Find us on Facebook.
Due to scheduled maintenance, ordering will not be available from 5:00 p.m. EDT, June 30, until 9:00 p.m. EDT, July 1. For queries, please contact Customer Relations at email@example.com. We apologize for any inconvenience this causes.
If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;
If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).
If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).
Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to firstname.lastname@example.org.
For book covers to accompany reviews, please contact the publicity department.
If you're interested in a Duke University Press book for subsidiary rights/translations, please contact email@example.com. Include the book title/author, rights sought, and estimated print run.
Instructions for requesting an electronic text on behalf of a student with disabilities are available here.
The book offers a new approach to viewing and thinking about the Nasher Collection, concentrating not on the final, finished product, “the greatest collection of modern sculpture in private hands,” but on the unfolding of the process of building that collection through time, its chronological development from the early 1950s to the present. In the history of any collection, there is a narrative of evolution—a beginning, which includes a motivation, followed by a process of change as the collector works out by experience and experimentation a personal approach to the gathering of objects of art. In the case of the Nasher collection, this personal approach is the result of a remarkable synergy between two individuals, Raymond D. Nasher and Patsy Nasher.
The essay by curator Sarah Schroth contextualizes the Nashers as collectors within the history of collecting practices in the United States in the second half of the twentieth century.
Sarah Schroth is the Nancy Hanks Senior Curator at the Nasher Museum of Art at Duke University.
Sign up for Subject Matters email updates to receive discounts, new book announcements, and more.