As a scholar and curator, I have written on a variety of art historical subjects, with my work most frequently addressing New Mexico and the greater Southwest. My writing has been published in peer-reviewed journals, catalogues, and online periodicals. I have included links to open-access materials or downloadable PDFs on this page whenever possible.
I am always interested in new writing opportunities. If you are seeking a contributor to a catalogue, guidebook, digital platform, or other art historical writing project, please contact me.
The Artist as Soldier: Howard Cook’s Self-Portrait in a Foxhole, Arts 2020, 9(1), 37; https://doi.org/10.3390/arts9010037.
This article considers the wartime oeuvre of New Mexico artist Howard Cook (1901-1981) by examining a group of self-portraits he completed while on assignment as a war art correspondent in the South Pacific in 1943. Through an expressionistic use of ink and paint and a compositional emphasis on his passivity, Cook offers a personalized interpretation of combat conditions that underscores his sense of exposure. More broadly, Cook’s oeuvre highlights the significance of the War Art Unit and the potential for more scholarship on this initiative.
Image: Howard Cook, Self-Portrait in a Foxhole, 1943, mixed media on paper. Permanent Collection of the Roswell Museum and Art Center, Roswell, New Mexico.
Exhibition Catalogues and Essays
“ ‘This Ambition Which Haunts Me Every Moment’: The Multifaceted Career of Peter Hurd.” In Magical and Real: Henriette Wyeth and Peter Hurd, A Retrospective, Vol. 2, Peter Hurd. Edited by Kirsten M. Jensen, 1-21. Doylestown: James A. Michener Art Museum, 2018.
This biographical essay discusses the life and career of New Mexico artist Peter Hurd (1904-1984). It explores how Hurd established a distinct artistic voice by applying the illustration training he had received from his mentor, N.C. Wyeth, and applied it to the people and places of southeastern New Mexico and west Texas, producing landscapes and portraits that set him apart from both the Wyeths and his contemporaries in northern New Mexico.
Image: Peter Hurd, The Dry River, 1938, egg tempera on panel. Permanent Collection of the Roswell Museum and Art Center, Roswell, New Mexico.
Dorothy Peterson: Painting New Mexico, Exhibition Brochure, Roswell Museum and Art Center, 2017.
This essay discusses the career of prominent Roswell watercolorist and educator Dorothy Peterson. As a teacher, she has dedicated herself to the creative enrichment of Roswell and its surrounding communities for over thirty years. In her painting, she explores New Mexico’s distinctive sense of place. Her gestural watercolor and acrylic compositions celebrate the joy of creative expression while taking inspiration from history, archaeology and personal experience.
Brochure designed by the City of Roswell; photography provided by Dorothy Peterson.
Power: New Works by David Emitt Adams. Exhibition brochure, Roswell Museum and Art Center, 2017.
This essay considers a new collection of wet collodion prints by photographer David Emitt Adams. Based in Phoenix, Arizona, Adams explores the intersections between landscape and culture through the use of historical photographic processes. In his new portfolio, Power, Adams meditates on the petroleum industry by printing images of oil refineries on discarded drum lids.
Brochure designed by Kathy Avery; photography provided by David Emitt Adams.
The Art of the Book. Exhibition brochure, Roswell Museum and Art Center, 2016.
This essay offers an overview of the book as a contemporary art form through a survey of ten book artists working around New Mexico. From hand-sewn clothing to collage videos, each artist challenges viewers to reconsider books beyond the conventional text-printed codex while simultaneously embracing the book as a means of communication for creative ends.
Brochure designed by Kathy Avery; photography provided by the artists.
Roderick Mead: Looking Being The lines, Roswell Museum and Art center, 2016.
Originally from New Jersey, Roderick Mead (1900-1971) spent several years in Paris, where he became involved with the experimental printmaking collective Atelier 17. Through this affiliation, Mead developed a Surrealist-infused aesthetic. After returning to the United States during World War II, Mead interpreted the landscapes of southeast New Mexico through a Surrealist lens, producing a distinctly modern interpretation of the Southwest.
Brochure designed by Kathy Avery; photography provided by Roswell Museum and Art Center.
Guitars from Club Muse: Roger Sweet, Roswell Museum and Art Center, 2016.
Based in Jemez Springs, New Mexico, Roger Sweet has created a unique oeuvre of sculptures created from deconstructed guitars. Using paint, found objects, and other materials, Sweet has transformed his guitars into dancing figures, furniture, and other forms. Created over a thirty-year span, these pieces address an eclectic range of subject matter from art history to Cold War anxieties, but what united these seemingly disparate works is an overarching passion for the guitar as an expressive form.
Brochure designed by Kathy Avery; photography by Theodore Greer.
Signe Stuart: Fifteen. Exhibition catalogue, Roswell Museum and Art Center, 2015.
This catalogue examines the career and oeuvre of Santa Fe artist Signe Stuart. A multimedia artist working with painting, works on paper, mixed-media constructions, and installation, Stuart explores the dynamism underpinning the natural world through her use of positive and negative space, light and shadow, and a focus on underpinning structures through sewing, assemblage, and other forms of construction.
Catalogue designed by Kathy Avery; photography provided by Signe Stuart.
The Wiggins-Howe Legacy. exhibition catalogue, roswell museum and art center, 2014.
For over a century the Wiggins and Howes have been leaving an indelible creative mark on the city of Roswell and the surrounding region. This essay traces the history of this influential artistic family by discussing the work of ten different family members over five generations. Whether working with fireworks, ceramics, or film, the Wiggins and Howes have long enriched Roswell’s artistic presence with their boundless creativity and passionate community engagement.
Brochure designed by Kathy Avery; photography by Jose Rivera.
“GIVING A GOOD IMPRESSION: B.J.O. NORDFELDT’S INSCRIBED ETCHINGS.” ART IN PRINT 7, NO. 2, 2017, 19-21. HTTPS://ARTINPRINT.ORG/ARTICLE/GIVING-A-GOOD-IMPRESSION-B-J-O-NORDFELDTS-INSCRIBED-ETCHINGS/
This essay contemplates the intimacy of artistic gift changes through three personalized etchings presented by B. J. O. Nordfeldt (1878–1955) to fellow etcher Bertha E. Jaques (1863–1941), now part of the permanent collection of the Roswell Museum and Art Center in New Mexico, form an intriguing example. Embellished with notes and informal drawings, these impressions recall aesthetic trends associated with the Etching Revival while underscoring the often private nature of print consumption.
Image: B.J.O. Nordfeldt, Barge in the North Branch, Chicago, 1912, etching with hand-written inscriptions on paper. Permanent Collection of the Roswell Museum and Art Center, Roswell, New Mexico.
“Eclectic Collecting: The Roswell Museum and Art Center’s Southwest.” Pelican Bomb, July 27, 2015. http://pelicanbomb.com/art-review/2015/eclectic-collecting-the-roswell-museum-and-art-centers-southwest.
This essay meditates on Roswell, New Mexico, and more broadly the Southwest, as a contemporary pilgrimage site for audiences of varying interests. In addition to discussing key objects from the Roswell Museum and Art Center collection and their status as contemporary relics, the essay explores Roswell’s significance to Ufology and ongoing interest in extraterrestrials. It also considers southeastern New Mexico’s importance as an artistic pilgrimage site through the Roswell Artist-in-Residence Program, which enables artists from around the world to live and work there.
“Whimsy: The Spirit of Play at Shelburne.” Antiques, July/August 2013, 132-134. https://www.themagazineantiques.com/article/four-seasons-at-shelburne/
This essay explores the concept of whimsy as a key facet to the collecting practice of American folk art proponent and Shelburne Museum founder Electra Havemeyer Webb. This essay appeared in Antiques magazine as part of a four-part essay series on Color, Pattern, Whimsy, Scale: The Best of Shelburne Museum, the inaugural exhibition for the Pizzagalli Center for Art and Education.
Image: Artist unknown, Ninepins, ca. 19th century, wood and polychrome. Permanent collection of Shelburne Museum.
“Cornelius Saftleven: College of Animals,” and “Raymond Jonson: Composition 7-Snow.” In Dallas Museum of Art: A Guide to the Collection. Edited by Bonnie Pitman, 155, 253. Dallas: Dallas Museum of Art, distributed by Yale University Press, 2012.
These two brief essays appear in the 2012 guidebook on the Dallas Museum of Art collection, intended for visitors or readers wanting an overview of the museum’s holdings. The first entry discusses the iconography of Cornelius Saftleven’s 1655 allegorical painting College of Animals in relation to 17th-century Dutch culture and politics. The second essay explores Raymond Jonson’s burgeoning interests in abstraction and nonobjectivity as expressed in his 1928 painting Composition 7-Snow.
Monthly Columns ad Blogs
“From the Vault,” Vision Magazine, 2014-2018
Vision is a cultural magazine highlighting activities and events around southeastern New Mexico. During my tenure as Curator of Collections and Exhibitions at the Roswell Museum and Art Center, I contributed a monthly column featuring objects from the permanent collection, special exhibitions, or classes.
This was my personal blog prior to creating my current website. I discussed a variety of topics pertaining to my professional activities and personal interests, including exhibition work, art-making, the history of printmaking, and travel. Although I no longer post on this blog it remains online as a resource.
As a curatorial fellow at Shelburne Museum, I periodically contributed posts discussing exhibitions I was working on and related projects.
I co-wrote this post with fellow McDermott Intern Karen A. Colbert about my first exhibition, Cross-Cultural Dialogues in European and American Landscapes.