Page 96

ACKNoWlEDgMENts There are scores of people involved in the success of every exhibition. The list grows even longer when a catalogue is included. Cyanotypes: Photography’s Blue Period is no exception. Paper conservator Eliza Spaulding is grateful to Dr. Mike Ware for his steadfast and good-natured guidance preparing for the exhibition and his careful review of her essay; to Babette Gehnrich for her conservation of Frederick Coulson’s cyanotype albums; to Steve Briggs for his photography of the cyanotype process; to Paul Messier, Martin Jürgens, Lois Price, Taina Meller, Shannon Brogdon-Grantham, Richard Moll, Ruth Brown, and Laura Mina for generously sharing their knowledge and experience about the conservation of cyanotypes and related materials; to Marlene Yandrisevits and Dave Lievens for their careful review of her essay; and to Nancy Kathryn Burns and Kristina Wilson for the opportunity to work alongside them on this compelling subject. Co-curator Kristina Wilson thanks Jesseca Ferguson and Laura Blacklow for their generosity during two studio visits and is grateful to the staff at Clark University’s Goddard Library. She also wishes to acknowledge the thoughtful support of Doug Nickel, Andrea V. Rosenthal Professor of Modern Art History of Photography and Modern Art at Brown University. Doug suggested the name for the exhibition and catalogue, read several drafts of Kristina’s essay, and was an invaluable interlocutor for this project. Kristina also thanks the many people who provided research support for the students in the cyanotypes seminar. Co-curator Nancy Kathryn Burns, an admitted tabula rasa in her knowledge of cyanotype history before embarking on this project, sought assistance from countless sources, especially libraries and archives in Worcester and beyond. In addition to the help provided by Worcester Art Museum head librarian, Debby Aframe, Nancy thanks the resourcefulness and assistance of staff at the following institutions: Dinand Library, College of the Holy Cross; Hillyer Art Library, Smith College; Eastman Historical Collection at the University of Rochester, New York; and the Richard and Ronay Menschel Library at the George Eastman House, in particular Virginia Dodier and Deborah Mohr. Wide-ranging questions were addressed by various photography historians, notably Larry J. Schaaf, Malcolm Daniel, Mike Ware, Hans Rooseboom, and Anne McCauley, whose serendipitous visit to the museum

94

spurred new research on our Steichen portrait. For sharing their excitement for this exhibition with the Worcester community, considerable thanks go to Lui Faire, Birgit Strähle, and the Sprinkler Factory. Lastly, Nancy had the good fortune of receiving much needed criticism from various talented readers and writers throughout the writing process. For their thoughtful commentary and friendship, she wishes to thank Patrick Brown, Simon Feldman, Lauren Szumita, and Grant Wahlquist. In the fall of 2015, a group of upper-level undergraduates at Clark University enrolled in a research seminar on cyanotypes. These students invested an extraordinary amount of time during the semester conducting independent research on the objects and artists in Cyanotypes: Photography’s Blue Period; their catalogue entries are published here. We thank each one of these students for their hard work and commitment to the project. Of course, the success of the seminar students’ essays required the knowledge and assistance of many experts in various fields. For their research support, the Clark seminar students would like to thank the following: Kathy Bell, Tower Hill Botanical Garden; Robyn Conroy, Worcester Historical Society and Worcester Historical Museum; James Welu, director emeritus, Worcester Art Museum; Professor Mark Davidson, Clark University; Claire Bergeal, Bortolami Gallery; Patricia J. Fanning, Norwood Historical Society; Pamela Franks, deputy director for exhibitions, programming, and education and the Seymour H. Knox, Jr., Curator of Modern and Contemporary Art at Yale University Art Gallery; La Tanya Autry and Gabriella Svenningsen at Yale University Art Gallery; Mary Petts, Janine Fearn, and Pompi Parry at the Lace Society; Kim Davis, International Organization of Lace, Inc.; Fordyce Williams, coordinator of archives and special collections, Clark University; Alissa Schoenfeld, Yossi Milo Gallery; Emily Lambert, Fraenkel Gallery; Jonah Bokaer, Jonah Bokaer Dance Company; and Annie Lopez. Kristina, Nancy, and Clark LEEP intern Hannah Jaffe were treated to two cyanotype demonstrations, one by artist Jesseca Ferguson, generous not only with her teaching but also with the artwork she lent to the exhibition. Another hands-on class was offered to all Clark seminar students by one of the university’s instructors, Rachel Loischild. Informative and well crafted, the studio class succeeded despite the sun’s unwillingness to emerge from the clouds.

Cyanotypes: Photography’s Blue Period  

Cyanotypes: Photography’s Blue Period Edited by Nancy Kathryn Burns, Assistant Curator of Prints, Drawings, and Photographs Kristina Wilson...

Cyanotypes: Photography’s Blue Period  

Cyanotypes: Photography’s Blue Period Edited by Nancy Kathryn Burns, Assistant Curator of Prints, Drawings, and Photographs Kristina Wilson...

Advertisement