Alice Dubiel Resume

2001 Approaching Biocenology: Meditations the Wild, installation, White
Sturgeon Gallery, City of Vancouver, Vancouver, WA

1999 Re: Seeding Gaia--Paintings in Flow, City of Vancouver Water Resource
Education Center, Vancouver

1997 Flowing Salmon Shrine, installation, Piper's Creek Watershed
Celebration, Carkeek Park, Seattle

Watershrine: We all live in the Watershed, installation, Edmonds Community
College, Edmonds, Washington

1996 Watershrine..., installation, Arbor Day & Resource Fair, Carkeek Park

1994 Endangered Species, Metro bus shed in collaboration with students from
Lake Forest Park School, Lake Forest Park, Washington

Speculations: Urban Sustenance from Agriculture: An Alchemical Treatise,
for the Seattle Tilth Symposium, "Sustaining the City," Seattle Central
Community College

Watershrine..., Salmon Homecoming, Seattle Aquarium

1991 Whispers in the Dark in "Illuminations," Museum of History and
Industry, Seattle

2002 Salmon Resistance/Resilience, Auburn City Hall Gallery, Auburn WA

2001 Contested Terrain, Pioneer Square Healing Arts Gallery, Seattle

2000 Penelope's Web and other Tales of Gaia, University Unitarian Church,

The Biocenological Net: An Alchemical Treatise, Ohlone College, Fremont,

1993-4 The Landscape Tale, 911 media arts center, Seattle

1988 Apocalyptic Visions: Scrolls Surviving a Fearful Age, Ohlone
College, Fremont, California

1987 Apocalyptic Visions, University of Wisconsin, Marshfield

1985 A Journey Within-An Environmental Codex Installation, Intersection
Gallery, San Francisco, California

1981 A Journey Within, Art Department, SJSU (master's)

1979 Demythifying the Creative Process, Art Department, SJSU

Mural Studies and process , President's Office, SJSU

Kathe Kollwitz Award, Northwest Women's Caucus for Art, 2001

Public funds, METRO, Seattle, 1994.

Public and private funds, Museum of History and Industry, 1991.

Public and corporate funding, Bumbershoot, 1990.

NEH funding for research in art history, 1985-87.

Private Commissions 1982-85, Los Angeles.

Mural: Lay Women Healers in Medieval Europe, SJSU Student Health Center 1979

Mural for the Nursing Faculty, SJSU, 1980

Kathryn Ull Carr Scholarship, SJSU, 1979, 1980, 1981

2002 Inner and Outer Ecology, The Banff Centre, Banff, Alberta, Canada

2001 Sev Shoon Arts Center, (Ballard) Seattle

"Text/ures," Seattle Art Museum Rental/Sales Gallery, Seattle

1998-9 "The View from Here: One Hundred Artists on the Centennial of Mt.
Rainier National Park," Seafirst Gallery, Yakima Valley Museum, Museum of
Northwest Art, Mt. Fuji, Japan

1996 "From Here to There," Bumbershoot Arts Festival, Seattle

1995 "Agents of Change: New Views by Northwest Women," Washington State
Convention and Trade Center, Seattle

1993 "Con-texts: Identities and Environments," OK Hotel, Seattle
"Flyways," traveling exhibition, Cunningham Gallery, University of
Washington; Monterey; Hawaii

1991-3 "cross currents", traveling exhibition, Selby Gallery, Ringling
School of Art and Design, Sarasota, Florida; Oregon School of Arts and
Crafts; University Art Gallery, California State U, Hayward

1991 "Collaborators," Tacoma Art Museum, Tacoma, Washington
1990 "Pacific Rim Bookworks," University of California, Santa Barbara
"Dreaming the Earth Whole," collaborative installation, Bumbershoot Arts
Festival, Seattle Center

1989 "A Book in Hand," Arvada Center for the Arts, Arvada, Colorado

1987 "Reflections on Survival," The Woman's Building, Los Angeles
"Bookworks: Art From the Page," Salem Art Center, Salem, Oregon
"Undercover: Women's Books" (Passages: Survey of Women Artists

1945-present), Fresno Arts Museum, Fresno, California

1986 "Experimental Books," Works, San Jose

1985 "Imagine There's a Future," Thinking Eye Gallery, Los Angeles

"Nuclear Free Zone," Massachusetts State House, Boston

"Many Voices/Many Visions," Brand Library Art Galleries, Glendale, California

1984 "Personal Visions," SOMAR Center Gallery, San Francisco

"Artists Look at US Politics in the 1980's," Southwestern College, Chula
Vista, California

"From History to Action," Woman's Building, Los Angeles

1983 "Target L.A.," Pasadena, CA

1982 "Other Species," Gallery 1:16, Los Angeles

1981 "Our Connecting Link," Works, San Jose


Ressler, Susan,Women Artists of the American West, McFarland Press, 2002.

Ressler, Susan, "Activist Practice," It's All About the Apple, or is it?
text for Women Artists of the American West

<> and
<>, 1999.

"Implode the Dome: A Modest Speculation" in Art Papers (Atlanta Georgia),
May/June 1997, volume 21, number 3.

Art History
Women Artists in the United States: a selective research and resource
guide on the fine and decorative arts, 1750-1986, edited by Paula
Chiarmonte, Boston: G.K. Hall, 1990. I researched the history of women's
performance in the US.

The Amazing Decade: Women's Performance Art in America, 1970-1980, edited
by Moira Roth, Los Angeles: Astro Artz, 1983. I contributed to the
chronology and the bibliography.

Smith Art Center Ohlone College, Fremont, CA, 2000

WCA National Conference, Seattle, 1993. (Panel moderator)

Women Painters of Washington, Mercer Island, WA, 1991
SWCA and NW Women's Studies Ass'n. Conference, Pullman WA, 1991 (panel)

Department of Sociology, University of California, Irvine, 1988, 1989

Ohlone College, Fremont, California, 1988
Art Department University of Wisconsin, Marshfield, 1987

Cabrillo College, Aptos, CA, 1981

Department of Social Sciences , Womyn's Week, SJSU, 1981

Woman's Building, LA, 1981

M.A. Art (painting), San Jose State University, San Jose, CA, August 1982.

A.B. English literature, University of California, Santa Cruz, June 1972.
University of California, Irvine, 1987-1989. Graduate study in English
literature, critical theory emphasis.

California State University, Long Beach, 1986. Graduate study in English
Literature, ESL.

Bryn Mawr College, 1973. Graduate study in English literature.
The Woman's Building (Los Angeles), 1981. Feminist studio workshop,
letterpress and feminist theory.

Instructor, Art, Feminist Theory and Criticism, Art History, Women's Art
History, Computer-Aided Design, several Washington and California
locations, 1982-99

Instructor, English, Art History, Seattle Central Community College, 1999

Instructor, English, University of California Irvine, Santa Monica College,

Gallery Coordinator, Preparator, many California locations

Graphics & Publicity Consultant, University Services Agency, Santa Cruz,

Pastry and cake maker, Staff of Life Bakery, Santa Cruz

Parent of (currently) 13 year old child


College Art Association 1981-present

Women's Caucus for Art 1980-present (chapter president, Seattle WCA, 1995-6)
California Confederation of the Arts 1981-1987

Art Associations of the South Bay 1980-81; Non-Profit Gallery Association
(N. California) 1980-81


Mr. Lou Harrison & Mr. Bill Colvig, Aptos, California
Swedish Medical Center, Seattle, Washington
Student Health Center, San Jose State University, San Jose
University of Washington Medical Center Art Collection, Seattle
Women's Museum of Art, Washington, DC.


Alice Dubiel directly commented on "wilderness" designation itself as a
mask for our destruction of the earth. Her Views and Reviews: A Wilderness
Tale exposed the exploitation of nature with pithy quotes and kitsch images.

-Susan Platt, Art Papers, May-June 1999

There's a new look at the old in Alice Dubiel's complex and poetic piece
Views and Reviews: A Wilderness Tale,... [which] alludes to the conflict
between civilization and nature.

-Ron Glowen, The Herald [Everett WA], January 8, 1999

Alice Dubiel is clever: in her installation at 911 Media Arts, she wrapped what was really a polemic in engaging dress. Her five window panels, like
so many holiday window displays, drew in curious passers-by.... Dubiel used
the panels to present visually her thesis that our view of the landscape,
and of nature, is inevitably colored by the same desires for control and
order that drive our relationship with the urban realm.

-Christopher Hawthorne, Seattle Weekly, January 26, 1994

Alice Dubiel addresses the issue of nuclear threat and environmental
toxicity with a series of exquisite watercolors that combine the fluid
delicacy of Persian miniatures with the format of medieval illuminations.

-Claire Accomando, Artweek, November 3, 1984

Alice Dubiel, using the scroll format of traditional Eastern painting in
Apocalyptic Visions, connects the "ancient burning terror" of volcanic
eruption to nuclear holocaust.

-Judith Margolis, Artweek, January 9, 1988.

A positive historical note is sounded by Alice Dubiel's painting, Lay Women
Healers in Medieval Europe, which calls to mind the fact that women have
also been able to heal and have often been sisters to one another.

-Louise Moore, Artweek, June 9, 1984