Acknowledgments

Gordon, Sarah

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Acknowledgments

Sarah Gordon

Indecent Exposures: Eadweard Muybridge’s Animal Locomotion Nudes

~Like Eadweard Muybridge’s Animal Locomotion, this book has resulted from the contributions of many individuals and institutions. On a practical note, it could not have been published without several sources of funding. For their financial support I thank Northwestern University, American University, the Henry Luce Foundation, the...

Author

Sarah Gordon

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-19987

Acknowledgments

Like Eadweard Muybridge’s Animal Locomotion, this book has resulted from the contributions of many individuals and institutions. On a practical note, it could not have been published without several sources of funding. For their financial support I thank Northwestern University, American University, the Henry Luce Foundation, the Andrew W. Mellon Foundation, the Library Company of Philadelphia and the Historical Society of Pennsylvania, the Terra Foundation for American Art, and the Center for Advanced Study in the Visual Arts (CASVA). These last two institutions granted me fellowships that far exceeded their monetary value. In Giverny and at CASVA, I encountered intelligent and creative artists and scholars who offered inspiration, motivation, and camaraderie.

My research was supported by many knowledgeable individuals who offered access to archives and information about their holdings. For their crucial contributions to my research, I thank Michelle Delaney, National Museum of American History, Smithsonian Institution; Maggie Kimball, Special Collections and University Archives, Stanford University; Becky Simmons, George Eastman House; Cheryl Smith, Kingston Museum; Susan K. Anderson, Philadelphia Museum of Art; Alessandro Pezzati, University of Pennsylvania Museum of Archaeology and Anthropology; Cheryl Leibold, Pennsylvania Academy of the Fine Arts; Amey Hutchins, University of Pennsylvania Archives; Edward Mormon, College of Physicians, Philadelphia; the late Gretchen Worden, Mütter Museum, Philadelphia; and Diana Franzusoff Peterson, Haverford College Library.

Several historians of art, photography, and science were generous enough to share their expertise and curiosity with me over the years. For this I thank Scott Curtis, Mark Meigs, Miles Orvell, Morris Vogel, Steven Conn, John Davis, and Kathleen Foster. I truly appreciate the openness of the terrific group of Muybridge scholars, from whom I have learned so much through their published work, exhibitions, conferences, and personal discussions. These individuals include Marta Braun, Elspeth Brown, Philip Brookman, Phillip Prodger, and Rebecca Solnit.

For the speedy delivery of high-quality images from their collections, I thank James M. Sousa, Addison Gallery of American Art; Jana Hill, Amon Carter Museum; Crystal Miles, Bancroft Library, University of California, Berkeley; Allison Akbay, Cantor Arts Center, Stanford; Jennifer Johns, Pennsylvania Academy of the Fine Arts; Amy English, DACS; Maria Elena Murguia, ARS; Mattie Taormina, Department of Special Collections, Stanford University Libraries; Anne Barrett, Imperial College Archives, London; Marie-Paule Cathala, Musée des Beaux-Arts de Bordeaux; Ilisa Barbash and Jessica Desany Ganong, Peabody Museum of Archaeology and Ethnology, Harvard University; Giema Tsakuginow, Philadelphia Museum of Art; Shannon Perich and Ryan Lintelman, National Museum of American History; Sarah Walpole, Royal Anthropological Institute of Great Britain and Ireland; Melanie Emerson, Ryerson and Burnham Libraries, Art Institute of Chicago; Wendy Hurlock Baker, Archives of American Art; Debra Kaufman, California Historical Society, San Francisco; Verna Curtis, Library of Congress Prints and Photographs Division; and Nancy R. Miller, University of Pennsylvania Archives. I especially appreciate the receptiveness of artists Michal Heiman, Tara Polataikas, and Kathy Grove.

The writing and revising of this book took several years, and I became indebted to many along the way. I thank the five anonymous readers whose thoughtful remarks and insightful comments greatly influenced the book’s development. The two who read the manuscript twice deserve an extra portion of my gratitude. I also wholeheartedly thank Jennifer Tucker, who reviewed the manuscript twice, offered detailed suggestions, and expressed her enthusiastic support. Robert Morton’s guidance and encouragement kept me on track to publication, and Emily Shapiro aided me in locating the magnificent Marina Belozerskaya. Marina’s remarkable gifts as a developmental editor transformed my project from a manuscript to a book, and her humor, optimism, and honesty buoyed my spirits during the final stretch of writing. Duke Johns brought skill and precision to his copyediting. At Yale University Press, I appreciated the early enthusiasm of Patricia Fidler as well as the patience and tenacity of Katherine Boller. Their professionalism is unrivaled. For their commitment and attention to detail, I thank Heidi Downey, Tamara Schechter, Amy Canonico, and Mary Mayer. And for his sensitive eye and masterful handling of Muybridge’s photographs, many thanks to Jeff Wincapaw. I have been lucky to have many pairs of intelligent and discerning eyes on the manuscript, and I take full credit for any errors that still remain.

In addition to the direct involvement of so many, the intellectual and moral support of others has been crucial to the completion of this book. Teachers, advisors, mentors, colleagues, and friends have contributed in countless ways to my academic work. I thank Holly Clayson for offering an amazing model of true and devoted scholarship. Her probing intelligence guided my graduate work at Northwestern University and continues to enlighten me today. To Sarah Greenough I owe immense thanks. She has shown me what magnificent results can grow from a dedication to the history of photography, while gracefully maintaining the helm of the dynamic Department of Photographs at the National Gallery of Art. There I have been fortunate to work with Sarah Kennel, Diane Waggoner, Andrea Nelson, Mark Levitch, and others who value intellectual pursuits of all kinds. Additionally, I acknowledge my teaching colleagues at the George Washington University and American University, including Bibi Obler, Helen Langa, Kim Butler Wingfield, Andrea Pearson, and Juliet Bellow. Finally, a vibrant group of art historians in Washington, DC, has lifted my spirits more than they know. Erin Haney, Terri Weissman, Wendy Grossman, Laura Katzman, Anne Nellis, and especially Leslie Ureña, whose energy, intelligence, and friendship have sustained me—thank you.

In addition to these professional relationships, I am fortunate to have the love and support of a wonderful family. To them I owe my greatest measure of gratitude. I thank Rachel Gordon, David Gordon, Nichole Argyres, James Saad, Mary Ann Saad, Suzanne Saad Wu, and Yitah Wu for their faith in me and their levity in the face of any academic angst I may have thrown their way. I thank Barbara and Harvey Gordon for their intelligence, dedication, and creativity, and the many years of devotion it took to instill those values in me and my siblings. About Marty Saad not enough can be said here. The depth of his patience and generosity is unfathomable, and a true gift. And finally, to Gabriel and Aaron Saad I give endless thanks. These two boys came into my life and assured that this book was written not in a single extended gaze but rather a long series of quick glances.

Sarah Gordon

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