Skip to Content

Found 2,720 Resources

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 Sue M. Thurman, 1993 April 23-1998 March 11

Archives of American Art
5 sound cassettes analog.

Transcript: 162 pages

An interview with Sue M. Thurman conducted 1993 April 23-1998 March 11, by Robert F. Brown for the Archives of American Art over 7 sessions, in Thurman's home, Brookline, Massachusetts.

Thurman discusses her childhood in Hopkinsville, Kentucky, a major tobacco center; her father's work in retail sales; her early schooling; and the impact on her of the Methodist church, attending Bethel Women's College, and World War II.

Study of studio art and art history at the University of Kentucky; the influence of teachers Ray Barnhart, Cliff Amyx, and Ted Rannells; founding an art deptartment at Wilmington College (a small Quaker college near Cinncinatti, Ohio); marriage to artist Harold Thurman; moving to NYC in 1951 to study art history at Columbia on an American Council of Learned Societies' scholarship; study of communal tribal arts, in particular the transfer of motifs from one medium to another in the Congo, under Paul Wingert, with consultation from Meyer Schapiro, and research in several anthropological collections in NYC; teaching of design at the Barnard School for Boys in the Bronx; returning to Kentucky to direct the Junior Art Gallery at the Louisville Free Public Library and developing it into a program which stressed display of original art and borrowing items from New York dealers; going to New Orleans in 1957 to direct the Isaac Delgado Museum of Art (now the New Orleans Museum of Art) at the urging of sculptor and museum trustee George Rickey, whom Thurman had met when he installed a sculpture in the Louisville library.

The near chaotic situation she faced at the Isaac Delgado Museum of Art due to its understaffing and the involvement of various factions - politicians, socialites and artists; help from George Rickey; enhancing the museum's local presence and stature through an exhibition, "Early Masters of Modern Art" (1959); getting the building renovated and obtaining a professional curator to assist her.

Leaving New Orleans, in 1961, after sucessfully competing for the directorship of the Institute of Contemporary Art, Boston (at the urging of former director Thomas Messer); finding the ICA to be in serious financial trouble; holding a Potlatch event, in which artists contributed work for purchase, which put ICA on stable financial footing and enabled it to move into new quarters in the shopping district; Thurman's cyclical exhibition program from 1963-1967 which featured contemporary artists, regional work, topical issues relating to design, and international shows. She recalls the response to the Edward Kienholz installations in 1966, and an Andy Warhol exhibition which was marred by vandalism by his entourage and led to ICA's eviction from its leased quarters.

Thurman continues her discussion of her tenure at ICA, including exhibitions focusing on themes and various media; its no-collecting policy; display of art from New England museums and from art collected by the federal government for embassies; her belief that art should be allowed to speak for itself through careful installations and absence of intrusive labels; and exhibitions of unconventional media and of contemporary design. She describes her work undertaken for the Ford Foundation, in 1969, to study the effectiveness of its financial support of art schools.

Thurman discusses the ICA's board of trustees, mentioning Charles Withers as someone she felt was an exemplary trustee and her views to exclude art collectors as trustees. She discusses her membership on MIT's Committee for the Arts; her appointment, as a result of her Ford Foundation work, as vice-president for development at the Cranbrook Academy of Art, for a 3-year term (1970-1973), and the difficulties there of imposing changes and raising funds.

Caring for her terminally-ill mother, 1973-1975; returning to Boston and beginning a new career as a general fund raiser; directing a quilt museum in Lowell, Massachusetts; and her beliefs that what sustained her through the years was altruism, acute powers of observation, and determination.

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.

Oral history interview with Harold Tovish, 1974 February 7-1977 March 17

Archives of American Art
3 sound files : digital, wav file

Transcript: 67 pages.

Interview of Harold Tovish, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution on June 24, 1974 and March 17, 1977.

Tovish speaks of his first introduction to art and sculpture as a child; growing up in the Hebrew Orphan Asylum; meeting and marrying Marianna Pineda; getting a scholarship to study sculpture at Columbia; serving in the Army in World War II; studying and working in Paris after World War II; early exhibitions; getting a teaching job at Alfred University; his teaching style and attitude towards students; his conception of himself as an artist; his limited output. Tovish also recalls Ossip Zadkine, William Zorach, Germaine Richier, Oronzio Malderelli, George Grosz, and others.

Oral history interview with Joyce Wahl Treiman, 1981 October 3

Archives of American Art
Transcript: 29 pages.

An interview of Joyce Wahl Treiman conducted 1981 October 3, by Paul Karlstrom, for the Archives of American Art.

Treiman speaks of her education and its influence on her life and work; growing up in Chicago; moving to California in 1961; the persistence of realism in her paintings; her feelings about photorealism and traditional realism; the inadequacy of photographs as models; teaching at UCLA; and the influence upon her of Thomas Eakins and other 19th Century painters.

Oral history interview with Joseph S. Trovato, 1979 July 29

Archives of American Art
Transcript: 53 pages.

An interview of Joseph S. Trovato conducted 1979 July 29, by Robert Brown, for the Archives of American Art.

Oral history interview with Serge Trubach, 1964 December 5

Archives of American Art
Transcript: 29 pages.

An interview of Serge Trubach conducted 1964 December 5, by Mary Fuller McChesney, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Jack Tworkov, 1981 May 22

Archives of American Art
Transcript: 15 pages

An interview of Jack Tworkov conducted 1981 May 22, by Gerald Silk, for the Archives of American Art's Mark Rothko and His Times oral history project.

Tworkov speaks of his acquaintance with Mark Rothko, which grew closer just before Rothko's death, and he recounts running into him in the street the day of Rothko's death. He discusses the merit of the work of Barnett Newman and Newman's role among that group of artists. Tworkov finishes with a discussion of his own work and current trends in art.

Oral history interview with Ruth Pershing Uhler, 1965 May 11

Archives of American Art
Transcript: 11 pages

An interview of Ruth Pershing Uhler conducted 1965 May 11, by Sylvia Loomis, for the Archives of American Art.

Uhler speaks of her background and education; becoming involved with the Public Works of Art Project working on a mural project for the public library in Houston; going to work for the Museum of Fine Arts; the history of the Museum; the growth of its collection; the Index of American Design; the importance of the Museum of Fine Arts to the community.

Oral history interview with William Underhill, 2002 June 8

Archives of American Art
Transcript: 41 pages.

An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.

Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.

Oral history interview with John Vachon, 1964 April 28

Archives of American Art
Transcript: 18 pages.

An interview of John Vachon conducted 1964 April 28, by Richard Doud, for the Archives of American Art.

Vachon speaks of how he started on the Farm Security Administration project; getting started as an FSA photographer; helping to organize the photograph file; early assignments as a photographer; the influence of Walker Evans; making decisions about the subject matter of the photographs; the growth of the FSA project; the difference between being a photographer for LOOK magazine and for the FSA; his philosophy of photography; and his most memorable experiences with the FSA. He recalls Roy Stryker.

Oral history interview with Patssi Valdez, 1999 May 26-June 2

Archives of American Art
Transcript: 80 pages

An interview of Patssi Valdez conducted 1999 May 26-June 2, by Jeffrey Rangel, for the Archives of American Art.

The interviews were conducted at the artist's home/studio in Los Angeles, California. Valdez discusses her current show at the Laguna Art Museum, "A Precarious Comfort," and the intensely personal nature of the work being exhibited; the liberating aspects of painting and her journey from dealing with the problems and concerns of the Chicano community to a more internal focus in which she examines her personal emotional life through symbol and imagination; how, in her work, landscape has come to represent emotions and states of mind; health problems and her turning to alternative methods of healing; her relationship with Asco and her eventual break from the group to pursue her art studies at Otis Art Institute in Los Angeles (now Otis College of Art and Design) and in New York, and with a NEA grant to Europe and Mexico; difficulties she experienced with her decision to focus on art school and on her survival as an artist, while trying to keep in touch with friends and peers; friendships with Amalia Mesa Bains, Christina Fernandez, and Gronk, as well as with Sister Karen Boccalero whose Self-Help Graphics contributed so much to the growth of a younger generation of Chicano artists; fellow Asco artist Harry Gamboa, Jr., and their mutual goals in their art to subvert Chicano stereotypes; what constitutes Chicano art and how the Les Demon des Anges show changed her perspective; and her ability to create change through her art.

Oral history interview with Marguerite Van Cook, 2016 September 19-21

Archives of American Art
5 sound files (5 hrs., 55 min.) digital, wav

Transcript: 87 pages.

An interview with Marguerite Van Cook, conducted 2016 September 19 and 21, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at the Visual AIDS office in New York, New York.

Interview with Marguerite Van Cook, conducted by Alex Fialho for the Archives of American Art, at the Visual AIDS office in New York, New York on September 19 and 21, 2016. Van Cook speaks of her childhood in Portsmouth, England and summers in France; early exposure to the arts; early sexual experiences; moving to Newcastle and forming the punk band The Innocents; moving to New York with the band; curating shows and installations and starting Ground Zero Gallery with her husband James Romberger; the devastation of the AIDS crisis on her East Village social milieu; advocating for HIV-positive homeless people; her body of visual and audiovisual artwork; raising her child during the AIDS crisis; being diagnosed, along with with Romberger, with meningitis and HIV in the mid-1990s; her current work as a doctoral candidate in French literature; her body of work as a writer; her experience of long-term HIV survivorship; and her reflections on living with HIV as a woman. Van Cook also recalls Edward Brennan, Martin Botha, Sarah Hall, Jamie Reid, Russ Meyer, Fiona Barry, Greg Van Cook, Martin Wong, Karen Finley, David Wojnarowicz, Michael Von Ofak, Luis Frangella, Keiko Bonk, Walter Robinson, Grace Borgenicht, Leonard Abrams, and others.

Oral history interview with Paul Vanderbilt, 1964 November 10

Archives of American Art
Transcript 27 pages.

An interview of Paul Vanderbilt conducted 1964 November 10, by Richard Doud, for the Archives of American Art.

Vanderbilt speaks of his background and education in art history at Harvard, his work with books and in libraries before getting involved with the Farm Security Administration project; starting with the FSA and developing a plan to get its work organized; the goals and philosophies of the FSA, and the realities of its accomplishments; what the photographs produced by the project say about America; and the project's relevance to current times. He recalls Edwin Rosskam and Roy Stryker.

Oral history interview with Kathy Vargas, 1997 November 7-25

Archives of American Art
Transcript: 70 pages

An interview of Kathy Vargas conducted 1997 November 7-25, by Jacinto Quirarte, in San Antonio, Texas, for the Archives of American Art.

Oral history interview with Dorothy Varian, 1980 December 6-7

Archives of American Art
Transcript: 66 pages.

An interview of Dorothy Varian conducted 1980 December 6-7, by Avis Berman, for the Archives of American Art.

Oral history interview with Regina Vater, 2004 February 23-25

Archives of American Art
Transcript: 67 pages

An interview of Regina Vater conducted 2004 February 23-25, by Cary Cordova, for the Archives of American Art, in her home in Austin, Texas.

Vater speaks of her childhood in Copacabana, Ipanema, south of Rio de Janeiro; her father's career as a physician; her Basque, Portuguese, and Jewish heritage; her early education including early experiences with Greek philosophy; her parents' reaction to her desire to be an artist; her great-grandfather's translation of Virgil and Homer into Portuguese; her study abroad in France in 1972; her move to New York in the mid-1970s; her motivations for various works of art, including the series Gentle Solitude, Three Chinese Monkeys, Luxo Lixo, Electronic Nature, The Knots, Tina America, and "O Que e Arte?"; her Guggenheim fellowship in 1981; the 1976 Whitney Biennial; her marriage to video installation artist Bill Lundberg; her move to Austin, Tex.; her work with the Franklin Furnace Gallery and Flue magazine; her involvement with "cinema verité"; making films with Ruth Escobar; her travels in Buenos Aires, Argentina, Lima, Peru, Bolivia, and Colombia; her perception of the emotional differences between Latinos and Americans; her love of Brazilian culture; her own classification of her work and potential reasons for the lack of scholarship on her work; her activities as a curator including the 1984 show "Latin American Visual Thinking," at the Art Awareness Gallery in New York, N.Y.; difficulties with the Brazilian government in attempting to bring her film Green into that country; her love of poetry, especially concrete poetry; and the spirituality of her work. Vater also recalls Helio Oiticica, Lygia Clark, Frank Schaeffer, Antonio Diaz, Carlos Vergara, Rubens Gerschman, Mario Schemberg, Lucy Lippard, Augustos de Campos, John Cage, Joseph Beuys, Quentin Fiore, Tomasso Trinino, Bill Lundberg [the artist's husband], Leo Castelli, Dore Ashton, Nam June Paik, Charlotte Moorman, Sophie Calle, Nelson Pereira dos Santos, Ruth Escobar, Antonio Pitanga, Bobby Wilson, Sylvia Orozco, Bill Viola, Ana Mendieta, Martha Wilson, Catalina Parra, Liliana Porter, and others.

Oral history interview with Esteban Vicente, 1982 November 27-December 4

Archives of American Art
Transcript: 79 pages

An interview of Esteban Vicente conducted 1982 November 27-1982 December 4, by Elizabeth Frank, for the Archives of American Art.

Oral history interview with Carroll F. Wales, 1992 November 10-1993 February 11

Archives of American Art
Sound recording: 9 sound cassettes

An interview of Carroll F. Wales conducted 1992 November 10-1993 February 11, by Robert F. Brown, for the Archives of American Art.

Wales discusses his childhood as an orphan in Maine; work as a designer for Cheney silk works, Manchester, Connecticut; World War II service in North Africa and Europe; education at Harvard in fine arts under Chandler Post, Frederick Deknatel, and John Coolidge; art conservation training under Morton Bradley, Frank Gettens, and Richard Buck; fellow students Evan Turner, Elizabeth Jones, John Maxon, and Dore Ashton; first jobs restoring Roman mosaic at Worcester Art Museum, Italian paintings in the Jarvis Collection at Yale, and early 19th century murals at Wesleyan University; extended work (1952-1959) through the Byzantine Institute on Byzantine frescoes in Istanbul, George Stout's work on particularly difficult projects, and the division of preparatory work among Greek Christians (figural paintings) and Turkish Moslems (decorative areas); and friendship with British archaeologist Max Mallowan and his wife, author Agatha Christie, while conserving ivories during excavations at Nimrud, Iraq.
2593-2616 of 2,720 Resources