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49 Pages, Transcription
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 57 min.
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Transcript available on the Archives of American Art website.
An interview of Clinton Adams conducted 1974 March 29, by Paul Cummings, for the Archives of American Art.<br /> Adams speaks of how he got involved with the Tamarind Lithography Workshop; how and why Tamarind came about; the lack of artists doing lithographs; the need for the artist to collaborate with the printmaker in order to make a good print; writing a book about the workshop; how in order to interest American Artists into making lithographs, there needs to be a market for it; how it was difficult collecting works of art for the University of New Mexico (UNM); the current art scene in Albuquerque; the arts programs at UNM; moving the workshop to UNM in order to make Tamarind a permanent institute and get more funding; and how more women are becoming printers. He recalls June Wayne, Lynton R. Kistler, Man Ray, Jean Charlow, Eugene Berman, Stanton Macdonald-Wright, Garo Antreasian, Joe Funk, Romas Viesulas, Tatyana Grosman, Irwin Hollander, Ken Tyler, Julie Duristo, Bohuslav Horak, Kenneth Adams, John Sommers, and many others.
Quotes and excerpts must be cited as follows: Oral history interview with Clinton Adams, 1974 March 29. Archives of American Art, Smithsonian Institution.
Funding for the transcription of this interview provided by the Smithsonian Institution's Women's Committee.
Clinton Adams (1918-2002) was a printmaker, painter, and art administrator from Albuquerque, New Mexico.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001