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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.

Oral history interview with Tom Eckert, 2007 June 19

Archives of American Art
Transcript: 44 pages

An interview of Tom Eckert conducted 2007 June 19, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio in Tempe, Arizona.

Eckert speaks of his childhood interest in drawing; his first art lessons as a child; working as a cabinetmaker after high school; the decision to attend Arizona State University (ASU); earning very poor grades at ASU and enrolling at Phoenix College, where his art teacher inspired him to pursue art more seriously; returning to ASU to earn his BFA and MFA.; being hired to teach at ASU; creating and heading a wood program there; and helping to design the wood studio at Arrowmont School of Arts and Crafts. He continues discussing his fascination with Flemish painting during his art history education; the sense of illusion present in much of his work; being drawn to wood as a medium because of its ability to be shaped into an infinite amount of forms his experience making a few large scale works of art; feeling a certain spirituality towards his studio and the tools and equipment related to his craft; the importance of first satisfying a personal creative drive, then of showing the work produced, and finally in selling the work; the ways in which galleries and museums assist in attaining those three goals; being invited to participate in a show at Galerie Lieve Hemel in Amsterdam; incorporating the Internet and new technology into the design process; mixing his own colors using pigments; his desire to create larger works in the future; and contentment with and excitement for his life as an artist. Eckert recalls William B. Dunning, James Krenov, Bob Stocksdale, Nanette L. Laitman, David Ellsworth, John Jordan, Wendell Castle, Martyle and Jerry Reinsdorf, Cervini Haas, Michael Himovitz, Joanne Rapp, James Rapp, and others.

Oral history interview with Steven Englander, 2007 Sept. 7-Oct. 10

Archives of American Art
Sound recording, master: 3 sound discs (2 hr., 35min.) digital; 2 5/8 in.

Transcript: 53 p.

An interview of Steven Englander conducted 2007 Sept. 7 and Oct. 10, by Liza Kirwin, for the Archives of American Art, in conjunction with Artists' Spaces Archives Project, at ABC No Rio, in New York, N.Y.

Englander, the director of ABC No Rio, speaks about his early interest in film; his involvement with Anarchist Switchboard, the Libertarian Book Club, and other anarchist groups; his introduction to ABC No Rio through Matthew Courtney's events there; "baby-sitting" ABC No Rio in 1990 for director Lou Acierno, who went to Hamburg with the exhibition "10 years, Seven Days"; ABC No Rio's managerial tasks; the composition of the board;

living at ABC No Rio; the character of the building; other tenants; previous directors Peter Cramer and Jack Waters; ongoing conflicts with the New York City Department of Housing, Preservation and Development (owner of the building); programs and projects; squatters and punks; challenges of educational outreach; conflicts with the board; the organizational structure of ABC No Rio as a "collective of collectives"; ABC No Rio's political activism; the process of purchasing the building; renovation plans; community support; and funding from the New York State Council on the Arts. Englander also recalls Bruce Weber, A Mica Bunker group, Hilly Kristal, Bobby G., Alan Moore, Colab, Paul Castrucci, and others.

Oral history interview with Louisa Etcheverry, 1964 Sept. 23

Archives of American Art
Sound recording: 1 sound tape reel ; 5 in.

Tracnscipt: 11 p.

An interview of Louisa Etcheverry conducted 1964 Sept. 23 by Betty Hoag for the Archives of American Art.

Oral history interview with Claire Falkenstein, 1965 Apr. 13

Archives of American Art
Transcript: 4 p.

An interview of Claire Falkenstein conducted 1965 Apr. 13, by Betty Hoag, for the Archives of American Art.

Oral history interview with T. Lux Feininger, 1987 May 19-1988 Mar. 17

Archives of American Art
Sound recording: 6 sound cassettes

Transcript: 142 p.

An interview of T. Lux Feininger conducted by Robert F. Brown for the Archives of American Art.

Feininger speaks of his childhood in Germany as the son of the American expatriate painter Lyonel Feininger; his experiences as the youngest pupil at the Bauhaus; his early photography and painting; moving to New York; teaching at Sarah Lawrence College, Harvard, and the School of the Museum of Fine Arts, Boston; and his paintings.

Oral history interview with Lorser Feitelson, 1964 May 12-1964 June 9

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

Transcript: 52 p.

An interview of Lorser Feitelson conducted 1964 May 12-1964 June 9, by Betty Hoag for the Archives of American Art.

Feitelson speaks of his background and parental influence; his early interest in art; studying painting in Europe; the influence of the Old Masters; his painting methods; early exhibitions of his work; being appointed Federal Art Project supervisor for the Los Angeles area; his duties; delegating work to artists; working with Holger Cahill; political problems with the FAP; the effect of the project on the art scene in California; methods used for murals; the Easel Painting Project of the FAP and how it was run; the work that was done by the Index of American Design in California; his post-WPA career; and he recalls Arthur Durston and Conrad Buff.

Oral history interview with Edith Feldenheimer, 1982 Nov. 23-Dec. 7

Archives of American Art
Sound recording: 2 sound cassettes (ca. 2 hr.)

Transcript: 33 p.

An interview of Edith Feldenheimer conducted 1982 Nov. 23 and Dec. 7, by Marion W. Kolisch, for the Archives of American Art's Northwest Oral History Project, in the artist's home, in Portland, Or.

Feldenheimer speaks of her family background; her education in Europe; her early interest in the visual arts and the theater; Reed College and its art program and role in the community; her art collection; archaeological trips to France and Czechoslovakia; understanding contemporary art; and the stature of Oregon and Northwest art.

Oral history interview with Herbert Ferber, 1968 Apr. 22-1969 Jan. 6

Archives of American Art
Sound recording: 3 sound tape reels ; 7 in.

Transcript: 132 p.

An interview of Herbert Ferber conducted 1968 Apr. 22-1969 Jan. 6, by Irving Sandler, for the Archives of American Art.

Oral history interview with Herbert Ferber, 1981 June 2

Archives of American Art
Sound recording: 1 cassette : analog.

Transcript: 12 p.

An interview of Herbert Ferber conducted 1981 June 2, by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Ferber talks about the development of his friendship with Rothko through the Betty Parsons Gallery and Rothko's personality and habits. He speaks of Rothko's work, particularly the Houston chapel, and his feelings for other artists. He briefly mentions his involvement in the lawsuit against the Marlborough Galleries. He recalls Adolph Gottlieb, Clyfford Still, Barney Newman, Robert Motherwell, William Baziotes, Arshile Gorky, Ad Reinhardt, and many others.

Oral history interview with Avram Finkelstein, 2016 April 25-May 23

Archives of American Art
23 sound files (7 hrs.) digital, wav

Transcript: 148 pages

An interview with Avram Finkelstein conducted 2016 April 25-May 23, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Finkelstein's home and studio in Brooklyn, New York.

Finkelstein speaks of his childhood on Long Island; attending the School of the Museum of fine Arts in Boston; moving to New York in the late 1970s; losing his first partner, Don Yowell, to AIDS; the genesis and distribution of his many AIDS activist posters; the beginnings and actions of ACT UP and Gran Fury; the context of the 1990s culture wars; the mishandling of HIV/AIDS as a public health issue in the 1980s and 1990s; his personal transformation as a result of living through the AIDS crisis; and his work on Flash Collective. Finkelstein also recalls Nan Goldin, David Armstrong, P.L. DiCorcia, Jorge Socarras, Lou Molette, Richard Goldstein, Larry Kramer, Chris Lione, Simon Doonan, Mark Simpson, Don Moffett, Todd Haynes, Robert Vasquez, Loring McAlpin, Michael Nesline, Tom Kalin, Amy Heard, Mark Harrington, Richard Deagle, Julie Tolentino, Lola Flash, Davod Meieran, Patrick Moore, Maria Maggenti, Sean Strub, Eric Sawyer, and others.

Oral history interview with Arline M. Fisch, 2001 July 29-30

Archives of American Art
Transcript: 61 pages

An interview of Arline M. Fisch conducted 2001 July 29-30, by Sharon Church McNabb, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.

Oral history interview with Audrey Flack, 2009 Feb. 16

Archives of American Art
3 digital wav files (4 hr., 55 min.) digital

Transcript: 94 p.

An interview of Audrey Flack conducted 2009 Feb. 16, by Robert C. Morgan, for the Archives of American Art, at the Archives of American Art, in New York, N.Y.

Oral history interview with Jack Flam, 2017, June 1-7

Archives of American Art
4 sound files (3 hrs., 47 min.) digital, wav

Transcript: 99 pages.

An interview with Jack Flam conducted 2017 June 1 and 7, by James McElhinney, for the Archives of American Art, at the Dedalus Foundation in New York, New York.

Oral history interview with Bill and Peggy Foote, 2014 February 16-17

Archives of American Art
5 sound files (4 hrs., 38 min.) digital, wav

Transcript: 131 pages

An interview with Bill and Peggy Foote conducted 2014 February 16-17, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Bill's office and home in San Francisco, California.

Dr. and Ms. Foote speak of their early days growing up and their introduction to art; their meeting in Stockton; the beginnings of the Lincoln Square Gallery; their introduction to Viola Frey; their increasing involvement as art dealers in the Bay Area in the '60s and '70s; Peggy Foote's time at the California College of Arts and Crafts; their collection of Viola Frey's work and other artists' work; their interactions with Charles Fiske and Viola Frey; Frey's early years in Lodi; Frey's love of collecting jewelry and small ceramic figurines; and Frey's work in relation to gender issues. They also discuss Frey and Fiske's health issues; Frey's time at CCAC; Frey's relationship with Fiske; Frey's work as it related to Robert Arneson and Peter Voulkos and other Bay Area artists; Peggy Foote's gallery Conway Antiques in the 70's and 80's; Bill Foote's remembrances at Frey's memorial. Mr. and Ms. Foote also recall Shirley Hanson, Rena Bransten, Squeak Carnwath, Gary Knecht, Leslie Wenger, Nancy Hoffman, Richard McDonald, Maryanne Schulz, the Wiebe twins, Robert Arneson, Vernon Coykendall, Noni Eccles Treadwell, Sam Perry, Jackie Maybeck, Gloria Champion, Jack Laycox, and others.

Oral history interview with Milton S. Fox, 1964

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

Transcript: 34 p.

An interview of Milton S. Fox conducted by Harlan Phillips in 1964 for the Archives of American Art.

Fox discusses his time studying in Paris; art education and the art school environment; Impressionists; work as a portrait painter during the Depression; the Cleveland art scene in the 30s and 40s; working in the Cleveland Museum of Art; writing criticisms; American Artists Congress; progressive attitudes toward art; the WPA and its affects on American art; Cocoon Arts Club; artists union; camouflage work during the war; Cook Glassgold's introducing him to abstraction. He recalls Clarence Carter, Gerald Murphy, William Milliken and Glen Shaw.

Oral history interview with Henry Sayles Francis, 1974 Mar. 28-1975 July 11

Archives of American Art
Sound recording: 4 sound files (3 hrs. 15 min.) digital, wav file

Transcript: 130 p.

An interview of Henry Francis Sayles conducted 1974 Mar. 28-1975 July 11, by Robert Brown, for the Archives of American Art.

Francis discusses his childhood and education, attending college at Harvard; working at the Fogg Art Museum and at the Museum of Fine Arts, Boston; his career as curator of prints and paintings at Cleveland Museum of Art; his uncle Henry Sayles, a major collector of Barbizon School paintings; his relationships with dealers, and with the directors and trustees of Cleveland Museum of Art.

Oral history interview with Victor Franco, 1972 July

Archives of American Art
Transcript: 14 pages

Interview of Victor Franco conducted by Barry Schwartz for the Archives of American Art.

Oral history interview with Mary Frank, 2010 Jan. 10- Feb. 3

Archives of American Art
Sound recording: 8 memory cards (6 hr., 43 min.) secure digital; 1.25 in.

Transcript 135 p.

An interview interview with Mary Frank conducted 2010 Jan. 10, 11, and Feb. 3, by Judith Olch Richards, for the Archives of American Art, at Frank's home and studio, in New York, N.Y.

Ms. Frank speaks of her childhood in England and her evacuation to Brooklyn during WWII; her initial intention of becoming a professional dancer and studying with the Martha Graham Dance Company; her marriage and travels with photographer Robert Frank; the difficulties of women teaching art; teaching methods; her time at The New School and Queens College; western and non-Western influences; mushroom hunting; solar cookers; her works in clay, sculpture, painting, drawing, monoprint, and triptych installations; her relationships with the galleries Zabriskie, Midtown Payton and DC Moore; Frank also recalls Willem de Kooning, Ruben Nakian, Allan Kaprow, Marjorie Ponce Israel, Joe Chaikin, Paul Cadmus, Henrietta Mantooth Bagley, Joan Snyder, Elanor Munro, Jean-Louise Bourgeois, and others.

Oral history interview with Godfrey Frankel, 1993 Nov. 29

Archives of American Art
Sound recordings: 1 sound cassette (90 min.) : analog.

Transcript: 22 p.

An interview of Godfrey Frankel conducted 1993 Nov. 29, by Merry Foresta, for the Archives of American Art.

Frankel recalls his early "sensitivity to art" and childhood visits to the Cleveland Museum; his first job in advertising on a daily newspaper in Ohio; his first camera; being suspected as a spy for photographing outdoors in Ohio in the 1940s; his move to Washington, D.C., in the 1940s; working as the nightclub editor for a Washington newspaper; photographing alley dwellings in D.C.; photographing in 1945 the resettlement of people who were in internment camps in the U.S.; and his move to New York City and his participation in the Photo League from 1946 to 1950.

Frankel describes meetings, lectures, classes, and camaraderie among members of the Photo League; common concerns between the Photo League and the photography department at the Museum of Modern Art; Photo League projects; and photographing New York's Lower East Side. He recalls his move to Cleveland in 1950 and photographing children and industrial sites there; his job as a social worker; his move back to D.C. in 1962; his work for various government agencies; being interviewed by government agents in 1962 for suspected communist activities; the accessibility of FSA photographs at the Library of Congress; teaching managerial skills at the University of Maryland; and exhibiting his photographs in the 1980s through George Hemphill at Middendorf Gallery and at the Kathleen Ewing Gallery, both in Washington, D.C. Frankel also comments on future plans to publish a book with the Smithsonian Press.

At the end of side one Frankel mentions Jacob Reiss, but called after reviewing the tape to say he meant Lewis Hine.

Oral history interview with Don Freeman, 1965 June 4

Archives of American Art
Sound recording: 1 sound tape reel ; 5 in.

Transcript: 19 p.

Interview of Don Freeman conducted 1965 June 4, by Betty Hoag McGlynn, for the Archives of American Art, in his home, in Santa Barbara, Calif. Freeman speaks of his childhood in San Diego with his guardian; his high school years spent in St. Louis at a public school Prineipia (and his teacher Kathryn Cherry); the knowledge of his artistic destiny as a child; his move to New York City in 1929; his time spent working as an unbooked trumpet player for jazz orchestras on Broadway; his formative years at the Art Students League under the guidance of John Sloan;

the influence of Robert Henri and "Art Spirit;" his decision to do illustrations for the theater section of the Herald Tribune of ongoing performances; his time spent studying with Harry Wickey (etcher and sculptor); his relationship and marriage to wife Lydia as well as description of life in downtown Manhattan immediately following the stock market crash ; time at Art Students League studying along side with Jackson Pollock, Manuel Tolegian, Whitney Darrel; his decision to work for the WPA in

the graphics department completing lithographs (1933-1934); "Freedom of the Press," a painting completed around the same time and the possible influence of Reginald Marsh; his interest in a project called "Paint for the People" (a public works project for the New York Subway system); time spent illustrating for the WPA theater magazine "The Living Magazine;" his opinions concerning acetate and stone as well as the use of mezzotint; his personal magazine which he published for four years (name unknown); a general summary of his feelings towards the WPA as an artistic force; his separation from the Union Uprisings due to his success within the program;

his work on "Our Flying Navy" a series of illustrations (now compiled as a book) used for advertisement for the Navy; his participation in the Association of American Artists before his term spent in the Army during WWII; his budding career as a children's books writer and illustrator (Barton Press); his illustrations for William Soroyan"s The Human Comedy; his move back west and his son Roy; and his current occupation of giving "Chalk Talks" around the country, speaking with students about art, music, theater.

Oral history interview with Viola Frey, 1995 Feb. 27-June 19

Archives of American Art
Sound recording: 5 sound cassettes (5 hrs.) : analog.

Transcript: 126 p.

An interview of Viola Frey conducted 1995 Feb. 27-1995 June 19, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, at the artist's studio, in Oakland, Calif.

FEB. 27, 1995 SESSION: Family background in the Midwest; Huguenot ancestry; importance of grandmother in her life; living in Central Valley, Calif.; father's collecting junk; early plans to become a writer; declining her acceptance to UC Berkeley and attending community college to study art; attending California College of Arts and Crafts in Oakland, majoring in ceramics; winning a first prize at City of Paris contest; attending Tulane University; moving to New York; working at the Museum of Modern Art; returning to San Francisco in 1960 and community there. She recalls Richard Diebenkorn, Mark Rothko, Peter Voulkos, and Robert Arneson.

MAY 15, 1995 SESSION: Influence of Robert Arneson; comparison of her work to Voulkos, Arneson and Manuel Neri; effect of gender on art subjects; Frey's theme of man in suit as power to do good or bad; interest in archeology; influence of National Geographic magazine on her work, especially as a source for images of grandmothers; production of her large-scale ceramic sculpture; her preference for electric kiln; modular production; studio spaces in Oakland and San Francisco and effect of varying light; working on a piece over a long period of time, which is unusual for sculpture; and the importance of space in the creation of work.

JUNE 19, 1995 SESSION: Influence of television and radio; attitude toward Japanese-influenced ceramics; use of color; overglaze painting; china painting in France; relationships between her figure drawing and sculpture; New York period; funk; plate art; autobiographical and personal qualities in her work; move from house to studio; personal relationship with Charles Fiske; her private art library; interest in artist's monographs; social life; image of man in suit; influence of AIDS in her work; art-brute; and response to critics Donald Kuspit and Susan Larsen.

Oral history interview with Michael and Magdalena Suarez Frimkess, 2001 March 8-April 17

Archives of American Art
Transcript: 83 pages

An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.

Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.

Magdalena Frimkess also provided another informed perspective on the events described by her husband.

Oral history interview with Sue Fuller, 1975 April 24-May 8

Archives of American Art
Sound recording: 6 sound files : digital, wav file

Transcript: 94 pages

Interview of Sue Fuller, conducted on April 24, 1975, April 30, 1975, and May 8, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution, at the home of Sue Fuller, in Southampton, New York.

Fuller speaks of her family and childhood in Pittsburgh, including art teachers and friends; her childhood painting lessons; her education in prep school, at Carnegie Tech, and at Columbia Teachers' College; her travels to Europe and Japan; her use of plastics; her work as a teacher, commercial artist, and assistant in Bill Hayter's studio; the influence of John Dewey's philosophy on her teaching style; training with Ernest Thurn, Hans Hofmann, Josef Albers; learning printmaking and calligraphy; the Society of American Etchers; the influence of science and mathematics on her work; and her thoughts on contemporary computer art. Fuller also recalls Bertha Schaefer, Victor D'Amico, Madeleine Lejwa, John Taylor Arms, Abraham Rattner, Louis Schanker, Roberto Matta, and others.
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