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.

2008

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

2007

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

2004

Resilient Topography, Bon Macy's Gallery, Seattle

2003

The Topography of Resistance, Gallery One, Ellensberg WA

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

2002

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

2001

Contested Terrain, Pioneer Square Healing Arts Gallery, Seattle

2000

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

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

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

2007

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

2004

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

2002

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

2001

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

1999

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

1997

Flowing Salmon Shrine, Piper's Creek, 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

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

[forthcoming August, '10]

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

2009

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

Feminist Art Exhibition, Tacoma Community College, Tacoma WA

2008

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

2007

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

2006

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

2005

Paper Politics, Phinney Neighborhood Center, Seattle WA

2003

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

2002

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

2001

Sev Shoon Arts Center, (Ballard) Seattle

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

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.

Art [about the artist's work]
Ressler, Susan,Women Artists of the American West, McFarland Press, 2003.

Ressler, Susan, Activist Practice, It's All About the Apple, or is it? Text for Women Artists of the American West <http://www.sla.purdue.edu/WAAW/Ressler/Ressleressay5.html> and <http://www.sla.purdue.edu/WAAW/Ressler/ARTISTS/dubielstat.html>, 1999.

Implode the Dome: A Modest Speculation in ArtPapers (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.

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

North Cascades National Park, Washington

Lou Harrison Collection, 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.

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

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

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

Parent of (currently) 21 year old person

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