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ACKNOWLEDGMENTS
For as long as I have been working on this book—which feels like as long as I can
remember—I have been looking forward to writing the acknowledgments that will
preface it. The gratitude I feel to the many friends, family members, colleagues, and
students who generously supported this project or sustained its writing in one way or
another has long both moved and motivated me, and I am honored finally to render
my thanks publicly. They may be small recompense for what some of the individu-
als below have done for me and for this book, but they are heartfelt and profound all
the same.
The research and writing of this book was made possible by financial support
from a number of institutions, including the J. Paul Getty Trust, which funded a
crucial postdoctoral fellowship at the Getty Research Institute, and Northwestern
University/The Graduate School, which awarded me a Faculty Research Grant. At
Northwestern, I have also benefited from awards from the Residential College Fac-
ulty Research Assistant Fellowship Program and from the Alice Kaplan Institute for
the Humanities. Doctoral grants from the Samuel H. Kress Foundation, the Mellon
Foundation, the Ambassade de France aux États-Unis (Bourse Chateaubriand), and
the SPFFA (Bourse Marandon) provided essential support for early research forays.
Researching this book took me frequently to France, where I am grateful to ar-
chivists, librarians, and specialists at the Bibliothèque nationale de France (BnF),
the Bibliothèque Kandinsky at the Centre Georges Pompidou, the Institut national
de l’audiovisuel (INA), the Bibliothèque documentaire internationale contemporaine
(BDIC), the Musée de l’histoire contemporaine, the Musée d’art modern de la Ville
de Paris, the Bibliotheque historique de la Ville de Paris, and the Keystone-Eyedea
archives. Years ago Nathalie and Georges-Philippe Vallois, Eric Mircher, and Alain
Cueff allowed me access to their archives, and I remain grateful for their generous
assistance. In New York, access to documents and images at the Museum of Modern
Art and at the Roy Lichtenstein Foundation certainly benefited this publication. Last
but not least, Dennis Adams—a phenomenal artist, but also an archivist in his own
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