Found 74,715 Resources

Transcript: 99 pages.

An interview of Michael Spafford and Elizabeth Sandvig conducted 1992 September 2-4, by Paul Karlstrom, at their home in Seattle, Washington, for the Archives of American Art. Spafford and Sandvig discuss their marriage and their separate careers, and the controversy and trial resulting from Spafford's "Labors of Hercules" murals at the Washington State Capital Assembly Chamber in Olympia.

Trancript: 63 pages

An interview of Ira Spanierman conducted June 6-12, by James McElhinney, for the Archives of American Art, in the Spanierman Gallery, New York, New York. Spanierman speaks of growing up and living in New York City his whole life; the influence of working in his father's antique store; studying English at Syracuse University; how he got involved in the art business; becoming an auctioneer at Savoy Gallery working with silver and arms and armor; his collecting preferences; the influence of the Internet and technology; changes in the art market among buyers and collectors; the development and growth of art auctions; opening his first gallery and what kind of art he showed; interest in dealing 19th and 20th century American art; the kind of clientele he attracted; the Spanierman Gallery catalogues and publication program; publishing and distributing the catalogue raisonné; working and collaborating with other institutions like the Cooper-Hewitt; working with a panel of scholars to identify work that was fraud; the various kinds of collectors he has dealt with in the past and what kind of collectors he prefers to work with; opening a contemporary and modern wing to the gallery and the motivation behind that; relationships with artists; exhibiting members of the Ashcan School, the Ten, and the Hudson River School; trying to find artists that have been overlooked in the past and promoting a re-emergence of these figures and their work; a number of mentors in his life including Abe Adler and Roy Leroy; advice for younger collectors; what he sees in the future for the art market; a shift in privately owned art being turned over to museums; the educational aspect of his gallery; future goals of his gallery; the role of the museum today; what he has contributed to the art world; and how he would like to be remembered and thought of in the future. Spanierman also recalls Peter Wilson, Gene Thaw, Lloyd Goodrich, Abigail Gerds, Peter Poskas, Hans Heinrich, Daniel Terra, Jack Warner, Diane and Bruce Halles, Daniel and Rita Fraad, Barbara Newington, Robert Noortman, Ian Woodner, Barbara Novak, Roy Leroy, Abraham Adler, Norman Hirsch and others.

Transcript: 42 pages

Interview of Elizabeth Sparhawk-Jones conducted 1964 April 26, by Ruth Gurin (Bowman), when Gurin was Curator of the Collection at New York University.

Sound recording: 3 sound files (1 hr., 59 min.) digital, wav

Transcript: 55 pages

Interview of Victor D. Spark, conducted August 5, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution, at Spark's New York City apartment.

Spark speaks of his early schooling at Townsend Harris Hall and NYU; his experience in the Marine Corps during World War II; working in his father's hotel business; the economic difficulties for art dealers during the Great Depression; apprenticing in galleries and working as a small art dealer; changes in the mid-century American art market; the differences between the art market for modern and contemporary art and that of older art. Spark also recalls Maxim Karolik, Edith Halpert, the gallerists Duveen, Knoedler, Wildenstein, and others.

2 sound cassettes (1 hr., 23 min.): analog.

Transcript: 41 pages.

An interview of John Spencer conducted 1994 September 1, by Paul J. Karlstrom, for the Archives of American Art.

Spencer discusses his work assisting Dean Cornwell on the Los Angeles Central Library murals between 1927-1933; his subsequent relationship with Cornwell; and his experience as a young artist in Southern California in the 1930s.

Transcript: 81 pages.

An interview of Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, for the Archives of American Art, at the artist's home and studio, in New York, N.Y.

Transcript: 75 pages.

An interview of Robert Sperry conducted 1983 August 11, by LaMar Harrington, for the Archives of American Art's Northwest Oral History Project.

Sperry speaks of his family background; his army service; his education; his early career in ceramics; the Oriental influence in his work; folk art; his contemporaries in ceramics; and his current plans. He recalls Peter Voulkos.

Transcript: 32 pages.

An interview of Darthea Speyer conducted 1976 June 28, by Paul Cummings, for the Archives of American Art, in her garden, in Paris, France .

Transcript: 58 pages.

An interview of Max Spivak conducted circa 1963, by Harlan Phillips, for the Archives of American Art.

Spivak speaks of how he went from being an accountant to doing art; moving to Paris for three years, and how this experience changed his life; the difference between painting in Europe and painting in America; moving back to New York; why he decided to leave Paris and move back to New York; the importance of intuitive feeling; his involvement with the Gibson Committee; how he and some members of the Gibson Committee thought of the WPA; his experiences with the PWAP at the Whitney Museum; picketing outside the Mirror; his and the other artists experiences with the Project; the development of the Artist Congress; the nature of art; his work on mosaic murals; how art started losing support from the government by the late thirties; doing murals for big companies; the waning moments of the Project. He recalls Arshile Gorky, Holger Cahill, Audrey McMahon, Lee Krasner, Harold Rosenberg, Harry Knight, Lou Block, and others.

Transcript: 120 pages.

An interview of Clay Spohn conducted 1964 October 5 and 1965 September 25, by Harlan Phillips for the Archives of American Art.

Transcript: 84 pages.

An interview of Clay E. Spohn conducted 1976 January 9-February 5, by Paul Cummings, for the Archives of American Art.

Transcript: 92 pages.

A group interview with members of the board of the Spokane Art Center, including Gladys Guilbert, Mrs. Henry Irving, Erna Bert Nelson, Florence Reed, and Elsa Weaver, conducted on 1965 November 18, by Dorothy Bestor, for the Archives of American Art, at the home of Mrs. Truman Reed, in Spokane, Washington.

Transcript: 34 pages.

An interview of Hebe Daum Stackpole and Jack Moxom conducted 1965 January 9, by Mary McChesney, in Oakland, California, for the Archives of American Art New Deal and the Arts project.

Transcript: 64 pages.

An interview of Paul Stankard conducted 2006 June 9 and August 20, by Doug Heller, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Heller Gallery, in New York, N.Y.

Stankard speaks of his family heritage and growing up in rural Massachusetts; attending Catholic school in North Attelboro, Massachusetts; his struggle with undiagnosed dyslexia throughout school; studying scientific glassblowing at Salem County Vocational Technical Institute; working in the scientific glass industry and feeling creatively stifled by its monotony; being intrigued by the flameworking of Charles Kaziun and Francis Whittemore, who both worked from the scientific glassblowing tradition; the satisfaction he felt from early experiments in making paperweights; the decision to leave his industry job to focus on flameworking and paperweight making; the secretive nature of the paperweight world; his early representation by paperweight dealers including Jack Feingold; experiences with Heller Gallery and Habatat Gallery; teaching experiences at Penland School of Crafts, Pilchuck Glass School, and Salem Community College; travels to Singapore, Japan, and Scotland; his involvement as a founding member of Creative Glass Center of America; his induction into the American Craft Council College of Fellows; the differences between the studio glass and paperweight fields in the 1960s and 1970s; working with his three daughters at Stankard Studio; the spirituality of his work; being influenced by Walt Whitman, Morris Graves, Robert Grant, and Edward Hopper; and being an enthused art collector. Stankard also recalls Harvey Littleton, Dominic Labino, Reese Paley, Mark Peiser, Erwin Eisch, Paul Hollister, Tom Patti, and others.

Transcript: 24 pages.

An interview of Richard Stankiewicz conducted by Richard Brown Baker in 1963 for the Archives of American Art, regarding the Hansa Gallery.

Transcript: 48 pages.

An interview of Richard Stankiewicz conducted 1979 June 26, by Robert Brown, for the Archives of American Art.

Stankiewicz speaks of his life since the Archives last interviewed him in the mid-sixties; joining the Zabriskie Gallery; the Loft Living Program and his struggles with city officials; the beginning of the respectability of modern art in America; deciding to leave New York City and move to Massachusetts; accepting a teaching position at the University of Albany; his ambivalence about teaching; his comments on photographs being shown to him of his art work over the years; how his ideas develop; how he doesn't mix his politics and art; an exhibition he did in Australia; and what he is working on right now. He recalls Hans Hofmann, Fairfield Porter, Virginia Zabriskie, Sam Kootz, David Smith, Julio Gonzales, Fernand Léger, and many others.

Transcript: 12 pages.

An interview of Edward Stanley conducted 1965 July 27, by Richard Doud for the Archives of American Art New Deal and the Arts Project.

Transcript: 38 pages.

An interview of Jack Stauffacher conducted 1993 February 8, by Paul Karlstrom, for the Archives of American Art.

Stauffacher speaks of his childhood in San Mateo, California and his early interest in printing; his collaboration with his older brother, Frank, a filmmaker, and his contacts through him with other experimental filmmakers including Man Ray and Oskar Fischinger; his developing interest in post-war modernism; and his connection with avant-garde group around "Circle Magazine" in Berkeley which included Henry Miller, Kenneth Rexroth, among others.

He recounts his friendships with Sibyl Moholy-Nagy, Sam Francis, Hassel Smith, and Gordon Cook; his army experience and meeting Lee Mullican; the founding of the Dynaton with Wolfgang Paalen and Gordon Onslow-Ford; the preparation and printing of the Dynaton Catalog at Greenwood Press; the 1951 film of the exhibition by his brother; the changes and breakup of Dynaton; working on artists' books such as Francis' Lapis Press; and his interest in the history of type and its connections to the classical tradition in Greenwood's printing of Phaedrus, 1976 and Horace, 1992.

Transcript: 44 pages.

An interview of Michael St. Clair conducted 1994 March 14- 1994 April 28, by Gail Stavitsky and John Driscoll, for the Archives of American Art.

St. Clair briefly discusses his art training at the Kansas City Institute of Art and at the Art Students League and compares the teaching styles of Thomas Hart Benton and George Grosz. He talks about his work as the director of the Oklahoma (City) Art Center and designing window displays for Macy's and other department stores in New York City. Finally, he reviews his career at Babcock Galleries, focusing his discussion on his acquisition of the work of Marsden Hartley, Childe Hassam, John Kensett, and Thomas Eakins, among others.

Transcript 92 pages

An interview of Pat Steir conducted 2008 March 1-2, by Judith Olch Richards, for the Archives of American Art, at Steir's home, in New York, N.Y.

Steir speaks of her parents' history and various occupations; her Russian Jewish background; her early desire to become a poet or artist; the lack of encouragement from both her parents; memories of earlier interactions with a number of influential figures; rejecting a scholarship offer to go to Smith College for a scholarship to study art at Pratt Institute; studying art at Boston University; illustrating for Harper & Row; her experiences and reflections as a female artist struggling to get recognition equal to that of her male counterparts; teaching at Parsons School of Design; living in Pasadena, California and teaching at CalArts; traveling to Europe, China, Japan, and India; opening a studio in Amsterdam; her involvement with the feminist movement; working as an editor at Semiotext magazine and how that launched her into starting a private company called Printed Matter, designing books; traveling to the Southwest and the influence of the Navajo culture on her work; her relationships with various performing artists; her interns and teaching; how she got involved with printmaking; her preference for oil-based paints rather than acrylic; printmaking as a major art form; how her relationship with dealers changed over time; how her work was seen and promoted in Europe; exhibiting at Paley & Lowe; working with large canvases; her interest in reacquiring her sold works; influences from Japonism, Impressionism, Modernism, and Postmodernism; the influence of Chinese and Japanese art, process, and technique; the significance of her Brueghel paintings; her artistic process and techniques; her interest in the romance of art history; almost giving up painting; working with Cheim & Read; her current exhibition at the Ochi Gallery in Idaho; the future of her work; the struggle for women to gain critical attention in the art world; the fusion of the art world and fashion; and her love and zeal for fashion. Steir also recalls Agnes Martin, Mark Rothko, Dick Solomon, Joan Mitchell, Brigitte Cornand, Louise Bourgeois, Lucy Lippard, Flora Biddle, Willem de Kooning, Marcia Tucker, Joan Snyder, Miriam Schapiro, and others.

Sound recording: 10 sound files (6 hr., 54 min.) digital, wav

Transcript: 100 pages

Interview of John Walter Stephan, conducted by Robert F. Brown for the Archives of American Art, at Newport, Rhode Island, on May 20, 1986 and May 7, 1987.

Stephan speaks of Chicago childhood and adolescence; life during the Depression; the Art Institute of Chicago; the 1930s Chicago leftist movement; the WPA and PWAP; The Tiger's Eye art magazine; Rome artistic and literary society; the New York School of artists; Betty Parsons Gallery; the Surrealists; teaching at Fairleigh Dickenson University; Hunter College; and his critiques of Pop and contemporary artists. Stephan also recalls Ruth Walgreen, Dart Stephan, Rainey Bennett, Clyfford Still, Juan de Diego, Caleb Harrison, Aaron Bohrod, Dudley Crafts Watson, Jack Jones, George Constant, Connie Moran, CJ Bulliet, Rudolph Weisenborn, Inez Cunningham, Eva Watson-Schütze, Jesus Torres, Edgar Miller, Katherine Kuh, Increase Robinson, Peterpaul Ott, Mitchell Siporin, Raymond Breinin, Holger Cahill, John Fabian, Eddie Millman, Winn Nathanson, Fairfield Porter, Norman MacLeish, Ossip Zadkine, Betty Parsons, Alfonso Ossorio, Max Ernst, Julien Levy, Peggy Guggenheim, Bill de Kooning, Mark Rothko, Franz Kline, Barney Newman, Nicolas Calas, Bob Motherwell, Monroe Wheeler, Myra Shapiro, Clement Greenberg, Harold Rosenberg, Alfred Knopf, Robert Flaherty, Jaime Sebartés, Frederick Kiesler, Robert Matta, Mario Praz, Bill Denby, Ben Johnson, Milton Gendel, Walter Auerbach, Jerry Wilhelm, Eugene Goossens, and others.

Transcript 70 pages.

An interview of Harry Sternberg, conducted 1999 March 19-2000 January 7, by Sally Yard, for the Archives of American Art, in Sternberg's studio and nearby restaurant in Escandido, California.

Sternberg discusses his early life in New York, his studio, teaching and the WPA in NYC in the 1930s, including artists' camaraderie and causes. He remembers his childhood and youth; he speaks about his religion and culture. Robert Hoehn also participated in the interview.

During a discussion about printmaking, Sternberg recalled a Martin Schongauer print and the first meeting with Bob Hoehn at the San Diego Museum of Art. He talks about the nature of doing prints and the dialogue with and challenge of the medium. In this context he mentions printer Will Barnet. Among his early exhibition activity, Sternberg recalls his first gallery exhibition at the Weyhe Gallery in NYC, his first review, which was in New Yorker, and his first museum exhibition at the Whitney Museum of American Art.

Transcript: 27 pages.

An interview of Hedda Sterne conducted 1981 December 17, by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Sterne remembers Mark Rothko's personality and relations with other artists. She recalls her involvement with a roundtable discussion in 1950, and describes seeing Rothko shortly before his death. Sterne goes on to speak about her childhood in Romania, art education in Paris and Vienna, and emigration to America in 1941. She describes the New York gallery scene of the 1940s and 1950s, the evolution of her work through the years, and her painting habits. She recalls Peggy Guggenheim, Clyfford Still, Milton Avery, Ad Reinhardt, Barney Newman, Clement Greenberg, and others.

Transcript: 52 pages.

An interview of Bob Stocksdale conducted 2001 February 16-March 21, by Signe Mayfield, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Berkeley, California.

Stocksdale speaks of his childhood growing up on a rural farm and learning from watching and experiencing; his early education in a one room schoolhouse; how he learned to whittle as a child; buying his first lathe for twenty-seven dollars and fifty cents; his job at a furniture factory called Caswell Runyan Factory; life through the depression; joining the Conscientious Objector's camp during World War II; working for the Civilian [Citizen's] Conservation Corps; his acquaintance with Helen Weinnemore, the director of Winnemore's Arts and Crafts in Columbus, Ohio; how he received wood while in the CO camp; his visits to museums in the city; his trend of signing and dating his bowls; becoming a member of the International Wood Collector's Society; developing tools with Jerry Glaser; two stores he sold items at, Gump's in San Francisco and Fraser's in Berkeley; different collectors including Bob Anderson, who he considers a legend; his exhibitions and how they have evolved; his travels to England with Kay his wife; the difficulty in establishing a price for his bowls; the change in American craft throughout his lifetime; the many types of wood he uses, which come from all over the world; the importance of wood as a means of expression; his first date with Kay and her influence upon his work; different curators he's worked with; the pieces he has within his home; and his current exhibition Bob Stocksdale: Eighty-Eight Turnings at the Museum of Craft and Folk Art in San Francisco. Stocksdale also recalls Fran McKinnon, Forrest Merrill, Walker Weed, David Pye, James Prestini, David Ellsworth, Art Carpenter, Griff Okie, and others.