EUGENIE KEEFER BELL EDUCATION & QUALIFICATIONS PhD University of Western Australia, Faculty of Architecture, Landscape and Visual Art, 2004. Major in Architecture and Fine Art. M.A. B.A. GCHE San Diego State University, California, 1979. Major in Art. Studies in Applied Design, Environmental Design, Art History. San Diego State University, California, 1975. Major in Art, with Distinction. Studies in Environmental Design, Applied Design (Ceramics, Textiles, Metal), Art History. University of Canberra, 2009, Graduate Certificate in Higher Education. ACADEMIC EMPLOYMENT 2001 University of Canberra, Faculty of Arts and Design, Associate Professor of Architecture. 2013 Head of Discipline, Design + Architecture and member of Faculty Management Team 2013. Architecture Course Convenor, B.Arts in Architecture and Masters of Architecture 2012 2013. 2001 ANU, School of Humanities. Visiting Fellow in Art History, teaching in Art & Design History. 2001 San Diego State University, California, School of Art, Design & Art History. Visiting Associate Professor, 2001 Winter Session. Course taught: Design History 1850 2000. 2000 Curtin University of Technology, Perth, Western Australia, School of Architecture, Construction & Planning. Lecturer in Architecture. 1997 Curtin University, School of Art, Adjunct Senior Research Fellow. Member of School 2000 Advisory Committee & Board of Studies, 1996 2000. 1996 University of Western Australia, School of Architecture and Fine Arts. Sessional lecturing 1999 in Design History, Art History and Architecture Design Studios. 1992 Edith Cowan University, Western Australian Academy of Performing Arts, Perth, 1994 School of Visual Art. Head of Cultural Studies and Visual Art Theory. 1986 Curtin University of Technology, School of Art, Perth, Western Australia. Sabbatical 1991 replacement and Head of Jewellery/3D Design, semester 1, 1986, then sessional teaching. 1981 Tasmanian State Institute of Technology, School of Art, Launceston. Tenured 1986 Lecturer and Head of Jewellery/Metal program. Member of Academic Board 1983 1985. SELECTED GRANTS 2012 Overseas Studio Residency Grant, Helsinki, Finland, February May 2012, Australia Council. 2008 Artist/Writer in Residence, Fiskars, Finland, December 2007 January 2008. 2006 Overseas Studio Residency Grant, Tokyo, three months, Australia Council for the Arts. 1996 Multi-year Fellowship, Australia Council ($60,000), 3 years, 1997 2000. 1995 Overseas Studio Residency Grant, Tokyo, four months, Australia Council for the Arts. 1993 Overseas Promotion Grant, Crafts Council of Australia. 1992 Special Projects Grant, Western Australia Department for the Arts. 1990 Fellowship ($30,000), Visual Arts/Craft Board of the Australia Council. 1986 Workshop Development Grant, Crafts Board of the Australia Council.
SELECTED AWARDS 2010 Elevated to Fellow of the Australian Institute of Architects 2006 ACUADS Distinguished Teaching Award, Australian Council of University Schools of Art & Design. 1996 Australian Post Graduate Award Scholarship with stipend, UWA. 1993 Invitation to become a Fellow of the Crafts Council of Western Australia. 1980 Invitation to be a Distinguished Member, Society of North American Goldsmiths. REPRESENTATION IN PERMANENT COLLECTIONS: JEWELLERY & SILVERSMITHING National Museum of American Art, Smithsonian Institution Renwick Gallery, Washington DC. Houston Museum of Fine Arts, Houston, Texas. National Gallery of Australia, Canberra, ACT. Art Gallery of Western Australia, Perth, Western Australia. National Gallery of Victoria, Melbourne, Victoria. Powerhouse Museum, Sydney, New South Wales. Tasmanian Museum and Art Gallery, Hobart, Tasmania. Queen Victoria Museum and Art Gallery, Launceston, Tasmania. Museums and Art Gallery of the Northern Territory, Darwin, Northern Territory. Toowoomba Regional Art Gallery, Toowoomba, Queensland. Victorian State Craft Collection, Melbourne, Victoria. Crafts Council of the Northern Territory, Darwin, Northern Territory. Curtin University of Technology, Perth, Western Australia. Thomas Collection, Queenstown, New Zealand Georgia State University Museum and Art Gallery, Atlanta, Georgia. SELECTED SOLO EXHIBITIONS 1999 Interlude, Galerie Düsseldorf, Perth, Western Australia. 1998 Arai Gallery, Tokyo, Japan. 1996 Intervals, Galerie Düsseldorf, Perth, Western Australia. 1989 Elements, Galerie Düsseldorf, Perth, Western Australia. 1987 Contemporary Jewellery Gallery, Sydney, New South Wales. 1986 Passages, Galerie Düsseldorf, Perth, Western Australia. 1985 Transitions, Queen Victoria Museum and Art Gallery, Launceston, Tasmania. SELECTED TWO TO FOUR PERSON EXHIBITIONS 1993 Contemporary Jewellery, Tachikichi Studio Com, Kyoto, Japan. 1993 Wacoal Ginza Art Space, Tokyo, Japan. 1993 Taboo Studio, San Diego, California. 1990 Taboo Studio, San Diego, California. 1987 Four Ways West, Makers Mark Gallery, Melbourne, Victoria. 1982 Double Vision, Handmark Gallery, Hobart, Tasmania. Eugenie Keefer Bell Résumé July 2014 page 2
SELECTED GROUP EXHIBITIONS Participated in over 150 group and invitational exhibitions and competitions in Australia, the USA, Europe, Japan and South America since 1976, including: 1976 California Design 76, Pacific Design Center, Los Angeles, California. 1977 Sterling Silver Design Competition, Lever House, New York, New York. 1978 The California Craftsman, Monterey Peninsula Museum of Art, California. 1979 Objects 79, Western Colorado Center for the Arts, Grand Junction, Colorado. 1979 New Metals: Eleven Contemporary Metalsmiths, Montana State University, Bozeman, MT. 1979 Eleventh Biennial Crafts Exhibition, El Paso Museum of Art, El Paso, Texas. 1991 Asia Pacific Crafts Exhibition, invitational, the Museum of Kyoto, Japan. 1980 Tradition and Change, University of Houston, Texas. 1980 Young Americans: Metal, American Craft Museum, New York, New York. 1980 Art For Use, American Craft Council Invitational, Lake Placid, New York and American Craft Museum, New York, New York. 1981 Contemporary Metals: Focus on Idea, Washington State University, Pullman, WA. 1981 International Jewellery Exhibition, Munich, Germany. 1981 Good As Gold: Alternative Materials in American Jewelry, Renwick Gallery of the Smithsonian Institution and international travelling exhibition. 1982 Two Decades of Metal, Brigham Young University, Provo, Utah. 1982 Australian Jewellery, Crafts Board of the Australia Council, European travelling exhibition. 1983 International Jewelry Art Exhibition, invitational exhibition, Tokyo, Japan. 1983 Craft Purchase Exhibition, Queen Victoria Museum and Art Gallery, Launceston, Tas. 1984 Jewelry and Beyond, Society of North American Goldsmiths Distinguished Members, Mitchell Museum, Mt. Vernon, Illinios and Fashion Institute of Technology, New York. 1984 Contemporary Jewelry: the Americas, Australia, Europe and Japan, invitational, The National Museums of Modern Art, Tokyo and Kyoto. 1985 Twentieth Century Jewelry, book launch exhibition, Electrum Gallery, London. 1986 Flux: International Jewellery and Objects, Galerie Düsseldorf, Perth, WA. 1987 National Craft Acquisition Award, Museums and Art Galleries of the Northern Territory, Darwin, Northern Territory. 1988 Craftworks Invitational Award, Bicentennial national invitational exhibition, Wm. Angliss Memorial Art Gallery, Melbourne, Victoria. 1988 Contemporary Jewellery: the Australian Experience 1977 1987, book launch 1988 Contemporary Jewellery: the Australian Experience 1977 1987, book launch exhibition, Contemporary Jewellery Gallery, Sydney, New South Wales. 1988 Imagination and Metaphor, Griffith Regional Gallery, Griffith, New South Wales. 1989 Contemporary Wearables, Toowoomba City Art Gallery, Queensland. 1991 National Craft Acquisition Award Exhibition 1991, Museum of Arts and Sciences, Darwin, Northern Territory. Eugenie Keefer Bell Résumé July 2014 page 3
SELECTED GROUP EXHIBITIONS (Continued) 1991 Contemporary Wearables 1991, Toowoomba City Art Gallery, Toowoomba, Qld. 1991 Schmuckszene '91, international invitational jewellery exhibition, Munich, Germany and travelling to Ireland. 1991 Gold, works by nine international artists, Helen Drutt Gallery, Philadelphia, Pennsylvania. 1991 Asia Pacific Crafts Exhibition, invitational, the Museum of Kyoto, Japan. 1991 Contemporary Australian Hollow Ware, international travelling exhibition. 1993 Art of Adornment Australian Contemporary Jewellery, international travelling exhibition sponsored by the Department of Foreign Affairs and organised by the Queen Victoria Museum and Art Gallery, Launceston, Tasmania. 1994 The Art of the Object Contemporary Crafts from Australia, Craft Australia exhibition travelling to South America. 1994 School of Fisch, Professor Arline Fisch and her former students. Nordjyllands Kunstmuseum, Aalborg, Denmark; Dublin in 1995; Los Angeles, the Craft and Folk Art Museum in1996. 1991 Asia Pacific Crafts Exhibition, invitational, the Museum of Kyoto, Japan. 1995 Contemporary Wearables 95, Toowoomba Regional Art Gallery, Toowoomba, Queensland and travelling exhibition. 1997 Contemporary Wearables 97, Toowoomba Regional Art Gallery, Toowoomba, Qld. and 1998 travelling exhibition. 1998 18th National Craft Acquisition Award, Museum and Art Gallery of the N.T., Darwin. 1999 Drawn in Form, Brisbane City Gallery, Brisbane, Queensland and Object Galleries, Centre for Contemporary Craft, Sydney, New South Wales. 1999 Metal Element II: Contemporary Jewellery and Object Design from Australia and Japan. Seven artists, Quadrivium Gallery, Sydney, New South Wales. 1999 Skill, Craft Victoria Gallery, Melbourne, and travelling exhibition. 2000 In Our Hands, international competition, invitational section, Nagoya, Japan. 2000 Contemporary Australian Jewellery, Lesley Craze Gallery, London. 2001 Metal Element IV, Quadrivium Gallery, Sydney, NSW. 2002 Textile Techniques in Metal, book launch exhibition, Mobilia Gallery, Boston, MA. 2003 White Christmas, Workshop Bilk, Queanbeyan, NSW. 2004 Conversations: Women at Work, The Katherine Kalef Gallery, Perth, WA. 2005 Workshop Bilk, Queanbeyan, NSW, also 2004. 2006 Metalisms: Signature Works in Jewelry & Metalsmithing, Center for Visual Art, Metropolitan State College of Denver, Colorado. 2006 The Crafted Object, works from the permanent collection, National Gallery of Australia. 2007 Inspired! Design from the permanent collection, Powerhouse Museum, Sydney 2007 Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection, The Museum of Fine Arts, Houston, Texas. 2008 Wonderlust, works from the permanent collection of the State Art Collection since 1895, Art Gallery of Western Australia, Perth. 2011 Elements: Metal (six designers), Craft ACT, Canberra Feb-Mar 2011, six works exhibited Eugenie Keefer Bell Résumé July 2014 page 4
SELECTED GROUP EXHIBITIONS (Continued) 2011 Tinker, Tailor, Soldier Sailor, 100 brooches for 100 significant Australian women by 100 2013 Australian designers, Artisan, Brisbane & travelling exhibition. Brooch for Florence Taylor, Australia s first registered female architect. 2012 Bilk on Tour, Incinerator Gallery Melbourne and Incinerator Art Space, Sydney. 2014 Bro..och, jewellery for men, Bilk Gallery, Manuka ACT. WORK ILLUSTRATED IN BOOKS, CATALOGUES & PERIODICALS (selected) California Design 76, catalogue, library edition. Glendale: California Design Publications. Young Americans: Metal, catalogue and slide kit. New York: American Craft Council, 1980. American Craft, February/March 1980. Review of Young Americans: Metal. New York: American Craft Council. The Western Edge: Designer and Production Crafts, catalogue. Glendale, California: Brand Library Art Gallery, 1980. Goldsmiths Journal, Summer 1980. Art For Use. Society of North American Goldsmiths. Tradition in the Making, catalogue. Atlanta: Georgia State University Museum and Art Gallery, 1980. Metalsmith, February 1981. Review of The Western Edge. Society of North American Goldsmiths. Maximum Coverage: Wearables by Contemporary American Artists, catalogue. Sheboygan, Wisconsin: John Michael Kohler Arts Center, 1981. Metals 1981, catalogue. New York: Brockport State University. Australian Jewellery, catalogue. Sydney: Crafts Board of the Australia Council. Tasmanian Crafts '83, catalogue. Sydney: Crafts Council of Australia. Jewel (Japan) September 1983. Refractory Metals in Jewelry. Tokyo: Reine Publishing Co. Vogue Australia, July 1983. The New Jewellery. Sydney: Vogue Publications. Fibre Forum for the Textile Arts, No. 3, 1983. Review of Double Vision. Australian Forum for the Textile Arts. Update: Recent Work from Selected Alumni, catalogue. San Diego State University, 1983. Craft Australia Yearbook 1984, Sydney: Crafts Council of Australia. Selected Australian Crafts A Directory. Sydney: Crafts Council of Australia, 1984. Contemporary Jewelry: The Americas, Australia, Europe and Japan, catalogue. Kyoto: The National Museum of Modern Art, 1984. Twentieth Century Jewelry. Barbara Cartlidge, New York: Harry Abrams, 1984. Interior Design, Issue 3, 1986. Sydney: Y.P.M.A. Publications. Craft Australia, Winter 1986/2, Galleries & Exhibitions, Sydney: Crafts Council of Australia. Craft Australia Yearbook 1986. Sydney: Crafts Council of Australia. Crafts, March/April 1987, Special Report: Australia. London: British Crafts Council. Craft Australia, 1987/2. Contemporary Classicism: Jewellery by Jeannie Keefer Bell, by Robin Tudor. Sydney: Crafts Council of Australia. Ornament, Spring 1987. Wita Gardiner Gallery. Los Angeles: Ornament Inc. Craft Arts, October/December 1987. 'Four Goldsmiths'. Sydney: Ken Lockwood. Eugenie Keefer Bell Résumé July 2014 page 5
WORK ILLUSTRATED IN BOOKS, CATALOGUES & PERIODICALS (continued) Craft Australia, 1988/1. Galleries and Exhibitions. Sydney: Crafts Council of Australia. Craft International, vol. 6, no. 4, 1988. Jewelry s Search for Identity. New York: Craft International Publications. Contemporary Jewellery: The Australian Experience 1977 1987, Patricia Anderson. Newtown, NSW: Millennium Books, 1988. Imagination and Metaphor, catalogue. Griffith, NSW: Griffith Regional Art Gallery, 1988. Jewellery Australia Now. ed. Bob Thompson. Sydney: Crafts Council of Australia, 1989. Schmuckszene 91, catalogue. Munich: Bayerischer Handwerkstage e.v. Contemporary Australian Hollow Ware. Hamilton: City of Hamilton Art Gallery, 1991. Craft Arts, no. 25, 1992. Seville World Expo 92 and Contemporary Australian Hollow Ware. Oz Arts, 1992/4. The Gold and Silver West. Wentworth Falls, NSW: Carolynne Skinner. The Crafts Movement in Australia: A History, by Grace Cochrane. Sydney: UNSW Press, 1992. Jewel (Japan), March 1993. Contemporary Jewelry at Tachikichi Studio Com. Tokyo. Art of Adornment Australian Contemporary Jewellery, catalogue. Launceston, Tasmania: Queen Victoria Museum and Art Gallery, 1993. The Art of the Object Contemporary Craft from Australia. Sydney: Craft Australia, 1994. School of Fisch, catalogue. Aalborg, Denmark: Nordjyllands Kunstmuseum, 1994. Contemporary Wearables 95, catalogue. Toowoomba: Toowoomba Regional Art Gallery. Craft Arts, no. 36, 1996. Review of Contemporary Wearables 95. Sydney: Ken Lockwood. Nouvel Object II, 1997. Artists in the World, Seoul, Korea: Design House Publishing. Object, No. 1, 1997. Sydney: Centre for Contemporary Craft. Contemporary Wearables 97, catalogue. Toowoomba: Toowoomba Regional Art Gallery. Craft Arts, no. 42, 1998. Review of Contemporary Wearables 97. Sydney: Ken Lockwood. Four Seasons of Jewelry, August/September 1998. Tokyo: Jewelry Journal Co., Ltd. Tokyo Jewelers, September 1998. Tokyo: Matsubara-Kashiwa. Contemporary Jewellery: Australia & New Zealand, P. Anderson. Sydney, Craftsman House, 1998. Form Function Finland, 4/1998. Five Australian Jewellers. Helsinki: Design Forum Finland. Object/Lemel, 1/99. New Work, New Ideas. Sydney: Centre for Contemporary Craft. Design Sourcebook Jewellery, by David Watkins, New Holland Publications, 1999. Textile Techniques in Metal, by Arline M. Fisch, Lark Books, 2001. Object, 39/2002, Sydney: Australian Centre for Crafts and Design. California Design: the Legacy of West Coast Craft and Style, J. Lauria and S. Baizerman, San Francisco: Chronicle Books, 2005. Crocheted Wire Jewelry, by Arline M. Fisch, Lark Books, 2006. Ornament as Art: Avant-garde Jewelry from the Helen Williams Drutt Collection. C. Strauss, Stuttgart: Arnoldsche Art Publishers in association with the Museum of Fine Arts Houston, 2007. Tinker, Tailor, Soldier, Sailor: 100 Women, 100 Brooches, 100 Stories. Artisan, Brisbane, 2011. Bilk on Tour. Incinerator Gallery, Moonee Ponds, Victoria and Incinerator Art Space, Sydney. Eugenie Keefer Bell Résumé July 2014 page 6
EUGENIE KEEFER BELL ARTIST S STATEMENT My work in metal addresses several intersecting issues. It is concerned with veiled narratives of poetic objects, with creating interplays between illusion and allusion through surface and structure, with the potential for objects to articulate particular sensibilities of form and content, and with meanings of skill in the 21 st century. Some works are conceived as a kind of drawing using a single line of fine silver wire, often threaded with silver, gold or glass spheres, interlaced into a dense structure and surface. These materially delicate drawings are supported on a base, worked over a silver frame or sheet, which adds a degree of robustness, appropriate for their function as jewellery. Other works are fabricated from more solid sheet metal, sometimes augmented with precious or semi-precious stones. A sense of place, or a fragment of place, gathered through the prolonged presence of residence or the transient lingering of travel often provides the impetus for my work. These encounters are drawn, deconstructed, combined with other traces of observation and making, and developed into new objects imbued with memories of their origins. The most recent works are informed by recollections, drawings and photographic documentation of twice living in Finland through deep winter, recalling sensations of the glittering brilliance of freezing winter mornings and travels by boat through fields of sea ice. Eugenie Keefer Bell Résumé July 2014 page 7