Acknowledgments to the Second Edition
This second edition to the Gemini G.E.L. catalogue raisonné, the result of an intensive yearlong effort, was a cooperative endeavor involving many talented individuals, each of whom contributed to the project’s successful completion. My first word of thanks, however, belongs to the previous Gemini G.E.L. catalogue raisonné team (some of whom returned for this iteration of the project), whose labor of love provided the solid foundation upon which to build the present update.
I would like to thank Earl A. Powell III, director; Alan Shestack, former deputy director; Franklin Kelly, deputy director; and Andrew Robison, Andrew W. Mellon Senior Curator of Prints and Drawings, for their ongoing endorsement of the Gemini G.E.L. catalogue raisonné. Sidney B.Felsen, Stanley Grinstein, and Joni Moisant Weyl offered enduring and steadfast support, answering questions and providing information and resources to move the project forward. I gratefully acknowledge the assistance of Nancy Ervin, formerly of Gemini G.E.L., who cheerfully coordinated responses to my numerous queries about Gemini editions. Other staff, including Scott Bisacci, Kenturah Davis, Kate Guillen, Christopher Lahti, My-Linh Miles, James Reid, and Christina Moisant Weyl, were helpful in replying to many requests for text, images, and other details.
This second edition has benefited from the full collaboration of the National Gallery of Art publishing office, especially Judy Metro, editor in chief; Phyllis Hecht, former Webmaster; and current Webmaster Joanna Champagne, each of whom steered the project at critical junctures. Ulrike Mills, Tam Curry Bryfogle, and Caroline Weaver offered important editorial advice and Clare Parsons combed the final manuscript for typos and irregularities, often under tight deadlines. Molly Bloom, publishing office intern, ably assisted in the daunting task of correcting the minor errors and inconsistencies found in the first edition. Suzanne Sarraf, Web designer and project manager, skillfully incorporated the new essays and other updates into the online catalogue’s existing superstructure and kept the whole undertaking on track. Web architects Ric Foster and David Beaudet performed brilliant data conversions and wrote programs that, in the end, seemed like feats of magic. John Gordy and Neal Johnson of the Web team also deserve hearty thanks for sharing their expertise. In the Gallery’s office of the secretary and general counsel, Nancy Breuer provided expert legal guidance, deftly balancing the demands of this project with the museum’s overall institutional needs. Amity Wang of that department also provided assistance.
Within the department of modern prints and drawings itself I would like to recognize the supervision and encouragement of Judith Brodie, curator and head of the department. Carlotta Owens, associate curator, contributed to this project’s practical realization in many important ways. I owe Amy Johnston, assistant curator, a great debt for her indispensable administrative skills, humor, listening ear, and friendship. A thank-you also goes to Josephine Rodgers for her assistance in proofing of catalogue entries. Finally, it is with profound gratitude that I thank Charles Ritchie, associate curator, for providing me the opportunity to work on this publication; for sharing his significant knowledge of prints and printmaking, especially the history of Gemini G.E.L.; and for overseeing the entire project with great energy and diligence.
I would like to express my deepest thanks to my parents, A. Frederick Walz Jr. and Prudence Mae Walz, who fostered my love for visual images as a child with regular visits to the National Gallery of Art.
Jonathan F. Walz
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