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.



Biocenosis, Phinney Center Gallery, Seattle WA


The Hazel Tree Mother, Sev Shoon Arts Center/Ballard Works, Seattle WA


Planet Art: The Realm of Imagination and Everyday Artists, Janovec Studio Gallery, Portland OR


Resilient Topography, Bon Macy's Gallery, Seattle


The Topography of Resistance, Gallery One, Ellensberg WA


Land Use: Maps of Least Resistance, Pioneer Square Healing Arts Gallery, Seattle


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


Contested Terrain, Pioneer Square Healing Arts Gallery, Seattle


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


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


The Landscape Tale, 911 media arts center, Seattle


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


Apocalyptic Visions, University of Wisconsin, Marshfield


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


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


Demythifying the Creative Process, Art Department, SJSU


Mural Studies and process , President's Office, SJSU



Pleasures of the Garden: visualizing the Song of Songs, St James Cathedral Chapel, Seattle WA, curating exhibition


Syndicalism: The Art of Tend & Befriend, curating exhibition, Washington State Convention and Trade Center, Seattle WA


City of Ladies and Pleyn Delite, installation/performance with Medieval Women's Choir, Seattle


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


Approaching Biocenology: Meditations on the Wild, installation, White Sturgeon Gallery, City of Vancouver Water Resources Education Center, Vancouver, WA


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


Flowing Salmon Shrine, Piper's Creek, Carkeek Park, Seattle


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


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


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


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


4Culture, Art Projects Award, King County, Washington, 2014

Award Guest of Gwangju Branch Korean Fine Arts Association and International Women’s exhibition, Gwangju, 2014

Award Guest of Gwangju Branch Korean Fine Arts Association and International Women’s exhibition, Gwangju, 2012

Guest of Cultural Sensibilities women artists of Daegu and Gwangju, 2011

4Culture Special Projects Award, King County, Washington, 2007

Artist-in-residence, North Cascades National Park, Washington, 2006

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

Finalist, Salmon in the City, Seattle, 2000

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



Cultural Sensibilities Gallery Row [Rawoo], Gyeongju, Korea


Garden of Flame: International Women’s Art Exhibition, Gwangju Folk Art Museum Gallery, Gwangju, Korea


Gwangju Peace Festival, Jukwon Gallery, Gwangju


Pressing & Pulling: Greetings from Pulp & Deckle, c3:initiative, Portland. OR


We’ll Remember: an online exhibition for victims of Sewol, curated by Tak Lee Hye-Seong


Coal, Anchor Art Space, Anacortes, WA


Ecolibrium: WCA Eco-Art Caucus presentation, Women’s Caucus for Art national conference, Chicago, IL


PCPA Spotlights OWCA, Portland Center for the Performing Arts, Portland


little x little: Miniature Print Exhibition, Columbia City Gallery, Seattle, WA


Petroleum Paradox: For Better or Worse, Narrows Center for the Arts, Fall River, MA


Lights of Women: International Women’s Art Exhibition, Gwangju Museum of Art Annex Geumnamro Gallery, Gwangju, Korea


extended outlook: artists take on weather, Anchor Art Space, Anacortes, curator Ron Glowen


Petroleum Paradox: For Better or Worse, Denise Bibro Fine Art, New York, NY


NorthSouthEastWest, University House, Seattle, curator June Sekiguchi


Mapping Experience, curated by Lou Cabeen, The Gallery of Bainbridge Arts and Crafts, Bainbridge Island


Korean American Russian Women Artists: Cultural Sensibilities V: Great Honor to Madeline Meza Janovec, Kyungbook University Art Museum, Daegu, Korea


Korean – American – Russian Women Artists: Cultural Sensibilities, Gallery Row, Gyeongju, Korea


International Women’s Art Exhibition: Korean, American, Russian Women Artists, Gwangju Museum of Art Annex Geumnamro Gallery, Gwangju, Korea


Her Presence in Colours XI, Littman Gallery, Portland State University, Portland, OR


GeoSapiens II, Two Wall Gallery, Vashon, WA


Social Injustice, The Gallery at Tacoma Community College, Tacoma WA


Korean and American Women Artists: Cultural Sensibilities IV, Littman Gallery, Portland State University


GeoSapiens, Two Wall Gallery, Vashon, WA


Feminist Art Exhibition, Tacoma Community College, Tacoma WA


Feminist Ecology: Women and the Earth, Koehnline Museum of Art, Oakton Community College, Des Plaines, IL


Above and Below, University House, Seattle, curator Charlotte Beall


Seattle Print Artists, University House, Issaquah , curator Charlotte Beall


Tribute to Tee A. Corinne, Janovec Studio/Gallery, Portland


Through Women's Eyes, New Kyungbook Art Museum, Kyungbook University, Daegu, Korea


Going to Daegu Korea, Janovec Studio/Gallery, Portland


Paper Politics, 5+5 Gallery, Brooklyn, NY


Paper Politics, Phinney Neighborhood Center, Seattle WA


Home-Land Port Angeles Fine Arts Center, Port Angeles WA


One Year Later: Artists Respond to World Events, Hunter Art Gallery, Seattle Central Community College, Seattle


Natural Processes, Dorothy O'Brien Cancer Lifeline Center, Seattle


Sev Shoon Arts Center, (Ballard) Seattle


Seattle Art Museum Rental/Sales Gallery, Seattle


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


From Here to There, Bumbershoot Arts Festival, Seattle


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


Con-texts: Identities and Environments, OK Hotel, Seattle


Flyways, traveling exhibition, Cunningham Gallery, University of Washington; Monterey; Hawaii


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


Collaborators, Tacoma Art Museum, Tacoma, Washington


Pacific Rim Bookworks, University of California, Santa Barbara


Dreaming the Earth Whole, collaborative installation, Bumbershoot Arts Festival, Seattle Center


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


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


Experimental Books, Works, San Jose


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


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


Target L.A., Pasadena, CA


Other Species, Gallery 1:16, Los Angeles


Our Connecting Link, Works, San Jose


Planet Art Studio (personal on-line gallery)
Planet Art Studio posts (Ghost)

Social Media
Linked In

Feeding Trees short video: YouTube
Feeding Trees image and text,
including Korean translation,

Gwangju works 2012
Song of Songs
The Landscape Tale (Varo Registry)
Re:Seeding Gaia–Agriculture and Crisis Management (Varo Registry)
Ressler, Susan, Activist Practice, It’s All About the Apple, or is it? Text for Women Artists of the American West <> and <>, 1999.


Cover art, Alburnum of the Green and Living Tree, Lara Candland, Buffalo NY: BlazeVox Books, 2010.

Cover art to illustrate compact disc recording, Laude Novella, Medieval Women's Choir, 2009

Cover art to illustrate compact disc recording, O Rubor Sanguinis, Medieval Women's Choir, 2006.

Garden of Flame, 2014 International Womens Arts Festival, Gwangju Folk Art Museum, Noh Jung-Suk, Curator
Lights of Women: 2012 International Women Arts Exhibition, Gwangju Museum of Art Geumnamro Metro Gallery, Noh Jung-Suk, Exhibition Director
Petroleum Paradox: For Better or For Worse, Women’s Caucus for Art, Denise Bibro Fine Art, Eleanor Heartney, juror, New York NY, 2012
Momentum, 2012 National Exhibition, Women’s Caucus for Art 40th Anniversary, Los Angeles Art Association, Gallery 825, Rita Gonzalez, juror, Los Angeles, CA, 2012
Cultural Sensibiilties V: Korean, American, Russian Women Artists. Great Honor to Madeline Meza Janovec, Kyungbook University Art Museum, Daegu, Korea, 2011
International Women Artists: Korean, American, Russian Artists, Gwangju Branch of Korean Artists Association, exhibition catalog for Gwangju Art Museum Annex Geumnamro Gallery, 2011
Her Presence in Colours IX: International Women Artists: Self-Portraits, Malaysia, 2010
Cultural Sensibilities IV, Littman and White Gallery, Portland, OR, 2009
Feminist Ecology: Women and the Earth, Koehnline Museum of Art, Des Plaines, IL, 2008
Love Mother Earth, Simon Fraser University Print exchange, curator Annie Ross, Vancouver, BC, 2007
Cultural Sensibilities III: Through the eyes of women, Kyungbook National University Gallery, Daegu, Korea, 2006
Paper Politics, curator Josh McPhee, Seattle Print Arts, 2005.

Art [about the artist's work]
Ressler, Susan, Women Artists of the American West, McFarland Press, 2003.
Implode the Dome: A Modest Speculation in Art Papers (Atlanta Georgia), May/June 1997, volume 21, number 3.

Art History [written by the artist]
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.


[forthcoming 2015] [working title] Bojagi: contemporary approaches in domestic Korean and international art: a report from a Jeju conference and the penninsula, venue TBA, Seattle WA
Feminist and Women’s Art: Similarities and Differences,
Kyungbok University Art Department. [seminar]

Feeding Trees,
Social Injustice, Tacoma Community College, 2010 [panel]

Patterning and Biocenology: A residency in North Cascades National Park, SevShoon/Ballard Artworks, Seattle, WA , 2008

Feeding Trees: Working in the Envrionmentalist and Social Activist Traditions, Janovec Gallery, Portland, OR 2007

The Relevance of Art to Diversity: An Artist's Approach to Rethinking History and mural rededication, San Jose State University, San Jose, CA 2007

Working in the Environmentalist Tradition, Sedro Woolley, Concrete, Washington, 2006

Patterning and Biocenology: Situating My Work in the Tradition of Environmentalist Visual Art, University of Washington, Tacoma, 2005

The City of Ladies, Medieval Women's Choir, Seattle WA, 2002

Northwest WCA, Seattle, WA, 2001

Smith Art Center Ohlone College, Fremont, CA, 2000 (videotaped)

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, CA, 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


Instructor, Art, Feminist Theory and Criticism, Art History, Women's Art History, Computer-Aided Design, several Washington and California locations, 1982-96

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

Instructor, English, Shoreline Community College, 1999

Instructor, English, University of California Irvine, 1987-1989

Instructor, Art History, Santa Monica College, 1983-4

Instructor, English, Santa Monica College, 1982-1987

Gallery Coordinator, Curator, Instructor, El Camino College, Torrance, California, 1981-2

Gallery Coordinator, Preparator, Montalvo Center for the Arts, 1979-1981

Preparator and Interpretor, Sempervirens Fund, Big Basin State Park, 1980

Conference Coordinator, Women's Center San Jose State University, 1979-1980

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

Graphics & Publicity Consultant, University Services Agency, Santa Cruz, CaliforniaPastry and cake maker, Staff of Life Bakery, Santa Cruz

Parent of (currently) 26 year old person


Kyungbook University Art Museum, Daegu, Korea

North Cascades National Park, Washington

Lou Harrison Collection, Aptos, California

Swedish Medical Center, Seattle, Washington

Student Health Center, San Jose State University, San Jose

Cedar River Clinic: Feminist Women’s Health Center, Renton, Washington

University of Washington Medical Center Art Collection, Seattle

National Women’s Museum of Art, Washington, DC.

Private collections


College Art Association 1981-present

Women's Caucus for Art 1980-present (chapter president, Seattle WCA, 1995-6)

Seattle Print Arts 2001-present

Washington State Arts Alliance 1999-present

California Confederation of the Arts 1981-1987

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



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