Research Center – Clyfford Still Museum

Research Center

Conceived for both the interested public and specialist scholars, the Clyfford Still Museum Research Center (CSMRC) encourages and supports humanities-based engagement with the Clyfford Still Museum Collections and its Archives.

Led by Dr. David Anfam, CSM Senior Consulting Curator, the Research Center facilitates research across disciplines, prepares and distributes scholarly publications, conducts symposia and a broad range of other public programs, and offers a competitive fellowship program.

Collaborations with other institutions, both in and outside of Colorado, are a key part of the Center’s mission. Scholars and fellows have opportunities to access other collections, including the holdings of the adjacent Denver Public Library (DPL) and the Denver Art Museum (DAM). Additionally, CSM has developed other institutional partners, including the Albright-Knox Art Gallery in Buffalo and the San Francisco Museum of Modern Art (both of which have extensive Still holdings and archives), the San Francisco Art Institute (where Still taught during the late 1940s), and the University of Denver.

Lastly, the CSMRC aims to uphold the intellectual breadth—ranging from an interest in music and philosophy to literature and history—that Clyfford Still himself maintained.

Senior Fellows:

2017 and 2018
James Clarke, Composer
Based in London, England
Archival and collections research as background and preparation for an original symphonic composition inspired by Still’s art

Professor James Clarke is a pioneering composer in the field of contemporary classical music. He graduated with a degree in the scientific analysis of music at the University of London and a doctorate in philosophy at the University of Leeds. After teaching engagements in the UK, Germany and Austria, he was appointed Professor of Music at the University of Baku and is also an Associate Fellow at the Institute of Musical Research, University of London. His music has been performed in major concert halls and festivals of contemporary music in over forty countries. He has a special interest in the formal and intellectual relationships between abstract visual art and music.

Allan Antliff, PhD
Department of Art History and Visual Studies, University of Victoria; Victoria, British Columbia
Clyfford Still and the relation of U.S. and U.K. artists to anarchism during the 1940s and 1950s

Junior Fellows:

Kimberly R. Roberts
Affiliate Professor, Art History, Theory & Criticism, Metropolitan State University of Denver
Clyfford Still’s relationship to photography and photographic history

CSMRC Advisory Board:

  • William C. Agee, Evelyn Kranes Kossak Professor Emeritus of Art History, Hunter College, CUNY
  • Edward Dimendberg, Professor, Department of Film & Media Studies, University of California at Irvine
  • Stephen Mansbach, Professor, University of Maryland
  • James O. Naremore, Chancellor’s Professor Emeritus of English & Film Studies, Department of Communication and Culture, University of Indiana at Bloomington
  • Emily Ballew Neff, Executive Director, Memphis Brooks Museum of Art
  • John Yau, Art Historian, Poet, and Critic, regular columnist for

Symposium 2017 | Abstract Expressionism: Works on Paper

at Stony Brook Manhattan

  • David Acton, Milly and Fritz Kaeser curator of the Snite Museum of Art at the University of Notre Dame, The Stamp of Impulse: Abstract Expressionist Prints
  • William C. Agee, Evelyn Kranes Kossak professor of art history emeritus, Hunter College, City University of New York, Proto Abstract Expressionism: Works on Paper by John Marin and Friends
  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Opening Remarks
  • Eileen Costello, editor/project director of the catalogue raisonné of the drawings of Jasper Johns at the Menil Foundation/Menil Drawing Institute, Barnett Newman, A New Way of Seeing
  • Charles Duncan, executive director of the Richard Pousette-Dart Foundation, Asymmetrical Balance: Richard Pousette-Dart’s Works on Paper
  • Dr. Jennifer Field, Director of Exhibitions and Head of Research at Di Donna Galleries, Printmaking as a Material Strategy in the Development of Jackson Pollock’s “Drip” Paintings
  • Helen A. Harrison, the Eugene V. and Clare E. Thaw director of the Pollock-Krasner House and Study Center, Pollock’s Paper Trail
  • Robert Hobbs, Professor and Rhoda Thalhimer Chair in American Art, Virginia Commonwealth University, Lee Krasner, Joan Mitchell, and Helen Frankenthaler: Nature as Metonym
  • Ricard ShiffEffie Marie Cain regents chair in art at the University of Texas, De Kooning is Drawing
  • Katy Rogers, director of the Robert Motherwell catalogue raisonné project and programs director, Dedalus Foundation, At the Edge: Robert Motherwell’s Works on Paper

Symposium 2015 | Abstract Expressionism: Time, Intention, Conservation, and Meaning

at the Getty Center, Los Angeles

  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Opening Remarks
  • Nicholas Dorman, Chief Conservator, Seattle Art Museum, Conservation of Jackson Pollock’s Sea Change at the Seattle Art Museum
  • Brad Epley, Chief Conservator, the Menil Collection, and Dr. Corina Rogge, Museum of Fine Arts, Houston, and the Menil Collection, Response and Interplay Between Artist and Materials in the Late Paintings of Barnett Newman
  • Mary H. Gridley, Cranmer Art Group, Joan Mitchell: Cropping the Early Paintings
  • Dr. Narayan Khandekar, Director of the Straus Center for Conservation and Technical Studies; Director of the Center for the Technical Study of Modern Art, and Head of the Analytical Laboratory, Harvard Art Museums, Rothko’s Harvard Murals: An Image for a Public Place
  • Susan Lake, Conservator Emeritus, Smithsonian, Willem de Kooning and Colleagues: Technical Investigation and the Challenge of Preserving Modern Art
  • Tom Learner, head of Getty Conservation Institute’s science department, moderator of Roundtable Discussion
  • Patricia Smithen, Smithen Contemporary Conservation, Red Shifts: Managing Change in Rothko’s Seagram Murals at the Tate
  • James Squires, Senior Conservator, Clyfford Still Museum, State of Still: Conservation Efforts at the Clyfford Still Museum
  • Carol Stringari, Deputy Director and Chief Conservator of the Guggenheim Foundation, On Death and Dying: How Conservation Decisions Influence the Life and Trajectory of Artwork
  • Dr. Zahira Véliz-Bomford, Museum of Fine Arts, Houston, and Dr. Corina Rogge, Museum of Fine Arts, Houston, and the Menil Collection, Paint Never Behaves the Same: Franz Kline Case Studies

Watch videos of the 2015 symposium sessions below, or on our Vimeo channel.

Symposium 2013 | Clyfford Still: The View From The 21st Century

The Center’s first program, “Clyfford Still: The View From The 21st Century,” in October 2013 at Sotheby’s in New York City, featured presentations from distinguished scholars with expertise surrounding the artist as well as a roundtable discussion with all participants.

  • Dore Ashton, author, art critic, and Professor of Art History, Cooper Union, Clyfford Still—And So On
  • Dr. Henry Adams, Professor of American Art, Case Western Reserve University, The Land, Still, and Regionalism
  • Dr. Richard Shiff, Professor of Art, Effie Marie Cain Regents Chair in Art, and the director, Center for the Study of Modernism, The University of Texas at Austin, Still’s Marks
  • Dr. Kent Minturn, Director of MA in Modern Art: Critical and Curatorial Studies (MODA), Columbia University, Clyfford Still at the California School of Fine Arts
  • Carter Ratcliff, Contributing Editor at Art in America, author, and art critic, Claustrophobic Sublime
  • James Squires, Senior Conservator, Clyfford Still Museum, The State of Still: Clyfford Still Conservation
  • Dr. David Anfam, Senior Consulting Curator, Clyfford Still Museum, Still Redux
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