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Oral history interview with Kurt Weiser, 2006 May 22

Archives of American Art
Transcript: 47 pages.

An interview of Kurt Weiser conducted 2006 May 22, by Peter Held, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's studio, in Tempe, Arizona.

Weiser speaks of growing up in East Lansing, Michigan, near the Kresge Art Center at Michigan State University; his mother's encouragement of his interest in the arts; dropping out of high school in the ninth grade and working odd jobs until enrolling at Interlochen Arts Academy in Interlochen, Michigan; teaching himself firing techniques with Hal Reigger's book, "Primitive Pottery"; his relationship with his first ceramics teacher, Jean Parsons; and going to Kansas City Art Institute and meeting Ken Ferguson.

He discusses teaching in Portland after undergraduate school, first in the city at Portland Museum Art School, then in Marlyhurst; his studio at Hillside Center; selling pottery at the Ann Arbor Street Fair; attending graduate school at the University of Michigan and earning his M.F.A.; meeting Akio Takamori on a visit back to Kansas City Art Institute; his first experience at the Archie Bray Foundation in Helena, Mont.; and inviting international residents such as Suwanee Natewong to teach at the Bray.

He also covers his travels to Japan and Thailand; the drawings and sketches he did while abroad, and how these drawings inspired his black and white graffito-style pottery; his interests of natural and psychological subject matter; his use of color and inspirational artists such as Maxfield Parrish and Henri Rousseau; his methods for creating imagery; his teaching position at Arizona State University in Tempe; his opinions about the roles of the universities in art education, and of craft periodicals such as American Craft; his time at Guldagergard in Skaelskor, Denmark; and his involvement with National Council on Education for the Ceramic Arts.

Weiser also recalls Victor Babu, Rick Hensley, Tom Coleman, Jackie Rice, John Stevenson, Ed Labow, and others.

Oral history interview with Allen Stuart Weller, 1992 May 1

Archives of American Art
1 sound cassette.

An interview of Allen Stuart Weller conducted 1992 May 1, by Stephen Polcari, for the Archives of American Art. Weller discusses his early training and his teaching career; traveling to Europe in the 1920s; the first American art courses offered at Princeton; working with the army to preserve monuments during WWII; teaching modern art during the 1950s; and the beginnings of the College Art Association.

Oral history interview with Neil Welliver, 1996 November 14

Archives of American Art
Sound recording: 2 sound cassettes (2 hr., 8 min.) : analog.

Transcript: 45 pages

An interview of Neil Welliver conducted 1996 November 14, by Robert F. Brown, for the Archives of American Art, in Welliver's home in Lincolnville, Maine.

Welliver talks about his childhood in Pennsylvania; his self-education; his marriage to a fashion illustrator; attending the Philadelphia Museum College of Art (now University of the Arts), receiving a BFA in 1953; teaching art in a public school; attending the Yale School of Art (MFA 1955) and teachers there; going to Maine; teaching at Yale (1955-1965); teaching at the University of Pennsylvania (1966-1989) at the graduate level. He recalls architect Louis Kahn at Yale and then at Pennsylvania; his various New York dealers from the 1960s, including Eleanor Ward at Stable Gallery, Aladar Marburger at Fischbach Gallery, and Pierre Lefraie at Marlborough Gallery; various art world friends, including Hilton Kramer, Clement Greenberg, and Fairfield Porter; and receiving an honorary doctorate of fine arts at the Pennsylvania Academy of the Fine Arts, 1996.

Oral history interview with James Lesesne Wells, 1989 November 16

Archives of American Art
2 sound cassettes

An interview of James Lesesne Wells conducted 1989 November 16, by Jock Reynolds and Richard Powell, for the Archives of American Art.

Wells speaks of his early childhood in Atlanta, Georgia and Florida; his education; his interest in drawing; symbolic storytelling; mythological subject matter; and African influence.

Oral history interview with James Wentzy, 2017 January 23-March 31

Archives of American Art
Sound recording: 15 sound files (5 hr., 13 min.) digital, wav

Transcript: 164 pages

An interview with James Wentzy, conducted 2017 January 23-March 31, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Wentzy's home and studio in New York, New York.

Wentzy speaks of his childhood in South Dakota; studying filmmaking at Southern Illinois University; moving to New York and shooting commercial films in the late 1970s; working and homesteading in the photography studio of James Dee; the beginning of the AIDS crisis; being diagnosed with HIV in 1990; his participation in and extensive documentation of ACT UP meetings, actions, and demonstrations; his place in the genealogy of AIDS activism; and his body of film and television work. Wentzy also recalls Darrel Ellis, Alanna Heiss, Arch Brown, James Dee, Robert Farber, Ho Tam, John Schnabel, Patrick Moore, Lou Maletta, Tony Arena, Vincent Satinire, David Buckingham, Jean Carlomusto, and others.

Oral history interview with Tom Wesselmann, 1984 January 3-February 8

Archives of American Art
Transcript: 196 pages

Audio excerpt: 1 sound file (5 min., 12 sec.) : digital

An interview of Tom Wesselmann conducted 1984 January 3-1984 February 8, by Irving Sandler, for the Archives of American Art.

Wesselmann speaks of his family, childhood and education; his U.S. Army service; his early interest in art and drawing; the influence of humor; going to the Cooper Union School on the GI bill; artists who influenced him in his early career; experiences which changed him; early experiments with collage; his first awareness of pop art; collage technique; his affiliation with the Tanager Gallery; his early nudes; eroticism in his paintings; politics and art. He recalls Alex Katz and Jim Dine.

Oral history interview with Clifford West, 1975 February 26-28

Archives of American Art
Transcript: 69 pages

An interview of Clifford West conducted 1975 February 26-28, by Dennis Barrie, for the Archives of American Art.

Oral history interview with Frederick Weston, 2016 August 31-September 5

Archives of American Art
4 sound files (5 hrs., 28 min.) digital, wav

Transcript: 130 pages.

An interview with Frederick Weston, conducted 2016 August 31 and September 5, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Weston's home in New York, N.Y.

Weston speaks of his childhood in Detroit; early understandings of his gender; attending Ferris State University in Michigan; moving to New York in 1973; New York nightclub culture before the AIDS crisis; studying at FIT and working in the fashion industry; beginning to consider himself an artist in the late 1990s after years of collage work in street settings; being diagnosed with HIV in the mid-1990s; imbuing his art with his personal experience; his body of work in photography, installations, and poetry; his health care and regiment since being diagnosed with HIV; evolutions in his personal outlook since being diagnosed; the trajectory of his sex life from adolescence; moving into his current apartment in Chelsea; and reflections on America's racial situation. Weston also recalls Claude Payne, Apollonia, Billy Blair, Stephanie Crawford, Franz Renard Smith, Dr. Joseph Sonnabend, Bruce Benderson, and others.

Oral history interview with Minor White, 1973 March 30-May 18

Archives of American Art
1 sound tape reel ; 5 in.

Transcript: 66 pages.

An interview of Minor White conducted 1973 March 30-May 18, by Robert Brown, for the Archives of American Art.

Oral history interview with Ian McKibbin White, 1980 November 24-1981 January 9

Archives of American Art
Transcript: 126 pages

An interview of Ian McKibbin White conducted 1980 November 24-1981 January 9, by Thomas Carr Howe, for the Archives of American Art.

White speaks of his education; U.S. Navy service, 1952-1955; travel, his museum career including work at the Brooklyn Botanical Garden, the Brooklyn Museum, the Peary-MacMillan Arctic Museum at Bowdoin College, and the California Palace of the Legion of Honor; the merger of the California Palace of the Legion of Honor and the M.H. de Young Memorial Museum into the Fine Arts Museums of San Francisco; the funeral of Alma de Bretteville Spreckels; Thomas Carr Howe as his mentor; FAMSF's "blockbuster exhibitions"; membership organizations; development of the American collection; fiscal problems and museum staff. He recalls David Levine, Jack McGregor, Aaron Shikler and others.

Oral history interview with Ian McKibbin White, 1987 January 8-12

Archives of American Art
Transcript 79 pages

An interview of retiring director of Fine Arts Museums of San Francisco Ian McKibbin White conducted 1987 January 8-12, by Paul J. Karlstrom, for the Archives of American Art.

Mr. White discusses the merger of the California Palace of the Legion of Honor and M. H. De Young Memorial Museum and other highlights of his 24-year tenure as director of the Fine Art Museums of San Francisco.

Oral history interview with Nelli Bar Wieghardt, 1987 July 9-1989 April 29

Archives of American Art
Transcript: 105 pages

An interview of Nelli Bar Wieghardt conducted 1987 July 9-1989 April 29, by Marina Pacini, for the Archives of American Art.

Wieghardt discusses her and her husband Paul Wieghardt's art training in Germany; their move to Paris in 1931; their emigration to the United States in 1940 and their involvement with Quaker refugee programs; their move to a hostel in Cummington, Massachusetts and subsequent employment at the Cummington School in the Hills and the Berkshire Museum; their move in 1943 to Philadelphia to set up and run an art department for the Friends Neighborhood Guild; exhibitions at the Carlen Galleries and their relationship with Albert Barnes; the move in 1946 to Chicago and their teaching careers and methods at the School of the Art Institute of Chicago, Illinois Institute of Technology; the University of Chicago, and the Evanston Art Center; their exhibition history; and the Wieghardt galleries at the State Museum, Ludensheid.

Oral history interview with John Wilde, 1979

Archives of American Art
Transcript: 95 pages

Transcript: 62 pages

An interview of John Wilde conducted 1979, by Michael Danoff, for the Archives of American Art.

Oral history interview with Frans Wildenhain, 1978 April 10-1979 July 28

Archives of American Art
Transcript: 63 pages

An interview of Frans Wildenhain conducted 1978 April 10-1979 July 28, by Robert Brown for the Archives of American Art.

Oral history interview with Marguerite Wildenhain, 1982 March 14

Archives of American Art
Transcript: 63 pages

An interview of Marguerite Wildenhain conducted 1982 March 14, by Hazel Bray, for the Archives of American Art.

Wildenhain speaks of her early interest in pottery; studying at the Bauhaus; the Bauhaus philosophy; her apprenticeship as a potter under Max Krehan; studying under Gerhard Marcks; becoming the first woman master potter in Germany in 1926; fleeing the Nazis to Holland; coming to the United States; moving to California and teaching at the California College of Arts and Crafts; craftsmanship as a way of life; and her sources of inspiration.

Oral history interview with Elisabeth Wildenhain, 1995 August 22

Archives of American Art
1 sound cassette (75 min.) : analog.

An interview of Elisabeth (Lili) Wildenhain conducted 1995 August 22, by Robert F. Brown, for the Archives of American Art, in Wildenhain's home, Pittsford, N.Y.

Wildenhain talks about her childhood in a wealthy, cosmopolitan German-speaking family in Bohemia; her early interests and schooling; her work at the American Fine Arts and Monuments service; designing costumes and clothes in Kansas City following her first marriage; studying with Oskar Kokoschka; meeting Frans Wildenhain (who she subsequently married), travelling with him to Japan, and coming with him to Rochester, N.Y. where he taught at the School for American Craftsmen; and her problematic financial and health situation.

Oral history interview with Nicholas Wilder, 1988 July 18

Archives of American Art
Transcript: 104 pages

An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.

Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.

Oral history interview with Billy Wilder, 1995 February 14

Archives of American Art
Sound recording, master: 1 sound cassette (30 min.) : analog.

Transcript: 9 pages

An interview of Billy Wilder conducted 1995 February 14, by Paul Karlstrom, for the Archives of American Art.

Wilder discusses his early days in Austria, first interest in art, and his flight to the United States.

Oral history interview with William T. Wiley, 1997 October 8-November 20

Archives of American Art
Transcript: 221 pages

An interview of William T. Wiley conducted 1997 October 8-November 20, by Paul J. Karlstrom, for the Archives of American Art, in Woodacre, California.

Wiley discusses the importance of the rural setting of his Marin County studio/home and his corresponding lifestyle to his world view and its reflection in his art. He describes his itinerant youth and experience at the San Francisco Art Institute, and his teaching years at UC Davis, which had attracted a faculty that included Robert Arenson and Wayne Thiebaud. Among the graduate students was Bruce Nauman, who he discusses in length and credited with influencing some of his own ideas at the time. He also acknowledges the influence of the assemblage movement through relationships with George Herms and Bruce Conner.

The final session addressed the communal nature of the Bay Area art scene and the differences between East and West Coast art worlds. The interview ends with a discussion of Wiley's iconography and motifs frequently encountered in his works and how their changing meaning are intended to encourage thoughts on visual and verbal complexities as reflections of shifting perception and experience.

Oral history interview with Neil Williams, 2014 June 5-6

Archives of American Art
5 sound files (4 hr., 9 min.) digital, wav

Transcript: 101 pages

An interview with Neil N. Williams conducted 2014 June 5-6, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project, at William's home and studio in Auburn, California.

Oral history interview with Liliana Wilson, 2004, July 13-27

Archives of American Art
Transcript: 99 pages

An interview of Liliana Wilson conducted 2004 July 13-27, by Cary Cordova, for the Archives of American Art, in Austin, Texas.

Wilson displays a slideshow of her works and discusses Disparecidos en el Cielo; The Gatekeepers; The Immigrants; Man Running from Himself; Girl and Red Fish; Self-Portrait; Organic Barbed Wire; The Fish Tree; The Wedding; Desperate Housewife; The Lovers; The Meaning of Life; Lies; Proposition 187; Luciano; Time; Shift; El dia en que le hicieron pedazos la corona; Casi Gomez; Man and Leaf, and others. Wilson also discusses her relationship with Gloria Anzaldua; her sister's kidnapping by the Pinochet regime; experiences winning art contests at primary school; her uncommon last name; her use of Catholic imagery; her bad experience teaching; her childhood in Valparaiso, Chile; the patriarchal qualities of Chilean culture; attending architecture school and then transferring to law; her father's death and the family's resulting financial struggles; her disdain for traditional political paradigms; Santiago during the 1973 coup by Augusto Pinochet; her apartment being raided by the Army; moving to America and working as an au pair; enrolling in Austin Community College; her color choices in her paintings; moving to San Francisco; her various jobs doing commercial art; her early grant from MACLA; her anti-social nature, and how Anzaldua's nature is similar; her various residences in San Francisco; her conversion to Buddhism; moving back to Austin and her love for its community; learning to promote her own work; painting nude forms; her disdain for certain Catholic ideologies; the painters which she considers influences, such as Bosch, Kahlo, and Klee; her inability to be recognized by museums; the masculine nature of art academia; her involvement in the San Antonio arts scene; and the positive qualities of the United States. Wilson also discusses Cynthia Perez, Mia Gonzales, Jesse Treviño, Rene Yañez, Pema Chödrön, Neil Wilson, Arturo Almeida, Mary Margaret Navarro, Marjorie Agosin, and others.

Oral history interview with Anne Wilson, 2012 July 6-7

Archives of American Art
Transcript: 98 pages.

An interview of Anne Wilson conducted 2012 July 6 and 7, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Wilson's home, in Evanston, Illinois.

Oral history interview with Martha Wilson, 2017 May 17-18

Archives of American Art
8 sound files (5 hr.,4 min.) digital, wav

Transcript: 88 pages.

An interview with Martha Wilson conducted 2017 May 17-18, by Liza Zapol, for the Archives of American Art at Wilson's home, in Brooklyn, New York.

Wilson speaks of growing up in Philadelphia area on a houseboat; moving to Newtown, Pennsylvania to live with her grandparents; her Pennsylvania Quaker upbringing, philosophy and family lineage; her experiences rejecting Quakerism as a teenager; her school and camp experiences; her mother's background as an artist; the history of Native Americans in Newtown; her father's family, character, and sexual abuse; her studies in Nova Scotia and her transition from studying English Literature to her inclusion at Nova Scotia College of Art and Design (NSCAD); her early works, such as Breast Forms Permutated, and her drag pieces; the treatment of women at NSCAD and her identification as a feminist performance artist, inclusion in c. 7500 and relationship to Lucy Lippard; using her body in Conceptual Art; the influence of Erving Goffman in her understanding of performance; moving to New York; her interest and work in performance art and Artists' Books; decision to move to New York; working in publishing and learning organizational systems; the founding of Franklin Furnace; her home and real estate conflicts in Brooklyn and protesting the Atlantic Yards Barclay Center development in Brooklyn; the development of Tribeca in 1976 and collaboration with other art spaces. Spreading of the arts spaces to East Village and Chelsea in the early 1980s; the management of Franklin Furnace as an extension of her artistic career; the creation of Disband and their collaborative; the creation of her political characters: Alexander Plague, Nancy Reagan, Barbara Bush, Tipper Gore, Donald Trump; the way she approaches characters; audience reactions; the decision to go virtual with Franklin Furnace, and conflict with the board; being a member of the Guerrilla Girls; the use of humor; the process of working by concensus; the conflicts within the Guerrilla Girls about hierarchy, race, debates about mission of the Guerrilla Girls; her performance as Michelle Obama; institutional and NEA responses to Franklin Furnace in the 1970s and 1980s; the professionalization of the arts spaces; the "NEA Four" and fighting for freedom of expression; the lineage of Performance Art and the lineage of the avant-garde; her son's birth and meeting her partner; current work of Franklin Furnace at Pratt.Wilson also recalls: Simone Forti, David Askevold, Vito Acconci, Margaret Kaplan, Printed Matter, Exit Art, Diane Torr, Barbara Kruger, Jacki Apple, among others.

Oral history interview with Charis Wilson, 1982 March 24

Archives of American Art
Transcript: 30 pages

An interview of Charis Wilson conducted by Mimi Luebermann for the Archives of American Art.
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