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Side Gallery with religious art exhibition, 1938-1939

1 In response to complaints about dominating the primary exhibition space, director Roland Dickey curated an exhibition of religious art in the smaller gallery, allowing local sponsors to work in the main space. As director, Roland Dickey often felt frustrated with the sponsor's differing interests, and expressed a sense of self-satisfaction in a December 30, 1938 letter to State FAP Director Russell Vernon Hunter: “The room looks nicer than it ever has, and they [the Sponsors] like it. ” As an example of the often one-sided nature of the archive, we do not have any correspondence from the sponsors themselves explaining how they felt about the gallery spaces. Since everything we know about them comes through the perspective of the FAP staff, we are getting a vantage that privileges FAP objectives rather than local ones. Courtesy of the Roswell Museum and Art Center archive.

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Gallery: Roswell Museum Archive Sara Woodbury
Contents of this path:
1. Gallery: Roswell Museum Archive
2. Frank Standhardt, Elevation for the Roswell Museum, September 1936
3. Frank Standhardt, Elevation for the Roswell Museum, September 1936
4. The Roswell Museum, ca. 1937
5. Roswell Museum, 1937
6. Working on the colcha curtain 1937
7. Newspaper Clipping about Colcha pattern, 1937
8. Colcha pattern 1 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
9. Colcha pattern 2 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
10. Colcha pattern 3 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
11. Colcha pattern 4 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
12. Colcha pattern 5 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
13. Roswell Museum, Stage and Curtain, ca. 1937 Central view of the stage with colcha curtain. The curtain features a pattern of Maltese crosses capped with stylized roses, and eight double-headed eagles. The eagle motif, initially taken from the Habsburg double eagle, is more specifically referencing Maximilian I's coat of arms. The color scheme included shades of tan, red, green, yellow, and brown. The whereabouts of the curtain remain unknown. Courtesy of the Roswell Museum and Art Center archive.
14. Roswell Museum, Stage and Curtain, ca. 1937
15. Drawing of Ladies Lounge, ca. 1937
16. Ladies Lounge, ca. 1937-1938
17. Ladies Lounge, ca. 1937-1938
18. Roswell Museum Office, 1937
19. Eddie Delgado, Tin Chandelier, 1937
20. Left to Right: Russell Vernon Hunter, Henriette Wyeth, and Paul Horgan, December 1937 Left to right: Russell Vernon Hunter, Henriette Wyeth, and Paul Horgan most likely sitting in front of Wyeth's painting "Victorian Arrangement," which was included in the December 1937 exhibition checklist. Although the museum opened in October, the official dedication did not take place until December, after the interior had been finished. Peter Hurd did not attend the opening event because he was working on a fresco in Albuquerque at the time. Courtesy of the Roswell Museum and Art Center archive.
21. Looking into the Main Gallery, with Exhibition 241, Index of American Design, on view.
22. Checklist for Peter Hurd and Henriette Wyeth Exhibition, December 1937
23. Henriette Wyeth and Peter Hurd exhibition, December 1937
24. Job Description for Rainey Woolsey
25. Work Hours for Rainey Woolsey Compared to today's 40-hour week minimum, staff members at the Roswell Museum worked fewer hours in the 1930s, reflecting limited budgets and funding. In the case of Gallery Attendant Rainey Woolsey, 30 hours a week, or 120 hours per month, was the maximum amoung allotted, with the workday lasting from 1:30-5:30 pm. The first hour would be spent preparing reports , with the gallery opening to the public at 2. Courtesy of the Roswell Museum and Art Center archive.
26. Research topics for Rainey Woolsey, 1938
27. Woolsey Report, page 1 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....
28. Report from Rainey Woolsey, Page 2 Transcription: (First sentence illegible) “This group of drawings will hang until December 15th. Visitors to the gallery will find (illeg) “Roswell Museum Federal Art Center the First Year” by Paul Horgan. Captain Horgan won the Harper Prize of 1933 for “The Fault of Angels”, a novel. He is the author of “Main Line West”, “A Lamp on the Plains”, “The Return of the Weed”, “The Habit of Empire” and many other publications. He is librarian of New Mexico Institute at Roswell, one of state advisors for the Federal Art Project of N.M. Paul Horgan has been active in organizing Roswell Museum Federal Art Center and constantly vigilant in promoting its interests—thru the " (see page 3 for continuation)
29. Report from Rainey Woolsey, Page 3 Transcription: (First sentence illegible) “…the above article is reprinted from the Golden Anniversary of the Roswell Daily Record for October 3, 1938. Captain Horgan is chairman of the recently organized “Roswell Friends of Art” this function of this group is to further the interest of and bring together those who might enjoy art activities at Roswell Museum Federal Art Center. On Wednesday nite December 7 the Archaeological and Historical Society younger members will sponsor a game party at the museum. The idea being to bring your table and game for fun and the museum. Pay a small fee—refreshments will be served during the evening.” (see page 4 for conclusion)
30. Report from Rainey Woolsey, Page 4 Transcription: “There will be a meeting open to the public Monday nite at 7:30 o’clock at the Roswell Museum for the purpose of discussing the work shop plan and to enroll those interested. Mr. Marfyak and Mr. Slifkin artists from the New York City Federal Art Project are here for several months to establish and teach classes for children and adults. Mr. Marfyak and Mr. Slifkin will be present Monday nite and invite your cooperation-” (end of document)
31. Note from Second Grade Class at East Side School to Rainey Woolsey, n.d. This note represents one of the few direct responses from visitors to the museum, in this instance a class of second graders. Rainey Woolsey worked at the Roswell Museum as a gallery attendant between 1937 and 1938. Transcription: "Dear Mrs. Woolsey, We liked our visit at the museum. We learned many interesting things. We thank you for inviting us. Second Grade East Side School." Courtesy of the Roswell Museum and Art Center archive.
32. FAP Exhibition #241, Index of American Design, with local antiques exhibit, 1938
33. Acceptance/Rejection Form for Local Flower Show, 1938
34. Letter from J.R. Whiteman to Roland Dickey, 1938 Whiteman was a local artist who painted posters and other signage for the Roswell Museum. Dickey would supply him supplies and instructions. Transcription: "Dear Roland, am sending some of the posters--suppose this is the right size? Since I have moved I can't find any more paper--may be out. Can you send 12 cards for the last posters. Hope these will suffice--or sumpin! Sincerely, JRW." Courtesy of the Roswell Museum and Art Center archive.
35. Side Gallery with religious art exhibition, 1938-1939 In response to complaints about dominating the primary exhibition space, director Roland Dickey curated an exhibition of religious art in the smaller gallery, allowing local sponsors to work in the main space. As director, Roland Dickey often felt frustrated with the sponsor's differing interests, and expressed a sense of self-satisfaction in a December 30, 1938 letter to State FAP Director Russell Vernon Hunter: “The room looks nicer than it ever has, and they [the Sponsors] like it. ” As an example of the often one-sided nature of the archive, we do not have any correspondence from the sponsors themselves explaining how they felt about the gallery spaces. Since everything we know about them comes through the perspective of the FAP staff, we are getting a vantage that privileges FAP objectives rather than local ones. Courtesy of the Roswell Museum and Art Center archive.
36. New Mexico Military Institute cadets attending an exhibition of Daumier Lithographs, 1939
37. Drawings from California, November 20-December 20, 1938
38. Checklist for Drawings from California, Page 1
39. Checklist for Drawings from California, Page 2
40. Certificate of Exhibition and Ownership for Drawings from California
41. Government Bill of Lading for Drawings from California
42. Shipping Receipt for Drawings from California
43. Report of Exhibitions Received and Sent for Drawings from California
44. Notice of Bill of Lading for Drawings from California
45. Note from Second Grade Class at East Side School to Rainey Woolsey, n.d. This note represents one of the few direct responses from visitors to the museum, in this instance a class of second graders. Rainey Woolsey worked at the Roswell Museum as a gallery attendant between 1937 and 1938. Transcription: "Dear Mrs. Woolsey, We liked our visit at the museum. We learned many interesting things. We thank you for inviting us. Second Grade East Side School." Courtesy of the Roswell Museum and Art Center archive.
46. Visitor Sign-In Book Page, October 29, 1938
47. Left to Right: Tomas Sapiens and Gregorio Dominguez, 1939
48. Los Pastores Cast, 1938
49. Actors in Los Pastores, 1938
50. John Marfyak, Drawing of Roswell Museum, 1939
51. John Marfyak, Drawing of Roswell Museum, 1939
52. John Marfyak, Postcard, 1939
53. Cover for promotional brochure about the Roswell Museum, 1939
54. Advertisement for Scenes from Circus Life exhibition, 1940
55. Gallery: Roswell Museum Archive
56. Elevation for Mineral Cabinet, ca. 1940
57. Elevation for Mineral Cabinet, ca. 1940
58. Elevation for Mineral Cabinet, ca. 1940
59. Exhibition Schedule, May-July 1940
60. Exhibition Schedule, October 1940-January 1941
61. Martha Kennedy, Melrose Art Center Holiday Card
62. Workshop Announcement, 1938-1939 Although education constituted a significant part of the Federal Community Art Center Project, the Roswell Museum did not begin offering classes until late 1938, as the original building included no classrooms. During the first year, the museum provided educational activities through lectures and gallery talks while it secured several spaces around town for classroom use. By late 1938, the museum's first studio instructors had arrived, John Marfyak and Abraham Slifkin, both on loan from the New York Art Project. They remained in Roswell until the spring of 1939. Courtesy of the Roswell Museum and Art Center archive.
63. Student with artwork, 1939
64. Request for Treatment of Injured Employees
65. Peter Hurd, The Windmill Crew, 1936
66. The Roswell Museum and Art Center today
67. Basic Museum layout
68. Founders Gallery, 2018
69. PGA Gallery, 2018
70. Aston Collection of the American West
71. Goddard workshop
72. The Robert H. Goddard Planetarium

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Becoming the Roswell Museum and Art Center
The arrangement between the FAP and the Chaves County Archaeological and Historical (A&H) Society had enabled the Roswell Museum to provide a variety of exhibitions and programs to its visitors, but it also caused tension between federal staff and local leadership due to differing expectations. While the FAP emphasized classes and rotating art exhibitions, the A&H Society wanted to focus on archaeological materials. As early as 1938, the Roswell Museum’s sponsors expressed concern over the FAP’s focus on art exhibits rather than archaeological ones and investigated a potential partnership with the Museum of New Mexico to bring more historical materials to Roswell.

Tensions became more pronounced during the 1940s, when the focus of community art centers shifted toward serving enlisted troops. Art centers became known as Service Centers, and began hosting exhibitions that addressed the Red Cross and other wartime interests. By July 1942, the Roswell Museum’s sponsors decided to end their federal affiliations and run the center themselves. The museum returned its FAP equipment to Santa Fe at the end of the year, and remaining staff members were assigned new positions with other projects.

The Roswell Museum's separation from the FAP ultimately fulfilled the long-term objective of the Community Art Center Project, which was to have local communities assume control of these centers. The Roswell Museum's transition into a city department also indirectly secured its future as a cultural institution. With US involvement in World War II well underway by 1942, the WPA was no longer considered necessary to the economic recovery of the United States. It officially ended its operations in 1943, and the art centers that still depended on it for funding and staffing closed. Although the Roswell Museum scaled back its operations due to wartime priorities and a reliance on volunteer staff, it remained open, hosting regional traveling exhibitions and providing arts access to troops training at the Roswell Army Air Field.

A series of donors reenergized the museum during the late 1940s. Donald Winston, a petroleum businessman, instigated a renewed interest in collecting when he donated a set of Roswell artist Peter Hurd’s lithographs. Together with his brother, Frederick, and business partner, geologist Samuel Marshall, Winston established the museum’s collection of New Mexican modern art, donating works by Peter Hurd, Henriette Wyeth, Georgia O’Keeffe, Stuart Davis, and others. In 1949, Esther Goddard, the widow and collaborator of pioneering rocket scientist Robert H. Goddard, offered her late husband’s launch tower to the museum, instigating the Goddard collection. Rogers Aston, a petroleum businessman and bronze sculptor, created the Rogers Aston Collection of the American West, while Donald B. Anderson, another oil businessman and artist, strengthened the museum’s contemporary art holdings and established the Roswell Artist-in-Residence Program. To properly house these burgeoning collections, the museum began to expand its gallery spaces and professionalize its staff, with its first director being none other than Thomas Messer, later director of the Solomon R. Guggenheim Museum in New York. Today, the Roswell Museum’s collections include more than 8,000 objects, and its education spaces encompass classrooms, an auditorium, an extensive ceramics studio, and the Goddard Planetarium. To learn more, you can visit its website here.

The Roswell Museum and Art Center has evolved dramatically since 1937. Yet throughout its history, it has remained committed to the education-based ideals of the FAP. While the ways in which the museum engages the public have changed, enriching southeast New Mexico through art and history remains a core objective. By thriving as a community-minded institution, the Roswell Museum and Art Center continues to recognize its WPA origins.

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.

Robert Sprague to Russell Vernon Hunter, February 21, 1938.
Bertha Rose, FAP Form 7, Monthly Report, March 1942.
Bertha Rose to Russell Vernon Hunter, June 24, 1942.
Bertha Rose to Russell Vernon Hunter, July 27, 1942.
Russell Vernon Hunter to Bertha Rose, July 28, 1942.
Russell Vernon Hunter to Bertha Rose, December 30, 1942.
Bertha Rose to Russell Vernon Hunter, October 8, 1942.
Roswell Museum Bulletin, no. 1 (February-March 1949).