Born 1951 in Copenhagen, Denmark
1970 graduating high school; enrol at the University of Copenhagen to study philosophy, French and Art history. Part of second year: the University of Aix -en Provence. Study the French masters, 1972-76 Jonstrup TTC. Major (BA) in the Danish artist Willy Oerskov’s theories on subject and object. Research on Young People’s Attitude to Art,1976 – 78 Teach art at Jonstrup TTC and at Bernadotte International School. Lectures at many different institutions on her ideas on how to teach art, 1979 Enrol at the Danish Teacher Training College to study Visual Communication with the artists Kirsten Justesen and Knud Andersen. Take an interest in organic architecture, making conceptual work on intervals with thread, glass fibre and paint, constructing « inner spaces »,1980 Approached by the Nysted Cultural Department to help building up a cultural art centre in Nysted in the Southern part of DK. 1981 Provided with studio at the estate of Hestkoebgaard, Birkeroed in exchange for organizing cultural events. Study at Haystack Mountain School of Arts and Crafts, Deer Isle, Maine, USA with Yosiko Wada – doing conceptual work with plastic threads, sun and water, drawing lines. Encouraged to do further studies in USA.1982 Receive grants from Denmark -America Foundation, Knud Hoejgaards Foundation and The Danish National Bank Jubilee Foundation to study the art scene in New York, New Mexico and San Francisco.1982 – 83 All her artistic experiments had so far been a research on the fundament of a painting: how to fuse the inner space of a painting, the invisible, with the visible sign. In search of a substance that she could invent and control herself in order to paint with it and on it. While in USA most exhibitions were about The White Explosion. Robert Rauschenberg, Jim Dine, Ellsworth Kelly, Kenneth Noland, Robert Motherland, Frank Stella a.o. had made unique work at Tyler Graphics Ltd. in Bedford Village, New York, which demonstrate the complete unity between paper and print. It fascinated Anne Vilsbøll and her long journey began in order to learn the secrets of paper with the aim of been able to obtain a symbiosis between the fundament and the sign, which for her has equal value, in the final art work.In USA she learnt papermaking by professor Frank Eckmair, Suny, Buffalo,Paper and Print, by Nancy O’Banion, CCAC, Oakland, Donald Farnsworth, Magnolia Press, by Bob Nugent and Joseph Zirker, Kala Institute in California, a.o.
1984 Upon her return to DK from USA she knew she needed to learn more. In Denmark no art institutions provide courses on the influence of paper as a basis for painting. She had to search elsewhere and began her research visiting paper mills in the world: in Italy 1984/86/87/93/96/98/00/05/14, Spain 1987/92/99/03, France 1988/ 08, Germany 86.94/95/10. Belgium and The Netherlands 1994, Went to Japan and the Phippines in 1987/ 89/95/97, again USA in 89/98/99/10/12/14, China 1990, Argentina 1993, Canada 1993, South Africa and Zimbabwe 1995/, Burma, Nepal, Thailand 1995, Egypt 1996, Israel 1998, Australia, New Zealand 1998/02, Scotland 08/10Sri Lanka and India 1999/00 India 2001 – 16, each year, testing all papers for printing and painting, as well as collaborating on projects, such as artists book, lecturing and exhibitions..
1994 Gosta Liljedahl’ s Foundation in honour of research on the history of paper
Paper Works, The Westbrook Gallery, Atlanta, Georgia, prize winner for the artist book Vice Versa, produced in Capellades, Barcelona, Spain, Solar Fonden, grant of honour 78, 01, 04,
1984/85 Scandinavian Institute in Rome, Italy ,1988 and 1991 Ludvig Preetzmann – Aggerholm and his wife’s Foundation in Paris, administrated by the Danish State, printing lithography with Clot, Bramsen & Georges, 1993 San Michele Foundation, Capri, Italy,1997 Awagami Paper Factory, Japan, 2012 The Dora Maar House in Menerbes, France, The Brown Foundation Fellows Program