ACKNOWLEDGMENTS

Our first thanks goes to James Thomas for his editorial assistance with obtaining the illustrations and permissions, to Karen Lillis for her work on the bibliogra- phy, and to Miguel Rojas. We also thank Ken Wissoker and his colleagues at Duke University Press, including Courtney Berger for taking on this publication; Molly Balikov, Maura High, and Amy Ruth Buchanan for seeing it through; and the anonymous readers for their detailed and helpful comments. We are grateful to the artists and others who have supplied illustrations and permissions, in particular Zoe Leonard for making available a wonderful set of images from her Analogue series of photographs. As we indicate in the introduction, this book is based on papers given at a symposium entitled ‘‘Modernity * Contemporaneity: Antinomies of Art and Culture after the Twentieth Century,’’ held at the University of Pittsburgh, November 4–6, 2004. We thank the presenters at that symposium for their e√orts in reviewing and, in many cases, substantially revising their texts for this volume. In most cases, presenters were able to make their texts available for publication. Lev Manovich was unable to present his invited paper, but has developed it into a chapter for this volume. At the University of Pittsburgh, we are grateful for the continuing support of Professor N. John Cooper, dean of the School of Arts and Sciences, and our colleagues in the Department of the History of Art and Architecture and in the Graduate Program in Cultural Studies. We thank librarians and sta√ at the Frick Fine Arts Library, University of Pittsburgh; the Schae√er Research Li- brary, University of Sydney; and the National Humanities Center, Research Triangle Park, North Carolina. As the 2004 symposium was the basis of the book, we would like to acknowl- xviii ACKNOWLEDGMENTS edge those who contributed to its realization. Many have continued in support of our e√orts to bring it to publication. The symposium was generously funded by the Pittsburgh Foundation, The Heinz Endowments, and the O≈ce of the Provost and the Dean, School of Arts and Sciences, University of Pittsburgh. Additional support came from the University Center for International Studies, Graduate School of Public and International A√airs, University of Pittsburgh; the Mattress Factory; the Carnegie Museum of Art; the Andy Warhol Museum; and Labwerks. A number of individuals were pivotal to its success. These in- clude Mark Nordenberg, N. John Cooper, Colin McCabe, Elizabeth Conforti, Dick Howe, Giuseppina Mecchia, Aparna Nayak-Guercio, Trish White, Volodia Padunov, Ilya Goldin, Barbara Vattimo, Barbara McCloskey, Kirk Savage, Mi- guel Rojas, and Linda Hicks; the student volunteers at the University of Pitts- burgh; Renee Abrams and Linda Indovina of Renee Abrams Associates; Barbara Luderowski, Michael Olijnyk, and Jennifer Barron at the Mattress Factory; Tom Sokolowski and Jessica Gogan at the Warhol Museum; Richard Armstrong, Laura Hoptman, Marilyn Russell, Lucy Stewart, Elizabeth Thomas, and Sarah Hromak at the Carnegie Museum of Art; Judith Schachter, Susanne Slavick, and Jennifer Strayer of Carnegie Mellon University; Jessica Fest and Greg Brickl of Labwerks; Jeanne Pearlman of The Pittsburgh Foundation; Janet Sarbaugh of The Heinz Endowments; Brett Designs; and Isaac Julien, Chika Okeke, and Carlos Basualdo.