Curriculum Vitae

Independent Cultural Worker, Curator – operating as Public Art Action
Represented by Gramercy Creative, New York City

Abridged CV as PDF: AmandaMcDonaldCrowley_CV_abridged_curatorial.
Full CV as PDF: AmandaMcDonaldCrowley_FULL_CV_2018.

Select recent assignments include:

  • Agrikultura co-curator, for triennial event in Malmö, Sweden, 2017
  • Soundview Market Place curatorial consultant, contracted by YMPJ (Youth Ministries for Peace and Justice), public art and urban design competition, Bronx, 2017
  • Swale, curatorial and public engagement for artist Mary Mattingly’s public art installation and floating food forest, NYC, 2016 – 2018
  • consultant curator for programs, Bemis Center for Contemporary Art, Omaha, NE, 2014
  • consultant, The Sanctuary for Independent Media, Troy, NY, USA, working on establishment of NatureLab residency program, Autumn, 2015
  • curatorial advisor to artist Di Mainstone for her ongoing project, Human Harp, to transform suspension bridges into musical instruments. 2012 – ongoing

Academic Qualifications
Professional Positions
Executive/ Leadership
Research consultancies
Public Art / Commissions
Gallery and Museum Exhibitions
Virtual and Online Projects
Residency Programs
Events / Convenings
Writing & Interviews


Masters of Art Administration (College of Fine Art, University of NSW) 1995 (incomplete)
Courses undertaken: Curatorial Studies and Exhibition Management; Gallery Management; Exhibition Design and Display; Aesthetics and Criticism; Writing and Documentation in the Visual Arts; Art Ethics and the Law; Conservation; and Collections Management. Observing only: Art and the Culture of Everyday Life; Art and Cultural Difference. Internship undertaken with System X Communications (online artist run space)

Bachelor of Arts (Australian National University, incl. one year of study at the University of Sydney) 1990. Double major: Fine Arts; Major: German; Other Subjects: History, English.

Courses undertaken through the Australia Council:
• Time Management • Strategic Management • Communications Skills • Managing conflict at work • Negotiation Skills • Policy Formulation and implementation

Languages: Native English speaker; fluent in spoken German; Introductory courses in Spanish, Hindi, Finnish.

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Executive Director, Eyebeam art + technology center, New York City,
October 2005 – November 2011
Reporting to the Board of Directors, responsible for overseeing the Creative Direction, Operations and Program Administration, Marketing and Communications, Finance, Board Planning, and Strategic Affairs. Amanda confirmed the organization’s commitment to supporting to artists and creative technologists to develop new work in an open R&D environment, significantly increasing support to these programs. Eyebeam is recognized internationally as a model for collaboration and innovation in art + technology. During her tenure, time Eyebeam directly supported 167 artists and creative technologists in their world-renowned Fellowship and Residency programs. Amanda also oversaw the implementation of the Senior Fellows program, the seminal Student (teen) Residency program, the establishment of several Research Groups, and the curation and production of 39 exhibitions, 22 performance events and festivals, and hundreds of masterclasses, workshops, skill-shares, book-launches, lectures and other ways to provide professional development to artists and to involve the public in the work being undertaken at Eyebeam. Significantly, during the six years of her tenure, Eyebeam worked with 36 institutional partners to realize this work.

Director, Australian Network for Art and Technology
November 1995 – July 2000
ANAT is Australia’s peak national network and advocacy body for artists working with technology. As Director responsibilities were to develop and implement policy; undertake advocacy and promotion of the organisation and its constituents; Co-ordination and development of programs, including national (and in 2000 international) masterclasses and training programs for artists and curators to up-skill in uses of digital technologies, residency programs for artists, critical discourse and presentation programs, information dissemination avenues, travel and research grants, publishing; Management of organisational infrastructure including financial and staff management. During her tenure, ANAT made significant links with science and industry by developing a range of residencies for artists in settings such as science organizations, contemporary art spaces and virtual residencies online; developed cross-disciplinary masterclasses for artists and curators; and began to establish links with media artists and organizations in Asia.

Australia Council (the Federal Government’s arts funding and advisory body).
May 1990 – April 1995
Various positions in Communications & Research, Strategic Development, and Visual Arts/ Craft
Managing reviews of decisions, Freedom of Information and Administrative Decisions (Judicial Review); Preparation of policy documents and briefing documents; Answering parliamentary queries; Managing various grant programs including National Infrastructure, Special Projects, Professional Development of Artists; Working on the International Promotions program of the Australia Council; Managing liaison with Department of Foreign Affairs and Trade; Preparing itineraries for international visitors; Writing briefs for consultants and reports for Council.



ISEA2004. International Symposium of Electronic Art, 2004, Helsinki, Finland, executive producer
14-22 August, 2004. Baltic Sea. (main organizer: m-cult – the Finnish centre for new media culture)
The event began with a two day/night programmed ocean cruise 900 audience members travelled for two days on a cruiser ferry on the Baltic Sea where we programmed three stages of live performance and music, 20 art installations throughout the ferry, and day long workshops. We disembarked in Tallinn, Estonia for three days of conference and significant exhibitions in all major arts venues across the city and then travelled to Helsinki Finland for an additional five days of conference and exhibitions, programming a majority of the contemporary art institutions in the city. We also developed a program of residencies, masterclasses, and lecture programs across the Nordic and Baltic regions. Conferences were held at Lume Media Centre in Helsinki and the Estonian Art Academy in Tallinn. Exhibitions were held in public spaces and in several venues in each city with key exhibitions in Kiasma Contemporary Art Museum, Helsinki and Tallinn City Gallery organized by Estonian Centre for Contemporary Art. Residencies and workshops were held across the Nordic region by several international artists and groups before, during and after the Festival period, and Asian and African networking sessions, supported by ASEF, HIVOS, and UNESCO were core programmatic elements for the ferry program. 1392 artists, researchers and other creative professionals from 54 countries, from every continent participated in the exhibitions and events.

2002 Adelaide Festival of Arts, Adelaide, Australia, associate director
Member of the creative team (artistic directorate) responsible for developing program for the Adelaide Festival 2002. Artistic Director: Peter Sellars; associate directors: Angharad Wynne-Jones, Jonathan Parsons, Amanda McDonald Crowley, Lynette Wallworth, Waiata Telfer, Catherine Woolcock, Karl Telfer, Gay Bilson, Bridget Ikin. The Festival was collaboratively programmed around the themes of Environmental Sustainability, the Right to Cultural Diversity, and Truth & Reconciliation. In this position, I was also co-chair of the working group that curated the exhibition and symposium conVerge: where art and science meet.

Australian Video Festival, 1988 & 1989 Administrator
Development and maintenance of administrative systems including agendas and minutes for Board meetings; financial systems and budgets; development of funding applications; and management of staff and volunteers. Project management of exhibition and screening events including programming awards components of the Festival.

Biennale of Sydney, Exhibition assistant, Australia 1990
Assisting artists with installation at Bond Store venue.



Research Consultant, The Sanctuary for Independent Media, Troy, NY, 2015,
Undertaking research to develop frameworks for the NatureLab residency program in North Troy, Autumn, 2015

Consultant Curator for Programs, Bemis Center for Contemporary Arts, Omaha, NE. 2014
Reviewing programs to better integrate and articulate residencies, exhibitions, community engagement, and public programs. This included developing strategies to build bridges between the Bemis downtown facilities and the Theaster Gates program and venue in North Omaha; developing public programs with Bemis resident artists to develop coherent links between the residency and gallery programs; realizing public art initiatives; and developing frameworks for local artists to participate in the residency program.

Research Consultant, New Media Arts Fund of the Australia Council, 2002
Project Manager for Synapse, research and policy implementation for Art/Science strategy. The research resulted in the establishment of the Synapse Program.

Project Officer, National Multimedia Training Strategy, Arts Training Australia, 1995
Research and consultation to develop a strategy to determine training and education requirements for the multimedia industries. The resulting document was used by Industry and the Education sector to develop training for the Multimedia Industries in Australia. Arts Training Australia (later Create Australia) was the federal Industry Training Advisory Body.

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Commission for Art Prospect, invitation from CEC Artslink to participate as curatorial collaborator with Mary Mattingly for a new commission for Art Prospect public art festival, St Petersburg, RU, Sept 2018.

WONDERLOOPER, curatorial advisor to artist Di Mainstone for public art commission on Sunderland’s new Northern Spire Bridge, Sunderland, UK, Sept 2018.Agrikultura, co-curator. Malmo, Sweden, Jul – Aug 2017.
Exhibition of public artworks, installations, performances, meals and events on an open field in Hyllie, Malmo, Sweden.

Soundview Market Place Design Competition, Bronx, 2017.
Contracted by YMPJ (Youth Ministries for Peace and Justice), urban design competition and public art commissions.

SWALE, NYC Waterways. 2016 – 2017.
Public Programs and Engagement aboard Mary Mattingly’s floating food forest.

LOVE mural, North Omaha, 2014.
NYC artist Cey Adams commissioned by Bemis Center for Contemporary Arts, to develop a mural at their Carver Bank location. Project realized in collaboration with with Omaha local artists and youth.

Mary Mattingly: Flock House Project: Omaha, Bemis Center for Contemporary Art, Omaha, NE, Mar – Sept, 2014
Mattingly’s project was a city wide workshop and exhibition developed during her residency at the Bemis Center.



Swing Forward While Swaying Back, Longwood Art Gallery @ Hostos, Bronx NYC, Oct – Dec, 2018.
A collaboration with Bronx Arts Alliance and Hostos Center for Art and Culture. Works by Bronx artists: Alicia Grullón, Blanka Amezkua, Fran Ilich, Francheska Alcantara, Walter Cruz, Yelaine Rodriguez.

(En)coded Conversations at SPRING/BREAK Art Show, Times Square, NYC Mar 2018.
Project during Armory Arts Week with works by Chloë Bass, Juanli Carrión, Gonzalo Fuenmayor, Alicia Grullón, and Riitta Ikonen.

Beautiful Obsolescence, The Cluster Gallery, Brooklyn, NYC Mar 2018.
An exhibition of works by Jeanette May, Adrianne Wortzel, and Mary Mattingly.

View Finder, Little Metal Print, Brookyln, NYC, Nov – Dec 2017.
Solo exhibition of new works by MaryKate Maher.

food nostalgia, Radiator Gallery. Long Island City, NYC. Feb – Mar 2016.
An exhibition of works by artists Cey Adams, Emilie Baltz, Disorientalism (Katherine Behar and Marianne M. Kim), Gonzalo Fuenmajor, Kira Nam Greene and Jonathan Stein that looks at food in contemporary America through a lens of fast food iconography and industrial food production.

The Skypod Project, PointB, Brooklyn, NYC. Sept – Oct 2016.
An exhibition of new work by Mark Parrish.

Food Theater, Bemis Center for Contemporary Arts. Omaha, NE. Jan – May 2015.
An exhibition developed with artist Emilie Baltz, exploring the language of food.

Urban Design Lab, Bemis Center for Contemporary Arts. Omaha, NE. Jul – Nov, 2014.
Artists Chloë Bass and Teal Gardner collaborate with local teen researchers to develop an installation to shed new light on the nature of our urban landscape using Bass’s Department of Local Affairs, and Gardner’s Reading the City, as points of departure.

Janette Beckman: Rebel Culture: Legends of Hip Hop and the Go Hard Boyz, Carver Bank, Omaha, NE. Sept – Dec 2014.

2013 Carver Bank Residents exhibition, Carver Bank, Omaha NE. May – Aug, 2014.
Visual artist Bart Vargas, musicians Dereck Higgins and Shannon Marie, and poet Portia Love exhibit work developed during their residencies, at Carver Bank – an initiative of artist Theaster Gates.

CONSUME, Gallery@CalIT2, University of California, San Diego, CA. Apr – Jun, 2013
A group exhibition informed by my research at the intersection of art, technology and food systems. Projects in CONSUME document interdisciplinary ideas pertaining to current discussions in the fields of health, technology, and the environment, and include works by: Brandon Ballengée, Oron Catts & Ionat Zurr, Justine Cooper, Beatriz da Costa, and Jamie O’Shea.

OUR HAUS, Austrian Cultural Forum. New York, 2012.
Commissioned to curate the ten year anniversary exhibition for the ACF, NY. Our Haus examined the Forum’s mission as a place for the presentation of contemporary culture, and as a center for the discussion of ideas and establishing cross-cultural relationships. Artists: Sabine Bitter/Helmut Weber, Judith Fegerl, Rainer Ganahl, Mattias Herrmann, Johanna Kandl, Mathia Kessler, Fabia Patzak, Rainer Prohaska, Time’s Up, WochenKlausur.  

X-Lab  Eyebeam. New York, 2011.
Curated with Eyebeam program team, the program transformed the main gallery at Eyebeam into an open lab environment where we shared the ongoing research and practice of Eyebeam Fellows and Resident artists, and offered opportunities for deep public engagement. Much as an unConference favors a flexible, participant-driven format that values energetic dialogue over talking head presentations, X-Lab might be described as an unExhibition where, rather than present finished works, we provided a space for critical reflection on and participation in the research and production processes at Eyebeam.

FEEDBACK Eyebeam. New York, 2008.
Curated with Eyebeam Sustainability Research Group. Artists: Britta Riley/ Rebecca Bray, Natalie Jeremijenko, Fluxxlab, Mouna Andraos, Andrea Polli, Jeff Feddersen, Leah Gautier, Rogers Marvel Architects, Preemptive Media, Brooke Singer, Michael Mandiberg, The Living, Eve Mosher, Forays, The Green Map® System, Studio for Urban Projects, Annina Rüst, Timm Kekeritz, Oz Etzioni.

Interference and Source Code Eyebeam. New York, 2007.
A 10 year retrospective of programming Eyebeam style, collaboratively curated with Eyebeam programming team. Artists:  Forays, Angie Eng, Jill Magid, Carrie Dashow, Jesse Pearlman Karlsberg, Trevor Paglen/ IAA, neurotransmitter, Robert Ransick , Yury Gitman, Carlos J. Gómez de Llarena, | Graffiti Research Lab, Caspar Stracke, Eyebeam R&D Lab/ Michael Frumin/ Jonah Peretti; Cory Arcangel, Jonah Brucker-Cohen, Carrie Dashow, eteam, Nina Katchadourian, Steve Lambert, Jennifer and Kevin McCoy, MediaShed, MTAA, Mark Napier, neuroTransmitter, RSG.

Place Ground Practice ST PAUL St Gallery. Auckland NZ, 2005.
Co-curated with Nova Paul, for Cultural Futures conference. Artists: Bandung Centre for New Media (Indonesia), Lisa Reihana (Aotearoa New Zealand), Rachael Raken (Kai Tahu/ Nga Puhi/ Aotearoa New Zealand), Sarai Media Lab (Delhi, India), Sriwhana Spong (Aotearoa New Zealand).

2002 Adelaide Biennial of Australian Art – conVerge: where art and science meet. Art Gallery of South Australia. Adelaide, 2002.
Chair of working group responsible for curating and realising the Biennial of Australian art.

FOLDBACK, Ngapartji Multimedia Centre, Adelaide, 1998.
Video, sound, internet , performance and CD-Rom exhibition and event developed in collaboration with the Telstra Adelaide Festival, 1998. Programmed in collaboration with Francesca da Rimini. Anniversary of 10 years of ANAT. Exhibition toured throughout Australia in 1999.

Body of Information, Gallery Connexion. New Brunswick, Canada, 1997.
Video, CD Rom and web presentations. Artists: Gordon Bennet, Francesca da Rimini, John Tonkin, Josephine Starrs, Leon Cmielewski, Lloyd Sharp, Ian Andrews, Linda Dement, Andrew Petrusovics, CAAMA, Lynne Sanderson, Brad Miller, McKenzie Wark. Was subsequently also presented at Dong-La Animation Festival, Korea, 1999.

Interactive Nation, Institute of Contemporary Art. London, 1996.
Screening program. Artists: Video Subvertigo, Gashgirl, Isabelle Delmotte, Michael Grimm, Martine Corompt, Patricia Piccinini, John Tonkin, Lloyd Sharp.

Recognition, College of Fine Arts Gallery, University of NSW. Sydney, 1993.
An exhibition which addressed aspects of perception and site in contemporary photo-based art practice. Curators: Daniel Brine, Amanda McDonald Crowley, Wayne Tunicliffe. Artists: Anouk Beck, Richard Dabek, Raymond Dow, Dhani Miller, David Vaughan Rogers, Mariannne Sully.

SIGNALS SYMBOLS SYSTEMS, College of Fine Arts Gallery, University of NSW. Sydney, 1992.
An exhibition coinciding with the Third International Symposium of Electronic Art (TISEA). Artists: Michele Barker, Tracy Brook, Andrew Burrell, Stephen Hamper, Marion Hardman Marrison.

Accusations of Unclear Thinking, College of Fine Arts Gallery, University of NSW. Sydney, 1992.
An exhibition of works exploring histories and memory. Curators: Richard Dabek, Tiffany Jackson, Amanda McDonald Crowley. Artists: Michelle Andringa, Michele Barker, Dacchi Dang, Sean O’Keeffe, Salvatore Russo.



Invisible in Plain Sight, Senior Planet, NYC, 2016.
An augmented reality exhibition, commissioned by Art Connects NY and installed at Senior Planet, a tech resource center for seniors.

Network, Discovery, Transcendence, nline. 2015.
Three virtual exhibitions for the Launch of Point B Virtual.

Resistant Media: Perspecta99, online. 1999
Web exhibition and listserv developed for Perspecta99: Living Here Now, Art and Politics. Artists: Francesca da Rimini, Melinda Rackham, Josephine Starrs, Rick Vermey, Andrew Garton, Sam de Silva

FUSION, online. 1999.
Online exchange and performance project between Sydney, Australia (College of Fine Art, University of NSW) and Weimar, Germany (Bauhaus University). Project initiated by Jill Scott. Australian component curated by Amanda McDonald Crowley. Australian artists: Damian Castaldi, Scot Horscroft, Melinda Rackham, John Hughes, Sarah Waterson, Brad Miller.

LOGIN, online. 2000.
A series of residencies for emerging visual artists to develop web-based projects.

Deep Immersion: Creative Collaborations online. 1997-98
ANAT series of online residences: Teri-ann White with trAce; Keith Netto with <EMG>; Michael Hogg and Claire McGrogan with AltX; Elendil with System X

*Water Always Writes in *Plural online 1997.
An initiative of ANAT and Electronic Writing and Research Ensemble. Collaborative online writers in residence project: Linda Carroli and Josephine Wilson.



Sustainability, Open Culture, Urban Research. Eyebeam, NYC, 2006 – 2011.
Fellowship and Residency Programs at Eyebeam.

Mobile content and urban surgery, Nordic countries, 2004.
Residency and workshop programs at ISEA2004.

Regional Residencies, South Australia, 2002.
Artist residenies in Indigenous communities in urban Adelaide and regional South Australia. Australian artists Di Ball, Jenny Fraser, Jason Davidson and British collective Mongrel. Developed for Adelaide Festival 2002.

Deep Immersion: Regional Realities, Bangkok and Taipei, 2000 – 2003.
ANAT in collaboration with Asialink developed a new media residency program for an Australian artist to travel to Asia. Two residencies were held at Chulalongkorn University in Bangkok (Chris Caines in 2000 and James Verdon in 2001). A third residency was held in 2003 with Kelli McCluskey and Steve Bull from PVI collective at Taipei Artists Village.

Deep Immersion: Scientific Serendipity, Sydney, Adelaide, Perth, New York, 1998 – 2000.
ANAT Residencies for artists working with scientists. Co-curated with Linda Cooper, interactive science exhibition specialist. Projects developed were: Oron Catts and Yonat Zurr’s at University of WA’s Biology; David Rogers Scismic project in consultation with seismologists at the Australian Geographic Survey Organisation (AGSO); Justine Cooper in residence at Museum of Natural History, New York; Adam Donovan at Defence, Science and Technology Organisation.



Circuit of the Senses, Bemis Center for Contemporary Art, Omaha NE, Nov 2014.
A multi-sensory dining experience exploring art and food across all four galleries developed by Emilie Baltz.

Foodycle, Helsinki. Sept 12 – 13, 2013.
A two day event comprising farmers markets, workshops, and discussions about the future of our food systems, convened by Ruoan tulevaisuus ry and Pixelache Helsinki, with whom I was doing a residency. Other partners included Aalto University, Media Factory and University of Helsinki.

GastroLab, Edinburgh Science Festival. April, 2013.
For my residency with New Media Scotland, I realized three GastroLabs as part of their LateLab event series. GastroLab | RGB Cocktail Party was hosted by Emilie Baltz, for GastroLab | Slow Food the conversation focused on concepts of slow food, and for GastroLab | Open Sauces [FoAM] took audiences on a journey developed around their Future Fabulators food scenarios.

Eyebeam Summer School. Eyebeam, NYC, July – August 2009.
Program included Curatorial Masterclass led by curatorial Fellow Sarah Cook; College of Tactical Culture, organised by Steve Lambert and Stephen Duncombe; Summer School @ Night lecture series, organized by Stephanie Pereira. New York, 2009

conVerge: where art and science meet, Adelaide, March 2002.
Two day symposium at the Adelaide Festival 2002, to contextualise the eponymous exhibition.

Alchemy, Brisbane Powerhouse, Brisbane, July – August 2000.
ANAT international Masterclass for New Media Artist and Curators. While international in scope, this six week program targeted artist and curators from the Asia region.

med_ia_ate: the ANAT National School for New Media Art Curation. Hobart, 1999.
Developed in collaboration with Program Manager Honor Harger.

National Indigenous School in New Media Art. Darwin, 1999.
Developed in collaboration with Program Manager, Brenda Croft.

Resistant Media: NxT. Darwin, 1999.
Workshops, fora, presentations and access space developed for NxT: Northern Territory Exposure, Multimedia Symposium in Darwin. Artists included: Josephine Starrs (Au) Ian Andrews (Au), Shuddhabrata Sengupta (India), Geert Lovink (NL), Sam da Silva (Au), FTR (Au).

ANAT National Summer School in Art and Science, Sydney, 1999.

ANAT National Summer School, Fremantle, 1998.

ANAT National Summer School in internet design and web authoring, Hobart, 1997

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Shelley and Donald Rubin Foundation art and social justice grant program review panel, 2016

School of the Museum of Fine Arts, Boston, Alumni Travel Grant, 2016

Bemis Center for Contemporary Arts, 2015 artists-in-residence finalists panel, Omaha, NE, 2014

Eyebeam art + technology center, all fellowship and artist residency review panels 2006-2011

Art(ists) On the Verge, Northern Lights, Minneapolis, 2011

Inlight Festival, Richmond, Virginia, 2010

Edith Russ Haus, Residency Review Panel, 2009

Conflux Festival curatorial team, New York, 2008

MAP Fund Review Panel, New York, 2008

2nd Biennial 01SJ Festival, Green Prix Award Winner for Environmental Art, San Jose, 2008

LMCC Swing Space Review Panel, New York, 2006

Transmediale Award Jury, Berlin, 2005

Australian Research Council (ARC) Linkage and Discovery Grant, 2002/ 2005

National Digital Art Awards jury member (Australia) 1998

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2014 – current Global Advisory Board, Honolulu Biennial Foundation

1014 – current Board Advisor, AKTIONSART, Seattle, Washington

2011 – current Board Member, National Alliance for Media Art and Culture

2010 – current International Advisory Board Member, Tsinghua University Art & Science Research Center Media Lab

2003 invited to participate in a UNESCO meeting to set the framework for the Digi-Arts Young Digital Creators Program; facilitated UNESCO’s meeting at Sarai in Delhi to develop Asia Pacific networks in new media arts and electronic music fields.

1996-2001 Member of the Board of Management of the Inter-Society for Electronic Art (the umbrella organisation under which the International Symposia of Electronic Art are hosted.) Co-chair, International Advisory Committee 1999-2004.

1996-2000 ANAT representative on CAOs (Contemporary Art Organisations of Australia) network

1998-2000 ANAT representative on ArtsPeak, a national network of peak arts advocacy and networking bodies

1996 Member of the Board of Management of the Media Resource Centre, Adelaide

1994/95 Communications & Research Unit contact officer – Australia Council Arts for a Multicultural Australia program

1994/95 Australia Council representative, Sydney Access and Equity Officers Network

1993/94 Staff Representative on the Australia Council (a staff elected position)

1993 Strategic Development Unit representative on the Australia Council’s International staff working group

1989/90 &1995 Member of the Board of Management of Artspace Visual Arts Centre, Sydney

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2015 field research residency, Sandhills Institute, residency & research initiate of artist Mel Ziegler, Rushville, NE

2015 March. SFAI Residency, Santa Fe, as part of Food Justice residency cycle.

2013 August. HIAP Residency at Suomenlinna, (Helsinki International Artists Programme), Finland.

2013 May. Food-info-activism Micro-Resident with Pixelache, Helsinki, Finland.

2012 Bogliasco Foundation Fellowship to undertake residency at Liguria Center for the Study of Arts and Humanities, Bogliasco, Italy, with a curatorial research focus on Art, Food and Technology.

2005 Australia Council, New Media Arts Board, skills and professional development grant to participate in the ‘Space: Planetary Consciousness and the Arts‘ workshop and symposium, Switzerland

2002 Asialink residency grant to work at Sarai, Delhi November 2002 – February 2003. Supported by the Australia Council and Arts SA.

2002 September. Research residency, Banff Centre for the Arts, Banff, Canada.

2001 Australia Council, New Media Arts Fund, travel grant to attend the opening of the Sarai New Media Initiative, Delhi

1996 Museums Australia travel grant to attend ISEA, Rotterdam

1994 Post graduate research grant, University of NSW, for work towards Masters of Arts Administration degree

1993 Goethe Institut Language Scholarship for people working in key positions in the arts to undertake a language course in Berlin, Germany

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McDonald Crowley, A. 2016 (forthcoming) ‘System X: Interview with Founding Sysop Scot McPhee’, in Social Media Archeology and Poetics, Judy Malloy, ed. Cambridge: MA, MIT Press.

McDonald Crowley, A. 2014 ‘WILD STYLE: a story of 1980s New York graffiti through the lens of hip hop culture: an interview with Charlie Ahearn’, WALL TO WALL, Artlink vol 34 no 1, 2014. eds: Kohn, A. & Bramwell, C.

Plohman, A. and Sipos, M. 2012 “Out of the Lab: An interview with Amanda McDonald Crowley” Beyond Data, Kitchen Budapest & Baltan Labs joint publication. Page 90.

Cook, S. 2010 “Sarah Cook in conversation with Amanda McDonald Crowley and Patrick Lichty: Networking and Collaboration” A Brief History of Working with New Media Art – Conversations with Artists (eds. Sarah Cook, Beryl Graham, Verina Gfader and Axel Lapp). The Green Box, Germany.

McDonald Crowley, A. 2009, ‘New-Media Roundtable: Crossing Open-Source Frontiers: an Interview with Shilpa Gupta, Woon Tien-Wei, Gustaf Iksander, Bundit Phunsombatlert’ in ArtAsiaPacific, Issue 64

McDonald Crowley, A. 2008, ‘Dream Director‘, in Gegisian A and Haworth G (eds.) in collaboration with the artist, Luke Jerram: Art in Mind – An artist’s journey exploring the edges of perception, Watershed, Bristol, UK

Prior, S. 2008 ‘Home is Where the Art is.’ Sydney Morning Herald. November 13, 2008.

Hanley, W. April 20, 2007 ‘Ten Years and Counting on the Cutting Edge ArtInfo, New York

Klingman, K. 2007 ‘New media Powerhouse, Eyebeam, now a decade old‘, Chelsea Now, New York, June 29, 2009

Amerika, M. 2007 ‘The Organizational Game (with Amanda McDonald Crowley)’ META/ DATA. A Digital Poetics. MIT Press, Cambridge MA. (An earlier version of this dialogue was published online on in 1998.)

McDonald Crowley, A. 2005, ‘Be-coming Community: an interview with Steve Dietz’, Arte Contemporáneo, Spain, February volume

McDonald Crowley, A. 2004, ‘Strategies for Prioritizing Cross Disciplinary Research in Australia’, ARSIS, Finland, October volume

McDonald Crowley, A. 2004 ‘Asia-Pacific: new media exchangeRealTime, Australia, issue #62

McDonald Crowley, A. 2003, ‘The Art/Science of Collaboration‘, Sarai Reader 03: Shaping Technologies, Sarai, Delhi/ Society for Old and New Media, Amsterdam

McDonald Crowley, A. 2003 ‘A story… A series of questions… some anecdotes…’ Points of Entry exhibition, Canada/New Zealand/Australia, CAST Gallery, Tasmania, Australia

McDonald Crowley, A. Cooper, L , 2002 ‘Introductory Essay’ conVerge: where art and science meet – 2002 Adelaide Biennial of Australian Art, catalogue, Art Gallery of South Australia

Cruickshank, A. 2002 ‘You say Biennial, I say Biennale’ Broadsheet. Vol 31, No 1. Adelaide, Australia

McDonald Crowley, A. 2002 ‘Cacophony + Cramp for the Sensory Bundle’ Artlink, Australia, Voll 22 no 4.

McDonald Crowley, A 2001 ‘A new Sarai: new media in DelhiRealTime, Australia, issue #43

McDonald Crowley, A. 1999 ‘Resistant Media: !recombinant video!nomadic web!‘,Perspecta99: Art and Politics, Living Here Now, Art Gallery of NSW

McDonald Crowley, A. 1996 ‘Electronic art in Australia: do we have critical mass?’ Artlink, Australia Vol 16 no2&3

Jonson, A, McDonald Crowley, A. 1995, National Multimedia Education and Training Strategy, Arts Training Australia

McDonald Crowley, A, ‘Rosemary Laing’ Art Write, School of Art Theory, College of Fine Arts, UNSW, Australia, Volume 1, Issue 4, 1993

McDonald Crowley, A. 1989 National Survey in exhibition and distribution possibilities in Australia’ SCAN+ issue 2.

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  • Adjunct Lecturer, Understanding New Media, Film/ Media Studies Department, Hunter College, CUNY, NYC, 2016 – ongoing
  • Advisor, Film/ Media Studies Department, Hunter College, CUNY, NYC, 2017 – ongoing
  • Mentor, Oklahoma Art Writing & Curatorial Fellowship program, Oklahoma Visual Arts Coalition, 2015
  • Mentor, ArtTable Diversity in the Arts program, 2014
  • Lecturer, Project Management, E-media Centre, Estonian Academy of Arts, Autumn Semester 2004
  • Lecturer, Financial Management in the Arts, Stadia, Helsinki, Finland, Autumn Semester 2004
  • Lecturer, Public Art, SA School of Art, University of SA, semester 2, 2002

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    ‘Art/Tech/Food: Cultural Collaboration’, Texas Tech University School of Art, Lubbock, Texas, April, 2016
  • Ferment Yourself’, co-hosted brunch with artist Agnieszka Pokrywka, as part of STWST48, curation by Shu Lea Cheang and Franz Xaver, Linz, Austria, Sept. 2015• ‘art, technology & collaborative practice’, Tyler School of Art, Temple University, critical dialogue series, Oct, 2014
  • ‘The Art and Science of Collaboration’, at Yes is a World, creativity in the expanded field, National Council of Arts Administrators conference, Nashville, TN, September, 2014
  • Special edition of BBC Radio Scotland series, Brainwaves, hosted by Mark Stephen, live from the Edinburgh Science Festival with guests Professor Charles Spence of Oxford University, Amanda McDonald Crowley from New York and Andrew Barnett of the microbrewery, Barney’s Beer. The theme sensory dining, explored the science behind eating. April 2014.
  • Contributor to Deep Time / Deep Futures symposium on artistic responses to perception and time in biological, environmental, and geological processes. Helsinki, September 2013
  • Panel moderator of CULTURE session at Foodycle symposium. Panelists: Johanna Makela, Aleksi Neuvonen, Saly Wade, Porridge & Potatoes. Organised by Pixelache, Helsinki, Finland, September 2013
  • CONSUME artists talks, panel moderator, San Diego, April 2013
  • GreenRush – dispatch#8. @ Le Chapon Rouge, Paris. Streamed by Radio Marai. ArtTechFood – curatorial research. GREEN RUSH is a project sharing food talking series, convened by Shu Lea Cheang. _ TALK. MEET. CONSPIRE. INTERVENE. MOBILIZE. ACT. Dec 2012
  • New Media in the Museum, Leaders in Software and Art conference, Guggenheim Museum, NYC, Oct 2012
  • Moderator, Transcending Borders: The Intersections of Art, Science, Technology, and Society on a Global Stage, convened by Salzburg Global Seminar, the National Endowment for the Arts, and Embassy of Austria, Washington, DC. 2012
  • The Art of Collaboration, DVS Lecture Series, University at Buffalo, 2012
  • Media Art as a Curatorial Platform; and Curation as a Collaborative Practice, University of Wollongong, Guest Lecturer, Wollongong, Australia, 2012
  • Art as a Way of Knowing, Exploratorium, a conference organized by the Exploratorium and sponsored by the National Science Foundation, San Francisco, 2011
  • Moderator/ Curator Internet Economies: Porn, Labor and Banking with academics and artists Susanna Paasonen, Stephanie Rothenberg, Jeff Crouse, Fran Ilich. Eyebeam 2011
  • Panelist ‘Participation and Engagement: Curating Contemporary Art after New Media’ at the College Art Association (CAA) 99th Annual Conference in New York City. Chaired by Sarah Cook and Beryl Graham. 2011
  • Speaker and participant. Strategies for Arts + Science + Technology Research: a Joint Meeting of the National Science Foundation and the National Endowment for the Arts, Arlington, VA. Sept 2010
  • Discussions on networked publics: place. With Douglas Gauthier, Christina Ray, Mark Shepard, Robert Sumrell, Tim Ventimiglia with Netlab Director Kazys Varnelis. the network architecture lab @ the columbia university, February 2010
  • Food in the City presentation as part of Food and Emerging Media speaker series organised by Stefani Bardin, Buffalo, NY. April 1, 2010
  • Panel moderator/ curator Social Networking Technology: Spaces for Creation, Engagement, Discourse and Promotion, with artists Scott Kildall, Britta Riley and Brooke Singer. 2009 Grant Makers in the Arts conference, NYC
  • In conversation with Fumio Nanjo, Beryl Graham CRUMB’s Blissful Dialogues: Common Ground for Curators, ISEA 2008, Singapore.
  • Presentation at Present Eternity: Sense & Experience of Time in the Digital Society, Gallarate, Italy, March 2008.
  • Presentation on public art at Art in the Life World conference, Ballymun, Dublin, Ireland. February 2008.
  • Discussion Moderator for: Human Futures: What is the Future of the Body? Sk-interfaces Conference; and Artist research seminar, FACT, Liverpool, UK. February 2008
  • Presentation at Fastforward: On New Media Art, PAN | Palazzo delle Arti Napoli, Italy. November 2007.
  • Presentation at Copenhagen at the Danish New Media Forum. November 2007.
  • Discussion moderator, Conflux Festival, Brooklyn NYC. panel on Sustainability Research and Art . September 2007
  • Open House Wednesdays, Location One, NYC, May 2007
  • Leonardo Education Forum at the College Art Association Conference, New York City, Feb. 2007
  • Art and New Technologies panel, Art Chicago, Chicago, USA April 2007
  • moderator of Pacific Rim Papers, ISEA 2006 Conference, San Diego, USA August 2006
  • Presentation at The Jellied Eel Media sheds, South End on Sea, UK, March 2006
  • Keynote lecture at Art-Place-Technology conference Liverpool, UK, March 2006
  • Participant, Sarajevo Picnic_2005, Lost in Transition, Art and Media Cultural Networking event, Sarajevo, June 2005
  • Participant, Space, Planetary Consciousness and the Arts workshop and Symposium, Switzerland, May 2005
  • Presentation of ISEA2004, P-10 (artist run initiative), Singapore, May 2005
  • Art and Science collaborations, SA School of Art graduate lecture, University of South Australia, 2005
  • Moderator, Transmediale Award Nominee artists’ presentations, Transmediale ’05, Berlin, February 2005
  • Art and Science collaborations, Fine Art Academy, Helsinki, Finland, 2004
  • Panelist, New media curatorial practices, UNESCO and SARAI, CSDS International, Old pathways/New travelers: new media, electronic music and digital art practices in the Asia Pacific region. December 2003 Delhi, India
  • Artists’ panels and Sessions Chair, VIPER Festival, Basel, Switzerland, 2003
  • Art and Science collaborations, Tampere University, Finland, 2003
  • New Media Curatorial Workshop, Sarai New Media Initiative, Delhi & National Gallery of Art, Mumbai. February 2002
  • ConVerge: where art and science meet. Kohj artists studios, Delhi & National Gallery of Art, Mumbai, February 2002
  • Where Art and Science Meet; Artists’ Metaphors in Visualizing Science – Issues, trends, problems”, at Quintessence: The Clumpy Matter of Art, Math, and Science Visualization, Banff New Media Institute, 2002
  • Future for Artists Week, panelist, ‘elastic’ Adelaide Fringe Festival and Adelaide Festival visual arts forums, 2002
  • Building E-Topia, panelist, ‘Synchronicity’ architecture symposium, Adelaide Festival 2002
  • Cinema in Public Space, College of Fine Art/ Sydney Film Festival forum, Sydney, 2001
  • New Media Art and collaborative processes, The Public Domain, Opening event for Sarai New Media Initiative, Delhi, India, 2001
  • Networking a Nation, presentation at “re: connected” conference and meeting of European Cultural Backbone members, Helsinki, 1999
  • Tactical Media seminar Chair, and Cyberfeminism seminar Chair, Resistant Media project, NxT: Multimedia Symposium, Darwin, 1999
  • A Digital Region? presentation at Third Asia Pacific Triennial, Multimedia Arts Asia Pacific Festival, Brisbane, 1999
  • Arts Law Centre seminar panelist: Digital Media and its relation to Film in Australia, Sydney, 1999
  • Technology solutions for the arts, seminar Powerhouse Museum, Metro Screen, Sydney, 1999
  • Arts SA seminar on the arts and new technology, Iris Cinema, Adelaide, 1998
  • FOLDBACK at ISEA98 in Liverpool, UK, 1998
  • Networking communities, panel, Australian Film Commission conference, Being Connected, Melbourne, 1998
  • Museums on the web, Museums Australia / Art Gallery of SA seminar, Adelaide, 1998
  • online communications practices, Metro Screen, Sydney, 1998
  • Electronic art in the Northern Territory, round table forum, 24 Hour Art, Darwin, 1998
  • Bright Sparks: ANAT National Summer School CDROM & websites, Media Resource Centre, Adelaide, 1998
  • Art and Technology in Australia, graduate lecture, University of South Australia, 1998
  • Virtual Craft, Craft SA debate, Adelaide, 1998
  • Arts Marketing and the Internet, IMAGO Multimedia Centre in Perth, 1997
  • New Media Art in Australia, Cultural Crossroad conference – organised by the Australia Council, Sydney, 1997
  • Facilitator for New Media and Marketing, Australian Film Commission forum, Sydney, 1997
  • New Media Art and Museums, Gallery Guides Conference, Adelaide, 1997
  • Exhibiting New Media Art, Australian Film Commission forum, Sydney, 1997
  • Cyber Opportunities and Challenges, New Media and the Museum, Museums Australia Conference, Sydney, 1996
  • The Performer and New Media, Australian Film Television and Radio School, Sydney, 1996
  • Key Note Address, The National Perspective, Artech Symposium, Next Wave Festival, Melbourne, 1996
  • Multimedia and the arts in Australia, Perth Institute of Contemporary Art, 1995

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