Tori Ellison 206-406-7139 5636 46th Place Hyattsville, MD 20781 www.toriellison.com

EDUCATION

School of Visual Arts, New York, M.F.A. Cranbrook Academy of Art, MI (graduate study). Reed College, Portland, OR, B.A. Mills College, Oakland (student of Wanda Corn, later Stanford University Art History Dept. Chair)

Additional study: University of Washington, Seattle, WA, Sculpture Department (metal casting and fabrication), 2001-3. Brooklyn Museum of Art Education Department, Andy Warhol Foundation training for art education professionals; The Leo Marchutz School of Painting and Drawing, Aix-En-Provence, France; San Francisco Art Institute; California College of Arts and Crafts, Oakland. Apprenticeships: Studio Assistant to sculptor Ursula von Rydingsvard, 1989.

FELLOWSHIPS, GRANTS, HONORS

Brush Creek Arts Foundation Residency, WY, 2012 and May 2015. Virginia Center for Creative Art Fellowship, March 2015 I-GAP for Inglewood Public Artwork ($15,000), Los Angeles, 2015. Jentel Artist Residency, WY, 2009. Seattle Magazine, Best of 2008 (Arts). Women’s Studio Workshop printmaking fellowship, NY, 2002. Regional Arts and Cultural Council Grant, Portland, OR, 1997. National Endowment for the Arts, Finalist, Mid-Atlantic Region Artist Fellowship, 1994. Blue Mountain Art Center Fellowship, NY, 1993. Andy Warhol Foundation Teaching Fellowship, 1989-90. MacDowell Colony Fellowships, 1988 and 1990. Artpark Fellowship, Lewiston, NY, 1988.

SELECTED PRIVATE, PUBLIC, AND CORPORATE COLLECTIONS

Fremont Arts Council, Seattle City of Inglewood, CA (Los Angeles) Janine Wang (of C.C. Wang Collection, Metropolitan Museum of Art) Vulcan Enterprises (Paul Allen) Seattle Arts Commission, Art in Public Places Purchase Jordan Schnitzer Print Collection Portland Art Museum, OR Wolf, Block, Schorr, and Solis-Cohn, Philadelphia Aaron Fink, Esq., Philadelpia Harold Hirsch, White Stag Industries, OR

OPERA DESIGN

Visual Director for Fisher Ensemble opera, Monticello Wakes, Loyola Marymount University, Oct. 2015. Opera workshop with Bucknell University collaborators, February 2015.

Costume design, “Magda G,” Fisher Ensemble opera, funded through 4Culture, Seattle, an ongoing film project, excerpts performed Seattle Center, Inglewood Open Studios, Nov. 2012.

Set and costume design, “Moon in the Bucket,” Fisher Ensemble opera, Judson Memorial Church, New York, Nov. 2008.

Puppet and costume design, Psyche, Fisher Ensemble opera (based on Till We Have Faces, by C.S. Lewis, funded through a 4Culture Art in Public Places Grant 2007). Performed in Cal Anderson Park, Seattle, Aug. 2008 and The Chapel, Good Shepherd Center, Seattle, Apr. and Oct. 2008.

SELECTED EXHIBITIONS

Jack Straw Cultural Center, Mikawa, collaborative installation with composer Garrett Fisher, Sept- Dec. 2017.

Winston Wachter Gallery, Seattle, “Dress Envy,” March 2010.

Hedreen Gallery, Seattle University Lee Center for the Arts, “Unexpected Watercolors” (curator Carrie E. A. Scott, with Michael Knutson, Laurie Reid, Kim McCarty, Jeffrey Simmons, Laura Ross Paul, Nov.-Jan. 2007-8).

Seattle Art Museum Rental/Sales Gallery, “Introductions,” Mar.-Apr. 2006.

Shenzen Art Institute, China, “Works on Paper from Seattle Print Arts,” Dec. 2005.

Marylhurst University, Portland, OR, “Unexpected Watercolors,” with Kim McCarty and Laurie Reid, Jan.-Feb. 2005.

Alysia Duckler Gallery, Portland, OR, solo exhibition, Mar. 2001.

Alysia Duckler Gallery, Portland, OR, “Gallery Artists,” Dec. 2000-Jan. 2001.

Key Building Gallery, Seattle, “Purchases 2000: Seattle Arts Commission % for Art Program,” May 2000.

College of the Mainland, Galveston, TX, “Medical Imaging and Art,” with Todd Siler, Katherine Sherwood, and other nationally selected artists, March 2000.

Salt Lake City Art Center, “Out of the Closet: Clothing as Metaphor in Contemporary Art,” with Charles LeDray, Ken Little, and other nationally selected artists, Nov. 1999-Jan. 2000.

Alysia Duckler Gallery, Portland, OR, “Gallery Artists,” Dec. 1999.

Bellevue Art Museum, “Bellevue Annual 1999,” (curator Jon Tupper, Director of Walter Phillips Gallery and Associate Director of Creative Residencies in Media and Visual Arts, Banff Center for the Arts), June-July 1999.

Alysia Duckler Gallery, Portland, OR, solo exhibition, Nov. 1998.

Paris Gibson Square Museum, Great Falls, Montana, solo exhibition, July – Sept. 1998. Quartersaw Gallery, Portland, OR, "Water and Plastic," July 1998.

Alysia Duckler Gallery, Portland, OR, "Looking Forward," Apr. 1998.

Portland Art Museum, "Oregon Biennial, 1997" (curator Katherine Kanjo, now Chief Curator, The Museum of Contemporary Art San Diego), Aug. 1997. Other venues include: Schneider Museum of Art, Southern Oregon University, Ashland, Mar. 12 - May 2, 1998; University of Oregon Museum of Art, Eugene, June 19 - Sept. 6, 1998; Willamette University, Nov. - Dec. 1998.

Seattle Bumbershoot Arts Festival, "Fresh Clothes" (curator Lloyd Herman), Aug. 1997.

Flanders Street Lofts, "Behind Closed Doors," Portland, OR, Aug. 1997.

Regional Arts and Culture Council, Portland, OR, "Network of Oregon Artists Board Members Exhibition,” July - Sept. 1997.

The Art Gym, Marylhurst University, Portland, OR, "Paper Dresses," solo exhibition, Jan. 1997.

Grey Art Gallery and Study Center, New York University, "The Creative Will," Jurors: Claudia Gould, Director, Artists Space, and Thomas Sokolowski, Director, Andy Warhol Museum, Pittsburgh; May 1995. Other venues include: Palladium, San Diego, Feb. 1996, Palo Alto, CA., May -July 1996; Atlanta Cultural Center, Nov. 1996. PaineWebber Art Gallery, New York, "The Creative Will," Jurors: Diane Waldman, Senior Curator and Deputy Director, Solomon R. Guggenheim Museum; Paul J. Smith, Director Emeritus of the American Craft Museum, New York; and Lowell Nesbitt, artist; Aug. - Sept. 1993. Other venues include: Bacardi Art Gallery, Miami, June 1993; Washington. D.C., July 1993; Fort Mason, San Francisco, Jan. – Feb. 1994; Berlex Laboratories, Wayne, New Jersey, Aug. 1994; Old Church Cultural Center School of Art, Demarest, New Jersey, Nov. 1994.

Test-Site, Williamsburg, Brooklyn, "The Salon of the Mating Spiders," June 1992.

The Spokane Art School, Washington, "Natural Mechanisms," solo exhibition, July 1991.

Visual Arts Gallery, NYC, "Proposals for Site-Specific Work, New York City" (curator artist William Tucker), Apr. 1987.

Visual Arts Gallery, NYC, group exhibition (curator artist Lucio Pozzi), Feb. 1987.

Painted Bride Art Center, Philadelphia, "Displacement/Reconfiguration," (performance with artist/musician Steven Berkowitz), June 1986.

Kling Gallery, Philadelphia, solo exhibition, Feb. 1986.

Villanova University, Philadelphia, "Ten Philadelphia Area Artists," July 1985.

Twin Pines Cultural Center, Belmont, CA, "Bay Area Artists" (curator acting Associate Director, San Francisco Museum of Modern Art), 1982.

Cranbrook Academy of Art Museum, Bloomfield Hills, MI, Group Show, Apr. 1980.

Reed College, Portland, OR, solo exhibition, Dec./Jan. 1978-9.

Mills College Gallery, Oakland, CA, "The Artist's Book,” Jan. 1976.

REVIEWS, INTERVIEWS

Boehm, Mike, “Fisher Ensemble to Sing of Nazi Figure in Magda G,” LA Times, Culture Monster, November 6, 2012. Gallery News, The Weekend Guide, Daily Candy, March 11, 2010. Worssam, Nancy, “Dress Envy Is About What Women Wear, and What It Means,” Seattle Times, March 25, 2010. Veltkamp, Joey, “Dress Envy/Winston Wachter,” Best Of, February 28, 2010. Time Out Magazine, Oct. 2008. Hurley, Anne, “Best of 2008” (one of eleven art events cited), Seattle Magazine, December 2008. Borchert, Gavin, “Arts in Harmony: A Multimedia Meditation on an Ancient Myth,” Seattle Weekly, May 14-20, 2008. Norris, Molly, “Unexpected Watercolors,” Art Access, Dec. 2007. Graves, Jen, “Recommended,” The Stranger, Dec. 2007. Hackett, Regina, “Best Bet,” The Seattle Post-Intelligencer, Nov. 16, 2007. Hackett, Regina, “Seattle Print Arts Survey Keeps the Audience on Its Toes,” The Seattle Post- Intelligencer, Jan. 27, 2006. Zick, Carolyn, “Unexpected Watercolors” at the Art Gym, Studio Notebook, Feb. 9, 2005. “First Pick,” The Oregonian, Sunday Artsweek, Mar. 4, 2001. “Year in Review,” The Salt Lake Tribune, 12/26/1999. Forsberg, Helen, “Clothing Comes Out of the Closet,” The Salt Lake Tribune, Calendar Section, Nov. 15, 1999. Row, D.K., “The Art of Fragmentation,” The Oregonian, Nov. 13, 1998. Row, D.K. “Who’s on First,” The Oregonian, Nov. 4, 1998. Willamette Week, Portland, OR, Nov. 4, 1998. Martens, Anne. "Visual Arts Review: Water & Plastic," Citysearch.com, July 17, 1998. Row, D.K. "Elastic Concepts in Plastic," The Oregonian, July 10, 1998. "Hot Picks: Body Image of Women Theme of New Exhibit," Great Falls Gazette, July 10, 1998. Gragg, Randy. "The Art of Apparel," The Oregonian, Jan. 7, 1998. Gragg, Randy. "1997 Expands the Spectrum of the Local Art Scene," The Oregonian, Jan. 2, 1998. Row, D.K. "Can-Do Kanjo," Willamette Week, Aug. 27, 1997. Gragg, Randy. "Out on a Limb," The Oregonian, Aug. 22, 1997. "Fresh Clothes" Exhibition reviews: Seattle Times, Seattle Post Intelligencer, Seattle Weekly, The Stranger, Tacoma News Tribune, The Rocket, Aug. 1997. Gerward, Leif (Physics Dept., Technical University of Denmark) “Naked to the Bone: Medical Imaging in the Twentieth Century,” IRPS, book reviews, June 1997. Interview with the Artist, KBOO Radio/Lois Alan, Portland, OR, Mar. 1997. Feidler, Nadine. "Tori Ellison at The Art Gym," Aorta, Apr./May 1997. Interview with the Artist, KBOO Radio/Julie Bernard, Portland, OR, Mar. 1997. Row, D.K. "New Reviews," Willamette Week, Jan. 29, 1997. Gragg, Randy. "Tip Sheet," The Oregonian, Jan. 17, 1997. "Imaging the Body," College Lecture by BettyAnn Kevles, Oregon State University, Corvalis; The Huntington Library, Pasadena; Art Center College of Design, Pasadena. Review, San Mateo Times, CA, June 1996. Review, Palo Alto Weekly, CA, May 12, 1996. Interview with artist, Fox Cable (nationally televised), June 15 1995. Fressola, Michael. "Arts." Staten Island Sunday Advance, Aug. 29, 1993: E1. Hershenson, Karen. "Time Out." Contra Costa Times, 21 Jan. 1994: 25. "On the Move," interview with artist, 11 Jan. 1994. Channel 55, San Francisco.

BOOKS, CATALOGS

Works on Paper from Seattle Print Arts, catalog, Shenzen Art Institute, China, 2005. Roentgen-kunst, De Visualisering van het lichaam – taak 6 Visuele inscripties en het normeren van lichamen, Universiteit Maastricht, Denmark, catalog, Sept. 1997. Portland Art Museum Oregon Biennial 1997, catalog, Kathryn Kanjo, 1997. Naked to the Bone: Medical Imaging of the Body, BettyAnn Kevles (Rutgers Univ. Press 1997; Reviewed in New York Times: Sunday Books Section, June 1997 and Sunday Book Review, May 11, 1997). In Three Dimensions, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Nov. 1995. The Creative Will, catalog, Grey Art Gallery, New York University, 1995 (essay by Thomas Sokolowski). The Creative Will, Pomegranate Press, 1993.

TEACHING

Artist in Residence, Bucknell University, Feb. 2015.

Westminster College, Salt Lake City, UT. Speaker for Creative Writing course, 2010.

Portland State University, OR. Guest Artist, Watercolor course, November 2004.

Cornish College of the Arts, Seattle, WA. Guest Critic, Professional Practices course, October 2002.

Pacific Northwest College of Art, Portland, OR, Guest Critic for Senior B.F.A. Final Projects with Portland Art Museum Curator Bruce Guenther and other arts professionals, 2000, 2001.

Bellevue Community College, Instructor, Drawing, 1998.

Oregon State University, artist lecture, Art Department, 1998.

Pacific Northwest College of Art, Instructor, Advanced Sculpture and Mixed Media Sculpture, 1998. Sculpture Instructor, intensive summer session for gifted high school students, 1998.

Marylhurst College, Guest Lecturer for the Art Department, “Professional Practices,” 1997.

Marylhurst College, Guest Artist Lecturer for the Art Department (coinciding with a solo exhibition of my work at the Marylhurst Art Gym), 1997.

The Spokane Art School, WA. Guest Instructor of Painting and Drawing, 1991.

Elderhostel (Road’s Scholar), Williamsburg, MA. Painting Instructor, 1988, 1991.

New York City Public High Schools. Andy Warhol Foundation Instructor, Studio-in-a-School program. Required six-week intensive training at the Brooklyn Museum of Art Education Department with eminent New York art education professionals, 1989, 1990.

Parsons School of Design, New York. Guest Critic, Textile and Design, 1990.

Artpark, Lewiston, New York. Guest Artist/Teacher-in-Residence,1988.

Horizons School, Williamsburg, MA. Department Head/Instructor of Drawing and Painting in intensive college-preparatory gifted-students program, 1987, 1988.

Tyler School of Art, Temple University, Philadelphia. Instructor, Digital Design, 1987.

ARTS WRITING, EDITING

Writer, Canopy: Helen Lessick, retrospective catalog, 2016.

Contributing Arts Writer (interviews with film composers and costume designers), Hollywood Reporter, November 2012 – 2016.

Contributing Arts Writer, LA Weekly, November 2010 – present (covering art, experimental film, Telluride Film Festival).

Contributing Art and Art Book Critic: Amazon.com, Seattle Weekly, Seattle Times, The Oregonian, Artweek, Aorta, Eastsideweek, 1995-2010.

Editor, Pat Boas, retrospective catalog, Marylhurst University, 2009.

Writer, Trude Parkinson: Sightings and Passages, 36-page color catalog for retrospective exhibition, published with a grant from the Regional Arts and Culture Council, Marylhurst University, Oregon, 2007.

Chief Art Critic, Seattle Weekly, 1999-2000.

Reed Magazine, Contributing Writer, essay on art conservation symposium featuring J. Paul Getty Museum director John Walsh, Yale Art Gallery conservator Mark Aronson, Holocaust Museum conservator Jane Klinger, and Museum of Modern Art conservator James Coddington, fall 1998 issue.

Portland Art Museum, OR. Editor, Handbook of the Portland Art Museum Collection, 1995.

Bay Press, Seattle, Editor (New York based), But Is It Art? The Spirit of Art as Activism, 1994- 95.

Rizzoli International Publications, Inc., New York. Manuscript Editor/Design Coordinator, Cindy Sherman: Untitled Film Stills; Time Dust: James Rosenquist; Willem de Kooning: The Joseph Hirshhorn Collection; The PaineWebber Corporate Art Collection, 1992-93.

Solomon R. Guggenheim Museum, New York, Consultant to the Curatorial Department/Associate and Editor, The Great Utopia: The Russian and Soviet Avant-Garde 1915-1932, 1990-92.

Philadelphia Museum of Art, Assistant Editor: Extensive editorial and research work with the collections and curators on wall texts and exhibition catalogs, 1983-85. Assisted with editing major exhibition catalogs. Worked closely with graphic designers and exhibition design staff.

Other Editing: The Art Journal, College Art Association, New York, Consulting Editor, 1995. Harry N. Abrams Publishing, New York, Editor/Researcher, History of Art, by Marilyn Stokstad (textbook used extensively by colleges), 1995. Tricycle Magazine, New York, Spring 1995. Journal of the Arts in Psychotherapy, New York, Dec. 1994. The Washington Park Fences Project, Portland Institute of Contemporary Art (PICA) and Regional Arts and Culture Council, Portland, OR, 1996. Printmaking in the Northwest, by Lois Alan, 1997. Traversing Territory, Portland Institute for Contemporary Art (PICA), 1996.

CURATING, JURYING, GALLERY ADMINISTRATION

Juror, Ohio Arts Commission Annual Individual Arts Grants Program, 2002.

Guest Juror (with Prudence Roberts, Curator of American Art, Portland Art Museum, OR, and Keiko Hara, Professor, Whitman College, WA), Pendleton Art Center Northwest Artists Annual, 1999.

Oregon College of Art and Craft, Portland. Curator/ Director Hoffman Gallery, Faculty Exhibitions Committee Chair, Jamison Lecture Committee appointee, 1997 to Feb. 1999. Invited by College Board to organize and moderate faculty and local arts professionals’ panel discussion, “Art Versus Craft, Defining OCAC’s Educational Mission.”

Co-Curator with M.A. Greenstein of Scripps College and Art Center, Pasadena, “Launchpad Angels: New Work by Emerging Los Angeles Artists,” exhibition of artists including video artist Tran T. Kim-Trang (later selected for the 2000 Whitney Biennial) and Shirley Tse (included in exhibitions at SF MOMA, 2001, and Henry Gallery, University of Washington, 2003), Hoffman Gallery, Portland, 1999.

Curator, “The Art of the Book,” 50 historic and contemporary British and American fine press books from Portland Art Museum, Dr. and Mrs. Seymour Haber, and antiquarian book dealer Charles Seluzicki, including Jacob Lawrence silkscreens, Diego Rivera illustrations, Leonard Baskin prints, The Golden Legend, by William Morris, Salome, by Oscar Wilde, with Aubrey Beardsley illustrations, Wuthering Heights, with lithographs by Balthus, MacArthur Fellow Claire Van Vleit’s Beauty in Use (Janus Press), Hoffman Gallery, Portland, OR, Jan.-Feb. 1999.

Installed and oversaw: “Terry Evans: Prairie Stories,” exhibition of photographer and Guggenheim Fellow collected by Museum of Modern Art and Smithsonian Institution, Hoffman Gallery, Portland, OR, Feb. 1998.

Curator, “Play Clothes: The Theater of Design,” exhibition of Northwest artists, Hoffman Gallery, Portland, OR, Jan. 1998.

Installed, oversaw, wrote catalog essay: “Since 1907: A 90-Year Creative Legacy,” exhibition of Peter Goin, Dorothy Gill Barnes, Kim Kelzer, Eva Kwong, Beverly Penn, Anne Siems, and Walter Tisdale, with catalog essay by myself and Kim Stafford, Hoffman Gallery, Portland, OR, Oct. 1997.

Oregon Arts Commission, Curatorial Consultant, 1998. Recommended artists for the 1999 Governor’s office exhibitions.

"The Creative Will," Exhibition Supervisor, Palo Alto, CA, May 1996. Oversaw installation of national touring exhibition curated in New York.

Project Rembrandt, National Multiple Sclerosis Foundation, Advisory Committee Member, National Juried Exhibition, New York. Served with Paul Smith, Director Emeritus of the American Craft Museum, New York. 1994-96.

Bluxome Gallery, San Francisco, Assistant Director, 1982-83.

The Art Museum Association of America (now The American Federation of Art), San Francisco, Education/Publications Coordinator. Touring exhibition planning; catalog production management; press release writer for national touring exhibitions; report writer for J. Paul Getty Trust funding of education programs; organizer, Museum Management Institute, an intensive course in professional museum administration held annually at U.C. Berkeley. 1983.

Paula Cooper Gallery, New York. Gallery Assistant. Handled all aspects of gallery administration, sales, and publicity writing as part of five-person staff, 1980-81.

Portland Center for the Visual Arts, OR. Publicity writer, installations intern. Met with public and provided information on artists, 1978-79.

LECTURES, RADIO HOSTING

Lecturer, Seattle Art Museum Sculpture Park, August 2010.

University of Oregon, artist lecture (regarding my work in the Portland Art Museum 1997 Oregon Biennial), Aug. 1998.

Oregon College of Art and Craft, Panel Organizer and Moderator, “The Nature of Art Versus Craft as it Defines the OCAC’s Educational Mission,” Apr. and May 1998.

KBOO Radio, Portland, OR, Guest Radio Host for “Art Focus,” “Bullseye Glass” with guest Lonnie MacGregor, Director, Bullseye Glass, Apr. 1998.

KBOO Radio, Portland, OR, Guest Radio Host for “Art Focus,” “Turn of the Century Women Photographers in Oregon: Lily White, Myra Wiggins, and Sara Ladd” with guests Portland Art Museum Curators Prudence Roberts and Terry Toedtemeier, Mar. 1998.

Oregon College of Art and Craft, “Curating of Play Clothes and My Art Work on the Theme of Dress,” for Pacific Northwest College of Art undergraduate students, Jan. 1998.

Pacific Northwest College of Art, Artists Talk on Art Lecture Series, "Tori Ellison: Site Specific Work," Oct. 1997.

Network of Oregon Artists, Portland, guest lecture on art criticism, Mar. 1997.

MEMBERSHIPS, OTHER ACTIVITIES

College Art Association, Foundations in Art Theory and Education, National Art Education Association.

Creative writing student of Irene Borger, Director Alpert Awards in the Arts and Editor From a Burning House: The Aids Project Los Angeles Writers Workshop Collection. Participant in Insight, mindfulness meditation practice.