EDUCATION
M.F.A. University of California, San Diego, 1975-77
B.F.A. San Francisco Art Institute,1967-69
University of Colorado, Boulder,1965-67
Yale University School of Art &  Architecture, New Haven, Connecticut, 1974-75
Manhattan School of Music, New York City,1980-82
Phonetik-Institut, Universität Köln, 1992

PROFESSIONAL LIFE AND EXPERIENCE
2007-present The University of New Mexico Assistant Research Professor, College of Fine Arts
2009-present Associated with the Center for Advanced Research Computing, UNM
2007-2009 Associated with the Center for High Performance Computing, UNM
2005-2007 Artist in Residence and Research Associate at the ARTS Lab, UNM
2005- Moved to Albuquerque, New Mexico after experiencing Katrina
2002-2005 Live and worked in New Orleans, La.
1987-1993 Lived and worked in Cologne, Germany
1979-2002 Lived and worked in New York City

SOLO EXHIBITIONS AND INSTALLATIONS
2009
George Pearl Hall School of Architecture and Planning, University of New Mexico, Ursonate Painting, with projections by Ox and recitation by Kristen Loree in the George Pearl Hall Auditorium, Albuquerque New Mexico. This performance and exhibition are part of the Robb Composer's Symposium of New Music, a production of The College of Fine Arts ' Music Department at UNM.

2004
Muzeum Sztuki, Lodz, Poland. The Jack Ox exhibition is in conjunction with Poland’s first major Kurt Schwitters exhibition in Poland.
Contemporary Arts Center, New Orleans, La

1999
@art gallery <http://www.art.uiuc.edu/@art> “JackOx creates a systematic visual translation of Kurt Schwitters, Ursonate for @art”, U. of Illinois at Urbana-Champaign.
“The English Landscape Prints from Ursonate visualization”, Merzbotschaft Gallery, Ambleside, England.

1998
 Die Alstervilla Stiftung zur Förderung zeitgenössicsche Kunst, Hamburg.
 Galerie Wolfram u. Andrea Cornelisen, (Georgeborn-Schlangenbad) Wiesbaden.

1997
Stephen Gang Gallery, New York City.

1996
Die Neue Galerie der Stadt Linz, (Austria).
Galerie Chobot, Vienna.
Catharine Clark Gallery as part of SoundCulture’96, San Francisco.
National Arts Club, New York City.

1993
Galerie Schüppenhauer, Cologne.
Frankfurt Art Fair (Galerie Schüppenhauer).
CeBIT computer fair with Xerox Engineering Systems, Hannover.
Dellbrück Bank, Cologne.
Galerie Chobot, Vienna.

1991
Meyers/Bloom Gallery, Santa Monica, California.

1990
Galerie Henn, Maastricht (Holland).
Kunsthalle, Bremen (Germany).

1989
Galerie Schüppenhauer, Cologne.

1988
Galerie Chobot, Vienna (Austria).
Galerie Inge Baecker, Cologne.
University of California, Irvine, California.

1987
Het Apollohuis, Eindhoven (Netherlands).
Gloria Luria Gallery, Miami, Florida.

1986
Schreiber/Cutler, Inc., New York City.
Galerie del Naviglio, Milan (Italy).
California State University Dominguez Hills (Los Angeles).
1985
Condeso/Lawler Gallery, New York City.
Galerie Geilsdörfer, Cologne.
1984
University of Tulsa, Tulsa, Oklahoma.
Galerie Geilsdörfer, Cologne (Germany).
1983
Contemporary Arts Center, New Orleans, Louisiana.
1982
Semaphore Gallery, New York City.
Brooklyn Academy of Music, Brooklyn New York.
Berry College, Mt. Berry Georgia.
1981
La Maison Française, Columbia University, New York City.

1980
Tyler School of Art, Temple University, Philadelphia, PA.
1977
Floating Wall Gallery, Santa Ana, California.
University of California, San Diego.

GROUP EXHIBITIONS (SELECTED)
2009
 “Albuquerque NOW”, The Albuquerque Museum, Albuquerque, NM

2002
“Creativity and Cognition”, Loughborough University UK.
“Complexity”, Samuel Dorsky Museum of Art, SUNY New Paltz, NY
"Art & Music", Galerie Marlene Frei, Zürich, Switzerland

2001
“Art & Music”, Galerie Anton Meier, Geneva, Switzerland
“Between Sound and Vision”, Gallery 400, College of Architecture and the Arts, University of Illinois, Chicago

1999
“The Sight of Sound”, Transamerical Pyramid Lobby, San Francisco, California

1998
“Second, Third and Fourth Movements of the Ursonate”, Podewil, Berlin

1997
“Zwei Videodokumente von dm Butsch”, Das Institut, Berlin

1996
“Vom Ruf zum Nachruf”, Landesausstellung um Stift St. Florian, Linz (Austria)

1995
"From Dada through Ulm to Mama", Universität Ulm und Ulmer Kunststiftung, Ulm (Germany)
“Inspiration”, Trans Hudson Gallery, Jersey City, New Jersey (NYC)

1994
"Matter Matters [Navigating the terrain of contemporary painting]", Procter Art Center Bard College, Annandale-on-Hudson, N.Y.
"Inaugural Exhibition", American Assoc. for the Advancement of Science, Washington D.C.

1993
Salon De Musique, Suite de Printemps; Partitions et Notations" Galerie Lara Vincy, Paris
"Das Bruckner-Bild im Wandel", Bruckner-Fest, Würzburg (Germany)
"Kleine Formate II", Galerie Der Spiegel, Cologne

1992
Hood Museum, Dartmouth College, New Hampshire
"FLUXUS-VIRUS", "Temporary Museum" at the Kaufhof-Parkhaus and Kölnischer Kunstverein, Cologne, Aktionsforum Praterinsel Munich

1991
"Formen hören--Klänge sehen", Neckarwerke, Esslingen (Germany)
"Wort/Laut", Galeria Spàla, Prague

1990
"No Trends," Nahan Contemporary, New York
"World Music Days", Sonja Henie og Nils Onstad Stiftelser, Hövikodden (Oslo, Norway)
"Overtures", Irvine (California) Medical Center Gallery

1989
"Wort/Laut," Galerie Schüppenhauer, Cologne, and Museum Haus Kemnade, Bochum
"Magie der Farbe", Kunstverein Zwettl an die Niederösterreich- Geselschaft für Kunst und Kultur (Austria)
"Studio Gallery American Collection", Centrum Sztuki,Warsaw (subsequent travel to Zakopane, Suwalki, other Polish cities)

1988
“Twelve From New York: Recent Acquisitions for the Nordstern Collection", Grey Art Gallery, NewYork University
"Lignes et images: sept artistes américains aux modes complexes", Galerie Anton Meier, Geneva

1987
"--auf ein Wort! Aspekte visueller Poesie und Musik", Gutenberg Museum, Mainz
Friends of Louise Tolliver Deutschman", Paris-New York-KentGallery, Kent Connecticut
"Musique et Peinture", Musée Municipal de Cholet (France)

1986
"Capriccio",Palais des Beaux-Arts, Brussels
"Illuminations: The Art of Our Future", Art & Industrie, NY

1985
"L'Art est un jeu", Atelier St. Anne, Brussels
"Vom Klang der Bilder", Staatsgalerie Stuttgart
"Earsights: Visual Scores & Musical Images", Nexus Gallery, Philadelphia (traveled to Southern Alleghenies Museum, Johnstown Pennsylvania)

1984
"Newscapes: Land and City/States of Mind", One Penn Plaza, NY
"Music to My Eyes", Pyramid Gallery, Rochester, NY
On the Wall/On the Air: Artists Make Noise", Massachusetts Institute of Technology, Cambridge, Mass.

1983
"Earworks", Grommet Gallery, New York
"On the Leading Edge", General Electric Corporate Headquarters, Fairfield Connecticut

1982
"Cloudworks", Neill Gallery, New York
"Sonorita Prospettiche", Comune di Rimini (Italy)
"The Monument Redefined" (Gowanus Annual II), Brooklyn NY

1981
Second Annual Heresies Benefit Exhibition, Grey Art Gallery, New York University, New York

1980
"System Inquiry Translation", Touchstone Gallery, N.Y.
"U.S. Art '80", Ericson Gallery, New York
"On the Shelf Invitational", 15 Sculptors Gallery, N.Y.

1979"Five Sculptors", Nobe Gallery, New York
"Sound (Scores and Notations)", Institute for Art and Urban Resources at P.S. 1, Long Island City, New York

1978
"Group Indiscriminate", 112 Workshop, New York City

PROJECT PARTICIPATION, SPONSORSHIPS, AND GRANTS
2010
6 month appointment  to National Science Foundation:  Innovations in Biological Imaging and Innovation Ideas Lab

Global Intermedial Gateway Platform as part of the College of Fine Arts proposed “Experimental Learning Laboratory”.

2009
College of Fine Arts New Paradigm Project, Global Intermedia Gateway (GIG), University of New Mexico.

Program Co-Chair for Creativity & Cognition 09, University of California, Berkeley, California
College of Fine Arts New Paradigm Project, U. of New Mexico, Albuquerque, New Mexico

2007
€5,000 granted by B. Schott Verlag und Wergo Schallplatten towards a DVD production of the Gridjam.

2005-06
Co-curator of Abstract Visual Music Exhibition for the Digital Salon at the School of Visual Arts, NYC

2005
Adolf and Esther Gottlieb Foundation

2000
Year of the Artist grant and residency at the U. of Loughborough, Leicestershire, England

1998-99
Research and development money given by Ars Electronica for project in CAVE
National Center for Supercomputing Applications at UIUC, invited to do preliminary work in CAVE
Co-editor of Leonardo Synesthesia Special Project

1993
Sponsorship by Xerox Engineering Systems, Germany
"Kurt Schwitters' URSONATE" Original Performance by Kurt Schwitters on Wergo (WER 6304-2) found and brought to publication by Jack Ox.

1989
Jahresgaben artist, Kölnischer Kunstverein, Cologne,

1987-89
Art in the Embassies Program, U.S. Embassy, Seychelles,

PERFORMANCES/ LECTURES/ PAPERS(SELECTED)/RECENT TEACHING
2010
“The Gridjam: a real-time, internationally geographically distributed, multimedia event, over high-speed, low latency optical networks” at:
Australian Graduate School of Entrepreneurship [AGSE], Melbourne, Australia
CoLab, Auckland University of Technology, Auckland New Zealand

 “Visualization and the Art o.f Metaphoric Mapping in Science and Art” at:
Monash University, Melbourne, Australia
Plant and Food Research Institute, Auckland New Zealand

College Art Association, Leonardo Education and Art Forum; Migratory Structures: Scientific Imagery and Contemporary Art Practice; "Visualization and the Art of Mapping"

2009
Cyberinfrastructure Days at the University of Texas-Pan American, "The Gridjam", March 27, Edinburg, Texas.

Ursonate performance with Kristen Loree recitation and projections by Ox at Chapel Performance Space, Seattle, Washington.

Interdisciplinary Film and Digital Media (IFDM) class Co-taught and created for the 3rd cohort in IFDM program; “Practical Intermediations”.

2008
University of Houston Downtown Cyberinfrastructure Day, "Content on the National Lambdarail: Gridjam", November, Houston, Texas.

CAA's New Media Caucas, Online Journal; Journal: Media-N, "Intermedia Patterns: Notes for Building a Toolkit", by Paul Hertz and Jack Ox, March 2008. http://median.shiftingplanes.org/issues.php?f=papers&time=2008_spring&page=front

New Mexico Cyberinfrastructure Day, "21st Century Relevance: Gridjam", New Mexico Highlands University, March 10 & 11, Las Vegas, New Mexico.

Center for Computation and Technology at Lousiana State University: Computing in the Arts and Humanities Lecture Series, Gridjam.

2007
Tutorial: "Visualization and the Art of Metaphor", 6th Creativity & Cognition Conference, Seeding Creativity; tools, Media, and Environments, Washington, DC.

SuperComputing'07, Education Program; Humanities, Arts and Social Sciences; Gridjam, Reno, Nevada.

2006
“Visualization and Metaphor” a special topics class, co-developed and taught with Judith V. der Elst, at the University of New Mexico.

OptIPuter; All Hands meeting and Open House, Calit2@UCSD, La Jolla, CA- for streaming video please go to http://www.calit2.net/newsroom/article.php?id=1025

From Space To Place: 2nd International Conference on Remote Sensing in Archaeology, Virtual Reality and the Art of Experience, co-authored with Judith V.der Elst, Dec. 4-8, Rome.

2005
Creativity and Cognition2005 at Goldsmith's College, London.
Northwestern University's Center for Art and Technology, Colloquium in Art and Technology, Spring 2005 , GridJam.

2004
Tate Britain Museum, London , England. “MERZ-LAND: Kurt Schwitters in England”.

2003
"Artspeak", Contemporary Art Center, New Orleans, La.
University of California at San Diego School of Medicine “Humanism in Medicine”
McDonough Museum, Youngstown State University, Youngstown, Ohio

2002
Key Note Speaker at “Creativity and Cognition2002”, Loughborough University, UK
“Quintessence: The Clumpy Matter of Art, Math and Science Visualiation”, The Banff New Media Institute , The Banff Centre, Canada.
ISEA (Inter-Society for Electronic Arts), Co-chair with Paul Hertz: “Intermedia Art in the Digital Age”, and paper given: “2 Performances in the 21st C. Virtual Color Organ TM"

2001
4th International Digital Arts and Culture Conference, Brown University, Providence, Rhode Island. Symposium in Art and Technology: Immersive Environments, .Block Museum of Art, Northwestern University, Chicago, Ill.
Siggraph, Co-chair with Paul Herz: “Erasing the Boundaries: Intermedia”, also own paper on “2 Performances in the Virtual Color OrganTM", Los Angeles, CA.
Seventh International Conference on Virtual Systems and MultiMedia, Enhanced Realities: Augmented and Unplugged, “2 Performances in the 21st. Century Virtual Color OrganTM: GridJam and Im Januar am Nil", University of California at Berkeley
CRCA (Center for Research in Computing and the Arts)and CAL (IT)2
University of Calif. at San Diego.

2000
College Art Association, “Color Me Synesthesia” on the panel “Music of the Spheres” chaired by Greta Berman and Charles Gross, New York City
International Conference on Complex Systems, New England complex systems Institute “A Complex system for the Visualization of Music, Including the Journey from 2D to Virtual"
Wired and Dangerous” The Impact of Technology on the Creative Process, , Leicester, England. Paper given (and webcast) , on panel of Ernest Edmonds.
Arts and Technology Center, University of New Mexico, Albuqurque. Lecture and workshop with David Britton, collaborator in the Virtural Color OrganTM: first attempt at GridJam on the AccessGrid between BU and UNM.
MIT, Center for Advanced Visual Studies, seminar on Ox work.
“INTERSENS; correpondances & nouvelles technologies”, Laboratoire Musique et Informatique de Marseille [MIM} Paper give by Jean-Yves Bosseur on the work of Jack Ox and paper given by Jack Ox on the Virtual Color OrganTM.

1999
“Invencao: thinking the next mellennium programme”, sponsoredby ISEA, Leonardo, CAiia-Star, and ItaU cultural;Sau Paulo, Brazil
Alliance Chautauqua 99, Boston University, “Innovations in Science, Computing, and Grid Technology”, Boston, Mass.
“Merzbarn: Kurt Schwitters in England”, International conference about the Marzbarn and its critical legacy at Ambleside and Langdale, Cumbria, England.
“The 21st Century Vitual Color OrganTM”, for the Cyberarts: A New Aesthetic at The Center for Advanced Study, and the Beckman Inst. for Adv. Science and Technology at the U. of Illinois, Urbana- Champaign.
“ARTSCI 99, nurturing collaboration”, Artist-Scientist Teams- Jack Ox & David Britton, New York

1998
Podewil, Berlin

1997
The Kitchen, “Ten Years of Essential Music” festival, with Dary John Mizelle, SUNY, Purchase

1996
San Francisco Art Institute, San Francisco
Neue Galerie der Stadt Linz ,[Austria]

1994
University of California at San Diego at CRCA’s “InterArts Series”
Musée national d'art moderne, Centre Georges Pompidou; Kurt Schwitters Retrospective
Institut National Polytechnique de Grenoble, ICP Univ. Stendhal, Grenoble

1993
Phonetik-Institut, Universität Köln

1991
Bauhaus-Archiv, Berlin
Hochschule für Musik, Cologne
Juilliard School of Music, New York
Otis Parsons School of Art, Los Angeles

1990
International Bruckner Symposium: Anton Bruckner Institute, Linz (Austria)

1987
Julliard School of Music, New York

1985
"Music To My Eyes" panel, "Artists Talk on Art: series”,
22 Wooster Street Gallery, New York

1982
Manhattan School Of Music, New York

VISITNG ARTIST, RESEARCH FELLOWSHIPS, and BOARD of DIRECTORS/EDITORIAL BOARD/EDITOR
2010
Albuquerque Public Art Committee

2009
Guest Editor with Jeremy Hight and Erik Champion: LEA (Leonardo Electronic Almanac) Special Issue: Creative Data

2008- present
Editorial board of the Journal of Visual Arts Practice

2007- present
Advisory Council for the Center for Visual Music, Los Angeles, California

2006- present
Artist in Resident and Research Associate at the ARTSLab, University of New Mexico

2003
Visiting Artist at CRCA and CAL(IT)2 at the University of Calif. at San Diego

2002
Visiting Artist residency at the Art and Technology Center, and the Albuquerque High Performance Computing Center at the University of New Mexico
Visiting Fellow at Creativity and Cognition, LUTCHI Research Centre, U. of Loughborough,UK

2002
Visiting Fellow, Department of Computer Science, LUTCHI Research Centre, U. of Loughborough, UK

2002- present
Board of Directors New Radio and Performing Arts, Inc.

2000- present
International Co-Editor, Leonardo: Journal of the International Society for the Arts, Sciences and Technology

1999-2001
Co-editor of Special Section in Leonardo: Journal of the International Society for the Arts, Sciences and Technology called “Synesthesia and Intersense (co-editor is Jacques Mandelbrojt)

1999-2003
Board of Directors for Art Science Collaborations Inc., New York, NY

1993
 Jury member for "Multiple Sounds Festival" Competition for Young Artists, Intro Foundation, Maastricht (Netherlands)

1987-2000
 Editorial Advisor, Leonardo: Journal of the International Society for the Arts, Sciences and Technology

TEACHING POSITIONS, TUTORIALS, AND RESIDENCIES
2009
University of New Mexico, IFDM [Interdisciplinary Film and Digital Media] “Practical Intermediations”, co-taught with Panaiotis, and co-developed with Kristen Lorree.
2007
“Visualization and the Art of Metaphor”, a tutorial developed from “Visualization and Metaphor” (co-developed and taught with Judith v. der Elst, at the University of New Mexico, 6th Creativity and Cognition Conference: Tools, Media, and Environments, Washington D.C.

2006
University of New Mexico: "Visualization and Metaphor", co-taught with Judith v der Elste at the ARTSLab, Albuquerque, NM.

1986
 University of California, Irvine, Ca.

1984
University of Tulsa, Tulsa, Oklahoma
Rhode Island Scool of Design, Providence, RI.

1983
University of Texas at Arlington, Tx.
University of Colorado, Boulder, Co.

PUBILISHED ARTICLES BY JACK OX

• “Editorial: A 21st-Century Pedagogical Plan for Artists: How Should we Training Artists for Today?” Leonardo, [Vol 43, No. 1, p. 2] MIT Press, 2010.

• Paul Hertz and Jack Ox,"Intermedia Patterns: Notes for Building a Toolkit", CAA's New Media Caucas, Online Journal; Journal: Media-N, Spring [v.04n.01], 2008.

• Editorial: The Global Artists’ Diaspora and the LambdaRail” Leonardo , [Vol. 39, No. 5, p 389], MIT Press, 2006.

• Campana Stefano, and Forte Maruizio, editors of “From Space to Place,  proceedings of the 2nd Int. Workshop, Rome, Italy. “Space and Time: Virtual Reality and the Art of Experience”, by Jack Ox and Judith v. der Elst, 2006.

• Ox, J., Gridjam. Creativity and Cognition 2005 (pp. 49-53). New York: ACM Press, 2005.

• Ox, J. Two Performance in the 21st Century Virtual Color Organ. Creativity and Cognition 2002 (pp. 20-23). New York: ACM Press, 2002.

• Ox, J. 2 Performances in the 21st. Century Virtual Color Organ: "Gridjam" and "Im Januar am Nil". 7th International Conference on Vitual Systems and MultiMedia. Los Alamitos: IEEE Computer Society, 2000.

• Jack Ox and David Britton, “The 21st Century Virtual Reality Color Organ”, IEEE MultiMedia,  Journal of IEEE Computer Society, July-September, 2000.

• “2 Performances in the 21st. Century Virtual Color Organ: Gridjam and Im  Januar am Nil”,  Proceedings of the 7th International Conferece on Virtual Systems and MultiMedia , IEEE Computer Society, Los Alamitos, Calif., 2000.

• “Visualization and the Art of Metaphor in the 21st C. Virtual Organ”, YLEM   newsletter  “Visual Vicissitudes: Digital and Otherwise”, Numbers 10 and 12, Vol. 21, Nov/Dec, 2001.

• reprint "Creating a Visual Translation of Kurt Schwitters's URSONATE (from LMJ) in Ylem Aritst Using Science and Technology newsletter, Jan/Feb  [Vol 19/Number 2, pp. 13 & 15], 1999.

• Introduction “Synesthetic Fusion in the Digital Age”, Leonardo, Digital Salon Issue, [vol 32, No. 5, pp. 391-92], MIT Press, 1999.

• “Color Me Synesthesia”, Leonardo, [Vol.32, No. 1, pp.7-8] MIT Press, 1999.

• Hossmann, Gisele and Ox, Jack, “Jack Ox-From Merz to Ur; Kurt Schwitters Hanover Merzbau and Ursonate, Visual reinterpretation and realization”, New Architecture The End of Innovation in Artchitecture  [Number 2, pp.116-119], Papadakis, 1998.

• "Editorial: Intellectual Versus Property Rights", Leonardo, January  [vol. 26 nr.1] MIT Press, 1993.

• "Bilder nach Kompositionen", Positionen, Nov. 1993.

• "Creating a Visual Translation of Kurt Schwitters's URSONATE, Leonardo Music Journal, [vol. 3, pp. 59-61], MIT Press, 1993.

• Ox, Jack. "The Systematic Translation of Anton Bruckner's Eighth Sumphony into a Series of Thirteen Paintings." Edited by Anton Bruckner Institut Linz. Bruckner Symposion, Linz. Wien: Musikwissenschaftlicher Verlag,.pp. 83-101, 1990.

• Jack Ox with Peter Frank, "The Systemic Translation of Musical Compositions into Paintings", Leonardo, Fall [vol. 17 nr. 3], Pergamon Press, 1984.

BOOKS /VIDEO DOCUMENTARIES

• Akademie der Künste, Berlin, Klangkunst, Munich, Prestel-Verlag, 1996.
• AXA  Art: Corporate Collecting Today, AXA Art Versicherung AG, Cologne, 2001.
• Borusiewicz, Miroslaw, ed. Jack Ox; Visualizing Music: Kurt Schwitters' Ursonate and Beyond. Lodz: Muzeum Sztuki, Lodz, 2003.
• Butsch, Daniela, Jack Ox-Intermedia Artist, video doc, Berlin, 1997.
• Candy, Linda and Edmonds, Ernest, Explorations in Art and Technology, Springer Verlag London, 2002.
• Éditions du Centre Pompidou,  Kurt Schwitters, Paris, 1994.
• Engel, Walther, Soundcheck SII, Bildungshaus Schulbuchverlage, Schöningh Winklers GmbH, Braunschweig, 2008.
• Het Apollohuis 1980 - 1990, Eindhoven: About Apollo Art, 1991.
• Hoffmann, Hieke, Al Hansen; An Introspective, Kölnisches Stadt Museum, Cologne, 1996.
• Festschrift für Konrad Oberuber, Electa, Milano, 2000
• Jewanski and Sidler, Natalia. Farbe – Licht -  Musik; Synästhesie und Farblichtmusik, Peter Lang, Bern, 2006.
• Junod, Philippe. La Musique vue par les Peintres. Lausanne: Edita S.A., 1988.
• Junod, Philippe, Contrepoints Dialigues Entre Musique et Peinture, Editions contrechamps,  Geneva , 2006.
• Lemoine, Serge. Kurt Schwitters. Edited by Didier Semin and Isabelle Ewig. Paris: Éditions du Centre Pompidou, 2004.
• Mahlow, Dietrich, -auf ein Wort!  Aspekte visueller Poesie und visueller Musik, Brausdruck GmbH, Heidelberg, 1987.
• von Maur, Karin. Vom Klang der Bilder, Munich: Prestel-Verlag, 1985.
• v. Maur, Karin The Sound of Painting Music in Modern Art, Munich: Prestel-Verlag, 1999
• de la Motte-Haber, Helga. Musik und bildende Kunst: von der Tonmalerei zur Klangskulptur. Laaber Verlag, 1990
• Ocvirk, Otto [et al], ART FUNDAMENTALS; Theory and Practice, 10th Edition, McGrqw-Hill Higher Education, 2006.
• Ocvirk, Otto [et al], ART FUNDAMENTALS; Theory and Practice, 11th Edition, McGrqw-Hill Higher Education, 2009.
• Stadtmüller, Klaus, Schwitters in Norwegen, Postskriptum, 1997.
• Wellershoff, Dieter, Pan und die Engel: Ansichten von Köln, Köln: Verlag Kiepenheuer & Witsch, 1990.
• Wilson, Stephen, information arts: intersections of art, science , and technology, Cambridge, Mass, MIT Press, 2002

BIBLIOGRAPHY (SELECTED)

• [ author unknown], “Play It Again...in Blue”, Vasari diary, ARTnews, Jan. 1996, [pg. 34]
• Bonfiglioli, Rossella, "Sonorita Prospettiche," Flash Art (Italian
• edition), March 1982
• Brandes, Uta, "Jack Ox: Frozen Music," Apex, Heft 4/88
• Brody, Jacqueline, review, The Print Collector's Newsletter, May-June 1985 [vol. XVI nr. 2]
• Bookhardt, D. Eric, "New Orleans, Louisiana" ,ART PAPERS, November/December 2004.
• Cleigh, Zenia, "Taking a Bite Out Of the Big Apple," San Diego Tribune, June 30, 1986
• Curtis, Cathy, "For Jack Ox, Much Is Found In Music-To-Art Interface", "Los Angeles Times, October 3, 1988
• Delk, Laurie, "Jack Ox & Music", THE NEW ORLEANS ART REVIEW, Sept./Oct./Nove 2004.
• Eickhoff, Beate, "Der Ton macht hier das Bild (Arbeiten von Jack Ox zuSchwitters; "Ursonate")", Kölner Stadt- Anzeiger,Aug. 31, 1993
• Engelhard, Günter, "Musik für das Auge, Malerei für das Ohr," Art, December 1989
• Frank, Peter, "Unslick in L.A.,"Art in America, Sept.-Oct. 1978 [Vol. 66 nr.5]
• Frank, Peter, "What's Happening in Contemporary Art,: Diversion, April 1980 [Vol. 8 nr. 4]
• von Frank, Susanne, "Visuelle Konzerte", Nike, March-April 1990
• Schrader-von Frank, Susanne, "Partitur zur Ursonate von Kurt Schwitters". Kunst Köln (Berlin) September, 1993 [2/93]
• Friedman, Ken, "Happenings," National Arts Guide, July-August 1979[Vol. 1 nr. 4]
• Fuhrmann, Axel, "Klang und Bild; Die visuell-musikalischen Konzepte der Jac Ox", Neue Zeitschrift für Musik, July, 1994
• Glueck, Grace, "Drawing a Bead on Public Monuments," New York Times, [section 2: Arts & Leisure], Ocotber 2, 1982
• Glueck, Grace, "Art: Isaac Witkin's Lyrical Sculpture," New York Times, May 3, 1985
• Haase, Amine, "Mühsal beim Aufbruch (Kunstmesse Art Frankfurt zwischen "Grüner Vernunft" und teurer Klassik)", Kölner Stadt-Anzeiger,April 26, 1993
• Horny, Henriette, "Jack Ox," Falter (Vienna), February 10, 1988 [nr.6]
• Kemp, John, "Jack Ox, Contemporary Arts Center, New Orleans, ART NEWS, March 2005.
• Kixmüller, Jan, “Wie stoppt man das Verschwinden Bachs?” Klang-und Bildexperimente im Podewil” Berliner Zeitung, March 12, 1998
• Laufmann, Heike, "Jack Ox 8. Symphonie von Anton Bruckner, Köln", Arte Factum, Feb-Mar, 1990
• Law, Stuart "The halls are alive with the sight of music," Rochester [N.Y.] Times-Union, December 12, 1984
• Lawton, Michael, "Eating art in a car park" The European, 17-20 Sept, 1992
• Lebrero Stals, José, "Jack Ox" in Reviews Cologne, Flash Art, [Vol. XXVI-N.170]May-June 1993
• M___,W____, "Bruckner in Öl, " Kölner Stadt-Anzeiger, Sept. 15-16,1984
• Morgan, Robert C., “Doric Column”, Cover, Nov., 1995 [Volume 9, Number 8]
• de la Motte, Helga,"Übersetzungen-Transormationen", Positionen, Nov.,1993.
• Murdock, Robert M., “Jack Ox: Visualization of Kurt Schwitters’ Ursonate “, Review, November 15, 1997
• Nobis, Beatrice "Nennen Sie es Ausschlachtung" Süddeutscher Zeitung, May 26, 1993
• O____,T____, "Augenmusik," Aachener Journal, May, 1990
• Pardee, Hearn, "The New American Landscape", Arts Magazine, May, 1984 [Vol. 58 nr. 9]
• Peters, Susan Dodge, "Sight & Sound", (Rochester) City Newspaper, January 10, 1982
• Phillips, Christopher, "Schwitters's Greatest Hit Resurfaces," Art in America, May, 1994
• Pfleder, Adam, "Optical technology aids in internet collaboration. Orchestras could broadcast in real time", 1/24/08 Section Entertainment
• Porges, Maria, Reviews: San Francisco, “Jack Ox at Catharine Clark Gallery, Art Forum, Summer 1996
• Ratcliff, Carter, "Looking At Sound", Art in America, March-April, 1980 [Vol. 68 nr. 3]
• Reichart, G., “Klang, zum Bild geworden”, Volksblatt (Linz), Sept. 5, 1996
• Rice, Shelley, "System Inquiry Translation" in "Reviews", Artforum, Sept., 1980 [Vol. XIX nr. 1]
• Rickey, Carrie, "Voice Centerfold--Art", Village Voice, June 18-24, 1980
• Runge, Petra, "Raubkopie bewahrte Stimme des MERZ-Künstlers (Quellenfund: Die Malerin Jack Ox fand das Original der Ursonate")", ART (German), October , 1993 [Nr. 10]
• Sachsenmaier, Ingrid, "Erlebniswelt 'Kunst' mit hörbaren Formen und sichtbaren Klängen", Fellbacher Zeitung, Oct27, 1990
• Schatz, Sibylle, "Begegnung mit Anton Bruckner", Kölner Stadt-Anzeiger, September 21, 1989
• Schatz, Sibylle, "Klänge schaffen den leeren Raum, Kölner Stadt-Anzeiger, January 26, 1988
• Siffrin-Peters, Annette, "Musik und Malerei vereint," Aachener N, April 28, 1982
• "Sonorita Prospettiche da domani a Rimini," Gazzetta di Parma, January 29, 1982
• Stahl, Enno, "Das große Fragezeichen, Vor der Köner Fluxus-Ausstellung: Gespäch mit der Künstlerin Jack Ox, dem Zeitzeugen Al Hansen und der Galeristin Christel Schüppenhauer, Kölner Stadt-Anzeiger August 29/30, 1992"
• "Ein Auto am Spieß-- Fluxus 1962-Virus 1992",Kölner Stadt-Anzeiger, Sept. 1, 1992
• "Schwitters' Ursonate ins Bild gerückt", Kölner Stadt-Anzeiger, Feb. 19, 1993
• Tauber, Reinhold, “Bruckners Achte als faszinierendes Schau-Abenteuer in Linz”, Oberösterreichische Nachrichten,
• Sept. 5, 1996
• Tuchman, Laura, "Painter Puts Art to Music of Bruckner," Orange County Register, October 2, 1988
• Ü_____, D____, "Die Farbe der Musik wird sichtbar,: Kölner Stadt-Anzeiger, December, 13, 1985
• Woodard, Josef, "Translations and Transformations", Artweek, November 12, 1988 [Vol. 19 nr. 38]
• [unidentified], "Jack Ox schildert acht jaar Achstte Symfonie Bruckner", De Limburger, April 20, 1990
• [unidentified], "Jack Ox - Anton Bruckner - Symfonie Nr. 8", Apex, Heft Nr. 10/88
• [unidentified], "Musik-Kunst: Bruckner in Farbe (Gespräch mit der Kölner U.S. Künstlerin Jack Ox)", Tageszeitung (Kultur Bremen), June 20, 1990
• Vowell, Sarah, "Recordings: Kurt Schwitters, URSONATE", Art Papers, Jan. & Feb., 1995 [Volume 19, Number

BROADCAST REVIEWS/ INTERVIEWS

• Apple, Jackie, "Soundings," KPFK Los Angeles, May 24, 1994
• Baumsteiger, Cornelia, "European Journal",Deutsche Welle Fernsehen (English service), Cologne, Fall-Winter 1984
• Bendelow, Paul, "Interview; Jack Ox", Radio Deutsche Welle, (English for Europe), Sept. 24, 1993
• Benesch, Marlene, "Arts on the Air:, Radio Deutsche Welle (English service), Cologne, Fall 1984
• Busmann, Gerrit, "Kulturfenster: Portrait Jack Ox", West Deutscher Fundfunk,Cologne, March 9 1988, Redaktion: Dr. P. Fuhrmann
• Eda, Christa, "Leporelo", ORF Ö1, October 13, 1993.
• Fuhrmann, Axel, "Fümms bö wö tää zää Uu, oder Wer es einmal hörte Der glaubt es nicht", DS-Kultur, Berlin, Nov. 16, 1993
• Gaertner, Joachim, "Kultur Aktuell: Kurt Schwitters "URSONATE" in der Originallaufnahme auf CD", Bayerischer Rundfunk, Tuesday, Aug. 17,1993 [8:35-8:45, Bayern 2]
• ______________, and Monika Schuck, "Actuelle Stunde", West Deutscher Rundfunk, Cologne, fall 1989
• Leukert, Bernd, "Rund um die URSONATE",[2nd Program, 10:00 PM], Dec. 7,1993, Hessischer Rundfunk.
• Mahlow, Dieter, "Chaosordnung", Südwestfunk, Baden-Baden, Feb. 1992
• Meyer, Peter, "The Chelsea Tapes", Sveriges Radio, Stockholm, Summer 1986
• Mießgang, Thomas, Diagonal, "Schwitters's Ursonate", Ö1, October 30, 1993
• ORF ö1 Morgenjournal, “eine Meldund mit O-ton”, Sept. 5, 1996
• Perneczky, Gêza, "Jack Ox's durch Musik strukturierte Bilder bei der Galerie Geilsdörfer in Köln ausgestellt", Radio deutsche Welle (Hungarian service), Cologne, November 1985
• Riehl, Friedrich, "Mosaik" (live interview), West Deutcher Rundfunk, 8:00 AM, Oct. 4, 1993.
• Schenk, Christian, "Jingle 38", ORF Radio, Linz, September 20 1990

COVER REPRODUCTIONS

• Creativity and Cognition 2002 proceedings, Loughborough University, UK 13-16 October
• Donald Crockett/Stephen Hartke, Orion Recordings ORS 84470
• Fanfare Magazine, March-April 1980 [vol. 3 nr. 4]
• Franklin, Joseph, Settling Scores A life in the margins of American Music. 2006.
• In Performance, November 1982 [vol. 1 nr. 3]
• Leonardo, 1991 [vol. 24 nr. 4]
• THE ELEMENTS OF MUSIC, Vol. 1 & Vol. 2, Second Edition, Ralph Turek, 1996, McGraw-Hill, New York.

COLLECTONS (SELECTED)
AXA Nordstern Allgemeine Versicherungs-AG, Cologne
AXA Nordstern/Colonia, Wien
Atlantic-Richfield Corporation, Dallas, Texas
Alternative Traditions in Contemporary Art, School of Art and Art History, University of Iowa, Iowa City
Museum Boymans van Beuningen, Rotterdam
Sonja Henie og Nils Onstad Stiftelser, Hövikodden, Norway
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
Staatsgalerie Stuttgart
Federal Reserve Board, Washington D.C.
Graphisch Sammlung Albertina, Wien
General Electric Corporation, Ridgefield, Connecticut
Herbert and Virginia Lust Collection
Madison Green corporation, New York City
Muzeum Sztuki, Lodz, Poland
Neue Galerie der Stadt Linz, Linz, Austria
Morgan Guaranty Trust, Inc., New York City
Northern Trust Bank, Dallas, Texas
Pritzker and Pritzker (Hyatt Regency), Chicago
RCA Records / Bertlesmann Group, Inc., New York City
Ruth & Marvin Sackner Collection, Miami Beach, Florida
Gilbert & Lila Silverman Collection, Southfield, Michigan
Xerox Engineering Systems, Germany