Skip to Content

Found 2,732 Resources

Oral history interview with Robert Pfannebecker, 1991 May 21

Archives of American Art
Transcript: 222 p.

An interview of Robert Pfannebecker conducted 1991 May 21, by Helen Drutt English, (formerly Helen Williams Drutt) for the Archives of American Art.

Pfannebecker discusses his background; the development of his interest in crafts and collecting; his associations with students and teachers at the Cranbrook Academy of Art in the 1960s; later acquisitions as a result of his association with Dale Chihuly and his students at the Rhode Island School of Design, Wayne Higby and his students at Alfred University, and Eleanor Moty at the University of Wisconsin-Madison; other artists he has worked with over the years including Patti Warashina, Fred Bauer, Helen Bitar, Warren Seelig, and Gary Knodel; and exhibitions of his collection.

Oral history interview with Fairfield Porter, 1968 June 6

Archives of American Art
Transcript: 65 p.

An interview of Fairfield Porter conducted 1968 June 6, by Paul Cummings, for the Archives of American Art.

Porter speaks of his family background and Harvard education; the Art Students League; his involvement with Marxism and his work as an art critic for "Art News" and "The Nation". He discusses his portrait commissions, his choice of subject matter, theories of realism versus abstraction and drawing versus color, and the role of the unconscious and the accidental in his art. He recalls Thomas Hart Benton, Jacques Maroger, Elaine and Willem de Kooning, Walter Auerbach, Thomas B. Hess, Clement Greenberg, and Alex Katz.

Oral history interview with V. V. Rankine, 1990 Mar. 2-22

Archives of American Art
Transcript: 34 p.

An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.

Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.

Oral history interview with James Penney, 1981 August 21-December 6

Archives of American Art
2 sound tape reels (3 hr., 9 min.)

Transcript 79 p.

Interview of James Penney, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Clinton, New York, on August 21 and December 6, 1981.

Penney speaks of growing up in Missouri and Kansas; taking art classes at the University of Kansas; moving to New York during the Depression to pursue his art career; studying at the Art Students League; meeting his first wife, Frances Avery; exhibiting his paintings in New York; visiting museums; mural painting with the WPA; working for the Jordanoff Aviation Corporation during World War II; teaching at Bennington, the Munson-Williams-Proctor Institute, and Hamilton College; and some of his paintings, including An Epidemic Next Year; Workers in the Snow, Central Park; The Bombed City, 1939; and Rock of Versailles. Penney also recalls Karl Mattern, Raymond Eastwood, Albert Bloch, Randall Brubaker, Chris Ritter, Jackson Pollock, Thomas Hart Benton, George Grosz, Moses Soyer, Stuart Davis, Burgoyne Diller, Bill Palmer, and others.

Oral history interview with Charles Rand Penney, 1981 Aug. 14-16

Archives of American Art
Transcript: 73 pages.

An interview of Charles Rand Penney conducted 1981 Aug. 14-16, by Robert F. Brown, for the Archives of American Art.

Penney speaks of his childhood in Buffalo, N.Y.; his education at Yale; his early interest in prints, especially Emil Ganso's work; his acquaintance with and patronage of Charles Burchfield; the expansion of his collection during the 1960s; the establishment of an educational foundation; and his patronage of artists in western New York.

Oral history interview with Frank S. Okada, 1990 Aug. 16-17

Archives of American Art
Transcript: 87 p.

An interview of Frank Okada conducted 1990 Aug. 16-17, in Seattle, Wash., by Barbara Johns, for the Archives of American Art Northwest Asian American Project. Okada discusses his parents' background; his family including his brothers, John, author of "No-No Boy," and Charlie, a graphic designer; traveling to Japan for the Pacific Northwest Artists and Japan exhibition; being in an internment camp; painting in Eugene, Ore. and Seattle, Wash.; his painting techniques; studying under Leon Derbyshire; his connection with the jazz scene in Seattle in the late 1940s and 1950s including musicians Sammy Davis, Ray Charles, and Quincy Jones; attending Cornish School of Art, Seattle; meeting Mark Tobey; comparision of his painting style to Tobey's; his stint in the Army; attending Cranbrook Academy of Art and studying with painter Fred Mitchell; his Whitney fellowship in New York; study of Japanese, Chinese, and Zen paintings; working for Boeings in the early 1960s; traveling to France on a Guggenheim; teaching at University of Oregon in Eugene; his minimalist work; influence of Japanese art in his painting. Okada mentions Lawson Inada (Asian American poet), Frank Chin (Asian American playwright), artists David Stone Martin, James Edward Peck, Yayoi Kusama, George Tsutakawa, Paul Horiuchi, Ben Shahn, Kenjiro Nomura, Louis Bunce, Bill Ivey, and art gallery owner Zoe Dusanne.

Oral history interview with Nathan Oliveira, 1978 Aug. 9-1981 Dec. 29

Archives of American Art
Transcript, 1978-1980 sessions: 92 p.

Transcript 1981 session: 28 p.

An interview of Nathan Oliveira conducted 1978 Aug. 9-1981 Dec. 29, by Paul Karlstrom, for the Archives of American Art.

Oliveira speaks of his family background and ancestry; his childhood; his education; the development of his interest in art; working as a bookbinder; his inspirations from the old masters; studying with Max Beckmann and Otis Oldfield; his U.S. Army service; working with Richard Diebenkorn; getting established in galleries as a printmaker; teaching printmaking; his European travels; living in Illinois and its effect on his career; moving to California; and meeting and working with Martha Jackson. He recalls Billy Al Bengston, Ivan Albright, and Willem de Kooning, and discusses de Kooning's influence on him.

Oliveira also speaks of subject matter in his paintings, and his departure from and his later return to the human figure; the relationship between artist and model; the importance and persistence of the figurative tradition in American art; artists he admires. He recalls Keith Boyle and Frank Lobdell.

Oral history interview with Ed Moses, 1980 July 10-12

Archives of American Art
Transcript: 142 p.

An interview of Ed Moses conducted 1980 July 10-12, by Sheldon Figoten, for the Archives of American Art.

Moses speaks of his family background and early education; his childhood and its impact on him and his work; his U.S. Navy service; his education at Long Beach City College and at the University of California, Los Angeles; studying under Rico Lebrun; his friendships with Billy Al Bengston and John Altoon; the Ferus Gallery; environmental projects; living in Spain; the impact of the old masters; and his exhibitions. He recalls Robert Rauschenberg, Jasper Johns, and Leo Castelli.

Oral history interview with Gerhardt Knodel, 2004 August 3

Archives of American Art
Sound recording: 7 sound files (5 hr., 23 min.) digital, wav

Transcript: 77 pages

An interview of Gerhardt Knodel conducted 2004 August 3, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Bloomfield Hills, Michigan.

Knodel speaks of his German heritage; his parents each immigrating to Los Angeles; growing up in Los Angeles and being part of the German community; his father building houses; the influence of his childhood environment on his artwork; taking art classes in school; participating in theater and set design; studying art at Los Angeles City College; collecting textiles; transferring to UCLA; teaching high school art; the influence of Abstract Expressionism on his early work; quitting teaching and studying fiber arts at University of California, Long Beach; traveling to numerous countries, and their influence on his artwork; researching and lecturing on fabric as environment; how the fiber art movement has evolved and changed; early exhibitions and the need for more venues; the fiber art community in the 1960s and 70s; the importance of University art programs; moving to Michigan and teaching at Cranbrook; the importance of scale and context in his work; making large scale pieces to fit within an architectural space; working on commission for public projects; working with the community in Pontiac, Michigan on a commissioned piece; the influence of the history of textiles; being director of the Cranbrook Academy of Art; putting figures on to textiles; the decline of the fiber art movement; and the benefits of schools such as Cranbrook. Knodel also recalls Bernard Kester, Mary Jane Leland, Laura Andreson, Anni Albers, Sheila Hicks, Neda Al-Hilali, Lenore Tawney, Claire Zeisler, Magdalena Abakanowicz, Jack Lenor Larsen, Christo, Kiki Smith, and others.

Oral history interview with Albert Landa, 1998 Feb. 26

Archives of American Art
2 sound files (1 hr., 13 min.): digital, wav

Transcript: 36 pages.

An interview with Albert Landa conducted 1998 Feb. 26, by Stephen Polcari, for the Archives of American Art.

This interview took place in AAA's New York Regional office. Interview concerns Thomas Hart Benton's murals at the New School Art Center.

Oral history interview with Louis Kaufman, 1985 Feb. 15

Archives of American Art
Sound recording: 3 cassettes : analog.

Transcript: 20 p.

An interview of Louis Kaufman conducted 1985 Feb. 15, by Ruth Howard Cloudman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Kaufman, a great friend and patron of Milton Avery, recalls introducing Mark Rothko to Avery. He describes his memories of Rothko, including a discussion of Rothko's knowledge of art history and his interest in the French avant-garde. Much of the interview concerns Milton Avery, including Kaufman's interest in his work as a collector, the group of artists surrounding Avery, and Avery's influence upon Kaufman as a musician. He also recalls visits to Louis Eilshemius. Kaufman recalls Mary Kumpt, Aaron Berkman, Sally Avery, David Burliuk, John Graham, Zborowski, Adolf Gottlieb, Louis Elishemius, and others.

Oral history interview with Raphael Soyer, 1981 May 13-June 1

Archives of American Art
Transcript: 70 pages.

An interview of Raphael Soyer conducted 1981 May 13-1981 June 1, by Milton Brown, for the Archives of American Art.

Soyer speaks of his youth in Czarist Russia; coming to the United States in 1912; his and his brothers' early interest in art; his education at the Cooper-Union School and the National Academy of Design; early exhibitions of his work; artists who influenced him; artists whose portraits he painted; his philosophies of painting; realism in painting; subject matter which interests him; and his feelings about abstract expressionism. He recalls Guy Pène du Bois, Arshile Gorky, Adolph Gottlieb, Yasuo Kuniyoshi, John Sloan and Joseph Stella.

Oral history interview with Marianne Strengell, 1982 January 8-December 16

Archives of American Art
Transcript: 86 pages.

An interview of Marianne Strengell conducted 1982 January 8-1982 December 16, by Robert F. Brown, for the Archives of American Art.

Strengell speaks of colleagues and students at the Cranbrook Academy of Art, including Eliel and Loja Saarinen, Charles Eames, Florence Knoll, and Harry Bertoia. She also speaks of her training in hand weaving in Helsinki; her interest in texture and new materials; the rejection of vogue in Scandinavia in the 1930s for folk art motifs; her close association with the Saarinen family at Cranbrook and in Finland; and her work with industry, 1940s-1970s.

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 Stuyvesant Van Veen, 1981 May 5-14

Archives of American Art
Transcript 51 pages.

An interview of Stuyvesant Van Veen conducted 1981 May 5-14, by Emily Nathan, for the Archives of American Art.

Van Veen speaks of his family background and parental influence; his early training, and studying at the Pennsylvania Academy of the Fine Arts; his army service; some of his experiences as a young artist; early exhibits of his work; his mural work; anthropological drawings he did under Franz Boas for Columbia University in the 1930s. He recalls Max Beckmann, Thomas Hart Benton, Leon Kroll, Daniel Catton Rich and Hudson Dean Walker.

Oral history interview with Dennis Adrian, 2015 October 8-9

Archives of American Art
Sound recording: 4 sound files (4 hr., 18 min.) digital, wav

Transcript: 173 pages

An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.

Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.

Oral history interview with Ruth Asawa and Albert Lanier, 2002 June 21-July 5

Archives of American Art
Transcript: 34 pages

An interview of Ruth Asawa and her husband, Albert Lanier, 2002 June 21-July 5, conducted by Mark Johnson on June 21 and Paul Karlstrom on July 5, for the Archives of American Art, in the subjects' home/studio in San Francisco, California.

Asawa and Lanier shared their memories of Black Mountain College, Josef and Anni Albers (with whom they became close friends) and Buckminster Fuller. Part of their account of those years and the early stage of their marriage dealt with issues of race.

Oral history interview with Robert Noel Blair, 1994 November 30-1995 August 27

Archives of American Art
2 sound cassettes (2 hrs.) : analog.

Transcript: 66 pages.

An interview with Robert Blair conducted 1994 November 30-1995 August 27, by Robert Brown, for the Archives of American Art.

Blair talks about his father, a Vermonter, who went to Harvard Law School and became a corporation lawyer in Buffalo, and his mother, a Rochester, New York native, who went to Cornell and taught Greek and Latin in New York State schools before marriage; being an indifferent student until he went to the Albright Art School in Buffalo, although instruction there was perfunctory; attending the School of the Museum of Fine Arts, Boston (1931-1934), recalling especially his two British drawing teachers, Guthrie and Burns, and Frederick Allen who taught sculpture, and fellow student, Carl Johnson, summers with his family in Vermont and the pleasant primitive farm life; his first teaching job -- Saturday children's classes at the Buffalo Museum of Science and his first exhibitions in Buffalo and New York City, including a show at the Morton Gallery, New York (1940) from which the Metropolitan Museum purchased a large watercolor; his love of using unusual implements to paint with; his service in World War II, in which he was assigned to design training aids and to paint war scenes.

Blair continues discussion of his service as an airborne soldier and artist in Belgium and Germany during World War II; returning from the War to direct the Arts Institute of Buffalo and his long friendship with Charles Burchfield; Philip Elliott, painter and teacher at the rival Albright Art School in Buffalo; traveling throughout the US and Mexico, painting wherever he camped; his work and proficiency in watercolor; and the value of figure studies, which he does regularly with other artists.

Oral history interview with Alexander Brook, 1977 July 7-8

Archives of American Art
Transcript: 91 pages

An interview of Alexander Brook conducted 1977 July 7-8, by Paul Cummings, for the Archives of American Art. Brook speaks of his childhood and family; his early interest in painting; studying at the Art Students League with Dmitri Romanowsky and Kenneth Hayes Miller; women at the Art Students League; his first wife, Peggy Bacon; his travels in Europe; the Penguin Club; the Whitney Studio Club; working as a "talent scout" for Juliana Reiser Force; sharing a studio with Alexander Calder and Reuben Nakian; art sales in the 1930s; women as subjects; his portraits of Katharine Hepburn; and his painting technique. He recalls William Murrell Fisher, Lloyd Goodrich, Edward Hopper, Yasuo Kuniyoshi, and others.

Oral history interview with Rudy Burckhardt, 1993 January 14

Archives of American Art
Transcript: 25 pages

An interview of Rudy Burckhardt conducted 1993 January 14, by Martica Sawin, for the Archives of American Art.

Burckhardt speaks about life in the New York art world of the 1930s and 1940s, especially of his friendship with Willem De Kooning and Edwin Denby. He talks briefly about his own films, including collaborations with Joseph Cornell and Red Grooms. He also remembers the artists Larry Rivers, Arshile Gorky, and Franz Kline.

Oral history interview with Scott Burton, 1987 May 22-September 25

Archives of American Art
Transcript: 154 pages

An interview of Scott Burton conducted 1987 May 22-September 25, by Lewis Kachur, for the Archives of American Art.

Burton speaks of his upbringing in Alabama and Washington, D.C.; working for "Art News"; and his early work, including performance pieces. He discusses furniture, public projects, Brancusi, Joseph Epstein, and Eric Gill. He recalls Morris Louis and Leon Berkowitz.

Oral history interview with Dana Chandler, 1993 March 11-May 5

Archives of American Art
Transcript: 89 pages

An interview of Dana Chandler conducted 1993 March 11-May 5, by Robert F. Brown, for the Archives of American Art.

Chandler remembers his childhood in the black community of Roxbury, Massachussets, with numerous siblings, pugnacious, hard-drinking longshoreman father, and mother who was the linchpin of the family; precocity as a reader and child artist; attendance at Saturday morning children's art classes at Museum of Fine Arts, Boston, and at Boston Educational High School where needed discipline was instilled in him by its all-white faculty; and as an assistant at school after graduation (1959-61).

Chandler talks about his awareness of budding civil rights movement; his attendance (1962-67) at Massachusetts College of Art while supporting his new, young family and working for the Jamaica Plain Area Planning Action Council which was funded by the federal Model Cities program; his first exhibitions (1967), in a liberal local church and a black businessmen's club; the exhibition (1969) "Twelve Black Artists from Boston," at the Rose Art Museum, Brandeis University; and his involvement, along with Harold Tovish and Michael Mazur, in the group, Artists Against the War.

He recalls his initiation of the exhibition, "Afro-American Artists/New York and Boston," at the Museum of Fine Arts, Boston, 1970, for which he was given no credit; his position as an unpaid cultural commentator for a black newspaper and radio station; his politically-charged paintings and prints from the late 1960s onward; his meetings with senior black artists, such as Romare Bearden, Elizabeth Catlett Mora, and Benny Andrews; and his steady espousal of confrontation.

Chandler discusses teaching at Simmons College, Boston, 1971 to present; his creation in 1974 of the African-American Master Artists-in-Residence Program (AMARP), Northeastern University, Boston, and his direction of it until 1993, when he was relieved of the position by the University.

Chandler discusses his exhibition at Northeastern University in 1976, "If the Shoe Fits, Hear It!" under the name Akin Duro, and its evidence of the respect in which he was held; the loss of much of his work in a studio fire; and his current large-scale graphic work.

Oral history interview with Chuck Close, 1987 May 14-September 30

Archives of American Art
Transcript: 212 pages

An interview of Chuck Close conducted 1987 May 14-September 30, by Judd Tully, for the Archives of American Art.

Close speaks of his childhood; his art education in the Pacific Northwest and at Yale; the art scene in SoHo in the 1960s; his work methods; his work in portraiture. He recalls Al Held, Richard Serra, Klaus Kertess, Arnold Glimcher, and his affiliations with the Bykert Gallery and the Pace Gallery.

Oral history interview with Patricia Stanley Cunningham, 1964 July 28

Archives of American Art
Transcript: 24 pages

An interview of Patricia Stanley Cunningham conducted 1964 July 28, by Mary Fuller McChesney, for the Archives of American Art.

Cunningham speaks of her training at the University of California, Berkeley; her work for the Federal Art Project as a muralist in public school buildings and on the easel painting project; how her work was supervised; artists she knew; and the effect of the Federal Art Project on her career. She recalls Bruce Ariss, Burton Boundey, Beniamino Bufano, and Amalie Waldo.
2641-2664 of 2,732 Resources