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Oral history interview with Peter Anthony Stroud, 1978 May 25-June 1

Archives of American Art
4 sound file : digital, wav file

An interview of Peter Anthony Stroud conducted 1978 May 25-June 1, by Paul Cummings, for the Archives of American Art.

Oral history interview with Billie Ruth Sudduth, 2007 July 26-27

Archives of American Art
Sound recording: 3 sound discs (4 hr., 42 min.) : digital ; 2 5/8 in.

Transcript: 81 pages

An interview of Billie Ruth Sudduth conducted 2007 July 26-27, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Bakersville, North Carolina.

Sudduth speaks of her childhood in Alabama; her adoptive family; growing up in a creative and musical environment; an early exposure to women working with their hands; buying a Cherokee basket at age 12; childhood piano lessons and later exploring rhythm in her baskets; attending Huntingdon College; a strained relationship with her mother; meeting her biological family; attending the University of Alabama, Tuscaloosa and earning a Master's degree in social work; working as a social worker and psychologist for over 20 years; balancing a career with family; taking a basket-making class in an effort to relax and do something for herself; making baskets in spare time and teaching herself new techniques; her family's move to Las Vegas, Nevada; teaching basket-making classes to adults; developing Math in a Basket curriculum; an interest in Fibonacci and the inclusion of its ratio in her baskets; an interest in color and natural dyes; returning to North Carolina and focusing full time on basket making; receiving a North Carolina Arts Council Emerging Artists grant to photo-document her body of work; becoming interested in chaos theory and its application to her basketry; the popularity and success of Math in a Basket; teaching experiences at Penland School of Crafts, Arrowmont School of Arts and Crafts, and John Campbell Folk School; receiving a North Carolina Arts Council Visual Artist grant to study Cherokee, Choctaw, and other Native American tribes' basketry; her extensive basket collection; the honor of being named a North Carolina Living Treasure; participating in juried shows, including exhibiting at the Smithsonian Craft Show for 12 years and the Philadelphia Museum of Art Craft Show for seven years; the evolution of her workspace and studio; making the Carolina snowflake, which was exhibited at the White House; her exhibition history; an increasing respect for and recognition of baskets as art objects; the advantages university-trained artists have over self-taught artists; learning the business side of art making through trial and error; living and working in an incredible community of artists and collectors in North Carolina; a growing interest and participation in donating her baskets for fundraisers; and looking forward to spending more time with her grandchildren. Sudduth also recalls Cynthia Bringle, Carol Sedestrom Ross, Kenneth Trapp, Howard Risatti, Katie Gingrass, and others.

Oral history interview with Roy Superior, 2010 June 29-30

Archives of American Art
Transcript: 137 pages.

An interview of Roy Superior conducted 2010 June 29 and 30, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Superior's home and studio, in Williamsburg, Massachusetts.

Oral history interview with Barbara Swan, 1973 June 13-1974 June 12

Archives of American Art
Transcript: 88 pages.

An interview of Barbara Swan conducted 1973 June 13-1974 June 12, by Robert Brown, for the Archives of American Art.

Oral history interview with Frederick A. Sweet, 1976 February 13-14

Archives of American Art
Transcript: 55 pages.

An interview of Frederick A. Sweet conducted 1976 February 13-14, by Robert Brown, for the Archives of American Art, in Sargentville, Maine.

Oral history interview with Roxanne Swentzell, 2011 November 8-9

Archives of American Art
Transcript: 120 pages.

An interview of Roxanne Swentzell conducted 2011 November 8-9, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Swentzell's home and studio, in Santa Clara Pueblo, New Mexico.

Oral history interview with Toshiko Takaezu, 2003 June 16

Archives of American Art
Transcript: 33 pages.

An interview of Toshiko Takaezu conducted 2003 June 16, by Gerry Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Quakertown, N.J.

Takaezu describes growing up in Hawaii in a large family; her first work as a commercial potter; working with Claude Horan; how religion factors into her work; studying ceramics at Cranbrook Academy of Art with Maija Grotell; the role of universities and apprenticeships in the craft movement; teaching at Princeton and the Cleveland Institute of Art; visiting artists in Japan; setting up a studio in Clinton, N.J.; her teaching philosophy; the evolution of her work from functional to closed vessels; the inside of her large pots; the importance of color and glazes; her career highlights; the inspiration she finds in nature; her role in political and social activities; her relationship with galleries, including Perimeter and Charles Cowles Gallery; her exhibition history; and the changing face of the American craft movement. She also recalls Claude Horan, Maija Grotell, Otagaki Rengetsu, Kaneshige, Rosanjin, Jeff Schlanger, and others.

Oral history interview with Akio Takamori, 2009 March 20-21

Archives of American Art
8 wav files (7 hr., 51 min.) : digital

Transcript: 184 pages

An interview of Akio Takamori conducted 2009 March 20-21, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Takamori's studio, in Seattle, Washington.

Interview of Akio Takamori, conducted by Mija Reidel for the Archives of American Art, in Seattle, Washington on March 20, 2009. Takamori speaks of growing up in Nobeoka, Japan where his father ran a medical clinic in a diverse part of town; the post war structure of society and the buildings themselves; his interest in art as a young childing drawing figural scenes; class and social situations he observed as a child; his father's interest in both Japanese and Western art; an interest in Peter Bruegel that turned into a lifelong inspiration; the role of politics in his family; moving to Miyazaki, Japan as a young teenager to live with his grandparents while going to school; joining the art club in high school and his fellow club mates who introduced him to more contemporary Japanese and European art; creating Happenings in high school; his interest in county folklore and superstitions and its eventual role in his art; the interaction between Western contemporaries and Japanese traditions in his work; his interest in art history; attending Musashino Art College in Tokyo, Japan where he majored in industrial ceramics; being dissatisfied with college; his political activism while in college; experimenting with paper mache to create three dimensional objects; the mingei movement; his apprenticeship in Koishiwara, Japan where he learned the fundamentals of functional potter; meeting lifelong friends such as Christ Holmquist and mentor Ken Ferguson while in Koishiwara; moving to the United States in 1974 and attending Kansas City Art Institute under the direction of Ferguson; various projects he undertook while finishing his degree at Kansas City; receiving his MFA from Alfred University, where he experimented with the idea of what contemporary art should be; his slab pieces; his first residency at the Archie Bray foundation in Helena, Montana and his continued relationship with the Foundation; traveling between Japan and the United States while acting as a substitute professor at various universities; his relationship with Garth Clark's gallery for over 20 years; teaching full time as a professor at the University of Washington in Seattle, beginning in 1993; the importance of stressing both technique and creativity; his joy at watching the development of his students; transitions in his work brought on each decade and through constant travel; the role of globalization in his work; the narrative of the group pieces he has created in recent years; his memory as constant inspiration and more recent projects, including larger, figurative works. Takamori also recalls Victor Babu, Val Cushing, Wayne Higby, Tony Hepburn, Ted Randall, Robert Turner, William Perry, Peter Voulkos, Rudy Autio, David Shaner, Jun Kaneko, Jamie Walker, Doug Jeck, Amie McNeel, Mark Zirpel, Patti Warashina, Viola Frey, Betty Woodman, Elizabeth Brown, Josh DeWeese and others.

Oral history interview with James L. Tanner, 2011 October 7-8

Archives of American Art
Sound recording: 5 sound files (2 hr., 46 min.)

Transcript: 34 pages

An interview of James L. Tannery conducted 2011 October 7 and 8, by Mary Savig, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Tanner's home, in Janesville, Minnesota.

Oral history interview with Dorothea Tanning, 1990 July 11-November 5

Archives of American Art
Transcript: 191 pages.

An interview of Dorothea Tanning conducted 1990 July 11-November 5, by Barbara Shikler, for the Archives of American Art. Tanning discusses life in Illinois, New York, Arizona, and France. She recalls artists Max Ernst, Andre Breton, Julien Levy, George Balanchine, Yves Tanguy, and Kay Sage.

Oral history interview with Robert Taylor, 1980 March 13-1990 June 7

Archives of American Art
Transcript: 75 pages.

An interview of Robert Taylor conducted 1980 March 13-1990 June 7, by Robert Brown, for the Archives of American Art, in Marblehead, Massachusetts.

Oral history interview with Joey Terrill, 2017 December 30-31

Archives of American Art
Audio: 9 sound files (6 hr.,13 min.) digital, wav

Transcript: 92 pages.

An interview with Joey Terrill conducted 2017 December 30 and 31, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Terrill's home and studio in Los Angeles, California.

Terrill speaks of his family and upbringing in Los Angeles; early exposure to '60s politics and working-class Chicano activism; early exposure to art-making; early understanding and experience of his queerness; attending Cathedral High School and Immaculate Heart College; moving to New York in 1980; making and distributing the first batch of Maricón and Malflora T-shirts; contemporary appreciation and revitalization of his work; the genesis, production, distribution, reissue, and legacy of Homeboy Beautiful; his seroconversion in 1980; exhibiting his Chicanos Invade New York series in 1980; memories of the early AIDS crisis and ensuing activism; testing HIV-positive in 1989, and subsequent developments in his art; his relationships with Mundo Meza, Jack Vargas, Ray Navarro, Gerardo Velazquez, Alice Armendariz, Teddy Sandoval, Carlos Almaraz, and Harry Gamboa, Jr; contributing an essay to the Art AIDS America catalogue; his still life painting practice; his 2013 retrospective at ONE Archives; ideas for an new anniversary issue of Homeboy Beautiful; his current and ongoing AIDS activism with AIDS Healthcare Foundation; and his hopes for future assessments of his legacy. Terrill also recalls Carlton Dinnall, Patssi Valdez, Jim Aguilar, Gronk, Roberto Legorreta, Willie Herrón, Terry Saunders, Richard Crawford, Sister Corita Kent, Joey Arias, Steven Fregoso, Victor Durazo, Richard T. Rodriguez, David Frantz, Ondine Chavoya, Paul Polubinskas, Daniel Ramirez, Efren Valadez, Carole Caroompas, Skot Armstrong, Greg Poe, Rea Tajiri, Richard Gildart, John Henninger, Craig Brown, Chris Brownlie, Richard Starr, Paul Coleman, Steven Muñoz, Roger Horwitz, Dr. Eugene Rolgolsky, Jef Huereque, Beto Araiza, Miguel Angel Reyes, Guillermo Hernandez, Monica Palacios, Robert Gil de Montes, Eddie Dominguez, Simon Doonan, Jonathan Katz, Rob Hernandez, Dan Guerrero, Diane Gamboa, and others.

Oral history interview with Edmund Rudolph Teske, 1980 May 27-30

Archives of American Art
Transcript: 96 pages

An interview of Edmund Rudolph Teske conducted 1980 May 27-30, by Susan C. Larsen, for the Archives of American Art.

Teske speaks of his family background; his early interest in photography, acting and music; Jane Addams' Hull House; working in A. George Miller's commercial photography studio; aspiring to be a cinematographer; establishing the first photographic workshop at Taliesin North; photographing Chicago "in the spirit of Atget"; development of his technique; his subject matter; solarization and other printing processes; and his series, "Song of Dust". He recalls Aline Barnsdall, Sibyl Moholy-Nagy, Man Ray, Frank Lloyd Wright, and others.

Oral history interview with Polly Thayer, 1995 May 12-1996 February 1

Archives of American Art
Transcript: 89 pages.

An interview of Polly Thayer (Starr) conducted 1995 May 12-1996 February 1, by Robert F. Brown, for the Archives of American Art.

Thayer talks about her childhood in an upper class Boston family, thriving on drawing in charcoal from casts at the Museum of Fine Arts, Boston, under tutelage of Beatrice Van Ness; her social debut, 1921-1922; a trip in the summer of 1922 to the Orient with her mother and brother where she was caught in the Tokyo earthquake; Philip Hale's method of teaching drawing at the Museum School in Boston, 1923-1924, and, later, privately; Eugene Speicher's urging her to free herself from Hale's teaching; the difficulty of making the transition to painting; and winning of the Hallgarten Prize of National Academy of Design, 1929.

Studying with Charles W. Hawthorne in Provincetown, Massachusetts in the summer of 1923-1924, which countered the rigidity of her training at the Museum of Fine Arts, Boston School; travels in Spain and Morocco in early 1929, at the time her large painting of a nude, "Circles," won the Hallgarten Prize; the importance to her of a letter in 1929 from the critic, Royal Cortissoz, urging her to not fall into the trap of the Boston School and become formulaic in her work; her first one-person show at Doll and Richards, Boston, which resulted in 18 portrait commissions; her ease with which she did self-portraits early in her career, but not so later; and her difficulty in holding the attention of portrait sitters.

Studying with Harry Wickey at the Art Students League, who taught her by boldly re-working her drawings for "plastic" values, which Starr quickly achieved; sketching medical operations and back-stage at theatres, which gave her the dramatic subject matter she sought in the early 1930s; her portraits; getting married in 1933 and the affect on her work; and her work at the Painter's Workshop in Boston with Gardner Cox and William Littlefield. She recalls May Sarton whose portrait she painted in 1936, Charles Hopkinson, and Hans Hofmann.

The distractions from painting brought about by marriage, children, acting, an active social life and much travel; her increased involvement in social concerns through her conversion to Quakerism; the simplification of her paintings beginning in the late 1930s and her steady execution of portrait commissions, which took less time; her exhibitions in Boston and New York through the 1940s and the rarity of them after that; being a board member of the Institute of Modern Art, Boston, and its co-founder, Nathaniel Saltonstall; her approach to painting which amounts to seeking the invisible in the visual world; and the onset of glaucoma which has ended her painting career.

Oral history interview with Paul Thiry, 1983 September 15-16

Archives of American Art
Transcript: 97 pages.

An interview of Paul Thiry conducted 1983 September 15-16, by Meredith L. Clausen, for the Archives of American Art's Northwest Oral History Project at the artist's home.

Thiry speaks of his early years in Nome, San Francisco, Paris, and Seattle; the decision to become an architect; his early designs; the influence of Japanese architecture; his work in public housing architecture; current trends in architecture; regional influences; church design; shopping center design; the Beaux Arts style; and the importance of history and diversity in modern design.

Oral history interview with Richard Thomas, 1978 May 5-17

Archives of American Art
Transcript: 48 pages.

An interview of Richard Thomas conducted 1978 May 5-17, by Dennis Barrie, for the Archives of American Art.

Oral history interview with Edward B. Thomas, 1983 April 28-May 10

Archives of American Art
Transcript: 84 pages.

An interview of Edward B. Thomas conducted 1983 April 28-May 10, by John Olbrantz, at the artist's home in Seattle, Washington, for the Archives of American Art's Northwest Oral History Project. Thomas speaks of his family background and early art experiences; his education at the University of Washington; printmaking and its role in Northwest art; his role as education director at the Seattle Art Museum; the development of the museum under Richard E. Fuller; contributors to the museum; the impact of the 1962 World's Fair; the Northwest art scene; exhibitions at the museum; interaction with the Henry Gallery and other museums; and his future plans. He recalls Guy Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey.

Oral history interview with Daniel Varney Thompson, 1974 September 25-1976 November 2

Archives of American Art
Transcript: 46 pages

An interview of Daniel Varney Thompson conducted 1974 September 25-1976 November 2, by Robert F. Brown, for the Archives of American Art.

Thompson speaks of authenticating a painting by Leonardo Da Vinci; teaching at Harvard University with Edward Waldo Forbes; his 1923-1925 expedition to India and China with Langdon Warner and Fogg Art Museum personnel to study cave paintings; setting up the art history department at Yale with Everett Meeks and teaching tempera painting; his studies in Europe and work at the Courtauld Institute in London; and translating manuscripts dealing with medieval painting techniques and media. He recalls Bernard Berenson and William Mills Ivins.

Oral history interview with Jan Thompson, 1983 September 6-November 16

Archives of American Art
Transcript: 67 pages

An interview of Jan Thompson conducted 1983 September 6-1983 November 16, by Sue Ann Kendall, for the Archives of American Art's Northwest Oral History Project at the artist's home in Seattle, Washington.

Thompson speaks of her association with Morris Graves, Mark Tobey, Kenneth Callahan and others; women in Northwest art; her lack of interest in figurative painting; and abstract expressionism and pop art. She recalls John Cage.

Oral history interview with William Thon, 1992 December 15-16

Archives of American Art
Transcript: 52 pages.

An interview of William Thon conducted 1992 December 15-16, by Robert Brown for the Archives of American Art, at the artist's home at Port Clyde, Maine. Thon discusses his childhood and education; early exhibitions; service in the Navy during World War II; being represented by Midtown Galleries from 1943 on; his dealers Alan and Mary Gruskin; moving to Maine; the importance to his art of Europe and his time spent at the American Academy in Rome; his painting technique; and his watercolors.

Oral history interview with Thomas Tibbs, 1996 March 19-May 9

Archives of American Art
Sound recording: 2 sound cassettes (120 min.) : analog.

Transcript: 49 p.

An interview of Thomas Tibbs conducted 1996 March 19-May 9, by Paul Karlstrom, for the Archives of American Art, at the artist's home, in Fallbrook, California.

Tibbs discusses his family background and early interest in the arts that led him to the University of Rochester (N.Y.), where he had his first museum experience and studied music and literature before doing post-graduate work as curator of prints and of education; the museum field in the late 1940s and the professionals he knew, among them his mentor Phillip Adams of the Cincinnati Art Museum and Grace McCann Morley; the changing ideas of contemporary art, regionalism, and New York's emergence as the center in the 1950s; his experiences with the New York school artists in the 1950s and his observations of their interests and individuality, and the Louis Comfort Tiffany exhibition at the Crafts Museum in 1958, an event which he credits the Tiffiany fashion "rage" of the 1960s. Tibbs recalls artists Adolph Gottlieb, Mark Rothko, Franz Kline, Betty Parsons, Barnett Newman, Jackson Pollock, and Peggy Guggenheim, David Campbell, Earl Parten, Wharten Escherick, Margret Craver Withers, and Arlene Fisch.

Oral history interview with Edgar Tolson, 1981 July 30

Archives of American Art
Sound recording: 1 sound cassette

Transcript: 14 p.

An interview of Edgar Tolson conducted 1981July 30, by Estill Curtis Pennington, with the assistance of Larry Hackley, for the Archives of American Art.

Tolson discusses his family; living in Campton, Kentucky.; wood-carving techniques and subject matter; and selling his work.

Oral history interview with Margaret Tomkins, 1984 June 6

Archives of American Art
Transcript: 39 pages.

An interview of Margaret Tomkins conducted 1984 June 6, by Bruce Guenther, for the Archives of American Art's Northwest Oral History Project at the artist's studio in Seattle, Washington.

Tomkins speaks of her childhood in Los Angeles; her education; the art collections in the Los Angeles area; the importance of the WPA project; the founding (with her husband James Fitzgerald) of the Artists Gallery in Seattle in 1958; being a woman artist and a working mother; finishing Fitzgerald's work after his death; her current work; and the influence of abstract expressionism.

Oral history interview with Ruben Torres-Llorca, 1998 January 31

Archives of American Art
Transcript: 133 pages.

An interview of Ruben Torres-Llorca conducted 1998 January 31, by Juan A. Martínez, in Torres Llora's home/studio, Miami, Florida, for the Archives of American Art.

Torres Llora discusses his early interest in art; his father, whom he never met, who was a talented commercial artist; studying art at San Alejandro Academy of Art, Havana and fellow students Jose Bedia and Ricardo Rodriguez Brey; graduate studies at Havana's Instituto Superior del Arte; participating in the "Volumen I" exhibition in 1981; travels to Mexico, where he began sculpture and installations; returning to Cuba and curating exhibitions of younger artists; moving to Buenos Aires, Mexico City, and since 1993, Miami; artistic influences, including literature, anthropology, sociololgy, film, and other disciplines on him; his mixed media figurative objects of the 1990s which tell a narrative, are socially oriented, and at best, provide a shared experience for the viewer.
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