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Roswell Museum exhibitions

past exhibitions
past exhibitions


current exhibitions

January 17-March 23, 2014
Horgan Gallery

Frank Ettenberg, Nocturnal Host,
(detail), 1987, Monoprint on Paper,
20”x 15.75”, Gift of Susan and
Richard Streeper. 1988.007.0001


One Time Only: The Monotype and Monoprint

In the world of printmaking, monotypes and monoprints are the freewheelers. Monotypes are essentially printed paintings, and do not require the technical skills demanded by most printmaking techniques. Monoprints, in turn, combine conventional printmaking methods such as lithography with painting and other art-making techniques to transform a repeatable image into a unique work. During the 20th century, both approaches have come into their own as art forms, as many artists have become less concerned with creating large editions of prints and more interested in one-of-a-kind pieces.

This exhibit will explore the diverse world of monotypes and monoprints through a selection from the RMAC collection, and encompasses a wide range of subjects and styles. The black and white landscapes of Robert Pelegrin, for instance, are highly naturalistic images derived from the artist’s memory and imagination, while the colorful, abstract prints of Bill Bomar incorporate elements of collage and relief printing. All of the pieces featured here reflect the diversity of both printmaking and the art world, with each artist using different materials and techniques to express his or her aesthetic vision.

Joseph Pintz, Hayrake, Flat
Hoe, Serrated Hoe, Rake &
Gardening Tool Rack, (detail), 2013,
earthenware & wood, 11” x 60” x
64”. Courtesy of the artist

Joseph Pintz

Pintz’s functional and sculptural ceramic work explores the role that domestic objects play in fulfilling our physical and emotional needs. Inspired by his Midwestern roots, Pintz often recreates hand tools and other seemingly mundane objects. In the process, the dense meaning of these objects is transferred into clay.

Pintz earned his BA in anthropology and urban studies at Northwestern University. After graduation, he taught in an inner-city
school through Teach for America. He received his MFA from the University of Nebraska-Lincoln. He also was a resident artist and Lincoln Fellow at the Archie Bray Foundation.

He has received an Emerging Artist award from the National Council in Education for the Ceramic Arts (NCECA) as well as an Ohio Arts Council Individual Excellence Award. His work has been shown internationally and he currently is an Assistant Professor at the
University of Missouri.


Bill Wiggins, Dialogue, 1986 (detail),
acrylic on Masonite, 34” x 34”.
Estate of Bill Wiggins

March 21-October 5, 2014
Spring River Gallery

The Wiggins-Howe Legacy

For three generations, the Wiggins and Howe family have been leaving their creative mark on the Southwest. They are artists and explorers who experiment with inconventional materials and techniques, creating ceramics, paintings, pyroglyphs (drawings made from fireworks), and even taxidermy. This exhibit will explore the
multi-generational creativity of the Wiggins and Howes through an eclectic selection of art and archival materials. Highlighted amongst this dynasty of artists are members Bill and Walt Wiggins, Elaine Wiggins Howe, Kim Wiggins, Jeremy Howe, Miranda Howe and Logan Howe alongside other less well known members of the family. Regardless of artist or medium, when it comes to this family, curiosity reigns supreme, and visitors should expect the unexpected.


Louis Ribak, Movement #5, 1960-1969, oil on Masonite, Purchase of the June Middleton Estate, 1984.001.0001

October 26, 2013 - June 15, 2014
Hunter Gallery

Subject to Change: Art as Flux

Change is unavoidable, yet life is unimaginable without it. From the aging of our bodies to the development of new technologies, change is omnipresent, but how often do we really stop to consider it?

This exhibit will explore the idea of change by examining the permanent collection through the lens of flux. Some works address the universality of change by depicting the cycling of the seasons or the movement of the day. Others respond to historical time periods or moments, emphasizing the social, technological, and artistic changes that transpire over time. Still other pieces juxtapose different styles or materials to highlight the visual and conceptual fluctuation that happens when we look at art.

By considering the multifaceted nature of change, visitors will not only encounter the inherent dynamism of art-making, but will also discover unexpected parallels between seemingly disparate pieces within the collection, emphasizing the richness of the RMAC’s holdings. Change may be unavoidable, but as this exhibit argues, it is something to be embraced.

Fritz Scholder, Super Pueblo #2, 1968, oil on canvas, 70” x 80”. Gift of the Artist. 1969.001.0001.

June 14, 2013-April 6, 2014
Patricia Gaylord Anderson Gallery

Art & Environment

For generations, both natural and manmade settings have inspired the artist’s response to what has been seen, felt, and experienced. The exhibit draws upon the breadth and depth of the Museum’s Permanent Collection, with selected works brought together in a fresh context to expand our appreciation of the creative genius and how the definition of environment may vary over time, locale, and culture. Art & Environment provides visitors with the opportunity to view numerous works created over the last century by nationally and regionally acclaimed artists based on their surroundings.

Stepping into this space the visitor will experience, through the artists’ imagination and vision, the land from the perspective of wide panoramas, detailed micro environments of lichen, or abstracted skyscapes including vast night skies filled with constellations. Expect to encounter other forms of environmental compositions including interiors or the juxtaposition of natural elements placed in near dreamlike or surreal arrangements intended to inspire internal contemplation.

Initially, we are inclined to think of the environment in terms of the vast panoramas of America, and in particular the Southwest. However, the works represented in Art & Environment will provide insight into how visual artists, like writers and musicians, have employed chosen media to define their relationship to the environment in unexpected ways.
When one walks through this exhibit, we are likely to be reminded of peering through a kaleidoscope or recalling the delight found throughout the Adventures of Alice in Wonderland. Be prepared to enter the gallery and experience sublime perspectives of the world as seen through the eye of the artist. Art &Environment will give the gallery goer many reasons to visit the RMAC during the months ahead.

Aria Finch detailing a work in progress


Aria Finch: Tweeting Elations
September 7, 2013–March 9, 2014
Spring River Gallery

Ceramic artist and educator Aria Finch’s work has evolved over the years from purely functional pieces to figurative sculpture, many of which depict human figures and birds in conversation. To Finch, birds represent the spiritual and eternal; “. . . wings appear to lighten the seriousness of thought, mysteriously captivating us and producing a state of contentment.” The sculptures invite the viewer to ponder what secrets are being spoken, sparking our imagination and curiosity.

When surrounded by multiple works it is as if one has entered a room where numerous dialogues are being exchanged. But, the discussions are cloaked in mystery, leaving the interpretation up to the viewer. The artist’s creative experience is that of exploration and discovery, and this act of inquiry is conveyed directly to the viewer.
Playfulness also shines through in Finch’s work. Animals and birds emerge from human busts like anthropomorphic party hats. A Janus form sculpture morphs the human and animal worlds, signaling passage, beginnings, and endings. Each work is adeptly modeled and defined by rich color.
Aria Finch has been Director of the ceramics program at the Roswell Museum and Art Center since 1979. She is the reason that Roswell is celebrated as a vital ceramics community. Her work was accepted into the 5th World Ceramic Biennale held in South Korea in 2009; Secrets was among 185 of the over 3,000 submitted entries selected for this exhibition. In September, Finch is being honored as a 2013 recipient of the prestigious Governor’s Award for Excellence in the Arts.

Derek Chan, The Big Bang (detail), 2013, sumi ink, acrylic and mixed media on panel, 84” x 48” Courtesy of the Artist.

January 10, 2014
5:30 p.m.
Reception to follow

January 10, 2014 - February 23, 2014

Derek Chan
Roswell Artist-in-Residence
Marshall and Winston Gallery

Derek Chan’s paintings and drawings are influenced by the interconnection between universal symbols, humanity’s value systems, spiritual belief systems (past and present), cultural myth, and the power of the unexplained supernatural.
Chan is best known for his work attributed to a journey through the Navajo Nation and the Hopi Mesas, where he explored the lives and myths of these two indigenous people cultures. His companion book, Cries and Whispers From the Salt Song Trail, offered a sampling of his ink drawings.

Recently Chan’s work has shifted slightly from predominately abstract forms with a focus on color and depth to tangible forms with stories to tell, and how they might be applied to address the present and the future. One of Chan’s works depicts a large golden tower, built by transnational greed that meets its fate when struck by forces of nature. His aspiration is that the work he creates will function as a tool for sharing devalued or forgotten stories and present-day-themes that carry urgency.

While working primarily in painting and drawing, past projects have included elements of performance and installation. Derek Chan will present new works influenced by Mayan codices and glyphs, attributed to indigenous cultures and lunar cycles. The paintings on canvas combine an intuitive use of color and figurative representation. During his time in residence, Chan has been experimenting with dye marbling, gold leafing techniques, and sumi ink on paper. These pieces will be presented as suspended works. Other calligraphy-based pieces will be presented on freestanding wood panels.


Georgia O’Keeffe, Ram’s Skull with Brown Leaves, 1936, oil on canvas. RMAC Permanent Collection
Georgia O’Keeffe, Ram’s Skull with Brown Leaves (detail), 1936, oil on canvas. RMAC Permanent Collection.
New Mexico: 20th Century Visions
Donald B. Anderson and Entry Galleries

This exhibition features the work of noted artists and artisans who lived and worked in northern New Mexico, especially around the art colonies of Santa Fe and Taos. Some of the most prominent New Mexico modernists are featured including Georgia O’Keeffe, Stuart Davis, Victor Higgins, Jozef Bakos, and B.J.O. Nordfeldt. more...

Peter Hurd, Portrait of Carol, 1957-58, egg tempera on panel. RMAC Permanent Collection.
Peter Hurd, Portrait of Carol (detail), 1957-58, egg tempera on panel. RMAC Permanent Collection.
Peter Hurd and Henriette Wyeth Collection
Founders' Gallery

Peter Hurd (1904-1984) was raised in Roswell where his father worked a small ranch southwest of town. Roaming the countryside as a youth on horseback earned Hurd an intimate understanding of the hills, prairies, and arroyos that configured the surrounding landscape. These experiences helped shape his artistic sensibilities and cemented his personal bond with the landscape and people of New Mexico. more...

Dave Shelley, Cody, WY, Shotgun Chaps, late 1800s, leather, white and black angora wool, nickel, canvas
Dr. Robert Hutchings Goddard making adjustments at the upper end of a rocket combustion chamber (detail), Roswell, NM, 1940. RMAC Library and Archives Collection.
Robert H. Goddard Collection of
Liquid-Propellant Rocketry

Goddard Galleries and Workshop Recreation

In 1898, a teenage Robert Hutchings Goddard (1882-1945), captivated by the realism of H.G. Wells’ The War of the Worlds, “…imagined how wonderful it would be to make some device which had even the possibility of ascending to Mars.” more...

Dave Shelley, Cody, WY, Shotgun Chaps, late 1800s, leather, white and black angora wool, nickel, canvas
Dave Shelley, Cody, WY, Shotgun Chaps, late 1800s, leather, white and black angora wool, nickel, canvas.
RMAC Permanent Collection.
West of Beyond:
The Rogers and Mary Ellen Aston
Collection of the American West

Aston Galleries

Aston, who was born in Iowa in 1918, developed a keen interest in the West during time spent on his family’s various ranches. When nearly forty, he began casting bronzes, using his collection as prop material for the creation of sculptures portraying poignant moments in the history of the American West. more...