"Not the old, not the new, but the necessary."
-Vladimir Tatlin
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In 2014, after years of working casually with friends on their writing, I established The Necessarian LLC as a business through which I formally offer essential editing, publishing, and project managements services to artists and arts organizations. Within the last two years, I launched two imprints, N+Co. and Long Run Publishing, to pursue interdisciplinary opportunities. Today I use these endeavors to make the writing, editing, and publishing processes as transparent and accessible as possible for my clients.
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I am a member of ACES: The Society for Editing and the Editorial Freelancers Association, and I continue to educate myself by engaging with other professionals in the field through classes, certificate programs, webinars, and conferences. Most importantly, I talk with and listen to artists so I can advocate for how and where they want their voices to be heard and their words to be read.
A few of my recent freelance clients include the Columbus Museum of Art, Contemporary Arts Museum Houston, Harwood Art Center, Indian Pueblo Cultural Center, Tamarind Institute, University of New Mexico, University of South Florida, and the Wende Museum. I have edited several books and exhibition catalogs including Jay Shinn: From All Points At Once (N+Co., forthcoming); Marcelyn McNeil: Works (Radius Books, 2022); Bridge Projects' We are all guests here. (2022), Otherwise/Revival (2021), To Bough and To Bend (2020), A Composite Leviathan (2020), Phillip K. Smith III: 10 Columns (2019); Abbey Hepner's The Light at the End of History (Daylight Books, 2021); Christopher Sperandio's Comics Making: The Technology of Teaching Comics (Argle Bargle Books, 2021) and Fundamental Camarena (Argle Bargle Books, 2020); Ariane Roesch's How to Build: a House, a Life, a Future (Atmen Press, 2019); and Pamela Fraser's How Color Works: Color Theory for the 21st Century (Oxford Press, 2017). I authored the essay "Working Area" in Frederick Hammersley: To Paint without Thinking (The Huntington Library, Art Collections, and Botanical Gardens, 2017), contributed to The Hustle Economy: Transforming Your Creativity Into a Career (Running Press Adult, 2016), and I write or have written for Artforum, Arts + Culture Texas, Art Ltd., Art Lies, Dance Houston, Edible New Mexico, Hyperallergic, Southwest Contemporary, and more. The incredible people who have edited my writing include Natalie Haddad, Elisa Wouk Almino, and Valentina Di Liscia (Hyperallergic), Nancy Wozny (ACTX), Natalie Hegert and Steve Jansen (Southwest Contemporary), and Briana Olson and Marie Landau (Edible New Mexico). In my personal pursuits, I am working on a book about how women have used running to advance equal rights.
Most recently, I was assistant editor at Hyperallergic, and I served on the City of Albuquerque Urban Enhancement Trust Fund committee. Prior to joining the Hyperallergic team, I held the position of gallery director at Tamarind Institute, administrative director of the Frederick Hammersley Foundation, and was owner/director of Central Features Contemporary Art. In 2010, I moved to New Mexico from Texas where I was associate director of the Cynthia Woods Mitchell Center for the Arts.
I regularly participate in artist award juries and grant proposal reviews, most recently for the Mid-America Arts Alliance, Fleishhacker Foundation, Creative Capital, and the Harpo Foundation. I have a Certificate in Editing from Poynter and ACES, completed a course in editing at the University of New Mexico, and took part in the Seminar on Strategy for Artist Endowed Foundation Leaders with the Aspen Institute. In 2007, I received my MA in Curatorial Practice from California College of the Arts and my BFA in Painting and Drawing from The Ohio State University in 2001.
Want to know more? Read a brief interview with me here or schedule a call to discuss your editing needs.
A few of my recent freelance clients include the Columbus Museum of Art, Contemporary Arts Museum Houston, Harwood Art Center, Indian Pueblo Cultural Center, Tamarind Institute, University of New Mexico, University of South Florida, and the Wende Museum. I have edited several books and exhibition catalogs including Jay Shinn: From All Points At Once (N+Co., forthcoming); Marcelyn McNeil: Works (Radius Books, 2022); Bridge Projects' We are all guests here. (2022), Otherwise/Revival (2021), To Bough and To Bend (2020), A Composite Leviathan (2020), Phillip K. Smith III: 10 Columns (2019); Abbey Hepner's The Light at the End of History (Daylight Books, 2021); Christopher Sperandio's Comics Making: The Technology of Teaching Comics (Argle Bargle Books, 2021) and Fundamental Camarena (Argle Bargle Books, 2020); Ariane Roesch's How to Build: a House, a Life, a Future (Atmen Press, 2019); and Pamela Fraser's How Color Works: Color Theory for the 21st Century (Oxford Press, 2017). I authored the essay "Working Area" in Frederick Hammersley: To Paint without Thinking (The Huntington Library, Art Collections, and Botanical Gardens, 2017), contributed to The Hustle Economy: Transforming Your Creativity Into a Career (Running Press Adult, 2016), and I write or have written for Artforum, Arts + Culture Texas, Art Ltd., Art Lies, Dance Houston, Edible New Mexico, Hyperallergic, Southwest Contemporary, and more. The incredible people who have edited my writing include Natalie Haddad, Elisa Wouk Almino, and Valentina Di Liscia (Hyperallergic), Nancy Wozny (ACTX), Natalie Hegert and Steve Jansen (Southwest Contemporary), and Briana Olson and Marie Landau (Edible New Mexico). In my personal pursuits, I am working on a book about how women have used running to advance equal rights.
Most recently, I was assistant editor at Hyperallergic, and I served on the City of Albuquerque Urban Enhancement Trust Fund committee. Prior to joining the Hyperallergic team, I held the position of gallery director at Tamarind Institute, administrative director of the Frederick Hammersley Foundation, and was owner/director of Central Features Contemporary Art. In 2010, I moved to New Mexico from Texas where I was associate director of the Cynthia Woods Mitchell Center for the Arts.
I regularly participate in artist award juries and grant proposal reviews, most recently for the Mid-America Arts Alliance, Fleishhacker Foundation, Creative Capital, and the Harpo Foundation. I have a Certificate in Editing from Poynter and ACES, completed a course in editing at the University of New Mexico, and took part in the Seminar on Strategy for Artist Endowed Foundation Leaders with the Aspen Institute. In 2007, I received my MA in Curatorial Practice from California College of the Arts and my BFA in Painting and Drawing from The Ohio State University in 2001.
Want to know more? Read a brief interview with me here or schedule a call to discuss your editing needs.
I acknowledge that I live and work on the unceded territory (now called New Mexico) of nineteen Pueblos, three Apache nations, and the Navajo Nation, all Indigenous people who have suffered because of displacement and genocide committed by the United States government. As an editor working toward equitable representation in the arts, I use this space to recognize and honor Native communities, to commit to working against systems of oppression, and to strive for decolonization and reconciliation, especially within literacy and creative expression.
