This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.
Raymond C. Bryan. Footage of "The Dad and Zen of Metal Art and Computer Music", 1988. Cynthia Goodman papers, circa 1944-2001. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Clark Richert, 2013 August 20-21. Archives of American Art, Smithsonian Institution.
Topic:
Arts administrators -- Colorado -- Denver -- Interviews Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Gyöngy Laky, 2007 December 11-12. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Boris Bally, 2009 May 26-27. Archives of American Art, Smithsonian Institution.
The papers of Gretchen Bender measure 2.8 linear feet and date from 1980-2004. This material documents her career as a filmmaker and multimedia artist through biographical materials, correspondence, personal business records, writings, notebooks, printed material, photographs, slides and transparencies, and artwork. Also included are project files detailing Gretchen's collaborations with dancer/choreographer Bill T. Jones, as well as a handwritten transcription of a conversation between Bender and Cindy Sherman.
Scope and Contents:
The papers of Gretchen Bender measure 2.8 linear feet and date from 1980-2004. This material documents her career as a filmmaker and multimedia artist through biographical materials, correspondence, personal business records, writings, notebooks, printed material, photographs, slides and transparencies, and artwork. Also included are project files detailing Gretchen's collaborations with dancer/choreographer Bill T. Jones, as well as a handwritten transcription of a conversation between Bender and Cindy Sherman.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1996 (Box 1; 4 folders)
Series 2: Correspondence/Letters, 1985-2003 (Box 1; 4 folders)
Series 3: Personal Business Records, 1985-1990 (Box 1; 4 folders)
Series 4: Project Files, 1982-2002 (Boxes 1-2, 5; 0.9 Linear Feet)
Series 5: Writings, 1983-1988 (Box 2; 0.1 Linear Feet)
Series 6: Notebooks, 1980-2000 (Box 2; 0.6 Linear Feet)
Series 7: Printed Material, 1981-2004 (Boxes 3, 6; 0.3 Linear Feet)
Series 8: Photographs, 1984-1989 (Boxes 3-4, 0.3 Linear Feet)
Series 9: Artwork, 1984-1985 (Boxes 4, 5; 0.2 Linear Feet)
Biographical / Historical:
Gretchen Bender (1951-2004) was a New York City based filmmaker, multimedia, and conceptual artist. Bender borrowed from elements found in advertising, television, popular contemporary art, and computer graphics to explore issues of race, gender, politics, and culture in her work. During the 1990s, Bender worked with choreographer/dancer Bill T. Jones as a co-director, set designer, and filmmaker on a number of theater and television projects. Bender was a director, editor, and producer for television, primarily working on music videos. Bender participated in solo and group exhibitions at Metro Pictures and Nature Morte in New York.
Provenance:
Donated 2005 by Kate Bender, Gretchen Bender's sister.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Filmmakers -- New York (State) -- New York Search this
Multimedia artists -- New York (State) -- New York Search this
Conceptual artists -- New York (State) -- New York Search this
Coded art enters the computer age, 1952-1982 Leslie Jones ; with contributions by Bronaċ Ferran, Patrick Frank, Tiffany Funk, Hannah B Higgins, Meredith Hoy, Jennifer King, Lisa Gabrielle Mark, Joel McKim, Britt Salvesen, Edward Shanken, Staci Steinberger, Grant D. Taylor, Bobbye Tigerman, Debora Wood
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
An interview of Boris Bally conducted 2009 May 26-27, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Bally's home and studio, in Providence, Rhode Island.
The artists speaks of his current studio in Providence, Rhode Island; working without a studio assistant; the benefits of working with studio assistants without an art-school background; apprenticing with Swiss metalsmith Alexander Schaffner when Bally was 19; his own de facto apprenticeship program with his studio assistants; his parents as role models; his vision at age 19 for his career plan; his early interest in CAD; growing up with Swiss-born parents, both with art/design backgrounds; visiting Switzerland as a child; his father's studies with Buckminster Fuller in the late 1950s; his mother's class with L. Brent Kington, whom Bally later studied with; growing up in Pittsburgh, Pennsylvania; his first home metal shop at nine years old; his first formal metal class at about 14 years old; making and selling jewelry throughout his teens; informal apprenticeship with Jeff Whisner; his father's design firm, launched in his last year of high school; summer studying at the Pennsylvania Governor's School for the Arts; year-long apprenticeship in Switzerland; watching Schaffner make and sell a wide variety of objects, which later informed Bally's own perspective; his continuing relationship with Schaffner; undergraduate studies at Tyler School of Art, Philadelphia, Pennsylvania; studying with Daniella Kerner and Vickie Sedman at Tyler; transferring to Carnegie Mellon University, Pittsburgh, Pennsylvania, to study with Carol Kumata; making a "happiness machine"; transition from jewelry to larger sculptures; using found and scavenged materials; meeting Rosemary Gialamas (Roy) and their eventual elopement; moving to the Boston area; work as an industrial design model-maker; the New York art scene of the 1980s; representation with Archetype Gallery, New York, New York; slow but steady artistic recognition and commercial success of his functional objects; Sliding Perfections, flatware; teaching Gialamas metalsmithing and collaborative works by the two; early teaching experience in adult education classes in Cambridge, Massachusetts, then at Massachusetts College of Art, Boston; return to Pittsburgh in 1989, where Bally took a teaching position at Carnegie Mellon in the design department; studio on Bigelow Boulevard; difficulties in his marriage; a commission from the Society of Arts and Crafts, Boston, Massachusetts, and the beginnings of his traffic sign pieces in a collaborative piece with Gialamas; starting his platters series; the dissolution of his marriage to Gialamas in 1993; meeting Lynn, whom he later married; his love of teaching and his teaching philosophy; teaching at Penland School of Crafts, Penland, North Carolina; move to Providence, Rhode Island, to devote his time to studio work; the pros and cons of craft and arts schools versus university settings; the intersection of art, design, and industry: his Humanufactured line of products; functional work in the late '80s, and the influence of a trip to Haiti in the 1980s; bottle cork pieces; Trirod vessels; "More than One: Contemporary Studio Production" exhibition, American Craft Museum, New York, New York, 1992-94; philosophy of making; working in series form; truss pieces; perforation pieces and Vessel with a Silver Heart (1993); armform series; "Jewelries, Epiphanies" exhibition, Artists Foundation Gallery at Cityplace, Boston, Massachusetts, 1990; inclusion in One of a Kind: American Art Jewelry Today, by Susan Grant Lewin. (New York, NY: Harry N. Abrams, 1994); series Dig Wear and Eat Wear bracelets; Calimbo vessel and the Fortunoff prize; gold Tread Wear brooches in the mid-1990s; creating his first chair; moving from hand-made solo work to furniture and a design and production focus; starting to patent his designs in the mid-1990s; further exploration of design and technique in his chairs; "GlassWear: Glass in Contemporary Jewelry," Museum of Arts and Design, New York, New York, 2009; Pistol Chalice and work with the Pittsburgh gun buyback program; traveling exhibition for the project; Gun Totem; Brave necklace; BroadWay armchair; Subway chair; new techniques for graphics on the furniture; his relationship with former scrapyard Paul Warhola, brother to Andy Warhol; commission work, and the importance of commerce in his career and worldview; commission for Comedy Central television network; the changing craft market and the boom times of the 1980s; work with galleries, including: Patina, Santa Fe, New Mexico; Velvet da Vinci, San Francisco, California; Snyderman-Works, Philadelphia, Pennsylvania; Nancy Sachs Gallery, St. Louis, Missouri; the Society of Arts and Crafts, Boston, Massachusetts; seeing one of his pieces used on a set for a daytime television soap opera and in the movie Sex and the City ; the recent "green" (environmentally conscious) trend; blurring boundaries of design and art and craft; growing acceptance of artist-made and -designed multiples; pros and cons of computer technology in art and craft; the pros and cons of the DIY (do-it-yourself) craft movement; influential writers, including Rosanne Raab, Marjorie Simon, Steven Skov Holt and Mara Holt Skov, Bruce Metcalf, Toni Greenbaum, Matthew Kangas, Gail Brown; his involvement in the Society of North American Goldsmiths; making metal benches for his children. He also recalls Heather Guidero, Julian Jetten, Pam Moloughney, Dennis Kowal, Ursula Ilse-Neuman, Bob Ebendorf, Jason Spencer, Rob Brandegee and Ava DeMarco, Stefan Gougherty, Flo Delgado, L. Brent Kington, Curtis Aric, Ralph Düby, Steve Korpa, Joe Wood, Joe Ballay, Yves Thomann, Andy Caderas, James Thurman, Nicholas (Nico) Bally, Elena Gialamas, James Gialamas, Elvira Peake, Ronald McNeish, Johanna Dahm, Jerry Bennet, Kathleen Mulcahy, Nelson Maniscalco, Tom Mann, Otto Künzli, Stanley Lechtzin, Christopher Shellhammer, David Tisdale, Dean Powell, Daniel Carner, Donald Brecker, Robert Schroeder Phil Carrizzi, Lucy Stewart, Elisabeth Agro, Rachel Layton, Sarah Nichols, Peter Nassoit, Dan Niebels, Mary Carothers, Ward Wallau, Ivan Barnett and Alison Buchsbaum, Jonathan Bonner, Raymond and Patsy Nasher, Beth Gerstein, George Summers Jr., Pavel Opocensky, Buddy Cianci, David Cicilline.
Biographical / Historical:
Boris Bally (1961- ) is a metalsmith and designer who lives and works in Providence, Rhode Island. Bally was educated at Carnegie Mellon University and Tyler School of Art.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 5 hr., 56 min.
Provenance:
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 administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview with Clark Richert conducted 2013 August 20- 21, by Elissa Auther, for the Archives of American Art's, Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists, at the Museum of Contemporary Art in Denver, Colorado.
Richert speaks of deciding to become an artist; his influences; studying art at the University of Kansas; the Wichita Vortex; Droppings: working with geometric art; Drop City; geodesic domes; The Ultimate Painting; Zome Toy; Criss-Cross; using computers in art; being a teacher; the Armory Group; and A.R.E.A. Richert also recalls Bruce Conner, Richard Kallweit, Joan Brown, Gene Bernofsky, Buckminster Fuller, Michael McClure, Alan Kaprow, Nick Sands, Robert Rauschenberg, Mark Rothko, Jay Defeo, Dean Fleming, Linda Fleming, John Fudge, and others.
Biographical / Historical:
Clark Richert (1941-2021) was a painter in Denver, Colorado and is head of the painting and drawing department at Rocky Mountain College of Art and Design. Elissa Auther (1966- ) is associate professor of contemporary art in the Department of Visual and Performing Arts at the University of Colorado, Colorado Springs, Colorado.
General:
Originally recorded as 4 sound files. Duration is 2 hr., 55 min.
Provenance:
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 administrators.
Restrictions:
For information on how to access this interview contact Reference Services.
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- Colorado -- Denver -- Interviews Search this
Painters -- Colorado -- Denver -- Interviews Search this
Topic:
Arts administrators -- Colorado -- Denver -- Interviews Search this
An interview of Gyöngy Laky conducted 2007 December 11-12, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Laky's home and studio, in San Francisco, California.
Laky speaks of her recent exhibitions; leaving Hungary as a child; using words in art; learning languages; family influences in her art; the family art gallery and Chinese painting; changing majors in college; working with various materials; using recycled materials in her work; retirement; planning her works; working with assistants; working with a small community in Europe; construction of her works; using computers to create art; the craft "renaissance"; scale and outdoor projects; working with dealers and commissioned pieces; emphasis on negative space. Laky also recalls Emile Lahner, Mary Dumas, Ed Rossbach, Judy Foosaner, Peter Voulkos, Joanne Branford, Lillian Elliott, Henry Miller, Louise Nevelson, Darryl Dobras, Brett Christiansen, Kim Ocampo, Jack Lenor Larsen, Martin Puryear, Ann Hamilton, Suzi Gablik, Susan Sontag, and others.
Biographical / Historical:
Gyöngy Laky (1944- ) is a sculptor from San Francisco, California. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 4 hr., 8 min.
Provenance:
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 administrators.
A pioneer inspite of the odds : Gabre Kristos Desta : Ethiopia's painter and poet extraordinaire (1932-1981) / by Achamyeleh Debela, Professor of Art and Computer Graphics, North Carolina Central University
Tobias Putrih & MOS : without out / [curator Jane Farver ; essays by Svetlana Boym and Timothy Hyde ; and an interview by Svetlana Boym with Michael Merdith and Tobias Putrih]
A little known story about a movement, a magazine and the computer's arrival in art : New Tendencies and Bit international, 1961-1973 / edited by Margit Rosen in collaboration with Peter Weibel, Darko Fritz, and Marija Gattin
Arte y computadoras en Latinoamérica = Art and computers in Latin America : [Conferencia Internacional sobre Computadoras y la Humanidad, julio 20, 21, 22, 1973]
Author:
International Conference on Computers in the Humanities (1973 : University of Minnesota) Search this
