Faculty

Associate Professor of Literature
Office: Roberts South 214
(909) 607-9678
james.morrison@claremontmckenna.edu

Assistant Professor of Media Studies
Department of Humanities and Social Sciences
Harvey Mudd College
Office: Parsons 1249
607-0461
rachel_mayeri@hmc.edu

My courses in humanities, art, and media studies are intended to promote critical thinking and creative expression. In Media and Democracy, we examine how mass media reflect and exert force upon the culture at large. In the Language of Film we analyze the aesthetic, psychological, economic, and ideological aspects of film. In Video Production, students put media theory to work - creating their own critical and creative media messages. Other courses I teach include: A History of Special Effects (an exploration of techniques and meanings of spectacle in society), Digital Cinema (an intermediate/advanced course in motion graphics and video art), Science and Visual Culture (a critical examination of scientific media), and Documentary: Fact and Fiction (a introductory seminar on contemporary and historical documentary).

I am a Los Angeles-based artist working at the intersection of science and art. My videos, installations, and writing projects explore topics ranging from the history of special effects to the human animal. My videos combine techniques of animation and live action, and experiment with documentary and narrative form. In 2004, I created a video entitled Stories from the Genome, which placed contemporary gene science within a history of speculative theories of reproduction. I have distributed my work along with many other videos by artists and scientists as a touring DVD video show and web site entitled Soft Science. An essay about Soft Science, and information about purchasing the DVD is at Video Data Bank. A chapter on artists' experiments with science documentary is forthcoming in Tactical Biopolitcs , edited by Beatriz da Costa and Kavita Philip for MIT Press.  Currently, I am producing a series of videos called Primate Cinema. The first is a reenactment of a primate social drama, with Hollywood actors, set in a bar in Chinatown. As a guest curator for the Museum of Jurassic Technology, I contributed to a permanent exhibit Miracles and Disasters in Renaissance and Baroque Theater Mechanics. My work has shown at Los Angeles FilmForum, ZKM (Center for Media Art) in Germany, and MoMA/PS1 in New York. More information about my artwork, writing and the Soft Science project can be found at www.soft-science.org.

Professor of Media Studies
Office: Fletcher 228
(909) 607-4431
ajuhasz@pitzer.edu

Alexandra Juhasz, Professor of Media Studies, Pitzer College, teaches video production and film and video theory. She has a Ph.D. in Cinema Studies from NYU and has taught courses at NYU, Swarthmore College, Bryn Mawr College and Pitzer College on women and film, feminist film, and women's documentary. Dr. Juhasz has written multiple articles on feminist and AIDS documentary.

Dr. Juhasz produced the feature films The Watermelon Woman (1996) and The Owls (2010) as well as nearly fifteen educational documentaries on feminist issues like teenage sexuality, AIDS, and sex education.

Her first book, AIDS TV: Identity, Community and Alternative Video (Duke University Press, 1996) is about the contributions of low-end video production to political organizing and individual and community growth. Her second book is the transcribed interviews from her documentary about feminist film history, Women of Vision, with accompanying introductions (University of Minnesota Press, 2001). Her third book, F is for Phony: Fake Documentary and Truth’s Undoing, edited with Jesse Lerner, explores issues of truth and fiction in fake documentaries (University of Minnesota Press, 2006).

Dr. Juhasz also publishes scholarly work online, integrating text, video, and user-generated content. Her first web "book" is entitled Media Praxis: A Radical Web-Site Integrating Theory, Practice and Politics. Her recent work, Learning from YouTube, is the first video-book published by MIT Press. For more info please visit Dr. Juhasz's own site.

Visiting Assistant Professor of Media Studies
Office: West Hall Q123
(909) 607-7952
Gina_Lamb@pitzer.edu

Gina Lamb is a Los Angeles artist-activist who has worked collaboratively with inner city youth for the past 16 years to foster their voices/vision through independent media production. Her projects have dealt with race, gender identity, sexual orientation, class, and immigrant issues, and have been presented nationally in museums and galleries, as well as being broadcast on television and the web. She teaches production and theory in the Media Studies Field Group at Pitzer College, and has incorporated media service projects at the college level by developing a Media Arts for Social Justice curriculum, where students use their skills and resources to develop media projects with non profit organizations; including Lideres Campesinas, Girls and Gangs, LA Freewaves, and REACH LA. Lamb is also currently the Director of Arts and Technology Programs at REACH LA, a youth arts and action center in downtown Los Angeles.

Lamb has a history of developing and implementing long-term media arts/literacy programs for youth in South, Central, and East Los Angeles. In addition she has organized city-wide youth-driven conferences where teens present workshops on their roles as makers and consumers of independent media in a mass mediated society that systematically excludes their voices. As an advocate for media literacy in education, Lamb served for four years on the National Alliance of Media Educators.

Honors include a National Endowment for the Arts Fellowship, and "Anonymous Was A Woman" Award, and grants from the Rockefeller Foundation, The City of Los Angeles Cultural Affairs Department, and the California Arts Council.

Related Links

• www.2waystream.com Pitzer/REACH LA media arts exchange project
• www.reach.la REACH LA soon to be launched organizational website

Associate Professor of Media Studies
Office: Scott 208
(909) 607-2636
Jesse_Lerner@pitzer.edu

Jesse Lerner is a documentary film and video maker based in Los Angeles.  His work has screened at the Museum of Modern Art in New York, the Reina Sofía Museum in Madrid, the Sydney Biennale, the Los Angeles County Museum of Art, the Sundance Film Festival, the Los Angeles International Film Festival, the Film Society of Lincoln Center, the Guggenheim Museums in New York and Bilboa, and other festivals and museums internationally.

His short film Natives (1991, with Scott Sterling), Magnavoz (2006) and T.S.H. (2004) and the feature-length experimental documentaries Frontierland/ Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999) and The American Egypt (2001) have won numerous prizes at film festivals in the United States, Latin America and Japan.

He has received grants and fellowships including the Western States Regional Media Arts Fellowship (N.E.A.), the California Arts Council fellowship, the Brody Family Fund, the Rockefeller Foundation, the Fideicomiso para la cultura México-EE.UU (three time recipient) and two Fulbrights. In addition to his work as a filmmaker, his critical essays on photography, film, and video have appeared in Afterimage, History of Photography, Film History, The Independent, Visual Anthropology Review, The Spectator, La Pusmoderna, Wide Angle, Film History, and other media arts journals.

As a media arts curator, he has organized several exhibitions, including 51st Robert Flaherty Seminar (held at the Claremont Colleges) and The Mexperimental Cinema , a traveling retrospective of 60 years of avant-garde film and video from Mexico presented at the Pacific Film Archives in Berkeley, the Guggenheim Museums in New York and Bilbao, and elsewhere.  His books include F is for Phony (with Alex Juhasz) and The Shock of Modernity.  He has taught at the University of California San Diego, Bennington College, California Institute of the Arts, and the Centro de la Imagen in Mexico City.

Related Links:

• Jesses Blogspot
• F is for Phony on Amazon
• The Shock of Modernity on Amazon
• Mexperimental
• The 51st Robert Flaherty Seminar
• Superocheros
• Cityscapes 1
• Cityscapes 2

Associate Professor of Media Studies
Office: West Hall Q123
(909) 607-4319
Ming-Yuen_Ma@pitzer.edu

Ming-Yuen S. Ma was born in Buffalo, New York, and was raised in Hong Kong. He was educated at Columbia University and California Institute of the Arts. Ma has been making experimental videos for more than 15 years. His videotapes Sniff (1997), Slanted Vision (1995), Toc Storee (1992), and Aura (1991) have screened national and internationally. Ma's recent projects include the multimedia Xin Lu Project, including the four videos: [os] (2007), Movements East—West (2003), Mother/Land (2000), and Myth(s) of Creation (1997), which use personal and family history to explore the shifting identities of peoples in movement - as tourist, traveler, immigrant, refugee, exile. [os], the most recently completed video in the series, excavates the personal and the collective, the colonial and the transnational, the traumatic, the wistful, the queer, and the spectral to tell intersecting stories about our desires to return to the past. Its title represents the etymological ‘"ghost’" that haunts the creation of the word "nostalgia", which combines the Greek word nostos (return home) and New Latin algia (akin to Greek neisthai to return).

In the summer of 2006, Ma conceived and organized the ReCut Project, a weekly live art series that presented eight contemporary interpretations of Yoko Ono's Cut Piece (1964). The ReCut Project was a part of the exhibition Draw a Line and Follow It at Los Angeles Contemporary Exhibitions (LACE). Other recent hybrid media projects include THIS IS NOT A FOREIGN FILM (2002) an 18-hour installation and performance, based on Pasolini's notorious film SALO, created for Platinum Oasis, an art/performance event curated by Ron Athey and Vaginal Davis, and held at the notorious Coral Sands Motel in Hollywood; Untitled: Video Self Portraits (2002), a collaboration between Ma and his students at Pitzer College with artists Amitis Motevalli and Dorit Cypis' Kulture Klub LA, created for the exhibition Democracy When!? Activist Strategizing in Los Angeles. Ma has recived grants from Art Matters, Inc., Brody Arts Fund, California Digital Arts Workshop, Durfee Foundation, Long Beach Museum of Art, WESTAF/NEA, and others. Ma's critical writing and text-based art has been included in many anthologies and journals, and his work has been written about by critics and theorists including Laura Marks, (The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, 2000) Roger Garcia, (Out of the Shadows: Asians in American Cinema, 2001) Bérénice Reynaud, (Resolutions: Contemporary Video Practices, 1996) Holly Willis, and Gina Marchetti. Most recently, Asian American scholars Peter Feng and Xiaojing Zhou wrote about the Xin Lu Project for separate forthcoming publications. Ma’s own recent publications include Untitled (Dear Ma Liuming), in X-TRA (Winter 2006), Untitled (Dear Mr. Rocha) in Release Print (November 2005), A Conversation About Women, Gay Men, and AIDS, (with Richard Fung) in Corpus (Spring 2006). He contributed an essay, The Voice of Blindness: On the Sound Tactics of Tran T. Kim-Trang's Blindness Series, for the book More Than Meets the Eye: Critical Essays on Tran T. Kim-Trang's Blindness Series (forthcoming). He was also interviewed for the documentary Dragon Ladies and Kung-Fu Masters: Reconstructing Asian American Sexuality (sexTV), and the ACT UP Oral History Project. As an arts administrator, Ma has directed the LA Freewaves Festival of Independent Video and New Media (1998), coordinated UCLA's Electric Shadows: A Pan-Asian Film Festival (1997), and the Los Angeles Asian Pacific Film Festival (1995/6). As an independent curator, Ma has organized numerous media arts programs for venues including Artists' Television Access, MIX/NYC, CalArts, San Francisco Asian American Film Showcase, and Los Angeles Festival. He has served on grant panels for organizations including the Rockefeller Foundation, Creative Work Fund, Durfee Foundation, American Film Institute, Visual Communications' Armed with ACamera Fellowship, and City of Los Angeles Cultural Affairs Department. Ma has served on the boards of directors for Foundation for Art Resources, Inc. (FAR) and Highways Performance Space. He is currently a member of LACE’s Artist Advisory Board (LAB).

Assistant Professor of Media Studies
Office: Bernard 206
(909) 607-5003
ruti_talmor@pitzer.edu

Ruti Talmor is Assistant Professor of Media Studies at Pitzer College.  Talmor came to Pitzer from Haverford College, where she was the 2009-2011 Mellon Fellow at the John B. Hurford ‘60 Humanities Center and Visiting Assistant Professor in Anthropology.  She holds a B.A. in Art History, a Certificate in Culture and Media, and a Ph.D. in Cultural Anthropology from New York University.  She is a Fellow of the Wenner Gren Foundation, the Social Science Research Council, the Mellon Foundation, the MacCracken Foundation, and the University of Michigan’s Center for Afroamerican and African Studies. 

Drawing on her training in anthropology and her background in art and documentary film, Ruti Talmor's work combines visual, oral, and archival history with ethnographic methodologies.  She works in Ghana, the Ghanaian diaspora, and global tourism, art and media systems, investigating these worlds as zones where globally-circulating representations of Africa provide a shared language for Ghanaians, people of the African diaspora, and other foreigners.  She explores how participation in art worlds past and present as well as engagements with media representations of Africa transform notions of gender, race, kinship, nation, knowledge, and power, and serve as a conduit for cosmopolitan ambitions, transnational desires, and political struggles.

Talmor has published on African photography and documentary, tourist art, and transnational gender relations. She is currently working on a book manuscript about a transnational, Accra-based Rastafarian youth culture producing mediated representations of ‘African culture’ for international audiences.  In addition to her academic work, Talmor works as a documentary filmmaker and curator.  She produced and directed the video Trainers (2001), curated the online exhibition Building Africa: The Work of Alero Olympio (2006), and curated the exhibition Possible Cities: Africa in Photography and Video (2011).  She is currently developing a film/curatorial project on sustainability and urban space.

Associate Professor of Media Studies
Office: Crookshank 110
(909) 607-1496
Kathleen_Fitzpatrick@pomona.edu

Academic History

B.A., M.F.A, Louisiana State University; Ph.D., New York University

Expertise Areas

Cultural Studies; Media Studies; Television; Postmodernism; Media Theory; Contemporary Fiction

Current Courses

• ENGL 170J Special Topics in American Literature
• MS 149 Topics in Media Theory

Research Interests

My research interests lie in the conjunction of contemporary fiction and other media forms, including film, television and the computer. This includes both the fictional representation of these media and the media adaptation of fictional texts.

Selected Publications

• "The Anxiety of Obsolescence: The American Novel in the Age of Television." Nashville: Vanderbilt University Press, 2006. Co-editor, Pearson Custom Library: Introduction to Literature. Boston: Pearson, 2006. Revised edition, 2008.
• "CommentPress: New (Social) Structures for New (Networked) Texts." Journal of Electronic Publishing 10.3. Fall 2007.(http://hdl.handle.net/2027/spo.3336451.0010.305)
• "CommentPress: New (Social) Structures for New (Networked) Texts." MediaCommons (http://mediacommons.futureofthebook.org/commentpress/). 15 October 2007.
• "MediaCommons: Scholarly Publishing in the Age of the Internet." MediaCommons (http://mediacommons.futureofthebook.org/scholarlypublishing/). 29 March 2007.
• "The Literary Machine: Blogging the Literature Course." Forthcoming in Teaching Literature and Language Online. MLA Options for Teaching series.
• "Tune In, Turn On: The Novel, the Family, and the Plug-In Drug." Forthcoming in an online casebook on Curtis White’s Memories of My Father Watching TV. Dalkey Archive Press.
• "Introducing MediaCommons." If:book (http://www.futureofthebook.org/ blog). 17 July 2006.
• "On the Future of Peer Review in Electronic Scholarly Publishing." If:book (http://www.futureofthebook.org/blog). 28 June 2006.
• "On the Importance of the Collective in Electronic Publishing." The Valve (http://www.thevalve.org/go). 30 March 2006.
• "On the Future of Academic Publishing, Peer Review, and Tenure Requirements (Or, Remaking the Academy, One Electronic Text at a Time)." The Valve (http://www.thevalve.org/go). 6 January 2006.
• "Performing Don DeLillo: Theatricality, Subjectivity, and the Borders of Genre." Profils américains 16. Special issue: Don DeLillo. 2005.
• "The Exhaustion of Literature: Novels, Computers, and the Threat of Obsolescence." Contemporary Literature 43.3. Fall 2002.
• "The Unmaking of History: Baseball, Cold War, Underworld." In UnderWords: Perspectives on Don DeLillo’s Underworld, ed. Joseph Dewey and Steven Kellman. University of Delaware Press/Associated University Presses, 2002.
• "The Clockwork Eye: Technology, Woman, and the Decay of the Modern in Thomas Pynchon’s V." Thomas Pynchon: Reading from the Margins, ed. Niran Abbas, Burhan Tufail, and Pedro Garcia-Caro. Fairleigh- Dickinson University Press/Associated University Presses, 2002.

Work in Progress

• Unbecoming Narratives: Death and Abjection in New Media" (book-length study of the disruptions in traditional narrative structure produced by contemporary media forms).

Awards and Honors

Graves Award in the Humanities, 2002
Pomona College, Wig Distinguished Professorship Award for Excellence in Teaching, 2001

Edgar E. and Elizabeth S. Pankey Professor of Media Studies and Assistant Professor of Art and Art History

Office: LeBus 214
(909) 607-9196
Jennifer.Friedlander@pomona.edu

Education

B.A., Binghamton University; M.A. and Ph.D, University of Pittsburgh

Expertise Areas

Contemporary art controversies; Cultural Studies; film theory; psychoanalytic theory

Current Courses

• MS 49 Introduction to Media Studies: Print Media, Television and Popular Culture
• MS 147 Topics in Media Theory I
• MS 191 Media Studies Senior Seminar
• ARHI 148 Theories of the Visual

Research Interests

My work explores ways in which media and cultural products not only create and embody social and economic practices, but also precipitate viewer anxieties and pleasures. In this sense, I seek to bring together the basic premises of cultural studies with Lacanian psychoanalysis in order to bridge the cultural with the psychic. Specifically, I aim to develop a psychoanalytically-based feminist theory of the visual.

Selected Publications

• "How Should a Woman Look? Scopic Strategies for Sexuated Subjects," Journal for Psychoanalysis of Society and Culture, Spring 2003, vol. 8.1
• "The Accident that Will Have Happened: Barthes, Kertesz, and the Punctum," Octogon, Winter 2002
• "Sensations: Art Controversies and the Politics of Rearticulation" in The Images of the Twentieth Century: in Literature, Media and Society (W. Wright and S. Kaplan, eds., University of Colorado, 2000)
• "Presumed Innocence: Conflating the Real with the Represented," Caffeine, Issue 3, 1997
• "Feminine Look: Sexuation, Spectatorship, Subversion."; Forthcoming with SUNY Press. Dec. 2007.
• "No Business Like Schmo Business: Reality TV and the Fetishistic Inversion." International Journal of Žižek Studies . Issue 1.3, Fall 2007
• "Affecting Art: Barthes, Kertèsz, and Lacan." Forthcoming in (Re)-turn: A Journal of Lacanian Studies
• "The Deportation Installation: Staging Exile in Schlingensief’s ‘Please Love Austria’"forthcoming in edited book, Performing Places. Bucharest: Paideia Publishing House

Awards and Honors

• Austrian Room Committee Scholarship, 2000

Assistant Professor of Media Studies
Department of Humanities and Social Sciences
Pomona College
Office: Crookshank 7
(909) 607-2214
jmhall@pomona.edu

Education

B.A., "History of Ideas" Independent Major, Princeton University
M.A. and Ph.D., History of Consciousness, University of California Santa Cruz

Research

My research has focused on critical and psychoanalytic theories, avant-garde and experimental literature and film, queer theory and cultural studies. I draw my materials from popular cinema and media, from experimental film, video, and animation, as well as from directions in new media. I am especially interested in the intersections of desire, expression, and politics with special concern for filmic, literary, and new media texts from East and Southeast Asia. My first book project, “Geographies of Unbelievable Latitude,” addresses media theory, social histories of perversion, and the mid-century Japanese film underground. I have begun work on a second project on the history of Japanese experimental film. In Spring 2003,I co-curated with Po-Chen Tsai Queerly Chinese Cinemas at the University of Chicago. My “JPEX: Japanese Experimental Film & Video 1955-now,” co-curated with Michelle Puetz, toured seven North American cities in 2004 and 2005. In addition, I co-curated with Mizoguchi Akiko “Iwasa Hiroki: Complete Works” in January 2010 in Tokyo, Japan. At Pomona, I have hosted Chinese animator, Wu Junyong, in collaboration with the Pomona College Museum of Art. In addition to this work, I also subtitle Japanese films to increase the opportunity for Japanese films to reach international audiences.

Recent Publications

“On Visual Philosophy: A Conversation between Jonathan M. Hall and Kawai Masayuki,” Intermedia Arts: Bokura wa me de shiko suru. [Intermedia Arts: we think with our eyes] Tokyo: Gendai kikakushitsu, 2011. (in Japanese)

“Kneeling on Broken Glass: Psychoanalysis and Japan Film Studies,” Iconics Vol 10 (2010), (Japan Society of Images Arts and Sciences) 167-190.

Awards and Honors

Honorary Member, Foreign Correspondents’ Club of Japan, 2008-2010
Postdoctoral Fellow, SSRC/Japan Society for the Promotion of Science, 2009-10
Postdoctoral Fellow at the Research Institute for Language and Culture at Meiji Gakuin University (Tokyo), 2009-2011
Pacific Rim Research Program Grant for “Pacific Undergrounds,” 2007-2008

Professor of Art, Pomona College

LeBus Court 217
(909) 607-2685
Sheila_Pinkel@pomona.edu

www.sheilapinkel.com

Academic History

B.A., University of California, Berkeley; M.F.A., University of California, Los Angeles

Expertise Areas

Photography; War and Representation; Computer Graphics; History of
Photography

Current Courses

• ART 20 Introductory Photography
• ART 122 Intermediate Photography
• ART 123 Documentary Photography
• ART 199 Independent Study: Studio Art

Research Interests

Indochina; Hmong; War and Representation, Photography; Computer Graphics; History of Photography

Selected Publications

• Exhibit, 2007 Track 16 Gallery, Santa Monica, Ca., "Then and Now," group ex.
• Exhibit, 2006 Lanitis Foundation, Cyprus, "In Transition" featured artist
• Exhibit, 2004 Hanoi University of the Arts, "Moving Ahead, Moving Foreward"
• Exhibit, 2003 Track 16 Gallery, Santa Monica, Ca., "The Anti-War Show," group ex.
• Exhibit, 2002, Buenos Aires, Argentina, "Second Annual Art Biennial-Buenos Aires"
• Photo inclusion in Photographic Possibilities (Robert Hirsh, John Valentino; Focal Press; 2001)
• Exhibit, 2000 Silpacorn University, two-person exhibit, Bangkok, Thailand
• Photo inclusion, Naked to the Bone (Betty Ann Kevlis, 1997)
• Photo inclusion, Other Voices, Other Visions (Paul Von Blum, 1995)
• Photo inclusion, Yesterday and Tomorrow: California Women Artists, (Sylvia Moore, Mid-March Arts Press, 1989)

Awards and Honors

• Sherman Oaks Library Mural Commission, "Journey to Green Meadows Park Gate Commission," Department of Cultural Affairs Grant, 2003
• Sherman Oaks Library Mural Commission, "Journey to Tovangar, The World of the Tongva," 2001, unveiled 2003
• Hammer Award, Center for The Study of Political Graphics, 1996
• L.A. County Metropolitan Transit Authority station grant, 1994
• Artist of the Year, City of Santa Monica, Board of Education, 1988
• Sloan Foundation Grant, 1987, 1988 and 1990
• National Endowment for the Arts Individual Artist Grant, 1979 and 1982

Office: Lang 214
607-3628
nancy_macko@scrippscollege.edu

Biography

Professor Nancy Macko, former Chair of the Department of Art and Art History at Scripps College from 1998-2003 and currently chair of the Gender and Women's Studies Department for the past four years, has been Director of the Scripps Digital Art Program since 1990. Originally from New York, she received her undergraduate degree from the University of Wisconsin, River Falls; MA and MFA in Studio Art from the University of California at Berkeley and an MA in Education from UC Berkeley. A practicing artist since 1981, she has had over 20 solo exhibitions, participated in over140 group shows and has received over 30 research and achievement awards for her work. Her works are in many public and private collections. She has served on: the Exhibitions Advisory Committee for LACPS (Los Angeles Center for Photographic Studies) (1994-6); the Art Advisory Committee for the Los Angeles Municipal Art Gallery (1996-8); the national Board of Directors of the College Art Association (1994-8) and ArtTable (2002-6); and the Advisory Board of the Southern California Women's Caucus for Art (2003-6).

For the last decade, Macko has drawn upon images from the honey bee society to explore the relationships between art, science, technology and ancient matriarchal cultures. Her work combines the analog elements of painting and printmaking with the digital elements of photography and video to create hybrid pieces that are often displayed as mixed media/digital installations. Dance of the Melissae, 1994 was the first such installation to receive serious attention. Works from this installation have been exhibited at The Brand Library and Art Gallery; LACMA; Barnsdall Municipal Art Gallery in LA; the SIGGRAPH Art and Design Show in Orlando, FL; The Light Factory in Charlotte, NC; The Center for Photography in Woodstock, NY; and The Gregory Kondos Gallery at Sacramento City College.

Other major works include: Glimpsing Romania, 1998, a collaborative work with Jan Blair, first shown at Douglass College, Rutgers University, followed by the Williamson Gallery at Scripps College, Whittier College in California and the University of Texas in Dallas [in 1999, the images were published by Washington State University Press in Frontiers: A Journal of Women Studies]; Excerpts from and Extensions to, 1998, a permanent graphics installation in the Keck Learning Room of Honnold/Mudd Library of the Claremont Colleges (also in collaboration with Jan Blair); and Quintessence: New Constellations, 2000, exhibited as part of In the Mind's Sky: The Intersection of Art and Science at the Williamson Gallery at Scripps College.

Macko's most recent forays have been in the world of print: digital, photographic and traditional. In 2000 she produced The Honeycomb Series and in 2001, The Reinforcements Series. Both originally digital, she worked with Crown Point Press to translate elements of The Reinforcements Series into the intaglio suite Namaste. In 2004 she developed the lithographic suite The First Ten Prime Numbers, and two intaglio suites, Cornucopia and The Secret Garden of the Bee Priestess I and II, with master printer Mark Mahaffey of Mahaffey Fine Arts in Portland. In 2006, works from these suites were acquired by the Gilkey Center for Graphic Art at the Portland Art Museum and were included in the exhibition 14 Artists/14 Years Mahaffey Fine Art at the Portland Art Museum.

In the spring of 2003 she exhibited Prime Deserts -the space between prime numbers, a video and mixed media installation created with Robert Valenza, Professor of Mathematics at Claremont McKenna College, as part of the larger show Interstices at the Kellogg University Gallery at California Polytechnic University Pomona, CA. This piece was re-conceived as Prime Horizons in 2005 for Art X Science (At the Intersection of Art and Science) at the Armory Center for the Arts in Pasadena. In the summer of 2003, a work from the Dark Matter series was included in "Look Up! Contemplating the Skies" at the New York Academy of Sciences.

During a sabbatical in 2003-04, Macko enjoyed an artist residency at the Musee d' Pont Aven in Brittany, France where she developed Our Very Lives, works on paper and digital prints. These works were exhibited at CIAC (Centre International d'Art Contemporain) in Pont Aven in the fall of 2004. A residency at Banff Centre for the Arts in Calgary in the summer of 2004, allowed her to complete the digital video Lore of the Bee Priestess. The piece is a visual narrative of the lost history of the ancient bee priestesses -a matriarchal culture that she has mythologized, that attempts to evoke aspects of utopia, feminism and spirituality, values that she believes are crucial to re-establish and sustain in contemporary times.

In the winter of 2006-07, Macko had her first mid-career survey show, The Hive Universe: Nancy Macko, 1994-2006, at the Municipal Art Gallery in Barnsdall Park, Los Angeles, which was accompanied by a full color catalog.This exhibition was funded in part by grants from Scripps College and the Mellon Foundation and included Bee Stories, 2006, her most recent video installation. As part of The Feminist Art Project, Hive Universe was the forerunning exhibition in Los Angeles to recognize the achievements of the feminist art movement.