Acknowledgments

Haskell, Caitlin; Arcq, Tere

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Acknowledgments

Caitlin Haskell and Tere Arcq

Remedios Varo: Science Fictions

In the fall of 2019, an afternoon spent with Surrealism scholars at the Lucid Art Foundation, Inverness, California, shed light on the many overlapping connections between Mexican modern art of the 1940s and 1950s and the holdings of Surrealism at the Art Institute of Chicago. Leonora Carrington, Gunther Gerzso, Wolfgang Paalen, and Alice Rahon—each...

Author

Caitlin Haskell (Editor), Tere Arcq (Editor)

PublisherArt Institute of Chicago

Stable URL: https://aaeportal.com/?id=-100220

Acknowledgments

In the fall of 2019, an afternoon spent with Surrealism scholars at the Lucid Art Foundation, Inverness, California, shed light on the many overlapping connections between Mexican modern art of the 1940s and 1950s and the holdings of Surrealism at the Art Institute of Chicago. Leonora Carrington, Gunther Gerzso, Wolfgang Paalen, and Alice Rahon—each of these powerful figures came to mind, suggesting rich possibilities for future scholarship and collaboration. Then, in the next breath, someone mentioned Remedios Varo, an artist collected by Chicagoans but not present in the Art Institute of Chicago’s collection. Over the course of the following year, we continued to think about Varo, and the contours of a project began to take shape: When the time was right, we would plan a show together. The opportunity arrived almost sooner than expected, when staff at both the Art Institute and the Museo de Arte Moderno, Mexico City (MAM), were still working from home. As we returned cautiously to international travel in the winter of 2021, we assembled a cross-disciplinary team of curators, conservators, and independent scholars from Chicago, Mexico City, New York, and Austin to conduct extensive research on Varo. Suddenly, a dream project was launched.

This collaborative endeavor would not have been possible without the strong encouragement of our museums’ leadership. James Rondeau, President and Eloise W. Martin Director of the Art Institute, and Natalia Pollak, Director of the Museo de Arte Moderno, backed this project enthusiastically, even as they navigated the institutional challenges that began in 2020. Support was equally swift and steadfast from the Art Institute’s Deputy Director and Senior Vice President for Curatorial Affairs, Sarah Guernsey, who understood immediately the importance of new conservation and curatorial scholarship on Varo.

We extend our sincere appreciation to our research team, which includes the other authors of this catalogue, for providing their insights on Remedios Varo in a multi-week seminar conducted in the spring and summer of 2023. Brenda J. Caro Cocotle at MAM; Lara Balikci, Mary Broadway, Alivé Piliado Santana, and Katrina Rush at the Art Institute; Claire Howard of the Blanton Museum of Art, at the University of Texas at Austin; and Alex Zivkovic from Columbia University, New York, have impressed and inspired us with their thoughtful contributions to this publication. Kylie Escudero, Sheila Majumdar, and Ginia Sweeney also energetically joined these discussions and helped shape our thoughts about the exhibition and catalogue.

From across the Americas, nearly a dozen esteemed museums and private collectors made their works available for our exhibition. For generously sharing treasured paintings with both us and the public, we acknowledge Michael Duffy, Lily Goldberg, Glenn D. Lowry, Ann Temkin, and Anne Umland at the Museum of Modern Art, New York; and Emily Cummins, Andrea Gardner, Suzanne Hargrove, Jessica Hong, and Adam Levine at the Toledo Museum of Art, Ohio. Numerous private collectors supported the exhibition with key loans, including Eduardo F. Costantini, Josef and Margot Lakonishok, Rowland Weinstein, and Helen and Sam Zell. Their associates, including Kendy Genovese, Florencia Malbrán, and Angela Steinmetz, graciously provided assistance. Additional colleagues who served as liaisons leading up to the exhibition include Lulu R. C. de Creel, Emmanuel di Donna, Mary-Anne Martin, and Marysol Nieves, as well as Wendi Norris and Melanie Cameron.

Our work has benefited immensely from the contributions of those who knew Varo and graciously agreed to be interviewed, including Mercedes de la Garza, Juliana González, and Xabier Lizarraga Cruchaga. We are also indebted to those who aided our understanding of Varo’s practice in other ways, such as Anny Avram, Mauricio Hernandez Chávez, and Roberto Kolb. Likewise, Fariba Bogzaran and her staff at the Lucid Art Foundation not only hosted the meeting where conversations about this show first developed, but also provided access to the Gordon Onslow Ford Collection and Archive.

To former and current colleagues at MAM, we extend sincere appreciation for the invitation to study their Varo collection, including Dolores Cobielles, Valentina García Burgos, Natalia Pollak, Ignacio del Real, Érika Ruíz Vitela, Laura Elena Sánchez, and Renata Villaseñor. The extraordinary week of research that we conducted together at MAM in February 2023 was not only fundamental to our thinking about Varo, but it also established a collaborative rapport that continues in the pages of this volume. Our gratitude goes to the individuals and institutions who opened their collections to our curatorial and conservation staff: Michael Duffy, Lily Goldberg, Glenn Lowry, Ann Temkin, and Anne Umland at the Museum of Modern Art, New York, where we were able to study El juglar (El malabrista) (The Juggler [The Magician]); Stephanie D’Alessandro and Sean O’Hanlan at the Metropolitan Museum of Art, New York, who hosted viewings of Varo’s triptych and Homo Rodans during the exhibition Surrealism Beyond Borders; and Emily Cummins, Andrea Gardner, Suzanne Hargrove, Jessica Hong, and Adam Levine at the Toledo Museum of Art, Ohio, who hosted an informal study day for members of our team devoted to Varo’s Cazadora de astros (Star Catcher). We also owe thanks to the US State Department for supporting our application for immunity from judicial seizure, and we sincerely appreciate the efforts of the colleagues who generously lent their expertise during the preparation of these applications.

Current and former colleagues in Modern and Contemporary Art at the Art Institute of Chicago encouraged this work in ways both large and small. We gratefully recognize Ann Goldstein, Deputy Director and Senior Curator at Large and former Chair and Dittmer Curator of Modern and Contemporary Art, as well as Joanna Abijaoude, Lara Balikci, Giampaolo Bianconi, Mary Coyne, Jay Dandy, Robyn Farrell, Susanne Ghez, Jenny Harris, Makayla May, and Alivé Piliado Santana. In Conservation and Science, led by Francesca Casadio, key partnerships were forged not only with Katrina Rush and Mary Broadway but also with Allison Langley and Mardy Sears, who consulted on questions about Varo’s techniques and the proper framing of her works. Our many research needs were capably met by the Ryerson and Burnham Research Center, led by Jill Bugajski, and Autumn Mather fielded countless questions, made key purchases, and stewarded dozens of requests for interlibrary loans. Finally, we are grateful for the counsel of the museum’s Provenance Curator, Jennifer Cohen, and her colleagues in the Office of the Deputy Director Amanda Block and Reagan Stevens-Keller.

In addition to the many people mentioned above, Tere would like to thank the late Walter and Anna Alexandra Gruen for introducing her to Varo by opening their archives and collection and engaging her in endless conversations. She also acknowledges Wendi Norris for initially introducing her and Caitlin in 2019 and expresses appreciation to the many prior owners of Varo’s works who wish to remain anonymous and who offered testimonies and archival material to document the provenance of artworks donated to MAM. José Luis Martín helped with the archive of his father’s gallery, Galería Juan Martín, in Mexico City; Michelle Mandoki provided dedicated assistance throughout the project; Evelyn Useda facilitated archival research; Susan Aberth engaged in insightful discussions about Varo; and Timothy Don edited the initial drafts of Tere’s essays. Her gratitude also goes to Hugh Fremantle, who kindly gave her access to archives and people related to her research on George I. Gurdjieff over the years.

This book was elegantly and skillfully designed by Lorraine Wild and Ching Wang of Green Dragon Office, who quickly embraced and captured Varo’s spirit in the design process. The Publishing department at the Art Institute, led by Katie Reilly and formerly Greg Nosan, worked to ensure the catalogue’s quality and accessibility. Lauren Makholm expertly led the production of the catalogue, with steadfast support from Ben Bertin and Isella Sandoval. Josephine Yanasak-Leszczynski reliably managed images and image rights. Lisa Meyerowitz and Joseph Mohan provided invaluable input at various stages. We offer our special thanks to Sheila Majumdar for leading this extensive editorial enterprise with great intelligence, equanimity, and grace. A. Robin Hoffman and Amy R. Peltz also lent their editorial acumen to sharpen text. Juliet Clark proofread with great care, and Scott Smiley prepared the thematic index. In Imaging, under the leadership of Bonnie Rosenberg, Elyse Allen, and Nathan Keay, Juan Molina Hernández provided photography, while Hayley Hinsberger and Owen Conway worked on postproduction. We would also like to thank the color specialists at Professional Graphics in Rockford, Illinois, overseen by Pat Goley.

The exhibition drew on the talents of many at the Art Institute. In Exhibitions, we are grateful to Becca Schlossberg and her exceptional colleague Kylie Escudero, who partnered with us on all aspects of checklist development and the design process. In Collections and Loans, Cayetana Castillo with Timothy Campos and team, including Joyce Penn, managed complicated institutional logistics. Colleagues in Experience Design, led by Michael Neault, produced the exhibition design, brought to life by Leticia Pardo with exceptional insight into Varo’s works and their optimal display. Vitalii Emelianov created the visual language and signage, skillfully produced by Kari McCluskey. Nicolas Barron and Christina Warzecha ably led the installation of works. We commend Ginia Sweeney, in Interpretation, and Sheila Majumdar, in Publishing, for helping us craft didactics that illuminate Varo’s art and legacy for new audiences. We thank Eriksen Translations for their nuanced English to Spanish translations for the exhibition didactics and Spanish to English translations for the publication.

Our vision was realized in the Art Institute’s galleries by Thomas Ryan and Joseph Vatinno along with their talented team members. Laticia Annison-Romano and our Buildings and Grounds colleagues as well as Corey Burrage, Lucio Ventura, and the staff members in Protection Services took great care in ensuring visitors’ safety and comfort. The following current and former colleagues spread the message of Remedios Varo: Science Fictions: in Public Affairs, Shannon Palmer; in Marketing and Communications, Lauren Schultz with Shannon Burke; in External Affairs, Eve Jeffers, Anna Maria Caravallo VanMeter, and David Nacol; Heather Reinholtz and the museum shop staff; and the teams in Member and Visitor Engagement, led by Meghan McCray and Joe Maxwell.

Our final thanks go to Remedios herself for the model she provided and for the joy her work has brought us. She has inspired us in countless ways, and to her we dedicate this volume.

Caitlin Haskell
Gary C. and Frances Comer Curator and Director of
Ray Johnson Collection and Research, Modern and Contemporary Art
The Art Institute of Chicago

Tere Arcq
Independent curator

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