CV
Maria Phillips information
SOLO EXHIBITIONS
2019 Hidden in Plain Sight. Bellevue Arts Museum, Bellevue WA
2001 Betwixt: A collection of random thoughts. Gallery 138, Kent State University, Kent, OH
1999 Susan Cummins Gallery, Mill Valley, CA
1998 Internal Diversions. Stix Friedman Gallery at Craft Alliance, St. Louis, MO
SELECTED GROUP EXHIBITIONS
2020 Fibers 2020. Bainbridge Island Museum of Art, Bainbridge Island, WA G.
2019 Purpose/Process/Paper. Curated by Kiff Slemmons and Cat Bower Chicago, Il
2018 Second Nature. Maria Phillips Recology CleanScapes Artist in Residence Program Exhibition
2017 New Exhibition; Biba Shutz, Maria Phillips, Sondra Sherman. Galerie Noel Guyomarc’h, Montreal, QC
SOFA, Chicago, Il. Galerie Noel Guyomarc’h, Montreal, QC
2016 Bellevue Art Museum Biennial: Metalmorphosis. Bellevue, WAGalerie Noel Guyomarc’h, Montreal, QC
Well - Worn Narratives: The Mia McEldowney Jewelry Collection. Tacoma Art Museum, Tacoma, WA
2015 Home+Work. Laconia Gallery, Boston, MA. Curated by Donna Veverka
Zoom: Examining the Future of Craft. Indiana University, Bloomington, IN
2013 Crush II. Curated by Sara Brown and Galatea Kontos in conjunction with
Zoom: Examining the Future of Craft. Indiana University, Bloomington, IN
2012 Hanging Around: Necklaces from the MAD Collection. Museum of Arts and Design, New York, NY
Clasp: Curated by Robert Longyear. Craft Alliance, St. Louis, MO
Tangible Competitive Intangibles. Curated by Claire Cowie and Robert Yoder.
Jacob Lawrence Gallery, School of Art, University of Washington, Seattle, WA.
Badges and Buttons -Waistcoats and Vests. Velvet da Vinci, San Francisco, CA
Curated by Elizabeth Turrell and Robert Ebendorf
2011 Us in Flux. Sponsored by Lawrimore Project, Greg Kucera Gallery, Seattle WA (catalog)
2010 Body/Image. Gwen Frostic School of Art, Western Michigan University, Kalamazoo, MI
Celebrating 70. Facere Art Gallery, Seattle, WA
2009 Stimulus Project. Sienna Gallery, Lenox, MA
2008 West meets West. Bluecoat Gallery, Liverpool, U.K. Represented by Velvet da Vinci, CA
Refined V: Abundance. Biennial exhibition, Stephen F. Austin State University, Nacogdoches, TX
Juror: Charon Kransen (catalog)
New West Coast Design: Jewelry and Metalwork. Velvet da Vinci, San Francisco, CA
2007 Two Cans: Works Between Maria Phillips and Sarah Turner. Galerie Noel Guyomarc’h Bijoux D’Art,
Montreal, Quebec
SOFA: New York. The David Collection, Pound Ridge, NY
2006 Two Woman, Two Continents: Maria Phillips and Iris Boedemer.
Curator: Sharon Campbell, Grover Thurston Gallery, Seattle, WA
Edges of Grace: Provocative Uncommon Craft. Fuller Craft Museum, Brockton, MA
2005 Beyond the Body: Northwest Jewelers at Play. Tacoma Art Museum, Tacoma, WA
Shift. Charlotte Meyer and Maria Phillips, William Traver Gallery, Tacoma, WA
Hanging in Balance: Forty-two Contemporary Necklaces. Stanlee and Gerald Rubin Gallery,
University of Texas at El Paso. Traveling exhibition and catalog.
SOFA: New York. The David Collection, Pound Ridge, NY
2004 Sensuous Matter. June Fitzpatrick Gallery, Maine College of Art, Portland, ME
Rings. Gallery of Art and Design, North Carolina State University, Raleigh, NC
Collect. Victoria and Albert Museum, London, U.K. Represented by Velvet da Vinci Gallery.
SOFA: New York. The David Collection, Pound Ridge, NY
Current Directions: Studio Art Jewelry. Delaware Center for the Contemporary Arts,
Wilmington, DE
2003 Building Tradition: Gifts in Honor of the Northwest Collection. Tacoma Art Museum, Tacoma, WA
Evocative Objects. Bannister Gallery, Rhode Island College, Providence, R.I.
Informal Observations: Brilliant Masters of Fired Enamels. Palo Alto Art Center, Palo Alto, CA
bigLITTLE: Jewelers and Sculptors Making it in Metal. Craft and Cultural Arts Gallery, Oakland, CA
On The Edge: Maria Phillips, Harriet Estelle Berman, Laurie Hall. Facere Gallery, Seattle, WA
Transformation: Contemporary Work in Small Metals and Jewelry. National Ornamental Museum,
Memphis, TN
2002 The Metal Album. Dorothy Uber Bryan Gallery, Bowling Green State University, OH
Display Use Only. Kirkland Arts Center, Kirkland, WA
Metal Under Glass. Southwest Missouri State University, Springfield, MO
Generating Connections. The Society of Arts and Crafts, Boston, MA
Materials and Color. Galerie Noel Guyomarc’h Bijoux D’Art, Montreal, Quebec
2001 Transformation: Contemporary Work in Small Metals and Jewelry. Elizabeth R. Raphael
Founder’s Prize Competition. Society for Contemporary Craft, Pittsburgh, PA
Repetitive Motion. College of Visual Arts, St. Paul, MN
Jewelry As An Object of Installation. Susan Cummins Gallery, Mill Valley CA
Print and Enamel Exhibition. Kent State University Art Gallery, Kent, OH
ZIERAT: International Contemporary Jewelry Invitational. Southwest School of Art and Craft,
San Antonio, TX
2000 Under the Influence: Contemporary Jewelry and Ethnographic Objects.
Tacoma Art Museum, Tacoma, WA
Organic Structure. Sienna Gallery, Lenox, MA
Different Voices. Facere Jewelry Art Gallery, Seattle, WA
Contemporary Enamels. Arizona Commission on the Arts, Traveling Exhibitions Program
Spell/Bound: Maria Phillips and Jennifer Dixon. Archer Gallery at Clark College, Vancouver, WA.
Means/Ends: Plaster. Soil Gallery, Seattle, WA
SELECTED GRANTS AND AWARDS
2017 Seattle Metals Guild Established Artist Grant, Seattle, WA
2016 John and Joyce Price Award of Excellence, Bellevue Art Museum, Bellevue, WA
2004 Artist Trust/Washington State Arts Commission Fellowship, Seattle, WA
2001 The Elizabeth R. Raphael Founders Prize, Second Place. Society For Contemporary Craft,
Pittsburgh, PA
2001 American Craft Emerging Artist Grant.
1999 Juror’s Award. 19th Annual Northwest International Art Competition. Whatcom Museum,
Bellingham, WA
1998 Award of Excellence. Smithsonian Craft Show. Smithsonian Museum, Washington, D.C.
ARTIST RESIDENCIES
2018 Recology CleanScapes AIR Program. Five month residency working in and with materials
moving through the recycling stream of the Recology Material Recovery Facility.
2003 John Michael Kohler Art Center. Three-month Arts/Industry Program, Foundry and Enameling.
2003 Penland School of Crafts, Penland, North Carolina. Nine-week Artist in Residence.
Sponsored by the Warhol Foundation and the National Endowment for the Arts. 2000 Oregon College of Arts and Craft, Portland, OR
Six-month Artist in Residence, Metal Arts department.
99-00 Poncho Artist in Residence. Pratt Center of Fine Arts, Seattle, WA
COLLECTIONS/COMMISSIONS
Museum of Arts and Design, New York, NY
Smithsonian American Art Museum Renwick Gallery, Washington D.C.
Tacoma Art Museum. Tacoma, WA
John Michael Kohler Arts Center. Sheboygan, WI
Kohler Company. Sheboygan, WI
Sharon Campbell, CONSERVATOIRE, Seattle, WA
Seymour Rabinovitch, Tart Slice. Seattle, WA
Collection acquired by the Victoria and Albert Museum, London, England
EDUCATION
1997 Master of Fine Art, University of Washington, Seattle, WA
1986 Bachelor of Art: Advertising - Graphic Design, Loyola University, New Orleans, LA
PUBLICATIONS
2005 “The Penland Book of Jewelry: Master Classes in Jewelry Techniques”. Electroforming: pg. 166
2004 “Collect: New Art Fair for Contemporary Objects”. Art Jewelry Forum News; Spring
2003 Exhibition in Print: Enamel: A Contemporary Perspective. Metalsmith Magazine,
Co-Curated with Gretchen Goss
2002 Interview-Essay: Studio Visit: Kiff Slemmons. Metalsmith: Summer 2002 Vol. 22-#3 p.45
BIBLIOGRAPHY
Exhibition Review: Hidden in Plain Sight, Crosscut, Brangien Davis, March 5, 2020 https://crosscut.com/2020/03/things-do-seattle-mar-5-11 Exhibition Review: Jasmyne Keimig, “Art in the Age of Single-Use Plastic”. The Stranger. December 4th, 2019 https://www.thestranger.com/visual-art/2019/12/04/42157070/art-in-the-age-of-single-use-plastic Exhibition Review: Sumeya Block, editor Olivia Sun, “Hidden in Plain Sight: Magnifying What Is Already There”.
TeenTix. December 3rd, 2019 https://www.teentix.org/blog/hidden-in-plain-sight-magnifying-what-is-already-there Exhibition Review: Casey Arguelles Gregory, “Maria Phillips and Robert Williams at BAM”.
October 11th, 2019 https://seattleeye.art/2019/10/11/maria-phillips-and-robert-williams-bam/ “21st Century Jewelry; The Best of the 500 Series”: Marthe Le Van 2011pg. 168
“The Art of Enameling; Techniques, Projects, Inspiration”: Linda Darty. 2007 pgs.16,19
Exhibition Review: Rebecca Scheer, “Beyond the Body: Northwest Jewelers at Play”.
Metalsmith. Volume 26, No. 2, 2006, pg.53
Exhibition Review: Matthew Kangas, “Charlotte Meyer and Maria Phillips: Shift”.
Metalsmith. Volume 25, No. 5, 2005, pg.59
“500 Brooches”. Introduction: Marjorie Simon. A Lark Jewelry Book.
“1000 Rings, Inspiring Adornment for the Hand”. Introduction: R. W. Ebendorf.
A Lark Jewelry Book, pg. 290
F.R. Nichols, “Something Special in NE Wisconsin”, Glass On Metal, Vol. 23, No. 2, 2004 pg.36
Christine Tate, “Current Directions: Studio Art Jewelry”, Metalsmith, Vol. 24, No. 3, 2004, pg. 53
Kathleen Browne, “Inventing Contemporary Ornament,” Metalsmith, Vol. 23, No. 3, 2003, pg.46
R. Bella Rabinovitch, “Materials and Color” Metalsmith, Vol. 23, No. 2, 2003,pg.46
Alan Dubois, “Metal Under Glass”. American Craft, August/September 2002 pg. 52 - 55
“Exhibition In Print”, Metalsmith. Volume 22, Number 4, 2002, pg.38
Beth Huseman, “Transformation 3: Contemporary Works in Jewelry and Small Metals”.
Dorothy Spencer, “Found Object Art and Artists”. 2002 p. 178 - 180
Glen Brown, “An Anti-classical Strategy. Ornament”. Vol. 25, No.1 Autumn 2001 p.34
“Portfolio”. American Craft. August/September 2000 p.63
Exhibition Review. “(Un)Common Materials”, The Boston Sunday Globe, Boston Massachusetts 2000
Frank Lewis, “Observations”. Metalsmith. Spring 1999 p.38
Robin Updike, “Cheerful Bits and Pieces”. The Seattle Times, Seattle, Washington November 27, 1997
Eric Fredricksen, “Salt, Pods, Boards”. The Stranger, Seattle, Washington December 11, 1997
PROFESSIONAL EXPERIENCE
2019 Artist in Residence Program Manager: Recology CleanScapes, Seattle, WA
2018 Rhode Island School of Design, Jewelry/Metals Department Providence, RI
Guest Critic, Winter Semester
Juror. Bellevue Arts Museum, Art Fair, Bellevue, WA
2017 Guest Lecturer, Critique, Electroforming Workshop. Cranbrook Academy of Art, Bloomfield Hills, MI
Guest Lecturer, Critique, Process Workshop. Oregon College of Art and Craft, Portland, OR
2016 Cultivating Permanence. Penland School of Crafts, Penland, N.C.
Two week Electroforming and enameling workshop.
Juror/Judge. St. Louis Art Fair, St. Louis, MO
The Bush School, Seattle WA. Substitute Instructor: High-school level Metals/Jewelry
Photography, Printmaking, Painting and Fire Arts.
2015 I am here - The Artists of Path with Art. Seattle Convention Center. Exhibition Curator. January - April.
The Bush School, Seattle WA. Substitute Instructor: High-school level Metals/Jewelry
Photography, Printmaking, Painting and Fire Arts.
2014 Rhode Island School of Design, Jewelry/Metals Department Providence, RI
Guest Lecturer: Graduate Seminar/Critique, Spring Semester
The Bush School, Seattle WA. Substitute Instructor: High-school level Metals/Jewelry
Photography, Printmaking, Painting and Fire Arts.
2012 Rhode Island School of Design, Jewelry/Metals Department Providence, RI
Guest Lecturer: Graduate Seminar: Inside – Out. Mid-term critique, Spring Semester.
Cranbrook Academy of Art. Bloomfield Hills, MI
[Re] IMAGEning. Jewelry/Metals Seminar: Maria Phillips & Lori Talcott
2011 Society of North American Goldsmiths Annual Conference, Seattle, WA
Exhibitions Committee Co-Chair: Selected and organized fifteen exhibitions hosted by local galleries.
California College of Art, Oakland CA. Metals Department:
Guest Lecturer/Seminar: It’s all a process, right?
University of Indiana, Jewelry/Metals Department, Bloomington IN
Guest Lecturer: Graduate Seminar/Critique and Electroforming Workshop.
2010 Rhode Island School of Design, Jewelry/Metals Department, Providence, RI
Guest Lecturer: Graduate Seminar/Critique, Spring Semester.
2009 to be (determined) – an exhibition of the first five: Co-Curator with Sarah Turner
The Hatton Gallery at Colorado State University, Fort Collins, CO
Alessi Design-Think-tank: Hosted by Cranbrook Academy of Art, Bloomfield Hills, MI
Surfacing: The Enamelist Society Conference
Juror: 12th Biennial International Exhibition and 8th International Student Exhibition.
Cranbrook Academy of Art, Bloomfield Hills, MI
Guest Lecturer and Crtique: Metals Department.
2008/ University of Washington, Seattle, WA
07 Visiting Instructor: Metal Arts Department. One-year appointment.
Visiting Lecturer: Rietveld Academy, Amsterdam, Holland.
Lecture: Line, Memory, Body, Status:10 American(?) Jewelry Artists.
2007 Cranbrook Academy of Art, Bloomfield Hills, MI
/06 Visiting Artist/Instructor: Metals Department. One-year appointment
University of Washington, Seattle, WA
Visiting Instructor: Metal Arts Department. One-year appointment.
Oregon College of Art: Portland, OR
Lecture and Workshop: Considering Process.
2005 Towson State University: Baltimore, MD. Visitng Artist: Electroforming workshop and lecture.
Pratt Center of Fine Arts: Seattle, WA Eight-week course: Electroforming.
2004 University of Washington, Seattle, WA.
Visiting Instructor: Metal Arts Department, Winter quarter.
Maryland Institute College of Art: Baltimore, MD. Visiting Artist: Workshop and lecture.
2003 Cranbrook Academy of Art, Bloomfield Hills, MI. Visiting Artist: lecture and critique.
New York State University, New Paltz, NY. Visiting Artist: lecture and critique.
University of Washington, Metal Arts Department, Seattle, WA
Adjunct Instructor, Spring quarter.
The 9th Biennial Conference of the Enamelist Society. Olympia, WA
Artist Presentation and Electroforming workshop.
92nd Street Y, New York, N. Visiting Instructor. Alternative Enameling Practices.
Pratt Center of Fine Arts: Seattle, WA Eight-week course: Independent Studies.
2002 University of Oregon, Eugene, OR. Visiting Instructor: Electroforming Workshop.
University of Washington, Metal Arts Department, Seattle, WA
Visiting Instructor: Winter quarter.
Pratt Center of Fine Arts: Seattle, WA. Instructor, Eight-week course: Enameling.