Contributors
Rent from DeepDyve- Contributors
Authors
Sarah Barnsley teaches at Goldsmiths, University of London. She is currently writing a critical biography of Mary Barnard. Her essay on Barnard and H.D. will be featured in a forthcoming issue of Paideuma.
Jennifer Ladino, an assistant professor of English at Creighton University, is a Fulbright lecturer at the University of Bergen, Norway. She has published on Marianne Moore, Zitkala-Ša, Sherman Alexie, and Ruth Ozeki, and her current book project traces a genealogy of nostalgia for nature in American literature and culture since 1890.
Lisa Tatonetti is an assistant professor of English and American ethnic studies at Kansas State University. Her research focuses on Two-Spirit/GLBTQ Native literatures and on images of the 1890 Ghost Dance and Wounded Knee massacre in American Indian literatures. Her publications include GLQ, MELUS, Studies in American Indian Literatures, Studies in American Fiction, and Western American Literature.
Carey R. Voeller, a native of Oregon, is an assistant professor at Wofford College in Spartanburg, South Carolina. His research interests include literature of the West, sentimentality, gender studies, and disability studies. He has published articles on mourning in Overland Trail women's diaries and letters and on Hemingway, sympathy, and hunting and is at work on a book that analyzes masculinity, sentimentality, and representations of monstrosity in 1840s and 1890s US literature.
Artists
Mary Hallock Foote (1847–1938), who published stories and illustrations in Century and other major periodicals for many years significantly influenced readers' conceptions of the West. Some of her best work is "Pictures of the Far West," printed in Century from November 1888 to November 1889.
Thomas Houseworth (1828–1915) and George S. Lawrence (dates unknown) in 1859 were the first Pacific Coast distributors of stereoscopes in their San Francisco optical store, providing high-quality California landscapes and scenic views of cities, towns, mining districts, and industrial projects for the growing western tourist business. After Lawrence's retirement in 1868, the business took a downturn: stereograph prices dropped and a feud with photographer Eadweard Muybridge left Houseworth $15,000 in debt. By 1874, Houseworth had curtailed stereopublishing and turned to photographing celebrities, political figures, and [End Page 306] theatrical and cultural groups while continuing to practice optometry into his eighties.
Hilda Morris (1911–1991), a modernist sculptor, trained in New York but joined the WPA in 1938 and was sent to Spokane, where she established a sculpture center. The Pacific Northwest landscapes and Asian communities and cultures inspired her abstract sculpture. When she began to focus on abstract paintings in the 1980s, she once again turned to Asian subject matter in a series of sumi paintings.
Eadweard Muybridge (1830–1904) began photographing western landscapes in 1855 but didn't move to the US permanently until around 1866. With his mobile darkroom, which he named the Flying Studio, Muybridge photographed Yosemite, Alaska, and the Pacific Coast, as well as the Bay Area. In 1871, he began his famous locomotion studies of animals and humans in addition to documenting Modoc Indians and US soldiers in Northern California and the areas now accessible by the Central Pacific and Union Pacific railroads. Muybridge traveled to Panama and Central America after he was acquitted in 1875 for killing his wife's lover. He spent the rest of his career on his motion studies at Stanford University and the University of Pennsylvania.
Frederic Remington (1861–1909), a prolific artist whose watercolors, oils, pen-and-ink sketches, and bronze sculptures epitomize the romantic realism of the Wild West, lived most of his life in the eastern states of New York and Connecticut. Frequent western trips fueled his award-winning portfolio and led to numerous commissions for illustrations in magazines such as Harper's Weekly and Century as well as museum exhibitions and one-man shows. In later paintings, Remington resisted his typical methods and themes, turning toward the softened edges, vibrant colors, and muted emotionalism of the Impressionists.
Awa Tsireh (Alfonso Roybal) (1898–1955), was many things to his San Ildefonso Pueblo: farmer, pottery painter, museum employee, painter and silversmith. The oldest of the early group of pueblo painters, he was comfortable with representational, conventional, and abstract art. His paintings appeared in early exhibits in Santa...
