Acknowledgments

Flam, Jack; Rogers, Katy; Clifford, Tim

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Acknowledgments

Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)

Description: Robert Motherwell: Paintings and Collages (A Catalogue Raisonné,...

Robert Motherwell: Paintings and Collages (A Catalogue Raisonné, 1941–1991)

THE AUTHORS WOULD LIKE TO ACKNOWLEDGE ALL THE HELP, SUPPORT, AND COOPERATION THAT we have received from so many people and institutions. Foremost is the Dedalus Foundation, which has sponsored the research that went into this publication from the inception of the project. The Dedalus Foundation was created by Robert Motherwell and inherited all...

Author

Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00105.003

Stable URL: https://aaeportal.com/?id=-18261

Acknowledgments

The authors would like to acknowledge all the help, support, and cooperation that we have received from so many people and institutions. Foremost is the Dedalus Foundation, which has sponsored the research that went into this publication from the inception of the project. The Dedalus Foundation was created by Robert Motherwell and inherited all of his studio records and personal archives, along with almost all the works of art in his possession at the time of his death, and the copyright to all of his art and writings. All studio records and personal archives that are referred to in this publication—including studio photographs, datebooks, and studio inventory cards—can be found in the Dedalus Foundation Archives.

The members of the board of directors of the Dedalus Foundation—Dore Ashton, John Elderfield, Jack Flam, Steven R. Howard, David Rosand, Richard Rubin, and Morgan Spangle—have been unflinching in their support of this project. An important role was also played by the members of the Scientific Committee of the Robert Motherwell catalogue raisonné project: Dore Ashton, Tim Clifford, John Elderfield, Jack Flam, Katy Rogers, and David Rosand. During the years since this project was initiated in 2001, a number of people at the Dedalus Foundation made important contributions to the organization and research that the project entailed. Joachim Pissarro was the first director of the catalogue raisonné project and was responsible for the initial organization of the research files and database. Although he was not in any way involved with the final form of this book, and therefore bears no responsibility for any faults it may have, we want to acknowledge the important role he played in the early phases of the project as a whole.

We would like to thank Allison Harding, who played such a capital role during her tenure as project manager, and who visited and documented so many works in European collections. Our thanks also go to Warren Ng, who laid the groundwork for the List of Exhibitions and also played an important part in the creation and editing of many of the catalogue entries. Special thanks go to Kerrigan Kessler, who scanned and corrected the illustrations for this book, and whose outstanding eye has helped to ensure the high quality of the reproductions; to Dalia Azim, who worked so well in many different domains, and who arranged photography sessions all over the world; to Emily Schlemowitz, who gave the final shape to both the Bibliography and the List of Exhibitions, synthesizing a vast amount of information in such an admirable way; and to Mary Fass, who did such excellent work on provenance, among other things. We would also like to express our heartfelt appreciation to a number of other researchers who during their time at the Dedalus Foundation made deeply appreciated contributions to this project: Cynthia Daignault, Vanessa Daou, Stamatina Gregory, Maggie Hansen, Ezra Howard, Mary Keefe, Mark Loiacono, Jon Lutz, Jeremy Melius, Don Meyer, Mariana Mogilevich, David Michael Perez, Jane Simon, and Jaqueline Vojta.

We also want to give warm thanks to Gretchen Opie, the archivist at the Dedalus Foundation, who supplied enormous amounts of information and whose resourcefulness and mastery of digital technology served us so well throughout the course of the project. Michael Mahnke, the foundation’s collections manager, was constantly helpful in making works available to us for study, in providing photography, and in giving us the benefit of his keen eye for the physical attributes of works.

Other members of the foundation staff who have buoyed the project with their support and assistance are Rosanne Casamassima, Jasmine Justice, Olivia Kalin, Tom Long, Sean Meehan, Jason Paradis, and Alice Stock.

Among the many museums and collections that have been so helpful, we want to cite especially the following, with special thanks to the people mentioned in parentheses: Albright-Knox Art Gallery (Laura Fleischmann); Anderson Collection; Archives of American Art (Judy Throm); Art Gallery of Ontario (Greg Humeniuk and Felicia Cukier); Art Institute of Chicago (Barbara Hinde and Nora Riccio); Baltimore Museum of Art (Jay Fischer and Darsie Alexander); Birmingham Museum of Art (Melissa Falkner Mercurio); Brooklyn Museum (Ruth Janson); Carnegie Museum of Art (Laurel Mitchell); Centre Georges Pompidou, Musée National d’Art Moderne (Jean-Paul Ameline and Evelyne Pomey); Cleveland Museum of Art (Marcia Steele and Joan Neubecker); Columbia Museum of Art (Noelle Rice); Corcoran Gallery of Art; Delaware Art Museum (Jennifer Holl); Denver Art Museum (Lewis I. Sharp and Jill Desmond); the Detroit Institute of Fine Arts (Rebecca Hart); Fine Arts Work Center, Provincetown; Fogg Art Museum, Harvard (Jessica Ficken); Frederick R. Weisman Foundation; Fundació Joan Miró; Fundación Juan March (Aida Capa); Getty Archives (the late James M. Wood, David Farneth, Kate Ralston, and Wim de Wit); Guggenheim Museum Bilbao (Ainhoa Sanz); Henry Art Gallery, University of Washington (Judy Sourakli); Hess Collection (Myrtha Steiner); High Museum of Art (Sara Hindmarch); Hood Museum of Art (Kathleen O’Malley); Iris & B. Gerald Cantor Center for Visual Arts; the Jewish Museum (Karen Levitov and Sari Cohen); John F. Kennedy Federal Building in Boston (Frederick Amey and Janine Kurth); Kunstmuseum Basel; Los Angeles County Museum of Art (Elma O’Donoghue); the Lucid Art Foundation (Dr. Fariba Bogzaran); the Metropolitan Museum of Art (Lucy Belloli and Shawn Digney-Peer); the Meyer Schapiro Archive at Columbia University; Milwaukee Art Museum (Melissa Hartley Omholt); Modern Art Museum of Fort Worth (Marla Price, Michael Auping, and Wendy Griffiths); the Montclair Art Museum (Gail Stavitsky); Mount Holyoke College Art Museum; Munson-Williams-Proctor Arts Institute, Museum of Art; Museo Nacional Centro de Arte Reina Sofía (Soledad de Pablo); Museum of Fine Arts, Houston; the Museum of Modern Art (Milan Hughston, Michelle Elligott, Jim Coddington, and Carrie McGee); Museum Moderner Kunst Stiftung Ludwig, Wien; National Gallery of Art, Washington, D.C. (Jay Krueger and Carlotta Owens); National Gallery of Australia (Christine Dixon); Nelson A. Rockefeller Collection (Cynthia Altman); the Newark Museum (Tricia Laughlin Bloom); Norton Museum of Art (Karol Lurie); Peggy Guggenheim Collection (Philip Rylands and Jasper Sharp); Pennsylvania Academy of the Fine Arts; Philadelphia Museum of Art (Michael Taylor); Phillips Collection (Joe Holbach); Pinakothek der Moderne; Princeton University Art Museum (Calvin Brown); San Francisco Museum of Modern Art; Seattle Art Museum (Michael Darling); Smith College Museum of Art (Louise Laplante); Smithsonian American Art Museum (James Concha); Solomon R. Guggenheim Museum (Francine Snyder); Sprengel Museum Hannover; Staatsgalerie Stuttgart; Tate Modern (Nicholas Serota and Patricia Smithen); Wadsworth Atheneum Museum of Art; Walker Art Center (Joe King); Whitney Museum of American Art (Adam Weinberg, Carol Mancusi-Ungaro, and Anita Duquette); Wichita Art Museum (Kirk Eck); and Yale University Art Gallery (Susan Greenwalt and Elisabeth Hodermarsky).

Among the many art dealers and galleries that have helped us, we want to single out the significant assistance we received from Knoedler & Company (Melissa de Medeiros); Ameringer McEnery Yohe (Miles McEnery); Carroll Janis and Jeanie Deans at the Sidney Janis Gallery archives; Galerie Lelong (Patrice Cotensin and Nathalie Berghege-Compoint); Bernard Jacobson Gallery (Bernard Jacobson and Janey McAllester); and the Locks Gallery (Sueyen Locks and Philip Mott). We also want to thank the following galleries and dealers for their help and consideration: Acquavella Galleries; John Berggruen Gallery; Mark Borghi Fine Art (Shannon K. McEneaney); the late André Emmerich; Leslie Feeley; Gagosian Gallery (Rose Dergan); James Goodman Gallery (Patsy Tomkins); Richard Gray Gallery (Susanna Hedblom); Greenberg Van Doren Gallery (Courtney Flynn); Bobbie Greenfield; Hackett-Freedman Gallery; Leonard Hutton Gallery (Ingrid Hutton); Bernd Klüser; Margo Leavin Gallery (Wendy Brandow); Meredith Long & Company; Marlborough Fine Art (Tara Reddi); Marlborough Galleria d’Arte (Carla Panicali); Thomas McCormick; David McKee; Jerald Melberg Gallery; David Mirvish; Edward Tyler Nahem (Edward Tyler Nahem and Jamie Katz); Jonathan Novak Contemporary Art (Janelle White); Gerald Peters Gallery; Lawrence Rubin; Leslie Sacks Fine Art (Annie Won); Pascal de Sarthe Fine Art; William Shearburn Gallery (Katherine Rodway and William Shearburn); Manny Silverman Gallery (Manny Silverman and Linda Hooper); and the Waddington Galleries (Clare Preston).

The staff at several auction houses have been very generous with their time and in sharing resources. In particular we wish to thank Christie’s New York (Marley Lewis and Sara Friedlander); Doyle New York (Harold Porcher); and Sotheby’s New York (Mary Ballantyne, Sheila Debrunner, and Johanna Flaum).

We have also benefited from the advice and information given us by a number of enthusiasts, scholars, and collectors of the work of Robert Motherwell, most especially Jon Yard Arnason and Eleanor A. Arnason, Dr. Carmel Friedman, Gregory Gilbert, John McKenzie, Ed Meneeley, Dr. Francis V. O’Connor, Maria Reinshagen, Martica Sawin, Martha Gearhart Schermerhorn, Seán Sweeney, Eugene Victor Thaw, Ulli Willi, Amy Winter, and Jonathan Ziady.

Our thanks also to all our researchers and technical advisers, especially Barbara Rockenbach, for her bibliographical work; Luisa Restrepo, for help with foreign languages; Suzannah Massen, for her research on auctions; Daniel Callahan, for his impressively thorough research regarding the sheet music that Motherwell used in his collages; George Kondogianis, for his color expertise; and Dan Peck, for the exceptional job he did of designing the initial database for the project and of updating it as necessary. Special thanks go to Fronia Simpson, for her alert reading of early drafts of the essays and Chronology, and for her many constructive suggestions.

We have also benefited from the work of photographers all over the world, and in particular from the very fine sustained photographic work of the late Oren Slor, and of Jordan Tinker, who did the bulk of the local photography for us; also Eduardo Calderon, David Carmack, Brian Forrest, Lee Stalworth, Michael Tropea, and John Wilson White.

A number of Robert Motherwell’s personal friends, studio assistants, collaborators, and family members have been extremely generous in sharing their knowledge with us. We want to give special thanks to Richard Aakre, Ethel Baziotes, the late William Bosschart, E. A. Carmean Jr., Heidi and Claus Colsman-Freyberger, Jane Crawford, John Murray Cuddihy, Betty Fiske, Helen Frankenthaler and her assistant Maureen St. Onge, the late B. H. Friedman and his assistant Jean Reynolds, Milton Gendel, the late Walter K. Helmuth, Barbara Kafka, Dr. Christian Kloyber, Catherine Mosley, Lise and Jeannie Motherwell, the late Arnold Newman, Mel Paskell, the late Philip Pavia and his wife Natalie Edgar, Barbara Poe Levee, Michel Ragon, the late Maria Runyan and her associate Lisa Van Der Sluis, John Scofield, Chloe Scott, the late Charles Seliger, Nina Sundell, the late Yvonne Thomas, Kenneth E. Tyler, the late Dr. Montague A. Ullman, Paul Waring, and Virginia Waring.

We would also like to thank our colleagues at other foundations who have so generously assisted us with advice and information: Charles C. Bergman and Kerri Buitrago at the Pollock-Krasner Foundation; Sanford Hirsch at the Adolph and Esther Gottlieb Foundation; Richard Grant and Andrea Liguori at the Richard Diebenkorn Foundation; Amy Schichtel at the Willem de Kooning Foundation; Alessandra Carnielli at the Pierre and Tana Matisse Foundation; and Christopher Rothko at the Mark Rothko Foundation.

A project such as this also draws upon the knowledge and skills of a number of specialists. We would like to express our thanks to three scientist-conservators who have made especially important contributions to the study of Robert Motherwell’s work: James Martin of Orion Analytical; Matthew Skopek, senior conservator at the Whitney Museum of American Art; and Dana Cranmer of Dana Cranmer Associates.

Anyone who writes on Robert Motherwell owes a great debt to four scholars who have done important original research on the artist: the late H. H. Arnason; E. A. Carmean Jr.; Robert C. Hobbs; and Robert Mattison.

Finally, we want to give heartfelt thanks to the team of dedicated people at Yale University Press who have contributed so much to the final quality of this book; to Patricia Fidler, publisher, art and architecture, who has been an enthusiastic supporter of this project right from the beginning; to Kate Zanzucchi, senior production editor, art books, and managing editor, special projects, for her patience and attention to detail, and for coordinating the project so seamlessly and with such grace; to Katy Homans, for the intelligence and fine aesthetic sensibility that she brought to the design of this book; to Miranda Ottewell, for her excellent copyediting of the manuscript; and to Ken Wong, production manager, for overseeing the production of the book with such loving care.

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