Acknowledgments

Ryan, Hannah; Wolff, Lesley A.

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Acknowledgments

Hannah Ryan (Editor), Lesley A. Wolff (Editor)

Nourish and Resist: Food and Feminisms in Contemporary Global Caribbean Art

We wish first to thank Patricia Fidler, our editor at Yale University Press, for understanding our vision and championing Nourish and Resist from our initial interaction...

Author

Hannah Ryan (Editor), Lesley A. Wolff (Editor)

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31720

Acknowledgments

We wish first to thank Patricia Fidler, our editor at Yale University Press, for understanding our vision and championing Nourish and Resist from our initial interaction. Your intellectual engagement, generosity, gentle guidance, and enthusiasm are unsurpassed. Also at Yale, we deeply appreciate the editorial guidance of Laura Jones Dooley, Kate Zanzucchi, Kristy Leonard, and Adria Patterson. Many thanks to Ellen Hurst for her excellent work proofreading our manuscript with an eye for detail and awesome efficiency, and we thank Luciana Gassett for designing the graphics for the book cover. We appreciate the time and attention that anonymous readers gave to our manuscript in its early stages; this feedback has been instrumental as the book has taken shape.

We are deeply grateful to convene here an amazing, diverse group of art historians, artists, and thinkers. While working across time, space, and media, we see how they are linked by an ethics of care. It has been an absolute joy to get to know them and come together on occasion, particularly given the isolation and myriad challenges of the past few years. Many thanks to the contributors who comprised the initial Nourish and Resist panel at the College Art Association Annual Conference in February 2021, which took place virtually due to the covid-19 pandemic: Vanessa Centeno, Cristina Molina, Shana Klein, María Elena Ortiz, and Tashima Thomas. We have much gratitude for the authors and artists who journeyed to Santiago, Chile, for the Association of Critical Heritage Studies (ACHS) conference in 2022, to discuss the book and their contributions: Jennifer Baez, Cristina Molina, and Amy Yeminne Kim. Along with our gratitude, we cherish fond memories of that trip. Many thanks also to the organizers and attendees of the global ACHS conference, and especially ACHS founder Laurajane Smith for offering us inspiration, insightful questions, and fruitful dialogue.

In Puerto Rico, where we—the coeditors—met in 2022 to conduct research and work on the book in person for the first time, we wish to thank Tony Cruz Pabón and members of Beta-Local, who welcomed us spontaneously to learn more about their collective and the arts scene of San Juan and beyond. We also thank Gamaliel Rodriguez and Beatriz Santiago Muñoz for generously sharing their work and perspectives with us. We deeply appreciate the ways in which Renluka Maharaj brought the critical, and underacknowledged, histories of indenture to this text, and for allowing us to use her powerful artwork, Chandika (2022), on the book's cover. We thank Natasha Bissonauth for holding Maharaj in such thoughtful dialogue and sharing their intersecting lineages; Hannah Ryan further wishes to thank Professor Bissonauth for many years of mutual support.

One of the greatest joys of this project includes the many fruitful virtual discussions and email exchanges with artists who generously shared their time, knowledge, and care across the digital abyss, making this volume infinitely more robust and a true labor of global networks. Thank you to extraordinary and brilliant artists Elia Alba, Scherezade García, María Magdalena Campos-Pons, Andrea Chung, Regina José Galindo, Kathia St. Hilaire, Yanira Collado, Gamaliel Rodriguez, and Annalee Davis. We are so honored to share this space with you and your work. We also offer our gratitude on behalf of ourselves and our contributors to the following artists: Victoria Ravelo, Joiri Minaya, Deborah Jack, Karin Dawn Kelshall-Best, Anna-Maria Dickinson, Heather Doram, Moisés Barrios, Tania Bruguera, Victoria Cabezas, Rachelle Mozman Solano, Celia Irina González, the Correa Family, and Gabrielle E. W. Carter.

We have greatly benefited from our academic institutions throughout our time working on the project. At St. Olaf College, we thank Alison Feldt, Associate Dean of Fine Arts, for generously providing research and travel funds to support this book, the Cassling Family for a Teaching Innovation Award to support research, the faculty and students of the Department of Art and Art History, and students Emily Domres and Jessenia Prado for excellent transcription services. We also wish to thank the administration and faculty of the J. T. & Margaret Talkington College of Visual and Performing Arts at Texas Tech University and the College of Arts and Letters at the University of Tampa for their support of research and travel funds related to this project. We also wish to acknowledge the “Food and . . . ” conference hosted by the Humanities Center at Texas Tech in 2018, which gave us the opportunity to connect for the first time and discover our shared interests.

Many other individuals have provided support at critical junctures of this project, sharing ideas, images, contacts, and encouragement. We especially thank Allie Craver, Rights and Reproductions Coordinator at the Pérez Art Museum Miami, Ibett Yanez del Castillo and the staff of Emerson Dorsch Gallery, Rachel Cohen and the staff of Charlie James Gallery, Cristina Gonzalez and Primary Projects, and Sofia Palumbo-Dawson at New York University.

We wish to thank our families and friends for all of the encouragement along the way. In particular, Hannah Ryan thanks Cheryl Finley for her ongoing mentorship and friendship and Nancy Thompson for her encouragement—and particularly thanks Lesley Wolff for partnering so generously, for sharing her brilliance and enthusiasm, and for keeping the project on track as it evolved over the years. Lesley Wolff thanks her fellow members of the Apotropaic Collective—Jennifer Baez, Amy Bowman-McElhone, and Gabriela Germana—for building and tending to our sacred intellectual, emotional, and spiritual space. Lesley Wolff also, and especially, thanks Hannah Ryan for inviting her into this life-changing conversation and for working tirelessly to bring this collective vision to fruition.

And last, we would like to acknowledge this project as one of true, fruitful, enjoyable collaboration among coeditors and colleagues, almost all of whom are women. We continue to treasure the connections formed during what was largely a time of isolation. Throughout the pandemic, this remained a labor of love.

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