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Oral history interview with Olav Hammarstrom, 1982 October 21-1983 March 10

Archives of American Art
Transcript: 146 pages Sound recording: 9 sound files (6 hr., 14 min.) digital, wav Interview of Olav Hammarstrom, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Wellfleet, Massachusetts, on October 21, 1982, December 16, 1982, and March 10, 1983.
Hammarstrom speaks of his architectural education in Helsinki; his wartime and post-war experience with pre-fabricated building and town planning; his work as assistant to Alvar Aalto on the construction of a dormitory at M.I.T.; his work as a member of Eero Saarinen's firm; his experiences as a teacher at Yale and M.I.T.; his work as a draftsman and project manager for the Architect's Collaborative in Cambridge; and private, ecclesiastical and residential design in architecture. Hammarstrom also recalls Alvar Aalto, the Saarinens, Kevin Roche, and others.

Oral history interview with Hananiah Harari, 1992 Sept. 24-Oct. 15

Archives of American Art
Sound recordings: 2 sound cassettes (3 hours)

Transcript: 76 p.

An interview of Hananiah Harari conducted 1992 Sept. 24-Oct. 15, by Gail Stavitsky, for the Archives of American Art. Harari discusses his work as he shows examples to the interviewer; mural sketches he completed for the WPA (1936-1941); his background; the N.Y. art scene in the 1930s; his political cartoons; writing a monthly column in the magazine THE NEW MASSES entitled "On Safari with Harari"; his commercial artwork; being blacklisted as a commercial artist during the McCarthy Era; how his views on Communism have changed; his early training; studying in Paris and traveling around Europe for several years in the early 1930s; his teaching career at The School of Visual Arts, N.Y. (1974-1991) and at the Art Students League. He recalls Stuart Davis and Herzl Emanuel.

Oral history interview with Lyle Ashton Harris, 2017 March 27-29

Archives of American Art
Sound recording: 6 sound files (8 hr., 6 min.) digital, wav Transcript: 95 pages An interview with Lyle Ashton Harris, conducted 2017 March 27 and 29, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Harris's studio and home in New York, New York.
Harris speaks of his childhood in the Bronx; his family's influence on his race-consciousness; living in Tanzania for two years as a child and the effects on his understanding of race and sexuality; his grandfather's extensive photographic archive; contact with the South African diaspora through his step-father; attending Wesleyan University; formative experiences in London, Amsterdam, and New York in the mid-1980s; his education and development as a photographer; attending CalArts and encountering West Coast AIDS activism; encountering systemic racism in Los Angeles; close friendships with Marlon Riggs and Essex Hemphill; exhibitions of his work in New York in the early 1990s; the production of his Ektachrome Archive and his impulse to photograph daily life; his work on the Black Community AIDS Research and Education (Black C.A.R.E.) project in Los Angeles; participating in the Whitney Museum's Independent Study Program; being diagnosed with HIV and remaining asymptomatic; attending the Dia Black Popular Culture Conference in 1992; photographing and mounting "The Good Life" in 1994 and "The Watering Hole" in 1996; issues of blackness and queerness in his photographic work; his residency at the American Academy in Rome in 2000; moving to Accra, Ghana for seven years in 2005; his pedagogy as an art professor; his thoughts on the lack of voices of color in the Visual Arts and the AIDS Epidemic Oral History Project and in the larger power structures of the art world; and his hope that his artistic legacy will be evaluated in its proper context. Harris also recalls Jackie and Robert O'Meally, Jay Seeley, Ellen O'Dench, Francesca Woodman, Jean-Michel Basquiat, Jim Collier, Robert Mapplethorpe, Allan Sekula, Hazel Carby, Isaac Julien, Catherine Lord, Millie Wilson, Todd Gray, John Grayson, Tommy Gear, Marlon Riggs, Essex Hemphill, Felix Gonzalez-Torres, Nancy Barton, Vickie Mays, Connie Butler, Greg Tate, Henry Louis Gates, Houston Baker, Nan Goldin, Jack Tilton, Simon Watson, and others.

Oral history interview with Peggie L. Hartwell, 2002 June 3 and July 10

Archives of American Art
Transcript: 80 pages. An interview of Peggie Hartwell conducted 2002 June 3-July 10, by Patricia Malarcher, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's apartment, on Central Park West, New York, N.Y.
Hartwell speaks of growing up on a farm with her extended family in Springfield, S.C.; female quiltmakers and male storytellers in her family; drawing in sand as a child; her mother's move to Brooklyn; joining her mother and father in New York; growing up in Brooklyn; her awareness of the many cultures in New York and being surrounded by art, including her mother's crocheting and her father's a cappella group; taking tap dancing lessons; experimenting with art in public school; working at various factory jobs after high school until "reconnecting" with art; studying with dancer Syvilla Fort at the Katherine Dunham School of Dance in New York; Fort encouraging her to draw on the studio walls and sew costumes; touring internationally with the theater group Harlem Rhythm USA from 1965 to 1972; her return to the U.S. and receiving a theater degree at Queens College; working at an insurance company to support her art; exhibiting her black and white, pen-and-ink drawings; the narratives and "oral histories" in her quilts; the meaning of various fabrics and colors; participating in "quilting communities" such as the Women of Color Quilters Network, Empire Quilters, and the American Quilter's Society; her lectures, workshops, and residencies; working with children;narratives inspired by childhood memories; her move back to South Carolina; themes in her quilts and "quilting styles" (improvisational, traditional, contemporary, and African American); serving on the board of the New York Chapter of the Women of Color Quilters Network; and planning the exhibition "Threads of Faith" for the New York Bible Association. She also comments on John Cage, Cuesta Benberry, Asadata Dafora, Francelise Dawkins, Carolyn Mazloomi, Edjohnetta Miller, Arthur Mitchell, Harriet Powers, Faith Ringgold, Marie Wilson, and others.

Oral history interview with Joseph A. Helman, 2010 January 4

Archives of American Art
Sound recording: 4 wav files (2 hr.,19 min.) : digital Transcript: 53 pages An interview of Joseph A. Helman conducted 2010 January 4, by James McElhinney, for the Archives of American Art, at Helman's home in New York, New York.
Helman recalls three major events from his early life--the exhibition "Masterpieces from the Berlin Museums: 1948-1949," the film "Lust for Life," and collecting--that led to his career as an art dealer; buying his first painting, which was a Jasper Johns work; meeting the art dealer Leo Castelli; opening his first gallery in St. Louis in 1969; selling his gallery to Ronald Greenberg and moving to Italy with his family; attending the Sotheby's auction of the Robert C. Scull Collection in 1973; teaming up with Irving Blum to open the Blum Helman Gallery in New York City; organizing exhibitions of established and emerging artists. Helman speaks about his relationship with Emily Rauh Pulitzer and the St. Louis Art Museum; his Happening with Allan Kaprow; the story behind Claes Oldenburgs drawing Tongue Cloud, over St. Louis, 1975; discovering the work of Ralston Crawford; introducing American art to Spain. In addition, Helman discusses the contemporary art market; collectors and the process of collecting; and the redefinition of Pop art to include British and American artists of the 1980s. Throughout the interview Helman mentions the various artists he has represented, exhibited or collected such as Richard Serra, Robert Rauschenberg, Josef Albers, Roy Lichtenstein, Ellsworth Kelly, Andy Warhol, Frank Stella, Ronald Davis, and Bryan Hunt.

Oral history interview with Wayne Higby, 2005 April 12-14

Archives of American Art
Sound recording: 9 sound files (4 hr., 55 min.) digital, wav

Transcript: 66 pages

An interview of Wayne Higby conducted 2005 April 12-14, by Mary McInnes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Alfred Station, New York. Higby speaks of growing up in Colorado Springs, Colorado; choosing to go to University of Colorado, Boulder; traveling to Europe, Asia, and Africa; being influenced by Minoan pottery; working for ceramicist Betty Woodman; deciding to become a teacher; getting a graduate degree at the University of Michigan; working at Archie Bray Foundation; teaching at the University of Nebraska and Rhode Island School of Design; having his first one person art show and exhibiting nationally; teaching at Haystack Mountain School of Crafts; the influence of landscape on his work; how the craft market has changed during his career; working with the Helen Drutt Gallery; writing about craft and the need for critical dialogue in craft publications; being inspired by Asian art; learning ceramics from Jim and Nan McKinnell, and the influence of other teachers on his career; getting hired at Alfred University; the challenges and benefits of teaching at Alfred; his colleagues at Alfred; making functional art and using the vessel form; his teaching philosophy; putting ceramics in a larger art context; his current project; his studio practice; themes in his artwork; choosing to work in porcelain; lecturing and touring in China; being interested in landscape painting; the public response to his work; and recently being awarded several honors. Higby also recalls Manuel Neri, Peter Voulkos, Paul Soldner, Fred Bauer, David Shaner, Francis Merritt, Ted Randall, Bob Turner, Val Cushing, Kenneth Ferguson, Robert Motherwell, and others.

Oral history interview with Jim Hodges, 2017 March 9-May 25

Archives of American Art
Sound recording: 16 sound files (3 hr., 44 min.) digital, wav Transcript: 87 pages Oral history interview with Jim Hodges, conducted 2017 March 9 and May 25, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Hodges' studio in Queens, New York.
Hodges speaks of his childhood in Spokane, Washington; exposure to art-making in high school and at Fort Wright College; attending Pratt Institute in 1983; his first New York gallery job in 1984; discovering his sexuality and becoming interested in queer life and history; the early years of the AIDS crisis; taking a studio with the Dannheisser Foundation; his body of work in mixed media; his gallery exhibitions in the late 1980s and early '90s; becoming sober in 1990; and the influence of the AIDS crisis on his artwork and art-making process. Hodges also recalls Karen Kaiser, Scott Smith, Marnie Fuller, Davie Nyzio, Lynn McCarty, Robert Vallenciano, Bob Morris, Linda Montano, Joseph Nechvatal, Rhys Chatham, Nancy Hoffman, Hunter Reynolds, Tony Feher, Bill Arning, Felix Gonzalez-Torres, Doug Safranek, and others.

Oral history interview with David Holzapfel, 2008 January 26-March 2

Archives of American Art
Sound recording: 4 sound files (2 hr., 36 min.) digital, wav Transcript: 33 pages An interview of David Holzapfel conducted 2008 January 26-March 2, by Josephine Shea, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Holzapfel's home and studio, Applewoods Studio and Gallery, in Marlboro, Vermont.
Holzapfel speaks of his childhood; attending high school in Rome, Italy; university experiences at Marietta College and Marlboro College; studying Italian poetry; his favorite poets including Libero de Libero and Alfredo Giuliani; time spent traveling in Italy with wife Michelle; the births of their children; going to work for Roy Sheldon at Fabulous Tables; being self-taught in woodworking; starting his own furniture making workshop with Michelle; materials he prefers to work with, including maple, beech, and oak; his hollow furniture forms; travels throughout Europe and in Africa; his experience with craft shows and galleries, including Pritam & Eames and Peter Joseph; and his creative process. Holzapfel recalls Desmond OGrady, Edmond Brelsford, Peter Joseph, Nathan Ancell, and others.

Oral history interview with Mary Lee Hu, 2009 March 18-19

Archives of American Art
Sound recording: 8 digital wav files (5 hr., 42 min.): digital Transcript: 163 pages An interview of Mary Lee Hu conducted 2009 March 18-19, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Hu's home and studio, in Seattle, Washington.
Hu speaks of growing up outside Cleveland, Ohio; her early interest in making objects; attending the Lawrence Art Center camp in Kansas at the age of 16 where she first experimented with metals; her like of working with tools in order to create something; taking metal smith classes at the Cleveland Institute of Art during high school; attending Miami University in Ohio for two years followed by two years an Cranbrook Academy of Art; working as a TA with L. Brent Kington at Southern Illinois University in Carbondale; her collaborative work in both textiles and metals while at Carbondale which lead to her first experimentation in weaving silver wire; creating a body of work for her Masters thesis in which all the pieces were woven wire; various works, their origins, when, where and why they were created, including her Neckpiece, Choker, Bracelet, Brooch and Ring series; her aesthetic interest in patterns, line and positive/negative space; a limited interest in and use of color in her work; the transition from silver to gold wire; a progressively larger interest in the history of jewelry and body adornment which eventually became a lecture at the University of Washington, where she taught for 26 years; numerous trips around the world to countries such as China, Tibet, Nepal, Afghanistan, Iran, Turkey, Australia, Papua New Guinea and Indonesia; a strong interest in ethnic and native jewelry/body adornment practices; the various purposes which jewelry can serve in society; her involvement with the Society of North American Goldsmiths and the American Craft Council; her technique based teaching practices; the role that modern technology plays in teaching, learning, and making jewelry; the lack of support and funds for metals programs in universities around the country; her library, which includes aver 2,000 books about the history of jewelry and body adornment; her collection of jewelry from around the world; her want to create beautiful and functional jewelry; the public and private aspects to jewelry and its role in museums; current projects and the importance to maintain interest of metals in younger generations. Hu also recalls Gary Turner, Hans Christensen, Otto Dingeldein, Heikki Seppä, Hero Kielman, Phil Fike, Patti Warashina, Gary Noffke, Elliott Pujol, Chonghi Choo, Daphne Farafo, Vicki Halper, Ron Ho, Miye Matsukata, Alma Eikermann, Mark Baldridge, Kurt Matzdorf, Eleanor Moty, Fred Fenster, John Marshall, James McMurray, and others.

Oral history interview with Benito Huerta, 2004 Feb. 29-Mar. 2

Archives of American Art
Sound recording, master: 5 sound discs (5 hrs., 52 min.) digitial 2 5/8 in. Transcript: 84 p. An interview of Benito Huerta conducted 2004 Feb. 29-Mar. 2, by Cary Cordova, for the Archives of American Art, in Arlington, Tex.
Huerta speaks of his early childhood; interest in art; attending graduate school at New Mexico State University; the exhibition "Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors," 1987; interest in music and planning programs while attending undergraduate school at the University of Houston; his relationship with artist Mel Chin; his exhibition at the Contemporary Arts Museum, Houston; the Lynn Goode Gallery and an exhibition entitled "Aneurism"; criticism of his artwork; living in San Francisco for two years; Galería de la Raza; painting on black velvet; the exhibition "Chulas Fronteras (Beautiful Borders)" 1986; his chalupas series; the value of curating versus making his own art; "Seen and Unseen" at Diverse Works 1983; "Cowboys, Cadillacs, and Computers" Lawndale Art and Performance Center, University of Houston, 1985; his installation pieces; maps and global images in his work; his co-founding of the art Magazine "Artlies"; public commissions; connections to North Carolina; the Serie project; and the artists he has worked with since arriving at University of Texas, Arlington. Huerta also recalls David Caton, Jane Livingston, John Beardsley, René Yañez, Carmen Lomas Garza, John Hernandez, Kathy Vargas, Victor Zamudio Taylor, Bonnie Pitman, and others.

Oral history interview with Josine Ianco-Starrels, 1989 June 15

Archives of American Art
Sound recordings: 2 sound cassettes (ca. 3 hrs.)

Transcript: 93 p.

An interview of Josine Ianco-Starrels conducted 1989 June 15, by Ruth Gurin Bowman for the Archives of American Art, Women in the Arts in Southern California Oral History Project. Ianco-Starrels recounts her youth in Bucharest, Romania; WWII and her family's fleeing to Palestine; her father Marcel Ianco's affiliation with the Dadaists in Zurich; her first marriage that brought her to New York in 1950; studying at the Art Students League; her second marriage to Herbert Kline, a documentary filmmaker; her involvement with the Lytton Center of the Visual Arts and the beginning of her curatorial career; working at California State University, Los Angeles as gallery director; her teaching career; her interest in Los Angeles artists including Jack Zajack, Lorser Feitelson, Helen Lundeberg, Felix Landau, Joyce Treiman, Betty Saar, Joan Brown, and others; curating and programs at the Municipal Art Gallery at Barnsdall Park and later at the Long Beach Museum; her views on community and access to local galleries; and her relationship with artists and the art community.

Oral history interview with Shiro Ikegawa, 2003 Jan. 8

Archives of American Art
Sound recording: 1 sound cassette (40 min.) : analog. Transcript: 13 p. An interview of Shiro Ikegawa conducted 2003 Jan. 8, by Jamisen Jenkins, for the Archives of American Art, in Keiro Nursing Home, Los Angeles, Calif.
Ikegawa discusses his decision to come to the United States. He describes his ethnicity and how it plays a part in his art and teaching, teaching at the University of California at Irvine and other instituions, his Sushi Show, printmaking as a primary medium, and his near fatal accident.

Oral history interview with Dahlov Ipcar, 1979 Nov. 13

Archives of American Art
Sound recording: 1 sound tape reel ; 5 in. Transcript: 46 p. An interview of Dahlov Ipcar conducted 1979 Nov. 13, by Robert F. Brown, for the Archives of American Art.
Mrs. Ipcar reflects on life in New York and Maine and her preference for the country life in Maine. She talks of the influence of her mother and her art. She recalls life during the Depression and the very minimal way of life she and her husband Adolph Ipcar had. She also talks about the changes in her life and becoming first an illustrator of children's books and eventually an author and illustrator of books for children and adults.

Oral history interview with Robert Irwin, 2013 February 9- May 11

Archives of American Art
17 sound files (11 hr., 2 min.) digital, wav

Transcript: 160 p.

An interview of Robert Irwin conducted 2013 February 9-May 11, by Matthew Simms, for the Archives of American Art's U.S. General Services Administration, Design for Excellence and the Arts oral history project, at Irwin's home in San Diego, California.

Oral history interview with C. Carl Jennings, 1994 Dec. 20

Archives of American Art
Transcript: 42 p. An interview of C. Carl Jennings conducted 1994 Dec. 20, by Paul Karlstrom, for the Archives of American Art.
Jennings discusses growing up in the Midwest with his blacksmith father and grandfather; moving to California and discovering his artistic talent; working for John Foster on his Temple Emanuel Commission as a welder and on various projects for the Golden Gate Int'l Exhibition (1939); studying at the California College of Arts and Crafts with Jacques Schnier and Harry Dixon; his business, El Diablo's Forge, which produced fireplace equipment, gates and lighting fixtures; building his home in Sonoma; people who have influenced him, including Sam Maloof, Harry Dixon, Dirk van Erp, Frederic and Letitia Meyer, and others; the California Blacksmith Association and the ABANA (Artist Blacksmith Association of North America); art vs. craft; and friends and colleagues Albert Paley, Hoss Haley, and Tom Joyce.

Oral history interview with Ray Johnson, 1968 Apr. 17

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

Transcript: 24 p.

An interview of Ray Johnson conducted 1968 Apr. 17, by Sevim Fesci, for the Archives of American Art.

Oral history interview with Alexandra Juhasz, 2017 December 19-21

Archives of American Art
Audio: 6 sound files (5 hr., 56 min.) digital, wav Transcript: 117 pages An interview with Alexandra Juhasz conducted 2017 December 19 and 21, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Juhasz's home in Brooklyn, New York.
Juhasz speaks of her commitment to AIDS activism; her intellectual, bohemian, culturally Jewish upbringing; developing her feminism, political consciousness and activism in high school and college; her relationship with James "Jim" Robert Lamb; moving to New York for graduate school in 1986; the beginning of her AIDS activism and video-making practice in the late '80s; reflecting on her privilege and positionality in her activist work; her commitment to making marginal work; Jim Lamb's role in Video Remains, followed by his death and enduring inspiration for her work; the striking and surprising aspects of participating in an oral history; historical and theoretical underpinnings of video-making as an activist strategy and process; making activist video with the WAVE collective; the stakes, challenges, and costs of marginalized communities fighting for self-representation; making activist video with Swarthmore college students; the artistic milieu of New Queer Cinema; producing The Watermelon Woman and recently re-releasing it; moving to Los Angeles and having a period of silence in AIDS activism; returning to AIDS activism by making Video Remains; her ongoing collaborative writing about AIDS with Theodore Kerr; and her most recent projects. Juhasz also recalls Eve Sedgwick, Joe Guimento, Jon Engebretson, Jean Carlomusto, Tom Kalin, Avram Finkelstein, Amber Hollibaugh, Maxine Wolfe, Miguel Prieto, Robert Vasquez-Pacheco, Charles Ludlam, Everett Quinton, Carolyn Lesjak, Yannick Durand, Juanita Mohammed, Sharon Penceal, Aida Matta, Glenda Hasty, Marcia Edwards, Kenrick Cato, Megan Cunningham, Cheryl Dunye, Zoe Leonard, Pato Hebert, Alisa Lebow, Sarah Schulman, Todd Haynes, Ellen Spiro, and others.

Oral history interview with Ivan C. Karp, 1969 March 12

Archives of American Art
Sound recordings: 1 sound tape reel (2 hours 30 min.) ; 7 in. Transcript: 78 p. An interview of Ivan C. Karp conducted 1969 March 12, by Paul Cummings, for the Archives of American Art at the Leo Castelli Gallery.
Karp discusses the invention of the names "OK Harris" and "Green Gallery"; his work for Leo Castelli including gallery exhibitions, expenses, collectors, critics and staff; the work of Richard Artschwager, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, Cy Twombly, Gerry Vanderweil, Andy Warhol, and others; The Club; "soft art"; and the art market. He recalls Richard Bellamy, Ileana Sonnabend, Robert C. Scull, and others. Karp speaks of growing up in the boroughs of New York City, his reading and writing interests, commercial film making, his work for the Hansa Gallery and Martha Jackson, summers in Provincetown, Massachusetts, and the art scene in New York City in the late 1950s.

Oral history interview with Glen Kaufman, 2008 January 22-February 23

Archives of American Art
Sound recording: 12 sound files (5 hr., 29 min.) Transcript: 86 pages Oral history interview with Glen Kaufman conducted 2008 January 22 and February 23 by Josephine Shea, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America at Kaufman's home in Athens, Georgia.
Kaufman speaks of his childhood in Chicago; earning his B.A. in education in Wisconsin and meeting his wife; joining the ROTC and moving to Ohio; attending Cranbrook Academy of Art; living and studying in Denmark; traveling through Western Europe; working at the Liebes Studio in New York; teaching at Cranbrook for about 40 years; working in Japan; using metal leaf and wax in his art; moving from large to miniature textiles; his glove exhibition; visiting India; gallery exhibitions in Japan; the difference between university-trained artists and artisans; the impact of travel and international influences on his work; the art community in Kyoto; using Japanese dancers in his exhibitions; incorporating traditional Korean and Japanese materials and techniques into his work. Kaufman also recalls Charlene Page, Bill Thompson, Maija Grotell, Marianne Strengell, Dorothy Liebes, Jack Lenor Larsen, Meda Parker Johnston, Earl McCutchen, Ed Lambert, Mildred Constantine, Louise Allrich, Ed Rossbach, Camille Cook, and others.

Oral history interview with William Keyser, Jr., 2003 April 25-May 2

Archives of American Art
Transcript: 107 pages. An interview of William Kesyer Jr. conducted 2003 April 25 and May 2, by Edward S. Cooke Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Victor, N.Y.
Keyser describes his childhood, including his early interest in construction through his father's home wood shop and the Soap Box Derbies of the 1950s; his participation in the Fisher Body Division automobile design competition and science fairs in high school; studying engineering and sculpture at Carnegie Mellon University; working at Hoover Vacuum Cleaner Company; his studies at Kent State University and the School of American Craftsmen at Rochester Institute of Technology (RIT); his teaching positions at RIT and Ohio University; the curriculum he established at RIT and the goals and structure of the woodworking program; he discusses moving away from teaching in the 1990s; the advantages and disadvantages of commissions; his liturgical and speculative work; the influence of furniture and art movements on his furniture; the importance of his family and his Catholic faith; the benefits of university involvement and summer arts programs; his travels in New England and Scandinavia; being well received as a regional artist; the importance of publications in furniture and art; four objects that were terminal points in his career; and the future of woodworking. He also recalls Mel Someroski, Tage Frid, Michael Harms, Jere Osgood, Wendell Castle, James Krenov, Craig McArt, Doug Sigler, Daniel Jackson, Robert Johnston, Lamar White, and others.

Oral history interview with Dong Kingman, 1965 Jan. 12

Archives of American Art
Sound recording: 1 sound cassette ; (1 hour 30 min.) Transcript: 19 p. An interview of Dong M. Kingman conducted 1965 Jan. 12, by Harlan Phillips, for the Archives of American Art.
Kingman speaks of his childhood in Oakland, Calif.; his education in Hong Kong; his early exposure to art and the development of his talent; early gallery exhibitions; the beginning of the Federal Art Project (FAP) and his involvement with it; working on a mural in Chinatown in San Francisco; the opportunity to develop his technique; problems with the project; his methods; artists who were his colleagues on the project; and his opinion of the FAP overall.

Oral history interview with Stewart Klonis, 1970 Feb. 3

Archives of American Art
Sound recordings: 2 sound tape reels (3 hours 40 min.) ; 7 in. Transcript: 59 pages. An interview of Stewart Klonis conducted 1970 Feb. 3, by Paul Cummings, for the Archives of American Art.
Klonis discusses the Art Students League, art education, his work, and other subjects.

Oral history interview with Cindy Kolodziejski, 2007 May 5-16

Archives of American Art
Sound recording: 7 wav files (4 hr., 10 min.): digital Transcript: 36 pages An interview of Cindy Kolodziejski conducted 2007 May 5-16, by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Frank Lloyd Gallery, in Santa Monica, California.
Kolodziejski speaks of moving in her early childhood from Germany to Arizona and finally to California; the divorce of her parents at a young age and her feelings of abandonment; her desire as a young child to be an artist; the early influence of her grandmother, an art teacher; teaching herself how to draw by copying images and creating still-lifes; an influential art teacher in high school who encouraged her to pursue college-level art classes and attend art school after graduation; her decision to enroll at Otis College of Art and Design; her foundation art classes at Otis and increasing interest in ceramics; choosing ceramics as a medium because of its flexibility and of form and potential for imagery; the value of her art education to her career; earning a Master of Fine Arts degree while teaching at California State University, Long Beach; the union of form, function, and imagery in her work, especially seen in a recent exhibition at the Frank Lloyd Gallery titled "Reversal of Fountain"; using the University of California, Los Angeles, libraries to find images at first, and later searching the internet for inspiration; creating pieces which play with and explore gender issues and sexuality; being reviewed and featured in articles which are especially concerned with issues of the body and femininity; the documentation of her art in various periodicals and texts, including a piece she wrote for Ceramics Monthly concerning her own work; gaining exposure through these articles, which helped to advance her career; the painstaking and technical process required to fashion her works of art; showing at the Garth Clark Gallery very quickly after graduation; traveling to Greece, China, Nepal, New York, and Italy, and being influenced by the exposure to the different art and cultures; recent travels with her daughter to Italy and feeling excited and humbled by the beauty of certain works; giving a talk at the Getty Museum about a show entitled "The Royal Menagerie" featuring the Meissen large-scale porcelain animals; participating in group shows in museums, particularly the "Color and Fire" exhibit which showcased important ceramicists from 1950 to 2000; being awarded various grants and feeling that applying for those awards is a very worthwhile experience for many artists; teaching first at the high school level and then in college; her teaching methods; forming friendships with fellow artists and art teachers; integrating the use of technology into her art-making process by finding and manipulating images on the computer; feeling motivated to produce in a positive way for exhibition deadlines; the support and friendships that developed through exhibiting with the Clark Garth and Frank Lloyd galleries; the encouragement and support she has been shown by her family throughout her career; and categorizing herself first and foremost as an artist rather than a craft artist or ceramicist. Kolodziejski recalls, Lita Albuquerque, Jill Giegerich, Peter Lodato, Barbara Thomason, Roy Dowell, Eugene Sturman, Carol Caroompas, Tony Marsh, Ralph Baccera, Adrian Saxe, Ron Nagle, Roseline Delisle, John Mason, Jo Lauria, David Pagel, Garth Clark, and others.

Oral history interview with Gyöngy Laky, 2007 December 11-12

Archives of American Art
Sound recordings: 11 sound files (4 hr., 8 min.) digital, wav Transcript: 66 pages An interview of Gyöngy Laky conducted 2007 December 11-12, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Laky's home and studio, in San Francisco, California.
Laky speaks of her recent exhibitions; leaving Hungary as a child; using words in art; learning languages; family influences in her art; the family art gallery and Chinese painting; changing majors in college; working with various materials; using recycled materials in her work; retirement; planning her works; working with assistants; working with a small community in Europe; construction of her works; using computers to create art; the craft "renaissance"; scale and outdoor projects; working with dealers and commissioned pieces; emphasis on negative space. Laky also recalls Emile Lahner, Mary Dumas, Ed Rossbach, Judy Foosaner, Peter Voulkos, Joanne Branford, Lillian Elliott, Henry Miller, Louise Nevelson, Darryl Dobras, Brett Christiansen, Kim Ocampo, Jack Lenor Larsen, Martin Puryear, Ann Hamilton, Suzi Gablik, Susan Sontag, and others.
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