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Oral history interview with Nicholas Wilder, 1988 July 18

Archives of American Art
Transcript: 104 pages

An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.

Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.

Oral history interview with Kehinde Wiley, 2010 September 29

Archives of American Art
Transcript: 29 pages

An interview of Kehinde Wiley conducted 2010 September 29, by Anne Louise Bayly Berman, for the Archives of American Art, at Wiley's studio, in New York, N.Y.

Oral history interview with William T. Wiley, 1997 October 8-November 20

Archives of American Art
Transcript: 221 pages

An interview of William T. Wiley conducted 1997 October 8-November 20, by Paul J. Karlstrom, for the Archives of American Art, in Woodacre, California.

Wiley discusses the importance of the rural setting of his Marin County studio/home and his corresponding lifestyle to his world view and its reflection in his art. He describes his itinerant youth and experience at the San Francisco Art Institute, and his teaching years at UC Davis, which had attracted a faculty that included Robert Arenson and Wayne Thiebaud. Among the graduate students was Bruce Nauman, who he discusses in length and credited with influencing some of his own ideas at the time. He also acknowledges the influence of the assemblage movement through relationships with George Herms and Bruce Conner.

The final session addressed the communal nature of the Bay Area art scene and the differences between East and West Coast art worlds. The interview ends with a discussion of Wiley's iconography and motifs frequently encountered in his works and how their changing meaning are intended to encourage thoughts on visual and verbal complexities as reflections of shifting perception and experience.

Oral history interview with Neil Williams, 2014 June 5-6

Archives of American Art
5 sound files (4 hr., 9 min.) digital, wav

Transcript: 101 pages

An interview with Neil N. Williams conducted 2014 June 5-6, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project, at William's home and studio in Auburn, California.

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

Archives of American Art
Transcript: 99 pages

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

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

Oral history interview with Anne Wilson, 2012 July 6-7

Archives of American Art
Transcript: 98 pages.

An interview of Anne Wilson conducted 2012 July 6 and 7, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Wilson's home, in Evanston, Illinois.

Oral history interview with Charis Wilson, 1982 March 24

Archives of American Art
Transcript: 30 pages

An interview of Charis Wilson conducted by Mimi Luebermann for the Archives of American Art.

Oral history interview with Alice Winchester, 1993 September 17-1995 June 29

Archives of American Art
Sound recording: 3 sound cassettes (3 hrs., 46 min.) : analog.

Transcript: 72 p.

Interview of Alice Winchester, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution at Winchester's home in Danbury, CT, September 17, 1993-June 29, 1995.

Winchester speaks of her childhood in the family of a Congregational minister in New England; attending Smith College (BA 1929) as had her mother and sisters; her junior year abroad in France; her clerical employment in New York City; her position as office secretary and then associate editor of "The Magazine Antiques"; working with Homer Eaton Keyes, its founding editor; learning about antiques; meeting many dealers, curators, and collectors (1930-38); her early years as editor of "The Magazine Antiques"; expanding the scope of the magazine, particularly to include articles on folk art and regular features on outstanding public and private collections; her highly specialized, though small, staff, including Helen Comstock; her close associations with important New York dealers, such as Israel Sack and his sons, Harold and Albert, and members of the Ginsburg and Levy firm; her role in establishing the annual Antiques Forum at Colonial Williamsburg; the importance of steady travel to view collections and meet collectors and curators; her several books on antiques; and the wealthy collectors she met, including Electra Havemeyer Webb, of Shelburne, VT. Winchester also recalls Henry Francis Du Pont, Mr. and Mr. and Mrs. Henry Flynt, Marshall and "Petey" Davidson, and Joseph Downs.

Oral history interview with Robert Winokur, 2011 July 23-24

Archives of American Art
Sound recording: 7 sound files (5 hr., 35 min.)

Transcript: 159 pages

An interview of Robert Winokur conducted 2011 July 23 and 24, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.

Robert speaks of his mother earning an award for her artwork; his father and other family members being Communists and having to distance himself in being identified with them; his mother making ceramic jewelry while his father was working as a welder at Cramps Shipyard in Philadelphia during World War II; feeling like he had an attention deficit disorder of some kind, which prevented him from doing well in school, so he took ceramics classes in high school to bring his grades up; starting in painting at the Tyler School of Art, finishing in sculpture, clay, and ceramics; appreciating the Abstract Expressionist work of Franz Kline; of the opinion that one learns art by doing and that the teachers are there to direct you only; feeling that he did not have the freedom to experiment with clay as he wished at Alfred University, School of Art and Design for fear of being compared to Peter Voulkos; his first job teaching at North Texas State University in Denton, Texas; teaching in Peoria, Illinois for a year; beginning Cape Street Pottery in Ashfield, Massachusetts; when he began salt firing and working more in sculptural forms; his work influenced by Abstract Expressionism, Paul Klee, Willem de Kooning, Ignazio Giacometti, Zen master calligraphers, Peter Voulkos, and others; feeling that the computer cannot, as of yet, produce the quality of art that humans can through repetition; that the process of creating is more important than the subject; starting his 30-year teaching career at Tyler School of Art in 1966; that students today are approaching ceramics conceptually and academically rather than through a relationship with the material; the beginning of NCECA [National Council on Education for the Ceramic Arts]; and how he enjoys making what he wants to, now that he is retired. Robert also recalls Rudolf Staffel, John Wood, Ted Randall, Daniel Rhodes, Shoji Hamada, Marguerite Wildenhain, Ken Ferguson, Norm Schulman, Victor Babu, Myrna Minter, Don Reitz, Helen Drutt English, Richard Notkin, Dick Hay, Marge Levy, and Ken Vavrek.

Oral history interview with Paula Colton Winokur, 2011 July 21-22

Archives of American Art
Sound recording: 9 sound files (6 hr., 24 min.)

Transcript: 171 pages

An interview of Paula Colton Winokur conducted 2011 July 21-22, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.

Paula speaks of taking drawing and painting classes at the Graphic Sketch Club (now the Fleischer Art Memorial) in Philadelphia at age 11; her first experience handling clay at 13 or 14 when taking a class at the Philadelphia Museum of Art; when her family agreed to send her to college, providing she became a teacher, and she attended the Tyler School of Art at Temple University as a painting major; the influence of her teacher Rudolf Staffel in her sophomore year when she took a ceramics class and fell in love with working in clay; meeting her husband Robert Winokur when they were students at Tyler, getting married in 1958, eventually having two sons; glaze testing to find a palette of glazes to use; moving to Massachusetts and starting Cape Street Pottery for their production pottery; her involvement with NCECA [National Council on Education for the Ceramic Arts] and other professional organizations; when she began a 30-year teaching career at Beaver College in 1973 (more recently known as Arcadia University), building their ceramics department; changing from using stoneware to porcelain in 1970; making boxes and architectural forms; how she stopped making functional items when her first child was born and began creating the things she wanted to; the decision in 1982 to make landscapes and how geology, the Artic, and threats to the environment influence her work; the process she uses when creating texture; selling exclusively through the Helen Drutt Gallery beginning in 1973 until the gallery closed in 2011; the important influences in her work of artists such as Michael Heizer, Carl Andre, Richard Long, Richard Serra, Olafur Eliasson, and Steven De Staebler and others; the immense the geologic formations of Mesa Verde, the Rocky Mountains, Stonehenge, Alaska and Iceland are inspiring; various lecturing opportunities and exhibits through the years, as well as a working residency she took advantage of in Hungary in 1994; slowly moving away from glazes and instead using metallic sulfates for color; that her intention is to express the relationship between the internal part of herself and the external world for other people to experience and find something in common; the importance of a liberal arts education for art students; her gelatin and clay prints; the concern over collectors of clay art dying off and no new ones taking their places; that galleries are closing and Internet galleries are the norm; meeting photographer, Imogen Cunningham, and seeing her as a wonderful role model; and the feeling that the high cost of fuel and the invention of newer materials may end ceramic classes. Paula also recalls Lowell Nesbitt, Myrna Minter, Arlene Love, Dennis Leon, Boris Blai, Ted Randall, Val Cushing, Norm Schulman, Jim McKinnel, Gertrud Natzler, Otto Natzler, Ken Ferguson, Rose Slivka, Enrique Mestre, Sandy Simon, Wayne Higby, Richard Notkin, Graham Marks, Toshika Takaezu, Yvonne Bobrowicz, Ken Vavrek, Carol Sedestrom, Lois Moran, and Ken Shores and others.

Oral history interview with Bob Winston, 2002 July 31-October 10

Archives of American Art
Transcript: 95 pages.

An interview of Bob Winston conducted 2002 July 31-2002 October 2002, by Suzanne Baizerman, for the Archives of American Art as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home in Concord, California.

Winston speaks of his early childhood and running away from home at 19 months old, being found in a garage and building things ever since; the numerous operations he had as a child; his dyslexia and how he got through college; the death of his father and move to Berkeley, California; teaching at Berkeley High school; 17 years teaching at California College of Arts and Crafts (1942-1959) and the growth of the school throughout that time period; moving to Arizona and teaching lost wax casting in an abandoned supermarket; his inventions, Win-Ox, an oxidizer, and Bubble-Be-Gone, a cleaner; his latest sale of Win-Ox; his title as "San Francisco's Most Professional Eccentric;" and finding that a lot of the people he teaches do not find the "magic" that he does in jewelry work. Winston then discusses his current studio layout in an former hospital building; his machines and different work rooms; his chemistry table, where he makes his Win-Ox solution; his collection; how he's accomplished so much despite his dyslexia; the Hunt brothers and how they made the price of gold drop; living from Art Festival to Festival on the road in his Jeep; his mentors John Haley and Chiura Obata; and his bike, which he still rides. Winston also recalls Aileen Webb, Margaret DePatta, Gene Bielawski, Mark Hopkins, Karl Kasten, and others.

Oral history interview with Emerson Woelffer, 1999 March 26

Archives of American Art
Transcript: 55 pages

An interview of Emerson Woelffer conducted 1999 March 26, by Paul Karlstrom, for the Archives of American Art's Art Schools in California Project, in Woelffer's studio/home, Los Angeles, California.

Woelffer briefly discusses his own student experience at the Art Institute of Chicago (1933-1937), and focuses more on his teaching at Moholy Nagy's Institute of Design in Chicago, Colorado Springs Fine Arts Center (1954-1960) where he was head of the fine arts department, and the many years in Los Angeles as an educator at Chouinard Art School (now California Art Institute) and Otis Art Institute (now Otis College of Art and Design). Woelffer recalls Chouinard students who were the most "far out," among them Larry Bell, Joe Goode, and Ed Ruscha. He credited the free-wheeling stimulation of Los Angeles itself as the source for these experimental artists who were different from those in Chicago. In his final remarks, Woelffer emphasized the importance of drawing to the training of an artist.

Oral history interview with J. Fred Woell, 2001 June 6-2002 January 19

Archives of American Art
Transcript: 75 pages.

An interview of J. Fred Woell conducted 2001 June 6-2002 January 19, by Donna Gold, 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, Deer Isle, Maine.

Woell speaks of his childhood and the impact of many moves; his affiliation with the Presbyterian Church; his experiences at Park College and the University of Illinois, Champagne-Urbana, studying economics and political science; and the influence of jewelry teacher Robert Von Neumann. Woell describes his experience in the masters program at the University of Wisconsin at Madison and refers again to his early childhood noting his participation in Boy Scouts and how it engendered his respect for the environment. He also mentions collecting baseball cards and rocks; the absence of a peer group; and his lack of confidence. He discusses his affinity for open space and unpopulated places; his enjoyment of camping, kayaking with his wife Pat; and notes that his views of nature mirror those of Taoists. He cites effective teaching techniques and comments on secondary school curricula. He discusses a cover story about his work in Metalsmith and his mother's response; his early art classes and interest in drawing cartoons; his tendency to be a clown; his participation in an American-Legion-sponsored event called Boys State; artists as purveyors of culture; and the premise for a workshop titled "Art by Accident." Woell speaks of influence of a John Cage performance at University of Illinois and subsequently contacting Cage; and teaching at Boston University, Haystack, and elsewhere. Woell also provides thoughtful commentary on the teaching style and learning process at Cranbrook Academy of Art. He discusses in some detail the strong influence of Vincent Campanella and Frank Gallo on his work; sharing a workbench with Bob von Neumann; recording and saving ideas; drawing preliminary sketches for jewelry; and his early sculptures of helmets and spoons. He describes and interprets his piece, "Come Alive, You're in the Pepsi Generation," and he comments on found-object pieces that were inspired by Scouting and cartooning. Woell explains how his environmental concerns inform his work and argues that art has a healing function. He remarks on meeting and marrying Kathleen, his first wife; his one-man show at Garth Clark Gallery; and how his work is part of an American, rather than international, tradition. Woell discusses his relationship with galleries including Helen Drutt in Philadelphia, Sybaris Gallery in Royal Oak, Michigan, Connell Gallery in Atlanta, and Mobilia in Cambridge, Massachusetts He points out the value of being included in publications such as, "Metalsmith," "Jewelers Circular Keystone," "Ornament," "American Craft," "Craft Horizon," and "Craft Report." He speaks about commissions for institutions and individuals and describes his current obligation to Haystack and his plans for his retirement, which includes exploring photography and making videos. Woell also describes his typical workday and his symptoms of Attention Deficit Disorder and dyslexia. He recalls Peter Voulkos, Jennifer Burton, Francis Sumner Merritt, Ronald Pearson, Georg Jensen, Audrey Handler, Jerry Brown, Jon Wilson, and others.

On January 19, 2002 Woell added an addendum to the interview which included remarks about September 11, 2001 acts of terrorism in the U.S.

Oral history interview with Marion Post Wolcott, 1965 January 18

Archives of American Art
Transcript: 23 pages

An interview of Marion Post Wolcott conducted 1965 January 18, by Richard Doud, for the Archives of American Art, at the artist's home, in Mill Valley, California.

Wolcott speaks of her background in photography; experimenting with cameras; working as a photojournalist; joining the Farm Security Administration project; her first assignment photographing West Virginia coal miners; the camaraderie among the FSA photographers; the propagandistic aspects of the work; how the program was run and work assigned; her interest in landscapes; problems of being a woman photographer; the learning experience of meeting Americans all over the country; and the FSA project's long-term value. She recalls Roy Stryker.

Oral history interview with Tyrus Wong, 1965 January 30

Archives of American Art
Transcript: 28 pages

An interview of Tyrus Wong conducted 1965 January 30, by Betty Hoag, for the Archives of American Art.

Wong discusses making a film for grade schools and UCLA, which was produced by Eliot O'Hara, where he demonstrated Oriental painting techniques and Joe Jones demonstrated American techniques; working as an illustrator for Republic Studio; designing pottery plates for Greenfield Pottery, Gabriel Pottery in Pasadena; illustrations for the Western Art Review magazine; covers for the Los Angeles Times Home Section 1954 & 1955; text and illustrations for Watercolor Portraits, 1949; designing ads for various magazines; and doing watercolors, lithographs, and murals for the WPA, including the Santa Monica Library. Wong recalls Surasawa, Dorothy Jeakins, Nick Berganti, Hideo Dati, Benjy Ocobo, Carl Winter, Stanton Macdonald-Wright, Jerre Murry, Steven LaVerne Dunwell, George Stanley, Gordon Newell, and Frank Buck.

Oral history interview with Beatrice Wood, 1976 August 26

Archives of American Art
Transcript: 53 pages

An interview of Beatrice Wood conducted 1976 August 26, by Paul Karlstrom for the Archives of American Art. Wood speaks of her early friendship with Marcel Duchamp, H. P. Roche, the Arensbergs, and others in New York; of her publication of the "Blind Man" in 1917; her subsequent move to Hollywood; and her career as a ceramicist in Southern California.

Oral history interview with Beatrice Wood, 1992 March 2

Archives of American Art
Transcript: 48 pages

Audio excerpt: 1 sound file (4 min. 18 sec.) : digital

An interview of Beatrice Wood conducted 1992 March 2, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.

Wood speaks of her memories of Gertrud & Otto Natzler and getting involved with ceramics; the future of art in America; and women in art.

Oral history interview with Betty Woodman, 2003 April 22 and 29

Archives of American Art
Sound recording: 5 sound files (2 hr., 55 min.) digital wav

Transcript: 69 pages

An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.

Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.

Oral history interview with Hale Woodruff, 1968 November 18

Archives of American Art
Transcript: 26 pages

Interview of Hale Woodruff conducted 1968 November 18, by Al Murray, for the Archives of American Art.

Oral history interview with William Woolfenden, 1983 March 17

Archives of American Art
Transcript: 39 pages

An interview of William Woolfenden conducted 1983 March 17, by Ruth Gurin Bowman, for the Archives of American Art, in Pacific Palisades, California.

Oral history interview with Carrie Yamaoka, 2016 July 26-27

Archives of American Art
2 sound files (4 hrs., 20 min.) digital, wav

Transcript: 83 pages.

An interview with Carrie Yamaoka conducted 2016 July 26-27, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Yamaoka's home in New York, New York.

Interview with Carrie Yamaoka, conducted by Alex Fialho for the Archives of American Art, at Yamaoka's home in New York, New York on July 26 and 27, 2016. Yamaoka speaks of her childhood on Long Island and in New York and Tokyo; formative exposure to visual art and photography; studying at Wesleyan University and the Tyler School of Art in Rome; meeting her partner Joy Episalla and beginning to develop her sense of queerness in Rome; moving to New York in 1979, Hoboken in 1982, and back to New York in 1993; the beginning of the AIDS crisis; her body of work and exhibitions as a painter, and changes in her work over the course of the AIDS crisis; her involvement in ACT UP and fierce pussy; the art world's reaction to AIDS activism; the social effect of more effective medication for HIV/AIDS; her involvement with Visual AIDS; retrospective exhibitions of fierce pussy's activist posters; the sense of community she developed through activism; dealing with the grief and trauma of the AIDS crisis over time; and the particular experience of women in the AIDS crisis. Yamaoka also recalls George Nakashima, Jacqueline Gourevitch, Michael Otterson, Jean Foos, Jonathan Shahn, Flavia Ormond, Jamie McEwan, Jesse Murry, Robert Bordo, Adam Simon, Michele Araujo, David Nelson, David Knudsvig, Bill Allen, Zoe Leonard, Nancy Brooks Brody, Suzanne Wright, Tim Bailey, David Wojnarowicz, Tom Rauffenbart, AA Bronson, Chrysanne Stathacos, Maxine Wolfe, Virginia Solomon, Steve Lam, Helen Molesworth, Martabel Wasserman, Jennifer Bartlett, Tony Feher, and others.

Oral history interview with Hanford Yang, 2016 October 28-December 14

Archives of American Art
Transcript: 78 pages.

Audio: 3 sound files (2 hr.) digital, wav

An interview with Hanford Yang conducted 2016 October 28 and December 14, by Judith Stein, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, New York, New York.

Oral history interview with George D. Yater, 1974 July 18

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

Transcript: 21 p.

Interview of George D. Yater, conducted by Robert F. Brown, for the Archives of American Art, Smithsonian Institution, in Truro, Massachusetts on July 18, 1974.

Yater speaks of his childhood in Madison, Indiana; his art education at John Herron Art School and the Cape Cod School of Art; his artistic influences; his experience of Provincetown; showing in Provincetown, Boston, and New York galleries; his photographic career; and the change in his painting style after living in the Virgin Islands. Yater also recalls William Forsyth, Henry Hensche, Bruce McKain, John Pope, Ed Dickinson, Phil Malicoat, Richard Miller, Ross Moffett, Fritz Pfeiffer, Karl Knaths, John Whorf, Hans Hofmann, Morris Davidson, Carl Murchison, Don Witherstine, and others.

Oral history interview with Adja Yunkers, 1969 December 9

Archives of American Art
Transcript: 50 pages

An interview of Adja Yunkers conducted 1969 December 9, by Paul Cummings, for the Archives of American Art.
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