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Cyanotypes: Photography’s Blue Period boasts over twenty-five loans from lenders across the United States. For their generosity and confidence in our project, we would like to thank: the Museum of Fine Arts, Boston, especially Anne Havinga, Estrellita and Yousuf Karsh Senior Curator of Photographs; Elizabeth and Michael Marcus; Richard and Andrea Kremer; Joan Gage; Yossi Milo Gallery and artist Marco Breuer; Blum & Poe and artist Hugh ScottDouglas; David Winter; Annie Lopez; Michael Lee, Lee Gallery; Jesseca Ferguson; Laura Blacklow; Brian Cummings and Richard Wein; Keith de Lellis Gallery; Florence Pénault, Gallery 19/21; as well as Bortolami Gallery LLC and artist Barbara Kasten. We are especially indebted to those who supported this exhibition through gifts to Worcester Art Museum’s collection and outside financial support. In particular, we owe a debt of gratitude to artist Brooke Williams for her gift of Self with Family, Jamaica, funds for the purchase of Meghann Riepenhoff’s Littoral Drift #3 from Edward Osowski, and the donation of several cyanotypes from the respective collections of Steven Albahari, Richard and Andrea Kremer, and Edward Osowski. We are also grateful for sponsorship from Skinner Auctioneers, especially Robin Starr, whose support helped promote the exhibition and make the unique and innovative collaboration between Clark University and Worcester Art Museum possible. Finally, Clark University provided generous financial support, without which it would have been impossible to produce a catalogue to accompany this exhibition. In particular, we would like to thank associate provost and dean of the college Matt Malsky, as well as the Higgins School of Humanities at Clark University. Finally, we extend our sincere gratitude to those at Worcester Art Museum who have spent many hours designing, conserving, framing, receiving work, requesting reproductions, marketing, and editing for our exhibition and catalogue. There are too many names to list, though we feel it is important to call out a few who have spent considerable time on this project.

Philip Klausmeyer. We extend our thanks to the Registration Department, specifically Sarah Gillis, who handled our many rights and reproduction requests; photographer Steve Briggs; and Maat Manninen, who cheerfully coordinated our numerous loans. Worcester Art Museum’s head librarian, Debby Aframe, not only acquired copious books, articles, and pamphlets for our research, but she also served as an important liaison to the students of our Clark seminar. Within Marketing, Communications, and Design, our thanks goes to Julieane Frost, Tim Furman, and especially graphic designer Kim Noonan, who took on the herculean task of designing our catalogue under formidable time constraints. In addition to many of those already mentioned, various staff members met with seminar students, including Jan Ewick and Katrina Stacy. We appreciate the efforts of the Development team, notably Karmen Bogdesic, Madeline Grim, and Nora Maroulis. We were also lucky to work with copy editor Jane Takac Panza, whose expert eye spared the reader various errors in style and grammar. We especially benefited from Clark University LEEP intern Hannah Jaffe’s research and assistance during the summer of 2015, as well as the continued research and support of print room assistant Lauren Szumita right up until the printing of this catalogue. Lastly, we are grateful for the support of the museum’s director of curatorial affairs, Jon Seydl, and the C. Jean and Myles McDonough Director of Worcester Art Museum, Matthias Waschek. Nancy Kathryn Burns Assistant Curator, Prints, Drawings and Photographs Worcester Art Museum Kristina Wilson Associate Professor of Art History Clark University

For their work on the installation and design of the exhibition, we thank the Exhibition Design and Fabrication Department, especially Patrick Brown and Anne Greene. In Conservation we are grateful for the significant research and thoughtful treatments provided by paper conservator Eliza Spaulding. Further, reattributing the media line on our Edward Steichen photograph Jean Simpson in Profile would have been impossible without the FTIR and XRF tests conducted by the museum’s conservation scientist,

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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...

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