An interview of Eugene V. Thaw conducted 2007 October 1-2, by James McElhinney, for the Archives of American Art's Art Dealers Association of America Project, at Thaw's residence, in New York, N.Y.
Thaw speaks of his childhood in New York City; Mexican art in his home including watercolors by Diego Rivera; beginning classes at the Art Student's League of New York at age 14; attending St. John's College in Annapolis, Maryland; attending Columbia University for graduate courses in art history and studying with Meyer Shapiro and Millard Meiss; an early interest in Old Master, Renaissance, and German Expressionist art; studying in Florence, Italy for four months after World War II; opening The New Bookstore and Gallery with friend Jack Landau above the Algonquin Hotel upon his return to New York City; giving Joan Mitchell and Conrad Marca-Relli their first shows; ending his partnership with Landau, closing the bookstore, and moving the gallery to Madison Avenue; becoming involved in the international art market; the practice of buying and selling works of art in shares with other dealers; showing American and European artists; renaming the gallery E.V. Thaw & Company; operating essentially as a one-man gallery with very limited staff; his relationship with museums such as the Metropolitan Museum of Art and the Cleveland Museum of Art; his personal collections, including extensive ancient Eurasian artifacts and American Indian art; establishing the Pollock-Krasner Foundation; the philanthropic vision of his own foundation, the Eugene V. and Clare E. Thaw Charitable Trust; his retirement from dealing; the "hand of the artist" in historical context and its lack of significance in contemporary art; and advice for young and emerging art dealers. Thaw also recalls Richard Offner, Evelyn Sandberg-Vavala, Norbert Ketterer, Günther Franka, Pierre Matisse, Leo Castelli, Julius Held, Theodore Rousseau, Lee Krasner, Norton Simon, and others.
Biographical / Historical:
Eugene Thaw (1927- ) is an art dealer from New York, N.Y. James McElhinney (1952- ) is a painter and educator from New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 26 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 is available on the Archives of American Art's website.
Occupation:
Art dealers -- New York (State) -- New York Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview provided by Art Dealers Association of America.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Linda Nochlin conducted 2010 June 9-30, by James McElhinney, for the Archives of American Art's Oral History of Women in the Visual Arts project at Nochlin's home in New York, N.Y.
Nochlin speaks of her family background; growing up in Crown Heights, Brooklyn; her antireligious and intellectual home environment; her childhood as "Eden"; the influence of her uncle, Robert Heller; in high school "hanging out" in museums in New York City; her studies at Vassar, Columbia University, and the Institute of Fine Arts at New York University; her early interest in and writings about Gustave Courbet; teaching at Vassar; the "homosexual matriarchy" at Vassar; feminism; her identity as a New Yorker; Pierre-Auguste Renoir as a painter of men; teaching the first "women in art" class; her article "Why Have There Been No Great Women Artists"; pre-women's liberation artists; how she has evolved as a writer; her taste in music, movies, and television; her research on Jean François Millet's, "The Gleaners"; how the discipline of art history has changed; her emphasis on "thinking, looking, explaining, and talking" about art and "new ways of looking at old material"; her students; her preference for the essay form; her current interest in the present moment; how research has changed with the availability of online resources; and other topics. She recalls Meyer Schapiro, Erwin Panofsky, Wendell Jones, Karl Lehmann, Aby Warburg, and others.
Biographical / Historical:
Linda Nochlin (1931-) is a professor of art history in New York, N.Y. James McElhinney (1952-) is an artist, writer and educator in New York, N.Y.
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:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York -- Interviews Search this
An interview of Phillip A. Bruno conducted 2009 January 13-21, by James McElhinney, for the Archives of American Art, at the Archives of American Art, in New York, New York.
Bruno speaks of some his earliest impressions of art while growing up in New York and Paris; attending Columbia University, where he majored in the history of painting and architecture and studied under Meyer Schapiro; his first job at the Weyhe Gallery as a gallery assistant; helping create the Grace Borgenicht Gallery, where he served as director for five years; traveling to Mexico, meeting Jose Cuevas and exhibiting his work at the Edward Loeb Gallery in Paris; traveling to Brazil and meeting a family of naturalist painters who emphasized the importance of painting outdoors, unlike many painters from the New York school; working with Henry Clews and the La Napoule Art Foundation; selling a piece of Salvador Dali jewelry made by Carlos Alamanni to Hugh Hefner, founder of Playboy Magazine; working as director of The World House Gallery and selling works by Fancis Bacon and Max Ernst to clients such as Joseph Hirshhorn and Roy Neuberger; organizing a exhibition of artists shown at the Brussels World Fair in 1958 at World House and meeting George Staempfli through the artist Joan Brown; moving from World House to the Staempfli Gallery in 1960 to work as co-director; the Staempfli Gallery's role in the international art world; an original drawing by Leonard Baskin inscribed to Phillip in 1954; selling the work of artists such as Harry Bertoia, Fritz Koening, and David Park; meeting Henri Matisse in Paris at the age of 21; visiting the studios of Alexander Calder and Mark Rothko; the difference between galleries that can spot new talent and galleries that sell certain artists well; the art market becoming less idealistic and more commercial; the rising importance of auction houses and the possibility of their taking the place of traditional art galleries; the move of the Staempfli Gallery to the SoHo neighborhood and soon after, leaving Staempfli for Marlborough, where he was one of the New York directors for 18 years; his appreciation for the creativity of others, retirement and current plans to write his memoirs. Bruno also recalls Milton Avery, Gabor Peterdi, Hans Muller, Ralston Crawford, Randall Morgan, Charlotte Willard, Dorthy Satterlee, Masayuki Nagare, Claude Bemardin, Kubach-Wilmsen, Louise Nevelson, Cladio Bravo, Lopez Garcia, Alberto Giacometti, The Barnes Foundation, Richard Estes, Alex Katz, and Neil Wlliver.
Biographical / Historical:
Phillip A. Bruno (1930- ) is an art collector and director of Marlborough Gallery, New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 45 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.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Topic:
Collectors and collecting -- New York (State) -- New York Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview with Barbara Rose conducted 2010 June 25-September 22, by James McElhinney, for the Elizabeth Murray Oral History of Women in the Visual Arts Project, at Rose's homes in New York City and Rhinebeck, NY.
Biographical / Historical:
Barbara Rose (1938-2020) was an art critic and art historian in New York, New York. James McElhinney (1952- ) is a painter and educator of New York, New York.
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 open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
An interview of Alanna Heiss conducted 2010 June 15 and October 28, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Art International Radio, on Leonard Street, in New York, New York.
Heiss speaks of the Clocktower Gallery and the AIR offices; New York galleries and museums and the economic depression of the 1970s; art shows in Germany, France, Switzerland, and England and the role of foreign and West Coast curators in New York shows during the 1960s; founding the Institute for Art and Urban Resources with Brendan Gill; her lack of interest in collecting and the problems she feels it poses for organizations showing art; her attitudes about displaying art in the 1970s; growing up in a small town in Southern Illinois; spending summers as a child in South Dakota; her musical training; art in relation to Midwestern cultural values; her work on the exhibition "Stalin's Choice: Soviet Socialist Realism, 1932-1956" in 1993; her degree in music and the philosophy of aesthetics from Lawrence University; taking classes at the University of Chicago; moving to New York and deciding to focus on visual arts; her time in Europe and the various jobs she took while abroad including teaching, inspecting monuments for the Society for Ancient Buildings and Monuments, writing about animals, selling and transporting used cars, and serving as an artist liaison; and the exhibitions she saw during her travels.
Heiss also discusses trips she made across the United States after returning from Europe; working as a band road crew manger; her work in 1993 on the John Cage tribute show for the Venice Biennale called "Il Suono Rapido delle Cose" and the album produced in conjunction with the show called Caged/Uncaged - A Rock/Experimental Homage To John Cage; her marriage to the artist Jene Highstein and their friendships with the artists Richard Nonas and Gordon Matta-Clark; her return to New York from Europe around 1970 and her use of old or abandoned real estate as locations for contemporary art exhibitions; her first show, "Under the Brooklyn Bridge" in 1971; founding PS1; her work as a parole officer and her exposure to the culture of Harlem; the various shows held at PS1; urban art spaces in New York including the New Museum and the Coney Island Sculpture Museum; her exhibition space on Bleecker Street in New York; her disenchantment with the idea of community art; her work with Tom Finkelpearl; the way she publicized exhibitions; the underground culture of the 1970s; and the relationship between the Museum of Modern Art and PS1 and their eventual merger.
Biographical / Historical:
Alanna Heiss (1943-) is director of Art International Radio in New York, New York. James McElhinney (1952-) is an artist and educator in New York, New York.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 39 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.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York Search this
Curators -- New York (State) -- New York Search this
An interview of Wendy Olsoff and Penny Pilkington conducted 2009 January 21 and May 22, by James McElhinney, for the Archives of American Art, at Pilkington's home, in New York, New York.
Biographical / Historical:
Wendy Olsoff (1956- ) and Penny Pilkington (1956- ) are owners and founders of P*P*O*W* Gallery in New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 3 hrs., 6 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.
Occupation:
Gallery owners -- New York (State) -- New York Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Oral history interview with Carole Penser conducted on Mar. 6 and Apr. 12, 2007, by James McElhinney, for the Archives of American Art, at Kraushaar Gallery, at 74 East 79th Street, New York, N.Y.
Biographical / Historical:
Carole Pesner (1937- ) is president of Kraushaar Galleries, New York, N.Y. James McElhinney (1952- ) is a painter and educator from New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 16 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 transcript is open for research. Access to the recording is restricted. Contact Reference Services for more information.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission Carole Pesner. Contact Reference Services for more information.
Occupation:
Art dealers -- New York (State) -- New York Search this
An interview of Brenda Richardson conducted 2011 July 29-30, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Richardson's home, in Balitmore, Md.
Biographical / Historical:
Brenda Richardson (1942- ) is an art museum curator/administrator and arts writer in Baltimore, Md. James McElhinney (1952- ) is an artist, writer, and educator in New York, N.Y.
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 transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Arts administrators -- Maryland -- Baltimore -- Interviews Search this
Authors -- Maryland -- Baltimore -- Interviews Search this
Curators -- Maryland -- Baltimore -- Interviews Search this
An interview of Raquel Rabinovich conducted 2012 September 25 and October 9, by James McElhinney, for the Archives of American Art, at Rabinovich's home, in Rhinebeck, New York.
Rabinovich speaks of growing up in Argentina; becoming aware of art; reproductions and books; European art; her Jewish heritage; her parents moving to Argentina before World War I; Jewish persecution; her parents' background; living in Cordoba; speaking Spanish and Yiddish growing up; quiet reflections; church; art exposure; traveling and moving to Paris; the influence of Ernesto Farina; Peron's dictatorship and rebellion; attending medical school and the call of art; political activities and spending time in jail; meeting Jose and moving to Scotland; Paris and exposure to artwork; teachings of Andre Lhote; her early works; abstraction; painting; the Mona Lisa; darkness and light; "The Dark is Light Enough"; exposure to literature and poetry; living in Copenhagen; meeting Jorge Luis Borges; the Book of Sand; her siblings; her children and her relationship to them; staying up to date with current events; libraries and a lack of books growing up; meditation; texture and the monochromatic works; interest in Jasper Johns' work; meeting Jasper Johns; living in New York; trip to Machu Picchu and spending the night outdoors; "Cloister, Crossing, Passageway 1.32"; glassworks and transparency; exhibiting artwork; her divorce; Rodolfo Mondolfo; environment and exposure; quiet contemplation; spending time with artwork; commissioned work near High Falls; "River Library"; libraries as places of knowledge; minimalism; the 1980s; her daughter's wedding and her relationship with Jose; stones; traveling to Nepal, Thailand, India, and Egypt; temples; Buddhism; "Chhodrtens"; garbhagrihas; NEA fellowship and residency in Paris; "Thrones for the Gods"; INTAR Gallery; "Gateless Gates"; artifacts; Pabhavikas sculpture; Charles Stein; Linda Weintraub; George Quasha; Station Hill Press; "Enfolded Darkness" and "Light Unworn". Rabinovich also recalls Baron Hughes, Beethoven, Lenin, Diego Velazquez, Andre Lhote, Mondrian, Picasso, Braque, David Levi Straus, Robert Kelly, Cezanne, Philip Pavia, Agnes Martin, Dorothea Rockburne, Barry Schwabsky, Bill Zimmer, Agnes Denes, Louisa Valenzuela, Julia Herzberg, and Marco Maggi.
Biographical / Historical:
Raquel Rabinovich (1929- ) is a painter and sculptor in Rhinebeck, New York. James McElhinney (1952- ) is a painter and educator from New York, New York.
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.
Occupation:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
4 Items (wav files (2 hr., 57 min.), digital)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2010 March 11
Scope and Contents:
An interview of Mira Nakashima conducted 2010 March 11, by James McElhinney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Nakashima's reception house, in New Hope, Pennsylvania.
Biographical / Historical:
Mira Nakashima (1942- ) is a Japanese American woodworker based in New Hope, Pennsylvania. Nakashima is the daughter of fellow woodworker, George Nakashima.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 57 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.
An interview of Mary-Anne Martin conducted 2009 July 8 and 22, by James McElhinney, for the Archives of American Art, at Mary-Anne Martin/Fine Art, in New York, N.Y. Interview with Mary-Anne Martin, conducted by James McElhinney for the Archives of American Art, at her gallery located at East 73rd Street in Manhattan, New York on July 8th and 22nd, 2009. Martin speaks of switching her major from English to Art history; her time at Sotheby's; creating the first Latin American auctions and department at Sotheby's; the success of these auctions; the creation of her gallery in 1982; the creation of a more accessible and international market for Latin American art with her gallery and influence at Sotheby's; the evolution of Latin American art being recognized with their American or European contemporaries; the newfound celebrity and recognition of Frida Kahlo; the increasing market for forgeries of Latin American art, Martin references the FBI intervention of the Siquieros Chicago show and the Noyola publication Finding Frida Kahlo; the increasing protectionism of Mexican art by becoming labelled "national patrimony"; discovering her childhood neighbors were Spanish rebels and artists associated with Diego Rivera; the increasing marketability and competition for Latin American art; how art is more international; and the cyclical nature of art. Martin also recalls David Nash, Julius Held, Alfred Taubman, Daniel Wildenstein, Barbara Duncan, Edward Sullivan, Eleanore Saidenberg, Mary Boone, Bob Littman, Rachel Adler, Cecila Torres-Garcias, William Sheehy, Bill Lieberman, Jose "Pepe" Escuder, America "Skippy" Escuder, Ella Wolfe, Lucienne Bloch and others.
Biographical / Historical:
Mary-Anne Martin (1943- ) is founder of Mary-Anne Martin/Fine Art, a gallery specializing in Mexican and Latin American art, in New York, N.Y. James McElhinney (1952- ) is an artist, writer, and educator in New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 51 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 transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.
Topic:
Gallery owners -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
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.
Biographical / Historical:
John Weber (1932-2008) is an art dealer from Chatham, New York. James McElhinney (1952- ) is a painter and educator of New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 3 hrs., 11 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 of Ira Spanierman conducted June 6-12, by James McElhinney, for the Archives of American Art, in the Spanierman Gallery, New York, New York. Spanierman speaks of growing up and living in New York City his whole life; the influence of working in his father's antique store; studying English at Syracuse University; how he got involved in the art business; becoming an auctioneer at Savoy Gallery working with silver and arms and armor; his collecting preferences; the influence of the Internet and technology; changes in the art market among buyers and collectors; the development and growth of art auctions; opening his first gallery and what kind of art he showed; interest in dealing 19th and 20th century American art; the kind of clientele he attracted; the Spanierman Gallery catalogues and publication program; publishing and distributing the catalogue raisonné; working and collaborating with other institutions like the Cooper-Hewitt; working with a panel of scholars to identify work that was fraud; the various kinds of collectors he has dealt with in the past and what kind of collectors he prefers to work with; opening a contemporary and modern wing to the gallery and the motivation behind that; relationships with artists; exhibiting members of the Ashcan School, the Ten, and the Hudson River School; trying to find artists that have been overlooked in the past and promoting a re-emergence of these figures and their work; a number of mentors in his life including Abe Adler and Roy Leroy; advice for younger collectors; what he sees in the future for the art market; a shift in privately owned art being turned over to museums; the educational aspect of his gallery; future goals of his gallery; the role of the museum today; what he has contributed to the art world; and how he would like to be remembered and thought of in the future. Spanierman also recalls Peter Wilson, Gene Thaw, Lloyd Goodrich, Abigail Gerds, Peter Poskas, Hans Heinrich, Daniel Terra, Jack Warner, Diane and Bruce Halles, Daniel and Rita Fraad, Barbara Newington, Robert Noortman, Ian Woodner, Barbara Novak, Roy Leroy, Abraham Adler, Norman Hirsch and others.
Biographical / Historical:
Ira Spanierman is a gallery owner from New York, New York. James McElhinney (1952- ) is a painter and educator from New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 21 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.
An interview of Gilbert H. Kinney conducted 2009 Mar. 9-17, by James McElhinney, for the Archives of American Art, at Kinney's home, in New York, N.Y.
Biographical / Historical:
Gilbert H. Kinney is an art collector and president of American Federation of Arts, New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 3 hrs., 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.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Arts administrators -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Marian Goodman conducted 2007 Sept. 13 and 18, by James McElhinney, for the Archives of American Art, at Goodman's, in New York, N.Y.
Biographical / Historical:
Marian Goodman (1928- ) is owner of Marian Goodman Gallery, New York, N.Y. James McElhinney (1952- ) is an artist, writer, and educator in New York, N.Y.
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:
ACCESS RESTRICTED written permission required.
Occupation:
Gallery owners -- New York (State) -- New York Search this
An interview of James Goodman conducted 2009 Sept. 10-16, by James McElhinney, for the Archives of American Art, at Goodman's home, in New York, N.Y.
Biographical / Historical:
James Goodman (1929- ) is an art dealer in New York, N.Y. Goodman established James Goodman Gallery in 1958 and is a founding member of the Art Dealers Association of America.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 2 hr., 48 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.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Arne Glimcher conducted 2010 Jan. 6 and 25, by James McElhinney, for the Archives of American Art, at PaceWildenstein, in New York, N.Y.
Biographical / Historical:
Arne Glimcher (1938- ) is an art dealer in New York, N.Y., who founded the Pace Gallery in 1963, which, in 1993, joined up with Wildenstein & Co. to create PaceWildenstein. James McElhinney (1952-) is an artist, writer and educator in New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 27 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 transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Joseph A. Helman conducted 2010 January 4, by James McElhinney, for the Archives of American Art, at Helman's home in New York, New York.
Helman recalls three major events from his early life--the exhibition "Masterpieces from the Berlin Museums: 1948-1949," the film "Lust for Life," and collecting--that led to his career as an art dealer; buying his first painting, which was a Jasper Johns work; meeting the art dealer Leo Castelli; opening his first gallery in St. Louis in 1969; selling his gallery to Ronald Greenberg and moving to Italy with his family; attending the Sotheby's auction of the Robert C. Scull Collection in 1973; teaming up with Irving Blum to open the Blum Helman Gallery in New York City; organizing exhibitions of established and emerging artists. Helman speaks about his relationship with Emily Rauh Pulitzer and the St. Louis Art Museum; his Happening with Allan Kaprow; the story behind Claes Oldenburg's drawing Tongue Cloud, over St. Louis, 1975; discovering the work of Ralston Crawford; introducing American art to Spain. In addition, Helman discusses the contemporary art market; collectors and the process of collecting; and the redefinition of Pop art to include British and American artists of the 1980s. Throughout the interview Helman mentions the various artists he has represented, exhibited or collected such as Richard Serra, Robert Rauschenberg, Josef Albers, Roy Lichtenstein, Ellsworth Kelly, Andy Warhol, Frank Stella, Ronald Davis, and Bryan Hunt.
Biographical / Historical:
Joseph A. Helman (1937- ) is an art dealer and collector in New York, New York.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr.,19 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.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
An interview of Rosa Esman conducted 2009 June 9-16, by James McElhinney, for the Archives of American Art, at Esman's office, in New York, N.Y.
Biographical / Historical:
Rosa Esman (1927- ) is an art dealer and publisher who lives and works in New York, N.Y. She established Tanglewood Press and was the founder of the Rosa Esman Gallery. She currently works as an independent art dealer.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 9 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.
Occupation:
Art dealers -- New York (State) -- New York Search this
Publishers -- New York (State) -- New York Search this
