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ACKNOWLEDGMENTS
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There are a number of people I would like to thank for helping me carry this
book along the sometimes seemingly endless road to completion.
First of all, Adrian Rifkin, who, as supervisor of this project’s early life as
a dissertation at the University of Leeds, gave me permission to think in an
unorthodox manner.Without his encouragement of counterintuitive think-
ing and researching, this project would simply never have materialized. I am
also indebted to Andrew Stephenson and Griselda Pollock for their careful
and probing comments as examiners of my dissertation.
Researching my curiosities has been immensely enjoyable, and has been
made all the more so by staff at the following institutions: the Andy War-
hol Museum and Archives, Pittsburgh (especially Matt Wrbican); the Ar-
chives of American Art, New York; the British Library; the library at Cen-
tral Saint Martins College of Art and Design, London; Gay’s the Word
bookshop, London; Hall Carpenter Archives, London; Leo Castelli Gallery,
New York; Lesbian, Gay, and Bisexual Archives, Toronto (particularly Alan
Miller); New York Public Library; One Institute and Archives, Los Ange-
les; Robert Mapplethorpe Foundation, New York (especially Anise Richey);
Susan Sheehan Gallery, New York; Tibor de Nagy Gallery, New York (espe-
cially Eric Brown); and the University of London Library. I’d also like to
thank those people who took time to talk to me (Billy Name, John Gruen,
Nat Finkelstein) and respond to my mail (Rachel Rosenthal, Joe LeSueur,
David White).
My colleagues in the Department of Visual Cultures at Goldsmiths Col-
lege have been instrumental in shaping the book’s intellectual ambitions
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