ACKNOWLEDGMENTS

A PUBLICATION OF SUCH SCALE AND COMPLEXITY requires the coordinated efforts and support of many people. The Anderson Collection at Stanford University gratefully acknowledges the support and contributions of:

Manuel Neri and his many friends and relatives for their enthusiastic support of this publication and exhibition project. We are especially grateful to Max Neri and Anne Kohs, Trustees of The Manuel Neri Trust.

Alexander Nemerov, Thoma Provostial Professor and Chair of the Department of Art and Art History, Stanford University, for his thoughtful Introductory text written for this publication, and to art writer and independent scholar, Bruce Nixon, whose extended essay places Manuel Neri’s work and ideas within a revelatory historical and contemporary context; Sydney S. Simon, PhD Candidate in Art History at Stanford University for writing exhibition text; and Jodi Roberts, PhD, Robert M. and Ruth L. Halperin Curator of Modern & Contemporary Art, Cantor Arts Center for making an introduction to Stanford University Press.

Alex Harvey, Director, Kate Wahl, Publishing Director and Editor-in-Chief, and Leah Pennywark, PhD, Assistant Editor, Stanford University Press, for their guidance through the publication protocols, and their enthusiastic support for this project.

Photographer Unknown Carrara Studio, 1995

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For photography, special thanks are due to M. Lee Fatherree who has been Manuel Neri’s photographer for over thirty years, and who also photographed the Anderson Collection at Stanford University building. Harrison Truong who photographed the installation of the Neri plaster in the galleries, including photographs of Hunk and Moo Anderson; Johnna Arnold who provided installation photographs of the galleries at the Anderson Collection. Also, Babette Eddleston, Makiko Nakamura, and Mary Julia Klimenko, who provided the photographs of Neri’s Carrara studio. James Mitchell, who photographed Neri’s Connecticut Street studio in 1959; Joanne Leonard, who photographed Neri’s studio in 1972; Steve Moore, who photographed the Benicia studio in 1976 and 1980; Philip Galgiani, who documented the 1976 work-in-progress installation by Neri, The Remaking of Mary Julia, organized by Jock Reynolds at 80 Langton Street in San Francisco; and Ree Schonlau, who photographed Neri at The Bemis Project, Omaha in 1986. The coordination of the photography and digital images for this publication was handled by Pam Rino Evans.

For their assistance in procuring photography and permission to reproduce images: Eléna Martin and Émilie Le Mappian, Fondation Alberto et Annette Giacometti, Paris; Jennifer Belt and Ken Johnston at Art Resource, New York; Michael Shulman, Magnum Photos; Larissa Rubic, VAGA; Addie Warner and Pablo Navarro MacLochlainn, Bridgeman Images; Anna Brinkmann, Scheidegger Archive, Zurich; Todd Leibowitz and J’Aimee Cronin, Artists’ Rights Society, New York; Anita Duquette and Annie Bartholomew, Whitney Museum of American Art, New York; Julia Murphy and Jenna Shaw, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Eva Rivlin, George Adams Gallery, New York; Christophe Van de Weghe and Jenn Viola, Van de Weghe, Ltd., New York; Frank Bernarducci, Bernarducci Meisel Gallery, New York; John and Lorraine DeAndrea; Cecile Brunner, Kunsthaus, Zurich; Maria Grazia Conti, Museo del Novecento, Milan; Pinacoteca di Brera, Milan; David Oester, Kunstmuseum Bern; Maria Teresa Tosi, Director and Francesco Burchielli, Curator, Fondazione Marino Marini, Pistoia, Italy; Carla Verri; Tess Fleming, Ennead Architects LLP; Jennifer Lynn Daly, Assisstant Registrar, Image Rights & Digitization, Cantor Arts Center, Stanford University; Jean MacDougall, Senior Registrar, Anderson Collection at Stanford University; Sheetal Varma, Hackett Mill, San Francisco. Securing images and licensing was handled by Diane Roby, Anne Kohs & Associates, Inc.

Text editing and compiling information for the list of illustrations, captions, and the artist’s biography, bibliography, and collections was skillfully handled by Diane Roby. Final copy editing was done by Pam Rino Evans and Jean MacDougall.

For their help and guidance in the overall project and related activities: George Neubert, Director, Flatwater Art Foundation, Brownville, NE; Bruce Guenther, Independent Curator and Arts Advisor, Portland, OR; Roberto G. Trujillo, Head, Department of Special Collections at Stanford University Libraries; Rachel Teagle, Founding Director of the Manetti Shrem Museum, University of California, Davis; and Timothy Anglin Burgard, Ednah Root Curator of American Art, Fine Arts Museums of San Francisco.

It is through the generous support of Hackett Mill that the Anderson Collection has been able to include several bronzes by Manuel Neri in an outdoor installation as an adjunct to the exhibition Manuel Neri: Assertion of the Figure with the assistance of Michael Hackett, Francis Mill, Jessica Phillips, Sheetal Varma, John Obrecht, and Ben Cressy. Conservation of Manuel Neri’s artwork was done by Mikhail Ovchinnikov, Oakland, CA. Initial delivery of the Neri artwork to the Anderson Collection was coordinated by Lawrence Fine Arts Services, South San Francisco, CA; with the outdoor sculpture installation by Atthowe Fine Art Services, Oakland, CA. Additional support for the exhibition has

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been provided by Dennis Yares, Manuel Garcia, and Nicolas Graille, Yares Art/New York, NY, Santa Fe, NM, and Palm Springs, CA.

I would like to express my appreciation for those directly involved in the creation of this publication: John Hubbard (EMKS, Finland) who designed the layout that documents Manuel Neri’s work as a sculptor and presents a more complete view of his ideas and working methods; Gary Hawkey, John Bailey, Stephanie Lock, and staff at iocolor, LLP, Seattle for their expert color management and coordination of catalogue production; and for the professional, high-quality printing and binding of this publication by Artron Color Printing Company, China.

Finally, I’d like to express gratitude to everyone who makes possible the wonderful exhibitions at the Anderson Collection at Stanford University. Harry W. “Hunk” Anderson and Mary Margaret “Moo” Anderson, and Mary Patricia “Putter” Anderson Pence. The Anderson Art Collection Staff: Michelle Jones, Karen Saracino, Keith Southern, and Joe Tehar. The Of ce of the Vice President for the Arts at Stanford University, especially Harry Elam, Vice President for the Arts; Matthew Tiews, Associate Vice President for the Arts; and Mimi Wai, Senior Director of Finance and Administration. The Anderson Collection at Stanford University Staff: Randy Bricco, Preparator; Devin Garnick, Finance Administrator; Virginia Girard, Registration Intern; Ferdinand Luis, Director of Facilities and Operations; Jean MacDougall, Senior Registrar; Darryl Marshall, Director of Security; Indya McGuf n, Marketing Intern; Inesh Nand, Security Manager; Betty Noguchi, Programs and Events Coordinator; Aimee Shapiro, Director of Programming and Engagement; Celeste Scholz, Visitor Services Coordinator; as well as the security staff and enthusiastic volunteers who are always willing to lend their support to the Anderson Collection at Stanford University.

Jason Linetzky, Director Anderson Collection at Stanford University