Acknowledgments

Shannon, Joshua

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Acknowledgments

Joshua Shannon

The Disappearance Of Objects: New York and the Rise of the Postmodern City

Acknowledgments

Author

Joshua Shannon

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00132.002

Stable URL: https://aaeportal.com/?id=-15515

Acknowledgments

This book began as a Ph.D. dissertation at the University of California, Berkeley, and it would have been impossible without the guidance of T. J. Clark and Anne Wagner. Both advisers left a deep impression on my thinking with their own published work, too, for which I extend sincere thanks. In the long course of revision, the book has also benefited immeasurably from close readings by Kevin Chua, Benjamin Grant, Michael J. Kramer, Rona Marech, Christopher Nealon, Alex Potts, Jennifer L. Roberts, and Jason Weems. The first chapter appeared in the Art Bulletin 86, no. 1 (2004), published by the College Art Association; I thank H. Perry Chapman, Robert E. Haywood, Lory Finkel, and an anonymous reader for their responses. Others who have offered important suggestions and encouragement at various stages include Jennifer Bethke, Huey Copeland, John Davis, Alexander Dumbadze, Hannah Feldman, Suzanne Hudson, Jonathan D. Katz, Howard Lay, James Luria, Steven Mansbach, Janine Mileaf, Sally Promey, Christine Schick, Matthew Witkovsky, Bryan Wolf, and Rebecca Zurier. The book of course also owes its fruition to the hard work of Patricia Fidler, John Long, Daniella Berman, and many others at Yale University Press, and to the Press’s readers.

Several audiences and reading groups responded generously to my ideas at various stages, and I particularly thank those at the City University of New York, the George Washington University, Harvard University, Northwestern University, the Phillips Collection Center for the Study of Modern Art, the Royal Netherlands Academy of Arts and Sciences, the University of Manchester, the University of Washington, and at meetings of the College Art Association and the American Studies Association.

I appreciate the financial support offered by the General Research Board and the Department of Art History and Archaeology at the University of Maryland; the Andrew W. Mellon Postdoctoral Research Fellowship at the University of Michigan; the Patricia and Phillip Frost Fellowship at the Smithsonian American Art Museum; and the University of California, Berkeley, and its History of Art Department. I could never have written the book without the time offered by these grants. I owe thanks, too, to my colleagues and students at these institutions, whose thoughts proved integral to the development of the project.

For their help with my research, I extend appreciation to staff members at the Archives of American Art, the Chinati Foundation, the Getty Research Institute, the Hartman Center at Duke University, the Judd Foundation, the Judson Memorial Church, the Library of Congress, the Museum Ludwig in Cologne, the Museum of Contemporary Art in Los Angeles, the Metropolitan Museum of Art, the Museum of Modern Art, and the New York Public Library. I would also like to thank Richard Bernstein, Jim Dine, Jasper Johns, Jeffrey Kopie, Patty Mucha, Claes Oldenburg, and Anita Reuben Simons for kindly offering their recollections. Above all, I thank my friends and family—and especially my wife, Rona—for their unfailing generosity and support.

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