East Carolina University. Tomorrow starts here.®
 
College of Fine Arts and Communication
School of Art and Design


Robert Ebendorf

OFFICE ADDRESS:

Carol Grotnes Belk Chair
School of Art and Design: Metals
Jenkins Fine Arts Center 1309
Mail stop no: 502 School of Art
East Carolina University
Greenville, NC 27858
Tel.# (252)328-1318; fax # (252)328-6441
E-Mail: ebendorfr@ecu.edu

Education:
Bachelor of Fine Arts 1960 University of Kansas, Lawrence, Kansas
Master of Fine Arts 1962 University of Kansas, Lawrence, Kansas
State School for Applied Arts and Crafts 1963-64 Oslo, Norway

Teaching Experience:
Stetson University Deland, Florida. 1964-66
University of Georgia Athens, Georgia. 1967- 71
State University of New York, New Paltz New Paltz, New York. 197F89. Professor
Santa Monica College of Design and Art and Architecture Santa Monica, California. 1991-93. Faculty - Furniture and Product Design
Haystack School Deer Isle, Maine. 1967-present. 7 Summer Sessions
Penland School Penland, North Carolina. 1962-present. 12 Summer Sessions/Fall
Concentration 1996
Arrowmont School Gatlingburg, Tennessee. 1968-70. Summer Sessions
Art New England Bennington College, Vermont. 1991-97. Summer Sessions
Peters Valley Craft Center Layton, New Jersey. 1975-present. 4 Summer Sessions
Anderson Ranch Arts Center Snow Mass Village, Colorado, 1989
Blossom Summer Art Program -Kent State University Kent, Ohio, 1989
"Open Door" Haystack School of Crafts Deer Isle, Maine, 1998
East Carolina University-School of Art Visiting Lecturer Greenville, North Carolina,
1997-98
East Carolina University-School of Art Carol Grotnes Belk Distinguished Professor
Greenville, North Carolina, Fall 1999 - Fall 2004
Workshops - Over 300 workshops taught at universities, colleges, craft centers and
art schools in the United States and abroad.

Professional Experience:
Norway Snver Design Fredrikstad, Norway. 1965-66. Guest Designer
Tane Snver Company Mexico City, Mexico. 1975. Jewelry Designer
David Andersen Oslo, Norway. 1978. Staff Designer and Consultant
Small Wonders Jewelry Manufacturing New York, New York. 1980-85. Studio
Manager
Cleto Munari Design Associates Vincenza, Italy. 1986. Designer
Independent Studio Artist 1990 - present

International Exhibitions:
Studio Fusion - London, England. "International Quartet", June - August 2001.
Zierat/Kestner Museum - Hannover, Germany. May 30 - September 2,2001.
Galerie Cebra - Dusseldorf, Germany. September 15 -October 31,2001.
Textiel Museum - Tilburg Nederland. November 23 - December 25,2001.
Blain Gallery - Gatlinburg, Tennessee. "International Enamels Society Presenters"
Center for Fine Print Research - U.W.E.Bristol,England. "Contemporary Print in Enamel Exhibition", August 2001.
Burrough Wellcome Gallery - East Carolina University, School of Art, Greenville,
North Carolina. "Contemporary Print In Enamel Exhibition", March 2002

 U.S.A. Exhibitions:
"25 years of Fine Craftsmanship", Brookfield Craft Center, Brookfield, Ct. June 10 - July 29.
"Color on Metal", OXOXO Gallery, Baltimore, MD. April 14 - May 17.
"Color on Metal", Stone Harbor Gallery, Stone Harbor, NJ. May 25 - July.
"101 Rings", Yaw Gallery, Birmingham, MI. January - February.
"101 Rings", SOFA, New York, NY.March.
"Once Upon a Time: Artists Examine Fairytales, Myths and Legends", Wustum Museum,
Racine, WI. June 3 - August 26.
"Beeswax, Brackish Water and Junipers", Gray Art Gallery, East Carolina University,
Greenville, NC. May.
"Once and Again", OXOXO Gallery, Baltimore, MD. September 22 - October 25.
"Faculty Exhibition", Gray Art Gallery, East Carolina University, Greenville, NC.
October 19 - November 17.
"Zierat", The Hand Workshop Gallery, Richmond, VA.
"Other Voices" Dransfield Jewelers Gallery, Richmond, VA. February - March.
"The Artful Ear 2001", Artworks Gallery, Bozeman, MT. November 6 - December 28.
"Recreation/Recreation: Fun with Found Objects", The Art Museum of Southern
New Jersey, Oceanville, New Jersey. January 12 - April 28.
"Guest Artist", League of New Hampshire, Hanover, New Hampshire. September-
October.
"Works by 2001 Master Artist Workshop Presenters", The Armory Art Center, West
Palm Beach, Florida. January - February.
"Ebendorf Guest Artist Presents", Groshen College Art Gallery, Groshen, IN.
February - March.
"Recreation/Recreation: Fun with Found Objects", The Noves Museum of Art,
Oceanville, NJ.
"Markers in Contemporary Metal", Samuel Dorseky Museum of Art, New Paltz, NY.

Workshops:

92nd Street Y - New York City, New York, January 21 - 23.
North Country Studio - Bennington College, Bennington, Vermont, January.
Master Artist Workshop - Montgomery Armory Art Center. May.
Art New England - Bennington College, Bennington, Vermont, July 29 -August 4.
League of New Hampshire Craftsman- Hanover, New Hampshire, September 7 - 9.
8 - Biennial Enamelist Conference -"Design on Edge" -Arrowmont School for the
Crafts, Gatlinburg, Tennessee. October 4- 8.
"Design on Edge" Goshen College Art Department, Goshen, Indiana. February 21 -22.
Critique Panel for 2nd year MFA Candidates - University of North Carolina at Chapel
Hill. Chapel Hill, North Carolina.

International Workshops and Lectures:
U.W.E. - Faculty of Art; Media and Design - Bristol, England. "Design on the Edge"
July:) - 5.
Sir John Cass Center for Silversmithing and Jewelry, London Guilhall University
"Design on the Edge:', July 9 - 12.
Lecture - Victoria and Albert Museum, London, England. July 20th.

Conference Presentor:
Society of North American Goldsmiths - "Historical View of SNAG". Richmond,
Virginia February 28 - March 3.
International Enamel Conference - "Color and Reflection". October 4 - 6. "Gustaugaudernack 1865-1914".
"Sterling Modernities: International and American Silver from Arts and Crafts to the
Present" - New York University, New York, New York. March 14 - 15.
"Summit Retreat on Craft" - Center for Craft, Creativity and Design, Hendersonville,
North Carolina. March 21 - 22.

Professional Organizations:
American Crafts Council
The Society of North American Goldsmiths

Founding Member
President 1971-77

Grants and Awards:
Fulbright Grant 1963-64
Louis Comfort Tiffany Grant 1966-67
National Endowment for the Arts 1970
State University of New York Research Grant 1975
ColorCore Surface and Ornament Design Competition II 1984
Achievement For Product Development
American Crafts Councll Awards 1994
Fellow

Publications / Books:
Color on Metal By: Tim McCreight
Dictionnaire - International Bijou By: Regard - Paris, France
Schmuck der Moderne - Modern Jewellery 1960-1998. Arnoldsche Art Publishers.
Dr. F. Falk. Germany
Skilled Work-American Craft in the Renwick Gallery. National Museum of
American Art, Smithsonian Institution, Smithsonian Institution Press. Washington & London
Work, Life, Tools. The Things We Use To Do The Things We Do. The Monacelli
Press
Jewelry and Adornment. Victoria and Albert Museum. London, England
New Times, New Thinking: Jewelry in Europe and America by Ralph Turner.
London, England
Jewelry of Our Time By Helen Drutt and Peter Dormer. Rizzoli
The Metalsmiths - The Emergence of Man by Percy Knauth. Time - Life Books
Design Visions by Robert Bell. Art Gallery of Western Australia
The Fine Art of The Tin Can by Bobby Hansson. Lark Books
Jewelry by Diana Scarisbrick. Thanes and Hudson
Penland School of Crafts - Jewelry Making. Rutledge Book. Bobbs-Merrill
The Encyclopedia of Jewelry Making Techniques by J. McGrath. Running Press
Contemporary American Jewelry Design by Ettagale Blauer. Van Nostrand Reinhold
Twentieth Century Jewelry by B. Cartlidge. Abrams
Ornamental Internationale Schmuckkunst. Pforzheim, Germany
Formica and Design by Susan G. Lewin. Rizzoli
Contemporary American Craft Art by B. Mayer-Gibbs. M. Smith, Inc.
The Eloquent Object. The Philbrook Museum of Art. University of Washington Press
Mondo Materials by Beylerianj Osborne. Abrams
The History of Beads by L. Dubin. Abrams



ARTIST STATEMENT

My conceptual approach to jewelry-making, which questions the
nature of adornment itself, explores alternative concepts and materials.
The creativity of my jewelry lies not simply in the intellectual repositioning
of familiar objects, but in more physical transformations of material, that,
in the end, astonish the viewer. It is exactly this sense of astonishment
that gives the pieces their value. It is the profound incongruity between
what they are made from and what they are now that so engages the
imagination.

The objects are not simply about refashioning the mundane. They
reaffirm the value of that which otherwise might be without value. By
reassessing the meaning of artifacts of daily life, they often reverse the
idea of what is precious. If it is the purpose of artistic expression to locate
and reaffirm values in our world, then this work is all the more relevant as
a mode of contemporary expression.

I collect found objects and use them for both raw material and
inspiration. This is not laziness, but an admission that objects that come
with their own patina of history can be wonderfully evocative. Found
objects can be either abstractions or symbols, or both.