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Oral history interview with Carolyn Mazloomi, 2002 September 17-30

Archives of American Art
Sound recording: 16 sound files (4 hr., 33 min.) digital, wav

Transcript: 56 pages

An interview of Carolyn Mazloomi conducted 2002 September 17 and 30, by Joanne Cubbs, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in West Chester, Ohio. Mazloomi speaks of growing up in Baton Rouge, Louisiana, with a family of self-taught artists; the positive influence of her aunt and teacher Dr. Carter; the generation of African-American quilt-makers who followed a gap in quilt-making post-slavery; she describes her previous career as an aeronautical engineer and her transition to quilt-making; how she identifies herself as a craftsperson, not an artist; her experience with Baltimore album and Appalachian quilts; learning to quilt; the Women of Color Quilter's Network and its economic and social development programs; her book, "Spirits of the Cloth"; the positive and negative aspects of travel; the false generalizations of African-American quilts in academic circles; the importance of gender, race, and ethnicity in her work; her connection to "praise songs"; she discusses functional vs. nonfunctional quilts; the market for "hand-crafted" quilts; agents and galleries; she describes her working environment; adopting the use of a sewing machine in her work; the importance of community; her technique; her accomplishment of placing African-American quilts in the Renwick Gallery; the influence of magazines, including "Raw Vision;" her aversion to commissions; expanding her use of materials and technology; her exhibitions; her role as an advocate and dealer; finding inspiration in black and white linocuts and her use of color in quilts; and making a connection with her audience. Mazloomi also recalls Marie Wilson, Cuesta Benberry, Edjohnetta Miller, Roland Freeman, Robert Cargo, Martha Connell, Penny Sisto, Minnie Adkins, Nkosi Johnson, and Lauryn Hill.

Oral history interview with Myra Mimlitsch-Gray, 2010 June 24-25

Archives of American Art
Sound recording: 8 sound files (6 hr., 24 min.) digital, wav

Transcript: 124 pages

An interview of Myra Mimlitsch-Gray conducted 2010 June 24 and 25, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Mimlitsch-Gray's home and studio, in Stone Ridge, New York.

Oral history interview with Nathan Oliveira, 1978 Aug. 9-1981 Dec. 29

Archives of American Art
Transcript, 1978-1980 sessions: 92 p.

Transcript 1981 session: 28 p.

An interview of Nathan Oliveira conducted 1978 Aug. 9-1981 Dec. 29, by Paul Karlstrom, for the Archives of American Art.

Oliveira speaks of his family background and ancestry; his childhood; his education; the development of his interest in art; working as a bookbinder; his inspirations from the old masters; studying with Max Beckmann and Otis Oldfield; his U.S. Army service; working with Richard Diebenkorn; getting established in galleries as a printmaker; teaching printmaking; his European travels; living in Illinois and its effect on his career; moving to California; and meeting and working with Martha Jackson. He recalls Billy Al Bengston, Ivan Albright, and Willem de Kooning, and discusses de Kooning's influence on him.

Oliveira also speaks of subject matter in his paintings, and his departure from and his later return to the human figure; the relationship between artist and model; the importance and persistence of the figurative tradition in American art; artists he admires. He recalls Keith Boyle and Frank Lobdell.

Oral history interview with Peter Paone, 1991 Sept. 27

Archives of American Art
Transcript: 202 p.

An interview of Peter Paone conducted 1991 Sept. 27, by Cynthia Veloric, for the Archives of American Art Philadelphia Project.

Paone discusses his family and early education; art classes at the Fleisher Art Memorial and the Philadelphia College of Art; studying with Benton Spruance; exhibiting at the Print Club of Philadelphia and the Philadelphia Museum of Art; teaching at Pratt Institute; working with Ben Shahn in the late 1950s as a studio assistant; being included in Selden Rodman's book "The Insiders"; his galleries in New York and Houston; receiving a Tiffany and Guggenheim grant to study in London; his relationship with Federico Castellon; and the development of his style, subject matter and technique.

Oral history interview with Ruth Penington, 1983 Feb. 10-11

Archives of American Art
Transcript: 63 p.

An interview of Ruth Penington conducted 1983 Feb. 10-11, by LaMar Harrington, at the artist's home in Seattle, Wash., for the Archives of American Art's Northwest Oral History Project. Penington speaks of her family background; her early interests; her education; the beginnings of the Northwest Printmakers; teaching at the University of California; the change in the definition of art in universities; the influence of Gilbert Rohde; her philosophy of teaching, of art, and of commercialism; various shows and exhibitions she has been involved in; her work methods and her current work.

Oral history interview with Merlin F. Pollock, 1979 July 30 and 1980 July 30

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

Transcript: 65 pages

An interview with Merlin F. Pollock conducted 1979 July 30 and 1980 July 30, by Robert Brown, for the Archives of American Art. Pollock speaks of his training at the Art Institute of Chicago and the Ecole des Beaux Arts, Fontainebleau, France; his work as instructor of mural painting at the Art Institute of Chicago, 1935-1943; his paintings of Alaska commissioned by the government in 1937 and his work as supervisor of mural painting for the Illinois WPA, 1940-1943. He also discusses Chicago artists and his own murals for the government.

Oral history interview with Joseph Pulitzer, 1978 Jan. 11

Archives of American Art
Transcript: 21 p.

An interview of Joseph Pulitzer conducted 1978 Jan. 11, by Dennis Barrie, for the Archives of American Art.

Oral history interview with Tom Robbins, 1984 March 3

Archives of American Art
Transcript: 47 pages.

An interview of Tom Robbins conducted 1984 March 3, in La Conner, Wash., by Martha Kingsbury, for the Archives of American Art's Northwest Oral History Project.

Robbins speaks of his youth; the importance of his first trips to New York; meeting Barnett Newman and William Philip Kendrick; the influence of Oriental art; his drug experience; his research on Jackson Pollock; coming to Washington State and working as an art critic; the impact of the 1962 World's Fair on art; and style versus content in art.

Oral history interview with Hassel Smith, 1978 September 5

Archives of American Art
Transcript: 28 pages.

An interview of Hassel Smith conducted 1978 September 5, by Paul J. Karlstrom, for the Archives of American Art. Smith speaks of his childhood; his education; studying under Maurice Sterne at the California School of Fine Arts; the influence of Clyfford Still; early exhibitions of Smith's work; and living in England.

Oral history interview with Michael St. Clair, 1994 March 14 and April 28

Archives of American Art
Transcript: 44 pages.

An interview of Michael St. Clair conducted 1994 March 14- 1994 April 28, by Gail Stavitsky and John Driscoll, for the Archives of American Art.

St. Clair briefly discusses his art training at the Kansas City Institute of Art and at the Art Students League and compares the teaching styles of Thomas Hart Benton and George Grosz. He talks about his work as the director of the Oklahoma (City) Art Center and designing window displays for Macy's and other department stores in New York City. Finally, he reviews his career at Babcock Galleries, focusing his discussion on his acquisition of the work of Marsden Hartley, Childe Hassam, John Kensett, and Thomas Eakins, among others.

Oral history interview with Saul Steinberg, 1971

Archives of American Art
Transcript: 17 pages.

Interview of Saul Steinberg conducted by Grace Glueck for the Archives of American Art.

Steinberg discusses his travels in Ethiopia and Kenya; early paintings in America; politics and art in the 1960s; pyramids and the masonic movement; his own mythology; painting and drawing techniques; and his writings.

Oral history interview with Ruben Torres-Llorca, 1998 January 31

Archives of American Art
Transcript: 133 pages.

An interview of Ruben Torres-Llorca conducted 1998 January 31, by Juan A. Martínez, in Torres Llora's home/studio, Miami, Florida, for the Archives of American Art.

Torres Llora discusses his early interest in art; his father, whom he never met, who was a talented commercial artist; studying art at San Alejandro Academy of Art, Havana and fellow students Jose Bedia and Ricardo Rodriguez Brey; graduate studies at Havana's Instituto Superior del Arte; participating in the "Volumen I" exhibition in 1981; travels to Mexico, where he began sculpture and installations; returning to Cuba and curating exhibitions of younger artists; moving to Buenos Aires, Mexico City, and since 1993, Miami; artistic influences, including literature, anthropology, sociololgy, film, and other disciplines on him; his mixed media figurative objects of the 1990s which tell a narrative, are socially oriented, and at best, provide a shared experience for the viewer.

Oral history interview with Patssi Valdez, 1999 May 26-June 2

Archives of American Art
Transcript: 80 pages

An interview of Patssi Valdez conducted 1999 May 26-June 2, by Jeffrey Rangel, for the Archives of American Art.

The interviews were conducted at the artist's home/studio in Los Angeles, California. Valdez discusses her current show at the Laguna Art Museum, "A Precarious Comfort," and the intensely personal nature of the work being exhibited; the liberating aspects of painting and her journey from dealing with the problems and concerns of the Chicano community to a more internal focus in which she examines her personal emotional life through symbol and imagination; how, in her work, landscape has come to represent emotions and states of mind; health problems and her turning to alternative methods of healing; her relationship with Asco and her eventual break from the group to pursue her art studies at Otis Art Institute in Los Angeles (now Otis College of Art and Design) and in New York, and with a NEA grant to Europe and Mexico; difficulties she experienced with her decision to focus on art school and on her survival as an artist, while trying to keep in touch with friends and peers; friendships with Amalia Mesa Bains, Christina Fernandez, and Gronk, as well as with Sister Karen Boccalero whose Self-Help Graphics contributed so much to the growth of a younger generation of Chicano artists; fellow Asco artist Harry Gamboa, Jr., and their mutual goals in their art to subvert Chicano stereotypes; what constitutes Chicano art and how the Les Demon des Anges show changed her perspective; and her ability to create change through her art.

Oral history interview with Patti Warashina, 2005 September 8

Archives of American Art
Transcript: 42 pages.

An interview of Patti Warashina conducted 2005 September 8, by Doug Jeck, 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 Seattle, Washington.

Warashina discusses her childhood in Spokane, Washington, as the youngest of three children of Japanese immigrants; her first experience with art, which was working on murals in elementary school; getting through school by doing visual art projects, including one on fashion design for a French class; her great-grandmother who sold pottery and rice off a cart in her native Japan; her working processes and moving from high-fire to low-fire glazes, as well as dealing with color and decoration in her work; making increasingly larger pieces and thus discovering more surfaces on which to paint; learning how to make hand-built pieces, and in general learning how to control her material; spending her early years working in a vacuum because she was busy raising a family during the day and working in the studio all night; the influence of Surrealism, the Funk movement, and the Chicago Hairy Who on her work; her love of clay as a medium because it presents challenges and technical variables that keep the work interesting; the status of clay as a valid artistic material, and how that has changed over the course of art history; her own personal definition of art as something that "raises your blood pressure," and what makes a "a good pot into a work of art instead of just a pot"; the difference between her early and later work, which she calls cumulative process; her move to the figure, which came naturally out of her earlier work and was in keeping with the Surrealist images to which she was so attracted; recent series of her work, including Mile Post Queens, and Sake Sets: The Drunken Power Series; the role of the figure in her work and the unique challenges they present; being a self-proclaimed "news junkie" and listening to jazz while she works; spending 30 years teaching and the influence it had on her career; her mother as a strong influence and role model in her life, as well as her mother's interest in crafts and gardening; and the influence of artists such as Hieronymous Bosch, René Magritte and Joan Miró on her work. Warashina recalls Robert Sperry, Fred Bauer, Peter Voulkos, Robert Arneson, Toshiko Takaezu, Henry Takemoto, Garth Clark, Howard Cotler, Matthew Kangas, Warren McKenzie, Nan McKinnell, Bernard Leach, Shoji Hamada, Soetsu Yanagi, and others.

Oral history interview with Charis Wilson, 1982 March 24

Archives of American Art
Transcript: 30 pages

An interview of Charis Wilson conducted by Mimi Luebermann for the Archives of American Art.

Oral history interview with Betty Burroughs Woodhouse, 1977 May 24

Archives of American Art
1 sound cassette.

Transcript: 16 pages

An interview with Betty Burroughs Woodhouse conducted 1977 May 24, by Garnett McCoy, for the Archives of American Art.

Woodhouse reminisces about her father, painter and Metropolitan Museum of Art curator, Bryson Burroughs, Bernard Berenson, Reginald Marsh and other figures in the American art scene of the early 20th century.

Mamie Eisenhower portrait, Face-to-Face talk

National Portrait Gallery
Susan Eisenhower, descendant of President Dwight Eisenhower, speaks about first lady Mamie Eisenhower and her portrait by Dwight Eisenhower.

Hart Crane portrait by Marsden Hartley, Face-to-Face talk

National Portrait Gallery
David C. Ward, historian and co-curator of "Hide/Seek," discusses Marsden Hartley's portrait of Hart Crane titled "Eight Bells Folly: Memorial to Hart Crane"

Elvis Presley sculpture, Face-to-Face talk

National Portrait Gallery
Warren Perry, curator of the "Echoes of Elvis" exhibit, discusses a sculpture of Elvis Presley by Robert Arneson

Children's Music (Program #21)

Smithsonian Center for Folklife and Cultural Heritage
In this program, we focus on children’s music. My father, Moe Asch, produced a huge collection of children’s recordings, but, as I hope you’ll hear, they were unique in many ways. We’ll play music from around the world, music for and from children at play, at school and even some in the workplace. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.

Sacco and Vanzetti(Program #13)

Smithsonian Center for Folklife and Cultural Heritage
Nicola Sacco and Bartolmeo Vanzetti, Italian anarchists, were executed unjustly in 1927 for armed robbery and murder of two pay-clerks in Massachusetts. The case caused quite a stir at the time as for many the conviction was not for murder, but for being anarchists and immigrants. They were pardoned in 1977 by Governor Michael Dukakis. In 1947, twenty years after the execution, my father commissioned an album of original songs penned and sung by Woody Guthrie about the trial, an album Woody himself believed was his most important work. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.

Episode 10

Smithsonian Center for Folklife and Cultural Heritage
Aaron invites music historian Richard Carlin to drop in for the hour. Richard has written the book, “Worlds of Sound: The Story of Smithsonian Folkways,” and he shares some great recordings of legendary performers like folk hero Woody Guthrie, jazz trail-blazer Mary Lou Williams, and banjo balladeer Dock Boggs.

Episode 14

Smithsonian Center for Folklife and Cultural Heritage
Piedmont blues from John Cephas and Phil Wiggins, the poetry of Sterling A. Brown, and Civil Rights singers Bernice Johnson Reagon, Reverend Frederick Douglass Kirkpatrick, and Paul Robeson. Plus, a Baltimore sea chantey, a Canadian land prospector’s lonely ballad, and a song learned in a dream.

Episode 21

Smithsonian Center for Folklife and Cultural Heritage
The mimetic sounds of mountain herders in the Siberian hinterland of Tuva, tropical music from Jamaica, the Bahamas, Trinidad, and The Dominican Republic, and a slide guitar opus from the West Coast’s “Joe Louis Walker and The Boss Talkers.”
73-96 of 2,730 Resources