The proposed library collection for the new Clyfford Still Museum includes 7 sources that would provide biographical information on the artist, examples of his work, historical context of abstract expressionism, and history of the museum. The sources are drawn from the existing Denver Art Museum collection as well as other relevant books, catalogues, and a webpage about the artist and upcoming museum. The collection provides a good starting point but could be expanded with additional books focused specifically on Still and materials to engage younger audiences.

1. Jennifer Dibbern
LI813•Cohort 10•2009
Collection Development
Project
Still, C. (1957). 1957-D No. 1. oil on canvas, 13 x 159 in, Albright-Knox Art Gallery, Buffalo, New York.
Retrieved from http://www.abstract-art.com/abstraction/l2_Grnfthrs_fldr/g0000_gr_inf_images/g0040a_still_1957d.jpg

2. The
Denver Art Museum
Library
The Denver Art Museum
Library is located in a
corner of the art museums
administration building on
the first floor.
It is a quant library that houses a specialized
collection primarily organized for use by museum
staff, volunteers, interns and researchers.
Still, C. (1957). Untitled. oil on canvas, 113 1/4 in. x 148 in, The Clyfford Still Estate, Denver, Colorado.
Retrieved from http://www.sfmoma.org/artwork/310.

3. In the fall of 2010, the Denver Art
Museum will be opening The
Clyfford Still Museum. With the
opening of a museum that will be
focused on one artist, it seems
fitting to create a small library
specific to that museum.

4.  The library collection could be
developed based off of the Denver
Art Museum’s current library
collection, however it
would be focused
specifically on
materials related to
Clyfford Still.
Namuth, H. (1951). Clyfford Still. Photograph. Hans Namuth Estate. Retrieved from
http://www.clyffordstillmuseum.org/clyfford.html.

5.  Mission of the Denver Art Museum
Library:
 In speaking with the librarian, Susan Ferrer-
Vinent, there is nothing written in stone.
 It is basically: “The Denver Art Museum
Library is a specialized research resource for
museum staff, volunteers, and visiting
scholars” (EOS International, 2009).

6.  Although children
may be attracted by
Still’s use of bright
colors, the subjects
implied by abstract
expressionism in art
historical context,
could be too
theoretical for anyone
under the age of 17.
Still, C. (1964). 1964. oil on canvas, 28 x 40 in,
Retrieved from http://raggedclothcafe.com/2007/03/28/clyfford-still-by-sandy-donabed/

7.  Also, since the collection is following the
same guidelines as the original DAM
library, it will be focused on an audience
of professionals.
 Primary focus on:
 Museum Professionals
 Staff
 Volunteers
 Interns
 Researchers
 Curious Adult Patrons

8.  Clyfford Still
 His life—Biography
 His works – Technique, Materials, etc.
 His Art Genre—Abstract Expressionism,
How his works fit into the big picture – Art
History
 The Museum – History of…

9.  Books and Art Catalogues
 These are the two formats from which
museum staff glean information.
 Occasionally
they use internet
sources.
The Main use of
information sought by
professionals is for
reference, research,
exhibition design, etc. Still, C. (1936). PH 77. oil on canvas 45 x 53 1/2 in, Estate of Clyfford Still, Denver, Colorado.
Retrieved from http://www.clyffordstillmuseum.org/collection.html

10. With consideration of
an audience made up of
professionals and
following their patterns
of reference use, the
following sources were
collected for
recommendation to
begin the Clyfford Still
Museum Library
collection.
Still, C. (1953). Untitled. oil on canvas, 36 x 40 in. Retrieved from http://osabordatangerina.wordpress.com/2009/11/01/joy/

11. The Basics (Russell, 2007)
Current? 1976, current for a catalogue.
Intended
Audience:
Museum professionals, curious patrons,
researchers. Voice is professional.
Format: Museum Catalogue
Brief Description: Statement by the artist about his own
work, covers a collection of objects
donated to the San Francisco Museum of
Modern Art, provides a very descriptive
biography, pictures of how the collection
was displayed in the museum in 1976.
Still, C. (1952). 1952-no.2. oil on canvas, 299.0 h x 268.5 w cm, National Gallery of Australia, Canberra, ACT.
Retrieved from http://artsearch.nga.gov.au/Detail.cfm?IRN=101773

12. Evaluation (Russell, 2007)
Useful? Yes, very useful. Specifically since
the artist has passed away.
Ease of Use: Very easy to use. Well organized
and nicely formed content page.
Strengths/Weaknesses: Strength: has quotes from an artist
who has passed and a very extensive
biography. Also, correspondences
between artist and collector.
Weakness: it is from 1975, pictures
of the exhibit are outdated.
Recommend For
Purchase? Why?
Yes, definitely. A positive
recommendation for purchase is
based on unique perspective offered
by the artist himself. Also, Denver
and San Francisco house the two
main collections of Still’s work…
good to have a catalogue of the San
Francisco collection as reference.
ISBN: N/A– LC#75-35088
US$28.00

13. The Basics (Russell, 2007)
Current? 2007, yes
Intended
Audience:
Museum Professionals, Researchers,
Curious Adult Patrons
Format: Museum Catalogue
Brief Description: Describes the Color Field painting
movement within the context of Abstract
Expressionism, sets Clyfford Still in the
Color Field context, provides
biographies of the Color Field painters
and their relations to one another.
Still, C. (1960). 1960-F. oil on canvas, 112 by 145 ½ in.
Retrieved from http://www.remediosvaro.biz/Auction_Results/Contemporary/sothebys_may_12_2004.html

14. Evaluation (Russell, 2007)
Useful? Yes. Because it provides a
context in which to place Still’s
work.
Ease of Use: Easy to use, mostly pictured with
history. Well organized.
Strengths/Weaknesses: Strengths: Provides explanation of
the “Color Field” movement and
places Clyfford Still in that context.
Lists art historical inspirations for
the artists.
Weaknesses: None that can be found
related to the intentions of the
catalogue.
Recommend For
Purchase? Why?
Yes. Extremely important because
of the historical contexts provided
and relation to Clyfford Still.
ISBN: 978-1-885444-36-3
US$32.85

15. The Basics (Russell, 2007)
Current? 1998, relatively, could be more up to
date.
Intended
Audience:
Museum Professionals, Researchers
(adult students)
Format: Book, survey of Modern Art
Brief Description: Covers the history of Modern Art from
the late 1800’s up until the 1990’s. The
book covers a broad period of time and a
wide range of subject matter including
painting, sculpture, architecture and
photography. It places Clifford Still in
the context of Modern Art as a whole.
Still, C. (1950). 1950-C. oil on canvas, 299.0 h x 268.5 cm.
Retrieved from http://www.clyffordstill.net/art/1950C.html.

16. Evaluation (Russell, 2007)
Useful? Yes, places Clyfford Still in
broad art historical context.
Ease of Use: Very easy to use, made primarily for
undergraduate college students.
Simple language and well
organized.
Strengths/Weaknesses: Strengths: Puts everything into
context on a broad scale. Very easy
to read.
Weaknesses: May be too broad and
close to off topic, Clyfford Still
covered for two paragraphs out of
hundreds of pages. Also, somewhat
outdated for a survey book.
Recommend For
Purchase? Why?
Yes, although large and outdated, it
is still helpful to put Clyfford Still
into the context of a broader period
of time, art historically.
ISBN: 0-13-227323-3
US$10.99 (used)

17. The Basics (Russell, 2007)
Current? 1993, relatively
Intended
Audience:
Museum Professionals, Fine Arts
Collectors, Scholars
Format: Journal in a British magazine
Brief Description: A unique perspective on Clyfford Still’s
early works, points out the lack of
primary and secondary sources in
literature on Clyfford Still’s work,
provides an extensive background on
Still early career.
Still, C. (1951). 1951-N. oil on canvas, 234.5 x 175.6 cm, National Gallery of Art.
Retrieved from http://www.washingtoncitypaper.com/blogs/citydesk/category/bureaucracy/smithsonian/.

18. Evaluation (Russell, 2007)
Useful? Yes. Specifically because it
covers Still’s early life as an
artist.
Ease of Use: Easily read by professionals, voice
used is scholarly.
Strengths/Weaknesses: Strengths: A great resource on Still’s
early life as an artist. Also, a well
written art historical work that is not
a museum catalogue. Good
reference.
Weaknesses: None that can be
found.
Recommend For
Purchase? Why?
Yes. Because it is unique among the
many museum catalogues that
provide the majority of information
on Clyfford Still’s work.
ISBN: n/a
US$35.50 (entire issue)

19. The Basics (Russell, 2007)
Current? Yes, the museum has not been built yet.
Intended
Audience:
Museum Patrons, Museum
Professionals, Researchers
Format: Webpage
Brief Description: This page covers the biography of
Clyfford Still, the history of his work
and the history of the museum. It also
goes into great detail about how the
museum was designed and the
construction timeline.

20. Evaluation (Russell, 2007)
Useful? Yes, provides history of the
Clyfford Still Museum
Ease of Use: Extremely user friendly, well
designed and easy to navigate.
Strengths/Weaknesses: Strengths: A webpage that covers
Clyfford Still’s life. Provides history
of the Clyfford Still Museum and
connects Clyfford Still to Denver.
Weaknesses: Although the webpage
covers the history of Still’s work and
biography, it lacks extensive
information on the collection itself.
Recommend For
Purchase? Why?
Yes, it would be a valuable resource
to include in the library collection
because it covers the history of the
museum itself and sets the context
of the collection existing in Denver,
Colorado.
ISBN: n/a US$ n/a

21.  This collection of sources would be a good start
to a library collection at the Clyfford Still
Museum based on it’s many strengths…
 Mostly pulled from the original Denver Art Museum
Library Collection.
 Other materials suggested because of relevance to
audience’s needs.
 Supporting catalogue of San Francisco’s “sister”
collection.

22.  Strengths, cont…
 All topics covered, including biography of artist,
examples of work from different collections, historical
relevance of work and examples of how it all is applicable
to the Clyfford Still Museum.
 Weaknesses…
 The collection is small.
 There could be more supporting books specifically
focused on the artist.
 It would be useful to engage younger people in Clyfford
Still and abstract expressionism by providing children’s
books.

23.  Anfam, D. (1993). ‘Of the Earth, the Damned, and of the Recreated’:
Aspects of Clyfford Still’s Earlier Work. The Burlington Magazine, 135
(1081), 260-269.
 Arnason, A. A. & Prather, M. F. (1998). History of modern art (4th ed.). New
Jersey: Prentice-Hall, Inc.
 EOS International. (2009). Denver Art Museum Library Catalog.
http://207.67.203.66/D60000Staff/OPAC/LibraryInfo/
LibraryInfo.asp?MenuID=100
 Kellaway, T. (1976). Clyfford Still. Los Angeles: San Francisco Museum of
Modern Art.
 Petersen, R. (2009) Clyfford Still museum webpage. From http://
www.clyffordstillmuseum.org/.
 Russell, T. (2007). Writing a book review. Retrieved from:
http://owl.english.purdue.edu/owl/resource/704/1
 Wilkin, K. (2007). Color as Field: American Painting, 1950-1975. New Haven:
Yale University Press.
Still, C. (1951). Untitled. oil on canvas, 299.0 h x 268.5 w cm. Retrieved from http://www.clyffordstill.net/art/1951.html