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Oral history interview with Richard A. Florsheim, 1968 Aug. 31

Archives of American Art
Transcript: 29 p.

An interview of Richard A. Florsheim conducted 31 Aug. 1968, by Dorothy Seckler, for the Archives of American Art.

Oral history interview with Hermine Ford, 2010 Feb. 18-19

Archives of American Art
Transcript: 90 p.

An interview with Hermine Ford conducted 2010 Feb.18-19, by Judith Olch Richards, for the Archives of American Art at Ford's home and studio in New York, N.Y.

Oral history interview with Helen Frankenthaler, 1968

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

Transcript: 41 p.

An interview of Helen Frankenthaler conducted 1968, by Barbara Rose, for the Archives of American Art.

Frankenthaler speaks of studying art at Bennington College with Paul Feeley; the influence of Picasso and Kandinsky on her work; Clement Greenberg and his relationship with Frankenthaler and other artists; studying with Hans Hofmann and Rufino Tamayo; her childhood; meeting Robert Motherwell; the New York School; and Jackson Pollock, his paintings, technique, and influence on her. She also describes her technique, painting on the floor, titles, and color versus drawing. Frankenthaler recalls Grace Hartigan, Friedel Dzubas, Willem de Kooning, 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 Tony Ganz, 2014 December 6

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

Transcript: 41 pages

An interview with Tony Ganz conducted 2014 December 6, by Hunter Drohojowska-Philp, 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, at Ganz's home in Brentwood, California.

Ganz speaks of his parents, siblings, and early childhood; growing up in New York city; his family's collection and interest in art; collecting Picasso; going to museums and galleries as a kid; understanding Picasso; Putney School; his interest in photography and film; attending Harvard; making films; meeting his wife; beginning collecting; collecting drawings; building his collection; equity; Eva Hesse; Amber Whiteread; Gordon Matta-Clark; Moving to Beachwood Canyon; Robert Smithson; Paul Thek; Ted Bonin; Claes Oldenberg; Frank Stella; plan for his collection; following one's intuition; ones that got away; and friends in the art world. Ganz also recalls Victor and Sally Ganz, Paul Ganz, Sol Ganz, D. Lisner Jewelry, Chuck Fries, Gail Mutrux, Matthew Marks, Anthony D'Offay, Jeffrey Deitsch, Lee Bontecou, David Zwirner, Adam Weinberg, and Glenn Lowry.

Oral history interview with Eleanor M. Garvey, 1997 February 28-June 13

Archives of American Art
Transcript: 76 pages.

An interview of Eleanor M. Garvey conducted 1997 February 28-June 13, by Robert F. Brown, for the Archives of American Art in Garvey's office, Houghton Library, Harvard University, Cambridge, Massachusetts.

Garvey discusses her childhood in Worcester, Massachusetts; majoring in art history at Wellesley College under Serape der Nersessian, Alexander Campbell, Agnes Abbott, and Kenneth Conant; study of education at Clark University, with drawing classes at the art school of the Worcester Art Museum; and the extremely useful experience working at the Museum under Charles Sawyer and Louisa Dresser.

Working as an art librarian and museum curator at Wellesley College (1947-1952), and art history professors John McAndrew, Sidney Freedberg, James O'Gorman; moving on to the Newark Museum (1952-1953) and its collections and administration under Katherine Coffey.

Joining the Dept. of Printing and Graphic Arts of the Houghton Library in 1953 beginning as secretary to curator Philip Hofer; Hofer's work on illustrated books; the development of the Houghton Library from the so-called "Treasure Room" of the main Harvard Library under the direction of George Parker Winship; Garvey's close relationship with William Bentinck-Smith, a Houghton patron and an authority on type design; the status of women professionals at Harvard.

Continued discussion of Houghton patron William Bentinck-Smith; publications and exhibitions while at Houghton, including: "The Artist and the Book, 1860-1960" (1961), "The Turn of a Century, 1885-1970" (1970), "Henry Hobson Richardson and His Office: Selected Drawings" (1974), and "Artists of the Book in Boston, 1890-1910" (1988), as well as her current project producing a catalog of 18th century Venetian illustrated books and her involvement in seminars on artists' books.

Oral history interview with Thomas Gentille, 2009 August 2-5

Archives of American Art
Transcript: 75 pages.

An interview of Thomas Gentille conducted 2009 August 2 and 5, by Ursula Ilse-Neuman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Ilse-Neuman's home, in New York, N.Y.

Oral history interview with John Emmett Gerrity, 1965 Jan. 20

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

Transcript: 24 p.

An interview of John Emmett Gerrity conducted 1965 Jan. 20, by Mary McChesney, for the Archives of American Art. Gerrity speaks of his background and education; working as a watercolorist and a mural painter for the WPA Federal Art Project; his work methods; the effect of the FAP on him and on other artists of the San Francisco Bay area; and the influence of the Mexican muralists.

Oral history interview with Howard M. Gibbs, 1965 Nov. 28

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

Transcript: 26 p.

An interview of Howard Gibbs conducted 1965 Nov. 28, by Geoffrey Swift, for the Archives of American Art.

Oral history interview with Sam Gilliam, 1989 Nov. 4-11

Archives of American Art
Sound recording: 4 sound cassettes

Transcript: 54 p.

An interview of Sam Gilliam conducted 1989 Nov. 4-11, by Ben Forgey for the Archives of American Art. Gilliam speaks of his decision to come to Washington, D.C., from Louisville, Ky.; his shift from figurative painting to abstract painting; meeting Washington painters Robert Gates and Tom Downing; the "stature" of Tom Downing in the Washington art scene in the 1960s and Walter Hopps' role; influential exhibitions at the Jefferson Place Gallery and the Washington Gallery of Modern Art; being a Washington artist and a black artist; artist/teachers at American University; the Johnson Avenue Workshop grant; his relationship with Rockne Krebs; the history of the Washington Coalition of Artists; the Corcoran Gallery and the Washington Project for the Arts' relationship to Washington artists; his involvement with the District of Columbia Art Center; teaching; and his working methods. Gilliam also discusses various paintings, processes, materials, ideas and experiments at length. He recalls Gene Davis, Howard Mehring, Ken Noland, Morris Louis, Nesta Dorrance, Alma Thomas, Lou Stovall, Al Nodal, Jock Reynolds, Michael Botwinick, Willem de Looper, Paul Reed, and others.

Oral history interview with John Gilmore, 1991 Sept. 5

Archives of American Art
Sound recording: 1 sound cassette

Transcript: 21 pages

An interview with John Gilmore conducted 1991 Sept. 5, by Robert F. Brown, for the Archives of American Art.

Gilmore recalls his childhood in Madison, Wis.; growing up in a house built by Frank Lloyd Wright; living in the Phillipines; becoming interested in art history through his sister, Elizabeth Gilmore Holt; his career as a lawyer for the Treasury Dept. in Washington, D.C.; and his involvement in the creation of the American Commission for the Protection and Salvage of Artistic Monuments in War Areas.

Oral history interview with Constance Glenn, 1990 Mar. 16

Archives of American Art
Sound recordings: 2 sound cassettes (120 min.) : analog.

Transcript: 43 p.

An interview of Constance Glenn conducted at the artist's office in Long Beach, Calif., 1990 Mar. 16, by Ruth Gurin Bowman, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.

Oral history interview with Ralph Goings, 2009 Sept. 10-11

Archives of American Art
Sound recording, master: 7 memory cards (3 hr., 56 min.) secure digital; 1.25 in.

Transcript: 96 p.

An interview of Ralph Goings conducted 2009 Sept. 10 and 11, by Judith Olch Richards, for the Archives of American Art at Going's home and studio in Santa Cruz, Calif.

Oral history interview with Nan Goldin, 2017 April 30-May 13

Archives of American Art
4 sound files (2 hrs., 59 min.) digital, wav

Transcript: 46 pages.

An interview with Nan Goldin, conducted 2017 April 30 and May 13, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Goldin's home in Brooklyn, New York.

Goldin speaks of her feminist outlook; her childhood in Silver Spring, Maryland; her older sister's suicide; attending boarding schools as an adolescent; early sexual experiences and encounters with queerness; her meaningful friendship with David Armstrong; her photography experiences; struggling with drug abuse; studying at the Boston Museum School in the early 1970s; developing the slide show as an exhibition medium; moving to New York in 1978; stories behind photographs in "I'll Be Your Mirror," "A Double Life," and "Ballad of Sexual Dependency;" early conversations about GRID and later HIV/AIDS; her admiration for David Armstrong and Peter Hujar's photography; losing friends and community to HIV/AIDS; organizing "Witnesses Against Our Vanishing;" photographing Cookie Mueller; the relationship between photography and memory; and the role of art in the AIDS crisis. Goldin also recalls David Armstrong, Mark Morrisroe, Greer Lankton, Elisabeth Sussman, Bruce Balboni, Max DiCocia, Kenny Angelico, Alf Bold, Gilles Dusein, William Coupon, Peter Hujar, Philip-Lorca diCorcia, Jack Pierson, Jimmy Paul, Glenn O'Brien, Susan Wyatt, Kiki Smith, Jane Dixon, Janet Stein, Stephen Tashjian, Darrel Ellis, Allen Frame, Marvin Heiferman, Peter McGill, Sharon Niesp, Susan Sontag, Robert Wilson, and Annie Leibovitz.

Oral history interview with Joe Goode, 1999 Jan. 5-2001 Apr. 12

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

Transcript: 84 p.

An interview of Joe Goode conducted 1999 Jan. 5-2001 Apr. 12, by Paul Karlstrom, for the Archives of American Art, in Goode's studio, Mar Vista, Calif.

In this interview Goode lists the three factors that made for the good experience offered by Chouinard Art Institute: older students thanks to the GI Bill; a variety of good teachers, including illustrators; and productive interaction between the students. A discussion of other schools includes a comparison of Chouinard Art Institute and Art Center and the emphasis of these programs. Goode talks about Los Angeles galleries, especially Ferus and Rolf Nelson. He discusses his early milk bottle paintings, reflects upon the creative environment of Los Angeles, and the need to invent oneself as an artist. The session ends with a philosophical discussion of communication, contemplation, and a statement of the purpose of art practice.

The second session carries further the subject of art galleries and the various artist groups associated with them. He discusses the connection of his work to Pop art, and his sky, cloud, and water paintings. Goode talks about living in Springville in the Sierra Nevada in 1974-75, where he had the opportunity to observe nature and the force of the elements. The session ends with a discussion of the Nicholas Wilder Gallery and the various studios he occupied over the years.

Oral history interview with Lloyd Goodrich, 1962 June 13-1963 March 25

Archives of American Art
Transcript: 225 pages.

An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.

Oral history interview with Dale Goss, 1965 June 2

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

Transcript: 20 p.

An interview of Dale Goss conducted 1965 June 2, by Dorothy Bestor, for the Archives of American Art New Deal and the Arts Project.

Goss talks about the Works Progress Administration (WPA) Project, the involvement of the government and Federal support for art and schools, the importance of art in society (including the dramatic arts), teaching and the active love of art, the worth of "living art" in today's society, the artists involved in the WPA Project, the loss of independence in artists of the time, his experience during the Depression, Federal leadership in the arts, and the organization of artists through the formation of the Allied Arts Council. He recalls Kenneth Callahan, Bill Cumming, Jacob Elshin, Carl Morris, Lubin Petric, Mark Tobey, and others.

Oral history interview with Peter Goulds, 2008 Mar.24-July 28

Archives of American Art
Sound recording, master: 5 sound files (3 hr., 39 min.) digital, wav file

Transcript: 56 pages.

An interview of Peter Goulds conducted 2008 Mar. 24 and July 28, by Susan Ford Morgan, for the Archives of American Art at L.A. Louver Gallery, in Venice, Calif.

Goulds discusses growing up in Islington, London U.K. and the influence of his family; his work as a youth in the London theater world and interest in jazz; his time studying at the Walthamstow School of Art, the Coventry School of Art and the Manchester School of Art; his interest in typographic art and introduction to structuralism; his interest in the fields of communication design, experimental video and film; his time teaching an introductory art and design class at UCLA; his wife Liz and the opening of his gallery L. A. Louver in Venice, California, as well as the origin of the gallery's name. Goulds also describes the growth of his gallery in Venice and subsequent expansions and renovations; the Louver Gallery in New York City and its closing in 1993; the many challenges of running a gallery in Venice in the '70s; his opinions about art fairs and the current state of the art business as contrasted with when he began along with the gallery's "Rogue Wave" program for new artists. Goulds also recalls David Hockney, Mitsuru Kataoka, Morris Zaslavsky, Jake Zeitlin, Kate Steinitz, and Lili Lakich along with Ron Kitaj, Ken Price, Mark di Suvero, Ed and Nancy Kienholz, Kimberly Davis, Chris Pate, Fred Fisher, and Sean Kelly among others.

Oral history interview with Robert Claverhouse Graham, 1976 Nov. 19

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

Transcript: 18 p.

Interview of Robert Claverhouse Graham conducted 1976 Nov. 19, by Paul Cummings, for the Archives of American Art, in New York, N.Y. Graham discusses the history of the Graham Gallery and its clientele; the impact of the Depression on art sales; exhibitions at the Graham Gallery and changes in the art business and American collecting.

Oral history interview with Campbell Grant, 1965 June 4

Archives of American Art
Sound recordings: 2 sound tape reels (45 min.) ; 5 in.

Transcript: 20 p.

An interview of Campbell Grant conducted 1965 June 4, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.

Grant speaks of his background and education in California; joining the Federal Art Prject (FAP); doing watercolor painting and murals for the FAP in Santa Barbara; and his post-FAP career.

Oral history interview with Art Green, 2015 September 17-18

Archives of American Art
4 sound files (3 hrs., 36 min.) digital, wav

Transcript: 102 p.

An interview with Art Green conducted 2015 September 17-18, by Lanny Silverman, for the Archives of American Art's Chicago's Art-Related Archival Materials: A Terra Foundation Resource, at Green's home in Stratford, Ontario, Canada.

Green speaks of growing up in Frankfurt, Indiana; his parents; quilt making and engineering; Necker cubes; early art pursuits; early art education; Fort Wayne Museum of Art; Chicago; Found Titles; Hairy Who; drawing and painting courses; Art Institute of Chicago; silk screening; art school and interests; Chicago imagists; Surrealism; Don Baum; Animal, Vegetable, Mineral; transfers and technique; response to art work; deciding to be an artist; New York; Art Forum; Pop Art; first shows; early influences; abstraction; looking at art; ideal viewer; Nova Scotia; teaching; Canada; signs and ice cream cones; inspiration; painting process; engineering; bridges; politics; Secretary McNamara; color; flames; inspiration; books and magazines; Ray Johnson; puzzles and discovery; Art Expo; the art world; use of technology; patterns; knots; making a living as an artist; self-portraits; and new work. Green also recalls Douglas Craft, Elizabeth Ruprecht, Whitney Halstead, Ray Yoshida, Carolyn Hoyle, George Cohen, Ted Halkin, June Leaf, Robert Frank, Bill Grams, Karl Wirsum, Jim Nutt, Murray Simon, Cynthia Carlson, Bill Schwedler, Marjorie Dell, Roger Brown, Vera Berdich, Thomas Kapsalis, Mogen David, Bill Conger, Evelyn Statsinger, Gary Kennedy, Paul Weighardt, Jim Falconer, Matthew Marks, Phyllis Kind, and Allen Frumkin Gallery.

Oral history interview with Marion Greenwood, 1964 Jan. 31

Archives of American Art
Transcript: 15 p.

An interview of Marion Greenwood conducted on 1964 Jan. 31, by Dorothy Seckler, for the Archives of American Art's New Deal and the Arts Oral History Project.

Greenwood speaks of her background and education; her mural work before joining the Treasury Relief Art Project; working on murals for the Red Hook Housing Project in Brooklyn, N.Y.; changing from murals to easel paintings; and her opinions regarding government support for the arts.

Oral history interview with Gary Griffin, 2004 August 4

Archives of American Art
Transcript: 73 pages

An interview of Gary Griffin conducted 2004 August 4, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Bloomfield Hills, Michigan.

Griffin speaks of the opening of the new studio building at Cranbrook; growing up in Los Angeles, California; spending summers in Taos, N.M. with his grandmother; his mother's antique and decorating business; going to Catholic high school; working in a furniture repair shop as a teenager; taking college courses in welding and art; transferring to California State University, Long Beach, and getting a dual degree in industrial and fine arts; deciding to focus on metalwork; getting his M.F.A. at Tyler School of Art; metalsmiths who influenced his early work; the role of functional and conceptual art; having Stanley Lechtzin as a teacher and mentor; the craft community in Philadelphia, attending metalsmith workshops and conferences; and being influenced by decorative arts. Griffin also speaks of becoming head of the jewelry program at Rochester Institute of Technology; working with Hans Christensen; participating in the Society of North American Goldsmiths; his interest in machine technology; deciding to turn from jewelry to blacksmithing; finding dealers for his work; the art community in Rochester; keeping variety in his work; teaching at Cranbrook and rebuilding the metals program; how material culture influences his teaching and artwork; how economics impacts his work; working on commission; making the entrance gates at Cranbrook; working on some of his other important pieces; his current project; the difference between craft and fine arts; and his plans for the future. Griffin also recalls Al Pine, Jack Prip, John Marshall, Philip Fike, Olaf Skoogfors, Elliot Pujol, Rudolf Staffel, Albert Paley, Mary Jane Leland, and others.

Oral history interview with John Grillo, 1964 Dec. 29

Archives of American Art
Sound recordings: 3 sound tape reels (2 hours) ; 5 in.

Transcript: 64 p.

An interview of John Grillo conducted by Dorothy Seckler on 1964 Dec. 29 for the Archives of American Art.
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