Acknowledgements

The author would like to thank principal investigators Hilary Ballon and Mariët Westermann and project consultant Kate Wittenberg for their vision and guidance throughoutthis project. They unstintingly shared their extraordinary knowledge of the field of art and architectural history and thepublishing-related challenges associated with it, helping the author get up to speed in an area with which he had little previousfamiliarity. Their passion for finding solutions to the issues addressed in this report has been a source of inspiration. On apersonal 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 takingnotes during focus groups, transcribing and summarizing audiotapes, analyzing data, creating tables and charts, writing summaryreports, and performing other tasks as needed during this project. Both worked tirelessly and efficiently under demanding timeconstraints, paid exquisite attention to detail and nuance, and added great value to the project. Moreover, two nicer researcherassociates would be hard to find anywhere. Grateful acknowledgement goes also to Eric Ramirez-Weaver for skilled note-taking during thefocus 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 PrincetonUniversity, were tremendously supportive of the author’s work on this project and continue to serve as exemplary models of bothscholarly productivity and collegiality. Thanks also to the exceptionally competent Sandy Paroly for her timely andgood-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 theinvestigation in very productive directions. Jack Meyers, assistant to the provost at Yale University, also provided very helpfulinsights 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 toprovide useful background information on the scope of the issues associated with art history publishing. She was also instrumentalin arranging the focused discussion with art history editors at the College Art Association conference; without her assistance andenthusiastic support, this meeting could not have taken place. Peter Givler, executive director of the Association of AmericanUniversity Presses, was also very generous in sharing both his time and the resources of his organization in the process of gatheringcritical 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 andassociation executives alike–shared a genuine desire to make a positive contribution to addressing the challenges associated withpublishing in art history. The author would especially like to thank the 15 interviewees who, in some cases, spent up to fourhours in conversation with him on the issues being investigated in this project. Their willingness to contribute their wisdom andexperience 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 itsefforts to identify fruitful ways to move forward in dealing with the challenges discussed in this report. In particular, theencouragement and excellent advice of Harriet Zuckerman, Angelica Rudenstine, Donald Waters, Joseph Meisel, and Suzanne Lodato arevery much appreciated.