Skip to Main Content
Harold's Club cartoon

Credits

First and foremost, we thank the artists and the collectors who provided the wonderful content for the show. Information about them is included in the preceding pages. Also represented in this show are many uncredited designers, graphic artists and publicists who added so much to the show and to the aesthetic texture of the gaming environment.

We are deeply indebted to Joan Arrizabalaga and Michele Basta, who planned and executed the exhibit and the book for the many hours they devoted to this project, for their knowledge, their connections, and for their devotion to quality. Additionally, Joan supplied many of the art works in the show from her own collection.

We are grateful to Turkey Stremmel for her vision in finding and selecting and organizing the artists for the original Harrah’s “Art of Gaming” commission. We are additionally indebted to Turkey and the staff of the Stremmel Gallery for rescuing and and repairing the original pieces and transporting and storing them, and for saving and retrieving photographs of and information about the first show. We want to give a special thanks to preparatory Loren Staley and his intern Sara Garey-Sage for helping to mount the sculptures from the original “Art of Gaming” show.

We thank Harrah’s for sponsoring the original “Art of Gaming,” and especially Jim Rogers for envisioning it. Jim and Sandy Rogers also paid for new plexiglass cases for “The Art of Gaming +” and loaned a Dwight Davidson sculpture from their personal collection.

Beverly Fraley and David West of Caesar’s Entertainment Corporation (formerly Harrah’s) were instrumental in locating and obtaining the pieces from the original show.

We also thank IGT for the loan of conceptual drawings for popular games, Frank Gentile and Jeff Evans, who loaned some of their Bob Adams paintings for the show, and Terry Oliver for loaning his collection of Erni Cabat prints.

Generous financial donations to support the show came from the Friends of the University Libraries and Gene Wait.

The book and the show were made possible, in part, by the support of the City of Reno through a generous grant from the Arts and Culture Commission.

Several people helped with preparations: scanning, hauling, and installing items for the show, including

Others helped with planning for the exhibit and the opening reception:

Arlene Williams designed the book, which was printed by Panda Printing and Mailing, with Joie Mok as the project manager. Jessica Maddox provided valuable edits.

Angela Bakker and Deanna Hearn helped with publicity and Theresa Danna-Douglas photographed several of the pieces of art for this book.

Thanks also to Kathy Ray, Dean of Libraries, and Mille Mitchell, Director of Development for the University of Nevada, Reno Libraries, for their support and encouragement.