All of my work has been done in close collaboration with David Hockney, who in every respect has been an ideal collaborator. In addition, I am pleased to acknowledge David Graves and Richard Schmidt, both of whom work with David (at his London and Los Angeles studios, respectively), who have provided a variety of invaluable contributions. Professor Martin Kemp of Oxford University conducted a long exchange of faxes with David that was of significant help. My colleague in the College of Optical Sciences the University of Arizona, Professor José Sasián, ran a ray tracing calculation early in our efforts that provided insights into how the aberrations of a lens would have affected how an artist worked. My own involvement in this began as a direct result of an article by Lawrence Weschler that ran in the January 31, 2000 issue of The New Yorker Magazine. My fellow co-curator of the Solomon R. Guggenheim Museum’s The Art of the Motorcycle, Ultan Guilfoyle brought this article to my attention as soon as it was published and then put me in contact with Lawrence Weschler, who in turn made arrangements for me to meet with David Hockney. Over the past several years my work has benefited from the contributions of two assistants in my research group, Nora Roberts (née Pawlaczyk) and Aimee Weintz Allen.


Contact Information

Charles M. Falco
College of Optical Sciences
P.O. Box 210077
The University of Arizona
Tucson, Arizona 85721-0077 USA
Tel: 1-520-621-6771 Fax: 1-520-621-4356