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Oral history interview with Stephen Antonakos, 1975 May 9

Archives of American Art
Transcript: 125 pages

An interview of Stephen Antonakos conducted 1975 May 9, by Paul Cummings, for the Archives of American Art.

Antonakos speaks of his family and educational background; his work as a commercial artist; the influence of Ben Shahn and David Martin; his association with the Allan Stone Gallery, Fischbach Gallery, and John Weber Gallery; and his collages, pillow assemblages and mail art projects. He discusses his neon sculpture, including electrical wiring and timing devices, selection of colors, glass tubing, installation problems and the cost of electricity. He discusses the aesthetic and conceptual development of his work with neon and mail art. He recalls Donald E. Droll, Marilyn Cole Fischbach and Lucy Lippard.

Oral history interview with Harold Arberg, 1971 December 28

Archives of American Art
Transcript: 14 pages

Interview of Harold Arberg conducted 1971 December 28, by Laurin Raikin and Barry Schwartz, for the Archives of American Art "Art World in Turmoil" oral history project.

Oral history interview with Glenda Arentzen, 2012 November 12-13

Archives of American Art
Transcript: 159 pages.

An interview of Glenda Arentzen conducted 2012 November 12-13, by Jeannine Falino, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Museum of Arts and Design, in New York, New York.

Oral history interview with Arman, 1968 April 22 and May 18

Archives of American Art
Transcript: 34 pages

An interview of Arman conducted 1968 April 22 and May 18, by Sevim Fesci, for the Archives of American Art.

Arman discusses his childhood in France during World War II; his conceptual approach to art; his association with Yves Klein, the New Realists, and the "School of Nice"; and the role of the art critic.

Oral history interview with Robert Arneson, 1981 August 14-15

Archives of American Art
Transcript: 96 pages.

An interview of Robert Arneson conducted 1981 August 14-15, by Mady Jones, for the Archives of American Art.

Arneson speaks of his family background, teaching himself to draw by copying comic strips, his early interest in commercial art and discovering ceramics. He discusses, teaching ceramics to high school students, his philosophy of teaching; and the influence of Peter Voulkos and the shift toward abstract expressionism and Pop art. He reminisces about the first exhibit of his work; getting established in galleries; teaching ceramics at the University of California, Davis; his major exhibitions; and museum purchases of his work.

Oral history interview with Richard Artschwager, 1978 March 3-28

Archives of American Art
Transcript: 88 pages

An interview of Richard Artschwager conducted 1978 March 3-28, by Paul Cummings, for the Archives of American Art.

Oral history interview with Ruth Asawa and Albert Lanier, 2002 June 21-July 5

Archives of American Art
Transcript: 34 pages

An interview of Ruth Asawa and her husband, Albert Lanier, 2002 June 21-July 5, conducted by Mark Johnson on June 21 and Paul Karlstrom on July 5, for the Archives of American Art, in the subjects' home/studio in San Francisco, California.

Asawa and Lanier shared their memories of Black Mountain College, Josef and Anni Albers (with whom they became close friends) and Buckminster Fuller. Part of their account of those years and the early stage of their marriage dealt with issues of race.

Oral history interview with Betty M. Asher, 1980 June 30 and 1980 July 7

Archives of American Art
Transcript: 59 pages.

An interview of Betty M. Asher conducted 1980 June 30 and 1980 July 7, by Thomas H. Garver, for the Archives of American Art.

Asher speaks of her family; education; her marriage to Dr. Leonard Asher; buying her first prints and painting from the Associated American Artists Gallery; and early purchases at the Little, Bowinkle, and Green Galleries in Los Angeles. She discusses her interest in abstract expressionism; buying art in Mexico and New York; dealers including Irving Blum, Virginia Dwan, Paul Kantor, Felix Landau, Ernest Raboff, Esther Robles, and Ileana Sonnabend; activities and members of the Modern and Contemporary Art Council of the Los Angeles County Museum of Art; her work for Maurice Tuchman; Walter Hopps and the Pasadena Art Museum; and exhibitions and funding of the Asher/Faure Gallery.

Oral history interview with Doug Ashford, 2016 October 14-November 3

Archives of American Art
3 sound files (4 hrs., 28 min.) digital, wav

Transcript: 71 pages.

An interview with Doug Ashford conducted 2016 October 14 and November 3, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Ashford's studio in Brooklyn, New York.

Oral history interview with Dore Ashton, 2010 November 21 - 2011 March 9

Archives of American Art
Transcript: 67 pages.

An interview of Dore Ashton conducted 2010 November 21 and 2011 March 9, by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Ashton's home, in New York, New York.

Ashton talks about growing up politically active; protesting the internment of the Japanese Americans during WWII; attending The New School and then Harvard University; briefly working as a gallery receptionist; writing her first reviews for Art Digest; Howard Devree hiring her as a writer for The New York Times; travels and living in Europe; writing feature pieces about individual artists for The New York Times; writing for Cahiers d'art; her relationships Franz Kline, Willem de Kooning, Mark Rothko, Philip Guston, Robert Motherwell, Billy Kluver, Robert Rauschenberg, Octavio Paz, and others; marriage to Adja Yunkers; teaching at Cooper Union; interest in Latin American Art; flirting; being a "dedicated reader of Nietzsche"; visits to the Cedar Tavern; being a peacenik; and other topics. She recalls Jeanne Reynal, Mario Pedrosa, Alger Hiss, Peter Selz, Peter Orlovsky, David Smith, and others.

Oral history interview with Walter Askin, 1992 March 4-6

Archives of American Art
Transcript: 156 pages

An interview of Walter Askin conducted 1992 March 4-6, by Paul J. Karlstrom, for the Archives of American Art.

Oral history interview with Robert Asure, 1965 October 7

Archives of American Art
Transcript: 23 pages.

An interview of Robert Asure conducted 1965 October 7, by Harlan Phillips, for the Archives of American Art New Deal and the Arts project.

Oral history interview with Ron Athey, 2016 June 17-18

Archives of American Art
Sound recording: 2 sound files (4 hr., 40 min.) digital, wav

Transcript: 68 pages

An interview with Ron Athey, conducted 2016 June 17-18, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Athey's home in Los Angeles, California.

Athey speaks of his childhood in Pomona, California; early religious experiences; early sexual experiences; formative exposure to punk music and culture in late adolescence; developing his own punk acts; contracting HIV and seroconverting; intersections between HIV/AIDS and drug-using cultures; his body of nightclub-based performative work beginning in the 1990s; his reflections on international presentations of his work; technical aspects and design elements of his performance art and film work; changes in his lifestyle and self-care regimen after seroconverting; the role of the audience in performance art; his relationship to AIDS activism; motifs of apocalypse, nihilism, and humor in his work; his place in art history; his current work as a teacher and mentor; and his contributions to American art. Athey also recalls Johanna Went, Karen Finley, Diamanda Galas, Reza Abdoh, Cynthia Carr, Leigh Bowery, Divinity Fudge, Harold Meyerson, Lia Gangitano, Brian Murphy, Amelia Jones, and others.

Oral history interview with Julie Ault, 2017 November 14-16

Archives of American Art
Audio: 6 sound files (6 hr., 3 min.) digital, wav

Transcript: 90 pages

An interview with Julie Ault conducted 2017 November 14 and 16, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at a studio in Brooklyn, New York.

Ault speaks of the nature of memory and giving an oral history; her skepticism of linear narratives; leaving rural Maine for Washington, DC at age 17; her family history; her interest in popular culture and commercial culture as a teenager; disco and nightclubs in Washington and New York in the late 1970's; working a variety of day jobs in New York, including a telephone answering service; meeting Tim Rollins for the first time in Maine; her interest in conversation; her relationship to questions; the formation of Group Material in 1979; her relationship with Andres Serrano; Group Material's collaborative dynamic, and its effect on her personal development; the complexities of trying to write or tell history; the shifting configurations and contexts of Group Material over 17 years of activity; mounting, and thinking critically about, individual exhibitions after Group Material; the first AIDS Timeline in 1989; the ephemerality of the Timeline; book projects as a means of depositing personal memories; her first memories of the AIDS crisis beginning in 1983; Group Material's Democracy and AIDS series at Dia in 1988; investigating the tension between art and activism in the context of HIV/AIDS; Karen Ramspacher's entry and contributions to Group Material; the initial decision to employ the form of a timeline and four arenas of research; different audience relationships and reactions to the Timeline; the collaborative process of creating the Timeline; losing NEA funding after the Timeline, amid the early '90s culture wars; Group Material's second exhibition of AIDS Timeline in 1990; her friendship with Felix Gonzalez-Torres; Group Material's third exhibition of AIDS Timeline in 1991; the Macho Man, Tell It To My Heart exhibition; and an acknowledgement of topics that could not be covered in the interview. Ault also recalls Doug Ashford, Vikky Alexander, Yolanda Hawkins, Mundy McLaughlin, Sarat Maharaj, Gertrud Sandqvist, Marybeth Nelson, Patrick Brennan, Hannah Alderfer, Peter Szypula, Sabrina Locks, Larry Rinder, Richard Meyer, Bill Olander, Marcia Tucker, Gary Garrels, Charles Wright, Frank Wagner, Martin Beck, Nayland Blake, Anne Pasternak, Mary Anne Staniszewski, John Lindell, Tom Kalin, Donald Moffett, Marlene McCarty, Jochen Klein, Lisa Phillips, Andrea Miller-Keller, Steven Evans, and others.

Oral history interview with Rudy Autio, 1983 October 10-1984 January 28

Archives of American Art
Transcript: 99 pages

Audio excerpt: 1 sound file (3 min. 33 sec.) : digital

An interview of Rudy Autio conducted 1983 October 10-1984 January 28, by LaMar Harrington, for the Archives of American Art's Northwest Oral History Project. Autio speaks of growing up in Butte, Montana; his first art experiences; his education at Montana State College; his Navy service; working for Archie Bray, a brickmaker; working in carved brick and chimney pots; his interest in Indian customs; working with Peter Voulkos, and Voulkos' style; abstract expressionism; the importance of universities, organizations, and publications to ceramic art; going to Helsinki and learning about Finnish crafts; his thoughts on architectural art; his work methods; and his work in porcelain.

Oral history interview with David Avalos, 1988 June 16-July 5

Archives of American Art
Transcript: 100 pages

An interview of David Avalos conducted 1988 June 16-July 5, by Margarita Nieto, for the Archives of American Art. Avalos speaks of his childhood, education at the University of California at San Diego; his involvement with the Centro Cultural de la Raza; the socio-political environment that produced the San Diego Chicano Muralist movement (specifically Chicano Park); the formation of the Border art Workshop (BAW/TAF); the collaboration between the Centro and the La Jolla Museum of Contemporary Art (presently the San Diego Museum of Contemporary Art); art activity in San Diego; Chicano activity distinct from Los Angeles; his philosophy on conceptual art; and his art career.

Oral history interview with Sally Michel Avery, 1967 November 3

Archives of American Art
Transcript: 58 pages

An interview of Sally Michel Avery conducted 1967 November 3, by Dorothy Seckler, for the Archives of American Art.

Oral history interview with Sally Avery, 1982 February 19

Archives of American Art
Transcript: 66 pages

An interview of Sally Avery conducted 1982 February 19, by Tom Wolf, for the Archives of American Art's Mark Rothko and His Times oral history project.

Avery discusses the friendship between Mark Rothko and the Averys, noting especially Rothko's admiration for Milton Avery's work. She describes Avery's influence on Rothko and Adolph Gottlieb, recalling several summers spent together and their close association in New York. She mentions Rothko's and Avery's involvement with the Opportunity Gallery, and the activities of the Club and the Ten. Avery speaks of Rothko's "myth paintings" and the origination of the idea with Barnett Newman and Adolph Gottlieb. The second half of the interview focuses on Milton Avery and his manner of working. She mentions an Avery portrait of Marsden Hartley and remembers his visits with them.

Oral history interview with Richard Ayer, 1964 September 26

Archives of American Art
Transcript: 20 pages

An interview of Richard Ayer conducted 1964 September 26, by Mary McChesney, for the Archives of American Art New Deal and the Arts Project.

Ayer speaks of his "haphazard" education, including study with Hilaire Hiler; his work assisting Victor Mikhail Arnautoff on frescos in the Presidio Chapel; the WPA easel painting project in San Francisco; and the Aquatic Park Building mural program, 1934. He recalls some of the artists associated with the Aquatic Park project. He also discusses the Ostwald and Hiler color theories and Herman Volz's mural for the Treasure Island Federal Building.

Oral history interview with Alice Baber, 1973 May 24

Archives of American Art
Transcript: 94 pages

An interview of Alice Baber conducted 1973 May 24, by Paul Cummings, for the Archives of American Art.

Oral history interview with Eve Babitz, 2000 June 14

Archives of American Art
Transcript: 44 pages

An interview of Eve Babitz conducted 2000 June 14, by Paul Karlstrom, for the Archives of American Art, at Babitz's home, Hollywood, California.

Part of an ongoing series on the theme of artists and models, this interview focused on the subject's experience as the nude woman playing chess with Marcel Duchamp, at his Pasadena Art Museum retrospective, in 1963. Purportedly Duchamp's favorite photograph, staged and taken by Julian Wasser, it is among the key documentary images of American modern art. This interview offers inside information about Los Angeles and the cultural world of the late 1960s. Igor Stravinsky was Babitz's godfather and her own father was a Baroque musicologist who often traveled to Europe. She was introduced to the world of visual arts by the late Jim Elliott's girlfriend and soon became part of the Ferus Gallery circle including Ed Kienholz, Ed Ruscha, and Walter Hopps. She also describes being a student at Hollywood High School and the enormous influence of the film industry and celebrity (her favorite, James Dean) on the student body.

Oral history interview with Judith Baca, 1986 August 5-6

Archives of American Art
Transcript: 59 pages

An interview of Judith Baca conducted 1986 August 5-6, by Amalia Mesa-Bains, for the Archives of American Art.

Baca speaks of her family history, childhood, and education in Los Angeles, her involvement with the Los Angeles muralism movement in the early 1970s, her teaching experience at East Los Angeles recreation center, her directorship of the Eastside murals and of the City-Wide Mural Project, the work of other muralists, feminist views on art which have influenced her work, the origin of the Social and Public Arts Resource Center in Venice, California, her directorship and the mission of the S.P.A.R.C. in 1986, and her own current mural projects.

Oral history interview with Ralph Bacerra, 2004 April 7-19

Archives of American Art
Transcript: 45 pages.

An interview of Ralph Bacerra conducted 2004 April 7-19, by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Los Angeles, California.

Bacerra speaks of his family background; his high school art teachers; attending Chouinard Art Institute and his friendship with his ceramics instructor Vivika Heino and her husband Otto; the interaction among ceramicists in Los Angeles around 1960; attending a workshop taught by Shoji Hamada; teaching at Chouinard Art Institute; building a studio; teaching a workshop at Arrowmont School of Arts and Crafts; traveling to Japan and Taiwan and the influence of Asian ceramics on his artwork. Bacerra also speaks of his daily work routine; the importance of glaze technology; changes in ceramic education and the market for ceramics in the last 50 years; exhibiting works at American Hand, Garth Clark Galleries, and Frank Lloyd Gallery; taking part in pivotal exhibitions including "Objects: USA"; attending National Council for the Education of Ceramic Arts conferences and the current sense of community among early ceramic artists; the importance of craft publications and critical writing; commissions completed throughout his career; attending museums for ideas and inspiration; teaching and the careers of his former students; and how reviews impact his work. Bacerra recalls Susan Peterson, Peter Voulkos, Bernard Kester, Laura Andreson, Sam Maloof, Elsa Rady, Adrian Saxe, and others.

Oral history interview with Don Bachardy, 2009 May 21-October 7

Archives of American Art
Transcript: 48 pages

An interview of Don Bachardy conducted 2009 May 21, August 7, and October 7, by Susan Ford Morgan, for the Archives of American Art, at the Bachardy's home, in Santa Monica, California.
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