Acknowledgments

Pascale, Mark; Adler, Esther; Kopp, Édouard

Save Cite Share

Free

Acknowledgments

Mark Pascale (Editor), Esther Adler (Editor), Édouard Kopp (Editor)

Joseph E. Yoakum: What I Saw

Organizing the exhibition and publication Joseph E. Yoakum: What I Saw has been a rich collaboration among the many supporters, admirers, scholars, and collectors of Yoakum’s work as well as the artist himself. Although not all these key figures are with us today to witness the fruits of their labor, we are forever linked to them through mutual...

Author

Mark Pascale (Editor), Esther Adler (Editor), Édouard Kopp (Editor)

PublisherArt Institute of Chicago

Stable URL: https://aaeportal.com/?id=-100170

Acknowledgments

Organizing the exhibition and publication Joseph E. Yoakum: What I Saw has been a rich collaboration among the many supporters, admirers, scholars, and collectors of Yoakum’s work as well as the artist himself. Although not all these key figures are with us today to witness the fruits of their labor, we are forever linked to them through mutual admiration of his enduring vision and his creative and spiritual life. Our main goal has always been to celebrate Yoakum’s career while recognizing the context in which his work was received, shared, and treasured.

The significant holdings of Yoakum’s drawings, and the previously unpublished essay that helped launch this project, were bequeathed to the Art Institute of Chicago by Whitney Halstead, an artist and revered art history professor at the School of the Art Institute of Chicago (SAIC). His work with Yoakum was foundational for all that followed. Artist and SAIC professor Ray Yoshida recorded anecdotes of his experiences with the artist in collected letters, and he generously gave some of his own Yoakum drawings to the Art Institute and The Museum of Modern Art after his death. Many artists who collected Yoakum’s drawings from him, including Roger Brown, Cynthia Carlson, Gladys Nilsson and Jim Nutt, Christina Ramberg and Philip Hanson, and Karl Wirsum and Lorri Gunn, let us study and exhibit their works and offered precious insights into his creative life. We are immensely grateful to them, their families, and many others who hosted us for visits and graciously responded to our many calls and emails, including Jesse Beer Altman, Sarah Canright, Ted Halkin, Alex Hanson, Lauretta Harvey, Constance Shane, and Roger Vail.

Support for the publication is provided by Adam Lindemann and Amalia Dayan. Major funding for the Art Institute presentation is provided by an anonymous donor. Additional funding for Joseph E. Yoakum: What I Saw is provided by Mary A. and David Q. Bell and Fred and Susan Novy. At the Menil Collection, the exhibition is generously supported by Diane and Michael Cannon; Cindy and David Fitch; Barbara and Michael Gamson; Caroline Huber; and the City of Houston through the Houston Art Alliance. We are grateful for their generousity and faith in the importance of sharing Yoakum’s work with our audiences in Chicago, New York, Houston, and beyond.

The extraordinary lenders to this exhibition not only allowed us to choose freely from their holdings of Yoakum’s drawings but also were unfailingly patient as we refined our selection. They are Lisa Stone and James Connolly, Roger Brown Study Collection at SAIC; Cynthia Carlson; Cheryl Cipriani; Daniel Halkin; Philip Hanson; KAWS; Gladys Nilsson and Jim Nutt; and Karl Wirsum and Lorri Gunn. Drawings are also included from the collections of the Art Institute of Chicago, The Museum of Modern Art, and the Menil Collection. We thank the generous donors who entrusted our institutions with the care of Yoakum’s work: Cynthia Carlson, Gwendolyn Dargel, Whitney Halstead, Stephanie and John Smither, and Ray Yoshida.

Our research relied heavily on primary sources and, thus, was substantially aided by colleagues at institutional archives particularly Elizabeth Botten and Marisa Bourgoin, Archives of American Art, Smithsonian Institute; Bart Ryckbosch and former colleague Deborah Webb, Institutional Archives, Art Institute of Chicago; Michelle Elligott, Michelle Harvey, and Elisabeth Thomas, The Museum of Modern Art Archives; Beverly Balger Sutley, Palmer Museum of Art, and Maria Diaz, both at Pennsylvania State University; and Michael Beiser and Tara Hart, Whitney Museum of American Art Archives.

This volume is our own contribution to the scholarship on Yoakum, and we are grateful to all who conducted new research for this undertaking: at the Art Institute of Chicago, Mary Broadway, Associate Conservator; Ken Sutherland, Andrew W. Mellon Director, Scientific Research; Clara Granzotto, Assistant Conservation Scientist; and Emily Olek, Research Associate; as well as Kathleen Ash-Milby, Curator of Native American Art at the Portland Art Museum; Faheem Majeed, artist, curator, and educator; and Laura K. Minton, Curator of Exhibitions at The Fralin Museum of Art, University of Virginia. Jena Sher’s spirited book design reflects our enthusiasm for Yoakum’s work. Greg Nosan and his colleagues in Publications at the Art Institute were critical to the conception and realization of this book. Sheila Majumdar deftly edited all texts and fielded ongoing requests from the curators with grace and generosity. Lauren Makholm skillfully managed the book’s production, and Kylie Escudero adeptly served as photo researcher. Ben Bertin, Alissa Chanin Kolaj, Lisa Meyerowitz, Joseph Mohan, and Amy R. Peltz all contributed their expertise. In Imaging, ably led by Bonnie Rosenberg, Robert Lifson and Craig Stillwell worked on photography, Owen Conway and Jonathan Mathias handled postproduction, and Elyse Allen and Aidan Fitzpatrick managed preproduction and coordination. We are indebted to our expert reader, Leslie Umberger, at the Smithsonian American Art Museum, for her insightful comments and advice. Juliet Clark carefully proofread the catalogue, and Scott Smiley compiled the helpful index.

Our work at our institutions would not be possible without the encouragement of our colleagues. James Rondeau, President and Eloise W. Martin Director of the Art Institute; Glenn D. Lowry, The David Rockefeller Director of The Museum of Modern Art; and Rebecca Rabinow, Director of the Menil Collection, backed this project enthusiastically, even as they navigated the institutional challenges that began in 2020.

At the Art Institute, Prints and Drawing staff contributed their talents. Kevin Salatino, Jay A. Clarke, and former colleague Victoria Sancho Lobis helped keep the project on track. Kate Howell made numerous trips to Imaging with our drawings and ensured the organization of works in storage. Eryn Yetts Teeling and former intern Kacey Arnold provided assistance. Mary Broadway sensitively conserved many drawings, Mardy Sears recommended elegant matting and framing and expertly housed and rehoused the majority of works in the exhibition, and Christine Fabian created exhibition furniture. Joe Tallarico skillfully digitized hundreds of 35mm color slides of Yoakum drawings as well as exceedingly rare documentary photographs in Halstead’s archive at the museum. Jennifer Oberhauser patiently oversaw all aspects of this project, under the direction of the exacting and generous Emily Vokt Ziemba. Emily Olek provided inestimable administrative and research support, coordinating with colleagues across all three institutions. At Ryerson Library, current and former directors Autumn L. Mather and Douglas Litts offered research and assistance. Joyce Penn adeptly organized shipping of many loans to the exhibition, and Megan Rader and Maria Simon managed contracts and negotiations with our partners. In Experience Design, led by Michael Neault, Salvador Cruz Jr., Samantha Grassi, and Kirsten Southwell designed the installation, and Bronwyn Gallagher Kuehler produced the digital label. Emily Fry refined the didactic content of our exhibition. Marketing and Communications, led by Lauren Schultz, cultivated enthusiasm for this exhibition. Museum Facilities, led by Joseph Vatinno, and Protection Services, led by Lucio Ventura, assured the safe presentation of works. Jonathan Kinkley and George Martin helped secure financial support for the project. We thank Sarah Guernsey, Eve Jeffers, and Andrew Simnick, who supported this endeavor from the very beginning.

At The Museum of Modern Art, thanks are due to former colleagues Nancy Adelson, Ramona Bannayan, and Todd Bishop; and current colleagues Ava Childers, Stuart Comer, James Gara, James Grooms, Rajendra Roy, Martino Stierli, Sarah Suzuki, and Ann Temkin. The Department of Drawings and Prints embraced the project wholeheartedly, and we are grateful for the advice and support of Christophe Cherix, Samantha Friedman, Jodi Hauptman, and John Prochilo. Critical research and administrative assistance was provided over the course of many years by former curatorial fellows and interns Alexandra Adams, Jordan Jones, and Nectar Knuckles. Emily Cushman, Kunbi Oni, David Moreno, and Jeff White helped with research and the preparation of MoMA’s own works for this project, as did framer Peter Perez. Lana Hum and Mack Cole-Edelsack translated the magic of Yoakum’s drawings to our gallery design. Victoria Manning and Stefanii Ruta-Atkins effortlessly handled myriad shipping logistics, and Rachel Kim and Erik Patton navigated the complexities of cross-institutional collaboration. Laura Neufeld patiently fielded endless technical questions.

At the Menil Collection, Alexis Pennington provided skillful help and support from the outset. Catherine Fitzgerald Eckels managed all logistical matters with an expert hand, and Susan Anderson imparted wise advice, as did Joseph N. Newland. The project benefited from the involvement of Jan Burandt, who brought her characteristic rigor and passion for self-taught artists to the project. Brianne Chapelle provided invaluable help with bibliographic research as well as general support. Kent Dorn deserves special thanks for a gallery design that is sensitive to the specificities of Yoakum’s drawings. The whole team at the Menil Drawing Institute embraced the project with enthusiasm, including Seneca Garcia, Kelly Montana, Alex Rosas, and Brianna Warren. Other Menil colleagues who must be acknowledged are Paul R. Davis, Mina Gaber, Lauren Gottlieb-Miller, Judy Waters and her team, and Michelle White.

Finally, we thank the people who make our personal landscapes immeasurably rich: Susan Matthews; Gary, Mason, and Lily Kessler; and Frauke V. Josenhans and Léandre Kopp.

Mark Pascale
Janet and Craig Duchossois Curator, Prints and Drawings
The Art Institute of Chicago

Esther Adler
Associate Curator, Department of Drawings and Prints
The Museum of Modern Art

Édouard Kopp
John R. Eckel, Jr. Foundation Chief Curator
Menil Drawing Institute

This book is dedicated to the memory of Whitney Halstead, Roger Brown, Richard Fraenkel, Ted Halkin, Christina Ramberg, and Ray Yoshida.

Previous chapter Next chapter

Base text size -

Chapter images ()