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Oral history interview with Joe Schwartz, 2010 April 25-26

Archives of American Art
Transcript: 83 pages.

An interview of Joe Schwartz conducted 2010 April 25 and 26, by Paul Gardullo and James A. Miller, for the Archives of American Art, at Schwartz's home, in Atascadero, Calif.

Oral history interview with Denise Scott Brown, 1990 October 25-1991 November 9

Archives of American Art
Transcript: 188 pages.

An interview of Denise Scott Brown conducted 1990 October 25-1991 November 9, by Peter Reed, for the Archives of American Art.

Scott Brown discusses her family background and growing up in South Africa; her education at the University of Witwatersrand, the Architectural Association, London, a summer school in Venice, sponsored by Congres Internationale d'Architecture Moderne, and the University of Pennsylvania, recalling some of her teachers (including Arthur Korn and Louis Kahn); her first husband, Robert Scott Brown, and their travels throughout Europe and experiences in Pennsylvania; her teaching philosophy and experiences at the University of Pennsylvania, Yale, Harvard, UCLA, and Berkeley; the architecture program at Penn from her perspective as a student and as a member of the faculty; meeting Robert Venturi, their work together, the firm and the difficulties encountered in the 1970s and 1980s, some of their projects such as the National Gallery, London, and the Museum of Fine Arts, Houston, and planning work; publications such as "Complexity and Contradiction," "Urban concepts," "Worm's Eye View," and "Learning from Las Vegas;" postmodern architecture; critics; and her experiences as a woman in the field.

Oral history interview with George Segal, 1973 November 26

Archives of American Art
Transcript: 112 pages.

An interview of George Segal conducted 1973 November 26, by Paul Cummings, for the Archives of American Art.

Segal speaks of his childhood and family life in the Bronx; his education at Rutgers and at Pratt Institute; studying at New York University with William Baziotes; abstract expressionism; his acquaintance with Allan Kaprow and the Hansa Gallery group; his search for an individual language as an artist; life and art on his New Jersey farm; exhibitions at the Hansa and Green galleries; his development of bandage and plaster sculpture. He recalls Sidney Delevante and Richard Bellamy.

Oral history interview with Kay Sekimachi [Stocksdale], 2001 July 26-August 6

Archives of American Art
Transcript: 59 pages.

An interview of Kay Sekimachi [Stocksdale] conducted 2001 July 26-August 6, by Suzanne Baizerman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Sekimachi's home in Berkeley, California.

Sekimachi speaks of her family and early childhood in Berkeley; a trip to Japan when she was four, during which her older brother died of dysentery; what it was like growing up in a Japanese community in Berkeley; the death of her father when she was ten years old; learning Japanese culture through her mother's cooking and traditions; the relocation of her family during WWII; learning to paint and draw at the relocation center in Tanforan; moving to Utah, then Cincinnati before finally returning to Berkeley; her trip to Japan in 1974 and how it felt like she really belonged there, and falling in love with the Japanese aesthetic; trips to London, and consequently meeting Ann Sutton and Peter Collingwood; studying and working with Trude Guermonprez; teaching for Mary Woodard Davis in Santa Fe, N.M.; her first trip to Haystack Mountain School of Crafts in Deer Isle, Maine.; how the community groups and guilds provided support and many friendships, including Claire Weaver; some of the magazines she subscribes to, and the numerous books that influenced her during her career, by Anni Albers, Mary Atwater, and others; how her work started out as functional and gradually became non-functional; the many different types of her artwork, monofilament, paper bowls, and hornets nests; the limitations of the loom, and learning to experiment with fiber; difficulty of selling her craft; the numerous places she has exhibited and sold her work, including but not limited to Local Color, Nanny's (both in San Francisco), the Mint Museum in Charlotte, N.C., the Metropolitan Museum of Art, New York City, and Brown Grotta Gallery in Wilton, Connecticut; how she doesn't like to deal with agents, and dealers; her marriage to Bob Stocksdale; her studio and the studio of her husband; all of the artwork in her dining room and living room area; and how she is still weaving, but is not as frequent in her studio because she has been taking care of Bob. Sekimachi also recalls Kenneth Trapp, Marguerite Wildenhain, Lee Nordness, Loiuse Allrich, Jack Lenor Larsen, Dominic DiMare, and others.

Oral history interview with Allan Sekula, 2011 August 20-2012 February 14

Archives of American Art
Sound recording: 12 sound files (6 hr.,14 min.) digital, wav

Transcript: 143 pages

An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.

Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.

Oral history interview with Frances Senska, 2001 April 16

Archives of American Art
Transcript: 28 pages.

An interview of Frances Senska conducted 2001 April 16, by Donna Forbes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

The interview took place in Senska's home and studio Bozeman, Montana. Senska speaks of her childhood in Africa and her exposure to African culture, specifically the pottery; immigrating to the United States, attending high school in Iowa City, Iowa, and completing both her BA and MA at the University of Iowa; joining the Navy; her interests in art and specifically how they developed into ceramics; her instructors; her teaching experience; the establishment of the Archie Bray Foundation in Helena, Montana; the community of artists in Montana; how function is the most important aspect of her pottery; clay-digging expeditions; the design of her house and studio; how she listens to African music when she throws clay; the influence of craft magazines; the National Council on Education for the Ceramic Arts [NCECA]; honorary awards and degrees she has received; and changes in the ceramics world over the past fifty years. Senska recalls Peter Voulkos, Rudy Autio, Trude Guermonprez, Henry Meloy, Jun Kaneko, Maija Grotell, Branson Stevenson and others.

Oral history interview with Heikki Seppä, 2001 May 6

Archives of American Art
Transcript: 76 pages.

An interview of Heikki Seppä conducted 2001 May 6, by Lloyd Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home and studio, Bainbridge Island, Washington.

Seppä speaks of his early childhood in Finland and being placed in a children's home (twice) in the Karelian Isthmus; his mother's move to Canada; his parents' divorce; his educational background including his course of study at the goldsmith school in 1940 and 1941, at age 14, and his lack of role models; the postwar growth of the metal industry; his participation in an exchange program with Denmark; his athletic accomplishments, especially kayaking; his service in the Finnish Army; his employment in Helsinki; producing objects for Georg Jensen; the state of Nordic decorative arts in the 1950s; his marriage and move to British Columbia; working with refrigeration systems; obtaining Canadian and American citizenship; teaching metalsmithing in a community center; winning prizes for metal pieces in Canadian national exhibitions; attending Cranbrook Academy of Art; introducing reticulation to Cranbrook; and his Cranbrook classmates Stanley Lechtzin, L. Brent Kington, Leslie Motch, and teachers Richard Thomas and Alma Eicherman. Seppä describes in detail the history of and process for producing a reticulated surface; he refers to crimping and spraying metal; teaching at Washington University in St. Louis, Missouri, from 1965 to 1992; the origin of his spiculum and shell forms; his books, "Form Emphasis for Metalsmiths" (Ohio: Kent State University Press, 1978) and "From Silversmith's Workshop" (1996 or 1998); commissions; his gradual withdrawal from juried and competitive exhibitions; his use and limitations of preliminary drawings; the silversmith as a maker of expressive objects; and repairs he made to silver pieces made by metalworkers who did not understand silver. He discusses a difficult period marked by his early retirement in 1992, his wife's death in 1993, and declining commissions.

He talks about becoming reacquainted with metalsmith Laurie Lyall in 1997 and moving to Bainbridge Island, where he now lives with Lyall. SNAG (the Society of North American Goldsmiths), its founders, membership, and five-year dormancy are discussed as is the organization's revitalization. Seppä speaks about stylistic influences; technique and style; his work-related travel; and his admiration for Jack da Silva's sculpture. He comments on the homogenization of the arts; the difference between jewelers and metalsmiths trained in art schools and vocational schools; the distinction between art and craft; the desire of craftsmen to be called artists; the function of critical writing and the lack thereof; Metalsmith magazine; Bruce Metcalf as critic; his commissioned ecclesiastical pieces, including a triangular chalice for an Episcopal church in St. Louis; metalsmiths and manufacturing companies; Fabergé-trained metalsmiths; reticulation at Fabergé's shop; enamel and enamelers at Fabergé; and gemology. Seppä also speaks about his future pursuits and artistic contributions; silver as an expressive medium; and silver as a material for utilitarian objects. He recalls Eero Saarinen, Aline Saarinen, Loja Saarinen, Nellie Peterson, Alma Eicherman, Robert Ebendorf, Michael Good, David Jaworski, and others.

Oral history interview with Ruth and Richard Shack, 1996 December 7-1997 February 8

Archives of American Art
Transcript: 90 pages.

An interview of Ruth and Richard Shack conducted 1996 December 7-1997 February 8, by Barbara Young, for the Archives of American Art. The interview focuses on the Shack's support of Latin American artists, the development of their collection, and their personal involvement with community art centers.

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.

Oral history interview with Ben Shahn, 1965 October 3

Archives of American Art
Transcript: 32 pages.

An interview of Ben Shahn conducted 1965 October 3, by Harlan Phillips, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Ben Shahn, 1968 September 27

Archives of American Art
Transcript: 35 pages

Interview of Ben Shahn conducted by Forrest Selvig for the Archives of American Art.

Oral history interview with Bernarda Bryson Shahn, 1983 April 29

Archives of American Art
Transcript: 37 pages

An interview of Bernarda Bryson conducted 1983 April 29, by Liza Kirwin, for the Archives of American Art.

Bryson speaks of her family background and education; writing for the Ohio State Journal; teaching etching and lithography; meeting Diego Rivera and Ben Shahn; the formation of the Unemployed Artists Group and her role as secretary, 1933; the Gibson Committee, the John Reed Club, and the Artists' Union in New York City; founding Art Front magazine; pressure from the Communist Party; demonstrating at the Whitney Museum of American Art, 1934; lithography under Adrian Dornbush; assisting Ben Shahn; her work as an illustrator; and her painting since 1971.

Oral history interview with David Shaner, 2001 June 17

Archives of American Art
Transcript: 34 pages.

An interview of David Shaner conducted 2001 June 17, by Gerald Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Shaner's home in Bigfork, Montana.

Shaner speaks of his childhood in Pennsylvania and his parents background as pre-Revolutionary German-Swiss immigrants; his love of gardening; travels to the southwest United States, as well as Mexico and Peru; the appeal of the teapot; the spiritual aspect of making a bowl; how American craft has changed during his lifetime; his work at the Archie Bray Foundation; his education and his own teaching experiences; his "Saturday job" with Robert Turner; periodicals and their impact on the American craft movement; the calming effect of classical music while he worked; the construction of his studio space and equipment; the enthusiasm his family has for pottery and the arts in general; his involvement in the environmental movement and membership to the Sierra Club; his political views; the simplicity of his work; his opinion of writing in the field of pottery; his views on technology, especially within the field of pottery; his first one-man show; his opinion of other artists, especially those who are not "ordinary"; being diagnosed with Lou Gehrig's disease and its impact upon him; and the last few pieces he did before closing his studio. Shaner also recalls Kenneth Ferguson, Daniel Rhodes, John Wood, Peter Voulkos, Val Cushing, Ted Randall, Charles Harder and others.

Oral history interview with Joel Shapiro, 1988 July 15-December 14

Archives of American Art
Transcript: 96 pages.

An interview of Joel Shapiro conducted 1988 July 15-December 14, by Lewis Kachur, at the artist's home/studio in Westport, N.Y., for the Archives of American Art.

Shapiro recalls his childhood in Queens, early plans for medical school, and a Peace Corps stint in India. He describes the New York art scene in the 1960s, including his own study at New York University. Shapiro relates the development of his work and showing at the Paula Cooper Gallery.

Oral history interview with Richard Shaw, 2015 November 20

Archives of American Art
3 sound files (2 hrs.,12 min.) digital, wav

Transcript: 69 pages.

An interview of Richard Shaw, conducted 2015 November 20, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Shaw's home and studio in Fairfax, California.

Oral history interview with Jim Shaw, 2016 February 23-March 17

Archives of American Art
13 sound files (4 hrs., 16 min.) digital, wav

Transcript: 95 pages.

An interview with Jim Shaw conducted 2016 February 23-March 17, by Hunter Drohojowska-Philp, for the Archives of American Art, at Shaw's studio in Altadena, California.

Oral history interview with Charles Sheeler, 1959 June 18

Archives of American Art
Transcript: 60 pages.

An interview of Charles Sheeler conducted by Martin L. Friedman on 1959 June 18 for the Archives of American Art.

Oral history interview with Nan Sheets, 1964 June 4

Archives of American Art
Transcript: 37 pages.

An interview of Nan Sheets conducted 1964 June 4, by Richard Doud for the Archives of American Art.

Oral history interview with Millard Sheets, 1986 October-1988 July

Archives of American Art
Transcript: 167 pages.

An interview with Millard Sheets conducted 1986 October-1988 July, by Paul Karlstrom, for the Archives of American Art.

Sheets speaks of his childhood and early education; attending Chouinard Art Institute and being influenced by instructor F. Tolles Chamberlin; teaching at Scripps College Foundation of Art from 1931 to 1955; the beginnings of the California Watercolor Society; his painting career; his thoughts on Southern California Modernism; the growth and development of California art; artists including Lorser Feitelson and Rico Lebrun; designing forty buildings for Howard Ahmanson from the 1950s through the 1970s; his relationships with art critics; his involvement with architecture and design; and his philosophy as an art teacher. He recalls Theodore Modra and Dalzell Hatfield.

Oral history interview with Helen Z. Shirk, 2012 July 29

Archives of American Art
Transcript: 84 pages.

An interview of Helen Z. Shirk conducted 2012 July 29, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Shirk's home and studio, in La Mesa, California.

Oral history interview with Eugenie Shonnard, 1964 February 27-1964 April 9

Archives of American Art
Sound recordings: 2 sound tape reels ; 7 in.

Transcript: 22 pages.

An interview of Eugenie Shonnard conducted 1964 February 27-1964 April 9, by Sylvia Loomis, 9 for the Archives of American Art's New Deal and the Arts Oral History Project.

Oral history interview with Will Shuster, 1964 July 30

Archives of American Art
Transcript: 31 pages.

An interview of Will Shuster conducted July 30, 1964, by Sylvia Loomis in Santa Fe, N.M., for the Archives of American Art.

Shuster tells of contracting tuberculosis as a soldier in WWI and moving to New Mexico to recuperate. He describes the artistic activity of Santa Fe and his involvement in the federal art projects, including painting scenes of Carlsbad Caverns. He recounts his role in developing and continuing the Santa Fe tradition of Zozobra, an effigy figure of gloom burned at the beginning of winter celebrations and once featured as an award-winning float in the Rose Bowl parade.

Oral history interview with Manny Silverman, 2004 December 10-11

Archives of American Art
Transcript: 47 pages.

An interview of Manny Silverman conducted 2004 December 10-11, by Ann Ayres, for the Archives of American Art, in Los Angeles, California.

Silverman discusses his Russo-Jewish parents and his childhood as an only child in Los Angeles; working as a social worker before starting at the Ernest Raboff Gallery as a research assistant; starting Art Services with Jerry Solomon; opening his own gallery on La Cienega Boulevard; his LA dealer contemporaries; moving his gallery to Almont Drive; Maurice Tuchman's exhibitions at LACMA; the critic's denigration of younger Abstract Expressionists; and ideas on how artists are influenced by other artists. Silverman also mentions the political aspects of museums; his tastes in assemblage artworks; becoming involved in the Ray Johnson estate and how he handles the estates of the deceased artists he displays; his belief in the precedence of the artist's creation, not the ideas leading to the work; his anti-intellectual view of his profession; the positives and negatives of running a gallery with a narrow focus on Abstract Expressionism; the importance of classical art training, even for unconventional artists; the painting habits of certain Abstract Expressionists; Sam Francis's poster for George McGovern's 1972 presidential campaign; his thoughts on various LA-based curators; the role of his wife in his gallery; his perceived overemphasis on the 1960s LA art scene; and society's values in regards to artwork. Silverman also recalls Paul Schimmel, Paul McCarthy, Rudi Gernreich, Philip Guston, Edward Dugmore, Klaus Kurtess, Paul Kantor, Joan Mitchell, Nicholas Wilder, Gerhard Richter, David Stuart, Shaun Regan, Al Ruppersberg, Russell Ferguson, and others.

Oral history interview with Philip Simmons, 2001 April 4-5

Archives of American Art
Transcript: 30 pages

An interview of Philip Simmons conducted 2001 April 4-5, by Mary Douglas, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Simmons' home and workshop, Charleston, South Carolina.

Simmons speaks of his childhood and early education; jobs shining shoes and delivering papers at age 8; also at age 8, working as an apprentice to Peter Simmons in his blacksmith shop on Calhoun Street; Philip Simmons's attraction to blacksmithing and the action of the shop; being hired by Peter Simmons at age 13 in the blacksmith's shop where he has worked for 79 years. He also describes his apprenticeship and talks about blacksmithing as an ongoing learning experience; the necessity of adapting skills to an evolving market, from making wagons and horse shoes to ornamental iron work, and equipment for cargo shipments; the affect of the economic boom after World War II; drawing inspiration from nature and "God's creations in Charleston" for design ideas; working with wrought iron, mild steel, brass, and lead; making his own tools; craft as a representation of the past; giving demonstrations at the Smithsonian's Folklife Festival in Washington, D.C. in 1976 and 1977 (through John Vlach's invitation) and a gate he made at the festival that was purchased by the Smithsonian and featured in Southern Living; his 1982 lunch with Ronald Reagan on the occasion of receiving a National Folk Award; meeting other blacksmiths through the Southeastern Regional Blacksmith Conference; the public's understanding and reception of blacksmithing; recognition, awards, and publicity for his work; involvement with craft educational programs at schools, museums, and churches; the function of the Philip Simmons Foundation; blacksmithing in Charleston as a national tourist attraction; the relationship of farming and blacksmithing by slaves to his own blacksmithing; the impact of travel on his work; working with Ira DeKoven; his interest in preserving traditions; corporate versus private commissions; the importance of mechanical drawing skills; preserving old piece, salvage work; his retirement because of arthritis; current interest in sketching and drawing; family life with his wife and three children; and his involvement with the community.
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