Acknowledgments

The creation of “The Hard Edge & The Soft Line: A Retrospective of Maud Gatewood” was a multi-year journey that has proved to be an incredibly generative exercise for our growing institution. Neither the exhibition nor this publication would have been possible without thoughtful, rigorous collaboration, and we are deeply grateful for the support and contributions of the many individuals and organizations who eagerly joined us in realizing this project.

First and foremost, this exhibition is a celebration and a critical study of the subject of all this fanfare, Maud Gatewood. We are, admittedly, rather biased, but we feel no less confident in arguing that the artist and her oeuvre necessitate such an accounting. Her paintings are challenging, irresistible, and important. Our gratitude to Gatewood and her legacy cannot be overstated.

In accordance with that belief, we felt it was essential to expand the scholarship and public resources related to Gatewood. So it is with much regard that we thank this catalog’s primary sponsor, Henry LaBrun, whose generous support of a nebulously described digital publication has been instrumental in bringing Maud Gatewood’s work to a wider audience.

We are equally grateful to our exhibition sponsors, the Samuel M. & Alma Catsman Foundation, William C. & Norma C. Cannon Charitable Trust, Marion Johnson Church, and LifeStore Bank & Insurance. Their support has been pivotal in realizing this comprehensive retrospective.

Our deepest gratitude also extends to the lenders who made this exhibition’s checklist possible. The remarkable generosity of the seven public institutions and six private collectors who have entrusted us with Maud Gatewood’s works has enriched this retrospective, allowing us to present a broad and nuanced record of her career. The North Carolina Museum of Art (Raleigh), Weatherspoon Art Museum (Greensboro), Gregg Museum of Art & Design (Raleigh), University of North Carolina at Charlotte, Guilford College (Guilford), Wake Forest University (Winston-Salem), and Duke Endowment (Charlotte) were each essential partners in realizing this vision.

To those collectors who parted with prized possessions and have been left with blank spots on their walls, your eager participation made this exhibition all the more celebratory. Lee Rocamora & John Thompson, Carole & Cloyce Anders, Marion Johnson Church, Drs. Carlos Garcia-Velez & W. Kent Davis, Christine Burns-Fazzi & Lee Fazzi, Judge Nancy Black Norelli, and Jason Queen, we are honored to count you as partners in this venture. 

We would be remiss if we did not express our sincere appreciation to our colleagues at the Blowing Rock Art & History Museum. Their dedication, expertise, and collaborative spirit have been invaluable throughout this process. Special thanks go to our Exhibitions & Collections team, whose professional insight, creative problem-solving, and endless patience helped shape the narrative and presentation of Gatewood’s residency at BRAHM. In particular, Bella Sollosi, Curatorial Associate for this exhibition, was an indispensable partner in mapping Maud’s life and career and ensuring that we had a broad network of partners to meet this challenge alongside.

We are also indebted to the authors of the scholarly essays and recollections featured in this online catalog. Their thoughtful contributions provide essential context and depth, enhancing the understanding of Gatewood’s artistic legacy.

Lastly, we thank the many additional collaborators who have contributed their time, expertise, and resources to this project: Joshua White for object and exhibition photography, John O’Neal for web design, Capture Public Relations, and our friends in Yanceyville at the Richmond-Miles Museum.