Acknowledgments

Meyer, James

Save Cite Share

Free

Acknowledgments

James Meyer

Minimalism: Art and Polemics in the Sixties

Many individuals contributed to this book. First I must thank the artists who are the focus of this study – Carl Andre, Sol LeWitt, Robert Morris, Anne Truitt, and the late Dan Flavin and Donald Judd – for consenting to numerous interviews, corresponding with me, and allowing access to their archives. I am also grateful to the many critics and...

Author

James Meyer

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31639

Acknowledgments

Many individuals contributed to this book. First I must thank the artists who are the focus of this study — Carl Andre, Sol LeWitt, Robert Morris, Anne Truitt, and the late Dan Flavin and Donald Judd — for consenting to numerous interviews, corresponding with me, and allowing access to their archives. I am also grateful to the many critics and dealers who agreed to interviews, including Virginia Dwan, Ivan Karp, Lucy Lippard, Kynaston McShine, Robert Pincus-Witten, Barbara Rose, the late Dick Bellamy, David Bourdon, Tibor de Nagy, E. C. Goossen, and Clement Greenberg. I wish to extend thanks as well to Mel Bochner and Rosemarie Castoro, to Nancy Holt for allowing access to her and Robert Smithson’s papers, and to Reno Odlin, who went to considerable trouble in providing unpublished writings by Carl Andre.

Research was conducted at the Addison Gallery of American Art, Andover; the Archives of American Art, Smithsonian Institution; the Chinati Foundation, Marfa; the Hague Gemeentemuseum; the Getty Center for Research in the Arts and Humanities; the Guggenheim Museum; the Jewish Museum, New York; the Kröller-Müller Museum, Otterlo; the Ludwig Museum, Cologne; the Milton S. Eisenhower Library, Johns Hopkins University; the Museum of Modern Art, New York; the National Gallery of Canada; the New York Public Library; the Robert Woodruff Library, Emory University; the Stedelijk Museum, Amsterdam; the Tate Gallery, London; the Wadsworth Atheneum, Hartford, as well as the André Emmerich Gallery, Leo Castelli Gallery, Lisson Gallery, and Paula Cooper Gallery. Here and elsewhere my work was facilitated by numerous individuals, including Paula Cooper, Vivian Mann, Rob Weiner, Jeffrey Kopie, Marianne Stockebrand, John O’Brian, Kim Paice, Jon Ippolito, and Brydon Smith, formerly Curator at the National Gallery of Canada, whose own scholarship has been invaluable to this study. The task of locating photographs and rights was made less arduous thanks to Nicholas Baume, Tiffany Bell, Susan Chorpenning, James Fraser, Barbara Treitel, and Alexandra Truitt.

Parts of the book were presented as talks at the College Art Association, the University of Georgia, the University of British Columbia, and the Yale University Art Gallery. My research has been supported by a grant from the Caswell Caplan Charitable Income Trust, Baltimore (I am grateful to Constance Caplan for her unstinting support), by a library grant from the Getty Institute for Research in the Arts and Humanities, as well as several Faculty Development Awards and grants from the International Travel Fund at Emory University. A generous grant from Emory College endorsed by Dean Stephen Sanderson and Gay Robins funded photographs and reproduction rights. I completed the final stages of work on the book during an Emory faculty leave spent at the Obermann Center for Advanced Study at the University of Iowa.

As readers of the manuscript, Mark Bauerlein, Brian D’Amato, Marc Gotlieb, Toni Ross, Anne Truitt, and my partner Patrick Paul Garlinger made many helpful suggestions. A special thanks is due to Suzanne Guerlac for her comments on an early draft of the book. My account of the Calvinist subtext of “Art and Objecthood” was inspired by the conversation of John Rogers. In the field of contemporary art, Alexander Alberro has been a valued interlocutor.

At Yale University Press, I have been extremely fortunate to work with Gillian Malpass, Elizabeth McWilliams, and Katharine Ridler. I am also grateful to Nikos Stangos of Thames and Hudson for his support.

A few final acknowledgments. The instruction of Yve-Alain Bois, my dissertation director, in many subjects and interpretative models has been foundational for this book, and his confidence in the project was essential to its completion; to him my deepest thanks. At Johns Hopkins, the seminars of Elizabeth Cropper stressed the value of reading art criticism within its historical and discursive context; this study had applied that lesson.

Lastly, I should like to thank my brothers Fredric and Marc for their support in difficult times, and most of all my parents Charlotte and Irving Meyer. My father, my first art history teacher, did not live to see this book, and it is fittingly dedicated to him.

Previous chapter

Base text size -

Chapter images ()