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Oral history interview with Marcia Tucker, 1978 August 11-September 8

Archives of American Art
Transcript: 218 pages.

An interview of Marcia Tucker conducted 1978 August 11-September 8, by Paul Cummings, for the Archives of American Art.

Ms. Tucker speaks of many aspects of her life. She starts with the incredible poverty she has experienced at times as a young girl and a married woman. She recalls her work with women's organizations and tells us she was in at the start of the women's movement in the USA. She talks about the people she has met, her time in France, her work as a curator at the Whitney and starting the New Museum.

Oral history interview with Rexford Tugwell, 1965 January 21

Archives of American Art
Transcript: 28 pages

An interview of Rexford Tugwell conducted 1965 January 21, by Richard Doud, for the Archives of American Art New Deal and the Arts Project.

Oral history interview with John Vachon, 1964 April 28

Archives of American Art
Transcript: 18 pages.

An interview of John Vachon conducted 1964 April 28, by Richard Doud, for the Archives of American Art.

Vachon speaks of how he started on the Farm Security Administration project; getting started as an FSA photographer; helping to organize the photograph file; early assignments as a photographer; the influence of Walker Evans; making decisions about the subject matter of the photographs; the growth of the FSA project; the difference between being a photographer for LOOK magazine and for the FSA; his philosophy of photography; and his most memorable experiences with the FSA. He recalls Roy Stryker.

Oral history interview with Jack Vallee, 1973 June 27-October 31

Archives of American Art
Transcript: 37 pages

An interview of Jack Vallee conducted 1973 June 27-October 31, by Robert Brown, for the Archives of American Art.

Oral history interview with Elayne H. Varian, 1975 May 2

Archives of American Art
2 sound file (2 hr., 5 min) : digital, wav file

Transcript: 53 p.

Interview of Elayne Varian, conducted by Paul Cummings for the Archives of American Art, at the Finch College Museum of Art, New York, NY, on May 2, 1975 and May 9, 1975.

Varian speaks of her education at the University of Chicago and the Chicago Bauhaus/IIT Institute of Design; working at Duveen's as an art dealer; teaching courses at Finch on museology; ways she found funding for the Finch College Museum of Art; and the exhibitions she organized at Finch, including Art and Process, Destruction Art, Art and Jewelry, Italian Visual Poetry, Art Nouveau, Documention, and Troubles in Ireland . Varian also recalls Edward Fowles; Brian O'Doherty; Robert Indiana; Robert Smithson; George Kuchar; Sol LeWitt; Ralph Ortiz; Walter Gutman; Les Levine, and others.

Oral history interview with Tony Vevers, 1998 July 9-August 25

Archives of American Art
Sound recording: 2 sound cassettes (2 hr., 49 min.) : analog.

Transcript: 58 pages

Interview of Tony Vevers, conducted on August 25, 1998, by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Provincetown, Massachusetts.

Vevers speaks of being sent by his parents to the United States in 1940; secondary schooling in Madison, Connecticut and at the Hotchkiss School, Lakeville, Connecticut (1944); serving in the U.S. Army infantry in Europe, 1944-1946; attending Yale University on the GI Bill and graduating with a BA in painting and drawing, 1950; further art training in Florence, Italy and at the Hans Hofmann School, NYC (1950-1953); his marriage to Elspeth Halvorsen, fellow artist, 1953; his studies in Italy; the unexciting nature of contemporary Italian art; contemporary art in Paris, where Picasso impressed him but work of Hans Hartung and (Marie Elena) Vieira da Silva did not; studying with Hans Hofmann; working at the non-profit City Center Gallery, which was designed to give younger artists exposure through juried exhibitions; and living in poverty in NYC and Provincetown until 1963. Vevers also recalls Tom Blagden, Alfred Stieglitz, Deane Keller, Rudolph Zallinger, Claes Oldenburg, Stephen Pace, Lawrence Calcagno, Hans Hofmann, Milton Avery, Adolph Gottlieb, Jack Levine, Franz Kline, Louise Nevelson, Max Weber, Richard Lippold, and others.

Oral history interview with Esteban Vicente, 1982 April 6

Archives of American Art
Transcript: 18 pages

An interview of Esteban Vicente conducted 1982 April 6, by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Vicente recalls the gallery activity of the 1940s and 1950s. He describes The Club and the exhibition on 9th Street arranged by many of those artists. He remembers Mark Rothko as a casual acquaintance and the society of artists living in the Hamptons. Vicente speaks about coming to the United States, acting as vice-consul in Philadelphia for the Loyalist camp during the Spanish Civil War. He discusses his own work and his feelings about the work of his contemporaries.

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 Jack Waters, 2018 February 21-22

Archives of American Art
Audio: 4 sound files (5 hr., 59 min.) digital, wav

Transcript: 72 pages.

An interview with Jack Waters, conducted 2018 February 21 and 22, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at the Visual AIDS office in New York, New York.

Waters speaks of his early exposure to the arts through his family and their frequent visitors and boarders; the beginnings of his political consciousness, race consciousness, sex consciousness, and self-identity during the 1960s; his dance education at the Miquon School in Philadelphia; teaching at Miquon after a briefly dancing in California; his dance and choreography education at the Julliard School and the Ailey School; his experience of the Lower East Side in the 1980s; the genesis and development of the Performing On One Leg collective; the start of the AIDS epidemic; collaborations with Gordon Kurtti and Brian Taylor, and their AIDS-related deaths; the importance of art-making and documentary practice during the AIDS epidemic; the beginning and development of his film and video work; collaborating with Peter Cramer on Black and White Study as both film and performance; receiving his HIV-positive diagnosis; the beginning and development of his work as a writer and journalist; his involvement in AIDS activist and queer activist organizations; a formative period in Ibiza during the fall 1983; his films The Male GaYze and Short Memory/No History; changes in queer activism he has observed since the 1980s, and the lack of historical memory about them; his experience of intergenerational queer dialogue; his involvement with Visual AIDS; and his thoughts on the idea of artistic legacy, both generally and in his particular case.

Oral history interview with June Wayne, 1965 June 14

Archives of American Art
Trancript: 33 pages

An interview of June Wayne conducted 1965 June 14, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project, at the artist's studio, in Los Angeles, California.

Oral history interview with John Weber, 2006 March 21-April 4

Archives of American Art
Transcript: 62 pages

An interview of John Weber conducted 2006 March 21 and April 4, by James McElhinney, for the Archives of American Art, at Weber's home, in Chatham, New York.

Weber discusses his education at St. Catherine's Military School in Anaheim, California, and Admiral Farragut Academy in St. Petersburg, Florida; attending the Citadel in South Carolina and then joining the Navy; attending Antioch College in Yellow Springs, Ohio, after getting out of the Navy; accepting a job at the Dayton Art Institute on the curatorial staff and working for the director, Thomas C. Colt; moving to New York and attending the Institute of Fine Arts at New York University; working at the Martha Jackson Gallery and his involvement in various influential shows there, including "Environments, Spaces, Situations," and "New Forms, New Media"; moving to Los Angeles in 1962 to work for the Dwan Gallery; getting involved with land artists, including Robert Smithson, Michael Heizer, and Walter De Maria; moving back to New York to take on the directorship of the East Coast location of the Dwan Gallery, in SoHo, then the newest gallery neighborhood; opening his own gallery, the John Weber Gallery, on West Broadway in 1972; his involvement with the Fluxus Group and Arte Povera; the international nature of the art world in the 1960s and 70s; his business arrangements with artists, including the monthly stipends he gave them as advances on sales; his relationships with collectors, including Giuseppe Panza di Biumo and Emily and Burton Tremaine; his advocacy of Aboriginal art; the studios of Robert Smithson and Claes Oldenburg; his belief in the importance of originality; his adverse reaction when he first saw a piece by Dan Flavin; his interaction with art critics, including Irving Sandler and Grace Gluck; and his experience with art fairs. He also recalls Kirk Varnedoe, Jim Dine, Michael Goldberg, Jean Tinguely, Martial Raysse, Arman, Yves Klein, Franz Kline, Andre Emmerich, Mary Boone, Sol LeWitt, Andy Warhol, Gilberto Zorio, Richard Long, Hamish Fulton, Anina Nosei, Sven Lukin, Robert Ryman, Alighiero Boetti, Konrad Fischer, Ivan Karp, Paula Cooper, Angela Westwater, Jeff Koons, Joseph Beuys, Hans Haacke, Leo Castelli, Tom Otterness, Joyce Nereaux, Dorothea Rockburne, Eva Hesse, Lucas Samaras, and Joseph Hirshhorn, among others.

Oral history interview with Wesley C. Wehr, 1983 May 26-September 22

Archives of American Art
Transcript: 109 pages

An interview of Wesley C. Wehr conducted 1983 May 26 - September 22, by Martha Kingsbury, for the Archives of American Art's Northwest Oral History Project in Seattle, Washington.

Wehr speaks of meeting the artists Morris Graves and Mark Tobey, their fame, their personalities and his relationship with them; his own background and education in music, poetry, paleobotany, and painting; the Seattle art scene and changes in it during the 1960s; and important Seattle collectors.

Oral history interview with Mindy Weisel, 2001 September 2-November 1

Archives of American Art
2 sound discs (1 hr.; 28 min.): digital. 2 5/8 in.

Transcript: 36 pages.

An interview with Mindy Weisel conducted 2001 September 21-November 1, by Anne Louise Bayly, for the Archives of American Art, in Washington, D.C.

Weisel speaks of her parents and their surviving the Holocaust; her mother showing her beauty as a child; being the daughter of survivors; wanting to draw as a child; studying art in college; her marriage and motherhood; balancing the role of wife, mother and artist; September 11th; her Ella Fitzgerald series; her time at the Virginia Center for the Creative Arts; process of working; creating Lily Let's Dance and It's Ok Kid; writing her books "Daughters of Absence", "Touching Quiet", "The Rainbow Diet"; art and survival.

Oral history interview with Allen Stuart Weller, 1992 May 1

Archives of American Art
1 sound cassette.

Transcript: 24 pages.

An interview with Allen Stuart Weller conducted 1992 May 1, by Stephen Polcari, for the Archives of American Art. Weller discusses his early training and his teaching career; traveling to Europe in the 1920s; the first American art courses offered at Princeton; working with the army to preserve monuments during WWII; teaching modern art during the 1950s; and the beginnings of the College Art Association.

Oral history interview with James Wentzy, 2017 January 23-March 31

Archives of American Art
Sound recording: 15 sound files (5 hr., 13 min.) digital, wav

Transcript: 164 pages

An interview with James Wentzy, conducted 2017 January 23-March 31, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Wentzy's home and studio in New York, New York.

Wentzy speaks of his childhood in South Dakota; studying filmmaking at Southern Illinois University; moving to New York and shooting commercial films in the late 1970s; working and homesteading in the photography studio of James Dee; the beginning of the AIDS crisis; being diagnosed with HIV in 1990; his participation in and extensive documentation of ACT UP meetings, actions, and demonstrations; his place in the genealogy of AIDS activism; and his body of film and television work. Wentzy also recalls Darrel Ellis, Alanna Heiss, Arch Brown, James Dee, Robert Farber, Ho Tam, John Schnabel, Patrick Moore, Lou Maletta, Tony Arena, Vincent Satinire, David Buckingham, Jean Carlomusto, and others.

Oral history interview with Charles W. White, 1965 March 9

Archives of American Art
Transcript: 27 pages

An interview of Charles Wilbert White conducted 1965 March 9, by Betty Hoag, for the Archives of American Art. White speaks of his youth in Chicago and early interest in art; early encounters with racism; his early training in art; working on the Federal Art Project; his U.S. Army service; going to Mexico; his ventures in graphic arts; subject matter which inspires him; coming to California; the politics of government subsidy of the arts; and mural projects he worked on. He recalls Harry Sternberg.

Oral history interview with Nicholas Wilder, 1988 July 18

Archives of American Art
Transcript: 104 pages

An interview of Nicholas Wilder conducted 1988 July 18, by Ruth Bowman, for the Archives of American Art.

Wilder discusses his education; working for the Lanyon Art Gallery near San Francisco; opening the Nicholas Wilder Gallery in Los Angeles in 1965 and operating it until it closed in 1979; the Los Angeles art scene in the 60s and how it has changed; Charlie Cowles and the founding of ARTFORUM magazine; and artists his gallery handled including Bruce Nauman, Joe Goode and Tom Holland.

Oral history interview with Anne Wilson, 2012 July 6-7

Archives of American Art
Transcript: 98 pages.

An interview of Anne Wilson conducted 2012 July 6 and 7, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Wilson's home, in Evanston, Illinois.

Oral history interview with Robert Winokur, 2011 July 23-24

Archives of American Art
Sound recording: 7 sound files (5 hr., 35 min.)

Transcript: 159 pages

An interview of Robert Winokur conducted 2011 July 23 and 24, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.

Robert speaks of his mother earning an award for her artwork; his father and other family members being Communists and having to distance himself in being identified with them; his mother making ceramic jewelry while his father was working as a welder at Cramps Shipyard in Philadelphia during World War II; feeling like he had an attention deficit disorder of some kind, which prevented him from doing well in school, so he took ceramics classes in high school to bring his grades up; starting in painting at the Tyler School of Art, finishing in sculpture, clay, and ceramics; appreciating the Abstract Expressionist work of Franz Kline; of the opinion that one learns art by doing and that the teachers are there to direct you only; feeling that he did not have the freedom to experiment with clay as he wished at Alfred University, School of Art and Design for fear of being compared to Peter Voulkos; his first job teaching at North Texas State University in Denton, Texas; teaching in Peoria, Illinois for a year; beginning Cape Street Pottery in Ashfield, Massachusetts; when he began salt firing and working more in sculptural forms; his work influenced by Abstract Expressionism, Paul Klee, Willem de Kooning, Ignazio Giacometti, Zen master calligraphers, Peter Voulkos, and others; feeling that the computer cannot, as of yet, produce the quality of art that humans can through repetition; that the process of creating is more important than the subject; starting his 30-year teaching career at Tyler School of Art in 1966; that students today are approaching ceramics conceptually and academically rather than through a relationship with the material; the beginning of NCECA [National Council on Education for the Ceramic Arts]; and how he enjoys making what he wants to, now that he is retired. Robert also recalls Rudolf Staffel, John Wood, Ted Randall, Daniel Rhodes, Shoji Hamada, Marguerite Wildenhain, Ken Ferguson, Norm Schulman, Victor Babu, Myrna Minter, Don Reitz, Helen Drutt English, Richard Notkin, Dick Hay, Marge Levy, and Ken Vavrek.

Oral history interview with Marcella Comès (Winslow), 1982 May 4

Archives of American Art
Transcript: 28 pages.

An interview with Marcella Comès (Winslow) conducted 1982 May 4, by Estill Curtis (Buck) Pennington, for the Archives of American Art, at Winslow's home in Washington, D.C.

Winslow speaks of her art training at the Carnegie School of Fine Arts and in Europe; her first portrait commission; her first exhibitions in Pittsburgh, Pa.; her marriage to William Randolph Winslow and their relocation to Washington, D.C.; the Corcoran Gallery, the Phillips Gallery and the arts community in Washington, D.C., and exhibitions available in the 1940s and 1950s; the many Southern writers she painted and the Southern literary renaissance; her studio in Georgetown and how she came to live and work there and in New Hampshire; painting people realistically, and their reactions to that realism as they get older; her work with Artists' Equity in Washington, D.C.; exhibiting in local galleries; the Whyte Gallery, the Obelisk, and the Bader Gallery, the Henri Gallery, and Jefferson Place; changing styles to cubism and abstraction from realism, and how cultural mood dictates artistic styles; her various interests outside of painting, including her garden, her grandchildren, and her house; and the changes in Washington, D.C., and Georgetown in particular, over the years that she has lived there. Ms. Winslow speaks in great detail about the people whose portraits she painted, including: Monsignor Francis Spellman; her mother-in-law, writer Anne Goodwin Winslow; Allen Tate, who introduced her to many of the writers she subsequently painted; Tate's wife Caroline Gordon; John Crowe Ransom; John Peale Bishop; Robert Penn Warren; Katherine Anne Porter; Ezra Pound; Robert Lowell; Eudora Welty; Karl Shapiro; Leonie Adams; Elizabeth Bishop; Mark van Doren; Denis Devlin; Juan Ramon Jimenez; Katherine Chapin Biddle; Robert Frost; Richard Eberhart; Joanna Sturm; and Alice Roosevelt Longworth. Ms. Winslow also recalls Homer Saint-Gaudens, Robert Franklin (Bob) Gates, Margaret Casey Gates, William (Bill) Calfee, Sarah Baker, Bernice Cross, Mitchell Jamieson, Herman Williams, Bill Walton, and others.

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 Betty Woodman, 2003 April 22 and 29

Archives of American Art
Sound recording: 5 sound files (2 hr., 55 min.) digital wav

Transcript: 69 pages

An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.

Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.

Oral history interview with William Woolfenden, 1983 March 17

Archives of American Art
Transcript: 39 pages

An interview of William Woolfenden conducted 1983 March 17, by Ruth Gurin Bowman, for the Archives of American Art, in Pacific Palisades, California.

Oral history interview with Virginia Wright, 2017 March 22- 23

Archives of American Art
Transcript: 88 pages.

4 sound files (3 hrs., 13 min.) digital, wav

An oral history interview with Virginia Wright conducted 2017 March 22-23, 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 Wright's home in Seattle, Washington.
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