Acknowledgments

Buquet, Benoît

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Acknowledgments

Benoît Buquet

Art & Graphic Design: George Maciunas, Ed Ruscha, Sheila Levrant de Bretteville

~~This book was originally published in French, in 2019, and I feel incredibly privileged to have the opportunity to make it available in English as well. What a strange and exciting feeling it is to witness the process of a book’s metamorphosis.

Author

Benoît Buquet

PublisherYale University Press

PublisherTerra Foundation for American Art

Stable URL: https://aaeportal.com/?id=-22431

Acknowledgments

This book was originally published in French, in 2019, and I feel incredibly privileged to have the opportunity to make it available in English as well. What a strange and exciting feeling it is to witness the process of a book’s metamorphosis.

Many individuals were part of this process. I would first like to thank the anonymous reviewers for the Terra Foundation for American Art—Yale University Press American Art in Translation Book Prize for believing in this study. I am also grateful to the Yale University Press editorial team. In particular, I would like to single out four individuals at the Press for their professionalism, enthusiasm, and support: Amy Canonico, who was there from the beginning of the project; Mary Mayer; Raychel Rapazza; and Kate Zanzucchi. To date, this has been my best experience with a publisher.

I would also like to thank Jane Marie Todd for the translation, Jane Friedman for the copyediting, Jessica Skwire Routhier for the proofreading, Krister Swartz for the indexing, and Jena Sher for the design, which exquisitely captures the spirit of the book’s contents.

I would like to express my gratitude to Ed Ruscha and Sheila Levrant de Bretteville, and to all the artists and graphic designers who kindly agreed to speak with me or answer my questions, or who facilitated the longstanding iconographic research associated with this book.

Thanks as well to certain colleagues at the Université de Tours, especially members of the InTRu laboratory (artistic and cultural interactions, transferrals, and ruptures), particularly Laurent Gerbier, with whom I had the stimulating opportunity to share my research in recent years.

It would be impossible for me to name all the people, all the interlocutors, who came to my assistance. Likewise, I will forgo listing the numerous institutions whose assistance I requested; traces of their cooperation can be found in the notes, illustration credits, and other acknowledgments.

The following alphabetical list does not specify whether I am expressing gratitude for an invaluable reply to an e-mail, permission to reproduce a work, a connection, an interview, critical feedback, an invitation to share my research, assistance with a translation, a warm welcome, attentive proofreading, or support over the long term. May everyone here find the appropriate reason for my thanks: Léna Araguas, Sarah Archino, Raphaële Bertho, Katia Bienvenu, Cécile Boulaire, the late François Brunet, Cali Buckley, Seymour Chwast, the late Elaine Lustig Cohen, Sophie Cras, Mary Dean, Larisa Dryansky, Thierry Dufrêne, Charlotte Foucher, Lilian Froger, Alessandro Gallicchio, Alaric Garnier, the late Keith Godard, Jennifer Greenhill, Maria Karras, Susan E. King, Déborah Laks, Sue Maberry, Cindy Marsh, Barbara Marshad, the late Jonas Mekas, Laura Mircik-Sellers, Lasky Mitzer, Susan Mogul, Constance Moréteau, France Nerlich, Camille Paulhan, Vanina Pinter, Marcia Resnick, Francesca Rose, Louise Sandhaus, Piet Schreuders, Veerle Thielemans, Alexander Tochilovsky, Caroline Tron-Carroz, Daniel Tsai, Cécile Whiting, Giovanna Zapperi, and all the others, whom I have not forgotten.

Finally, particular acknowledgment goes to Sybil Ficket-Jones, the late Joe Molloy, Susan Power, and especially John Tain, all of whom contributed in very different ways to making my “California experience” memorable; and, of course, to Damien Aujard, for his unwavering support.

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