Skip to Content

Found 2,730 Resources

Oral history interview with Edward B. Thomas, 1983 April 28-May 10

Archives of American Art
Transcript: 84 pages.

An interview of Edward B. Thomas conducted 1983 April 28-May 10, by John Olbrantz, at the artist's home in Seattle, Washington, for the Archives of American Art's Northwest Oral History Project. Thomas speaks of his family background and early art experiences; his education at the University of Washington; printmaking and its role in Northwest art; his role as education director at the Seattle Art Museum; the development of the museum under Richard E. Fuller; contributors to the museum; the impact of the 1962 World's Fair; the Northwest art scene; exhibitions at the museum; interaction with the Henry Gallery and other museums; and his future plans. He recalls Guy Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey.

Oral history interview with Sue M. Thurman, 1993 April 23-1998 March 11

Archives of American Art
5 sound cassettes analog.

Transcript: 162 pages

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

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

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

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

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

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

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

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

Oral history interview with Paul Vanderbilt, 1964 November 10

Archives of American Art
Transcript 27 pages.

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

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

Oral history interview with Robert Venturi, 1991 June 1-July 20

Archives of American Art
Transcript: 156 pages

An interview of Robert Venturi conducted 1991 June 1-1991 July 20, by Peter Reed, for the Archives of American Art Philadelphia Project.

Venturi discusses his childhood, education and early career; travelling to Rome; his relationships with Louis Kahn and Vincent Scully; writing "Complexity and Contradiction in Architecture"; teaching at Yale University; his partnership with Denise Scott Brown; projects such as the Sainsbury Wing of the National Gallery in London, the house he built for his mother, the Guild House and the Seattle Art Museum; and architect/client, architect/contractor relationships in contemporary practice.

Oral history interview with William Walker, 1991 June 12-14

Archives of American Art
Transcript: 111 pages

An interview of William Walker conducted 1991 June 12-14, by Victor Sorell, for the Archives of American Art.

Walker discusses his childhood in Birmingham, Alabama and Chicago, Illinois; painting murals in Memphis; the Chicago Mural Group, the Wall of Respect in Chicago, the Wall of Dignity in Detroit and other murals; subject matter and use of black historical figures such as Martin Luther King, Malcolm X, and Elijah Muhammad; use of narrative; public response to the murals; and artists he worked with including Eugene Edaw, Mark Rogovin, John Weber and Mitchell Caton.

Oral history interview with Heinz Warneke, 1982 November 8

Archives of American Art
Transcript: 22 pages

An interview of Heinz Warneke conducted 1982 November 8, by Robert F. Brown, for the Archives of American Art.

Warneke speaks of his childhood and education near Bremen, Germany; his early work in Europe for the German war monuments commission; his immigration to the United States; his career in St. Louis, Missouri and Washington, D.C.; his involvement with sculpture for federal buildings in the 1930s; his later work.

Oral history interview with Robert Weingarten, 2009 October 20-22

Archives of American Art
Transcript: 117 pages

An interview of Robert Weingarten conducted 2009 October 20 and 22, by Shannon Thomas Perich, for the Archives of American Art's Oral History Interviews of American Photographers Project, at Weingarten's studio, in Malibu, California.

Oral history interview with Liliana Wilson, 2004, July 13-27

Archives of American Art
Transcript: 99 pages

An interview of Liliana Wilson conducted 2004 July 13-27, by Cary Cordova, for the Archives of American Art, in Austin, Texas.

Wilson displays a slideshow of her works and discusses Disparecidos en el Cielo; The Gatekeepers; The Immigrants; Man Running from Himself; Girl and Red Fish; Self-Portrait; Organic Barbed Wire; The Fish Tree; The Wedding; Desperate Housewife; The Lovers; The Meaning of Life; Lies; Proposition 187; Luciano; Time; Shift; El dia en que le hicieron pedazos la corona; Casi Gomez; Man and Leaf, and others. Wilson also discusses her relationship with Gloria Anzaldua; her sister's kidnapping by the Pinochet regime; experiences winning art contests at primary school; her uncommon last name; her use of Catholic imagery; her bad experience teaching; her childhood in Valparaiso, Chile; the patriarchal qualities of Chilean culture; attending architecture school and then transferring to law; her father's death and the family's resulting financial struggles; her disdain for traditional political paradigms; Santiago during the 1973 coup by Augusto Pinochet; her apartment being raided by the Army; moving to America and working as an au pair; enrolling in Austin Community College; her color choices in her paintings; moving to San Francisco; her various jobs doing commercial art; her early grant from MACLA; her anti-social nature, and how Anzaldua's nature is similar; her various residences in San Francisco; her conversion to Buddhism; moving back to Austin and her love for its community; learning to promote her own work; painting nude forms; her disdain for certain Catholic ideologies; the painters which she considers influences, such as Bosch, Kahlo, and Klee; her inability to be recognized by museums; the masculine nature of art academia; her involvement in the San Antonio arts scene; and the positive qualities of the United States. Wilson also discusses Cynthia Perez, Mia Gonzales, Jesse Treviño, Rene Yañez, Pema Chödrön, Neil Wilson, Arturo Almeida, Mary Margaret Navarro, Marjorie Agosin, and others.

Oral history interview with Charles E. Buckley, 1980 June 18-Sept. 19

Archives of American Art
6 sound files digital, wav file

An interview of Charles E. Buckley conducted 1980 June 18-Sept. 19, by Robert F. Brown, for the Archives of American Art.

Buckley speaks of his childhood; his educational background; his training in painting at the Art Institute of Chicago in the 1930s; his trip to Mexico, 1940; his decision to pursue a curatorial career; his art history training at the Fogg Art Museum; his past curatorial positions at the Corcoran Gallery of Art and at the Wadsworth Atheneum; and his directorship of the Currier Gallery of Art in Manchester, New Hampshire and the St. Louis City Art Museum.

Robert C. Vose lecture, 1987 May 14

Archives of American Art
Sound recording: 1 sound cassette.

Transcript: 13 pages

A lecture delivered 1987 May 14, by Robert C. Vose, at the Somerset Club, Boston, Massachusetts.

Vose recalls some of the major American paintings sold by the Vose Galleries. He speaks of the thirty to forty year cycles in popularity and prices of American paintings, and of leading collectors, particularly Maxim Karolik.

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 Lee Winslow Court, 1982 January 27-April 13

Archives of American Art
4 sound cassettes.

Transcript: 65 pages

An interview with Lee Winslow Court conducted 1982 January 27-April 13, by Robert F. Brown, for the Archives of American Art.

Court speaks of his education at the Massachusetts School of Art; painting in Rockport, Massachusetts; working as a designer for department stores; his involvement with art associations in Boston; his other work.

Oral history interview with Churchhill Lathrop, 1982 Feb. 25-1983 Jan. 26

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

Transcript: 121 pages

An interview with Churchill Lathrop conducted 1982 Feb. 25-1983 Jan. 26, by Robert Brown, for the Archives of American Art.

Lathrop discusses his childhood in Montclair, N.J.; college at Rutgers; various jobs in the 1920s; attending Princeton University where he received his M.A. in art history and his teachers there, including Charles Rufus Morey and Frank Jewett Mather. He reviews his tenure at Dartmouth, discussing work with Artemas Packard, involvement with Dartmouth alumnus Nelson Rockefeller and his mother, Abby Aldrich Rockefeller in building a collection of modern art at Dartmouth, visiting artist José Clemente Orozco and his mural painted for Baker Library, his directorship of the Dartmouth art galleries and work in planning the Hopkins Art Center, and Mrs. Aileen Osborn Webb's attempts to establish a graduate level design school at Dartmouth in the 1940s. He recalls acquaintances and colleagues, including Alfred Stieglitz, Adelbert Ames, A. Conger Goodyear, Dorothy Miller, Alfred Barr, Jr. and others at the Museum of Modern Art, and Hilla Rebay and others involved in the Guggenheim Museum of Non-Objective Paintings.

Oral history interview with William H. Pierson, 1981 Mar. 11-1982 Jan. 14

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

Transcript: 128 pages

An interview with William H. Pierson conducted 1981 Mar. 11-1982 Jan. 14, by Robert F. Brown, for the Archives of American Art.

Pierson speaks of his education at Yale Art School; becoming a drawing instructor at Yale; his graduate work at New York University; his World War II naval service in radar research; his doctoral studies at Yale on New England industrial architecture; teaching studio art and art history at William College, Williamstown, Mass.

Oral history interview with José and Malaquias Montoya, 1988 Feb. 28-June 2

Archives of American Art
Sound recording, master: 7 sound cassettes (ca. 11 hrs.) analog.

Sound recording, duplicate: 7 cassettes

Transcript: 373 p.

Interviews of brothers José and Malaquias Montoya conducted 1988 Feb. 28-June 2, by Eduardo Hernandez, for the Archives of American Art.

The Montoya's recall growing up as Mexican-Americans in a rural town in Colorado; moving to urban areas in California; their early education and development of their political awareness; and their artistic experiences, including their founding of the Royal Chicano Air Force, a group working primarily as muralists.

Oral history interview with Gardner Cox, 1974 March 19-July 8

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

Transcript: 107 p.

Interview of Gardner Cox conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Boston, MA, from March 19-July 8.

Cox speaks of his childhood friends, his parents' artistic leanings, his early painting instructors, his education at Harvard, his training and early career in architecture; his portraits of socialites and Democratic party notables, and describes his sketches and their relationship to his portraits. He also recalls Amy Lowell, R.H. Ives Gammell, Charles Webster Hawthorne, Frank Shay, John Frazier, Aldro Hibbard, and others.

Oral history interview with Fritz Eichenberg, 1979 May 14-December 7

Archives of American Art
Transcript: 61 pages

An interview with Fritz Eichenberg conducted 1979 May 14-1979 December 7, by Robert F. Brown, at the artist's home, in Peace Dale, Rhode Island, for the Archives of American Art.

Eichenberg discusses his career; his artistic philosophy; various books he has illustrated including, "Jane Eyre," "Wuthering Heights," "The King and I," and "Crime and Punishment"; working with Dorothy Day for the "Catholic Worker"; drawing political cartoons for "The Nation"; working for the WPA; and becoming a Quaker.

Oral history interview with Margaret Babcock, 1998 July 21

Archives of American Art
2 sound cassettes (total 120 min.) : analog.

Transcript: 29 pages

An interview with Margaret Babcock conducted 1998 July 21, by Robert F. Brown, for the Archives of American Art, in Camden, Maine. The interview covers her family background up through the 1920s.

Babcock discusses being raised in Exeter, New Hampshire, where her father owned Daniel Chester French's former house; being a precocious student; attending Phillips Exeter Academy's June Ball with Francis Grover Cleveland, a grandson of the president (she recites a poem that commemorated her romantic thrill over the experience); attending Smith College where she concentrated in zoology but aspired to be a writer and teacher; devoting much time to modern dance; meeting, her freshman year, an Amherst College senior & pupil of Robert Frost, Ernest Robson (formerly Rosenblum) from Chicago; the snobbish economic and anti-semitic caste system at Smith; her parents divorce while at Smith, causing sudden financial problems, and becoming a scholarship student; Robson coming to Smith to see her during her junior year, and following her at the end of that year to Camden, Maine, where her grandmother Frye and her mother lived, and a secret camping trip to northern Maine and Provincetown; marrying Robson April 7, 1926 and graduating from Smith; Peter Blume, the poet Sidney Peak Crawford, and his dog "Little Peak" joined her and Robson on Lime Island, off Camden, summer of 1926; Blume staying behind and showing his "Maine Coast", which he had painted on the island, to her shocked mother and grandmother; supporting Blume financially.

Oral history interview with Fletcher Benton, 1989 May 2-4

Archives of American Art
Transcript 150 pages

An interview of Fletcher Benton conducted 1989 May 2-4, by Paul J. Karlstrom, for the Archives of American Art, at the artist's studio, in San Francisco, California.

Benton speaks of his education in the Midwest and the decision to pursue an art career in California, and the problems of regionalism and provincialism in art. He describes the art scene in San Francisco in the 1950s, and talks about the effect of the San Francisco environment on him. He also speaks of art dealers and their methods, art criticism and museum politics. He discusses his methods and materials, his early ventures into sculpture, his involvement with kinetic sculpture, his work in watercolor. He recalls his acquaintance with John McLaughlin and discusses the influence of Joan Brown's work on his own.

Oral history interview with Paul Bodin, 1993 March 11

Archives of American Art
1 sound cassette (66 min.) : analog.

Transcript: 22 pages

An interview with Paul Bodin and James Wechsler conducted 1993 March 11, by Stephen Polcari, for the Archives of American Art.

Bodin recalls his career as a painter. He mentions his work as a technical illustrator as a means of support, his participation in the WPA, and his friendship with Milton Avery and Adolf Gottlieb. Examples of his work are examined with regard to a chronology of the themes and subjects that interested him. Also present during the interview was James Wechsler, a friend of Bodin.

Oral history interview with William J. Brown, 1991 January 19-March 2

Archives of American Art
Transcript: 203 pages

An interview of William J. Brown and his wife Jane Brown conducted 1991 January 19-1991 March 2, by Jane Kessler, for the Archives of American Art.

Brown and his wife Jane discuss his childhood in Michigan, his early interest in sculpture and his attitude towards education; military service in WWII; studies at Cranbrook Academy; designing for Steuben Glass; working with Francis Merritt at the Flint Institute of Arts and at Haystack Mountain School of Crafts; teaching design at the University of Delaware and working summers at Haystack; Robert Gray, director of the Southern Highland Handicraft Guild; first impressions of The Penland School of Crafts and its founder Lucy Morgan; the development of the Penland School and its various programs; craftspeople who taught at Penland; and relations with the Penland board of trustees.

Oral history interview with Margret Craver Withers, 1983-1985

Archives of American Art
5 sound cassettes (9 1/2 hrs.) : analog + 37 col. slides.

Transcript (1983-1984): 115 pages.

Transcript (1985) 12 pages.

An interview with Margret Craver Withers conducted 1983-1985, by Robert F. Brown, for the Archives of American Art.

Withers discusses her childhood in Kansas; early education; and aptitude for drawing.Education in art and design, including studying crafts at the University of Kansas, 1925-29; her position as a grade school teacher in Kansas and as a crafts instructor at Wichita Art Association, 1930s; study with various master metalworkers, including Arthur Nevill Kirk, Arthur J. Stone, Leonard Heinrich and Wilson Weir in the USA, and Baron Erik Fleming in Sweden.Development of Hospital Service Program, with the support of Handy and Harman, precious metal refiners, during World War II, to train army therapists in metalworking for disabled soldiers; supervision in post-War period of Handy and Harman's Craft Service Department, producing films on hand-wrought silver, a traveling exhibition of outstanding contemporary silver, instructional brochures, and a series of workshops for American silversmiths, taught by European masters.Marriage in 1950 to Charles Withers, president of Towle Silver, and that company's policy of employing top designers; Towle's commissioning of works in silver from top modern sculptors; her making of silver holloware and jewelry for private clients; her re-invention of the en resille process for enameling (1959) and in the early 1980s her invention of a process for combining enamel, glass, and silver and gold leaf in jewelry; and her involvement in crafts organizations.She discusses her en resille enameling technique. [This session is transcribed, and is accompanied by slides of the work discussed].

Oral history interview with Wolf Kahn, 1977 Nov. 28-1978 Jan. 6

Archives of American Art
Sound recording: 2 sound tape reels ; 5 in.

Transcript: 169 p.

Interview with Wolf Kahn, conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution in his New York City studio, on November 28, 1977 and January 16, 1978.

Kahn speaks of being raised by his grandparents in Germany in the 1930s; coming to England via the children's transport prior to the outbreak of World War II; emigrating to the US after the war; joining the Navy; his art classes at the Hofmann School; his early exhibitions in New York and involvement at the Hansa Gallery; living in Oregon; his artistic influences, including Bonnard, Van Gogh, Kokoschka, and Soutine; the New York art scene in the 1950s, including at the Artists' Club; meeting his wife Emily; the change in his style after visiting Venice; his use of colors and pastels; exhibiting at Grace Borgenicht's Gallery; his experiences teaching art at Haystack and other schools; the idea of the "problem" in formalist art; his working methods; and his impressions of contemporary art and art students. Kahn also recalls Barnett Newman, Meyer Schapiro, Franz Klein, Willem de Kooning, Stuart Davis, Hans Hofmann, Joan Mitchell, Felix Pasilis, Clement Greenberg, Stefan Wolpe, Allan Kaprow, Fairfield Porter, Tom Hess, Richard Bellamy, Grace Borgenicht, Frank O'Hara, Milton Avery, Jim Dine, and others.

Oral history interview with Vaino Kola, 1991 Sept. 12

Archives of American Art
2 wav files (1 hr., 35 min.): digital

Transcript: 31 pages

An interview with Vaino Kola conducted 1991 Sept. 12, by Robert F. Brown, for the Archives of American Art, in Kola's home, Norton, Mass.

Kola discusses his childhood in Finland during the war with the Soviet Union, in which his father was an important commander, and during World War II; and the necessity to leave following the war because of the pressure from the Soviet Union. He recalls growing up in Worcester, Mass; learning English; his attendance at the High School of Commerce; excelling in swimming; attending the Massachusettes College of Art (BFA, 1959) and the influence upon him of teachers Beverly Hallam, David Berger, Calvin Burnett, and Lawrence Kupferman; and his years at the Yale School of Art and Architecture (MFA, 1962) and recollections of Josef Albers and his teaching methods.
2689-2712 of 2,730 Resources