Published Essays and Reviews
Review of Catherine Coleman Brawer and Kathleen Murphy Skolnik, The Art Deco Murals of Hildreth Meière. CAA.reviews. April 13, 2015 http://www.caareviews.org/reviews/2448
Exhibition Review: “American West in Bronze,” Metropolitan Museum of Art. Nineteenth-Century Art Worldwide, vol. 14, issue 1 (Spring 2015) http://www.19thc-artworldwide.org/spring15/webster-reviews-the-american-west-in-bronze-1850-1925
Co-editor, Special Issue: Murals, Public Art Dialogue, 4, no. 1 (Spring 2014).
“A Mural Carved in Stone, Delaroche’s Hemicycle for the Facade of the Pennsylvania Academy of Fine Arts,” Museum History Journal vol. 5, No. 2 (June 2012): 283-301.
“Fables of abundance: The Huntington murals are installed in the newly renovated Yale University Art Gallery,” The Magazine Antiques (November/December 2012): 110-119.
Exhibition Review: “Art of the Americas Wing: Museum of Fine Arts, Boston,” Nineteenth-Century Art World-Wide,” Autumn 2011 http://19thc-artworldwide.org/index.php/autumn11/review-of-the-art-of-the-americas-wing-museum-of-fine-arts-boston
“Unitarianism and the Iconography of Democracy: Decoration for the Library of Congress,” The Library Quarterly, vol. 80, No. 4 (October 2010), 357-383.
“Murals”and other entries for Grove Encyclopedia of American Art, New York: Oxford University Press, 2010.
“’The Spectrum of Light’: Carl Gutherz’s Mural for an Ideal World,” in Carl Gutherz Poetic Vision and Academic Ideals (Memphis Brooks Museum of Art, 2009): 85-115.
“Origins of the American Memorial Tradition,” Laurinda Dixon, ed. Re-presentations and Re-constructions in Nineteenth-Century Art: Revisiting a Century. Newark, DE: University of Delaware Press, 2008.
“Fashion Moda: A Bronx Perspective,” in The Eighties First Part, Espèces d’Espace (Grenoble: Magasin, 2008): 146-163.
“Pierre L’Enfant and the Iconography of Independence,” Nineteenth-Century Art Worldwide,
March 2008. http://www.19thc-artworldwide.org/spring_08/articles/webs.shtml
Review of Katherine M. Bourguignon, ed., Impressionist Giverny, A Colony of Artists, 1885-1915. Giverny: Musée d’art Américain Terra Foundation for American Art, 2007 for H-France Review Vol. 7 (December 2007), No. 149 http://www.h-france.net/vol7reviews/webster.html
“The Civilization of the West,” in Barbara S. Christen and Steven Flanders, eds., Cass Gilbert, Life and Works, New York: W.W. Norton, 2001, pp. 100-12.
“Public Art” in Encyclopedia of American Studies, Vol. 3, New York: Grolier Educational, 2001, pp. 426-34.
“It’s a Helluva Town,” review of Art and the Empire City: New York, 1825-1861, for American Book Review, July/August 2001, p. 18.
“East Side, West Side, All Around the Town: American Art and New York City,” review of six exhibitions for Historians of Nineteenth-Century Art Newsletter, vol. 8, #1 (Spring 2001):10-12.
Review of exhibition and catalogue Mary Cassatt: Modern Woman, Art Institute of Chicago, 1999 for CAAreviews, vol. 2 (January 1999) www.caareviews.org.
“Report on the Murals in the Officers’ Club Building, Fort Niagara State Park, Youngstown, New York,” for the New York State Office of Parks, Recreation and Historic Preservation, July 1, 1998.
“The Quest for Beauty: Art and Design During the American Renaissance, 1876-1910,” catalogue essay, Brattleboro Museum and Art Center, Vermont, Summer 1998.
“Fashion Moda: A Bronx Perspective,” essay for TalkBack! http:talkback.lehman.cuny.edu/tb
“America Celebrates its Past, The Hall of Fame of Great Americans,” CRM (Cultural Resources Management, published by the National Park Service) v. 18, #1 (1995): 5-7.
Co-author, “Mary Cassatt and Mary Fairchild MacMonnies: The Search for Their 1893 Murals,” Smithsonian Studies in American Art, Winter 1994, pp. 53-70.
“Public Art in the Bronx: A Descriptive History,” Public Art in the Bronx, Lehman College Art Gallery, 1993, pp. 6-26.
“Writing History/Painting History: Early Chronicles of the United State and Pictures for the Capitol Rotunda,” essay in Critical Issues in Public Art: Content, Context and Controversy, New York: HarperCollins, 1992.
Book Review: “19th-Century Paris” Lois Marie Fink American Art at the Nineteenth-Century Paris Salons and H. Barbara Weinberg, The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers, Art Journal 50 (Winter 1991): 107-8.
Co-Editor of Art Journal issue “Critical Issues in Public Art,” Winter 1989.
Book Review: H. Nichols B. Clark, Francis W. Edmonds, American Master in the Dutch Tradition and Lee M. Edwards, Domestic Bliss, Family Life in American Painting, 1840-1910, Art Journal 48 (Summer 1989): 99-103.
“Joyce Kozloff: Public Decoration,” Art in America, February 1987, pp. 118-25.
“Perceptions Five Artists–Five Views on Paper,” essay for exhibition at Intar Latin American Gallery, New York, June 1985.
“The Albany Murals of William Morris Hunt: Their Commission and Meaning,” Proceedings of the New York State Capitol Symposium, Albany, November 1983, pp. 107-12.
Alternative Spaces and the Crisis Threatening Their Survival, a report for the National Endowment for the Arts, Spring 1982.
Collaboration: Patsy Norvell/Robert Zakanitch, catalogue of exhibition, Norton Gallery and School of Art, West Palm Beach, Florida, and the Sidney Janis Gallery, New York, Winter 1982-3.
“Mary Cassatt’s Allegory of Modern Woman,” Helicon Nine, Fall/Winter 1979, pp. 38-47.
“Thomas Anshutz: The Philadelphia Connection,” Arts, November 1979, pp. 138-40.
“In der kunst der Frau provoziert die Prague nach der weiblichen Sensibilitat am meisten,” Frauen in America, September 1978, pp. 25-8.
“Spatial Geometry,” Philadelphia Arts Exchange, November/December 1977, pp. 13-5.
“Isabel Bishop” “Suzanne Valadon,” catalogue essays for Women Artists, 1550-1950, Brooklyn Museum of Art, 1977.
“The Architecture and Sculptural Decoration of the Appellate Division Courthouse,” catalogue essay Temple of Justice exhibition, New York Bar Association, Summer 1977.
“Joan Snyder, Fury and Fugue: Politics of the Inside,” Feminist Art Journal, Summer 1976, pp. 5-9.
“Contemporary Facts on Union Terminal,” Catalogue essay, Art Deco and the Cincinnati Union Terminal, Contemporary Arts Center, Cincinnati, Ohio, January/February 1973.