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Oral history interview with Nancy Crow, 2002 December 18

Archives of American Art
Transcript: 50 pages

An interview of Nancy Crow conducted 2002 December 18, by Jean Robertson, for the Archives of American Art, at her home and studio, in Baltimore, Ohio, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Crow speaks of her early childhood and her father's high standards; her early interest in color; her studies at Ohio State University and her first ceramics professor Edgar Littlefield; joining the textile guild in Athens, Ohio; how her quilting evolved from traditional to contemporary and abstract forms; her practice of working on several quilts simultaneously; the influence of Anna Williams, a quiltmaker in Baton Rouge, Alabama; and she describes her studio. Crow also discusses her association with the Snyderman Gallery, Philadelphia; a trip to China that resulted in the series Chinese Souls; and how beauty is her ultimate goal. She talks about her travels to Mexico and South Africa; her technical mastery of strip piecing; working at home while raising two sons; the dyeing process; her sketchbooks; her long-term working relationship with hand quilter, Marla Hattabaugh; teaching at Arrowmont School of Arts and Crafts; the beginnings of the Quilt National Show at the Dairy Barn; the Ohio Arts Council; the Art Quilt Network; periodicals including FiberArts, Surface Design, Hali, and Raw Vision; two seminal exhibitions in her career, "Nancy Crow: Work in Transition," at the American Craft Museum, 1993, and "Nancy Crow -- Improvisational Quilts," at the Renwick Gallery, 1995; and the changing market for quilts in America. She recalls Bruce Hoffman, Rick and Ruth Snyderman, Jan Myers-Newberry, Rosalie Gascoigne, Sandra Blaine, Vivian Harvey; Linda Fowler, and others.

Oral history interview with Michael A. Cummings, 2012 October 25-26

Archives of American Art
Transcript: 138 pages

An interview of Michael A. Cummings conducted 2012 October 25 and 26, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Cummings' home and studio, in New York, New York.

Oral history interview with Willard Cummings, 1973 March 20

Archives of American Art
Transcript: 82 pages

An interview of Willard Cummings conducted 1973 March 20, by Paul Cummings, for the Archives of American Art. Cummings speaks of his family and its interests in art and theater; moving to Boston and his early education there; studying with Anna Ladd and at the School of the Museum of Fine Arts; his two years in Paris; going to Skowhegan during the Depression; the Art Students League and the Grand Central School; his interests in portrait painting and sculpture; his Yale art school experience; some early portrait subjects; exhibitions of his work; commercial art jobs he was involved in; his New York studio and friends in the mid-1930s; collecting American primitives; his U.S. Army service; the start of the Skowhegan School of Painting and Sculpture in 1946; the organization of the school; his own painting technique and some portrait subjects. He recalls Philip Hale, Waldo Peirce and Edith Halpert.

Oral history interview with Frederick James Cummings, 1982 July 22

Archives of American Art
Transcript: 29 pages

An interview of Frederick Cummings conducted 1982 July 22, by Dennis Barrie, for the Archives of American Art.

Oral history interview with Imogen Cunningham, 1975 June 9

Archives of American Art
Transcript: 36 pages

An interview of Imogen Cunningham conducted 1975 June 9, by Louise Katzman and Paul Karlstrom, for the Archives of American Art, in Cunningham's home. [Note: A photograph of Cunningham taken by Katzman at the time of the interview has been cataloged separately.]

Cunningham speaks of her training in Germany, working in Edward Curtis' studio, her childhood art classes, her husband Roi Partridge, the f.64 group, platinum prints, her early interest in photography, and the differences between West Coast and East Coast photographers. She discusses magazine photography, her work as a portrait photographer, collectors, and her professional and personal relationships with Ansel Adams, Maynard Dixon, Dorothea Lange, Willard Van Dyke, Edward Henry Weston, Minor White, and others.

Oral history interview with Anne Currier, 2006 May 22-June 16

Archives of American Art
Transcript: 65 pages

An interview of Anne Currier conducted 2006 May 22-June 16, by Mary Drach McInnes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's studio, in Scio, New York.

Oral history interview with Kathleen Curry regarding John Steuart Curry, 1990 and 1992

Archives of American Art
Transcript: 39 pages

An interview of Kathleen Curry regarding John Steuart Curry, conducted on 1990 and 1992, by Robert F. Brown, for the Archives of American Art.

Curry discusses her childhood; meeting John Steuart Curry and their subsequent marriage; their friends; his work; his temperment; their relationship; moving to Wisconsin where he became the artist in residence in the School of Agriculture at the University of Wisconsin; his major mural projects; Laurence Schmeckebier's writing of "John Steuart Curry's Pageant of America"; J. S. Curry's death and the hardships that followed.

Oral history interview with Val Cushing, 2001 April 16

Archives of American Art
Transcript: 46 pages

An interview of Val Cushing conducted 2001 April 16, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Cushing's studio, Alfred Station, New York.

Cushing speaks of his early interest in drawing; applying to Alfred University without a portfolio and being accepted on an athletic scholarship to play football; his teachers at Alfred including Katherine Nelson, Charles Harder, Marion Fosdick, Kurt Ekdahl, and Dan Rhodes; his classmates at Alfred including Herb Cohen, Marty Moskof, Marty Chodos, Luis Mendez, Ed Pettengill, and Richard Homer; the influence of Marguerite Wildenhain, who came to Alfred to teach for two weeks in 1952 (Cushing's senior year); his first job making pots at Santa's Workshop in Adirondack Mountains in New York in 1951, and the value of throwing every day; learning that "technique is not enough"; his travels; serving in the military police in Fort Dix, New Jersey, during the Korean War; visiting the Metropolitan Museum to sketch pots; meeting his wife Elsie Brown, who was private-duty nurse in New York; Charles Harder as an administrator and teacher; attending graduate school at Alfred on the G.I. Bill from 1954 to 1956; his decision to become teacher rather than full-time potter at the suggestion of Charles Harder; teaching at University of Illinois in 1956 and then Alfred University in 1957; the "famous" dialogues between Charles Harder and Bernard Leach; the importance of designing functional handmade objects; the evolution of the American craft market; his work for Andover China; exhibitions; his close-knit ceramics community in the 1950s and 1960s; his relationships with galleries including American Hand and The Farrell Collection in Washington, D.C., Helen Drutt Gallery and the Works Gallery in Philadelphia, The Signature Shop & Gallery in Atlanta, Martha Schneider Gallery in Chicago, and Cedar Creek Gallery in Creedmoor, North Carolina; teaching at Penland, Haystack, Arrowmont, Archie Bray, and Anderson Ranch; "the Alfred connection at Archie Bray" and his grant to study at Archie Bray in 1968; the importance of Alfred's summer school to the history of contemporary clay in America; the value of university training; Bob Turner's and Ted Randal's influence on his work through their "philosophic stance" and "presence as artists"; his working space and his 1983 NEA grant to adapt an existing barn for use as a studio; the influence of nature on his work; working with kick wheel, Soldner wheel, Venco Pug Mill, natural gas and electric kilns; his glaze expertise; opportunities for experimentation; his love of jazz music and its influence on his working methods; pricing his pots; commissions; ceramic workshops as theatrical "performances" and an American phenomenon; the role of specialized periodicals in the craft field; the difference between craft critics and painting and sculpture critics; and the place of ceramics in museum collections in the United States and abroad.

Cushing also talks about his involvement with NCECA [The National Council on Education for the Ceramic Arts], the American Craft Council, and the American Ceramics Society; the lack of political and social commentary in his work; his teaching experiences in Europe and Asia; his participation in the opening of The Shigaraki Ceramic Cultural Park in Japan; and the importance of ceramic history for the contemporary ceramist. He also recalls Susan Peterson, Bill Pitney, Marv Rickel, Don Frith, Winslow Anderson, Ken Deavers, Joan Mondale, Joan Farrell, Don Reitz, Gerry Williams, Bill Parry, Ken Ferguson, and others.

Oral history interview with William P. Daley, 2004 August 7-December 2

Archives of American Art
Transcript: 81 pages

An interview of William P. Daley conducted 2004 August 7-December 2, by Helen W. Drutt English, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Elkins Park, Pennsylvania.

Daley speaks of his family and being raised in Hastings-on-Hudson, New York; his father teaching him to paint houses; his father's interest in art and literature; working with clay for the first time at the Massachusetts College of Art; attending college with other war veterans; living in a prison camp during World War II; learning ceramics from his mentor, Charles Abbott; marrying Catherine, also an art student at Mass Art; teaching workshops at summer schools such as the Penland School of Crafts; traveling to Ireland and Korea; the influence of Ireland on his artwork; the ceramic movement in America; creating functional pots; defining religion and the influence of his spirituality on his work; how the market for craft has changed during his career; his relationship with art dealers; having a studio in his home; teaching at the Philadelphia College of Art; being part of a community of artists as teachers; learning from colleagues and students; the importance of university art programs; how his work has been received; being inspired by books and periodicals; using clay as a medium of expression; working on commissioned projects; exhibiting his first pieces; social commentary in art; being involved in organizations such as the American Craft Council and NCECA; and plans for the future. Daley also recalls Frans and Marguerite Wildenhain, Dan Dailey, William Parry, Richard Rinehart, Wayne Higby, and others.

Oral history interview with Gene Davis, 1981 April 23

Archives of American Art
Transcript: 43 pages

An interview of Gene Davis conducted 1981 April 23, by Estill Curtis Pennington, for the Archives of American Art, at the artist's home.

Davis speaks of his early career as a pulp writer and his subsequent painting activities including outdoor works, installations and micro-paintings.

Oral history interview with Dorothy Dehner, 1965 October-1966 December

Archives of American Art
Transcript: 49 pages

An interview of Dorothy Dehner conducted 1965 October-1966 December, by Garnett McCoy and Rosalind Krauss, for the Archives of American Art.

Both interviews involve discussion of Dehner's husband, David Smith.

Oral history interview with Elaine de Kooning, 1981 August 27

Archives of American Art
Transcript: 11 pages

An interview of Elaine de Kooning conducted 1981 August 27, by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project.

De Kooning describes Mark Rothko's involvement with Milton Avery, Adolph Gottlieb, and Barnett Newman, and the activities of the Subjects of the Artist school and The Club. She remembers Rothko's personality and habits.

Oral history interview with Claudia DeMonte, 1991 February 13- April 24

Archives of American Art
Transcript: 54 pages

An interview of Claudia DeMonte conducted 1991 February 13-1991 April 24, by Liza Kirwin, for the Archives of American Art.

DeMonte recalls her childhood and growing up in Astoria, New York; her Italian heritage and Catholic education; her early work including the "trade pieces"; the calendar she produced for the Corcoran Gallery show "Five Plus One" in 1976; her marriage to artist Ed McGowin; moving from Washington, D.C. to New York; the making and meaning of her "Claudia dolls"; exhibiting at the Gracie Mansion Gallery; the art community in the East Village in the early 1980's; the dealer Gracie Mansion; gallery representation outside of New York; critical acceptance of her art; collecting the work of Southern self-taught artists and the influence of Sister Gertrude Morgan and James Son Ford Thomas; work methods and techniques; autobiographical and feminist themes; teaching at the university of Maryland from 1972 to the present; and new directions in her art.

Oral history interview with José de Rivera, 1968 February 24

Archives of American Art
Transcript: 60 pages

An interview of José de Rivera conducted 1968 February 24, by Paul Cummings, for the Archives of American Art. De Rivera recalls his childhood on sugar plantations in Louisiana; his early work in New Orleans and Chicago as a mechanic; his training as a commercial artist at Chicago's Studio School and taking life drawing classes with John Norton. He talks about freelancing as a commercial artist in Chicago; his military service during World War II; traveling in Europe and Egypt and relocating to New York. Cummings and de Rivera discuss de Rivera's sculpture in some depth, as well as de Rivera's interest in artists such as Brancusi and Mondrian.

Oral history interview with Boris Deutsch, 1964 June 1-5

Archives of American Art
Transcript: 41 pages

An interview of Boris Deutsch conducted 1964 June 1-5, by Betty Hoag, for the Archives of American Art.

Interview conducted in artist's home in Los Angeles, California.

Oral history interview with Edwin W. Dickinson, 1962 August 22

Archives of American Art
Transcript: 24 pages

An interview of Edwin W. Dickinson conducted 1962 August 22, by Dorothy Seckler, for the Archives of American Art.

Oral history interview with Guy Dill, 2000 August 29

Archives of American Art
Sound recording: 1 sound cassette (60 min.) : analog.

Transcript: 24 pages

An interview of Guy Dill conducted 2000 August 29, by Paul Karlstrom, for the Archives of American Art, in Dill's studio, Venice Beach, California.

The interview focuses on Dill's art school experience at the Chouinard Art Institute, especially his introduction to nude life drawing classes. Dill describs how he drew the model from inside a cardboard refrigerator box at Stephan von Huene's instruction; the art school situation of the time as "sexually charged," a product of 1960s social behavior; models from the standpoint of the "energy" brought to class; being stimulated by the subject, whether nude female or landscape; the effect that a pose can have on his creativity; the model as the "primal method of getting the art motors going"; drawing now clarifies for him a relationship, providing a point of reference for understanding; and the difficulty of drawing his wife, whose presence is complicated by their long married history together and the important place a spouse occupies in one's life.

Oral history interview with Burgoyne Diller, 1964 October 2

Archives of American Art
Transcript: 57 pages

Audio excerpt: 1 sound file (4 min. 40 sec.) : digital

An interview of Burgoyne Diller conducted 1964 October 2, by Harlan Phillips, for the Archives of American Art's New Deal and the Arts Oral History Project.

Oral history interview with William F. Draper, 1977 June 1-28

Archives of American Art
Transcript: 91 pages

Interviews of William F. Draper conducted 1977 June 1-28, by William McNaught, for the Archives of American Art.

Oral history interview with Fritz Dreisbach, 2004 April 21-22

Archives of American Art
Trancript: 121 pages

Sound recording: 21 sound files (8 hr., 41 min.) digital, wav

An interview of Fritz Dreisbach conducted 2004 April 21-22, by Susanne Frantz, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Tucson, Arizona.

Dreisbach speaks of growing up in Ohio, in a family of educators and deciding at an early age to become a teacher; taking high school art; pursuing a BA in art and mathematics at Hiram College; getting his MAT and teaching high school math; attending the University of Iowa to study painting; the impact of taking a summer class in glassblowing; visiting Dominick Labino at his studio; researching colored glass and glass chemistry; becoming Harvey K. Littleton's teaching assistant at the University of Wisconsin, Madison; building a hot shop and teaching at the Toledo Museum of Art; teaching at Penland School of Crafts; creating the Glass Art Society with Mark Peiser after attending a NCECA conference; moving to Seattle to make glass colors for The Glass Eye; and working for Spectrum Glass Company. Dreisbach also speaks of the importance of community among glass artists; taking part in glass symposia in Frauenau, Germany; traveling around the country to teach workshops, known as his "Road Show"; making representational pop-style pieces as well as historical reference pieces; collaborating on a stained glass window with Gary Noffke; developing techniques for making goblets; working with Dante Marioni on a series of goblets; his commissioned pieces, including the Corning Pokal; engraving glass; his Mongo series; selling works through galleries; the influence of the Italian glass artists; teaching at Pilchuck Glass School; Dominick Labino's career and innovations in glass technology; being invited to give the Samuel R. Scholes lecture at the New York State College of Ceramics at Alfred University; serving twice as Glass Art Society president; inaccuracies in the history of American studio glass; taking part in GAS conferences at Fenton Glass Factory; the importance of the rise of the university-trained glass artist in the 1960s; going to Pilchuck for the first time; meeting international glass artists; attending symposia at Novy Bor, Czech Republic; and his plans for the future. Dreisbach also recalls Tom McGlauchlin, Clayton Bailey, Erwin Eisch, Dale Chihuly, Bill Brown, Marvin Lipofsky, Joel Myers, Billy Bernstein, Dan Dailey, Dudley Giberson, Harvey Leafgreen, Bill Boysen, Henry Halem, Peter Voulkos, Ruth Tamura, and others.

Oral history interview with David Driskell, 2009 March 18-April 7

Archives of American Art
Transcript: 73 pages

An interview of David C. Driskell conducted 2009 March 18-April 7, by Cynthia Mills, for the Archives of American Art, at Driskell's home, in Hyattsville, Maryland.

Oral history interview with Charles Duback, 2004 December 15-2005 May 18

Archives of American Art
Transcript: 36 pages

An interview of Charles Duback conducted 2004 December 15-2005 May 18, by Susan C. Larsen, for the Archives of American Art, in Tenants Harbor, Maine.

Mr. Duback discusses his childhood; his Czech lineage; working at his father's bakery and gaining artistic sensibilities there; the drive to become an artist, and the financial risks therein; joining the Navy during World War II; attending trade school in New Haven, Connecticut, and the Newark School of Fine and Industrial Art in Newark, New Jersey; attending the Skowhegan School in Maine; his first wife Daphne Mumford; sustaining two homes, one in New York City and another in Maine, and the difficulties in maintaining them; the influence of collage on his paintings; his "strip" paintings; the opening and closing of the Landmark Gallery; making his "projections," wherein he adheres objects to a painting's canvas; and the friends he made during his time running Landmark. Duback also mentions moving from North Waldoboro, Maine to St. George, Maine; moving again to Germantown, New York; finding living in New York difficult; divorcing Mumford; his second wife Phyllis; rising tax and insurance costs and what they mean to artists; and painting as a career. Duback recalls Bernard Langlais, Helen Langlais, Edward Dugmore, Alex Katz, Wes LaFountain, Red Grooms, George Ortman, Myron Stout, George McNeil, Dennis Pinette, John Grillo, Henry Varnum Poor, and others.

Oral history interview with Gussie Du Jardin, 1983 October 11

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

Transcript: 16 pages

Transcript is available on the Archives of American Art's website.

An interview of Gussie Du Jardin conducted 1983 October 11, by Sharyn R. Udall, for the Archives of American Art.

Du Jardin speaks of her lichen and hexagonal paintings; living in New Mexico with her husband, painter Elmer Schooley; growing up in Colorado, Nevada, and Hawaii; her health issues as a child; earning her master's degree at the University of Iowa; being instructed by Philip Guston; the affect World War II had on her family; being a female painter as well as being married to a male painter; her process of using microscopic images to guide and inform her painting; her meeting and acquaintance with Georgia O'Keefe.

Oral history interview with Jay Du Von, 1963 November 7

Archives of American Art
Transcript: 32 pages

An interview of Jay Du Von conducted by Harlan Phillips on 1963 November 7 for the Archives of American Art.
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