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Not everyone communicates visually.
But everyone has language.

 

I am a writer and researcher of visual subjects: art, design, culture, nature. Every project, every collaboration, is an opportunity to learn more.

I’ve had the pleasure of working with the leading museums and cultural institutions in the United States, including The Metropolitan Museum of Art, The Museum of Modern Art, the New-York Historical Society, and the National Trust for Historic Preservation, as well as dealers and galleries around the world.

I’ve also rooted around archives, libraries, and private collections across the country and throughout Europe, willing them to surrender their secrets. But perhaps my favorite part of this work is interviewing interesting people, because it never feels like work.

The chance to delve into the lives of those who are driven to create, the worlds they inhabited, and what they’ve left behind is invaluable to me, personally and professionally. One thing my work has shown me is that not everyone communicates visually, but everyone has language.

Allow me to help you bring your visual fluency to a larger audience.

When partnering with individuals or institutions who are weaving a story afresh or re-examining how they hope to share their knowledge, collections, and narratives, I am most drawn to collaborations that inspire both the novice and the seasoned scholar. Naturally, your project already is an extension of you . . . how can I best assist you in reaching the widest, most receptive audience possible? Some creative prompts that I always find helpful in first-blush discussions include these points of consideration:

  • Do you want to tell the story of an artwork? An artist? A movement? Is it a comedy? Tragedy? Dramedy? Fairy tale? Not sure, and need assistance in figuring this out? I’m here to help.

  • Are you looking for an outsider’s (and therefore, a fresh) point of view on what makes your subject’s story compelling? I’m an enthusiastic new set of eyes (and ears).

  • Do you want to find a new approach to an old story? Fresh perspective, combined with a niche knowledge base, is one of my specialties. (To show you how niche I can be, here I want to ask, “Do you want your visitors to appreciate the glories of gilded bronze mounts without giving them the [mercury] vapors?”)

  • Finally, are you in need of a versatile wordsmith who can make you sound even better than you already do? I would be pleased to meet you . . .

Scribo ergo sum.

 

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If you could say it in words there would be no reason to paint.
— Edward Hopper
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Image Credits

Opening Gallery: Foyer of Sanatorium Purkersdorf, Josef Hoffmann and the Wiener Werkstätte, 1904–1905 (Purkersdorf, Austria, 2016); Salt Cellar of Francis I, Benvenuto Cellini, 1543 (Kunsthistorisches Museum, Vienna, Austria, 2016); Underneath a Big-Leaf Maple Near Alsea, Benton County, Oregon, 2012; Liverpool Cathedral, Giles Gilbert Scott et al., 1904–1978 (Liverpool, England, 2009)—This one is best appreciated in portrait orientation on a phone or tablet!; Waerndorfer Frieze, Margaret MacDonald, 1906 (MAK – Museum für angewandte Kunst, Vienna, Austria, 2016); Mirror (German), Anonymous, circa 1700 (MAK – Museum für angewandte Kunst, Vienna, Austria, 2016).

Courtyard of the Nejjarine Funduq (Museum of Wooden Arts and Crafts, 1711, restored 1990–1996), Fes, Morocco, 2020.

Textiles, Liberty London, 2017.

All images by Alexandra Anderson.