Skip to content Skip to navigation


You are here: Home » Content » Acknowledgements


Recently Viewed

This feature requires Javascript to be enabled.


Module by: Lawrence McGill. E-mail the author

The author would like to thank principal investigators Hilary Ballon and Mariët Westermann and project consultant Kate Wittenberg for their vision and guidance throughout this project. They unstintingly shared their extraordinary knowledge of the field of art and architectural history and the publishing-related challenges associated with it, helping the author get up to speed in an area with which he had little previous familiarity. Their passion for finding solutions to the issues addressed in this report has been a source of inspiration. On a personal level, they have also been wonderful colleagues to work with.

The author would also like to express special thanks to Mindy Weinberg and Susan Francia for their help in taking notes during focus groups, transcribing and summarizing audiotapes, analyzing data, creating tables and charts, writing summary reports, and performing other tasks as needed during this project. Both worked tirelessly and efficiently under demanding time constraints, paid exquisite attention to detail and nuance, and added great value to the project. Moreover, two nicer researcher associates would be hard to find anywhere. Grateful acknowledgement goes also to Eric Ramirez-Weaver for skilled note-taking during the focus group with art history editors at the College Art Association meeting.

Professors Paul DiMaggio and Stanley Katz, of the Center for Arts and Cultural Policy Studies at Princeton University, were tremendously supportive of the author’s work on this project and continue to serve as exemplary models of both scholarly productivity and collegiality. Thanks also to the exceptionally competent Sandy Paroly for her timely and good-humored assistance throughout this project.

Early in the project, the contributions of Stephen Urice, director of the Project for Cultural Heritage Law & Policy at the University of Pennsylvania, were invaluable. His thoughtful input on project documents and plans helped move the investigation in very productive directions. Jack Meyers, assistant to the provost at Yale University, also provided very helpful insights into the issues being addressed in this project at various stages during its execution.

Eve Sinaiko, publications director of the College Art Association, gave very generously of her time to provide useful background information on the scope of the issues associated with art history publishing. She was also instrumental in arranging the focused discussion with art history editors at the College Art Association conference; without her assistance and enthusiastic support, this meeting could not have taken place. Peter Givler, executive director of the Association of American University Presses, was also very generous in sharing both his time and the resources of his organization in the process of gathering critical information on trends in publishing at university presses.

Perhaps the most important acknowledgement goes to the enthusiastic participants in all of the meetings, discussions, and interviews organized for this project. It is not an overstatement to say that all of the participants – scholars, editors, publishers, librarians, funders, and museum and association executives alike – shared a genuine desire to make a positive contribution to addressing the challenges associated with publishing in art history. The author would especially like to thank the 15 interviewees who, in some cases, spent up to four hours in conversation with him on the issues being investigated in this project. Their willingness to contribute their wisdom and experience to the project in such depth enriched the investigation immeasurably.

Finally, the author wishes to thank the Mellon Foundation for its support of this very important project and its efforts to identify fruitful ways to move forward in dealing with the challenges discussed in this report. In particular, the encouragement and excellent advice of Harriet Zuckerman, Angelica Rudenstine, Donald Waters, Joseph Meisel, and Suzanne Lodato are very much appreciated.

Content actions

Download module as:

Add module to:

My Favorites (?)

'My Favorites' is a special kind of lens which you can use to bookmark modules and collections. 'My Favorites' can only be seen by you, and collections saved in 'My Favorites' can remember the last module you were on. You need an account to use 'My Favorites'.

| A lens I own (?)

Definition of a lens


A lens is a custom view of the content in the repository. You can think of it as a fancy kind of list that will let you see content through the eyes of organizations and people you trust.

What is in a lens?

Lens makers point to materials (modules and collections), creating a guide that includes their own comments and descriptive tags about the content.

Who can create a lens?

Any individual member, a community, or a respected organization.

What are tags? tag icon

Tags are descriptors added by lens makers to help label content, attaching a vocabulary that is meaningful in the context of the lens.

| External bookmarks