Skip to Content

Found 2,730 Resources

Oral history interview with William McBride, 1988 Oct. 30-31

Archives of American Art
Transcript 149 p.

An interview of William McBride conducted 1988 Oct. 30-31, by Carol Adams, for the Archives of American Art African-American artists in Chicago oral history project (1988-1989).

McBride speaks of his early interest in art, the importance of George Neal to the education of young Chicago artists, and the camaraderie among black artists in Chicago in the 1930s. He discusses working for the WPA Federal Art Project and saving WPA works from destruction. Carter reminisces about the formation of the South Side Community Art Center as a place where black artists could exhibit, the black Renaissance in Chicago in the 1930s, and post-WPA survival. He recalls working for Goldblatt's department store, the impact of the civil rights movement on black art, and the influence of African art.

Oral history interview with Glen Michaels, 1981 July 1

Archives of American Art
Transcript: 44 p.

An interview of Glen Michaels conducted 1981 July 1, by Mary Chris Rospond, for the Archives of American Art.

Michaels speaks of his childhood and family background in Washington state; his early training in music; becoming a cartoonist and illustrator; his teaching career; studying at Cranbrook Academy under Zoltan Sepeshy; Maija Grotell's influence; his artistic development from painting to assemblage to mosaic sculpture; the influence of Japanese art and culture; problems in the relationship between art and architecture; his important commissions; materials he uses.

Oral history interview with Johsel Namkung, 1989 Oct. 5-1991 Feb. 25

Archives of American Art
Transcript: 74 p.

An interview of Johsel Namkung conducted 1989 Oct. 5-1991 Feb. 25, by Alan Chong Lau (1989) and David Takami (1991), in Seattle, Wash., for the Archives of American Art Northwest Asian American Project. Namkung discusses his family background and the effect of living under Japanese occupation in Korea; U.S. immigration in the late 1940's; studies in music; his determination to become a photographer, early color photography, his philosophy as a photographer; and the Asian American community in Seattle. Namkung recalls Paul Horiuchi, Mark Tobey, George Tsutakawa and Chao-Chen Yang.

Oral history interview with Sylvia Orozco, 2004 Jan. 26-Feb. 2

Archives of American Art
Transcript: 76 p.

An interview of Sylvia Orozco conducted 2004 Jan. 26-Feb. 2, by Cary Cordova, for the Archives of American Art, in Mexic-Arte Gallery, Austin, Tex.

Orozco speaks of her family history, having the best drawing in second grade, the earliest recollection of being an artist; Camp Fire Girls; painting for high school pep squad and protest signs; growing up in Cuero, Tex.; integration in high school; Texas A and I; the Raza Unida movement; University of Texas; the Conferencia del Plastica Chicana, held September 13-16, 1979 in Austin, Tex.; MECha, the Movimiento Estudiantil Chicano de Aztlan; the effect of her work as a curator on her ability to do her own artwork; CONACYT, National Council of Arts and Technology; her passion for Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros; meeting Pio Pulido; LUChA, the League of United Chicano Artists; organizing an exhibition on Manuel Alvarez Bravo at the Texas Memorial Museum; the beginnings of Mexic-Arte Gallery; the group Women and Their Work; the installation "Counter Colon-ialismo"; alternative spaces and museums; and future plans for Mexic-Arte Gallery. Orozco also recalls Santa Barraza, Kelly Fearing, Mike Frary, Sam Coronado, Barbina Modesta Treviño, Nora Gonzalez-Dodson, Linda Pace, Rita Starpattern, Gilbert Cardenas, and others.

Oral history interview with Jack Perlmutter, 1979 Aug. 20-Sept. 11

Archives of American Art
Transcript 51 p.

An interview of Jack Perlmutter conducted 1979 Aug. 20-Sept. 11, by Julia Link Haifley, for the Archives of American Art.

Perlmutter speaks of his impressions of the art scene in Washington, D.C. during the 1950s and 1960s; the influence of urban life on his work; alternative ways of selling artworks; and his teaching activities at the Corcoran School of Art and elsewhere.

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 Robert O. Preusser, 1991 January-October

Archives of American Art
Transcipt: 106 pages

An interview of Robert O. Preusser conducted 1991 January-October, by Robert F. Brown, for the Archives of American Art.

Preusser discusses the establishment of an art department at the Massachusetts Institute of Technology and his involvement with it first as a visiting lecturer and then as a professor of visual design. He speaks often of Gyorgy Kepes, whom he had known at the Institute of Design, Chicago, in the early 1940s, and who recruited him to M.I.T; he also discusses other faculty members, like Minor White, professor of photography. He gives attention to his courses at M.I.T., 1954-1985; early computer design projects by students; his writings on the importance of visual arts to technology; and his supervision of educational programs at M.I.T.'s Center for Advanced Visual Studies, 1974-85. An extensive part of the interview is held in an exhibition of Preusser's work at the M.I.T. Museum (April 4, 1991), discussing in particular his incorporation of various plastic and metallic materials in his works from the 1960s and 1970s. He speaks as well of the importance of his inclusion in group exhibitions at the Downtown Gallery, New York, ("Newcomers," 1951, and "Recent Arrivals, 1952) and the Institute of Contemporary Art, Boston ("Collectors Exhibition," 1954), and of his exhibitions at the Boris Mirski Gallery and the Joan Peterson Gallery, Boston, during the 1950s and 1960s, and at various galleries in Houston during the 1980s. Other topics of discussion are his early art instruction in his native Houston, Texas, by the painter Ola McNeill Davidson, 1930-39; further training in painting and design at the Institute of Design, Chicago, 1930-39, 1941-42; Newcomb School of Art at Tulane University, 1940-41; service with a camouflage unit in the U.S. Army, 1942-45; classes at the Art Center School, Los Angeles, 1946-47; his teaching at the School of the Museum of Fine Arts, Houston, 1947-54, and at the University of Houston, 1951-54, and his role as co-director of the Houston Contemporary Arts Association, 1948-50.

Oral history interview with John Prip, 1980 Oct. 20 and 1981 Nov. 21

Archives of American Art
Audio excerpt: 1 sound file (4 min.) : digital

Transcript: 81 p.

An interview of John Prip conducted 1980 Oct. 20 and 1981 Nov. 21, by Robert Brown, for the Archives of American Art.

Prip speaks of his training in Denmark, teaching at the School of American Craftsmen and at the Rhode Island School of Design, and designing for industry.

Oral history interview with Emily Rauh Pulitzer, 1985 Aug. 9

Archives of American Art
Transcript: 18 p.

An interview of Emily Rauh Pulitzer conducted 1985 Aug. 9, by Sue Ann Kendall, for the Archives of American Art.

Oral history interview with Al Qöyawayma, 2010 March 30-31

Archives of American Art
Transcript: 153 pages.

An interview of Al Qöyawayma conducted 2010 March 30 and 31, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Qöyawayma's home and studio, in Prescott, Arizona.

Qoyawayma speaks of his heritage as a Hopi; the influences on his education in science and art; the growth and development of his pottery through his heritage; work through AISES and Smithsonian; concepts behind his artwork; trips that have influenced his work and the development of it; stories of his ancestors that have helped develop his artwork; the value of materials used in the creation of clay; and details about the craft of Native American pottery. Qoyawayma also recalls AISES, University of Arizona, Emery Sekaquaptewa, West Point, Maori, Lee Cohen, Colombus, Fewkes, Smithsonian, Coyote Clan, Tewa, Hopi-Tewa, Uto-Aztecan, Mesa Verde series, yellowware ceramics, American Journal of Archaeology, Ron Bishop, Disney, Lockheed, Old Oraibi, Sherman Institute, San Fernando Valley, Woodland Hills, Sherman Oaks, Van Nuys, Navajo, Herant Engineering, Pete Solokian, Cannon Electric, Rocketdyne, CAD/CAM, San Luis Obispo, Robert Redford, Don Drysdale, Dodgers, Litton Industries, Guidance and Control Division, Apple, IBM, Fortran, Star Trek, Sandra Day O'Conner, Heard Museum, Institute of American Art, Ernest Hemmingway, Roosevelts, Sikyatki, Natural History Museum, National Museum of the American Indian, Secretary Ickes, Mohawk, Norbert, University of Wisconsin at Green Bay, A.T. Anderson, Ely S. Parker, Ely S. Parker Award, Jody Folwell, Inca, Quechua, Valdivia, Ecuador, Betty Meggers, Laguna clay, Chaco Canyon, Toltec, Aztec, Mayan, Nahauatl, Birkland currents, Mixtec Sheild, Los Alamos, Dr. Tony Peratt, Nazca plain, Maxwell's Equations, Te Waka toi, Baye Riddell, Manos Nathan, Blue Corn, Salt River Indian Community, Teotihuacan, Uxmal, Chchen Itza, Coba, George Stuart, National Geographic, Copan, Bill Fash, Herb Kané, Union Carbide, Andy Anderson, Henry Moore, Allan Houser, Charles Loloma, Institute of American Art in Santa Fe, Lloyd Kiva New, Leonardo da Vinci, American Bureau of Ethnology, Peter Lee, Jerry Jacka, Arizona Highways, Chicago Institute of Art, and others.

Oral history interview with Bernard J. Reis, 1976 June 3-1976 June 10

Archives of American Art
Transcript: 64 p.

An interview of Bernard Reis conducted 1976 June 3-1976 June 10, by Paul Cummings, for the Archives of American Art.

Reis speaks of his family background and education; the development of his art collection; and his friendship with various artists, including Jacques Lipchitz, George Grosz and Mark Rothko. He also recalls Peggy Guggenheim.

Oral history interview with Roland Reiss, 1997 Aug.-1999 June

Archives of American Art
Transcript: 76 p.

An interview of Roland Reiss conducted 1997 Aug. 23-1999 June 11, by Paul Karlstrom, for the Archives of American Art, in Reiss' studio, Los Angeles, Calif.

A fairly lengthy discussion of UCLA included an account of studying with Jan Stussy, a Stanton Macdonald-Wright disciple, and with Macdonald-Wright himself, who took a special interest in Reiss. He also singled out as a major influence Clinton Adams who, with Macdonald-Wright, served as a model of the intellectual artist who embodied rigorous thinking and a search for meaning through critique of language. Additional topics were the difference between the San Francisco and Los Angeles art worlds, the impact of abstract expressionism and of his own paper on the subject delivered to the UCLA faculty, which Reiss remembers as the introduction of abstract expressionism at the university. After a discussion of his teaching experience in Colorado and pioneering work with plastics, Reiss recalled his interaction there with leading artists including Joan Brown, Nancy Graves, David Hockney, Clyfford Still (with whom Reiss had daily conversations), and William T. Wiley. The third session focused on his long teaching career at Claremont and an in-depth discussion of various art programs in the country and the philosophies involved. In effect, this concluding part of the interview was a history of art education and the training of artists in California presented by someone whose entire career has been connected to educational institutions.

Oral history interview with Merry Renk, 2001 January 18-19

Archives of American Art
Transcript: 49 pages.

Audio excerpt: 1 sound file (4 min. 15 sec.) : digital

An interview of Merry Renk conducted 2001 January 18-19, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Renk's home and studio, San Francisco, California.

Renk speaks of her family background; growing up during the Depression; her father's creativity and encouragement; early inspiration from "the structure of nature"; attending the School of Industrial Arts in Trenton, N.J., and later the Institute of Design in Chicago; student life at the Institute of Design; establishing a studio and gallery, 750 Studio, at 750 North Dearborn, in Chicago, in 1947, with two other students, Mary Jo Slick [Godfrey] and Olive [Bunny] Oliver; managing 750 Studio and organizing exhibitions of Harry Callahan, Henry Miller, Lazlo Maholy-Nagy, Warren and Ethel MacKenzie, Doris Hall, and others; working with enamels; early "primitive" spirals; decision to be a jeweler; the importance of the "wearability" of jewelry; moving to San Francisco in 1948; living in Paris, 1950-1951; relationship with Shinkichi Tajiri; visiting Constantin Brancusi; traveling with Lenore Tawney through Spain and Morocco; settling in San Francisco; friendship with sculptor and neighbor Ruth Asawa; learning about Josef Albers from Asawa, resulting in experiments with folded metal; meeting her second husband, potter Earle Curtis on Halloween 1954; purchasing and remodeling their home; teaching part-time at the University of California, Berkeley and in workshops; her children, Baunnie and Sandra; managing motherhood and jewelry making in a two-artist household; drawing as a form of inventory; the influence of Lee Nordness; learning the plique-à-jour technique of enameling through trial and error; early influence of Doris Hall's work; working with wire; use of natural forms and interlocking forms; the process of making Wedding Crown (1968) for the exhibition Objects USA; making wedding crowns for her daughters; her shift from non-objective art to portraiture and symbolic imagery in the early 1970s; making large-scale sculpture in 1974, then "drifting back" to jewelry; importance of working independently; her "memory paintings" in the 1980s; evolution of her name from Mary Ruth Gibbs to Merry Renk Curtis (married Stanley Renk in 1941); her involvement with local guilds such as the Metal Arts Guild of San Francisco and national organizations such as the American Craft Council (ACC); lack of critical writing about her work; the value of exhibitions; various pieces in museum collections; early ACC conferences; her long friendship with photographer Imogen Cunningham; posing for Cunningham; becoming an ACC fellow; her jewelry tools; the process of painting compared to jewelry making. She also mentions Kenneth Bates, Trude Guermonprez, Irena Brynner, the Mobilia Gallery in Cambridge, Massachusetts, and her mentor Margaret de Patta.

Oral history interview with Milton Resnick, 1988 July 13-Oct. 11

Archives of American Art
Transcript: 172 p.

An interview of Milton Resnick conducted 1988 July 13-Oct. 11, by Cynthia Nadelman, for the Archives of American Art. Resnick speaks of his life in Russia, New York, and Paris, his views on light and dark in painting; the development of his two paintings, NIGHT and DAY; his watercolors; his distrust of ideas; the influence of Soutine and Monet on him. He recalls Willem and Elaine de Kooning, the Club, Harold Rosenberg, Thomas B. Hess, Pat Passlof, Hans Hofmann, Lionel Abel, and others.

Oral history interview with Rachel Rosenthal, 1989 September 2-3

Archives of American Art
Transcript: 120 pages.

An interview of Rachel Rosenthal conducted 1989 September 2-3, by Moira Roth, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, in Los Angeles, Calif. Rosenthal recounts growing up in Paris; her family; their flight from Paris in 1940; living in Brazil; moving to New York in 1941; her choice to go into theatre; involvement with Robert Rauschenberg, John Cage, Merce Cunningham, and Jasper Johns; dancing with Cunninham's Jr. Co.; early work in sculpture; moving to Los Angeles in 1955; working at the Pasadena Playhouse; the start of the Circle Workshop; King Moody and Instant Theatre; return to visual art in 1971; the 1972 Cal Arts conference on women artists; involvement with Womanspace and the feminist movement; interest in performance and its conceptual aspects; performance pieces; workshops; the founding of DBD; and her most recent performance and tours. She recalls Josine Ianco-Starrels, Barbara Smith, Betye Saar, June Wayne, Judy Chicago, and Mimi Jacobs. Also included is a 2 p. addendum prepared by Rosenthal, 1993, which briefly summarizes events in her life since the interview.

Oral history interview with Michele Russo, 1983 August 29

Archives of American Art
Transcript: 49 pages.

An interview of Michele Russo conducted 1983 August 29, by Jane Van Cleve, at the artist's studio in Portland, Or., for the Archives of American Art's Northwest Oral History Project. Russo speaks of his youth and educational background; attending Yale University Art School; his participation in social activism; working on WPA projects; the development of his interest in painting; the lack of a gallery system on the West Coast; themes that recur in his work; the fire at the Fountain Gallery; the pressures on contemporary artists; and West Coast art styles.

Oral history interview with John Saccaro and Terry St. John, 1974 April 30-November 18

Archives of American Art
Transcript: 113 pages.

An interview of John Saccaro and Terry St. John conducted 1974 April 30-1974 November 18, by Paul Karlstrom, for the Archives of American Art, in San Francisco, Calif. The April interview is with Saccaro and the November interview is with both Saccaro and St. John.

Saccaro speaks of his background as an abstract expressionist; the California School of Fine Arts, 1951-1953; his experience as a student; abstract expressionism; and his work. Saccaro and St. John speak of the San Francisco art scene from the 1940s to the 1970s.

Oral history interview with Elizabeth Saltonstall, 1981 November 18

Archives of American Art
Transcript: 34 pages.

An interview of Elizabeth Saltonstall conducted 1981 November 18, by Robert F. Brown, for the Archives of American Art.

Saltonstall discusses her experiences with art as a child in Boston (mentioning Frank Weston Benson as an influence) and her subsequent art education at the Winsor School, the art school of the Museum of Fine Arts, Boston, and independent study in Paris. She remembers the various teaching styles of the Museum School faculty (Frederick A. Bosley, Henry Hunt Clark, Anson K. Cross, Philip Leslie Hale, Alexander James, and Leslie P. Thompson), especially as they contrasted with French teaching methods. She also speaks of her teachers in France and on Martha's Vineyard and Nantucket (including Frank Swift Chase), and recalls some of her co-students (including Josef Presser). Particular mention is made of a lithography workshop taught by Stow Wengenroth, and of George C. Miller, who printed her lithography stones. Her cousin, Nathaniel Saltonstall, is discussed as a patron of the arts, especially his contributions to the establishment of the Institute of Modern Art [Institute of Contemporary Art] in Boston. She touches also on her own teaching career at Winsor School and Milton Academy, and her involvement with the Boston Society of Independent Artists and the Grace Horn Gallery.

Oral history interview with Mitchell Samuels, 1959 August 11

Archives of American Art
Transcript: 2 pages.

An interview of Mitchell Samuels conducted 1959 August 11, by John D. Morse, for the Archives of American Art. Interview is introductory only and is less than three minutes in length.

Oral history interview with Tony Smith, 1978 August 22-30

Archives of American Art
Transcript: 72 pages.

An interview of Tony Smith conducted 1978 August 22-30, by Paul Cummings, for the Archives of American Art.

Oral history interview with Paul Soldner, 2003 April 27-28

Archives of American Art
Transcript: 77 pages.

An interview of Paul Soldner conducted 2003 April 27-28, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Claremont, California.

Soldner describes his "wonderful" childhood; learning early in life that critiques hinder creativity; early interest in photography, including building his own enlargers; making a pottery wheel in high school; he recalls the 1933 World's Fair in Chicago and a wheel throwing demonstration by an "Appalachian potter"; his studies at Bluffton College in Ohio; teaching art in Ohio; his art studies at University of Colorado; working with Peter Voulkos at the Los Angeles County Art Institute [now Otis College of Art and Design] and constructing a studio with Voulkos; the importance of accidents, intuition, and invention in his work; how art movements and Eastern artists have influenced him; clay's durability and expressive qualities; he discusses his teaching philosophy and grading system; for beginners, the importance of producing quantity over quality; his role as the "godfather" of Anderson Ranch in Snowmass, Colorado; how he transformed the Scripps Annual ceramics show; he describes the evolution of his work in ten-year cycles, including his tall pots, raku, and "low-salt fuming" periods; his low-tech inventions; traveling and workshops; his definition of a craftsman; his evolution from pottery to sculpture; encouraging his students to "go farther" and experiment; dealers, galleries, and collectors; his aversion to art criticism; the impact of Eastern and Western religion on art; the importance of "surprise," "playfulness," and "energy" in the work; he compares his work to music; commissions and collaborations; subconscious and environmental influences on his work; and the future direction for contemporary ceramics. Soldner also recalls Katie Horsman, Kenneth Price, Jun Kaneko, Millard Sheets, Kaneshige, Cheever Meaders, Robert Arneson, John Mason, Fred Marer, Louana Lackey, and others.

Oral history interview with Rudolf Staffel, 1987 July 17-August 6

Archives of American Art
Transcript: 90 pages.

An interview of Rudolf Staffel conducted 1987 July 17-August 6, by Helen Drutt, for the Archives of American Art.

Staffel speaks of his childhood in San Antonio, Texas; his discovery of blown glass and traveling to Mexico to learn glassblowing techniques; studying ceramics; teaching at Temple University's Tyler School of Art; his teaching philosophy; his exhibition history; Philadelphia as a crafts city; the influence of Chinese art; the development of his own work; his techniques.

Oral history interview with Raimonds Staprans, 1997 August 14-September 15

Archives of American Art
Transcript: 107 pages.

An interview of Raimonds Staprans conducted 1997 August 14-1997 September 15, by Paul Karlstrom, for the Archives of American Art. The sessions were held in Karlstrom's San Francisco office.

Staprans discusses his family background; earliest childhood memories of growing up in Latvia; his father's persecution by Germans and Russians which ultimately led to their departure from Austria in 1947; living in Salem, Or.; attending University of Washington at Seattle and his contact there with Morris Graves, Mark Tobey, George Tsutakawa, and Alexander Archipenko; graduate studies at the University of California, Berkeley; and artists he admires, including Pierre Matisse, Thomas Eakins, and Edward Hopper.

Staprans discusses at length Wayne Thiebaud and Richard Diebenkorn; and comparisons made to his work. He discusses his sensuality as a basis for his life and art; early gallery experiences; his thoughts on criticism and reviews; his relationship with Fred Maxwell of the Maxwell Galleries in San Francisco and how his loyalty to the gallery held back his career; stresses in his marriage and of raising children; the breakup of his marriage and immersion in painting and sculpture; his decorative works under the nom de plume Carl Ulmanes; developing feelings of dejection and cynicism which nearly ended his art career and recovering from those feelings; his playwriting career; and his views on both careers.

Oral history interview with Alexander Stoller, 1976 December 10

Archives of American Art
Sound recording: 2 sound files : digital, wav file

Transcript: 26 p.

Interview of Alexander Stoller, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in West Stockbridge, Massachusetts, on December 10, 1976.

Stoller speaks of first becoming interested in sculpture as a child; leaving school in order to work for Metro Pictures and J. Walter Thompson; taking night classes in art as well as classes at the Art Students League; traveling to Italy to study sculpture; exhibiting in Paris and New York; his sense of the architectural quality of sculpture; and the change in the climate of American art in the 1940s. Stoller also recalls George Bridgman, Maurice Sterne, Kimon Nicolaides, Thomas Hart Benton, John Carroll, Max Weber, Leo Lentelli, Reuben Nakian, Gaston Lachaise, Paul Manship, Charles Despiau, Curt Valentin, and others.
2665-2688 of 2,730 Resources