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Oral history interview with George Tsutakawa, 1983 September 8-19

Archives of American Art
Transcript: 119 pages

An interview of George Tsutakawa conducted 1983 September 8-19, by Martha Kingsbury, for the Archives of American Art's Northwest Oral History Project, in Seattle, Washington.

Tsutakawa speaks of his youth in Japan and Seattle, and the importance of a bicultural family and education on his development; the influence of European art magazines and American movies in Japan; family members who were influential; his early sculpture; Alexander Archipenko; the Asian art community in Seattle; teaching at the University of Washington School of Architecture; Bauhaus philosophy; the Seattle Public Library fountain; his World War II experiences; art and World's Fairs; fountains he has sculpted and his feelings about them; and permanency in art.

Oral history interview with Marcia Tucker, 1978 August 11-September 8

Archives of American Art
Transcript: 218 pages.

An interview of Marcia Tucker conducted 1978 August 11-September 8, by Paul Cummings, for the Archives of American Art.

Ms. Tucker speaks of many aspects of her life. She starts with the incredible poverty she has experienced at times as a young girl and a married woman. She recalls her work with women's organizations and tells us she was in at the start of the women's movement in the USA. She talks about the people she has met, her time in France, her work as a curator at the Whitney and starting the New Museum.

Oral history interview with Rexford Tugwell, 1965 January 21

Archives of American Art
Transcript: 28 pages

An interview of Rexford Tugwell conducted 1965 January 21, by Richard Doud, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Robert Turner, 2001 June 11

Archives of American Art
Transcript: 48 pages.

An interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smithsonian Productions, in Washington, D.C.

Turner speaks of his childhood in Brooklyn, N.Y.; his father's business, Turner Concrete (now called Turner Construction); drawing classes; attending the George School for a post-graduate year before attending Swarthmore College, where his major was economics; the importance of Quakerism in his life and work; traveling throughout Europe and the Southwestern United States; his marriage to Sue, their trip to Europe during the outbreak of World War II and the difficulty of coming home to America; his involvement in war activities as a conscientious objector; the transition after the war ended into a "different reality"; visiting the different schools of craft, including Penland, Alfred, and Haystack; attending Alfred University, the teachers and students there during his years there; his relationships with other students, such as Ted Randall and Bill Schickel; teaching at Black Mountain College immediately after his graduation from Alfred; his admiration of Marguerite Wildenhain; his involvement in the first Super Mud phenomenon in 1966; how African culture fits into his work; the collaborative effort at Penland; the establishment of the National Council on Education for the Ceramic Arts (NCECA), and his experience as the third president of the group; his "retirement" since 1979; the types of materials he uses; the awards he has received; galleries and exhibitions in which he has exhibited; and recollections of Bill Brown, founder of the Penland School of Crafts. Turner also recalls Josie Adams, Charles Harder, Kurt Ekdahl, Marion Fosdick, Bill Pitney, Jessie Shefrin, and others.

Oral history interview with Richard Tuttle, 2016 November 14-17

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

Transcript: 59 pages.

An interview with Richard Tuttle conducted 2016 November 14 and 17, by James McElhinney, for the Archives of American Art, at Tuttle's home in New York, New York.

Tuttle recalls early memories at the Metropolitan Museum of Art; his mother's influence; family background from Pennsylvania, and Celtic ancestry; discussion of Calvinism; philosophies of art schools; discussion of Japanese language, literature and philosophy; designing book covers for Graham Greene; joining the air force and being honorably discharged; friendship with Agnes Martin; observations about the landscapes and geology of New Mexico and the Lascaux caves; thoughts on Humboldt and other German philosophers, Husserl, Philipp Otto Runge, and others; Travel in Peru, and his recent exhibitions in Lima, Peru; discussion of religion, art, senses; discussion of philosophy: Epicurus, Lucretius. Tuttle speaks of his childhood; he describes his siblings and his brother serving in the Vietnam War; discussion of creativity, education and difficulty with teachers, and being a creative child; influence of his grandparents; influence of religion and German background; teachers and relationship to his childhood schools; discussion of the 2016 elections and comparison to Republican Rome and Julius Caesar; engagement in theater, and writing at Trinity College in Hartford, Connecticut; influence of Sam Wagstaff; Interest in Allan Kaprow; comparing Picasso and Matisse; discussion of the cultural history of Hartford; visiting New York City in high school and college and the encouragement of his high school teacher; early artworks and creation of Paper Cubes; briefly attending Cooper Union; working in the library at the Cooper Hewitt Museum; discussion of Beat poetry and Abstract Expressionism; discussion of Betty Parsons and speaking about the "invisible" in art; thoughts about color and eidos in respect to Gaugin; working at Parsons; the importance of Ad Reinhardt's work; discussion of Romanticism. Tuttle also recalls Betty Parsons, Agnes Martin, Mark Rothko, Sam Wagstaff, A. Everett Austin, Herbert Vogel, Allen Ginsberg and others.

Oral history interview with Jack Tworkov, 1981 May 22

Archives of American Art
Transcript: 15 pages

An interview of Jack Tworkov conducted 1981 May 22, by Gerald Silk, for the Archives of American Art's Mark Rothko and His Times oral history project.

Tworkov speaks of his acquaintance with Mark Rothko, which grew closer just before Rothko's death, and he recounts running into him in the street the day of Rothko's death. He discusses the merit of the work of Barnett Newman and Newman's role among that group of artists. Tworkov finishes with a discussion of his own work and current trends in art.

Oral history interview with William Underhill, 2002 June 8

Archives of American Art
Transcript: 41 pages.

An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.

Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.

Oral history interview with John Vachon, 1964 April 28

Archives of American Art
Transcript: 18 pages.

An interview of John Vachon conducted 1964 April 28, by Richard Doud, for the Archives of American Art.

Vachon speaks of how he started on the Farm Security Administration project; getting started as an FSA photographer; helping to organize the photograph file; early assignments as a photographer; the influence of Walker Evans; making decisions about the subject matter of the photographs; the growth of the FSA project; the difference between being a photographer for LOOK magazine and for the FSA; his philosophy of photography; and his most memorable experiences with the FSA. He recalls Roy Stryker.

Oral history interview with Mary Van Cline, 2009 December 6-2010 March 30

Archives of American Art
Audio: 4 sound files (2 hr., 41 min.) digital, wav

Transcript: 48 pages

An interview of Mary Van Cline conducted 2009 December 6 and 2010 March 30, by Patricia Grieve Watkinson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Van Cline's home, in Seattle, Washington.

Van Cline discusses growing up in with a musician father, in an independent-minded family in Texas; undergraduate and graduates studies in design, architecture, fine art and ceramics at North Texas State University in Denton; her first job out of college as an artist-in-residence with the city of Dallas; her introduction to glass at Penland School of Crafts, Penland, NC; graduate studies in glass at the Massachusetts College of Art, Boston; beginning to combine photography and glass, including working with Kodak; her gravitation toward representational art, narrative, and the passage of time as a significant theme in her work; working at the Wheaton glass/factory art center in Millville, New Jersey, at the inception of the program; working in New York City at the New York Experimental Glass Workshop; arriving at Pilchuck Glass School, Stanwood, Washington; her visual/thematic use of individual in a landscape; her international travels, including her trip to Japan on a National Endowment for the Arts grant; the influence of Butoh dance on her work; installation work; pedestal pieces from the 1990s; Listening Point, 1993; work focusing on life-size human figure; working with glass when the studio glass movement was in its infancy, and her invention of techniques and method, including photo-sensitive glass; working with DuPont Co.; the sense of visual simplicity and serenity in her work; her choice to concentrate on a career as a studio artist rather than on teaching; relationships with galleries, collectors, and the art world; the importance of family support. Van Cline also recalls William Morris, Dan Dailey, Karen Chambers, Stanislav Labinský and Jaroslava Brychtová, Dale Chihuly, and Dan Klein.

Oral history interview with Marguerite Van Cook, 2016 September 19-21

Archives of American Art
5 sound files (5 hrs., 55 min.) digital, wav

Transcript: 87 pages.

An interview with Marguerite Van Cook, conducted 2016 September 19 and 21, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at the Visual AIDS office in New York, New York.

Interview with Marguerite Van Cook, conducted by Alex Fialho for the Archives of American Art, at the Visual AIDS office in New York, New York on September 19 and 21, 2016. Van Cook speaks of her childhood in Portsmouth, England and summers in France; early exposure to the arts; early sexual experiences; moving to Newcastle and forming the punk band The Innocents; moving to New York with the band; curating shows and installations and starting Ground Zero Gallery with her husband James Romberger; the devastation of the AIDS crisis on her East Village social milieu; advocating for HIV-positive homeless people; her body of visual and audiovisual artwork; raising her child during the AIDS crisis; being diagnosed, along with with Romberger, with meningitis and HIV in the mid-1990s; her current work as a doctoral candidate in French literature; her body of work as a writer; her experience of long-term HIV survivorship; and her reflections on living with HIV as a woman. Van Cook also recalls Edward Brennan, Martin Botha, Sarah Hall, Jamie Reid, Russ Meyer, Fiona Barry, Greg Van Cook, Martin Wong, Karen Finley, David Wojnarowicz, Michael Von Ofak, Luis Frangella, Keiko Bonk, Walter Robinson, Grace Borgenicht, Leonard Abrams, and others.

Oral history interview with Kathy Vargas, 1997 November 7-25

Archives of American Art
Transcript: 70 pages

An interview of Kathy Vargas conducted 1997 November 7-25, by Jacinto Quirarte, in San Antonio, Texas, for the Archives of American Art.

Oral history interview with Elayne H. Varian, 1975 May 2

Archives of American Art
2 sound file (2 hr., 5 min) : digital, wav file

Transcript: 53 p.

Interview of Elayne Varian, conducted by Paul Cummings for the Archives of American Art, at the Finch College Museum of Art, New York, NY, on May 2, 1975 and May 9, 1975.

Varian speaks of her education at the University of Chicago and the Chicago Bauhaus/IIT Institute of Design; working at Duveen's as an art dealer; teaching courses at Finch on museology; ways she found funding for the Finch College Museum of Art; and the exhibitions she organized at Finch, including Art and Process, Destruction Art, Art and Jewelry, Italian Visual Poetry, Art Nouveau, Documention, and Troubles in Ireland . Varian also recalls Edward Fowles; Brian O'Doherty; Robert Indiana; Robert Smithson; George Kuchar; Sol LeWitt; Ralph Ortiz; Walter Gutman; Les Levine, and others.

Oral history interview with Regina Vater, 2004 February 23-25

Archives of American Art
Transcript: 67 pages

An interview of Regina Vater conducted 2004 February 23-25, by Cary Cordova, for the Archives of American Art, in her home in Austin, Texas.

Vater speaks of her childhood in Copacabana, Ipanema, south of Rio de Janeiro; her father's career as a physician; her Basque, Portuguese, and Jewish heritage; her early education including early experiences with Greek philosophy; her parents' reaction to her desire to be an artist; her great-grandfather's translation of Virgil and Homer into Portuguese; her study abroad in France in 1972; her move to New York in the mid-1970s; her motivations for various works of art, including the series Gentle Solitude, Three Chinese Monkeys, Luxo Lixo, Electronic Nature, The Knots, Tina America, and "O Que e Arte?"; her Guggenheim fellowship in 1981; the 1976 Whitney Biennial; her marriage to video installation artist Bill Lundberg; her move to Austin, Tex.; her work with the Franklin Furnace Gallery and Flue magazine; her involvement with "cinema verité"; making films with Ruth Escobar; her travels in Buenos Aires, Argentina, Lima, Peru, Bolivia, and Colombia; her perception of the emotional differences between Latinos and Americans; her love of Brazilian culture; her own classification of her work and potential reasons for the lack of scholarship on her work; her activities as a curator including the 1984 show "Latin American Visual Thinking," at the Art Awareness Gallery in New York, N.Y.; difficulties with the Brazilian government in attempting to bring her film Green into that country; her love of poetry, especially concrete poetry; and the spirituality of her work. Vater also recalls Helio Oiticica, Lygia Clark, Frank Schaeffer, Antonio Diaz, Carlos Vergara, Rubens Gerschman, Mario Schemberg, Lucy Lippard, Augustos de Campos, John Cage, Joseph Beuys, Quentin Fiore, Tomasso Trinino, Bill Lundberg [the artist's husband], Leo Castelli, Dore Ashton, Nam June Paik, Charlotte Moorman, Sophie Calle, Nelson Pereira dos Santos, Ruth Escobar, Antonio Pitanga, Bobby Wilson, Sylvia Orozco, Bill Viola, Ana Mendieta, Martha Wilson, Catalina Parra, Liliana Porter, and others.

Oral history interview with Robert Vázquez-Pacheco, 2017 December 16-17

Archives of American Art
Audio: 8 sound files (6 hr., 59 min.) digital, wav

Transcript: 131 pages

An interview with Robert Vázquez-Pacheco conducted 2017 December 16 and 17, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at The New School, in New York, New York.

Vazquez-Pacheco speaks of his childhood in South Bronx housing projects; members and dynamics of his family growing up; experiences and discourses of religion, race, gender, sexuality, reading, and the arts as a child and adolescent; attending SUNY Oswego for one year; an existentially pivotal year in Miami in 1975; returning to New York in 1976, immersing himself in Latino gay culture, and being exposed to white gay culture; living in Hempstead, New York for two years with a boyfriend, and beginning to paint again; working at Chase Manhattan Bank and volunteering for the Gay Switchboard in New York City in the late '70s; the beginning of the AIDS epidemic; caring for his boyfriend, Jeff, who died of AIDS in 1986; the particular experience and effect of HIV on communities of color and low-income communities; mounting societal homophobia during the epidemic; leading Gay Circles, a gay men's consciousness-raising group, in the late '80s; his involvement in ACT UP, and burgeoning political consciousness, after Jeff's death; activism as a creative outlet; working at different times with the People With AIDS health group, the Anti-Violence Project, the Minority AIDS Taskforce, Latino Gay Men of New York, Minority AIDS Coalition in Philadelphia, and LLEGO in Washington; AIDS activism's failure to think intersectionally and build coalitions; his involvement in Gran Fury; becoming a more prolific writer, and getting involved with Other Countries, in the early '90s; Gran Fury's 2011 retrospective; the need for racial diversity and representation in activism and the art world; white flight from AIDS activism following the arrival of protease inhibitors; personal frustrations with the current AIDS activism discourse and nonprofit organizational complex, and the general cultural conversation about HIV/AIDS; contrasting representations of AIDS activism in How to Survive a Plague and BPM; and the essential role of art in AIDS activism. Vazquez-Pacheco also recalls Mark Simpson, Craig Metroka, David Kirschenbaum, Maxine Wolfe, Avram Finkelstein, Deb Levine, Charles King, Robert Garcia, Ortez Alderson, Derek Hodel, Gregg Bordowitz, Michael Callen, Carl George, Joey Walsh, Matt Foreman, Vito Russo, Larry Kramer, Tom Kalin, Marlene McCarty, Charles Rice-González, George Ayala, Essex Hemphill, Manolo Guzmán, Donald Moffett, Cladd Stevens, Richard Elovich, Loring McAlpin, Michael Nesline, Peter Staley, David France, Andrew Miller, and others.

Oral history interview with Anthony Velonis, 1965 October 13

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

Transcript: 38 p.

An interview of Anthony Velonis conducted 1965 October 13, by Harlan Phillips, in Hackensack, N.J., for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Bernar Venet, 1968 January 23

Archives of American Art
Transcript, in French: 18 pages

Transcript, in English: 17 pages

An interview of Bernar Venet conducted 1968 January 23 by Sevim Fesci, for the Archives of American Art.

Oral history interview with Tony Vevers, 1965 September 1

Archives of American Art
Transcript: 17 pages.

An interview of Tony Vevers conducted 1965 September 1, by Dorothy Seckler, for the Archives of American Art.

Oral history interview with Tony Vevers, 1998 July 9-August 25

Archives of American Art
Sound recording: 2 sound cassettes (2 hr., 49 min.) : analog.

Transcript: 58 pages

Interview of Tony Vevers, conducted on August 25, 1998, by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Provincetown, Massachusetts.

Vevers speaks of being sent by his parents to the United States in 1940; secondary schooling in Madison, Connecticut and at the Hotchkiss School, Lakeville, Connecticut (1944); serving in the U.S. Army infantry in Europe, 1944-1946; attending Yale University on the GI Bill and graduating with a BA in painting and drawing, 1950; further art training in Florence, Italy and at the Hans Hofmann School, NYC (1950-1953); his marriage to Elspeth Halvorsen, fellow artist, 1953; his studies in Italy; the unexciting nature of contemporary Italian art; contemporary art in Paris, where Picasso impressed him but work of Hans Hartung and (Marie Elena) Vieira da Silva did not; studying with Hans Hofmann; working at the non-profit City Center Gallery, which was designed to give younger artists exposure through juried exhibitions; and living in poverty in NYC and Provincetown until 1963. Vevers also recalls Tom Blagden, Alfred Stieglitz, Deane Keller, Rudolph Zallinger, Claes Oldenburg, Stephen Pace, Lawrence Calcagno, Hans Hofmann, Milton Avery, Adolph Gottlieb, Jack Levine, Franz Kline, Louise Nevelson, Max Weber, Richard Lippold, and others.

Oral history interview with Massimo Vignelli, 2011 June 6-7

Archives of American Art
Sound recording: 9 sound files (6 hr., 52 min.)

Transcript: 153 pages

An interview of Massimo Vignelli conducted 2011 June 6-7, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Vignelli's home and office, in New York, New York.

Vignelli speaks of his youth and early start in art design and architecture; his early work at Catiglione architects at the age of 16; his father; his education; meeting his favorite architects; his influences; architecture and design magazines; organic and rationalist architecture in Italy; influence of Ignazio Gardella; Adolf Loos' idea of spoon to the city; European, American, and Italian architecture; education in Milan; his work with Venini Glass; Italian design; his early graphic work; design and vulgarity; marriage and working with Lella Vignelli; graphic design work at the Container Corporation; concept of design as a whole; his work on corporate identities; his establishment of Vignelli Associates; introduction and use of Helvetica in the United States; working with Knoll; choosing clients; design and culture; his work on St. Peter's Lutheran Church; design work for the United States National Parks newspaper design and layout; Unimark; timelessness and design; working with Poltrona Frau, Zero Labor design; major influences; his work for the United States Postal Service; connectivity and context in architecture; his clothing designs and historical perspectives on clothing; postmodernism; his work on the New York Subway; design work before and after computers; Japanese architecture and design; his work as a teacher; Oliviero Toscani and working for Benetton; America and international design; modernism and the office building; modern design and furniture; a timeline of his career; the Vignelli Center at RIT and archiving. Vignelli also recalls, Le Corbusier, Mies van der Rohe, Giuseppe Terragni, Giuseppe Pagano, Domus, Gió Ponti, Metron, Bruno Zevi, Ignazio Gardella, Ray and Charles Eames, Giancarlo De Carlo, Venini Glass, Carlo Scarpa, Ralph Eckerstrom, Umberto Eco, Sansoni Publishing House, Vignelli Associates, Walter Kacik, Helvetica, Knoll, St. Peter's Lutheran Church, National Parks, New York Herald, Unimark, Lella Vignelli, Arnaldo Pomodoro, Poltrona Frau, Dieter Rams, Louis Kahn, Stendig Calendar, A to Z, Salon de Mobile, Michael Graves, Robert Venturi, Oliviero Toscani, Benetton, Herman Miller, Steelcase, and the Vignelli Center.

Oral history interview with Joseph Vogel, 1965 Jan. 5

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

Transcript: 46 p.

An interview of Joseph Vogel conducted 1965 Jan. 5, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with Ursula von Rydingsvard, 2011 November 16-17

Archives of American Art
Transcript: 150 pages

An interview of Ursula von Rydingsvard conducted 2011 November 16 and 17, by Judith Olch Richards, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at von Rydingsvard's studio, in Brooklyn, N.Y.

Oral history interview with Mark Voris, 1965 February 11

Archives of American Art
Transcript: 20 pages

An interview of Mark Voris conducted 1965 February 11, by Sylvia Loomis, for the Archives of American Art New Deal and the Arts Project.

This interview was conducted at the Art Gallery of University of Arizona in Tucson, Arizona.

Oral history interview with S. Morton Vose, 1986 July 24-1987 April 28

Archives of American Art
Transcript: 87 pages

An interview of S. Morton Vose conducted 1986 July 24-1987 April 28, by Robert F. Brown, for the Archives of American Art.

Vose speaks of the pervasive effect of his family's art gallery upon his life; studying languages at Harvard College; his affiliation with the gallery from 1927 on; the increasing emphasis on American painting during his career at the Vose Gallery, and the gradual de-emphasis on European work. He reminisces about some Vose Gallery clients, especially Maxim Karolik, and some art dealers; he discusses a traveling exhibition he was involved in; he speaks of the gallery's relations with prominent museum personnel, such as William Reinhold Valentiner and E.P. Richardson. Vose also discusses the pitfalls of appraising art collections, his father's last years, and the firm's move, and his recent work on a dictionary of American painters. He recalls William Morris Hunt, Thomas Robinson, Leopold Seyffert, Catherine Morris Wright, Maxim Karolik, Elizabeth Paxton, Paul Sample, John Whorf, Hermann Dudley Murphy, Winslow Homer, James Fitzgerald, Arthur Healey, and many others.

Oral history interview with Hudson Dean Walker, 1965 August 21

Archives of American Art
Transcript: 8 pages

An interview of Hudson D. Walker conducted by Dorothy Seckler on 1965 August 21 for the Archives of American Art.

Interview conducted in Provincetown, Massachusetts.
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