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Oral history interview with Mark Lindquist, 2009 August 12

Archives of American Art
Transcript: 63 pages.

An interview of Mark Lindquist conducted 2009 August 12, by Paul J. Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Lindquist Studios, in Quincy, Florida.

Oral history interview with Frank Lobdell, 1980 Apr. 9-May 7

Archives of American Art
Sound recording: 7 sound cassettes

Transcript: 77 p.

An interview of Frank Lobdell conducted 1980 Apr. 9-1980 May 7, by Terry St. John, for the Archives of American Art.

Lobdell speaks of his youth and family background; his early interest in art; his education; studying with Cameron Booth; his service in the U.S. Army; artist friends and influences; political influences on his work; the community of artists in San Francisco in the 1950s, including Elmer Bischoff and Clyfford Still; his "dark years"; teaching at Stanford; reviews by critics; and the avant-garde art of the 1960s. He recalls Ninfa Valvo, Douglas MacAgy, Hassel Smith, Richard Diebenkorn, Wilfred Zogbaum, Sam Francis, Jerry (Julian) Hatofsky, Claire Falkenstein, Clay Spohn, and John Hultberg.

Oral history interview with Herta Loeser, 1989 June 6-15

Archives of American Art
Transcript: 54 p.

An interview of Herta Loeser conducted 1989 June 6-15, by Robert F. Brown, for the Archives of American Art, in Cambridge, Mass. Loeser speaks of her childhood in England as a German refugee; marrying a refugee schoolmate and rearing a family in Cambridge, Mass.; making jewelry and enamels; running a volunteer agency in Boston; running the Society of Arts and Crafts, Boston, 1980-1988, and putting it on a solid footing; development of the Society during her administration, including sales, marketing, and education; the Society's current plans for a crafts museum; exhibitions held during her tenure as president of the Society.

Oral history interview with Erle Loran, 1981 June 18

Archives of American Art
Transcript: 119 p.

An interview of Erle Loran conducted 1981 June 18, by Herschel Chipp, for the Archives of American Art.

Loran speaks of his education, his studies with Cameron Booth and Hans Hofmann, life in Europe on a grant, his study of Cezanne, including his book, "Cezanne's Composition," and his return to New York. He discusses teaching at the Minneapolis School of Art, the WPA Art School, in Minneapolis, and the University of California, at Berkeley. He comments on meeting Marsden Hartley, American midwestern painters, ghost towns as subject matter for paintings, American politics in the 1930s, and surrealism in America.

Oral history interview with W. McNeil Lowry, 1981 Oct. 19-1982 Apr. 12

Archives of American Art
Partial transcript (1981) 120 p.

An interview of W. McNeil Lowry conducted 1981 Oct. 19-1982 Apr. 12, by R. W. Daum, for the Archives of American Art.

Oral history interview with Michael Lucero, 2008 February 26

Archives of American Art
Transcript: 67 pages.

An interview of Michael Lucero conducted 2008 February 26, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Hotel Empire, in New York, N.Y.

Oral history interview with Gilbert Sanchez Lujan, 1997 Nov. 7-17

Archives of American Art
Transcript: 104 p.

An interview of Gilbert Lujan conducted 1997 Nov. 7-17, by Jeffrey Rangel, for the Archives of American Art, in Los Angeles, Calif. and La Mesa, N.M.

Sanchez Lujan discusses his growing up in a rural community, East Los Angeles, and Mexico; how early experiences and changes in culture have affected his art and developed his interest in history and politics; his attraction to black culture and the relationship of art as a medium for inter-ethnic interaction where politics and human nature create divisions; his understanding of racial segregation and apartheid in California society; coming into consciousness as a Chicano; and his collaboration and the formation of Los Four with Roberto de la Rocha, Carlos Almaraz, and Frank Romero.

Oral history interview with Sam Maitin, 1991July 24

Archives of American Art
Transcript 238 p.

An interview of Samuel C. Maitin conducted 1991 July 24, by Anne Schuster Hunter, for the Archives of American Art Philadelphia Project.

Maitin discusses his Russian Jewish family background; his early life in Philadelphia; art studies at the Philadelphia Museum school of Industrial Art and the University of Pennsylvania; exhibitions of his work at the Print Club of Philadelphia; printmaking techniques, typography, advertising work and posters he designed; his Guggenheim fellowship and working with Ronald Goodman; commissions including a mural for the Children's Hospital, Philadelphia; and the Philadelphia art scene. He recalls collector Luther Brady and print curator Kneeland (Ding) McNulty.

Oral history interview with Marisol, 1968 Feb. 8

Archives of American Art
Sound recording 1 sound tape reel ; 7 in.

Transcript: 34 p.

An interview of Marisol conducted 1968 Feb. 8, by Colette Roberts, for the Archives of American Art.

In the interview Marisol speaks of her childhood spent both in Chile and France; the encouragement of her parents and teachers to draw freely; her progression from painting, to drawing, to collage and reliefs; the influence of Europeans, Matisse and Picasso, and American, Rauschenberg; her time spent in museums as a child and the subsequent exposure to DaVinci and Rembrandt; her art education, predominantly in New York at the Art Students League and briefly in Paris at the Ecole des Beaux Art; her association with the Abstract Expressionists at the Club; the contrast of her work to the dream-based Surrealists; her first show for Castelli in 1957; her shows at the '62 and '64 annual exhibitions at the Stable; her more recent exhibitions for the Carnegie and Sidney Janis Gallery of The Beach and The Party; the origins of her wood drawings as a discovery while drawing lines to be sculpted upon wood; her experience working for the Daily Telegraph and completing portraits of historical figures such as Charles DeGalle; the literary influence of Dostoeveski, and more specifically Crime and Punishment; her recent apathy for visual entertainments and diversions (like the Ballet). Both in the interview and afterwards in a supplemental biographical addition Roberts and Marisol allude to her resistence to sit for interviews. The artist feels that she doesn't "have much to say."

Oral history interview with Fletcher Martin, 1964 Nov. 19

Archives of American Art
Transcript 7 p.

An interview of Fletcher Martin conducted 1964 Nov. 19, by Joseph S. Trovato, for the Archives of American Art.

Martin speaks of his family background and self-taught art education; meeting David A. Siqueiros and painting a mural with him; becoming established as an artist and having his first exhibits; working on the Federal Art Project (FAP) as a fresco painter; working on post office murals and relief sculptures; and his overall view of the Federal Art Project.

Oral history interview with Agnes Martin, 1989 May 15

Archives of American Art
Transcript 36 p.

An interview of Agnes Martin conducted 1989 May 15, by Suzan Campbell, for the Archives of American Art.

Martin speaks of her family history and early life; her immigration from Canada to the United States; her education; moving from New Mexico to New York City; her discovery of the grid; returning to New Mexico; her writing, painting and filmmaking; her philosophy of art; inspirations; themes in her art.

Oral history interview with John Mason, 2006 August 28

Archives of American Art
Transcript: 47 pages.

An interview of John Mason conducted 2006 August 28, by Paul Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Smith's office, in New York, N.Y.

Mason speaks of his childhood in rural Nevada; early interests in photography and jazz; moving to Los Angeles to attend the Los Angeles County Art Institute, now Otis College of Art and Design; attending Chouinard Art Institute; experiences working at Vernon Kilns and with the head designer Elliot House; opening Glendale Boulevard Studio with Peter Voulkos; his association with Ferus Gallery; and teaching experiences at Pomona College, University of California at Berkeley, University of California at Irvine, and Hunter College. He also discusses the development of the Hudson River series exhibition; solo exhibitions at Los Angeles County Museum of Art, LA Louver Gallery, Pasadena Art Museum, now Norton Simon Museum of Art, and others; participation in group exhibitions such as, "Sculpture Off the Pedestal" at Grand Rapids Museum of Art; imagery found in his work including the orbit, the figure, the torque, the spear form, the vertical form, the cross or X form, symmetry and the monolith; an interest in Frank Lloyd Wright and Louis Sullivan; the architectural qualities in his work; the foresight of Buckminster Fuller; and the accelerating change in technology that has taken place over the course of his career. Mason recalls Susan Peterson, Kenneth Price, Paul Soldner, Mac McClain, Fred Marer, Millard Sheets, Edward Kienholz, Walter Hopps, James Melchert, John Coplans, Richard Ballard, Richard Koshalek, and others.

Oral history interview with Carolyn Mazloomi, 2002 September 17-30

Archives of American Art
Sound recording: 16 sound files (4 hr., 33 min.) digital, wav

Transcript: 56 pages

An interview of Carolyn Mazloomi conducted 2002 September 17 and 30, by Joanne Cubbs, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in West Chester, Ohio. Mazloomi speaks of growing up in Baton Rouge, Louisiana, with a family of self-taught artists; the positive influence of her aunt and teacher Dr. Carter; the generation of African-American quilt-makers who followed a gap in quilt-making post-slavery; she describes her previous career as an aeronautical engineer and her transition to quilt-making; how she identifies herself as a craftsperson, not an artist; her experience with Baltimore album and Appalachian quilts; learning to quilt; the Women of Color Quilter's Network and its economic and social development programs; her book, "Spirits of the Cloth"; the positive and negative aspects of travel; the false generalizations of African-American quilts in academic circles; the importance of gender, race, and ethnicity in her work; her connection to "praise songs"; she discusses functional vs. nonfunctional quilts; the market for "hand-crafted" quilts; agents and galleries; she describes her working environment; adopting the use of a sewing machine in her work; the importance of community; her technique; her accomplishment of placing African-American quilts in the Renwick Gallery; the influence of magazines, including "Raw Vision;" her aversion to commissions; expanding her use of materials and technology; her exhibitions; her role as an advocate and dealer; finding inspiration in black and white linocuts and her use of color in quilts; and making a connection with her audience. Mazloomi also recalls Marie Wilson, Cuesta Benberry, Edjohnetta Miller, Roland Freeman, Robert Cargo, Martha Connell, Penny Sisto, Minnie Adkins, Nkosi Johnson, and Lauryn Hill.

Oral history interview with Michael Mazur, 1993 Jan. 12-1995 Feb. 3

Archives of American Art
Transcript: 49 p.

An interview of Michael Mazur conducted 1993 Jan. 12-1995 Feb. 3, by Robert Brown, for the Archives of American Art.

Mazur remembers growing up as the only child in a well-to-do Jewish family in Manhattan; his demanding education at the Horace Mann School where he worked on a literary magazine with Edward Koren, the cartoonist; studying with an artist in Greenwich Village; and his early determination to be an artist. Academic challenges and social conservatism at Amherst College (B.A. 1958), where he studied printmaking and drawing with Leonard Baskin, an arrogant and limited artist, and working to his advantage with the gifted young printer, George Lockwood, in Baskin's studio. The year of self-directed study in Florence, Italy, and the lasting effect on him of the great European art tradition; his marriage to the poet, Gail Mazur; being a student at the Yale School of Art (BFA 1959, MFA 1961) and the contrast of the teaching methods of the autocratic Josef Albers and the congenial Gabor Peterdi; and his valuable experience as a volunteer assistant to Naum Gabo, who introduced him to monoprints. Teaching at the Rhode Island School of Design (1961-64) and the faculty there; and the development of his first well-known work, the "Locked Ward" series of prints, based on observation at mental hospitals. Teaching at Brandeis University (1965-75) and his involvement in Vietnam War era politics; and the various genres of his paintings and prints in the 1970s and 1980s and what he feels to be the essence of his work. The speed with which the "Branching" series of paintings and drawings was done and which was perhaps based on his observations of his vascular system as he underwent angioplasty in January 1993; the ambiguity of their space; being titled only post-facto; the equal importance of every part of a composition and the use of a very limited palette; and his affinity to artists Brice Marden and Richard Diebenkorn. Recent paintings which are a continuation of his "Branching" series, but influenced by a 13th century Chinese painting at Princeton University and which has led him to cease making preliminary studies and into greater abstraction; his illustrations in monotype for Robert Pinsky's translation of Dante's INFERNO, 1992-3 and his long interest in the INFERNO; development of the New Provincetown Print Project beginning in 1988 (a two-week workshop for artists who work on monoprints with master printer Robert Townsend and Mazur at the Fine Arts Work Center, Provincetown, Mass.); and his improvisational method of teaching at Harvard University.

Oral history interview with William McVey, 1978 Feb. 20

Archives of American Art
Transcript: 22 p.

An interview of William McVey conducted 1978 Feb. 20, by Dennis Barrie, for the Archives of American Art.

Oral history interview with James Melchert, 1991 Apr. 4-5

Archives of American Art
Transcript: 90 p.

An interview of James Melchert conducted in Oakland, Calif., 1991 Apr.4-5, by Mady Jones, for the Archives of American Art.

Melchert discusses his background; attending the University of Chicago for his MFA in painting; discovering his interest in clay; studying under Peter Voulkos at the Bray Foundation and following him to Berkeley in the Decorative Arts Dept.; artists at Berkeley at the time; teaching ceramics at the San Francisco Art Institute; the art scene in San Francisco; working for the National Endowment for the Arts; moving to Rome to work for the American Academy in Rome; and his future plans. Among the many artists and administrators he recalls are Rudy Autio, Millard Sheets, Bob Arneson, Stephen de Staebler, Jacques Schnier, Peter Selz, Bruce Connor, Bruce Nauman, Manuel Neri, Joan Brown, Susan Peterson, Fred Martin, Ron Nagle, Grace Morley, and Carlos Villa.

Oral history interview with Ray Metzker, 1991 Apr. 30

Archives of American Art
Transcript: 152 p.

An interview of Ray Metzker conducted 1991 Apr. 30, by Anne Schuster Hunter, for the Archives of American Art Philadelphia Project.

Metzker discusses his family and German heritage; childhood in Milwaukee, Wis.; early interest in photography; attending Beloit College; military service in Korea; studies at Illinois Institute of Technology; his series "My Camera and I in the Loop"; life in Chicago and traveling to Europe; moving to Philadelphia and teaching at the Philadelphia College of Art; his disenchantment with using the single image and moving into double frames; his landscapes of the 1980's; and his retrospective at the Museum of Fine Arts, Houston in 1984.

Oral history interview with Jean Milant, 2015 July 20

Archives of American Art
Sound recording: 4 sound files (3 hr., 7 min.) digital, wav

Transcript: 102 pages

An interview of Jean Milant, conducted 2015 July 20, by Hunter Drohojowska-Philp, for the Archives of American Art at Milant's home in Los Angeles, California.

Jean Milant discusses growing up in Milwaukee, Wisconsin and his French and German heritage; his introduction to art instruction in high school and further studies at the University of Wisconsin; his trips to Europe and New York City as an undergraduate art student; his time as a graduate student at the University of New Mexico, and his work at the Tamarind Institute printmaking program and his introduction to Los Angeles; his work at Tamarind with Ed Ruscha, Sam Francis, Ed Moses, and Ken Price, among others; the beginnings of Cirrus Gallery and Cirrus Editions and his search for backers for the two endeavors; his partnership with Terry Inch as a backer for Cirrus. Mr. Milant also describes the decision to move his gallery and printmaking shop to downtown Los Angeles in 1979; the support of Robert Egelston and the collector Donald Marron and other collectors who first subscribed to his print editions; his experiences in France with Minnie de Beauvau-Craon; the gallery and museum scene in Los Angeles in the early '70s and '80s; his efforts to promote Los Angeles as a vibrant center of art, including trips to Europe in the early '70s to show his artists; the creation of Ed Ruscha's prints using food; working with Bruce Nauman and John Baldessari to create prints; the creation of the Los Angeles Visual Arts group of L.A. art dealers; his involvement with the creation of the Los Angeles Institute of Contemporary Art in 1974; his work with the artist Guy de Cointet and Mr. Cointet's early performances at Cirrus Gallery; the opening of MOCA in 1984; his desire to create a think-tank institute to help create a viable future for art. Mr. Milant also recalls Garo Antreasian, Newton Harrison, June Wayne, Frank Gehry, Robert Irwin, Eugene Sturman, Matsumi Kanemitsu, Ken Tyler, Riko Mizuno, Irving Blum, Gerry Rosen, Robert Overby, David Trowbridge as well as Chris Burden, Greg Card, Karen Carson, Craig Kauffman, Marian Goodman, Alain Rivière, Charles Christopher Hill, Steven Leiber, Viva, Michel Auder, and Jonas Wood, among others.

Oral history interview with John Paul Miller, 2004 August 22-23

Archives of American Art
Transcript: 104 pages.

An interview of John Paul Miller conducted 2004 August 22-23, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Brecksville, Ohio.

Mr. Miller speaks of spending summers with his grandparents in central Pennsylvania; growing up in Cleveland, Ohio; taking art classes as a child at the Cleveland Museum of Art and in school; participating in theater and set design; attending the Cleveland School of Art and majoring in industrial design; meeting fellow student Fred Miller; working as a film editor; directing a documentary in Alaska; painting murals while in the army; exhibiting early jewelry in the "May Show;" traveling cross-country with silversmith Baron Erik Fleming; researching and experimenting with the granulation process; visiting museums in Europe; teaching at the Cleveland School of Art; being influenced by various books; choosing to work with metal; and pricing and selling his pieces. Mr. Miller also speaks of the enameling process; exhibiting in various local, national, and international shows; sharing a studio with Fred Miller; making gold granules; his work in museum collections; being inspired by Fabergé; making functional, wearable jewelry; the role of nature in his artwork; assembling his pieces; corresponding with German jeweler Elizabeth Treskow; working at Potter and Mellen; traveling throughout Europe; moving to Brecksville, Ohio, and building a home studio; participating in the American Craft Council; making films on metalsmith techniques; subscribing to craft publications; how crafts have changed since he started working; how American and international jewelry compare; his design philosophy; plans for the future; and balancing teaching with studio work. Mr. Miller also recalls Otto Ege, Kenneth Bates, Viktor Schrekengost, Harry Bertoia, Margret Craver, Alma Eikerman, Margaret De Patta, Toshiko Takaezu, Robert von Neumann, Peter Voulkos, Alexander Calder, John Marshall, William Harper, Solve Holquist, Anni Albers, and others.

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 Ed Moulthrop, 2001 April 2-3

Archives of American Art
Transcript: 39 pages.

An interview of Ed Moulthrop conducted 2001 April 2-3, by Mary Douglas, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Moulthrop's home and studio, Atlanta, Georgia.

Moulthrop speaks of his childhood in Cleveland; his introduction to woodcarving at age 8; buying his first wood lathe in 1932 at age 16; studying architecture at Western Reserve University and sculpture with Victor Schreckengost; his architecture studies in graduate school at Princeton University; the rejection of crafts or "handmade things" in the 1930s; the use of craft in architecture; the beginning of the craft movement in 1965; the government invention of polyethylene glycol which allowed wood to dry without cracking; his process of soaking wood in polyethylene glycol; teaching architecture at Georgia Tech for ten years; his work with architectural firms in Atlanta and designing an addition to the Library of Congress; selling his first pieces at The Signature Shop & Gallery, in Atlanta, in 1970; the progression of the craft movement from clay, to glass, metal, then wood; the importance of the Albert LeCoff woodturning shop in Philadelphia and conferences sponsored by Coff in the mid-1970s; his full-time pursuit of woodturning in 1975; craft exhibitions at the Mint Museum, High Museum, and American Craft Museum; his exhibitions at Arrowmont; teaching woodturning to his son Philip; his scholarship to make watercolors at Fontainbleu; and his interest in design over technique. He also talks about the work of Bob Stocksdale; the qualities of different woods; major woodturning exhibitions at DIA, the Connell Gallery in Atlanta, and of the Mason collection; the necessity of dealers; galleries including The Hand and The Spirit, Heller Gallery, Gumps, and The Signature Shop & Gallery in Atlanta; woodturning as an American craft movement; the influence of Frank Lloyd Wright, Alvar Aalto, Frank Gehry; and the Greene Brothers; the strengths and limitations of wood; commissions for museums and corporations; his preference for ellipsoids (squashed spheres) and other shapes; his search for unusual woods, such as American Chestnut, Yellowwood, American Mahogany, and Box Elder; making his own tools and lathe; developing his own polish; his involvement with the Georgia Designer-Craftsmen with Jerry Chappell, Gary Noffke, and Ginny Ruffner; and his invention of the "Saturn Bowl" (a bowl with rings).

Oral history interview with Bruce Nauman, 1980 May 27-30

Archives of American Art
Transcript: 60 p.

An interview of Bruce Nauman conducted 1980 May 27-30, by Michele D. De Angelus, for the Archives of American Art.

Nauman discusses his family, childhood interests, education and training as an artist, influences, his early work, teaching, filmmaking, video work, performances, exhibitions, dealers, his relationship with the art world, his current world, and his personal life. He recalls Santos Zingale, Stephen French, Wayne Taylor, Wayne Thiebaud, Bob Arneson, Bill Wiley, Man Ray, Frank Lobdell, and many others.

Oral history interview with Louise Nevelson, 1972 Jan. 30

Archives of American Art
Transcript: 18 p.

An interview of Louise Nevelson conducted 1972 Jan. 30, by Arnold Glimcher, for the Archives of American Art.

Nevelson speaks of her childhood aspirations to become an artist; critics and patrons; the New York art world in the 1930s through the mid-1950s; the role of women in art; preconceptions of masculine versus feminine styles; her materials and tools; her choice to create sculpture rather than paintings; the influence of American Indian and African art; city construction forms in her sculpture; and collectors and collecting.

Oral history interview with Walter Nottingham, 2002 July 14-18

Archives of American Art
Transcript: 29 pages

Sound recording: 4 sound files (1 hr., 41 min.) digital, wav

An interview of Walter Nottingham conducted 2002 July 14-18, by Carol Owen, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the studios of Idyllwild Arts, in Idyllwild, California. Nottingham speaks of his enthusiasm for basketball; being an altar boy and, as such, surrounded by beautiful fabrics at an early age; attending St. Cloud State University on the GI Bill; his teachers Jim Crane and Pauline Penning; serving as an art consultant for public schools in Jackson, Michigan; the lasting influence of an exhibition of battle flags at the Metropolitan Museum; articulating aging and decay through self-taught weaving; developing a fiber art program at University of Wisconsin, River Falls; attending Cranbrook Academy of Art and working with Glen Kaufman and Meda Johnson. He discusses specific works including his "Yahooties", that combine both his grandmother's and mother's crochet work; his trip to Mexico City on a National Endowment for the Arts grant in 1974; forming the company Off the Wall with his eldest daughter Karron and their decorative design commissions; the influence of his Catholic upbringing, oriental philosophy, and spirituality in his work; and techniques and materials. Nottingham recalls Shelly Ross, Helen Drutt, Francis Merritt, Don Miller, Lois Moran, Jack Lenor Larsen, Marianne Strengell, Mildred Constantine, Gerhardt Knodel, Lee Nordness, Ed Rossbach, and others.
2665-2688 of 2,720 Resources