An interview of Squeak Carnwath, conducted 2015 September 9-10, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Carnwath's studio in Oakland, California.
Biographical / Historical:
Interviewee Squeak Carnwath (1958) is a painter and printmaker in Oakland, California. Carnwath was a student of Viola Frey's who later became her friend, and is a co-founder of the Artists' Legacy Foundation. Interviewer Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 4 hr., 28 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:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Quotes and excerpts must be cited as follows: Oral history interview with Squeak Carnwath, 2015 September 9. Archives of American Art, Smithsonian Institution.
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).
There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.
Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.
Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.
Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Dorothy Goldeen papers include travel notebooks, itineraries, receipts, and other ephemera from domestic and international trips taken by Goldeen; lecture notes; personal correspondence with artists, associates, and others; and files for several exhibitions from after the Goldeen Gallery closed. Also present are blog posts and a contact list from the art advisory business Goldeen started after closing her gallery.
Arrangement:
This collection is arranged as 8 series.
Series 1: Correspondence, 1979-2012 (1.3 linear feet; Box 1-2, 19)
Series 2: Administration Records, circa 1987-circa 2010 (1.2 linear feet; Box 2, 19)
Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)
Series 4: Artists' Files, 1961-2007 (12.3 linear feet; Boxes 3-14, 19-20, OV 17-18, 2.52 GB; ER01-ER02)
Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)
Series 6: Printed Material, 1986-2014 (0.5 linear feet; Boxes 15-16, 20, 22)
Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16, 20)
Series 8: Dorothy Goldeen Papers, 1976-2013 (1 linear feet; Box 20-21)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.
Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.
In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.
In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2003, 2014, and 2021.
Restrictions:
Boxes 19-22 are access restricted; written permission is required. Contact Reference Services for more information. 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.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
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.
Function:
Art galleries, Commercial -- California
Genre/Form:
Interviews
Sound recordings
Video recordings
Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
A portion of the processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview with Bill and Peggy Foote conducted 2014 February 16-17, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Bill's office and home in San Francisco, California.
Dr. and Ms. Foote speak of their early days growing up and their introduction to art; their meeting in Stockton; the beginnings of the Lincoln Square Gallery; their introduction to Viola Frey; their increasing involvement as art dealers in the Bay Area in the '60s and '70s; Peggy Foote's time at the California College of Arts and Crafts; their collection of Viola Frey's work and other artists' work; their interactions with Charles Fiske and Viola Frey; Frey's early years in Lodi; Frey's love of collecting jewelry and small ceramic figurines; and Frey's work in relation to gender issues. They also discuss Frey and Fiske's health issues; Frey's time at CCAC; Frey's relationship with Fiske; Frey's work as it related to Robert Arneson and Peter Voulkos and other Bay Area artists; Peggy Foote's gallery Conway Antiques in the 70's and 80's; Bill Foote's remembrances at Frey's memorial. Mr. and Ms. Foote also recall Shirley Hanson, Rena Bransten, Squeak Carnwath, Gary Knecht, Leslie Wenger, Nancy Hoffman, Richard McDonald, Maryanne Schulz, the Wiebe twins, Robert Arneson, Vernon Coykendall, Noni Eccles Treadwell, Sam Perry, Jackie Maybeck, Gloria Champion, Jack Laycox, and others.
Biographical / Historical:
Bill Foote (1937- ) and his wife Peggy (1935- ) are art collectors and retired art and antique dealers in San Francisco, California who collected Viola Frey's works of art. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
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.
Reading meaning : word and symbolism in the art of Squeak Carnwath, Lesley Dill, Leslie Enders Lee, and Anne Siems : Ruth Chandler Williamson Gallery, Scripps College, October 30-December 19, 2004
Title:
Word and symbolism in the art of Squeak Carnwath, Lesley Dill, Leslie Enders Lee, and Anne Siems
