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Oral history interview with Tom Eckert, 2007 June 19

Archives of American Art
Transcript: 44 pages An interview of Tom Eckert conducted 2007 June 19, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio in Tempe, Arizona.
Eckert speaks of his childhood interest in drawing; his first art lessons as a child; working as a cabinetmaker after high school; the decision to attend Arizona State University (ASU); earning very poor grades at ASU and enrolling at Phoenix College, where his art teacher inspired him to pursue art more seriously; returning to ASU to earn his BFA and MFA.; being hired to teach at ASU; creating and heading a wood program there; and helping to design the wood studio at Arrowmont School of Arts and Crafts. He continues discussing his fascination with Flemish painting during his art history education; the sense of illusion present in much of his work; being drawn to wood as a medium because of its ability to be shaped into an infinite amount of forms his experience making a few large scale works of art; feeling a certain spirituality towards his studio and the tools and equipment related to his craft; the importance of first satisfying a personal creative drive, then of showing the work produced, and finally in selling the work; the ways in which galleries and museums assist in attaining those three goals; being invited to participate in a show at Galerie Lieve Hemel in Amsterdam; incorporating the Internet and new technology into the design process; mixing his own colors using pigments; his desire to create larger works in the future; and contentment with and excitement for his life as an artist. Eckert recalls William B. Dunning, James Krenov, Bob Stocksdale, Nanette L. Laitman, David Ellsworth, John Jordan, Wendell Castle, Martyle and Jerry Reinsdorf, Cervini Haas, Michael Himovitz, Joanne Rapp, James Rapp, and others.

Oral history interview with Henry Tyler Hopkins, 1980 Oct. 24-Dec. 17

Archives of American Art
Sound recording: 7 sound cassettes Transcript: 90 p. An interview of Henry Tyler Hopkins conducted 1980 Oct. 24-1980 Dec. 17, by Wesley Chamberlin, for the Archives of American Art.
Hopkins speaks of his childhood and family background in Idaho; his education in Idaho and at the Art Institute of Chicago; his U.S. Army service as a photographer; the influence upon him of the early abstract expressionists; moving to California and getting involved in the museum community; working as a curator at the Los Angeles County Museum of Art, and developing its collection of modern works; becoming the director of the San Francisco Museum of Modern Art; the value of art appreciation over art entertainment; problems with corporate and federal support; the psychological aspects of Jackson Pollacks work; pop art; the Bay area art scene; and the role of art museums. He recalls Shirley and Walter Hopps, Ed Ruscha, Joe Goode, Larry Bell, Ed Bereal, Ron Miyashiro, Jackson Pollack, Joseph Cornell, Billy Al Bengston, Kenny Price, Robert Irwin, William Copley, Franz Kline, and many others.

Oral history interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5

Archives of American Art
Sound recording: 3 sound cassettes (4 hrs. 30 min.) : analog. Transcript 56 p. An interview of Raymond Horowitz conducted 2004 Oct.20-Nov. 5, by Avis Berman, for the Archives of American Art, in New York, N.Y.
Horowitz speaks of his privileged childhood in New York; the effects of the Depression on his familys finances; attending Columbia University for Law and the anti-Semitism he faced there; his ingratiation into art appreciation through Meyer Shapiro; employment under then-New York City comptroller Joseph McGoldrick; the formation of his law practice; and his marriage to his wife, Margaret Goldenberg. Horowitz also mentions his involvement in left-wing political movements; how he managed relationships with different dealers; his experiences with misattributed artworks and forgeries, particularly his luck in avoiding them; the hobbies of himself and his wife; how he avoids relationships with the artists of his works; sharing information with other collectors; the economics of donating artworks and the subsequent tax breaks; the importance of credit in art purchasing; how he and Margaret conferred on purchases; their affinity for Chase; his habits on lending to exhibitions; the differences between the management of the Metropolitan Museum and the National Gallery; his summer homes in East Hampton and Provincetown; the problems with contemporary art scholarship; and the importance of dealers in affirming the interest in American art. Horowitz spends most of the interview reflecting upon others in the art world whom he has met. He recalls Ira Spanierman, Dan and Rita Fraad, Charles Merill Mount, Victor Spark, Abraham Adler, Nicolai Cikovsky, Phillipe de Montebello, Theodore Stebbins, Jack Levine, Daniel Terra, Joseph Hirshhorn, Norman Hirschl, John Canaday, Doris and Harry Rubin, Paul Mellon, Bill Gerdts, Paul Magriel, Bernard Meyers, and many others.

Oral history interview with Brooks Jackson, 1976 Mar. 22

Archives of American Art
Sound recording: 1 sound tape reel ; 5 in.

Transcript: 38 p.

Interview of Brooks Jackson conducted 1976 Mar. 22, by Paul Cummings, for the Archives of American Art. Jackson speaks of his background; attending the American School of Ballet; why he stopped dancing; his recollections of Madame Hugo; Alexander Iolas' background and his memories of him; how he became interested in art; and working with Iolas. He recalls Alexander Iolas, Pavel Tchelitchew, Giorgio De Chirico, Lenore Fini, Eugene Berman, Victor Brauner, Rene Magritte, Roberto Matta, Max Ernst, Julien Levy, Leo Castelli, Joseph Cornell, and many others.

Oral history interview with Alison Knowles, 2010 June 1-2

Archives of American Art
Transcript: 86 pages. An interview of Alison Knowles conducted 2010 June 1-2, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project, at Knowles' home and studio, in New York, N.Y.
Knowles speaks of her family background; her father's (an English professor) influence on her education; her love of nature and isolation as a young girl; her French studies at Middlebury College; her transfer to Pratt Institute to study art; the social and academic environment at Pratt; her inclinations towards abstraction; her first marriage to Jim Ericson; her first studio at 423 Broadway; her early jobs as a commercial artist; her first gallery show at Nonagon, in 1958, and how she subsequently burned the paintings in that show; her second marriage to Dick Higgins in 1960; her Judson Gallery Show in 1962 and how she subsequently discarded those works; her involvement in the Fluxus group; her involvement with the "Cage class," and its early performances; her collaboration with John Cage on the book, "Notations" (1968); her collaboration with Marcel Duchamp on a print (1967); the circumstances surrounding her performance piece, "Make a Salad" (1962), her travels through Europe with Higgins; the birth of her twins; her computerized poetic piece and installation, "House of Dust" (1967) and how it was later vandalized; her move to Los Angeles to teach at CalArts; the rebuilding of "House of Dust" at CalArts; her move back to New York; the processes leading up to several projects and collaborations including "Loose Pages," "Big Book," "Bread and Water," and more; where she finds her inspiration; her thoughts on performance art; her studio environment in Barrytown, N.Y.; the influence and support of Germany on her work and Fluxus in general; her recent work, including "Identical Lunch"; and current challenges she faces as an artist.
She recalls Richard Lindner, Adolph Gottlieb, Willem de Kooning, Jackson Pollock, Judy Chicago, Josef Albers, Dorothy Podber, Ray Johnson, Dick Higgins, Robert Rauschenberg, John Cage, Klaus Schöning, Jon Hendricks, Gilbert Silverman, George Maciunas, George Brecht, Jack Mac Low, Yoko Ono, Mieko Shiomi, Takako Saito, Joe Jones, Marcel Duchamp, Daniel Spoerri, Richard Hamilton, Nam June Paik, Charlotte Moorman, Helmut Becker, Coco Gordon, Jim Tenney, Cornelia Lauf, Rirkrit Tirvanija, Allan Kaprow, Simone Forte, Carolee Schneemann, Richard Teitelbaum, Miriam Schapiro, Miguel Abrau, James Fuentes, Cyrilla Wozenter, Kathy Kuehn, Ryszard Wasko.

Oral history interview with Jack Lenor Larsen, 2004 February 6-8

Archives of American Art
Transcript: 78 pages. An interview of Jack Lenor Larsen conducted 2004 February 6-8, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Longhouse, East Hampton, N.Y.
Larsen speaks of his childhood in Seattle, Washington; his parents and other adults who had a positive impact on his development; building things with his friends; attending the University of Washington to study architecture and deciding to study textiles instead; visiting Dorothy Liebes's textile studio; leaving school and moving to Los Angeles; attending the University of Southern California and eventually returning to the University of Washington; becoming a teaching assistant to Ed Rossbach; getting a Masters degree at Cranbrook Academy of Art; meeting many influential people in San Francisco and New York; moving to New York and setting up a studio; working on commission for several companies including Thaibok; expanding his offices to include larger looms and a showroom; setting up a branch of production in Haiti; working in the fashion industry and designing home decor; and working in Southeast Asia developing handcrafted woven exports. He also speaks of his involvement with the American Craft Council and the World Crafts Council, re-organizing and building the new campus at the Haystack Mountain School of Crafts; traveling to Central Asia, Africa, Europe, and his desire to travel more; working and exhibiting in Japan; experiencing the Japanese textile industry; writing numerous books on fiber arts including, "The Dyer's Art," often collaborating with other fiber artists; developing a classification system for interlacing; collecting art; gardening and its relation to art and design; building Round House and the inspiration behind it; building LongHouse using the Japanese Ise Shrine as a model and plans for further expansion; retiring and difficulties writing, "A Weaver's Memoir." Larsen also recalls Dorothy Liebes, Marianne Strengell, Florence Knoll, Edgar Kaufman, Ed Rossbach, Toshiko Takaezu, Francis Merritt, Mary Bishop, Garth Clark, Issey Miyake, Mildred Constantine, and others.

Oral history interview with Lucy Lippard, 2011 Mar. 15

Archives of American Art
4 memory cards (4 hr., 29 min.) secure digital, wav 1.25 in. Transcript: 97 pages. An interview with Lucy Lippard conducted 2011 Mar. 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Lippard's home, in Galisteo, N.M.
Lippard discusses her childhood summers in Maine; growing up in New Orleans, La., and Charlottesville, Va.; attending the Abbot Academy and Smith College; her junior year in Paris; working in the Museum of Modern Art Library; living on Avenue D; meeting Bob Ryman and Sol Lewitt; birth of her son Ethan; Dore Ashton as a role model; involvement with various groups and political causes including the Angry Arts movement, the Art Workers' Coalition, Women Artists' Committee, Guerilla Art Action Group, Womanhouse, Political Art Documentation and Distribution (PAD/D), the Ad Hoc Women Artists Committee, and others; the development of Heresies Collective; her publications including, "From the Center: Feminist Essays on Women's Art," (1976), "On the Beaten Track: Tourism, Art and Place," (1999), "Mixed Blessings: New Art in a Multicultural America," (1990, 2000), "The Lure of the Local: Sense of Place in a Multicentered Society," (1997), and "Overlay: Contemporary Art and the Art of Prehistory," (1983) ; curating exhibitions; travels to Argentina and Mexico; moving to Galisteo, N.M.; interest in the Galisteo Basin; teaching; and other topics. She recalls Ad Reinhardt, Donald Judd, Harmony Hammond, Judy Chicago, Gregory Sholette, Carolee Schneemann, Max Koszloff, Joyce Koszloff, May Stevens, Betsy Hess, Mary Miss, and others.

Oral history interview with Marian Locks, 1989 Sept. 20-29

Archives of American Art
Transcript 133 p.

An interview of Marian Locks conducted, 1989 Sept, 20-29, by Marina Pacini, for the Archives of American Art Philadelphia Project. Locks discusses her early life, education, and the evolution of the Marian Locks Gallery, founded in 1968, which represented Philadelphia artists. Locks discusses the artists represented by the gallery including Edna Andrade, Liz Osborne, John Formicola, James Havard, Tom Chimes, and Warren Rohrer. Along with a discussion of how she met each artist and his/her stylistic development over the years, Locks discusses the sale of the artists' works, who their collectors were and how successful they were over the years. Among the collectors discussed are Dr. Luther Brady and various Philadelphia corporations. She discusses exhibitions at the gallery such as a group show of women artists, and an exhibit of Louis Kahn drawings. She discusses the gallery scene in Philadelphia; efforts to get recognition for Philadelphia artists through the press; the Philadelphia press coverage of the art scene; the relationship between the city's museums and artists; and recent changes in the Marian Locks Gallery.

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 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 Reuben Nakian, 1981 June 9-17

Archives of American Art
Transcript: 105 p. An interview of Reuben Nakian conducted 1981 June 9-17, by Avis Berman, for the Archives of American Art.
Nakian speaks of his childhood, growing up in New York City; his early interest in art; early ventures in sculpture; working for Paul Manship; meeting Daniel Chester French; teaching; early influences; his European travels; techniques and materials; the relationship of artists and suffering; his portrait busts of other artists; dealers he has been affiliated with, including Edith Halpert and Valentine Dudensing; animal sculptures; his Babe Ruth sculpture; critical and public reaction to his work. He recalls Constantin Brancusi, Marcel Duchamp, Raoul Hague, William Zorach, Gaston Lachaise, and J. B. Neumann. The third voice heard on the tape is that of Nakian's assistant, Don Ross, who helps prompt Nakian to recall certain incidents.

Oral history interview with Louise Nevelson, 1964 June-1965 Jan. 14 and undated

Archives of American Art
Partial transcript: 61 p. Interview of Louise Nevelson, conducted by Dorothy Gees Seckler for the Archives of American Art, Smithsonian Institution, June 1964 - 1966 and undated.
Nevelson speaks of how she first became interested in art; working under the WPA; The Club; the "Art News Group"; European artists' migration to New York; new concepts in art; questions of public acceptance of new art forms and changing standards; how she developed her box sculptures; her use of odd forms, spaces, and abstractions; her influences, including De Chirico; exhibiting at Nierendorf, Norlyst Martha Jackson, and Cordier galleries, among others; and her own collection of art.

Oral history interview with Emmy Lou Packard, 1964 May 11-12

Archives of American Art
Transcript: 39 p. An interview of Emmy Lou Packard conducted 1964 May 11-12, by Mary Fuller McChesney, for the Archives of American Art.
Packard speaks of her early interest in art and her education; meeting Diego Rivera, studying under him; working with him on murals; Rivera's personality; his marriage to Frida Kahlo and reaction to her death; his political views and his influence on art during the 1930s. She describes her feelings about art of the Work Project Administration period, and she recalls Anton Refregier and Jose Moya del Pino.

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 Rebecca Reis, 1980

Archives of American Art
Transcript: 123 pages An interview of Rebecca Reis conducted in 1980, by William McNaught, for the Archives of American Art's Mark Rothko and His Times oral history project.
Reis speaks of her life in New York City. At their home in the city they entertained artists, art dealers, and other art lovers and had a great desire to provide a haven for people who loved art. Reis recalls many stories of the people they met and supported including Jacques Lipchitz, George Grosz, Jackson Pollock, Peggy Guggenheim, Max Ernst, Marc Chagall, Larry Rivers, Philip Guston, Robert Motherwell, Helen Frankenthaler, William Baziotes, Franz Kline, Adolph Gottlieb, and Mark Rothko, the legal case involving Rothko's estate, and Rothko's relationship with Rita Reinhardt. They were particular friends of Peggy Guggenheim. Bernard Reis gave financial advice to many people in the art world. The latter portion of the interviews concentrates on their great friend, Mark Rothko, his suicide, and subsequent court case brought by the family.

Oral history interview with Edwin and Louise Rosskam, 1965 August 3

Archives of American Art
Transcript: 70 pages. An interview of Edwin and Louise Rosskam conducted 1965 August 3, by Richard Doud, for the Archives of American Art, at their home, in Roosevelt, N.J.
Edwin Rosskam speaks of his background and youth in Germany; coming to the United States; his education in painting at the Pennsylvania Academy of the Fine Arts; the early development of his interest in photography; getting his photojournalism career started; joining the Farm Security Administration and working under Roy Stryker; the view of America presented by the work produced by the FSA; photography exhibits he has done; the effect upon him of the people he met and photographed during his FSA career; the political impact of the FSA; applications and uses of the photographs produced by the FSA; the project's strengths and weaknesses; books and other projects he has contributed to. He recalls Roy Stryker, Dorothea Lange, Marion Post Wolcott, John Vachon, and the novelist Richard Wright. Louise Rosskam discusses the impact upon her of the people who were photographed, propagandistic aspects of the work, and the impact of the FSA project on photojournalism.

Oral history interview with Ben Shahn, 1964 April 14

Archives of American Art
Transcript: 29 pages. An interview of Ben Shahn conducted 1964 April 14, by Richard K. Doud, for the Archives of American Art New Deal and the Arts Project.
Shahn speaks of his travels and work for the Farm Security Administration (FSA); the American image as portrayed by FSA photographs; techniques and materials; exhibitions and publications of his work; and the effectiveness of the FSA project overall. He recalls Roy Stryker, Walker Evans, Arthur Rothstein, Edwin Rosskam and Dorothea Lange.

Gnathostome Fishes

Smithsonian Libraries
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