An Afternoon in Astoria by Rudolph Burckhardt

An afternoon in Astoria By Rudolph Burckhardt

Author Burckhardt, Rudy

Date 2002

Publisher The Museum of Modern Art: Distributed by D.A.P./Distributed Art Publishers

ISBN 0870704362

Exhibition URL www.moma.org/calendar/exhibitions/152

The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

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TheMuseum of ModernArt, NewYork Distributedby D.A.P./DistributedArt Publishers, New York Avc^1 Kn>j\ hoo

THIS BOOK IS PUBLISHED ON THE OCCASIONOF THE OPENING OF MOMA QNS, THE MUSEUM OF MODERN ART'S FACILITY IN QUEENS, NEW YORK

Thepublication is supportedby a generousgrant from Adam Bartos

Producedby the Departmentof Publications,The Museum of ModernArt, New York Editedby DavidFrankel Designedby Hsien-YinIngrid Chou Productionby ChrisZichello Directdigital-capture scans by KellyBenjamin, Kimberly Marshall Pancoast, and John Wronn Printedand bound by TrifolioS.R.L., Verona Typeset in FBInterstate Printedon 170 gsm Xenon Scheufelen

Libraryof CongressControl Number: 2002103314 ISBN:0-87070-436-2

Publishedby TheMuseum of ModernArt 11West 53 Street, New York, New York 10019

Distributedin the UnitedStates and Canada by D.A.P./DistributedArt Publishers, New York Distributedoutside the UnitedStates and Canada by Thames& HudsonLtd, London

Cover:Rudy Burckhardt. Untitled. From An Afternoon in Astoria.1940 Frontispiece:Rudy Burckhardt. Untitled. From An Afternoon in Astoria.1940

Printedin Italy FOREWORD

In June2002, The Museum of ModernArt opensMoMA QNS, a state-of-the-artfacility for the care, Glenn D. Lowry study,and display of the Museum'sgreat collection. This and the P.S.1 ContemporaryArt Center, Director, The Museum of Modern Art our affiliate,give us an importantpresence in Queens.To celebrate the event,the Museumhas reachedout to manyorganizations and communitiesin the borough-andof courseto artists, whohave been invited to createa varietyof interventionsrelated to the newfacility. RudyBurckhardt (1914-99) needed no invitationto discoverQueens. Not long after he arrivedin NewYork from his nativeSwitzerland in 1935,he foundhis wayacross the EastRiver to a placethat perfectlysuited the quiet,affectionate sensibility of his earlyexperimental films and photographs.Among the gemsof Burckhardt'swork in Queensis hisexquisite album An Afternoon in Astoria,of 1940.We have been eager to publishthe albumever since purchasing it fromthe artist, in 1993,after the Museum'sretrospective of Burckhardt'sfilms in 1987.The opening of MoMAQNS providesthe idealoccasion for this publication,which is designedin the sameformat and roughly the samesize as the originalspiral-bound album. Threepeople have played instrumental roles in realizingthis project,and I thank them enthusiastically:Yvonne Jacquette, Rudy Burckhardt's widow and thoughtfulguardian of his artistic legacy;Adam Bartos, whose generous contribution has madethe publicationpossible; and MaryLea Bandy, the Museum'sDeputy Director for CuratorialAffairs, who hasdone a mas terful job of nurturingartists' interventionsat MoMAQNS. I am particularlygrateful to SarahHermanson Meister, Associate Curator, Research and Collections,in the Departmentof Photographyfor the painstakingcare with which she has carried out the project,and for her thoughtfulcommentary on the albumand its place in Burckhardt'swork.

5 ACKNOWLEDGMENTS

Tolearn and write about Rudy Burckhardt has been an exceptionalexperience. Burckhardt engen deredsuch admiration and warm feelings among all who hadthe pleasureof knowinghim that Sarah Hermanson Meister everyperson I contactedseemed genuinely delighted to talk with me-if only for the opportu nity to remembertheir relationshipwith him.Of the manypeople I spokewith I am particularly indebtedto five. ChristopherSweet facilitated the Museum'spurchase of Burckhardt'sphoto graphs-includingAn Afternoonin Astoria-'m1993. Ron Padgett was generous with his time and insight, providingme with copiesof his own researchand (as yet unpublished)writing on Burckhardt.Edith Schloss kindly allowed me to readher recollectionsof Burckhardt,his albums, and his collaborationswith JosephCornell. Robert Storr, SeniorCurator in the Museum's Departmentof Paintingand Sculpture, provided candid and eloguent commentary on Burckhardt andhis work. Yvonne Jacguette's unfailing support of this projectdeserves special note, from her willingnessto openthe archivesof Burckhardt'sestate to her warmand helpful responses to my manyguestions. I am sincerelyappreciative of the contributionsof severalpeople within the Museumwith out whomthis projectwould not havebeen possible. David Frankel's thoughtful editing, Chris Zichello'ssensitive and sensible production, and Hsien-Yin Ingrid Chou's perfectly pitched design haveall combinedto highlightthe understatedbeauty of Burckhardt'swork. I thank Harper Montgomeryfor her friendshipand counsel, Kristine Haugaard Nielsen for her indispensableand imaginativeresearch, and CharlesSilver for arrangingnumerous screenings of Burckhardt's films. Amy McLaughlin'senergy and organizationalskills have been crucial throughoutthe project.Deputy Director for CuratorialAffairs Mary Lea Bandy supplied immediate and unwavering enthusiasmfor Burckhardt'saccomplishments in photographyand film, makingno obstacle insurmountable.The supportand input of PeterGalassi, Chief Curator in the Departmentof Photography,were invaluable. ' ' ' ' - . : ' - V.-.' - . : . . - - s : . . - « ; . ' : : : . , -

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Sarah Hermanson Meister

An Afternoonin Astoria,the wordsthat RudolphBurckhardt-"Rudy" became definitive much later-printedneatly in capitalletters on the coverof this album,declare his modestaspirations: his subjectwas not the wholeof his recentlyadopted hometown of NewYork City, nor the expan sive boroughof Queens,but an unpretentiousneighborhood-and only for an afternoon.Now, more than sixty years after its creation,Burckhardt's quiet statementis virtually unknown outsidea smallcircle of his friendsand admirers.This publication is intendedto capturethe unassumingpresentation of his original album,making his attentive,clear-eyed, often droll observationsand delicate sequencing available for the first time to a broaderpublic. ForBurckhardt, Queens was a placeto escapethe incessantbustle of Manhattan-agood placefor his photographsand films. He later remarked,"I find it's a greatplace to walkbecause youget awayfrom everything,and there's all kindsof thingsto lookat. It's veryquiet and spread 1 1 out." The borough'sposition just outsidethe center resonatedwith Burckhardt'ssense of RudyBurckhardt in Haiti, 1937-38. himselfas a foreignerin NewYork. Wherever he worked,his photographsand films reflect his Photographerunknown. Collection the Estateof RudyBurckhardt inclinationto takethings as they came, without judgment or sentimentality.Although Burckhardt had photographedin the metropolitancenters of Londonand Parisas a youngman, he was "overwhelmedby [the] grandeurand ceaseless energy" of NewYork when he arrivedhere from his nativeSwitzerland in 1935.He would recall, "The tremendous difference in scalebetween the soaringbuildings and the peoplemoving against them in the streetastonished me, and it took a 2 2 coupleof yearsbefore I felt readyto photograph."Burckhardt'sfirst photographsin Manhattan are shydownward glances at sidewalks,hydrants, and signs, and at people,also seen frequently from the waistdown, absorbed in their own routines.A few yearslater he facedthe neighbor hoodof Astoriawith straightforwardconfidence and care.

29 RudyBurckhardt. Edwin Denby on 21st Street, New York. 1937. 3/. Gelatinsilver print, 10 x 7%" (27.3x 20.1cm). Collection the Estateof RudyBurckhardt

Burckhardtwas born into an aristocratic,intellectually distinguished family in, as he described 3 3 it, "properand clean" Basel in 1914.Hisgreat-great-uncle was Jacob Burckhardt, the renowned historianof the Renaissance;his grandfatherwas a generaland judge;and his father was a prominentindustrialist who died when Rudolphwas fourteen.Burckhardt escaped from the weightof the past andthe proprietyof Europewith the helpof an inheritancefrom his father that he cameinto at the ageof twenty-one.Leaving for NewYork City, he movedinto a loft at 145 West21st Street with the poetand dance critic EdwinDenby, whom he hadmet in Baselthe pre viousyear, and who was to becomehis closest life-long friend. In NewYork, Burckhardt immersed himselfin a culturallysophisticated bohemian life-style, and in a circleof friendsencompassing artists,actors, poets, painters, musicians, filmmakers, and writers, including the youngWillem de Kooning,a next-doorneighbor. His first marriage,to the painter EdithSchoss, lasted fifteen years.In 1964he marriedYvonne Jacquette, also a painter,and they remainedtogether until his suicidein 1999. Surroundedby talent and ambition,Burckhardt was indifferentto public recognition,let alonefame. That indifference gave him roomto breatheartistically, and his workflourished for decadesin relativeobscurity. His uncompetitivenature, combined with his refinedaesthetic sense,also made him an attractivecollaborator, and he madefilms with artistsand poets across severalgenerations, including Joseph Cornell, Larry Rivers, Alex Katz, Red Grooms, John Ashbery, ErankO'Hara, and Ron Padgett. Despite the unassumingmanner in whichhe pursuedhis art, his accomplishmentshave occasionally received the critical attention they deserve:in 1987The Museumof ModernArt organizeda retrospectiveof his films,which was followed a decadelater FORRENT by a major exhibitionof his photographsand paintingsat the IVAMCentre Julio Gonzalezin jnttfaMMUSNff 4 Valencia,Spain.

In 1938The Museum of ModernArt publishedWalker Evans's seminal sequence of imagessimply but boldly entitled AmericanPhotographs. The book'seighty-seven plates illustrateda sea changein the rulesfor advancedphotography: the mostmundane or ordinaryfact couldbe the UflHUnuBBBBHi

stuff of visualpoetry. Burckhardt began photographing in NewYork at this precisetime, and his Thetender curiosity in Underthe BrooklynBridge (1953) is the closestapproximation of An impulseto captureunheralded aspects of dailylife in NewYork without fuss or fanfarecoincided Afternoonin Astoriain movingpictures. Choosing another off-the-beaten-path locale, Burckhardt perfectlywith this newlydominant aesthetic. pursueshis unglamoroussubject without condescension,delicately capturing the nuancesof Evans'sAmerican Photographs demonstrated that a seguenceof mutedescriptions could work and life in the neighborhoodunder the BrooklynBridge. Music by Debussyand Poulenc makeup a poem,each image expanding, gualifying, and inflectingthe rest.Burckhardt remade complementsthe sceneswithout directly corresponding to them.Although the film wascreated Evans'sexample to his ownsensibility; An Afternoon in Astoriacaptures his delightin the uncel over a decadeafter An Afternoonin Astoria,both adoptthe sameseminarrative, walk-in-the- ebratedand the everyday,and he constructs the relationshipsamong the imagesmounted on the neighborhoodform. The album is a virtualstepping stone between Burckhardt's still photography albumpages as onewould sequence shots in a film.Just as with Evans,each photograph is as andhis films. thoughtfullyconsidered and carefully composed as the next,but unlikeEvans, Burckhardt often Evans'sAmerican Photographs notwithstanding, when Burckhardt was preparing albums of drawsmore than one imagefrom the samesubject, showing it at differentdistances and from his work in Queensthere werefew publicforums for photographyas personalart. Burckhardt's varyingpoints of view.He movesthe vieweron in this seriesof unembellishedand unblinking albumsare an originalinvention-an attempt to giveshape to the bestof his workin an artistically vignettesthrough his orchestrationof the sequenceand through the relativeemphases estab lishedby the images'size and their numberon the page.Burckhardt also appreciated this kind of controlin his films,but from a viewer'sperspective, an albumallows the luxuryof beingable to lingeron a particularimage at will, as wellas the libertyof turningback to returnto previous pagesto examinedetails and parallels that initially mighthave been overlooked. Burckhardtmade several films duringhis first yearsin NewYork, many of themcomedies in whichhis friendsplayed the leadingroles. In ThePursuit of Happiness,which he madein 1940, the hustleand bustle of NewYork and its inhabitantsare for the first time the subjectrather than the backdrop,and he was simultaneouslypaying increased attention to the city in his still photography.The playfulness of his unscriptedcomedies carries over, manifesting itself in his experimentationwith montageand split screens,camera rotation and manipulation of film speed. Burckhardtmade this shortsilent film just beforehe wasdrafted into the U.S.Army (although he 5 5 wasnot yet a citizen)and stationed in Trinidadfor "threeinglorious years." It wasn'tlong before he wasexploring even closer relationships between his films andhis photographicwork; most of the footagein TheClimate of New Yorki1948)is takendirectly from his still photographs-the RudyBurckhardt. Under the BrooklynBridge. 1953. Film, 16mm, black sameones that hadinspired Denby to write the sonnetshe readas voice-oversin the film. andwhite, 15 minutes. Collection the Estate of RudyBurckhardt

mmm " * i 3'c k" 1 y—- 5 ji,- Ci'-. $ 1 "r -( c,L RudyBurckhardt. A Walk through Astoria and OtherPlaces in Queens.1943. Spread from an I5A albumof gelatinsilver prints, each page 9 x 13" (25.3x 33cm). Private collection

seriousway, even though the audienceconsisted exclusively of himselfand his family and of picturesmainly from Italy,in 1947and 1951, and one of GreatSpruce Head Island, off the coast friends.Interviewed in the early 1970s,Burckhardt remembered that he madea few of these of Maine,in 1952.Although more simply crafted than their predecessors,with onephotograph per 6 6 albums(he refersto themas scrapbooks),then set themaside for decades.Theearliest known page,these albums elevate the notionof the traveljournal, providing affectless insight into their 7 album,from the late1930s, neatly divides into threechapters that focuson sidewalkarchitecture, chosensubjects. storefrontsignage, and humanactivity in the streetsof Manhattan.Entitled New York, N. Why?, this albumincludes several of the Denbypoems that wereinspired by Burckhardt'sphotography. In February1940 (a date suggestedby licenseplates and movieposters in the photographs), 8 8 AnAfternoon in Astoriaand A Walkthrough Astoria and Other Places in Queensare the onlytwo Burckhardttraveled from Manhattanto Queensfor perhapsa singleafternoon. Hecaptured a knownalbums that focuson Queens.In both,Burckhardt dry-mounted the photographson the fewoverall views, some gas stations and signs, a samplingof abandonedcars and neglected lots, sameneutral gray board, which he spiral-boundinto a book.The photographs in AnAfternoon in and a handfulof childrenplaying. Burckhardt begins and ends his observationswith imagesof Astoriawere taken in 1940,those in A Walkthrough Astoria and OtherPlaces in Queensin 1943. streets,sidewalks and empty lots, which serve as visual bookends for the album.Telephone wires, (Thelatter albumalso includesfive of Denby'ssonnets.) Although the two albumsinclude pho curbs,and skylinesprovide compositional structure throughout, and humanactivity is repre tographsfrom the sameterrain, no imageappears in both.The subjects in eachare featured in mul sentedlargely by its artifacts:cars and buildings, signs and debris. tiple views,and the sizeand sequenceof eachprint are carefullyconsidered for its relationto At the heartof AnAfternoon in Astoriaare Burckhardt'sinvestigations of four subjects:gas its neighborsand to the albumas a whole. stations,cars, abandoned lots, and children playing. Each subject is depictedacross a sequence In about1947 Burckhardt made another album of hisManhattan photographs, which is untitled of images-mostoften an overallopening shot followed by details,although this rhythmis occa and.openswith a poemof Denby's.Here his approachto the city andits inhabitantsis bolderand sionallysubverted. The album opens with a seriesof imagesof vacantlots and emptystreets. moredirect: he venturesup to rooftopsto capturean insider'sview of the skyline,he delves Thefirst gasstation view is wideenough to includeseveral adjacent operations, whose pumps, downinto the subway,and he placesindividuals on the streetswithin the contextof their urban lights,and signage overlap most densely in the centerof the image;subsequent photographs are landscape.Burckhardt made three additional albums of photographsfrom outsideNew York-two close-upsfocusing on placardsoffering various automotive remedies. The last gasstation image

32 * - : -

distillsthese formal choices into one:a closeview of an oil advertisement(seven quarts of oil Althoughnone of Denby'spoems is includedin An Afternoonin Astoria,an entire section for ninety-eightcents!) occupies the right side of the imageand is balancedagainst a view of of the anthologyEdwin Denby: The Complete Poems is titled "PoemsWritten to Accompany 0 0 gaspumps receding at a comfortabledistance on the left. Photographsby RudyBurckhardt.'" Thefirst of his "EiveReflections" resonates with this album, Thesespreads are followedby one on cars,beginning on the left with four small photo puttingforth in wordsthe plainpoetry of Burckhardt'sphotographs: graphsmounted on the samepage, so that the eyebumps from oneto the next as in the jump cutsof a film. It findsrest on the full-pageimage opposite, which shows an auto-bodyyard with HungSundays from Manhattanby the spacious a car parkedoutside. Only here, more than halfwaythrough the album,do peopleappear for the 59thStreet Bridge are the clearafternoons first time.Small figures in the shadows,they are dwarfedby carsand fences, and they face away In Astoriaand other openplaces from the camera,unaware of and indifferentto Burckhardt'spresence. Instead they focuson a Furtherin the enormousborough of Queens. car in duress,like those on the previouspage-and the futureof all of thesevehicles seems even moreuncertain after we makeout the letters"WRECK" in big lettersalong the body-yardfence. Thicklysettled plain an oceanclimate cleans If all of the automobilesin Astoriawere in this state,there wouldbe little needfor the gassta Railand concrete, asphalt and weed oasis, tions picturedon the previouspages; clearly Burckhardt chose these cars over morefunctional RemoteQueens constructs like desert-landscapescenes ones,and their isolationand disrepair contribute to the moodhe hasestablished with the scenes Vacantsky, vacant lots, a few Sundayfaces. of emptinessand neglect in his first images. Thefollowing page features a singleimage of an abandonedlot teemingwith scraps,dilap In this backyardof exploitationand refuse idatedfences, weeds, and rubble,which is succeededby six details,mounted evenly two to a Chancevistas, weights in the air part andcompose- page.The subjects-piles of bricks,leaning fences-become increasingly nondescript, evoking a Curbs,a cloud,metropolitan bulks for use mood,but the seriesof imagesas a wholetells us no moreabout the objectsin themthan a single Caughtoff guarddistend and balance and repose. imagewould; instead, careful structural repetitions draw our attentionto the visualrelationships that Burckhardthas so conscientiouslycrafted and preserved,encouraging us to considerthe SoNew York photographed without distortions albumfor its form as well as its content.Children are the focusof the album'slast groupof Showwe walkamong noble proportions. scenes:first an overallview of a hilly,forsaken lot with childrenscattered about, some of them in Sundayclothes, then four detailsof childrenplaying in it, andfinally four imagesof children This albumis publishedon the occasionof the openingof MoMAQNS, The Museumof on the sidewalk.Burckhardt held his photographsto highstandards; each one had to be "perfect ModernArt's newfacility in Queens,in June2002. Rudy Burckhardt was here, more than sixty 9 9 in termsof interesteverywhere." Evenwhen they are mounted four to a page,a vieweris rewarded yearsago, and for morethan an afternoon. for examiningeach one individually.

33 i NOTES

1. RudyBurckhardt, quoted in SimonPettet, Conversations with RudyBurckhardt about Everything (New York: VehicleEditions, 1987), n.p. 2. Burckhardt,"Escritos," in RudyBurckhardt (Valencia: IVAM Centre Julio Gonzalez, 1998), p. 194. 3. Burckhardt,quoted in VincentKatz, "Mobile Homes: The Art of RudyBurckhardt," in ibid.,p. 186. 4. In additionto the 1998catalogue accompanying the IVAMexhibition, which includes essays by Katzand Robert Storras well as a filmography,recent publications of Burckhardt'swork include Burckhardt and Pettet, Talking Pictures:The Photography of RudyBurckhardt {Cambridge, Mass.: Zoland Books, 1994), and Burckhardt and Katz, BoulevardTransportation (New York: Tibor de NagyEditions, 1997), as well as a twenty-four-pageinsert in Parkettno. 48 (December1996). Burckhardt collaborated with EdwinDenby on two books:In Public,In Private (PrairieCity, III.: Decker Press, 1948) and Mediterranean Cities (New York: George Wittenborn, 1956), and has also publishedMobile Homes, a bookof his memoirsand selected writings (Calais, Vermont: Z Press,1979). 5. SeeBurckhardt, "Escritos," p. 195. 6. "I pasted[my early photographs] in scrapbookswith [Denby's]poems interspersed, and then put themaway. Lastyear, two young poets, Ron Padgett and Larry Fagin, asked to seemy early photos, and I showedthem the scrapbooks."Burckhardt, quoted in GraceGlueck, "Back to 5-CentMalted and Plenty of Roomto Stroll,"New York Times,March 13,1972. 7. NewYork, N. Why?\s in thecollection of the MetropolitanMuseum of Art,New York. An Afternoon in Astoriaand the untitledalbum of Manhattanphotographs are in the collectionof TheMuseum of ModernArt. Theother Queensalbum is heldin a privatecollection, and the albumsof Italyand Maine are currently at the Tiborde NagyGallery, New York, courtesy of the Estateof RudyBurckhardt. 8. Wecannot be certain that all of the album'simages were taken in a singleafternoon, as Burckhardt'stitle sug gests,but it seemslikely. A virtuallycloudless sky appears in imageafter image,and the cold,clear light that castscrisp, dark shadows is consistentthroughout the album. 9. Burckhardt,quoted in MarticaSwain, Oral History Interview, Smithsonian Archives of AmericanArt, January 14, 1993.The text is availableonline at http://artarchives.si.edu/oralhist/burckh93.htm. 10.Edwin Denby, Edwin Denby: The Complete Poems, ed. and with an introductionby RonPadgett and with essays by FrankO'Hara and Lincoln Kirstein (New York: Random House, 1986), p. 78.

34 BURCKHARDT'S ALBUMS

RudyBurckhardt made at least sevenalbums NewYork, N. Why?c. 1939 Untitled(Manhattan). 1946-47 Untitled(Italy andGreece). 1951 of his photographs,all blackand white gelatin 11Vie x 12%"(28.7 x 32.5cm) 10%x 12Vie"(26 x 31cm) 9% x 8'/i6"(25.2 x 20.5cm) 26photographs mounted back-to-back to form silverprints. 67photographs mounted on 25 sheets of light 28photographs, some printed 2 to a page, weightoff-white card. Cover an additional 2 sheets andmounted back-to-back to form 13 sheets, 19sheets, some without images. Cover an addi ofa thickerstock includingfront cover of a similarstock tional2 sheetsof a thickerstock In the dimensions,height precedes width. Inthree sections, titled "Part 1," "Part 2," "Part 3." Incomplete:the album lacks a backcover, and Thephotographs appear under the following Includessix typed sonnets by Edwin Denby and Burckhardtis said to haveremoved some pages. headings:Florence (1), Rome (5), Marino (1), onetyped quotation from an article by Denby Includesone typed sonnet by Edwin Denby Venice(9), Sicily (5), Greece (5) in TheNew Yorker magazine TheMuseum of ModernArt, New York. Gift of Tiborde Nagy Gallery, New York. Courtesy the TheMetropolitan Museum of Art,New York. CameraWorks,Inc.,and Purchase Estateof RudolphBurckhardt Purchase,Estate of FlorenceWaterbury Untitled(Italy). 1947 GreatSpruce Head Island. 1952 AnAfternoon in Astoria.1940 10x 7%" (25.4x 20.2cm) 10x 7'/4"(25.4 x 18.4cm) 9% x 13"(25.3 x 33cm) 36photographs mounted back-to-back to form 16photographs mounted back-to-back to form 11 35photographs mounted on 11 sheets of graycard, 22sheets, some without images, including cover sheets,some without images. Cover an additional includingcover of thesame stock of samestock 2 sheetsof a thickerstock TheMuseum of ModernArt, New York. Gift of Thephotographs appear under the following Thephotographs, all of thelandscape of Maine, CameraWorks,Inc.,and Purchase headings:Firenze (3), Siena (11), Toscana (7), areunidentified Arezzo(3), Perugia (3), Ancona (3), and Ravenna Tiborde Nagy Gallery, New York. Courtesy the A Walkthrough Astoria and Other Places (5).On the cover is a photographthat Estateof RudolphBurckhardt Burckhardtelsewhere titled Piazza, Milan (1947) in Queens.1943 Tiborde Nagy Gallery, New York. Courtesy the 9% x 13"(25.3 x 33cm) Estateof RudolphBurckhardt 71photographs mounted on 25 sheets of gray card,including cover of thesame stock Withone subsection, titled "Laurel Hill." Includesfive typed sonnets by Edwin Denby, withsome corrections in pencil Privatecollection

35 TRUSTEES OF THE MUSEUM OF MODERN ART

RonaldS. Lauder EdwardLarrabee Barnes* PhilipS. Niarchos PattyLipshutz CHAIRMAN OF THE BOARD CelesteBartos* JamesG. Niven SECRETARY H.R.H.Duke Franz of Bavaria** PeterNorton AgnesGund Mrs.Patti Cadby Birch** RichardE. Oldenburg** PRESIDENT LeonD. Black MichaelS. Ovitz Ex Officio ClarissaAlcock Bronfman RichardD. Parsons SidR. Bass DonaldL. Bryant, Jr. PeterG. Peterson RobertDenison DonaldB. Marron HilaryP. Califano Mrs.Milton Petrie** CHAIRMAN OF THE BOARD RobertB. Menschel ThomasS. Carroll* GiffordPhillips* OF P.S.1 RichardE. Salomon DavidM. Childs EmilyRauh Pulitzer JerryI. Speyer PatriciaPhelps de Cisneros DavidRockefeller, Jr. MichaelR. Bloomberg VICE CHAIRMEN MarshallS. Cogan LordRogers of Riverside** MAYOR OF THE CITY Mrs.Jan Cowles** AnnaMarie Shapiro OF NEW YORK JohnParkinson III DouglasS. Cramer EmilySpiegel** TREASURER LewisB. Cullman** JoanneM. Stern* SusanK. Freedman GianluigiGabetti* Mrs.Donald B. Straus* MAYOR'S DESIGNEE DavidRockefeller* PaulGottlieb EugeneV. Thaw** CHAIRMAN EMERITUS MauriceR. Greenberg** JeanneC. Thayer* Jo CaroleLauder VartanGregorian JoanTisch PRESIDENT OF THE GlennD. Lowry MimiHaas PaulF. Walter INTERNATIONAL COUNCIL DIRECTOR Mrs.Melville Wakeman Hall* ThomasW. Weisel GeorgeHeard Hamilton* GaryWinnick MelvilleStraus KittyCarlisle Hart** RichardS. Zeisler* CHAIRMAN OF THE AlexandraA. Herzan CONTEMPORARY ARTS MarleneHess COUNCIL S.Roger Horchow BarbaraJakobson * Life Trustee PhilipJohnson* ** Honorary Trustee WernerH. Kramarsky Mrs.Henry R. Kravis JuneNoble Larkin* DorothyC. Miller** J. IrwinMiller* Mrs.Akio Morita -MiM

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