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Oral history interview with Vaclav Vytlacil, 1966 March 2

Archives of American Art
Transcript: 12 pages

An interview of Vaclav Vytlacil conducted 1966 March 2, by Bruce Hooton, for the Archives of American Art.

Oral history interview with Jeanne L. Wasserman, 1993-1994

Archives of American Art
5 sound cassettes (7 hrs., 30 min.) : analog.

Transcript: 125 p.

Interview of Jeanne L. Wasserman, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Cambridge, MA from January 28, 1993-July 19, 1994.

Wasserman speaks of her parents' cultural interests; first becoming interested in sculpture after visiting a Rodin exhibition in Paris with her family; visiting art galleries and studying painting in New York City as a young woman; her education at Fieldston and Radcliffe; trying to get a job in New York after college; working in advertising; meeting her husband, Max, and building a business with him; beginning to collect art; putting together a collection for the condominium project, 180 Beacon; the opening of 180 Beacon; working on a condominium project in the Virgin Islands; curating sculpture exhibitions at the Fogg Museum and at Wellesley; writing the catalogue for a Daumier exhibition at the Fogg; serving on the board of the Institute of Contemporary Art, Boston; organizing forums on contemporary art with the Council of the Arts at MIT; becoming involved with Harvard's Institute for Learning in Retirement; and notable purchases of work by Daumier, Rodin, Degas, Giacometti, de Chirico, Nicolas Schöffer, Henry Moore, and others. Wasserman also recalls Alfred Stieglitz, Peppino Mangravite, Elie Nadelman, Hyman Swetzoff, Joseph Hirshhorn, Erica Brausen, René and Charles Gimpel, Louise Nevelson, Niki de Saint Phalle, Jean Tinguely, Robert Indiana, Claes Oldenburg, Denise René, Yaacov Agam, George Rickey, George Segal, David Ross, Milena Kalinovska, Jacques de Caso, Yulla Lipchitz, Vera List, Jim Cuno, and others.

Oral history interview with Neil Welliver, 1996 November 14

Archives of American Art
Sound recording: 2 sound cassettes (2 hr., 8 min.) : analog.

Transcript: 45 pages

An interview of Neil Welliver conducted 1996 November 14, by Robert F. Brown, for the Archives of American Art, in Welliver's home in Lincolnville, Maine.

Welliver talks about his childhood in Pennsylvania; his self-education; his marriage to a fashion illustrator; attending the Philadelphia Museum College of Art (now University of the Arts), receiving a BFA in 1953; teaching art in a public school; attending the Yale School of Art (MFA 1955) and teachers there; going to Maine; teaching at Yale (1955-1965); teaching at the University of Pennsylvania (1966-1989) at the graduate level. He recalls architect Louis Kahn at Yale and then at Pennsylvania; his various New York dealers from the 1960s, including Eleanor Ward at Stable Gallery, Aladar Marburger at Fischbach Gallery, and Pierre Lefraie at Marlborough Gallery; various art world friends, including Hilton Kramer, Clement Greenberg, and Fairfield Porter; and receiving an honorary doctorate of fine arts at the Pennsylvania Academy of the Fine Arts, 1996.

Oral history interview with Frederick Weston, 2016 August 31-September 5

Archives of American Art
4 sound files (5 hrs., 28 min.) digital, wav

Transcript: 130 pages.

An interview with Frederick Weston, conducted 2016 August 31 and September 5, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Weston's home in New York, N.Y.

Weston speaks of his childhood in Detroit; early understandings of his gender; attending Ferris State University in Michigan; moving to New York in 1973; New York nightclub culture before the AIDS crisis; studying at FIT and working in the fashion industry; beginning to consider himself an artist in the late 1990s after years of collage work in street settings; being diagnosed with HIV in the mid-1990s; imbuing his art with his personal experience; his body of work in photography, installations, and poetry; his health care and regiment since being diagnosed with HIV; evolutions in his personal outlook since being diagnosed; the trajectory of his sex life from adolescence; moving into his current apartment in Chelsea; and reflections on America's racial situation. Weston also recalls Claude Payne, Apollonia, Billy Blair, Stephanie Crawford, Franz Renard Smith, Dr. Joseph Sonnabend, Bruce Benderson, and others.

Oral history interview with Elisabeth Wildenhain, 1995 August 22

Archives of American Art
1 sound cassette (75 min.) : analog.

Transcript: 36 pages.

An interview with Elisabeth (Lili) Wildenhain conducted 1995 August 22, by Robert F. Brown, for the Archives of American Art, in Wildenhain's home, Pittsford, N.Y.

Wildenhain talks about her childhood in a wealthy, cosmopolitan German-speaking family in Bohemia; her early interests and schooling; her work at the American Fine Arts and Monuments service; designing costumes and clothes in Kansas City following her first marriage; studying with Oskar Kokoschka; meeting Frans Wildenhain (who she subsequently married), travelling with him to Japan, and coming with him to Rochester, N.Y. where he taught at the School for American Craftsmen; and her problematic financial and health situation.

Oral history interview with William T. Wiley, 1997 October 8-November 20

Archives of American Art
Transcript: 221 pages

An interview of William T. Wiley conducted 1997 October 8-November 20, by Paul J. Karlstrom, for the Archives of American Art, in Woodacre, California.

Wiley discusses the importance of the rural setting of his Marin County studio/home and his corresponding lifestyle to his world view and its reflection in his art. He describes his itinerant youth and experience at the San Francisco Art Institute, and his teaching years at UC Davis, which had attracted a faculty that included Robert Arenson and Wayne Thiebaud. Among the graduate students was Bruce Nauman, who he discusses in length and credited with influencing some of his own ideas at the time. He also acknowledges the influence of the assemblage movement through relationships with George Herms and Bruce Conner.

The final session addressed the communal nature of the Bay Area art scene and the differences between East and West Coast art worlds. The interview ends with a discussion of Wiley's iconography and motifs frequently encountered in his works and how their changing meaning are intended to encourage thoughts on visual and verbal complexities as reflections of shifting perception and experience.

Oral history interview with Gerald Williams, 1978 February 22-1979 April 19

Archives of American Art
3 sound tape reels ; 5 in.

Transcript: 74 pages.

An interview of Gerald Williams conducted 1978 February 22-1979 April 19, by Robert F. Brown, for the Archives of American Art.

Williams speaks of his boyhood in India; his travails as a pacifist during World War II; his decision to become a potter; his early work; his apprenticeship to John Butler in 1951; the influence upon him of Edwin and Mary Scheier; and the development of the cone firing process and stoneware forms during the 1950s and 1960s.

Oral history interview with John Wilmerding, 2018 March 19-20

Archives of American Art
Audio: 7 sound files (6 hr., 12 min.) digital, wav

Transcript: 82 pages.

An interview with John Wilmerding conducted 2018 March 19-20, by Christopher Lyon, for the Archives of American Art, at Wilmerding's home in New York, New York.

Wilmerding speaks of the indirect influence of his grandmother Electra Webb; his initial exposure to art history as a freshman at Harvard; the stigma against specializing in American art history that he encountered at Harvard; his undergraduate thesis work on the marine paintings of Fitz Henry Lane; starting his art collection in the early 1960s; the generation of American art historians with whom he attended graduate school at Harvard; early teaching experiences at Dartmouth; composing the "Pelican History of American Art;" his decision to become a senior curator at the National Gallery; the beginning of his interdisciplinary scholarship in an American Studies context; early curatorial experiences; his work as deputy director of the National Gallery; his decision to take a professorship at Princeton; organizing the Andrew Wyeth "Helga" exhibition and catalogue for the National Gallery; developing relationships with collectors and lenders while at the National Gallery; composing "Compass and Clock" and "Signs of the Artist: Signatures and Self-Expression in American Painting" after affiliating with Princeton's American Studies program; organizing an exhibition and promised gift of his personal 19th-century collection for the National Gallery; beginning to collect Pop art; the beginnings of his writings on 20th-century American artists; organizing "The Pop Object: The Still Life Tradition in Pop Art" with Acquavella Gallery and Rizzoli; working with Alice Walton to create the Crystal Bridges Museum of American Art; and the personal meaning he has derived from teaching. Wilmerding also recalls Vincent Scully, John Coolidge, Seymour Slive, Benjamin Rowland, Henry-Russell Hitchcock, Maxim Karolik, Alfred Mansfield Brooks, Theodore Stebbins, Barbara Novak, Charlie Childs, Stuart Feld, David Huntington, Jules Prown, Carter Brown, James Cox, Robert Rosenblum, Wanda Corn, Paul Gottlieb, Leonard Andrews, Paul and Bunny Mellon, Richard Estes, Allan Stone, Robert Indiana, Tom Wesselmann, Ralph Lerner, Moshe Safdie, Neil Rudenstine, Philippe de Montebello, Leon Black, Max Anderson, Kathy Foster, Rebecca Zurier, Franklin Kelly, Carter Cleveland

Oral history interview with Martha Wilson, 2017 May 17-18

Archives of American Art
8 sound files (5 hr.,4 min.) digital, wav

Transcript: 88 pages.

An interview with Martha Wilson conducted 2017 May 17-18, by Liza Zapol, for the Archives of American Art at Wilson's home, in Brooklyn, New York.

Wilson speaks of growing up in Philadelphia area on a houseboat; moving to Newtown, Pennsylvania to live with her grandparents; her Pennsylvania Quaker upbringing, philosophy and family lineage; her experiences rejecting Quakerism as a teenager; her school and camp experiences; her mother's background as an artist; the history of Native Americans in Newtown; her father's family, character, and sexual abuse; her studies in Nova Scotia and her transition from studying English Literature to her inclusion at Nova Scotia College of Art and Design (NSCAD); her early works, such as Breast Forms Permutated, and her drag pieces; the treatment of women at NSCAD and her identification as a feminist performance artist, inclusion in c. 7500 and relationship to Lucy Lippard; using her body in Conceptual Art; the influence of Erving Goffman in her understanding of performance; moving to New York; her interest and work in performance art and Artists' Books; decision to move to New York; working in publishing and learning organizational systems; the founding of Franklin Furnace; her home and real estate conflicts in Brooklyn and protesting the Atlantic Yards Barclay Center development in Brooklyn; the development of Tribeca in 1976 and collaboration with other art spaces. Spreading of the arts spaces to East Village and Chelsea in the early 1980s; the management of Franklin Furnace as an extension of her artistic career; the creation of Disband and their collaborative; the creation of her political characters: Alexander Plague, Nancy Reagan, Barbara Bush, Tipper Gore, Donald Trump; the way she approaches characters; audience reactions; the decision to go virtual with Franklin Furnace, and conflict with the board; being a member of the Guerrilla Girls; the use of humor; the process of working by concensus; the conflicts within the Guerrilla Girls about hierarchy, race, debates about mission of the Guerrilla Girls; her performance as Michelle Obama; institutional and NEA responses to Franklin Furnace in the 1970s and 1980s; the professionalization of the arts spaces; the "NEA Four" and fighting for freedom of expression; the lineage of Performance Art and the lineage of the avant-garde; her son's birth and meeting her partner; current work of Franklin Furnace at Pratt.Wilson also recalls: Simone Forti, David Askevold, Vito Acconci, Margaret Kaplan, Printed Matter, Exit Art, Diane Torr, Barbara Kruger, Jacki Apple, among others.

Oral history interview with Donald Windham, 2007 March 12

Archives of American Art
Transcript: 37 pages

An interview of Donald Windham conducted 2007 March 12, by Elizabeth Kornhauser, for the Archives of American Art, at Windham's home, in New York, N.Y.

Windham speaks of his long-time friendship with Joseph Cornell; first meeting Cornell in 1944 while working with him at Dance Index; Cornell's interest in dancers and actresses including Gwen Van Dam, Dorothy and Lillian Gish, Lauren Bacall, Fanny Cerrito, and Tanaquil LeClercq; Cornell's film work with Rudy Burckhardt; Cornell's limited gallery representation by Charles Egan Gallery and Julien Levy Gallery; Cornell showing boxes in Ernst Beadle's photography studio; Cornell's friendship with Marcel Duchamp; Cornell's retiring personality; Cornell's disinterestedness in participating in the art business world and subsequently being labeled a recluse; Cornell's appreciation of Albrecht Dürer's self-portraits; Cornell's joy in giving and sharing his boxes and collages with people who truly enjoy them; the boxes Pink Palace and Keepsake Parakeet in his personal collection; Cornell's advice on caring for his boxes; and attending Cornell's funeral. Windham also recalls Lincoln Kirstein, Tennessee Williams, Peggy Guggenheim, Richard Ader, Sandy Campbell, Lois Smith, Robert Cornell, Elizabeth Cornell Benton, Helen Cornell Jagger, Fritz and Jeanne Bultman, Ed Hewitt, and Jeff Peabody.

Oral history interview with Lydia Winston, 1976 April 14

Archives of American Art
1 sound tape reel

Transcript: 4 pages

An interview with Lydia Winston Malbin conducted 1976 April 14, by Paul Cummings, for the Archives of American Art.

Oral history interview with Terry Winters, 2018 November 13 -15

Archives of American Art
Audio: 4 sound files (2 hrs., 54 min.) digital, wav

Transcript: 58 pages.

An interview with Terry Winters conducted 2018 November 13 and 15, by Christopher Lyon, for the Archives of American Art, at Winters' White Street Studio in New York, N.Y.

Winters speaks of his aversion to personal mythology in his artwork; his childhood in Brooklyn; early exposure to art exhibitions and classes in New York; his classical art education; formative encounters with avant-garde paintings in the 1960s; the development of his interest in architecture and industrial design; living in SoHo and refurbishing lofts for a living there in the 1970s; his early painting style in relation to Minimalism and Modernist abstraction; assisting in the construction of Walter De Maria's "Lightning Field;" his interest in incorporating natural structures and computational imaging in his paintings; the role of time in his painting practice; new directions in his painting practice beginning in the early 1980s; his decision to start exhibiting his artwork; the beginning of his printmaking practice; the interaction between his painting, printmaking, and drawing practices; his thoughts on the similarities between his artwork and that of Louise Bourgeois; the impetus for his midcareer retrospective at the Whitney Museum in the early 1990s; buying and constructing on a property in Columbia County, New York, where he now paints; the impetus and execution of his 2004 retrospective at the Addison Gallery of Art; developments and changes in his art-making practice between the Whitney and Addison retrospectives; his increasing creation of work in series; the role of scale in his painting practice; the development and implications of various individual works and series reproduced in the Addison retrospective catalog, including "Tenon's Capsule," "Computation of Chains," "Graphic Primitives," "Mesh Works," and "Turbulence Skins;" his collaboration with Trisha Brown; the development and execution of the books Perfection, Way, Origin with Jean Starobinski and "Turbulence Skins" with Ben Marcus; and the role of metaphor in readings of his work. Winters also recalls Ivan Karp, Herb Aach, Louis Kahn, Buckminster Fuller, Sibyl Moholy-Nagy, Brice Marden, Robert Fosdick, Carroll Dunham, Klaus Kertess, Ileana Sonnabend, Florence Barron, Bill Goldston, Aldo Crommelynck, Lisa Phillips, Hendel Teicher, Adam Wienberg, Dave Douglas, Jennifer Tipton, Merce Cunningham, Yvonne Rainer, and others.

Oral history interview with Stanley H. Witmeyer, 1985 June 22

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

Transcript: 30 pages

An interview of Stanley H. Witmeyer conducted 1985 June 22, by Robert F. Brown, for the Archives of American Art.

Witmeyer speaks of his childhood in Palmyra, Pennsylvania and moving to Rochester, New York at the age of nine; attending Edison Tech High School; his devotion to painting and basketball in high school; receiving a basketball scholarship to Syracuse University but deciding instead to attend the Mechanics Institute in Rochester (now the Rochester Institute of Technology); taking his first job with the L.M. Berry Company (then part of the Rochester Telephone Company); getting an offer from Eastman Kodak Company to play basketball for their professional league; quitting the team to attend Buffalo State University to study arts education; taking a job in Cuba, New York as an arts administrator in the public school system; teaching art in grades K-12 in Cuba, New York; receiving a scholarship to attend the Charles Woodbury School in Maine; receiving a scholarship to attend graduate school at Syracuse University, but leaving after a semester after getting drafted into the army during World War II; serving with the 30th Battalion in the mapping division in Hawaii; returning to Syracause University after the war to finish his MFA in design; joining RIT as an instructor in 1946; becoming the director of RIT's school of art and design in 1952.

Oral history interview with Robert Zakanitch, 1972 August 23-30

Archives of American Art
Transcript: 98 pages

Interview of Robert Zakanitch conducted 1972 August 23-30, by Paul Cummings, for the Archives of American Art.

Oral history interview with William Keyser, Jr., 2003 April 25-May 2

Archives of American Art
Transcript: 107 pages.

An interview of William Kesyer Jr. conducted 2003 April 25 and May 2, by Edward S. Cooke Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Victor, N.Y.

Keyser describes his childhood, including his early interest in construction through his father's home wood shop and the Soap Box Derbies of the 1950s; his participation in the Fisher Body Division automobile design competition and science fairs in high school; studying engineering and sculpture at Carnegie Mellon University; working at Hoover Vacuum Cleaner Company; his studies at Kent State University and the School of American Craftsmen at Rochester Institute of Technology (RIT); his teaching positions at RIT and Ohio University; the curriculum he established at RIT and the goals and structure of the woodworking program; he discusses moving away from teaching in the 1990s; the advantages and disadvantages of commissions; his liturgical and speculative work; the influence of furniture and art movements on his furniture; the importance of his family and his Catholic faith; the benefits of university involvement and summer arts programs; his travels in New England and Scandinavia; being well received as a regional artist; the importance of publications in furniture and art; four objects that were terminal points in his career; and the future of woodworking. He also recalls Mel Someroski, Tage Frid, Michael Harms, Jere Osgood, Wendell Castle, James Krenov, Craig McArt, Doug Sigler, Daniel Jackson, Robert Johnston, Lamar White, and others.

Oral history interview with Stewart Klonis, 1970 Feb. 3

Archives of American Art
Sound recordings: 2 sound tape reels (3 hours 40 min.) ; 7 in.

Transcript: 59 pages.

An interview of Stewart Klonis conducted 1970 Feb. 3, by Paul Cummings, for the Archives of American Art.

Klonis discusses the Art Students League, art education, his work, and other subjects.

Oral history interview with Marisol, 1968 Feb. 8

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

Transcript: 34 p.

An interview of Marisol conducted 1968 Feb. 8, by Colette Roberts, for the Archives of American Art.

In the interview Marisol speaks of her childhood spent both in Chile and France; the encouragement of her parents and teachers to draw freely; her progression from painting, to drawing, to collage and reliefs; the influence of Europeans, Matisse and Picasso, and American, Rauschenberg; her time spent in museums as a child and the subsequent exposure to DaVinci and Rembrandt; her art education, predominantly in New York at the Art Students League and briefly in Paris at the Ecole des Beaux Art; her association with the Abstract Expressionists at the Club; the contrast of her work to the dream-based Surrealists; her first show for Castelli in 1957; her shows at the '62 and '64 annual exhibitions at the Stable; her more recent exhibitions for the Carnegie and Sidney Janis Gallery of The Beach and The Party; the origins of her wood drawings as a discovery while drawing lines to be sculpted upon wood; her experience working for the Daily Telegraph and completing portraits of historical figures such as Charles DeGalle; the literary influence of Dostoeveski, and more specifically Crime and Punishment; her recent apathy for visual entertainments and diversions (like the Ballet). Both in the interview and afterwards in a supplemental biographical addition Roberts and Marisol allude to her resistence to sit for interviews. The artist feels that she doesn't "have much to say."

Oral history interview with Richard Marquis, 2006 September 16

Archives of American Art
Sound recording: 9 sound files (4 hr., 57 min.) : digital, wav

Transcripts: 81 pages

An interview of Richard Marquis conducted 2006 September 16, by Mija Riedel, 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 Freeland, Washington.

Marquis speaks of his childhood spent moving around Arizona, Colorado, and California; his lifelong affinity for collecting objects; attending University of California, Berkeley; the influence of seeing the shows "Abstract Expressionist Ceramics" at the University of California at Irvine in 1966 and "American Sculpture of the Sixties" at Los Angeles County Museum of Art in 1967; receiving a Fulbright grant to study glassblowing in Murano, Italy; experiences at Venini Fabbrica Glass Factory in Murano; teaching experiences at University of Washington, Seattle and UCLA; traveling throughout Australia to set up glass workshops; working as artist-in-residence at Tasmanian School of Art in Hobart, Tasmania, Australia; establishing Marquis Deluxe Studios; large-scale installation collaborations with Therman Statom; the importance of teaching and sharing knowledge; the cyclical progression and diversity of his work; future plans to work less with glass and focus instead on daguerrotypes. Marquis also recalls Peter Voulkos, Ron Nagle, Marvin Lipofsky, James Melchert, Harvey K. Littleton, John Eubanks, John Pearson, Ludovico de Santillana, Lino Tagliapietra, Bob Naess, Fred Bauer, Nick Mount, Les Blakebrough, Jack Wax, Jody Fine, Therman Statom, Kenneth Price, Dante Marioni, Jerry Spagnoli, and Bill Concannon, among others.

Oral history interview with Mary Fuller McChesney, 1994 Sept. 28

Archives of American Art
Transcript: 145 p.

An interview of Mary Fuller McChesney conducted 1994 Sept. 28, by Susan Landauer, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, at the artist's home, on Sonoma Mountain, Calif.

Fuller McChesney discusses her childhood and growing up during the Depression; her student days at the University of California, Berkeley; the political response on the campus to WWII and the Japanese interment; her experience working as a welder in the shipyards which she considers her introduction to sculpture; her introduction to the art community in San Francisco through the cooperative Artists' Guild Gallery; her association with the Abstract Expressionists at the California School of Fine Arts in the 1940s; her foray into writing fiction and her success as a mystery writer; her work on the Archives of American Art's oral history project documenting the WPA art project in California; her first significant publication on the San Francisco School of Abstract Expressionism, Period of Exploration, and the interviews she conducted in the mid-late 1960s for the project.

She describes her attitudes and philosphies about art; living at Point Richmond with her husband Robert McChesney, Edward Corbett, Hassel Smith, and poet Weldon Kees during the late 1940s; her impressions of the Cedar Bar and New York artists during the mid-late 1960s; her own artistic evolution and career as a sculptor; the intellectual and artistic sources of her work; her subjects and techniques; her public commissions; her audience and market; and her experiences and perspectives as a woman artist and feminist. She recalls Edward Corbett, Willem De Kooning, Richard Diebenkorn, Weldon Kees, Douglas MacAgy, Bea Mandelman, Conrad Marca-Relli, Agnes Martin, Robert McChesney, David Park, Ad Reinhardt, Louis Ribak, Hassel Smith, Clay Spohn, Clyfford Still, and Esteban Vicente.

Oral history interview with John Gaw Meem, 1964 Dec. 3

Archives of American Art
Transcript: 13 p.

An interview of John Gaw Meem conducted 1964 Dec. 3, by Sylvia Loomis for the Archives of American Art.

Gaw speaks of his background; moving to New Mexico; deciding to become an architect; architectural commissions he worked on; becoming involved with the Public Works of Art Project; his architectural philosophy; and his appointment to historic committees.

Oral history interview with Francis Sumner Merritt, 1979 May 25-June 25

Archives of American Art
Transcript: 61 p.

An interview of Francis Sumner Merritt conducted 1979 May 25-June 25, by Robert F. Brown, for the Archives of American Art.

Merritt speaks of his education at art schools in Boston and at Yale; his career as a painter during the Depression; teaching at the Cranbrook Academy of Art; his tenure at the Flint (Michigan) Institute of Arts, 1947-1951; and the development of the Haystack Mountain School of Crafts at Liberty and then at Deer Isle, Me.

Oral history interview with Conger Metcalf, 1982 Feb. 24

Archives of American Art
Sound recording: 2 sound cassettes.

Transcript: 41 pages

An interview with Conger Metcalf conducted 1982 Feb. 24, by Robert F. Brown, for the Archives of American Art.

Metcalf speaks of studying with Grant Wood and Karl Zerbe; his career as a teacher of painting and drawing at Boston University; and his figural subject matter and method of working.

Oral history interview with Glen Michaels, 1981 July 1

Archives of American Art
Transcript: 44 p.

An interview of Glen Michaels conducted 1981 July 1, by Mary Chris Rospond, for the Archives of American Art.

Michaels speaks of his childhood and family background in Washington state; his early training in music; becoming a cartoonist and illustrator; his teaching career; studying at Cranbrook Academy under Zoltan Sepeshy; Maija Grotell's influence; his artistic development from painting to assemblage to mosaic sculpture; the influence of Japanese art and culture; problems in the relationship between art and architecture; his important commissions; materials he uses.

Oral history interview with Walter Midener, 1981 Aug. 3

Archives of American Art
1 wav file (42 min.): digital

Transcript: 18 pages

An interview with Walter Midener conducted 1981 Aug. 3, by Dennis Barrie, for the Archives of American Art.
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