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Oral history interview with Ruth Cravath, 1965 September 23

Archives of American Art
Transcript: 22 pages

An interview of Ruth Cravath conducted 1965 September 23, by Mary McChesney, for the Archives of American Art New Deal and the Arts Project.

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 Julius Davidson, 1964

Archives of American Art
Transcript: 66 pages

An interview of Julius Davidson conducted by Harlan Phillips in 1964 for the Archives of American Art.

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 Willem De Looper, 1992 January 26-February 29

Archives of American Art
Transcript: 134 pages

An interview of Willem De Looper conducted 1992 January 26 and February 29, by Benjamin Forgey, for the Archives of American Art. De Looper discusses growing up in the Hague, in Holland, during WWII; his family and educational background; moving to the United States in 1950; his U.S. Army service; his studies at American University and his teachers including Robert Gates, Ben Summerford, William Calfee, and Sarah Baker; his early experiments with abstraction; his first studio in Washington, D.C.; exhibiting at the Jefferson Place Gallery in the 1960s and later at the B.R. Kornblatt Gallery; working at the Phillips Collection for twenty-five years; and materials, techniques, and influences in his painting. He recalls Tom Downing, the Institute of Contemporary Art (Washington, D.C.), John Gernand, Sam Gilliam, Michael Clark, Duncan and Marjorie Phillips, Harold Giese, William Woodward, Jim McLaughlin, and others.

Oral history interview with Richard Diebenkorn, 1985 May 1-1987 December 15

Archives of American Art
Transcript: 153 pages

An interview of Richard Diebenkorn conducted 1985 May 1-1987 December 15, by Susan Larsen, for the Archives of American Art.

Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods. He recalls Daniel Mendelowitz, Erle Loran, Raymond Jonson, David Park, and Elmer Bischoff.

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 Edouard Du Buron, 1993 March 9-May 13

Archives of American Art
4 sound cassettes (5 hr., 33 min.) : analog.

Transcript: 106 pages.

An interview with Edouard Du Buron conducted 1993 March 9-May 13, by Robert Brown, for the Archives of American Art.

Du Buron discusses his childhood in Worcester, Massachusetts in a poor family with an abusive father and his rearing in various Catholic orphanages; his loss of religion in his youth and growing up as a French-Canadian in New England; his career as a solo dancer in Boston (1925-32) and as a member of the Ruth St. Denis Troupe (1932-38); his dance career in New York City in the late 1930s and his job as a display designer at Filene's department store in Boston (1942-45).

Oral history interview with John Dugdale, 2017 January 17-18

Archives of American Art
2 sound files (6 hrs., 1 min.) digital, wav

Transcript: 122 pages.

An interview with John Dugdale conducted 2017 January 17-18, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Dugdale's studio in New York, New York.

Dugdale speaks of finding great joy in his elementary school art teacher's classes; taking photographs of his siblings as a child; growing up in Stamford, Connecticut and remembering every detail of Little Italy; being bullied as a kid for being different; being a voracious reader; the impact of his parents' divorce at age 8; his interest in photography in high school taking him to the School of Visual Arts in New York City; being diagnosed HIV-positive; his first job photographing flowers for Mädderlake florists; the launch of his commercial photography career and the success that followed; caring for his friends who were sick and dying, thinking that would be his role in this epidemic; the stroke that left him almost completely blind and his extremely low T-cell count at the time of his hospitalization; spending a year in the hospital and ultimately checking himself out and recovering at home; the tremendous support of his family and community; having six weeks to prepare for a show at Wessel + O'Connor Fine Art upon returning home from the hospital; resurrecting the cyanotype process for the show; his surprise at the success of the show, and slow realization that people were moved by viewing their own experiences through his photographs; appreciation of the male body; being his own activist; creating art with the intention to draw people in and not scare them away; understanding and appreciating the power of the human body after experiencing multiple strokes and sight loss, and how these events brought more depth to his work; interacting with his models; a struggle with loneliness and desire for intimacy; the feeling of being awake and paying closer attention to the world around him; existing on borrowed time; experiencing a massive stroke as a result of long-term medication use; being HIV-positive for 10 years without showing symptoms; refusing to take AZT; his religious and spiritual beliefs; just as repaired Ming vases, feeling himself more powerful now in his "broken" state; his reaction to being represented in the Metropolitan Museum of Art; his love of being a gay man and feeling strongly that he would change nothing about his life; finding difficulty in being identified as an HIV-related artist; and the house fire that helped him realize that we own nothing in this life, not even our own bodies. Dugdale also recalls his partner Rey Clarke, Maurice Sendak, Louise Nevelson, Keith Haring. Karen Waltuck, Tom Pritchard, Billy Jarecki, Carla Grande, Cynthia O'Neal, and Karen Murphy.

Oral history interview with Edward Dugmore, 1994 May 13-June 9

Archives of American Art
Transcript: 274 pages

An interview of Edward Dugmore conducted 1994 May 13-1994 June 9, by Tram Combs, for the Archives of American Art.

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 Jack Earl, 2007 June 19-20

Archives of American Art
Sound recording: 5 sound files (4 hr., 32 min.) : digital ; 2 5/8 in.

An interview of Jack Earl conducted 2007 June 19-20, by Jane Milosch, 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 Lakeview, Ohio.

Earl speaks of his childhood in Uniopolis, Ohio; using his father's tools in the garage to make toys; developing a long-lasting friendship with his high school art teacher; studying art at Bluffton College and learning to make pottery; learning to read in college and getting a minor in English; getting married while in college; graduating from Bluffton College and getting a job teaching at a local high school; teaching high school art for ten years in New Breman, Ohio; attending a graduate program at Ohio State University and earning a Master's in Ceramic Art; being influenced by professor Paul Bogatay while in graduate school; working at the John Michael Kohler Arts Center over one winter break; teaching at Toledo School of Art and Design following graduation from Ohio State University; learning to make European porcelain; beginning to apply oil paint to his ceramic pieces; copying imagery from European masterpieces; feeling uninspired by Virginia culture after moving there to teach at Virginia Commonwealth University; moving back to Ohio and enjoying the proximity of his children and grandchildren there; his belief that his artwork reflects his life; the greater market for ceramic artwork now compared to when he began working; continuing ceramic tradition by incorporating humor into his work; the importance of his family and Ohio culture to his work; writing a book with Karen Keland to promote crafts, especially ceramics; being much more interested in making things than in his teaching; the versatility of clay as a material; and his work habits. Earl recalls Darvin Lugenbuhl, Paul Bogatay, Carlton Atherton, Edgar Littlefield, Gene Friley, Margaret Fetzer, Howard Kottler, Robert Arneson, Tom LaDousa, Norm Schuman, Peter Voulkos, Paul Smith, Karen Keland, Tom Kerrigan, Ralph Bacerra, Richard Shaw, and others.

Oral history interview with Robert Ebendorf, 2004 April 16-18

Archives of American Art
Transcript: 96 pages

An interview of Robert Ebendorf conducted 2004 April 16-18, by Tacey Rosolowski, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Greenville, N.C.

Ebendorf speaks of growing up in Topeka, Kansas; spending time in his grandparents' tailor shop; his relationship with his parents; having difficulties in school; making jewelry in arts and crafts class; meeting Carlyle Smith and deciding to study art at the University of Kansas; staying at the University of Kansas to get his MFA in Three-Dimensional Design; taking part in important early exhibitions including the "Wichita National"; collaging in his artwork and letters; how his art professors including, Robert Montgomery, mentored him; studying metal craft in Norway on a Fulbright; getting a job teaching at Stetson University; returning to Norway on a Tiffany Grant and working in a goldsmith shop; rebuilding the metals program at the University of Georgia; traveling to Norway once again and designing for the David Anderson Firm; experimenting with mixed media and found objects in his work; exhibiting at the Susan Cummins Gallery; hunting for objects with his daughter Brittany; teaching at SUNY New Paltz; using the ColorCore material; expressing both the masculine and feminine in his art; and making crafts with his mother.

Ebendorf also speaks of his current daily routine and the importance of a home studio; the influence of Scandinavian art on his work, especially the art of Claus Bury; doing work on commission; teaching at Penland School of Crafts and Haystack Mountain School of Crafts; taking part in the founding of the Society of North American Goldsmiths and serving as President; teaching at East Carolina University; preparing students for a career in metalsmithing; the changing trends in American and European jewelry; organizing the "Conversations" series of workshops at SUNY New Paltz; reading various art publications and the need for more critical writing about craft; selling work at craft fairs; the challenges of working with various galleries and museums; the importance of his work Lost Souls and Found Spirits; his recent retrospective "The Jewelry of Robert Ebendorf: A Retrospective of Forty Years;" and his current work and plans for the future. Ebendorf also recalls Kurt Matzdorf, Fred Woell, Bill Brown, Philip Morton, Ronald Pearson, L. Brent Kington, Linda Darty, Jamie Bennett, Earl Krentzin, and others.

Oral history interview with Barney A. Ebsworth, 2017 April 12-13

Archives of American Art
Transcript: 87 pages

Sound recording: 4 sound files (2 hr., 51 min.) digital, wav

An oral history interview with Barney A. Ebsworth conducted 2017 April 12-13, by Mija Riedel, 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 Ebsworth's home, in Hunts Point, Washington.

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 David Ellsworth, 2007 July 16

Archives of American Art
Sound recording: 5 sound files (2 hr., 41 min.) : digital, wav

An interview of David Ellsworth conducted 2007 July 16, by Josephine Shea, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Ellsworth's home, in Quakertown, Pennsylvania.

Ellsworth speaks of living and growing up in Iowa for the first fourteen years of his life; moving to Boulder, Colorado when his father became the director of libraries; being the youngest of two boys; his parents meeting at Oberlin College; his early interest and skill in leatherwork and woodwork as a child; spending time with the family at their cabin up in the mountains in Colorado; his experiences with music, vocals, and woodshop in junior high; attending a preparatory high school that had a very strong art program; singing in the Army for the Army Air Defense Command; traveling around with the band; being sent to the headquarters of United States Army of Europe in Heidelberg as a speed typist; studying and learning German while abroad; getting admitted into the architecture department at Washington University in St. Louis; flunking out after three semesters; going to New York City to follow a love interest as well as to study art; attending The New School for Social Research; moving back to the Midwest due of the heavy toll of city life; enrolling in the sculpture department at the University of Colorado and receiving both a bachelor of fine arts and a master of fine arts; his first independent show at Metropolitan State College in Denver, Colorado; working as a designer for a stainless steel food services equipment company called Green Brothers; working at the Anderson Ranch Arts Center in Snowmass, Colorado; opening up a private studio in Boulder; partaking in various craft shows; working with the Belles Artes Gallery in New York City and Santa Fe, the Del Mano Gallery in Los Angeles, The Hand and the Spirit Gallery in Scottsdale which became Materia Gallery, the Gargoyle Gallery in Aspen; and the Cooper-Lynn Gallery in New York City; working as a teacher at Arrowmont School of Arts and Crafts in Gatlinburg; his experiences working with resin; his past experiences working with various kinds of wood; his past divorce; the influence of Native American and Southwest architecture and landscape on his work; the lack of reviews on woodturners and woodturning exhibitions; the difficulty of writing about craft art because of the lack of language; turning down commission work because of the limitations it imposes on the artist or creator; the direction in which he believes the craft of woodturning is going; woodturning as predominantly a hobby for retirees seeking to satisfy a need for creative energy; woodturning as a male-dominated craft; the surprisingly large number of well-known men in the fiber field today; designing and making his own line of tools; creating tutorial videos; holding woodturning classes at his home studio; his working process and how it has changed over time; how he and his wife Wendy ended up in Quakertown, Pennsylvania; and how he came up with his various series and how each developed. Ellsworth also recalls Ed Moulthroup, Melvin and Mark Lindquist, JoAnn Rapp; Steven Hogbin, Lois Moran, James Prestini, Irving Lipton, Albert LeCoff, Rick Mastelli, Clay Foster, Michelle Holzapfel, Mark Sfirri, Virginia Dodson, Betty Scarpino, Bonnie Klein, Arthur and Jane Mason, Fleur and Charlie Bressler, Giles Gibson, and others.

Oral history interview with Edwin Emery, 1965 May 24

Archives of American Art
Transcript: 38 pages

An interview of Edwin Emery conducted 1965 May 24, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with André Emmerich, 1993 January 18

Archives of American Art
Transcript: 33 pages

An interview of André Emmerich conducted 1993 January 18, by Mona Hadler for the Archives of American Art.

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, 1995 Mar. 2-21

Archives of American Art
Sound recording: 3 sound cassettes (60 min. each): analog.

Transcript: 51 p.

An interview of Claire Falkenstein conducted 1995 Mar.2-21, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, in Falkenstein's studio, Venice, Calif.

Falkenstein discusses the evolution of her work; the benefit of being alone to her personal and artistic growth; her "vocabulary of art" which she created while at the University of California at Berkeley; her largest commission at St. Basil's Cathedral in Los Angeles and her views on religion and art; the influence on her of George Lusk, a visiting artist and philosopher from Paris; studying the nude figure and how it taught her personal expression; her family background and introduction to art; teaching in the Bay Area at the California School of Fine Arts; her friendships with other artists there such as Clyfford Still; her reasons for leaving the Bay Area to go to Paris; and meeting Michel Tapie and the Stadler Gallery group. She recalls Karl Appel, Martha Jackson, Clyfford Still, Sam Francis, and others.

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 Sidney B. Felsen, 2009 Oct. 23-Nov. 20

Archives of American Art
Sound recording, master: 4 memory cards (3 hr., 10 min.) digital; 1.25 in.

Transcript: 76 p.

An interview of Sidney B. Felsen conducted 2009 Oct. 23 and Nov. 20, by Hunter Drohojowska-Philp, for the Archives of American Art at Gemini G.E.L. Print Studio in Los Angeles, Calif.

Oral history interview with Jackie Ferrara, 2009 January 16-February 13

Archives of American Art
Sound recording: 3 sound files (5 hr., 12 min.) : digital, WMA files

Transcript 115 pages

An interview of Jackie Ferrara conducted 2009 January 16-February 13, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at the Ferrara's home, in New York, New York.

Ferrara speaks of growing up in Detroit, Michigan; her early interest in mathematics and its ever present role in her work; attending Michigan State University for one year; taking fashion drawing classes at Wayne State University and her supposed lack of drawing skills; an early interest in pottery and leather making; moving to New York City in 1951 on a night train from Detroit; working at the Henry Street Playhouse and its influential role on her art; her relationship with Robert Beauchamp and her friendship with many artists in Provincetown, Massachusetts; early works, including the cotton batting works and the rope works, most of which were destroyed; her dislike of traveling and her use of imagination for inspiration; participating in the performances and happenings of Claes Oldenburg; her friendship with Robert Smithson and his influence on her later works; working with Max Protetch; never teaching art because she herself did not attend art school; her creation process of her wood and stone pieces, including their conception in early drawings; having a positive attitude towards her pieces being rebuilt because of decay; quickly moving into public art in the late 1970s, early 1980s; living and working in the same loft in New York for over 40 years; the helpful role the women's movement played in her successful career though she did not participate; receiving art grants to enable her to work for a year or two without having to find an odd job to support herself; various public art projects around the country, how they came to be, creating the works and their significance to her. Ferrara also recalls Charlotte Tokayer, Don Ferrara, Alvin Nikolai, Richard Bellamy, Mary and Paul Frank, Miles and Barbara Forst, Sally Gross, Hans Hofmann, Robert Motherwell, Helen Frankenthaler, Nat Halprin, Lucas Samara, Letty Lou Eisenhauer, James Rosenquist, Marcia Marcus, Charles Addams, Eva Hesse, Frank Gallo, Tony DeLap, Dorothea Rockburne, Time Doyle, Sol LeWitt, Donald Judd, Carl Andre, Nancy Graves, Marty Greenbaum, Abe Sachs, Mel Bochner, Jan Groover, Alice Aycock, Alice Adams, Jackie Windsor, Scott Burton, Siah Armajani, Michelle Stuart, Lucy Lippard, Zaha Hadid, Max Hutcinson, Andrea Blum, and others.
76705-76728 of 77,092 Resources