Resumes; a letter from the Dallas Chamber of Commerce; a ceramics course textbook written by Kahn; awards for craft designs; and printed material including newsletters of the Texas Designer/Craftsman organization, exhibition catalogs and announcements, clippings and magazine articles.
Biographical / Historical:
Ceramist; Dallas, Texas.
Provenance:
Lent for microfilming 1982 by Annelies Ruth Kahn.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Beverly Mayeri conducted 2007 September 15 and October 3, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Mayeri's studio, in Sausalito, California.
An interview of Beverly Mayeri, conducted by Mija Riedel for the Archives of American Art, at the artist's studio in Mill Valley, California, on September 15, 2007 and October 3, 2007. Mayeri speaks of her childhood in New Jersey; the artistic and creative activities of her parents; her mother, who was a watercolorist; her father, who was an inventor, woodworker, and artist; enjoying setting up and conducting biology experiments in high school; working as an intern marine biologist between senior year of high school and freshman year of college; attending the University of California, Berkeley and receiving her degree in zoology; becoming interested in clay during her senior year at Berkeley; her marriage, daughter, and time spent in New York City where she was unable to focus on ceramics; participating in classes and workshops at the Sausalito Art Center upon her return to California; her early functional, production work; being inspired by Karen Breschi's work, which led to the Mother series; working from her garage; attending graduate school at San Francisco State University; reading Erich Neumann's "The Great Mother" and becoming interested in the psychological world within individuals and expressing that through art; the development of the checkerboard theme in her work; expressing a personal truth that others will recognize in themselves; the prevalence of faces, animals, patterns, and texture in her work; portraiture and anatomy; working with dark clay; exploring environmental themes; the connection between expressing both human and environmental frailty; the cyclical nature of her work in returning to previous themes; conveying stillness versus gesture; her experience with galleries, including Susan Cummins Gallery, Dorothy Weiss Gallery, and Ivory Kimpton Gallery; the freedom of working with acrylic paint as opposed to glaze; and becoming more involved in environmental activism. Mayeri also recalls Peter Marler, Marni Turkel, Diana Bohn, Marilyn Stiles, Steven De Staebler, Robert Arneson, José Argüelles, Wendy Gruber, Mimi Chen-Ting, Gail Van Dyke, Daniel Goldstein, Allan Frumkin, George Adams, and others.
Biographical / Historical:
Beverly Mayeri (1944- ) is a ceramist in Mill Valley, California. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 4 hrs., 34 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.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1973-2004
Scope and Contents:
Exhibition invitations, catalogs, brochures, magazine, newspaper articles and color slides of Mayeri's work.
Biographical / Historical:
Ceramicist; Mill Valley, Calif.
Provenance:
Donated 2003 and 2005 by Beverly Mayeri as part of the Nanette L. Laitman Project for Craft and Decorative Arts in America.
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:
Slides: Authorization to publish, quote or reproduce requires written permission from Beverly Mayeri. 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.
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:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 June 12-13
Scope and Contents:
An interview of Nan McKinnell conducted 2005 June 12-13, by Kathy Holt, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fort Collins, Colorado.
McKinnell speaks of her childhood in Stanton, Nebraska, and summers spent on her grandfather's farm in Grand Forks, N.D.; her late husband James McKinnell's childhood in Nitro, W.V., and later in Seattle, Washington; her musical education at Wayne State Teacher's College, Nebraska; her first teaching job in Meadow Grove, Nebraska; her husband's tenure in the Navy in the early 1940s, when he was stationed in Hawaii during the bombing of Pearl Harbor on December 7, 1941; her move out West to stay with relatives in Seattle, Washington, and Hollywood, California; obtaining her Master's degree in art at the University of Washington while teaching music at Bryn Mawr College; her early experiences with ceramics under Paul Bonifas at Bryn Mawr; meeting her husband Jim and marrying him in July 1948; their move to Baltimore where Jim McKinnell was working for Locke Insulators; the couple's trip to Paris, France, on the G.I. bill, where Jim studied at the Ecole Nationale Superieure d'Arts et Metiers; bicycling around the French countryside on a tandem bicycle, visiting potters and pottery studios; their short stay in Vallauris, France, where Pablo Picasso was living at the time; travels to Italy, the Netherlands, and finally ending up at Penzance, in Cornwall, to study pottery with Michael Leach at the Penzance School of Art; returning to the U.S., when Jim worked for the U.S. Geological Survey, and traveling the Midwest in a trailer as part of that job; their education at the Archie Bray Foundation for the Ceramic Arts, Helena, Montana, and Haystack Mountain School of Crafts, Deer Isle, Maine; living in Deerfield, Massachusetts, at the historic Bloody Brook Tavern, where they made pottery and gave tours; their first pottery shows, at Deerfield Academy, Deerfield, Massachusetts, and at America House, which became the American Craft Museum, and is now called the Museum of Art & Design, New York, N.Y.; their teaching positions at the University of Iowa, the University of New Hampshire, Colorado University, Loretto Heights College, Denver, Colorado, and the Glasgow School of Art, among others; and their time in Japan on the Hill Family Foundation Grant. McKinnell also recalls Margaret Hancock, Frances Senska, Jack Lenor Larsen, Paul Bonifas, Bernard Leach, Michael Leach, Peter Voulkos, Marguerite Wildenhain, Rudy Autio, Ruth Pennington, Clayton James, Kathleen Horsman, Edward and Mary Scheier, Nils Lou, Edward Osier, Aline Vanderbilt Webb, Ron Brown, Marilyn Scaff Humple, Paul Soldner, Karl Christiansen, Thomas Potter, Kenji Kato, Alec Lecky, Ruth Duckworth, Wayne Higby, Otto and Vivika Heino, Warren MacKenzie, David Shaner, and Gerry Williams, among others.
Biographical / Historical:
Nan McKinnell (1913-2012) was a ceramist from Fort Collins, Colorado. Kathy Holt is a ceramist and educator from Littleton, Colorado.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 4 hrs., 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.
Occupation:
Ceramicists -- Colorado -- Fort Collins Search this
Papers regarding sculptor William McVey and to a lesser extent his wife, ceramist and weaver, Leza McVey.
REELS 869-870: Files on 26 commissions executed between 1938 and 1973; 2 scrapbooks; printed articles by McVey; sketches and drawings; clippings; and photographs. Correspondents include Chaim Gross, Zoltan Sepeshy, Boyer Gonzales, Clifford West, John Canaday, and others.
REELS 5439-5460: Correspondence, writings, art work by the McVey's and others, photographs, and printed material.
Material on reels 869-870 lent for microfilming by William McVey. He subsequently donated the originals to Rice University in Houston, Texas. Material on reels 5439-5460 was donated in 1998 by the McVey estate via executor Seth C. Taft.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Letters; photographs; printed material; and miscellany.
REEL 3316: An invitation and catalog, 1972, for an exhibition of Mood's stitcheries, ceramics, sculpture and photography at the University of Texas Medical School at Houston; 4 newspaper clippings; a letter to Roger and Mary Louise Mood from Martha and Beau Mood, 1965; and an undated photograph of Mood.
REEL 3449: Material gathered by Martha Mood's agent, Lester Kierstead Henderson, including photocopies of letters to Henderson from Ansel Adams, Ronald Reagan and others, thanking him for the book THE SUBLIME HERITAGE OF MARTHA MOOD, by Henderson and Shirley Koploy; printed material about ordering Martha Mood dye transfer reproductions, stichery greeting cards, and calendars; clippings; 2 calenders MANY MOODS, 1984 and 1985, illustrated with stitcheries by Mood; 4 photographs of Mood, Henderson, and ceramic works by Mood.
Biographical / Historical:
Tapestry artist, ceramist, sculptor; San Antonio, Tex. Married name Martha Mood Lehmann.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project. Material on reel 3449 donated 1982 by Lester K. Henderson, Martha Mood's agent. Material on reel 3316 lent for microfilming 1983 by W. Roger Mood, Mood's cousin by marriage.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of artist Judith Weinshall Liberman measure 8.6 linear feet and date from circa 1940-2003. The papers consist of biographical material regarding Liberman's family and art history; images, ephemera, and correspondence related to Liberman's artwork, exhibitions, and creative process, especially related to her Holocaust Wall Hangings series; sound and video recordings of interviews, lectures, pannel discussions, and show openings; papers related to her career as a writer; and some papers related to her academic career.
Scope and Contents:
The papers of artist Judith Weinshall Liberman measure 8.6 linear feet and date from circa 1940-2003. The papers consist of biographical material regarding Liberman's family and art history; images, ephemera, and correspondence related to Liberman's artwork, exhibitions, and creative process, especially related to her Holocaust Wall Hangings series; sound and video recordings of interviews, lectures, panel discussions, and show openings; papers related to her career as a writer; and some papers related to her academic career.
The bulk of the collection was in labeled binders upon donation; the contents of these binders were kept intact. The binders were created by Judith Liberman circa 2003, and each consists of introductions to the material as well as a rough table of contents. The binders cover a variety of topics including biographical and geneological histories; records of Liberman's donated material; papers related to Liberman's major series of works and exhibitions; and photographs and slides of Liberman's work. This collection also includes videocassette and audiocassette tapes containing lectures, interviews, pannel discusions, and show openings.
In addition to Liberman's career as an artist, material related to Liberman's education as a lawyer as well as her life-long interest in writing fiction and non-fiction is found in this collection. Academic papers consist of ephemera, transcripts, correspondence, and resumes; and material related to Liberman's writing includes drafts, published copies, interviews, and reviews. Most notable are a published copy of her children's book The Bird's Last Song, with related interviews, and an edited manuscript of Miriam's Diary.
Arrangement:
This collection is arranged as 5 series.
Series 1: Biographical Material, circa 1940-2003 (1.1 linear feet; Boxes 1-2, 9-10)
Series 2: Writings, circa 1947-2003 (14 folders; Box 2)
Series 3: Art Projects, 1987-2003 (4.5 linear feet; Boxes 2-6, 9)
Series 4: Printed Material, circa 1972-2003 (8 folders; Boxes 7, 9)
Series 5: Photographs, circa 1960-2003 (1.0 linear foot; Boxes 7-8)
Biographical / Historical:
Judith Weinshall Liberman (1929- ) is a painter, ceramicist, and illustrator in Boston, Massachusetts.
Born in Haifa, Israel (then Palenstine), Judith Weinshall Liberman came to the United States after completing high school in Haifa. She earned four American degrees, including a J.D. degree from the University Chicago Law School and an LL.M. from the University of Michigan Law School. After settling in the Boston area in 1956, she studied art at the Art Institute of Boston, School of the Museum of Fine Arts, DeCordova Museum School, and the Massachusetts College of Art. She also received an M.F.A. degree in Art Education from Boston University School for the Arts.
Liberman explored a variety of materials and techniques throughout her career including oil and acrylic paint, block printing, transfer printing, sewing, embroidery, and ceramics. Her major series of work, Holocaust Wall Hangings, Holocaust Paintings, and Self Portraits of Holocaust Artist--recieved critical acclaim as she exhibited her work in solo and group exhibitions in the United States and Israel. She eventually donated a majority of her artwork to private, public, and religious institutions.
Provenance:
This collection was donated by Judith Weinshall Liberman in 2003.
Restrictions:
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 audiovisual recordings in this collection must use access copies. Contact References 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.
Judith Weinshall Liberman papers, circa 1940-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
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 of Marguerite Wildenhain conducted 1982 March 14, by Hazel Bray, for the Archives of American Art.
Wildenhain speaks of her early interest in pottery; studying at the Bauhaus; the Bauhaus philosophy; her apprenticeship as a potter under Max Krehan; studying under Gerhard Marcks; becoming the first woman master potter in Germany in 1926; fleeing the Nazis to Holland; coming to the United States; moving to California and teaching at the California College of Arts and Crafts; craftsmanship as a way of life; and her sources of inspiration.
Biographical / Historical:
Marguerite Wildenhain (1896-1985) was a potter from Guerneville, California.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 7 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 others.
An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.
Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.
Biographical / Historical:
Betty Woodman (1930-2018) was a ceramist from New York, New York. John Perreault (1937- ) is an independent critic and curator from New York, New York.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav 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.
Occupation:
Ceramicists -- New York (State) -- New York Search this
The papers of ceramicist and educator Mary Chase Stratton measure 0.5 linear feet and date from circa 1846 to 1959. The collection provides scattered documentation of Stratton's career through artwork including a lithograph signed by Gwen Lux; an award to William Stratton and an honorary degree to Stratton; correspondence from Stratton's father and a few others; personal photographs of Stratton, family members, and photographs of works of art; and a photograph of Charles Lang Freer by Edward Steichen. Also found are printed materials including a brochure for Pewabic Pottery, and several writings.
Scope and Contents:
The papers of ceramicist and educator Mary Chase Stratton measure 0.5 linear feet and date from circa 1846 to 1959. The collection provides scattered documentation of Stratton's career through artwork including a lithograph signed by Gwen Lux; an award to William Stratton and an honorary degree to Stratton; correspondence from Stratton's father and a few others; a partial license to dig for gold in the Colony of Victoria; personal photographs of Stratton, family members, and photographs of works of art; and a photograph of Charles Lang Freer by Edward Steichen. Also found are printed materials including a brochure for Pewabic Pottery, and several writings.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Mary Chase Stratton (1867-1961) was a ceramicist and educator, and a founder of Pewabic Pottery in Detroit, Michigan.
Stratton was born in Hancock, Michigan, to Dr. William Walbridge Perry and Sophia Barrett Perry. Stratton and her mother moved to Ann Arbor after the murder of Dr. Perry in 1877. Stratton's artistic interests were encouraged by her mother who hired art teacher Lily Chase to instruct her. The family later moved to Detroit where Stratton became a prominent figure in the art world. She co-founded Pewabic Pottery with Horace J. Caulkins around 1903 and after a few years in business they found a permanent home for the pottery studio in a Detroit building designed by William Stratton, who would become Stratton's husband in 1918.
The studio, now a National Historic Landmark, created architectural tiles found at the Basilica of the National Shrine of the Immaculate Conception, the Kingswood School for Girls in Cranbrook, the Cathedral Church of St. Paul in Detroit, and numerous other public buildings. Stratton taught at Wayne State University and the University of Michigan where she established the ceramics department.
Stratton died in 1961.
Related Materials:
Also found in the Archives of American Art are the Pewabic Pottery records, 1891-1973.
Separated Materials:
The Archives of American Art also holds microfilm of material lent by Mrs. Ella Peters, secretary to Stratton, for microfilming on reel 593 including a 144-page unpublished autobiography of Mary Chase Stratton. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
The collection was donated by Mary Chase Stratton in 1961. Some material was lent for microfilming in 1973 by Mrs. Ella Peters, secretary to Stratton.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
An interview of Beatrice Wood conducted 1992 March 2, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project.
Wood speaks of her memories of Gertrud & Otto Natzler and getting involved with ceramics; the future of art in America; and women in art.
Biographical / Historical:
Beatrice Wood (1893-1998) was a ceramist from Ojai, California.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 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. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
