We are grateful for the generous financial support that has made the acquisition, cataloging, exhibition, events, and catalogue for the Lisa Unger Baskin Collection possible.
The E. Rhodes and Leona B. Carpenter Foundation provided a lead gift to bring the Lisa Unger Baskin Collection to Duke. Additional substantial gifts to support the collection were made by Lowell and Eileen Aptman, Sallie Bingham, Cindy Brodhead, Jack and Marion Bruckner, the Gladys Krieble Delmas Foundation, Barbara and Michael Dugan, Claire Foerster and Daniel Bernstein, Nancy and Jeffrey Giguere, Gail Keller, Ralph and Nina Levene, Elizabeth and Jeffrey McCormick, Harsha Murthy and Caitlin Riley, Sarah Peter, Kirk Roland, David M. Rubenstein, Jeanne and Robert Savitt, Sally Schauman, Adam Silver and Margaret Grise, Stewart Smith and Robin Ferracone, Michael and Ellen Vrana, Rebecca and Rhys Williams, and Heather Zorn and Paul Koss. Jean Fox O’Barr, one of the founders of the Sallie Bingham Center for Women’s History and Culture, has been inspiring in her support in all ways for bringing the Lisa Unger Baskin Collection to Duke.
This exhibition and catalogue would not have been possible without the expertise and commitment of a wide range of colleagues and collaborators.
Andy Armacost’s serendipitous conversation with Hosea Baskin started us on this journey, and his insight and expertise have informed every step. Laura Micham articulated a vision for the future of the collection here at Duke, and she has led in countless ways, from packing to cataloging to sharing the collection with the world. Deborah Jakubs and Bob Byrd understood the importance of the collection immediately and opened doors at every stage. Rubenstein Library curators Kelly Wooten, Rachel Ingold, Will Hansen, Sara Seten Berghausen, and John Gartrell contributed their expertise in so many ways then and now. Laura and Kelly planned a dynamic season of events to accompany the exhibition at both Duke and the Grolier Club. Tom Hadzor, Kurt Cumiskey, and Megan Crain have been untiring in raising funds and attracting support for the collection.
The catalogers and archivists at the Rubenstein Library described an incredible range of materials. Thanks to Jessica Janecki, Stephanie Fell, Liz Adams, Alice Poffinberger, Laurin Penland, Tracy Jackson, Meghan Lyon, Megan Lewis, Katrina Martin, Mandy Hurt, and Heather McGowan. Lucy Vanderkamp and William McLean arranged for safe transport and storage of materials under consideration for the exhibition.
Meg Bolger Brown and Yoon Kim guided us through exhibition layout, design, and installation, bringing our vision to life. We spent countless hours with them considering what might be and then making it so. Yoon also coordinated the photography done at Duke, and her hands are the ones that appear throughout the catalogue. Philip Liu, Bennett Sampson, Ryan Feinberg, Michelle Zhang, and Catherine Alexander from the Pratt School of Engineering under the guidance of Dr. Ann Saterbak, with help from Sarah Park, created an innovative new cradle for the exhibition. Michael Daul developed the online exhibit. Conservators Henry Hebert, Rachel Penniman, and Beth Doyle ensured the best care of the materials throughout selection, planning and installation, keeping in mind the needs of both the present and future.
Rita Jules and Miko McGinty of Miko McGinty, Inc., executed a beautiful exhibition design and suggested typefaces of Pilar Cano and Veronika Burian. Tina Henderson carefully typeset the labels. We are grateful for Aaron Welborn’s editorial eye and for beautiful photographs of the collection by Mark Zupan, Zeke Graves, and Annie Schlecter. Chris Loker, Eric Holzenberg, and the Grolier Club’s Committee on Public Exhibitions have offered supportive feedback along the way. We are so pleased to be partnering with the Grolier Club on this exhibition and catalogue.
Naomi L. Nelson, Lauren Reno, and Lisa Unger Baskin
My husband, Leonard Baskin, who always understood what I was about, in every way, would have been exceedingly delighted with this, the first publication of my collection. I am grateful to my children: Hosea T. Baskin who was stranded in Texas with Andy Armacost, and so the story began; Tobias I. Baskin for his support and love; Lucretia M. Baskin for her keen eye and inheriting the ferret gene. Sarah Werthan Buttenwieser and Laura Seaward Green, thank you. Gratitude to my Always Sister Esther Alexander Terry; and to Jon Unger, Lynne Kasparian, Dorothy Green, Jean Cooper, Patricia Lee Lewis, Carol Hughes, Kate Faulkner, Nim Wa Li, Lois Ahrens, Lorna Peterson, Robin Dizard, and Patricia Holland, thank you. My profound gratitude to Gwen Huitt and Bill Swiggard for seeing me through. Ann Rosalind Jones, Cornelia King, Marilyn Boyle, Claudia Funke, Liv Rockefeller, and Ken Shure, my gratitude for so much. I am indebted to Jeff Towns for friendship, patience and endless temptations. To the “Women of the Book”: Veronica Watts, Elizabeth Crawford, Caroline Schimmel, Davida Tenenbaum Deutsch, and Florence Fearrington, thank you. Margaret Hunt, Sarah Peter, and Peter Stallybrass always understood, inspired, supported, and shared my excitement as the collection grew. Thanks to Jean Beard, Deb Burkhalter, Paula Murphy, and Russell and Martha Freedman. Johnnetta B. Cole, John Bracey, Ann D. Gordon, Courtney Baker, Nell Painter, and Steve Strimer, I am grateful that you have been part of what I love most, and for believing that we can make a difference by revealing history.
William Helfand, who first approached me about having an exhibition at the Grolier Club many years ago, and even volunteered to write the catalogue, was always an encouraging voice. He would have so enjoyed it.
Diana Riddle has my endless gratitude for her persistence, tenacity, and support; her competence in all things is beyond measure.
To Deborah Jakubs, Naomi Nelson, John Gartrell, Laura Micham, Andy Armacost, Will Hansen, Kat Stefko, and Lauren Reno who visited my library in Leeds, understood what I was doing, and saw the possibilities, connections, and intersections with the collections at the Rubenstein Library, thank you.
Lauren Reno and Naomi Nelson, you have been a delight to work with, in Leeds and in Durham, as we drew together the entire exhibition. You managed to be patient and knowledgeable dealing with the myriad complexities of the catalogue and the installation. Miko McGinty, thank you for helping realize the intention I stated in our first meeting, that we produce a catalogue that would employ women as much as possible. Meg Bolger Brown and Yoon Kim were smart, efficient, and so competent at exhibition preparation. Thank you for your kindness Katie Henningsen and Nelda Webb.
Lisa Unger Baskin
February 28, 2019 – June 15, 2019
Duke University Libraries
December 11, 2019 – February 8, 2020
Grolier Club, New York City