Contributors

C o n t r i b u t o r s A u t h o r s Peter L. Bayers is a visiting assistant professor at Fairfield University in Fairfield, Connecticut. A version of this essay is part of a recently released book, Imperial Ascent: Mountaineering, Masculinity, and Empire. Todd Davis is an assistant professor at Penn State Altoona. He teaches nature writing and American literature. The author of many articles, Davis is also coeditor of Mapping the Ethical Turn and coauthor of Formalist Criticism and ReaderResponse Theory. His poetry has been published in numerous literary journals and magazines. His first book of poems, Ripe, was published in September 2002. Jared Farmer is a Ph.D. candidate in American history at Stanford University. Thomas J. Lyon taught at Utah State University from 1964 to 1997 and edited Western American Literature. Maria Carla Sánchez is an assistant professor at the University of Michigan, Ann Arbor, where she teaches nineteenth- and early twentieth-century litera­ ture. She is the author of articles on Fanny Fern, María Amparo Ruiz de Burton, Catharine Sedgwick, and Sylvia Plath as well as coeditor (with Linda Schlossberg ) of Passing: Identity and Interpretation in Sexuality, Race, and Religion. Kenneth Womack is head of the Division of Arts and Humanities at Penn State University’s Altoona College. He has published widely on twentiethcentury literature and popular culture. He serves as editor of Interdisciplinary Literary Studies: A Journal of Criticism and Theory and as coeditor of Oxford University Press’s Year’s Work in English Studies. He is the coeditor (with Todd F. Davis) of Mapping the Ethical Turn and the author of Postwar Academic Fiction. A r t i s t s Ansel Adams (1902-1984) was bom in San Francisco. In 1916, during a family vacation in Yosemite National Park, he received a Kodak Box Brownie camera from his parents, a gift that launched him on his long and prolific career as a photographer. Among his many achievements, Adams won three Guggenheim grants to photograph the national parks, he worked as an official photographer for the Sierra Club, and he collaborated with renowned photographers includ­ ing Dorothea Lange, Edward Weston, and Imogen Cunningham. Jozef G. Bakos (1891-1977) first studied at the Albright Institute in his native Buffalo, New York. He then studied and taught in Colorado before moving to Santa Fe in 1921. In Santa Fe, he formed the avant-garde group Los Cinco Pintores with Walter Mruk, Fremont Ellis, Willard Nash, and Will Shuster. The group held their first exhibition in December 1921. 222 WAL 3 8 .2 SUMMER 2 0 0 3 George Bellows (1882-1925) is recognized as one of America’s earliest transi­ tional-realist painters. Bellows played collegiate baseball at Ohio State University. His interest in athletics remains manifest in paintings that depict human form through a range of physical and emotional presences. Numerous technological and industrial developments during his lifetime influenced his style. In 1919, Bellows moved to the Chicago Art Institute and illustrated several novels before a case of acute appendicitis prematurely ended his life and work. Marsden Hartley (1877-1943) was born in Lewiston, Maine, and later moved with his family to Cleveland, Ohio, where he won a scholarship to the Cleveland School of Art. He then studied at the National Academy of Art and Design in New York. Hartley visited Taos and Santa Fe in 1918 and 1919, attracted by the landscape and the primitive simplicity of local santos. While living in Berlin in the early 1920s, he often painted scenes from New Mexico. Ann Huston, who was raised in northern Vermont, came to Taos to work with renowned weaver Rachel Brown. She later focused on painting with pastels, which she has often described as being similar to weaving. She now lives with her husband, artist Ed Sandoval, in Taos, New Mexico. The couple’s work is exhibited at the Studio de Colores Gallery in Taos. Deborah J. Murphy (b. 1950), a native Nebraskan, has been working as a pro­ fessional artist since 1972. She is known primarily for her midwestern land­ scapes and has said of her recent work, “Grass-lined sloughs have...