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1. 1 2018-12-05T20:46:37+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6 Woolsey Report, page 1 Sara Woodbury 6 Staff members were expected to submit reports reviewing their activities. This report comes from Rainey Woolsey, who served as Gallery Attendant between 1937 and 1938. Transcription: "The Gallery at the Roswell Museum has a new exhibition on drawing showing a variety in style and execution in ink, pencil, crayon, and chalk. This exhibition, assembled in California, is one of many arranged for the federal art centers by (illeg) in Washington, DC. In this show, Nevada and California artists are represented. Several pictures represent (something) for decoration of public buildings, those by Helen Foris and Dorothy Puccinelli are sketches for a mural.... plain 81 2018-12-08T02:24:42+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6
2. 1 2018-11-30T02:20:40+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6 Gallery: Roswell Museum Archive Sara Woodbury 18 structured_gallery 1 2021-01-04T16:10:26+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6
3. 1 2018-11-30T02:20:40+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6 Gallery: Roswell Museum Archive Sara Woodbury 18 structured_gallery 1 2021-01-04T16:10:26+00:00 Sara Woodbury 0728ed579323b05939a9848207524f979d17d2a6

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• 1 2018-11-15T17:18:45+00:00 Exploring the Roswell Museum Archive 52 visconnections 1 2021-02-23T17:16:18+00:00

  In addition to being a former community art center still in operation, the Roswell Museum's significance to WPA history stems from its archive, which documents its federal activities. This publication provides an overview of the histories contained within this archive, with the understanding that full digitization remains the long-term objective. 
  
  
  
  
  Although the archive offers rich insights into the Roswell Museum's tenure as a WPA institution, it does have limitations. The first major issue is that the archive is incomplete. Several exhibitions are missing shipping receipts or other forms, for example, while other shows have no paperwork at all and are only mentioned in correspondence between staff members. Other official forms such as monthly reports were also preserved inconsistently, with only the years 1938, 1941, and 1942 represented.
  
  Another issue is that some of the documents serve unclear functions in relation to the museum's operations. Such is the case with several templates for colcha patterns, a historical Spanish embroidery technique that experienced a resurgence during the New Deal era. Although the museum did have a colcha-embroidered curtain as part of its furnishings, the templates in the archive do not match the curtain patterns. The templates may have been used for other projects, but until photographs or other descriptions can verify their use, this conjecture remains hypothetical. Nevertheless, their preservation within the archive suggests that they were important to the staff members who worked here at the time.  
  
  
  
  Most significantly, the archive reflects a specific institutional voice. Since the Roswell Museum staff technically worked for the Federal Art Project, the majority of the archive consists of federal forms and incidental correspondence from employees. Few examples from the museum's local sponsors at the Chaves County Archaeological and Historical Society survive. As a result, the interactions that occurred between the staff and sponsors reflect federal viewpoints.
  
  
  
  To take one example, the staff regularly disagreed with the museum's sponsors about how to implement educational initiatives. Since the Community Art Center Project mandated that centers offer art classes, the staff concentrated on implementing this objective. The sponsors, by contrast, wanted to promote regional history through collections-based displays. Throughout this disagreement, the museum's directors describe the sponsors as uninterested in pursuing educational initiatives. Given their interest in promoting history, it seems improbable that the sponsors dismissed the idea of education, but they likely questioned the relevance of art classes to their own objectives. Since little paperwork survives from them, however, we have to glean their perspectives from federal correspondence while recognizing that these documents do not present all viewpoints equally.
  
  Among the staff itself, moreover, the archive primarily reflects the experiences of the museum's administrators. The archive's predominantly administrative perspective becomes apparent when we take a closer look at the surviving correspondence. While all museum employees were expected to complete official forms such as monthly reports or times sheets, they also wrote letters to FAP staff, local artists, and other individuals to address specific questions or issues. Encompassing a range of topics, from payroll to exhibition schedules, these letters offer some of the most candid perspectives on the Roswell Museum as an institution, but they do not represent all employee perspectives equally. Of the nearly 600 letters that survive in the archive, the majority come from administrators such as directors as opposed to custodians and other service-oriented employees. Consequently, the archive primarily reflects the perspectives of a few directors rather than the entire staff. We have to infer the experiences of the museum's gallery attendants, custodians, carpenters, and volunteers from administrative writings. Even within the administrative documents, moreover, there is significant disparity between among the museum's directors in terms of representation, with men being overrepresented. The letters of one director alone, Roland Dickey, represents more than half of the total surviving correspondence, with more than 300 written documents credited to him. By contrast, the letters written by three of the museum's women directors, Ruth Covey, Lucy Bond, and Bertha Rose, constitutes less than 20% of the total correspondence preserved, resulting in the archive favoring male perspectives despite the presence of several women administrators throughout the museum's WPA affiliation.
  
  
  
  The other major voices missing from the archive are among the most important for any museum: the visitors themselves. With the exception of a couple of documents such as a guest sign-in sheet or a class thank-you note, written impressions from visitors have not survived. While the museum staff regularly noted visitor numbers, these quantitative recordings do not describe emotional or intellectual responses. As with the non-administrative staff, we have to rely on indirect references through staff correspondence and newspaper clippings. 
  
  
  
  The Roswell Museum archive remains an important repository and provides significant insight into the various roles this institution played in 1930s Roswell. Recognizing its limitations and biases, however, can help us put its various documents into perspective. For all its thoroughness, the archive conveys only some of the histories surrounding the Roswell Museum, with the majority of these stories reflecting federal perspectives. To gain a better understanding of local experiences, we need to read between the lines in the federal documents while remaining open to other sources of information, including newspaper articles, oral histories, and other accounts. Only by taking in all of these perspectives can we begin to reconstruct these missing voices and develop richer histories for the Roswell Museum. 

  References
  
  Chaduri, Nupur, Sherry J. Katz, and Mary Elizabeth Perry, eds. Contesting Archives: Finding Women in the Sources. Urbana: University of Illinois Press, 2010.
  
  Derrida, Jacques. Archive Fever: A Freudian Impression. Translated by Eric Prenowitz. Chicago: University of Chicago Press, 1996.
  
  Fuentes, Marisa. Dispossessed Lives: Enslaved Women, Violence, and the Archive. Philadelphia: University of Pennsylvania Press, 2018.
  
  Lowry, James, ed. Displaced Archives. London: Routledge, 2017.
  
  Risam, Roopika. New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy. Evanston: Northwestern University Press, 2018.
  
  Tortorici, Zeb. "Archival Seduction: Indexical Absences and Hagiographic Ghosts." Archive Journal, November 2015, http://www.archivejournal.net/essays/archival-seduction/.
  
  All other documents come from the Roswell Museum and Art Center WPA Archive.
  
  Robert Sprague, "Museum of Real Cultural Value to City," Roswell Daily Record, July 9, 1938.
  Russell Vernon Hunter to Robert Sprague, March 21, 1938.
  Roland Dickey to Russell Vernon Hunter, December 3, 1938.

   

• 1 media/cropped guest book.jpg 2018-11-15T17:15:15+00:00 Community Relations 36 image_header 2021-01-04T16:19:23+00:00

  
  
  Over its five years of operation as a federal art center, the Roswell Museum would host about 33,000 visitors, or about 500 every month. During the first year alone, it had nearly 7,000 visitors, about half of Roswell's total population. While there are few direct responses from visitors recorded in the archive, staff correspondence does occasionally reference visitor reactions. In general, they appeared to respond most positively to exhibitions that highlighted representational or narrative art. An exhibition of Currier and Ives lithographs proved popular, for instance, as did an installation of woodblock prints from Santa Fe artist Gustave Baumann.
  
  In addition to being an exhibition space, the Roswell Museum functioned as a community center by hosting club meetings and serving as a venue for concerts and other events, with the objective of infusing art into different social activities. Among the most remarkable performances that occurred at the Roswell Museum during the WPA era was the staging of a mystery play called Los Pastores. Mystery plays are dramatizations of the Bible that first appeared in medieval Europe. Los Pastores is a New Mexican retelling of the Nativity, or the birth of Jesus, from the perspective of the shepherds, and likely developed from Spanish plays that colonists introduced to the Americas during the sixteenth and seventeenth centuries. The play follows the shepherds through a series of comedic misadventures, as devils and various temptations try unsuccessfully to keep them from reaching the birth site of the Christ child.
  
  
  Los Pastores was performed at the museum when director Roland Dickey learned about it during a visit to Chihuahita, Roswell's Hispanic neighborhood. According to newspaper accounts of the play, it had been performed in the Roswell area since the mid-nineteenth century. Dickey recognized an opportunity to introduce museum visitors to Roswell’s Hispanic culture and invited the all-male cast to give a special performance on December 27, 1938. Records indicate that it was a success, with 100 people attending the Spanish-language event.
  
   

  
  
  In addition to hosting various clubs and providing free art classes, the Roswell Museum supervised other WPA-related projects in town. One of these undertakings included overseeing Roswell’s Civilian Conservation Corps (CCC) Camp. As the first of President Roosevelt’s New Deal organizations, the CCC provided young men with employment and assigned participants to camps around the country to work on tasks such as reforestation, building trails, and developing parks. The CCC camp in Roswell focused on activities such as carpentry, mural painting, and other community-based projects. The Roswell Museum also assisted in the decoration of City Hall, a WPA building that opened in 1940, and collaborated with neighboring art centers on other projects.
  
  
  
  
  Overall, the response to the Roswell Museum appears to have been positive, and it remains a valued cultural asset within the community.
  
  References
  
  Grieve, Victoria. The Federal Art Project and the Creation of Middlebrow Culture. Urbana and Chicago: University of Illinois Press, 2009.
  
  Art in Action: American Art Centers and the New Deal. Edited by John Franklin White. Metuchen, NJ: The Scarecrow Press, 1987.
  
  All other documents come from the Roswell Museum and Art Center WPA Archive.
  
  Roland Dickey to Russell Vernon Hunter, December 28, 1938.
  Oral history interview with Roland F. Dickey, January 16, 1964, Archives of American Art, Smithsonian Institution.
  “Los Pastores Draws Crowd to Museum,” Roswell Morning Dispatch, December 28, 1938.
  “Large Crowd Sees ‘Los Pastores’,” Roswell Daily Record, December  28, 1938.
  Paul Horgan, “The Local Value of Roswell Museum, Federal Art Center,” Roswell Daily Record, January 7, 1939.
  Roland Dickey to Russell Vernon Hunter, March 13, 1940.