Culture, Time, and Passion...The Fibres of Art

Calling all Artists and Art Historians!

Warnborough College (my Alma mater) is holding its second annual Conference on the Arts in Canterbury, England this summer, beginning on the evening of August 18 through August 21, 2014. If you are able to attend, it promises to be a wonderful opportunity to meet and to collaborate with fellow art "folk."

Artists in all media, academics, archivists, historians, curators, guides, students, researchers, curriculum planners, policy makers, photographers, and professionals in the fields of media, education, arts, music, humanities, science, and social sciences, are encouraged to attend.

I am the Director of Round Table Discussions-please send me an abstract of your proposal for your paper. Hopefully, you will then present at the conference. I'll look for your abstracts at victoria@warnborough.edu. 

All additional information for the conference and submissions can be found at http://warnborough.org/

Join us for this exciting event!

 

Ila Mae McAfee: Taos Painter

Ila Mae McAfee
A Chain Reaction: Trouble on the Trail
Oil on Canvas
ca. N.D.
 36 x 48 inches 

Ila Mae McAfee was born in 1897, in the small ranching community of Sargents, in southwestern Colorado near Gunnison. Her artistic interest began early and centered upon horses, which she would draw as a child. After she graduated from Gunnison High School in 1916, McAfee spent time in Los Angeles at the West Lake School of Art and the Haz Art School (1917-1918).
McAfee received her Bachelor's degree in art from Western State College, but her formal art education was at the aforementioned Haz Studio School in Los Angeles and at the Art Institute of Chicago. She decided to study under muralist James E. McBurney from whom she had taken courses in Chicago. McBurney hired McAfee as his assistant until 1924, after which she traveled to New York to study at the National Academy of Design and the Art Students League. While in New York, McAfee worked as an illustrator and a painter of miniatures and did illustrations for Blue Book, Ranch Romances and other magazines.

Ila Mae McAfee
Entrance to Spring
ca. N.D.
         Oil on canvas board
 16 x 20 inches

In 1926, McAfee returned to Colorado and married Elmer Page Turner, an artist she had met on her parent's Colorado ranch. She and Turner moved to Taos in 1928 to be a part of the burgeoning art movement of the region. There, they built White Horse Studio, which would serve as their studio and home until 1993.


Ila McAfee

New Mexico Desert

ca. 1930s,

Oil on board,

32 x 65 inches

 

 

Ila McAfee

Alert

ca. N. D.

Oil on canvas

20.25 x 28.25 inches

 

In Taos, McAfee painted landscapes and figures, but her specialty remained animals, specifically horses. She also worked as an illustrator of children's books. She worked on a number of murals, as well, though she was most famous during her lifetime for something entirely unrelated to her art; she owned a series of cats, all named Sanka, to whom she taught as many as seventy five tricks each.

 

Ila Mae McAfee

  Red Willows

    ca. N.D.

  Oil on canvas

  18 x 20 inches

In addition to over a thousand easel paintings, which are represented in numerous public and private collections, McAfee’s murals were placed in the post offices of Clifton, Texas, Cordell and Edmond, Oklahoma and Gunnison, Colorado, as well as in the public library of Greeley, Colorado. She was a  friend of the noted Western art collector, Lutcher Stark and painted fifteen portraits of Lutcher’s longhorns at "Shangri-La." She also received every award that could be won at the New Mexico State Fair professional juried show.

Ila Mae McAfee
Woman with Blanket
Oil on Panel
ca. 1950
8 x 10 inches



Ila Mae McAfee
Horses in Rhythm
Watercolor
ca. 1971
5  x 4 inches 

In Taos, she became known for her pueblo paintings and her depictions of horses and other animals as well as Native Americans, ranch scenes, and landscapes. During an interview for Southwestern Art 20, Rita Simmons asked about her first impressions of Taos. McAfee said, "[Taos] was so different then, the village was small and the Indians remained uninfluenced by the invaders. Once I asked one of them, "What did you call this country before the Europeans came?" 'Ours,' he told me."

In 1981, she was voted Taos Artist of the Year.  In addition, she worked as a WPA artist, completing a number of commissions for post office locations such as Edmond, Oklahoma, and Clifton, Texas.

Ila Mae McAfee lived a long, productive life that spanned nearly the entire twentieth century. She moved to Pueblo, Colorado in 1993, where she died two years later, after leaving her beloved adobe home in Taos, New Mexico.


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Sources:
Taos and Santa Fe Painters, http://www.ilamcafeepaintings.com/, Retrieved January 10, 2014
http://www.askart.com/askart/m/ila_mae_mcafee/ila_mae_mcafee.aspx, Retrieved January 10, 2014
Kovinick, Phil and Marian Yoshiki-Kovinik, An Encyclopedia of Women Artists of the American West, (Austin: University of Texas Press), 1998, 208.
Rita Simmons, "Ila McAfee," Southwestern Art 20 (September 1990): 100.

Margrethe Mather: Modernist Photographer

Edward Weston, Margrethe Mather,
 ca. 1914, gelatin silver print
Collection Center for Creative Photography, University of Arizona, Tucson AZ

On March fourth of this year, Photography News wrote this about Margrethe Mather on the 125th anniversary of her birth in Los Angeles. " . . . . Margrethe Mather was a photographer who --through her exploration of light and form-- helped to transform photography into a modern art."
 

Despite her marvelous body of work, Margrethe Mather remains an enigmatic figure, best known for her association with Edward Weston . . . . However, many consider Mather to have been Weston's mentor and teacher. She shared with him her intuitive eye for composition and her innate sense of artistic style, "teaching him how to edit an image to its very essence."

Imogen Cunningham
Margrethe Mather and Edward Weston
ca. 1922
Gelatin Silver Print
8 x 10 inches

Close companions for over a decade, Mather and photographer, Edward Weston, collaborated on many photographs. The photographers had a profound influence on each other and on the history of photography in the years just before and after the First World War, as photography swung back and forth between pictorialism and modernism. Mather, a photographer of considerable accomplishment who taught and learned from Weston, has unfortunately vanished into obscurity while his reputation has continued to flourish over time.

Collaboratively, Mather and Weston founded the Camera Pictorialists of Los Angeles in 1914 that became one of the most important camera clubs and exhibition venues in the country.

Margrethe Mather
Lady in White
ca. 1917
              Platinum print, 9 5/16 in. x 7 3/8 in.
 Collection SFMOMA

Mather's early work was in the Pictorialist style, beautifully photographed images, veiled in hazy, soft-focus effects, such as the above Lady in White, taken in 1917. Mather and Weston had begun to employ the distortion of shadows to intensify the drama of their images. In her 1918 photograph of a Chinese poet, Moon Kwan, Mather strategically placed the poet's figure and his shadow in broad spatial areas to produce spare, but arresting compositions, that were quite ahead of their time.

 

Margrethe Mather

Player on the Yit-Kim

ca. 1918

 

Margrethe Mather

Florence Deshon,(1894-1922) US motion picture actress.

ca. 1921

Bromide print, 9 1/2”x 7 1/2”. Paul J. Getty Museum, Los Angeles 

Margrethe Mather

Japanese Combs

ca. 1931

 

Mather, an artistic and political rebel and a liberated sexual woman, helped to turn Weston's work in a more experimental direction by introducing him to her circle of free-thinking artists, actors and theater people, and political activists. Although Weston appreciated by Mather's intellectual curiosity, and for a time was passionately in love with her, he was also frustrated with her lack of dependability and unpredictable nature. In 1921, Weston embarked on an affair with the Italian-born actress photographer, Tina Modotti. When they departed for Mexico in 1923, Weston entrusted his Glendale studio to Mather's care, however by 1925, she lost interest in sustaining the business and drifted back to her bohemian haunts on Bunker Hill in downtown Los Angeles. Mather continued to shoot photographs sporadically until the mid-1930s, when she appears to have turned her back on photography altogether.

Mather's photographs were more experimental than those being produced by her contemporaries. Margrethe Mather died on December 25, 1952.

Her work is featured in the book, Margrethe Mather & Edward Weston: A Passionate Collaboration (W.W. Norton & Santa Barbara Museum of Art, 2001).
 

In the early 1950s, recalling the greatest influences on his career, Edward Weston declared that Margrethe Mather was "the first important person in my life."

________________________________________________
Sources
http://giam.typepad.com/analog_photography_at_its/2011/09/margrethe-mather-1885-1952.html, retrieved December 17, 2013.
Grace Glueck, Art In Review, Edward Weston and Margrethe Mather, A Passionate Collaboration, April 4, 2003, http://www.nytimes.com/2003/04/04/arts/art-in-review-edward-weston-and-margrethe-mather-a-passionate-collaboration.html, Retrieved December 17, 2013.
SFMOMA, http://www.sfmoma.org/explore/collection/artwork/12772, Retrieved December 18, 2013
Margrethe Mather and Edward Weston: A Passionate Collaboration, http://www.tfaoi.com/aa/3aa/3aa602.htm, Retrieved December 18, 2013

Happy Birthday, Women Out West! Meet Ruth Peabody-Painter, Sculptor, and Educator

Thanks to all the readers of my blog-the first post was created one year ago on November 22, 2012. This has been an incredible journey of discovery. After I submitted my dissertation I thought, now what? I had been writing for two solid years, nearly every day, through weekends, holidays, vacations, and summers. The void after completing the program was immense, so I began to investigate other avenues in which to continue to grow.

I have learned so much from the research into the fifty female artists that have been profiled throughout this year, along with their remarkable lives and contributions both to society and to the art world. I have been influenced and inspired by them-talented women, all.



Ruth Eaton Peabody
Laguna Beach Art Association Artist
(c) HurrellPhotos.com

Ruth Eaton Peabody was a painter who, along with her mother, artist Elanor Colburn, were California modernists in the early part of the twentieth century. Peabody was born in Highland Park, Illinois on March 30, 1893. She first studied sculpture at the Art Institute of Chicago and was taught to paint as a child by her mother. The two women moved to Laguna Beach, California in 1924 and became active in the local art scene where, in addition to painting, Ruth sculpted fountains and memorial plaques along with teaching art.

 

Ruth Peabody

Boy and Dog

Fountain

ca. 1935

Laguna Beach, California

In her early works, Peabody focused on the figure and on still lifes. The Cook Book combines both these subjects in a carefully constructed composition. The woman looks pensive, perhaps pondering what to make for dinner.

 

Ruth Peabody
The Cook Book Oil on canvas, 1925
32 x 40 inches

Little Pig in New Mexico is created in a post-Impressionist style of lively broad brushwork and strong colors. The painting was perhaps inspired by a trip to New Mexico to which Peabody and her mother took in early summer, 1930. (Note the pueblo in the background). In the 1930s, Taos, Santa Fe, and the Southwest in became popular destinations for artists that sought fresh subject matter and discovered sweeping new vistas.


Ruth Peabody
Little Pig in New Mexico
ca. 1931
Oil on canvas, 24 x 20 in.

For years, Peabody designed figural compositions that were much like her mother's style, but in the 1930s, she explored Dynamic Symmetry and Cubism and her work went beyond the objective to Constructivist compositions.



Ruth Peabody
Laguna Beach
ca, 1930s
25x 20 inches
Oil
 

Peabody was an active member in the Laguna Beach Art Association, the California Art Club, and the San Diego Art Guild.  She received dozens of awards in Southern California between the years 1926-1937. Ruth Peabody died in Laguna on October 22, 1966.

Peabody's exhibitions include the Panama Pacific International Exposition, 1915, Pennsylvania Academy of Fine Arts, 1931, Art Institute of Chicago;  Oakland Art Gallery, 1932, Golden Gate International Exposition, 1939, San Diego Fine Arts Gallery, 1939, California State Fairs.

Works are held in the San Diego Museum, drinking fountain opposite the  Laguna Beach Art Gallery, Laguna Beach Art Association (portrait medallion of Anna Hills), Laguna Beach Humane Society (fountains), Anaheim High School, Hoag Memorial Hospital, and in Newport Beach.

 

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Sources

California Art: http://www.californiaart.com/artist-peabody.html, retrieved 12.3.13

The Redfern Gallery: http://www.redferngallery.com/artistbio.php?at=RuthPeabody, Retrieved 12.4.13

The Orange County Register, article: Where the Art Is: Laguna Beach's Public Art Tour Day to highlight works found throughout the city, http://www.ocregister.com/articles/art-24966-city-public.html

, Retrieved 12.4.13

Patricia Trenton, ed., Independent Spirits: Women Painters of the American West, 1890-1945 (Los Angeles: University of California Press, 1995), 100.

 

Ruth Reeves: Art in Fabric Instead of Paint

Ruth Reeves
ca. 1947
New York

Over this past year, we have explored painters, sculptors, and photographers. This post, I would like to introduce you to a textile designer who rightfully belongs in the category of Fine Art. Textiles are intimately related to us more so than painting and sculpture-we all wear clothing according to our tastes, climate, country, and ethnicity and, in some cases, our religion. Influenced by ancient civilizations and primitive peoples, Ruth Reeves felt that "The fabrics of our own time express our contemporary life both in actual motif, where fine contemporary forms seem feasible, and in feeling."

Ruth Marie Reeves (1892 - December 23, 1966) was a painter, an Art Deco textile designer, and an expert on Indian handicrafts. Her wall hangings were created for the children's room of the public library in Mount Vernon, New York; the Victoria and Albert Museum in London, England; and for the carpet at the Radio City Music Hall in New York.  In that project, she was commissioned by textile designer, Donald Deskey, to create a wall fabrics and "vast carpet that would cover the grand lobby, staircase, and three mezzanines---and be symbolic of theatrical activities. In a mosaic-like configuration, Reeves interwove strong geometric abstractions of musical instruments. The rhythmical patterns, with a colorful combination of geometrically shaped banjos, guitars, accordions, piano keys, saxophones, and harps, hover against clouds of bright orange and yellow in a deep blue sky.  . . .The result is an immense, jazzy carpet that is opulent and urbane. It is perfect for a public pleasure palace." [1]
 

Ruth Reeves
Carpet
ca. 1929
Radio City Music Hall Lobby, New York

Born in Southern California, Reeves attended the Pratt Institute in Brooklyn, New York from 1910 to 1911, and returned to the West to attend the San Francisco School of Design in 1911-1913. Reeves won a scholarship to the Art Students League where she studied with Kenneth Hayes Miller during the years 1914 and 1915. She travelled to Paris and lived there from the years 1921-1928 where she studied with renowned Avant-garde artist Fernand Léger. Her designs displayed a modernist idiom and were influenced by artistic movements in France such as Cubism and other contemporary French styles.

Upon her return to New York, Reeves established herself in the artist's community and began to create hand-printed textiles. She joined the newly established American Union of Artists and Craftsmen which sponsored major exhibitions in 1930 and 1931 to promote modern American design. [2]

A commission to design fabrics for the period furniture retailer, W. & J. Sloan established Reeves' reputation as one of the foremost original designers in the field.
 

Ruth Reeves
American Scene
1930
Block Printed cotton
105 1/2 x 47 1/4 inches
Yale University
Art Gallery, John P. Axelrod Collection

In her design for American Scene, Reeves combined "imaginary rooms in a country house where her given textile would have meaning." [3] The American Scene pattern recalls eighteenth century textiles with repeating groups of picturesque figures, surrounded by arabesques or foliage however, this particular type of pattern was also typically used in Art Deco fabrics. She took an eclectic approach in her design and choice of fabrics she employed. She elevated simple materials such as billiard-table felt, Turkish toweling, homespun, and unbleached cotton as she glorified those fabrics in a variety of treatments. Reeves also referred to Cubism, Futurism, folk and tribal art for inspiration.

Reeves, like many of her contemporaries, embraced modernism which served to move design away from old-fashioned historical styles and create sleek, abstract forms appropriate for modern life. She was able to incorporate both modern and primitive in her designs that combined "old and new as a synthesis of primitive vitality and machine-age sophistication." [4]


Ruth Reeves
Design for a Child's Room
ca. 1930?
Indianapolis Museum of Art

Funded by a grant from the Carnegie Institute in Washington, D.C., Reeves traveled extensively in Guatemala in 1934 where she visited the most remote villages and studied traditional Mayan textiles. Her intention was to create a set of modern variations that were inspired, not copied, by native work. She collected costumes that became part of an exhibition along with her own Guatemalan-derived designs at Rockefeller Center in March of 1935. Simultaneously, Macy's opened a display of additional costumes from her collection as well as a selection of modern adaptations and accessories using Guatemalan motifs. [5]

Reeves was a perfectionist who refused to compromise her high design standards. She always believed that textile design belonged to the Fine Arts. She also held that it was important to acquire an 'artistic literacy,' a familiarity with art in all forms and histories. Good design, she wrote, "rings a wonderful bell inside me." [6]


Ruth Reeves
Overlooking Kingston (Hudson River Series)
ca. 1934
Linen
Helen Louise Allen Textile Collection

A woman of the world, after 1956, Reeves lived in India, where she served on the All-India Handicrafts Board. She died in New Delhi in 1966.
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Sources
1. Christine Roussel, The Guide to the Art of Rockefeller Center ( ), 17.
2. On the AUDAC, see R.L. Leonard and Adolphe C. Glassgold, Modern American Design by the American Union of Decorative Artists and Craftsmen, intro. Mel Byars (1930; rpt. 1992)
3.Harry V. Anderson, "Contemporary American Designers," The Decorators Digest (Mar. 1935), 44. 
4. Reeves, "What Creative Design Means to Me," typescript ms., 3, in Ruth Reeves Papers, microfilm reel no. 3093, frame 59, Archives of American Art, Smithsonian Institution, Washington, D.C.
5. Marian Wardle, ed., American Women Modernists: The Legacy of Robert Henri, 1910-1945, (New Brunswick: Rutgers University Press, 2005), 36.
6. Reeves, "Let's Not Be Timorous," Curtain and Drapery Department Magazine (Mar. 1946): 22; Reeves, "What Creative Design Means to Me," ms., 4-7; Anderson, "Contemporary American Designers," 58.

Mary Curtis Richardson: The Mary Cassatt of the West

Portrait of Mary Blanche Hubbard
1889
Oil on canvas
 

Mary Curtis Richardson (1848-1931) was an impressionist painter and suffragette.

Late nineteenth-century women used  gender to their advantage and claimed the child portraiture genre for themselves. Richardson became one of San Francisco's most celebrated painters of children.

Her father, Lucien Curtis, headed overland to the gold fields of California in 1849, while in the following year, Mary, her sister Leila, and her mother traveled to California via the Isthmus of Panama to join her father. The family settled in San Francisco.

She married Thomas Richardson, a man in the lumber business, who relocated to San Francisco from Canada.

In 1866 Mary and her sister traveled back to New York City to study wood engraving at Cooper Union. When they returned to San Francisco the sisters opened a wood engraving business and by the 1870s, both she and her sisters established the first women-run engraving company in San Francisco. The company became the Women's Printing Union.

When she was fifty years old, Richardson embraced a second career. Convinced by family and friends to pursue painting, Richardson studied with William Sartain at the Art Students League in New York and won the Norman Dodge Prize of the National Academy of Design for the best painting by a woman artist in the United States. After those honors, Richardson received numerous commissions to paint members of San Francisco's elite society and their families. 

Joseph M. Bransten (Son of MJB Coffee Magnate)
Date Unknown
Oil on Canvas
Oakland Museum of California

Richardson's work was forthright and sensitive, but free of the over-sentimentalized style that was popular at that time. By the 1910s, she was known as the "Mary Cassatt of the West" and she was singled out as the most important portraitist in San Francisco by Charles Keeler, ranked with painters William Keith and Thomas Hill.

Mary Richardson exhibited her portraits and paintings of mothers and children at the San Francisco Art Association between 1895 and 1901; the Vickery, Atkins & Torrey Gallery, San Francisco, in 1909; and the National Academy of Design, New York City, in the late 1880s. She and her husband remained in San Francisco in a home they built for themselves in 1888.



The Sleeping Child
No Date
Oil on canvas

 The Sleeping Child was eventually acquired by the Legion of Honor.


Seated Child Holding a Rattle
No Date
Oil on Canvas


The Young Mother
No Date
Oil on canvas

The Young Mother won a silver medal at the 1915 Panama-Pacific International Exposition in San Francisco.

Despite her success and her feminist tendencies, Richardson felt compelled to tell an interviewer: "I am not a woman with a career; I am just a worker."

Mary Curtis Richardson died on November first, 1931, at her home and art studio in Russian Hill.
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Further Reading and Sources
Ask Art: The Artist's Bluebook, http://www.askart.com/askart/r/mary_curtis_richardson/mary_curtis_richardson.aspx
American Gallery: Greatest American Painters,
http://americangallery.wordpress.com/2011/03/29/mary-curtis-richardson-1848-1931/
Independent Spirits: Women Painters of the American West, 1890-1945
Artists of the American West, Volume I, Doris Ostrander Dawdy
"San Francisco Women who have Achieved Success," Overland Monthly 44 (November 1904), 517

Sarah Ladd-Pioneering Portland Photographer

By the turn of the twentieth-century, the visual arts became an established part of Pacific Northwest culture. Artists worked and lived there. The wealthy, whose money came from banking, law, timber, and railroads, began collecting European, Asian, and some American painting, prints, and sculpture. Artists and supporters began to form organizations to exhibit art, some of which was on loan and shown expressly for the purpose of enhancing the cultural sophistication of the community. Instruction in the arts became available. Early local magazines such as The Westerner and The Week-End, covered the arts and the visual arts. And, more important to this researcher, local female artists were featured in The Westerner magazine.

The 1909 Alaska-Yukon-Pacific Exposition's exhibitions of international, national and local artists brought art to everyone. During this twenty-year time period, from 1890 until 1910, the expansion of railroad service to the Puget Sound region (Northern Pacific Railroad to Tacoma in 1885 and Great Northern Railroad to Seattle in 1893) and the discovery of gold in Alaska/Yukon,1896, resulted in a tremendous population boom. The influx into this stunning region brought artists (and people whose children would become artists), patrons, art appreciators, writers about art, and art educators.


Sarah H. Ladd
Early Morning above Vancouver
 Published in Pacific Monthly, Volume 14 No 1, 1905
 

Sarah Hall Ladd (13 April 1860 – 30 March 1927) was an early 20th-century American pictorial and landscape photographer. Ladd was born Sarah L. Hall in Somerville, Massachusetts, the daughter of John Gill Hall and Sarah Cushing. Little is known about her childhood. In 1881, Ladd relocated to Portland with her new husband, Charles, the son of leading Portland businessman William S. Ladd. The couple settled in a home that overlooked the Willamette River and began a comfortable life together.

It is not known or documented precisely when Ladd developed an interest in photography, but sources claim she joined the Oregon Camera Club in September 1899, and, by early 1901, a number of her works were on exhibition in San Francisco. In 1903, New York photographer Alfred Stieglitz formed Photo-Secession, an early-20th century movement that strove to elevate photography as a fine art. The group never numbered more than 105 members and were from various cities across the United States. Sarah Hall Ladd, Gertrude Käsebier, Edward Steichen, Clarence H. White, and Lily E. White were included among the select membership.

Sarah H. Ladd
Gateway to the Inland Empire
ca 1903
Oregon Experience "The River they Saw"

 

In 1903, the adventurous Ladd and White began to take extended trips on the Columbia River on White’s custom-built houseboat, the Raysark, a vessel that contained a darkroom. Both women excelled at photography and became internationally known for their pictorialist-style landscapes of the Columbia Gorge filled with soft light, clouds and atmosphere. Their photographs illustrated travel brochures and magazines helping draw tourism to the area.  

Sarah H. Ladd
Submerged Forest
ca 1902-1904
Oregon Historical Society

 

Ladd took this photograph of the “submerged forest” on the Columbia River between 1902-1904. The remains of trees in the river are found 25 miles above Cascade Rapids. Most of this area is now submerged behind Bonneville Dam, 40 miles east of Portland. In those days, travel was a challenge as roads were not paved and the terrain was unfriendly to motorized vehicles.

By 1904, Ladd’s social and familial responsibilities kept her away from her photography. She was invaluable to her husband when he became part of the preparations for Portland’s 1905 Lewis and Clark Exposition. In 1910, the Ladds moved to the town of Carlton, Oregon, after Charles became president of the Carlton Consolidated Lumber Company. In spite of these additional obligations, however, Ladd managed to exhibit fourteen photographs at the 1915 Panama-Pacific International Exposition in San Francisco.

Ladd became a prominent member in the Christian Science movement beginning in 1911. After Ladd’s husband died in 1920, she moved to Carmel, California in late 1924 to join her long-time friend, Lily White. Ladd lived in Carmel for the rest of her life. She died there on March 30, 1927.

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Further reading:

James V. Hillegas, Oregon Historical Society, Oregon History Project, http://www.ohs.org/education/oregonhistory/index.cfm.

 Carole Glauber, “Eyes of the Earth: Lily White, Sarah Ladd, and the Oregon Camera Club,” Oregon Historical Quarterly 108:1 (Spring 2007), 34-69.

Richard L. Hill, “Science-Landslide Sleuths,” Oregonian May 15, 2002.

Jim E. O’Connor, “The Evolving Landscape of the Columbia River Gorge: Lewis and Clark and Cataclysms on the Columbia,” Oregon Historical Quarterly 105:3 (Fall 2004), 390-421.

Oregon Experience, The River they Saw, Photographer Profiles, http://ec2-50-18-136-176.us-west-1.compute.amazonaws.com/programs/oregonexperience/programs/16-The-River-They-Saw/slideshows/2