Walton Ford, American, born 1960



6 plate hardground etching, aquatint, spit-bite aquatint, drypoint, scraping and burnishing on paper

Artist's Proof 25 (Edition 75)

Overall: 21 1/2 × 16 in. (54.6 × 40.6 cm)

Hood Museum of Art, Dartmouth: Purchased through the Anonymous #144 Fund

© Image courtesy the artist, Kasmin Gallery and Wingate Studios



Paul Kasmin Editions, New York, New York | Wingate Studio, Hinsdale, New Hampshire


Place Made: United States, North America


21st century

Object Name


Research Area


Not on view


Signed and inscribed, in graphite, lower right margin: W[illegible script] 07; inscribed, in graphite, lower left margin: AP 25; titled, in plate, upper left: Condemned [underscored]; inscribed, in plate, center left to upper right: I wish that you all had one neck and that I had my hands on it. [in script]; inscribed, in plate, lower margin: Carolina Parakeet - Conuropsis carolinensis [in script] Watermark: embossed, lower right corner [symbol]


Representing artistic depictions of birds spanning over 100 years, these three works reflect the multiple and sometimes fraught relationships between human and non-human beings. Within Acoma and other Pueblo communities, birds—and in this case the parrot or macaw—have long served as connections between people and the gods who live in the upper or sky world. Birds, which can carry messages or prayers for rain, are often depicted on ollas or water jars like the one here, marking a connection between the object’s form and its function.

Walton Ford is known for his meticulously executed images of animals in a style resembling John James Audubon’s naturalistic scenes, such as the white breasted hawk on the right of this grouping, with a critical twist. Ford’s print on the left depicts crimson-capped acorn woodpeckers guarding their cache of acorns as the Hollywood Hills are threatened by wildfire. Unlike Audubon’s pastel, Ford’s rendering is more than observational or aesthetic; it gives agency to the avian actors within his complex visual narrative.

From the 2022 exhibition This Land: American Engagement with the Natural World, curated by Jami C. Powell, Curator of Indigenous Art; Barbara J. MacAdam, former Jonathan L. Cohen Curator of American Art; Thomas H. Price, former Curatorial Assistant; Morgan E. Freeman, former DAMLI Native American Art Fellow; and Michael Hartman, Jonathan Little Cohen Associate Curator of American Art

Course History

ANTH 7.5, Animals and Humans: A Beastly Experiment in Ethics, Theory & Writing, Laura Ogden, Winter 2015

WRIT 5, After Humans, Christian Haines, Winter 2015

ANTH 7.05, Animals and Humans, Laura Ogden, Winter 2022

GEOG 31.01, Postcolonial Geographies, Erin Collins, Winter 2022

ANTH 50.05, Environmental Archaeology, Madeleine McLeester, Winter 2022

ANTH 50.05, Environmental Archaeology, Madeleine McLeester, Winter 2022

ARTH 5.01, Introduction to Contemporary Art, Mary Coffey and Chad Elias, Winter 2022

ANTH 3.01, Introduction to Cultural Anthropology, Chelsey Kivland, Summer 2022

ANTH 3.01, Introduction to Cultural Anthropology, Chelsey Kivland, Summer 2022

SPAN 65.15, Wonderstruck: Archives and the Production of Knowledge in an Unequal World, Silvia Spitta and Barbara Goebel, Summer 2022

Exhibition History

This Land: American Engagement with the Natural World, Israel Sack Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire, January 5–April 11, 2022.


Wingate Studio, Hinsdale, New Hampshire; sold to present collection, 2008.

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