum of Art, 2019.
Johannes M. Hedinger and Hannah B. Hölling, Landscape #1, St. Gallen and Berlin: Vexer Verlag, 2019.
Stephen Graham, “Enigmatic Presence: Satellites and the Vertical Spatialities of Security.” In Spaces of Security: Ethnographies of Securityscapes, Surveillance, and Control, edited by Setha Low and Mark Maguire, 206–230. New York: NYU Press, 2019.
Nora R. Lawrence et al. Indicators: Artists on Climate Change, 68–71. NY: Storm King Art Center, 2018.
Stephen Graham, Vertical: The City from Satellites to Bunkers. London: Verso, 2018, 34-37.
Bronwyn Holloway-Smith, The Southern Cross Cable: A Tour. Art, the Internet and National Identity in Aotearoa-New Zealand. Ph.D. diss. Massey University, 2018, passim.
Brian Holmes, “What Can Art Do About Pipeline Politics?” South Atlantic Quarterly 116, no. 2 (2017): 426–431.
Dominic David Walker, Experimental Geographies, Artists, and Institutions: Spaces of and Practices for Knowing. PhD. diss. University of Exeter, 2017, passim.
Kevin Esterling, “Flash: Steve Rowell.” Riverside: California Museum of Photography, UCR ARTSblock, University of California, Riverside, 2016.
Brian Holmes, “Mirror, Window, Door: Aesthetics of the New Avant–Garde,” transmediale journal, 2016, https://archive.transmediale.de/content/test-blog-0.
Natasha Egan and Karen Irvine. Petcoke: Tracing Dirty Energy, 46–49. Chicago: Museum of Contemporary Photography (MoCP) and Columbia College Chicago, 2016.
Emily Eliza Scott. “Archives of the Present–Future: On Climate Change and Representational Breakdown.” The Avery Review, no. 16 (2016): 130–142. (Climates: Architecture and the Planetary Imaginary. New York: Lars Mülller and Columbia University, 2016).
Neal White and John Beck, “Overt Research.” In Cold War Legacies: Legacy, Theory, Aesthetics, edited by Neal White and John Beck, 252–272. Edinburgh: Edinburgh University Press, 2016.
Dehlia Hannah and Sara Krajewski. Placing the Golden Spike: Landscapes of the Anthropocene, 90–99. Milwaukee: Inova (Institute of Visual Arts), 2015.
Bonnie Fortune, ed., “Cold Coast Archive: AnneSofie Norn and Signé Liden,” 142–167. In An Edge Effect: Art and Ecology in the Nordic Landscape. Chicago: Half Letter Press, 2014.
Ruth Dusseault and Michael Shanks, “Play War: Homemade Recreational Battlefields.” Places (November 2014), https://placesjournal.org/article/play-war-paintball-battlefields/.
Rhoda Rosen, Encounters at the Edge of the Forest. Gallery 400 and University of Illinois, Chicago: 2014.
Kate Bonansinga, “SIMPARCH: Hydromancy, 2007.” In Curating at the Edge: Artists Respond to the U.S./Mexico Border, 49–66. Austin: University of Texas Press, 2014.
Dieter Roelstraete, “Steve Rowell,” In The Way of the Shovel: Art as Archaeology, 196–203. Chicago: Museum of Contemporary Art Chicago, 2013.
Ruth Dusseault, “The Incomplete Illusion: Photographing the Training Ground.”Journal of the Society of Architectural Historians 72, no. 3 (2013): 292–300.
Neal White, “Experiments and Archives in the Expanded Field,” In All This Stuff: Archiving the Artist, edited by Judy Vaknin et al., 47–62. Faringdon: Libri Publishing, 2012.
Richard Hollinshead et al., Five Site-Specific Installations, Washington, D.C. 2012. Washington, D.C. and Newcastle: Grit and Pearl, 2012.
Paul Roberts, “Illuminating Landscapes,” Afterimage 37:5 (March/April 2010): 22–23.
Gail Davies, “Where Do Experiments End?” Geoforum 41:5 (September 2010): 667–670.
Stephen Graham, “Steve Rowell: Background Listening Post.” In Angst Hat Grosse Augen (Fear Has Big Eyes). Werkleitz Festival catalog, edited by Kristina Tiecke, 194–197. Halle, Germany: Werkleitz Center for Media Art, 2010.
Stephen Graham. Cities Under Siege: The New Military Urbanism. London: Verso, 2010, 196–197.
Anke Hagemann and Steven Rowell, “The Ultimate High Ground” (Interview). In Friedensschauplätze: Frieden und Sichtbarkeit in der asymmetrischen Welt/Theater of Peace: Peace and Visibility in an Asymmetrical World, edited by Neue Gesellschaft für Bildende Kunst e.V. NGBK. Berlin: argobooks, 2010.
Iris Hellmuth, ""US-Shopping Malls: Untergang der Konsumtempel.” Der Spiegel online (September 24, 2009), https://www.spiegel.de/geschichte/us-shopping-malls-a-948503.html.
Peter Kelly, “Office of Experiments.” Blueprint 289 (April 2010): 54–60.
Nicola Triscott et al., Dark Places: Office of Experiments, Halford and Beard, Beatrice Da Costa, Steve Rowell. Southampton: John Hansard Gallery/The Arts Catalyst/SCAN, 2009.
Regine Basha et al., The Marfa Sessions, 12–13. Marfa: Ballroom Marfa, 2009.
Janneke Schönenbach and Olaf Arndt, Crisis: Exercises in the State of Emergency/Krise. Einübungen in der Ausnahmezustand. Bremen: Villa Ichon, 2009.
Kate Bonansinga et al., Hydromancy: By SIMPARCH with Steve Rowell. El Paso: Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso: 2007.
Jack Eric Stenner, Critical Reflection In A Digital Media Artwork—Playas: Homeland Mirage. Ph.D. diss. Texas A&M University, 2007, passim.
Jack E. Stenner, “PLAYAS: Critical Reflection In An Immersive Space,” In C&C '07: Proceedings of the 6th ACM SIGCHI conference on Creativity & Cognition, 271–72. New York, Association for Computing Machinery, 2007.
Jack Stenner et al. “Playas: Homeland Mirage.” In MULTIMEDIA '05: Proceedings of the 13th annual ACM international conference on Multimedia, 1057–58. New York, Association for Computing Machinery, 2005.
SELECT CATALOG, ARTICLE, INTERVIEW, AND REVIEW BIBLIOGRAPHY, WITH CLUI:
Carly Berwick, “Remaking the Map.” ARTnews 109, no.8 (October 2010) https://www.artnews.com/art-news/news/remaking-the-map-345/
Jan Tumlir, “New Topographics: Photographs of a Man–Altered Landscape at LACMA.” X–TRA 12, no. 4 (Summer 2010).
Francesco Manacorda et al., Radical Nature: Art and Architecture for a Changing Planet, 79–86. London: Barbican Art Gallery and Koenig Books, 2009.
Kurt Mueller, “Center for Land Use Interpretation: Blaffer Gallery, Houston, USA” Frieze 123 (May 2009).
Rachel Hooper and Nancy Zastudil, On the Banks of Bayou City: The Center for Land Use Interpretation in Houston. Texas Oil exhibition catalog. Houston: Mitchell Center for the Arts and Blaffer Gallery, 2009.
Bree Edwards, “Immersion in the Land of Oil.” Art Lies 58 (Summer 2008), 60–65.
“Global Issues / Portrait of a Place / CLUI.” DAMnº Magazine 18 (2008).
John Strausbaugh, “Take Nature, Add Humans, Observe Results” The New York Times
(Sept. 24, 2006): sec 2. p30.
Michael Ned Holte, “The Administrative Sublime, or The Center for Land Use Interpretation.” Afterall:
A Journal of Art, Context and Enquiry 13 (Spring/Summer 2006), 18–26.
Jeffrey Kastner, “True Beauty: Jeffrey Kastner Talks with Matthew Coolidge about the Center for Land Use Interpretation.” Artforum 43:10 (Summer 2005): 286–87.
Daniel Herman, “Lords of Muddled Earth.” Artforum 42, no. 5 (January 2004): 39–40.
SELECT BIBLIOGRAPHY OF PUBLISHED PHOTOGRAPHS
J. L. Pierce, ed. Learning from the Permafrost & Infrastructure Symposium: Merging Science, Engineering, and Community-Based Knowledge Conference Report. Fairbanks: NSF, University of Alaska Fairbanks, and UIC, 2023.
Monique Boutin, Mapping the World Picture and the Production of Space: Rozalinda Borcilă, The Center for Land Use Interpretation, and Decolonize This Place. M.A. thesis. SUNY Purchase, 2020.
Michael Mulvihill, The Four-Minute Warning Drawing Machine: Revealing the Assemblages of Nuclear Deterrence. PhD. diss. Newcastle University, 2019.
Stephen Graham, Vertical: The City from Satellites to Bunkers. London: Verso, 2018, 35.
Jena M. Seiler, Sensing Security through Contemporary Art and Ethnographic Encounters. PhD. diss. Ohio University, 2017.
Gavin Kroeber, “Suburban Futurism.” Art in America (November 2016): 106–115.
Center for Land Use Interpretation, “ The Nation’s Media Archive: Taking Our Present Into The Future,” The Lay of the Land CLUI Newsletter #36 (Winter 2013).
Knut Asdam, “Space, Place and the Gaze: Landscape Architecture and Contemporary Visual Art.” In Exploring the Boundaries of Landscape Architecture, edited by Simon Bell et al., 117–130. Abingdon: Routledge, 2012.
Dan Smith. One Hundred Places You Will Never Visit. London: Quercus, 2012.
Stephen Graham. Cities Under Siege: The New Military Urbanism. London: Verso, 2010: 197.
Janet Owen Driggs and Lauren Bon, Not a Cornfield. Rochester: George Eastman House, 2009.
Shelley Jacobson, Temporal Landscapes. M.A. thesis, Massey University, 2009.
Lauren Bon, Janet Owen Driggs, et al. Not a Cornfield: History/Site/Document. Los Angeles: Not a Cornfield, 2007.
Michael Ned Holte, “The Administrative Sublime, or The Center for Land Use Interpretation.”
Afterall: A Journal of Art, Context and Enquiry 13 (Spring/Summer 2006), 18–26.
David Greenberg, ed. Presidential Doodles. New York: Basic Books/Cabinet Magazine, 2006.
Matt Coolidge and Sarah Simons. Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation. New York: Metropolis Books, 2006.
Daniel Herman. “Lords of Muddled Earth.” Artforum 42, no. 5 (January 2004): 39–40.
Erika Kinetz. “Directions: Putting the Culture in Agriculture.” The New York Times, October 30, 2005.
Sylvère Lotringer and Giovanni Intra, eds. Hallucination of Theory. Pasadena, CA: Art Center College of Design, 2001.
The Lay of the Land, CLUI Newsletter. Los Angeles: Center for Land Use Interpretation, various issues, 2001–present.