Category Archives: Uncategorized

Remembered Landscapes: The Sacred Space of Home
Works by Jackie Mitchell Edwards
University Art Museum, Mullennix Bridge Gallery
January 21-March 5, 2022

Remembered Landscapes: The Sacred Space of Home, a multimedia installation by artist Jackie Mitchell Edwards reveals an elongated poetic search for home and healing through material and spiritual relationships with nature and landscape. This exhibition will take place in the Mullennix Bridge Gallery at the University Art Museum (UAM) at New Mexico State University (NMSU), will open on January 21st, 2022 and will remain on view until March 5th, 2022.

 This new body of work by Mitchell Edwards was inspired by artist Nikesha Breeze’s 2020 call for BIPOC artists to create metaphorical tools. Hand Tools of Resilience, an international juried exhibition, invited artists to examine the conscious and unconscious tools that Black, Indigenous and People of Color have created to survive, thrive and build within oppressive and abusive systems. Breeze’s call sparked a deeper, more focused research on the power of ritual objects within Mitchell Edwards’s greater practice and the results are witnessed in this powerful installation. Mitchell Edwards’s own journey as a Black woman in the African Diaspora (a term that refers to the descendants of Africans shipped to the Americas via the Atlantic slave trade) focuses on the primacy of the study of nature and other spiritual traditions. Mitchell Edwards, like Breeze, uses ritual and remembrance when creating talismanic healing objects that protect and guide one’s way back to their ancestral home. 

This immersive installation includes abstract paintings, altars, collage, assemblage, talismans and amulets. Crystals and minerals, bones, shells, seeds and roots from desert trees form an archive and landscape of materials used in rituals and presented to viewers by Mitchell Edwards as sacred objects that create and hold her ancestral home. Mitchell Edwards’s ritual objects connect her to an ancient story defined by strength, beauty, resilience and spiritual transcendence passed down through generations across the African Diaspora. 

Jackie Mitchell Edwards is a multidisciplinary artist who lives in the foothills of the Organ Mountains in Las Cruces, New Mexico. Mitchell Edwards was born in Monterey, California and grew up in El Paso, Texas. She graduated from Princeton University and NYU Law School and studied at the Art Students’ League in NYC. Her work has been shown in numerous solo and group exhibitions and is in private and corporate collections. 

In addition to Remembered Landscapes: The Sacred Space of Home, the themes of resilience, vulnerability, community, and intimacy will be further explored through the exhibition Four Sites of Return: Ritual, Remembrance, Reparation & Reclamation occurring in the Contemporary Gallery and Bunny Conlon Modern and Contemporary Art Gallery. In further support of the exhibitions, a comprehensive series of programming will be available to the public, including performances, panels, and three educational OutsmART programs led by associated artists and collaborators. The UAM is also excited to announce the performances of The Colored Museum, a play written by George C. Wolfe, performed, and produced by The Be Group. Join us for the opening reception including a special performance of Stages of Tectonic Blackness in the University Art Museum on Friday, January 21, 2022. The public reception begins at 5:30 PM and the performance is scheduled to begin at 6:30 PM. For more info, please visit

Press image: Jackie Mitchell Edwards ,Ritual Object for Action, 2021, Root/Branch of a desert bush, Rutile, quartz with iron inclusions, Length: 10 in, Courtesy of Artist. Photo credit: Form & Concept / Byron Flesher.

Mama Create-Ups

Mama Create-Ups (Prerecorded and available online!)
The UAM transitioned many of our previously scheduled Mama Create-Ups to a new online format. The Mama Create-Ups series provided informational talks by local specialists on themes, such as lactation, FMLA, and carving out time for your passions, offering resources for mothers within the local community, as well as our expanded digital community. All events took place on Saturdays at 1PM MST using the digital platform Zoom, and they lasted approximately one hour. In connection with each of the digital Mama Create-Up events, the UAM presented a uniquely designed OutsmART children’s art workshop created by a local artist mom. The UAM’s OutsmART children’s workshops mission is to expose children in the southwest region to art through exploration and play. These events were designed to be done around the house, with common art supplies, and can still be completed by children by following the videos and PDFs provided. This art workshop’s goal is intended to provide mothers with some alone time, but the art projects can be completed at any time and in collaboration with your children! 

All the events and workshops were recorded and can be viewed here: 

Online Mama Create-Ups #1: Mama’s Leche: Michelle Hackney and New Mexico Breastfeeding Task Force
Video of the event available now / Recorded live on June 20th.
OutsmART Children’s Program:  
“Wild Beasts” Project for the Fierce Mama’s & Babes Artist to know: Henri Matisse with Mama’s Leche Illustrator: Mia Ortiz-Gandara. Download the PDF here and create at anytime from home. 

Click here for more information regarding this event.

Online Mama Create-Ups #2: Carving Out Time For Your Art (Passions)
Artist/Mother Book-Heather Kirtland and Marissa Huber 
Video of event available now / Recorded live on July 11, 2020
OutsmART Children’s Program: Andy Warhol Animal Portraits a workshop by artist/mother Isadora Stowe. Watch online and create from home at anytime by clicking here. 

Click here for more information regarding this event.

Online Mama Create-Ups #3: The Facts About FMLA: Dulcinea Lara
Video of event available now / Recorded live on July 25, 2020 
OutsmART Children’s Program: Radial Patterns w/artist mother Zoe Spiliotis

Click here for more information regarding this event.


Online Mama Create-Ups #4: Doula, Midwife, and OBGYN Panel: Explore childbirth options in the time of COVID. 
With Ruth E. Romo, Bernadette Carrillo and Sabrina Paulos.
Video of event available now / Recorded live on Saturday, August 15, 2020
OutsmART Children’s Program: Stop Motion Animation, a workshop by artist/mother Sharbani Das Gupta
Register online here for the zoom workshop

Click here for more information regarding this event. 


Online Mama Create-Ups #3: The Facts About FMLA: Dulcinea Lara

This Mama Create-ups was recorded live on July 25, 2020 and it invited the full global online community to a presentation focused on the Family and Medical Leave Act (FMLA) with Dr. Dulcinea Lara, an associate professor in the Criminal Justice department and Director of the Borderlands & Ethnic Studies program at New Mexico State University. Part lecture, part discussion and collaborative project, Dr. Lara gave a basic overview of FMLA through the lenses of legality and personhood. Throughout the talk Dr. Lara explored the formulation and evolution of the FMLA laws and explored motherhood from the vantage point of scarcity vs. abundance. . 

Dr. Lara identifies as Chicana Indigena, honoring her Apache and Rarámuri ancestry that is deeply-rooted in the region now called southern New Mexico. Dr. Lara earned a Ph.D. in Comparative Ethnic Studies from University of California-Berkeley (2006). Her teaching and research center the critical viewing and questioning of systems and knowledges that are designed and operationalized to advance some people/groups while creating obstructions for other people/groups. Dr. Lara’s scholarship is multi-method and multi-media. She collaborated in the creation of an interactive, bilingual museum exhibition about social justice and inequalities in the Borderlands region called, Trotando Pasos Ajenos (2017). She co-authored the article, “Mirrored Repressions: Students and Inmates in a Colonial Landscape” (Critical Education, 2018). Her current book project details the story of teachers, Nadine and Patsy Cordova, in their reasonable-radical commitment to a social justice-centered education in Vaughn, New Mexico, in the late 1990s. Dr. Lara’s work explores various kinds of residual evidence of colonization in colonias, poor and rural communities, and other “sacrificial zones.” Her generative work aims to restore these zones into sacred places through collective dreaming, healing, and making.

*Babies and small children welcome with their parents at all events (including lectures)! 

Diane Marsh

Artist: Marsh, Diane
Title/Date: Searching Through Time, 2009

Description of work: A woman with unkempt hair, eyes watery and red from crying tilts her head with her gaze off into a place that does not seem to exist in reality, but an inner dimension that exists in all people. The title Searching through Time suggests she is ruminating caught in a moment of distress. A traditional head and shoulders portrait, painted with soft yellow, green, hints of pink, and red hues further communicate the melancholy mood. It is powerfully emotional, and it seems as though the viewer has walked in on a private moment.

Painted using a painstaking technique of hyperrealism, Marsh reaches far-flung notes of heightened psychological content. Not content with the traditional painting, she considers this a portrait of humanity. Although she uses photographs to construct and guide her, these paintings come to be through the act of painting, and allows for her intuitive and gestural aspects to inform her work.

Artist’s Biography: Diane Marsh grew up Buffalo New York, received a BFA from Daemen College in 1976, and a MFA at the State University of New York at Buffalo in 1978. She moved to New York City in the early 1980s where she became influenced by the neo-expressionist scene. Her paintings began to take shape with ideas that were conceptual, photographic, figurative, and expressive with subjects that could be mythical, political, personal or social. Marsh began making expressionist figurative paintings that evolved into a form of heightened, meticulous, realism driven by spiritual concerns that go beyond the self. Her work is known for its hyper-realistic portraits of people caught in a moment of emotional distress, which are expressed in the physiognomy. Marsh believes that this is the point of change, where by facing one’s suffering, one can evolve.

After completing her MFA, she was lured to Roswell New Mexico for the artist–in-residence fellowship. She fell in love with the high desert plains, the small town, and remote quiet, expansive landscape where she met her husband, sculptor Eddie Dominquez and had son. The birth of her son changed her focus and she began to consider the environment and what will be left of the planet to pass on to the next generation. The two have been subjects of many paintings that hold special meaning to relationships with the spiritual underpinnings of connection and love. Marsh and her husband have also co-created work that complements one another in a narrative: a painting of her son embraced in his mother’s arms with a pile of Dominguez’s ceramic “gemstones” called Diane’s Gems placed in front.

Marsh currently resides in New Mexico with her family. Her work is large-scale that takes hundreds of hours to complete. She continues to make work about emotion, using details to show the basic truths about what it is like to be human. She wants her work to have an impact on the viewer, and asks them to look at emotions they may not want to deal with. They are about personal growth, transcendence and mankind’s tenuous connections to nature, each other, and to the self.

Signed: Unknown
Date and dimension: 1990, 30” x 40”
Medium: Oil on Canvas
Accession # and Acquisition Date: 1992.02.11
Condition: Good
Provenance and Exhibitions: Selections from the Permanent Collection Summer 2013
Framed or Flat: Framed
Current location: Piece is part of the University Art Gallery’s permanent collections at New Mexico State University.
Marsh, Diane. “Statement.” Diane Marsh Studio. 2016. Accessed November 25, 2016.
Wolgamott, Kent L. “Unsettling Appearance.” Roswell Artist-in-Residence Program. April 8, 2001. Accessed November 25, 2016.–Marsh.htm.
Wolgamott, Kent L. “Spiritual, Emotional Powers Resonate Long after Leaving Exhibition.” Reviews and Articles. July 2, 2005. Accessed November 25, 2016.
Reproductions: UNK

Researched By: Felicia Castro November 20, 2016

Anne Siems

Artist: Siems, Anne
Title/Date: Nuestra Senora Rebia, 1996

Description of the work: This work began while Anne Siems was living in Seattle with a small desk and wall space. She took paper from newsprint, bags, and with wax, pens, ink, and acrylic paint started to create. The images developed over time, with multiple images layered with precision and purpose, overlapping on a central form that dominates the composition. She employs a painterly style, while using nature as the underlying theme. The symbolism is reminiscent of devotional folk art, and she has taken inspiration from Mexican retablos, Indian yantras, Buddhist mandalas, and medieval art. Her intent is to depict her relationship with the spiritual, searching for a place that is sublime, intimate and otherworldly.

Nuestra Senora Rebia translates to Our Lady Rebia. When referring to a woman in Spanish as “Our Lady,” it references to a mother, a saint, or a saintly mother. The title of this wax lithograph gives the context of a retablo, which is a Mexican devotional painting, which offers protection and is a devotional device for spiritual guidance. The composition has a variegated deep-red background, which is darkest around the edges and many layers of images and colors on top. The first is a series of yellow circles with numbers drawn in black on the inside. Next is a layer of black script, which is mostly covered by the subsequent colors: the bottom script reads Esarba, which could be a name of someone. Next is a circle of cream-colored cloud or floral shapes forming a wreath or halo in the center of the substrate and on top are stark white abstracted symbols in the middle of each floral shapes. White raindrops fall from this halo to the bottom of the image. Lastly, black lines and curves tumble out from the top with tassels on the end appearing to be ropes. The overall composition reads as a hidden poem or prayer that arises from the subconscious, part known, and part hidden.

Artist’s Biography: Anne Siems was born in Germany in 1965. Her family lived in Buenos Aires, Argentina, from 1969 to 1971, where she became immersed in a new culture that would later inform her work. She first lived in the United States from 1986-1991 as an exchange student. Upon returning to Germany, she went to graduate school in Berlin at the Hoschschule der Kunste and obtained her MFA. Siems moved to Seattle in 1991 and went from a having a large studio and worked large-scale, to a small room, and began her waxed images.

Siems work has evolved over the years, from small-scale waxed images, three dimensional, transparent garments, to painted panels. She now paints on a firm smooth surface for more precision and detail. Inspired by a photo of a friend, she began painting portraits and went onto figurative work. She is interested in both representational and abstracted paintings that reflect reality without a specific narrative. Life, death, sensuality, sexuality, nature, dreams, the subconscious, and the spirit are the ideas and concepts that drive her work. Much of her paintings stem from the early European masters, American folk art, vintage and modern photography.

Anne Siems has had a multitude of solo shows throughout the United States and Europe, as well as group showings at prestigious museums and galleries. She has won awards from OCAC, Neddy, Artquake and a Woman Artists Stipend from Alice Rooney. Her work has been collected by museums, large companies, (such as Microsoft, Hallmark, and Nestlé), as well as celebrities such as Harry Connick Junior.

Signed: Bottom right corner, signed in pencil, difficult to see.
Date and dimension: 1996; Frame: 20.5×17.5″ Image: 14.5×11.5″
Medium: Lithograph with wax
Accession # and Acquisition Date: 2004.02.05
Condition: Excellent
Provenance and Exhibitions: Part of the University Art Gallery’s permanent collections at New Mexico State University. Currently not on view.
Framed or Flat: Framed mounted
Current location:
Bibliography: Siems, Anne. “Biography.” Biography. 2015. Accessed November 10, 2016.
Koeppel, Fredrick. “Ghostly, Beautiful Paintings by Anne Siems on Display at Lusk Gallery.” The Commercial Appeal Memphis. February 6, 2014. Accessed November 17, 2016.
“Women in Art.” Les Femmes Folles. February 20, 2015. Accessed November 15, 2016.
Reproductions: UKN
Researched By: Felicia Castro, 19 October, 2016

Susan Kae Grant


Artist: Grant, Susan Kae 

Title/Date: Journey Series, 2002

Description of the work: A black-and-white image of shadows and light. In the foreground, a girl sits on the floor, wearing a dress with a ponytail; one hand gently reaches up to a cage being handed to her by another child standing on the left, leaning in. Inside the cage is the shadow of an animal, a rat, or a miniature dog, and another child on the left leans in to look closer at the cage. Behind the two children on the left are wisps of tree branches, with sparse leaves. A light softly illuminates the center of the image where all the shadows are sharp, and it fades out into darkness as it reaches the corners of the image; the shadows begin to blur and slowly encumber the scene. All of the images are warped, bent, as if from a memory or a dream.

From the Night Journey series (2002), Grant examines the perceptual and psychological aspect of the dream-state through a visual representation. Created over a span of seven years of research in a momentous collaboration between science and art, bridging the elements of REM sleep, and imagery. Dreams memory and the unconscious, are captured using elaborately staged tableaus, with a 4 x 5 camera with a digital leaf back and printed on Hahnemuhle photo rag.  Grant began her series with extensive research at the South Western Medical Rem Sleep Center with Dr. John Herman. Using herself as a subject, she submitted herself to the laboratory of dreams. She would fall asleep and then would be awakened during REM stage of sleep and interviewed.  The recordings she obtained were then used to compile her narratives.

In addition to the photo images, Grant created a Night Journey installation that re-creates the fragmented and multi sensorial experience of dreaming. She combines photographic murals printed on chiffon fabric with audio of whispered phrases. It is set up in a maze of translucent murals that sway and flow as the viewer walks through. The maze is made up of 24, 4’x8’ vertical murals suspended from the ceiling. They float in space one-foot above the floor and allow for physical movement. The whispers are from her dream recordings in the sleep laboratory. Night Journey has exhibited at 17 venues across the country including New Mexico State University.

Using the shadow as metaphor, I create images that explore notions associated with dreams and memory and provide pictorial access to the unconscious and unexplainable experiences. These works oftentimes conjure up childhood imaginings, fairy tales and nightmares while portraying a sense of surprise and wonder. By using mythic characters and ambiguous objects, I delve into the fantastic to create phantomlike tableaux’s. These tableaux’s capture lost and forgotten fragments of experience and emotion.”- Susan Kae Grant

Artist’s Biography:  Living artist Susan Kae Grant obtained her MFA from the University of Wisconsin-Madison where she focused on Photography and Book Arts in 1979.  She taught at Wayne State University from 1979-1981, and then became a Professor and Head of the Photography program at Texas Woman’s University.  She is also a staff member of the International Center of Photography where she teaches workshops on bookmaking. She has produced 13 limited edition handmade books. Her most recent book Shadow Memory was created during a 2005 residency at Visual Studies Workshop in Rochester New York.

With a career spanning thirty years, Grant has enmeshed her spiritual life with her work, using intuition and self-exploration to guide her. Her photo series begins with years of research, trials of materials and hunting for the perfect props. Taking photographs over several years, thoroughly exploring each idea, she peruses the perfect image until all problems are resolved. Her images and books are multilayered and complex, resulting in uniquely designed, and content rich using materials such as fur, and lead sheeting.

Grant has conducted bookmaking workshops, lectured on artists’ books and exhibited her work throughout the United States, Canada, Europe, Australia, British Columbia, Africa and Japan. Her works are included in numerous public collections including The George Eastman House, The J. Paul Getty Museum, The Minneapolis Art Institute, The Tokyo Museum of Photography, the Museum of Fine Arts, Houston and The Victoria and Albert Museum National Library. She is represented by Conduit Gallery in Dallas, Texas; Verve Gallery of Photography Santa Fe, NM; Modernbook Gallery, Palo Alto, CA; Gallery BMG, Woodstock, New York: and Vamp & Tramp Booksellers, LTD, Birmingham, AL.


Signed: No

Date and dimension: 2002; 47”x35”

Medium: Iris Giclee Print

Accession # and Acquisition Date: 2004.04.01; 2004

Condition: Excellent

Provenance and Exhibitions: Part of the University Art Gallery’s permanent collections at New Mexico State University. Currently not on view.

Framed or Flat: Framed

Current location: ST2Northwall

Bibliography: Witsell, Jon. “Susan Kae Grant: Night Journey.” Witsell. March 11, 2014. Accessed November 20, 2016.

Grant, Susan Kae. “Project Description.” Susan Kae Grant. Accessed November 20, 2016.

Egatz, Ron. “Featured Educator: Susan Kae Grant.” Photo Video Edu. April 25, 2011. Accessed November 20, 2016.

Reproductions: UNK

Researched By: Felicia Castro, 28 November 2016.

Jacqueline Gourevitch


Artist: Jacqueline Gourevitch

Title/Date: Untitled 108, 1973

Description of the work: This lithography bleed by Jacqueline Gourevitch strongly resembles passing clouds.  Known primarily for her cloud paintings, these abstracted figures easily resemble her favorite subject. Using a slightly tinted background of the lightest hue of pink, dark images seemingly move across the substrate. The left side is heavy, with two cloud shapes, which gather together with variations of black, greys, and hints of blue. A smaller shape appears on the right side, with a few whips that strut in-between. A lithograph bleed refers to the extra ink area that crosses the trim line in a print, but in this case it allows for variations in the ink, which aid in abstraction.  In The bleed provides a texture that seems to model into the shapes depth and volume. It could be a topographical map of islands and mountains, or as Gourevitch loves, billowing clouds.

Artist Biography: Jacqueline Gourevitch was born Jacqueline Hermann in Paris in1933. Her parents moved to New York when she was a child and she attended a High School of Music and Art.  At age 16, she knew she wanted to become a painter, and signed up for a summer program at Black Mountain College in located nearby in upstate New York. The school had “Bauhaus” curriculum, and was unrestrained by conventional structures and rigid guidelines, and focused on experimental art. Gourevitch studied with Theodoros Stamos who taught both a classical and abstract approach to painting. Her class with Clement Greenberg on art criticism had a lasting impact on her work. She learned about the flatness of the picture plane and ways to establish a linear progression leaning on Manet and culminating with impressions of Mondrian. The environment was free and promoted creativity. 

After High School, Gourevitch attended the University of Chicago from 1951-57 and received a BA in liberal arts and art history. She took some courses at the Art Institute of Chicago, and the Art Students’ League, but never went for MFA degree. She married Victor Gourevitch in 1954, who later taught philosophy at Wesleyan University, and they had two sons, Marc a physician and Philip a writer. Gourevitch taught painting at Wesleyan University from 1978-89 and drawing at Cooper Union from 1989-92, as well as taught at Vassar College, Berkley, and Hartford.  She has won numerous awards and grants, had 24 solo- shows and dozens of group shows throughout the United States.

Gouveritch’s paintings are based on observation, memory and invention. Her works invites close scrutiny and reveal themselves gradually over time, allowing for surprise and inquiry. She has an interest in appearances, how images fit together, both the real and the unreal, nature and constructed environments.  In a series, she creates compositions that complement one another, and are painted over long periods of time. She is known for her paintings of the sky and clouds, but also uses the city as subject matter and utilizes both abstraction and realism as a tool to capture them. She has written “… sky has always been central to my painting. It is inexhaustible. It is always there. Observing the sky inevitably leads to reflection about the fugitive, the recurring, the abiding… My painting has always been of and about nature, and intensely concerned with its translation into paint.”


Signed: Lower left pencil

Date and dimension: 1973;Print: 24×18″ Mat: 34×27″ Window: 24.5×18.5″

Medium:  lithograph-bleed image

Accession # and Acquisition Date: 1985.01.17

Condition: Good

Provenance and Exhibitions: Part of the University Art Gallery’s permanent collections at New Mexico State University. Currently not on view

Framed or Flat: Flat in a mat

Current location: Piece is part of the University Art Gallery’s permanent collections at New Mexico State University.

Bibliography: Gourevitch, Jacqueline. “Statement.” Jacqueline Gourevitch. 2016. Accessed November 20, 2016.

“Biography.” Black Mountain College Project. 2002. Accessed November 20, 2016.

Reproductions: UNK

Researched By: Felicia Castro, 25 November 2016.

Judy Anderson


Artist:            Anderson, Judy      

Title/Date:  Fragments from a Stacked Deck, 1995     
Description of the work: This is a boxed set of 30 double-sided loose-leaf paper cards. These collaged images are made from monotypes, drawings and pressed onto loose-leaf cards. There are short titles etched into the lid. Anderson infuses text taken from daily newspapers, magazines, and advertising. She created Fragments from a Stacked Deck in the winter of 1992 in response to increasing reports of rape and violence against women in the world. The idea of the deck of cards is to invoke the randomness of life and playing the hand with the cards you are dealt.  Each card is an individually unique and crafted to invoke both a dream and reality.  They are visually reminiscent of graphic design in that they communicate through the use of typography, photography, illustration, and symbols.  Each poem, letter, news clipping either draws on the empowerment of women or shines a light on the violence, rape, and subjugation against women in a patriarchal society.  Some of the cards are simple silhouettes of various shapes, both figurative and of objects made from different fonts utilizing positive and negative space to construct the image.  Some have color, goddesses, female figures and are double-sided.  Some of the text is in a diary form, where a woman confesses loves, losses, and wishes.  Other text reads as an inner dialog on the subjects of abuse, longing, and sex.  They offer a look into the stark reality of women, the positive and negative, and offer an inspiring outcome of self-actualization and show the power of femininity.
Artist’s Biography: Judy Anderson has over 30 years of experience in the field of art as a teacher, administrator, and artist. She is the founding director of Platte Forum, a non-profit art center in Denver, which pairs inner-city youth with resident artist-mentors for projects culminating in exhibitions. These successful endeavors lead her to Washington where she accepted a $10,000 National Arts and Humanities Youth Program Award in 2011 (which was handed to her by Michelle Obama). She is the owner of J Anderson Studio, was the chair of the Division of Design, School of Art at the University of Washington, president of the University and College Designers Association and a member of the boards of the Graphic Design Education Association, and taught at universities in Colorado, California, and Washington.
Her work is multidisciplinary, creating unique and diverse artists’ books with a multitude of media. She has received many public art commissions and led many collaborative works with writers, video artists, musicians, performers, visual artists, architects, and urban designers. Her work has been exhibited in major galleries and museums around the world. Anderson’ art is in the permanent collections at the Getty Museum, Walker Art Center and New York Public Library. She has received many regional, national and international awards.
Anderson inspiration comes from other artists such as Leonard Cohen. Writers and poets fascinate her because as a visual artist she feels clumsy with words.  She has collaborated with poets and writers to create unique works including artist books. Anderson is also drawn to work that is authentic and provides a unique perspective or causes her to change her thinking. Her main passion is in passing on the art to students and in creating an atmosphere of joy and passion.  Her team takes risks, collaborates and supports one another.
Her body of work is divinely fascinating and original; her artist books are completely out-of-the box. In collaboration with poet Ginny Hoyle, Meditations on the Ordinary infuses symbiotic images and words to create a poetic and visual experience. Created over a five-year period, the installation is filled with mixed-media paintings, prints, artist books, haiku and long poems. It celebrates language and the natural world, inviting a conscious and mindful experience.    



Signed: Not signed

Date and dimension: 1995 Each Card: 6×3”, Box: 6 3/16  x 3 ¼ x ½”                     

Medium: Artist Book, Ink on paper 30 individual cards front and back, and one pamphlet

Accession # and Acquisition Date: 2003.09.11; 2003

Condition: Excellent

Provenance and Exhibitions: NA

Framed or Flat:  Individual cards in a box        

Current location: Part of the University Art Gallery’s permanent collections at New Mexico State University. Currently not on view.           


Anderson, Judy. Judy Anderson. 2004. Accessed November 1, 2016.

Floyd, Susan. “100 Colorado Creatives: Judy Anderson.” Westword. March 7, 2013. Accessed November 15, 2016.


Researched By: Felicia Castro, 25 November, 2016

0932526527 ISBN nexus press