Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ruth Adler Schnee, 2002 November 24-30. Archives of American Art, Smithsonian Institution.
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:
159 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 November 24-30
Scope and Contents:
An interview of Ruth Adler Schnee conducted 2002 November 24-30, by Anita Schnee, at the artist's home in Southfield, Michigan, for the Archives of American Art as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Schnee talks about her early childhood in Germany, living in Nazi Germany and her family's emigration to the U.S. in 1939; her family's beginnings in the U.S. and her education; working in the display department at Winkleman's Department store; her scholarship to Rhode Island School of Design; experiencing New York City at the close of WWII; attending Cranbrook Academy of Art; her friendship with Eliel and Loja Saarinen; meeting and marrying Edward Charles Schnee; their first silk screening studio in Detroit; early designs; a fire that destroyed the first Adler Schnee shop in 1955; the new Adler Schnee store on Livernois; buying trips to Norway, Sweden, and Finland; difficulties and strategies for selling fabric designs; teaching herself the silk-screening process; designing for the airline industry; her love of color; and the labor intensive process of making the perfect design.
Schnee also discusses her sources of inspiration and how they have changed over the years; good design as "problem solving"; participating in tradeshows and finding clients; the shop paper, "The Bugle;" the Detroit Artists Market; significant commissions including Braniff Airlines, Ford Rotunda Auditorium, the Feld-Weisberg Clinic, and the Jewish Home for the Aged; and a research trip to Williamsburg, Virginia, to learn early American design techniques. Schnee comments on her travels to Mexico, Germany, South America, Israel, and in the U.S. She concludes the sessions by reviewing the recording and providing additional information. Schnee recalls Paul Klee, Albert Kahn, Minoru Yamasaki, Maija Grotell, Richard Savage, Al Taubman, Louis Redstone, Hans Knoll, Victor Gruen, Edward Wormley, Edgar Kaufman, Susanne Dotson, Harley Melzian, Selma Fraiberg, Hedie and Helmut Goedeckemeyer, Roberto Lago, and others.
Biographical / Historical:
Ruth Adler Schnee (1923- ) is a textile artist from Southfield, Michigan.
The interviewer, Anita Schnee, is her daughter and is from Fayetteville, Arkansas.
General:
Originally recorded on 9 sound discs. Reformatted in 2010 as 70 digital wav files. Duration is 11 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Textile designers -- Michigan -- Detroit Search this
Quotes and excerpts must be cited as follows: Oral history interview with Michael Mazur, 1993 Jan. 12-1995 Feb. 3. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Massachusetts -- Interviews Search this
Prints -- Technique -- Study and teaching Search this
Quotes and excerpts must be cited as follows: Oral history interview with Harlan Butt, 2009 July 27-28. Archives of American Art, Smithsonian Institution.
An interview of Harlan W. Butt conducted 2009 July 27-28, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Butt's studio, in Ptarmigan Meadows, Colorado.
Harlan Butt speaks of the influence of Asian art on his work; the use of text and imagery in his work; the use of pattern in his work; his undergraduate minor in weaving; the influence of Asian religion and mythology; series The Earth Beneath Our Feet , Garden Anagogies, and Snakes in Heaven; his childhood growing up in Hopewell, New Jersey, near Princeton; undergraduate work at Tyler School of Art, Philadelphia, Pennsylvania; discovery of Buddhism and Eastern religions; his mother's death when he was 20; studying with Stanley Lechtzin and Elliot Pujol at Tyler; graduate school at Southern Illinois University, Carbondale; interest in Japanese tea ceremony; more exploration of Zen Buddhism; use of color in his work; studying with L. Brent Kington; reliquary series; move to Connecticut in 1974; second trip to Japan in 1984 to co-curate Kyoto Metal: An Exhibition of Contemporary Japanese Art Metalwork; introduction to Japanese system of artisan apprenticeship; early efforts as a writer and poet; the influence of poet Gary Snyder; summer teaching position at Rhode Island School of Design, Providence; teaching job at San Diego [California] State University in the mid-1970s; rattles and pipes series; exploring the Western landscape; the power of the snake image; taking a teaching position at University of North Texas, Denton (1976- ); first trip to Japan in 1980; differences in artisanal/metalworking practices in Japan and the United States; teaching workshops at various craft schools, Penland School of Crafts, Penland, North Carolina; Haystack School of Crafts, Deer Isle, Maine; and Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee, compared with teaching in a university; the pros and cons of the gallery system; work with the Nancy Yaw Gallery, Birmingham, Michigan; the challenge of commission work; National Parks Project, Denton Center for the Visual Arts, Denton, Texas; the role of haiku and text in his pieces; series 1,001 Views of Mt. Mu; series Snakes in Heaven; the influence of his wife and children; trip to India and organizing Colour & Light: The Art and Craft of Enamel on Metal, National Gallery of Modern Art, Mumbai, 2001; trip to Australia; involvement with the Society of North American Goldsmiths, Enamelist Society, and American Craft Council; subtle issues of environmentalism in his work; his affinity for metalsmithing and enameling. He also recalls [Rudolf] Staffel, Robert Winokur, Italo Scanga, Jan Brooks, Mike Riegel, Rachelle Thiewes, Eleanor Moty, Albert Paley, Shumei Tanaka, Ken Glantz (Ken Chowder), Randy Thelma Coles, Sandy Green, Mickey McCarter, Gene Pijanowski, Hiroko Pijanowski, Toshihiro Yamanaka, Helen Shirk, Ana Lopez, and Sarah Perkins.
Biographical / Historical:
Harlan W. Butt (1950- ) is an artist, metalsmith, and educator in Denton, Texas. Mija Riedel (1958- ) is a writer and independent scholar in San Francisco, California.
General:
Originally recorded on 4 sound mini discs. Reformatted in 2010 as 7 digital wav files. Duration is 5 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.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Michael Mazur conducted 1993 Jan. 12-1995 Feb. 3, by Robert Brown, for the Archives of American Art.
Mazur remembers growing up as the only child in a well-to-do Jewish family in Manhattan; his demanding education at the Horace Mann School where he worked on a literary magazine with Edward Koren, the cartoonist; studying with an artist in Greenwich Village; and his early determination to be an artist. Academic challenges and social conservatism at Amherst College (B.A. 1958), where he studied printmaking and drawing with Leonard Baskin, an arrogant and limited artist, and working to his advantage with the gifted young printer, George Lockwood, in Baskin's studio. The year of self-directed study in Florence, Italy, and the lasting effect on him of the great European art tradition; his marriage to the poet, Gail Mazur; being a student at the Yale School of Art (BFA 1959, MFA 1961) and the contrast of the teaching methods of the autocratic Josef Albers and the congenial Gabor Peterdi; and his valuable experience as a volunteer assistant to Naum Gabo, who introduced him to monoprints. Teaching at the Rhode Island School of Design (1961-64) and the faculty there; and the development of his first well-known work, the "Locked Ward" series of prints, based on observation at mental hospitals. Teaching at Brandeis University (1965-75) and his involvement in Vietnam War era politics; and the various genres of his paintings and prints in the 1970s and 1980s and what he feels to be the essence of his work. The speed with which the "Branching" series of paintings and drawings was done and which was perhaps based on his observations of his vascular system as he underwent angioplasty in January 1993; the ambiguity of their space; being titled only post-facto; the equal importance of every part of a composition and the use of a very limited palette; and his affinity to artists Brice Marden and Richard Diebenkorn. Recent paintings which are a continuation of his "Branching" series, but influenced by a 13th century Chinese painting at Princeton University and which has led him to cease making preliminary studies and into greater abstraction; his illustrations in monotype for Robert Pinsky's translation of Dante's INFERNO, 1992-3 and his long interest in the INFERNO; development of the New Provincetown Print Project beginning in 1988 (a two-week workshop for artists who work on monoprints with master printer Robert Townsend and Mazur at the Fine Arts Work Center, Provincetown, Mass.); and his improvisational method of teaching at Harvard University.
Biographical / Historical:
Michael Mazur (1935-2009) was a painter, graphic artist, and art instructor of Cambridge, Mass.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 9 hrs., 14 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.
Occupation:
Art teachers -- Massachusetts -- Interviews Search this
Topic:
Painters -- Massachusetts -- Interviews Search this
Prints -- Technique -- Study and teaching Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Interviews
Sound recordings
Place:
Africa -- description and travel
Asia -- Description and travel
China -- description and travel
Colorado -- description and travel
Europe -- description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Wayne Higby, 2005 April 12-14. Archives of American Art, Smithsonian Institution.
Topic:
Ceramicists -- New York (State) -- Interviews Search this
An interview of Wayne Higby conducted 2005 April 12-14, by Mary McInnes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Alfred Station, New York. Higby speaks of growing up in Colorado Springs, Colorado; choosing to go to University of Colorado, Boulder; traveling to Europe, Asia, and Africa; being influenced by Minoan pottery; working for ceramicist Betty Woodman; deciding to become a teacher; getting a graduate degree at the University of Michigan; working at Archie Bray Foundation; teaching at the University of Nebraska and Rhode Island School of Design; having his first one person art show and exhibiting nationally; teaching at Haystack Mountain School of Crafts; the influence of landscape on his work; how the craft market has changed during his career; working with the Helen Drutt Gallery; writing about craft and the need for critical dialogue in craft publications; being inspired by Asian art; learning ceramics from Jim and Nan McKinnell, and the influence of other teachers on his career; getting hired at Alfred University; the challenges and benefits of teaching at Alfred; his colleagues at Alfred; making functional art and using the vessel form; his teaching philosophy; putting ceramics in a larger art context; his current project; his studio practice; themes in his artwork; choosing to work in porcelain; lecturing and touring in China; being interested in landscape painting; the public response to his work; and recently being awarded several honors. Higby also recalls Manuel Neri, Peter Voulkos, Paul Soldner, Fred Bauer, David Shaner, Francis Merritt, Ted Randall, Bob Turner, Val Cushing, Kenneth Ferguson, Robert Motherwell, and others.
Biographical / Historical:
Wayne Higby (1943- ) is a ceramicist from Alfred Station, New York. Mary McInnes is a professor from Alfred, New York.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 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:
Use requires an appointment.
Topic:
Ceramicists -- New York (State) -- Interviews Search this
An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian 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.
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scope and Content Note:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scattered biographical materials include a curriculum vitae, documentation relating to White's service in the U.S. Coast Guard, a certificate of appreciation, and a memorial card for White's daughter, Natalie Laura White.
Correspondence contains primarily incoming letters from family and friends, and from clients, galleries, museums, arts organizations, students, and university administrators. Spanning over a seventy year period, family and friends correspondence centers on daily activities, events, and work. There is extensive correspondence from Robert White's parents, Lawrence Grant White and Bessie Chanler White and from Claire Nicolas White and her family. Other correspondents include Gil Franklin, Walker Hancock, Jim Harrison, Susan Hobbes, Willard R. Huntington, Ben LaFarge, Ward Lamb, Suzannah Lessard, Peter Matthiessen, Walker O'Cain, Mark and Katja Oxman, Frank C. Platt, Laura Spencer Pope, Paul and Ellen Resika, Paul Russotto, Sidney Simon, and William Styron, among others.
General correspondence mostly concerns White's commissions, teaching appointments, and his activities in professional organizations. Also included are letters from family members, friends, and colleagues. Frequent correspondents include: the American Academy in Rome, Amyas Ames, the Augustus Saint Gaudens Memorial, Century Association, Theodore Cremer, Davis Galleries, Patricia Fleischmann, Hugh Fosburgh, Rebekah Harkness Kean, David Garrard Lowe, National Academy of Design, Parsons School of Design, S. Dillon Ripley, the State University of New York at Stony Brook, Steuben Glass, and the Suffolk Museum and Carriage House.
Project files contain materials on Robert White's exhibitions and his commissioned projects. Materials include letters, lists of artwork, notes, price lists, receipts, exhibition schedules, contracts, and loan agreements. Files document White's exhibits at the Davis Galleries, Elaine Benson Gallery, Graham Gallery, Graham Modern, Heckscher Museum, and the State University of New York at Stony Brook. Included are extensive files on White's commissions for the American Battle Monuments Commission, Peabody Museum, and Steuben Glass.
Personal business records include files on Robert White's association with the Augustus Saint Gaudens Memorial and the National Academy of Design; his teaching appointments at the Parsons School of Design, the State University of New York at Stony Brook, and the Skowhegan School of Painting and Sculpture; and his dealings with foundries. There are scattered files on the Whites' St. James, New York property and residence.
Notes and writings contain Robert White's diaries, artist's statements, notebooks, essays on art, lectures, and scattered notes. Also found are writings by Clare White and others.
Sketchbooks and loose sketches contain preliminary studies by Robert White and scattered sketches by others. Printed material houses newspaper clippings and periodicals; exhibition announcements, catalogs, brochures, and posters; press releases and newsletters; and miscellaneous printed material.
Artifacts include two printing blocks: a portrait sculpture of Stephanie White and a landscape image. Audiovisual material consists of a digital audio recording of a classroom lecture by Robert White at an unidentified venue.
Photographs house images of Robert White; his studio; and snapshots of family and friends, many unidentified. Also included are photographs and slides of artwork.
Arrangement:
The collection is arranged into ten series:
Missing Title
Series 1: Biographical Material, 1939-2002 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1923-2002 (Boxes 1-4; 3.8 linear feet)
Series 3: Project Files, 1952-2003 (Boxes 4-5, OV 10; 1.2 linear feet)
Series 4: Personal Business Records, 1889, 1946-2003 (Boxes 5-6, OV 10; 1.3 linear feet)
Series 5: Notes and Writings, 1915, circa 1946-2002 (Boxes 6-7; 0.6 linear feet)
Series 6: Sketchbooks and Sketches, circa 1965-1972 (Boxes 7, 9; 0.3 linear feet
Series 7: Printed Material, 1937-2003 (Boxes 7, 9; 0.5 linear feet)
Series 8: Audiovisual Material, 1973 (ER01; 0.846 GB)
Series 9: Artifacts, circa 1965 (Box 7; 0.1 linear feet)
Series 10: Photographs, circa 1940s-2001 (Box 8; 0.5 linear feet)
Biographical Note:
Robert Winthrop White (1921-2002) lived and worked in St. James, New York and was primarily known as a sculptor and educator.
He was the son of the architect, Lawrence Grant White (1887-1956) and Bessie Chanler White. Stanford White (1853-1906), Robert's grandfather, was one of the founding partners in the prominent New York City architectural firm, McKim, White, and Mead.
As a youth, Robert White traveled to Munich, Germany to study woodcarving, sculpture, and painting. In 1935, he entered Portsmouth Priory School in Rhode Island. From 1938-1942, he was enrolled in the Rhode Island School of Design, where his mentors were Walter Raemisch in sculpture and John Howard Benson in calligraphy. In World War II, White served as chief boatswain's mate in the United States Coast Guard and later worked in the Office of Strategic Services (OSS). At the end of the war, White continued his training in sculpture and painting. In 1947, Robert White married Clare Nicolas, daughter of the painter and stained glass master, Joep Nicolas and the sculptor, Suzanne Nicolas.
Robert White, influenced by the classical techniques of the Renaissance artists, worked in various media, such as bronze, stone, plaster, terra-cotta, and wood. His subjects included portrait, figure, and life studies; animals; and dancers. Robert White also was an illustrator. He illustrated works by Laura Spencer Pope, William Styron, and others. White also illustrated two collections of his own poems, Casques and Dust and Palace: The Story of A Friendship that were privately published before his death in 2002.
Robert White held teaching positions at several universities and schools, including the Suffolk Museum of Art, the Parsons School of Design, and the Skowhegan School of Painting and Sculpture. From 1967-1987, White was an associate professor at the State University of New York at Stony Brook.
White exhibited his work in museums and galleries in the United States and abroad, including Artists Choice Museum, Artist's Gallery, Benson Gallery, Boston Athenaeum, Gallery North, Hartwick College Museum, Nassau County Museum of Fine Art, Patricia Fleischmann Gallery, Rijksakademie Van Beeldende, State University of New York at Stony Brook, and the Suffolk Museum and Carriage House, among others. Robert White was represented by the Davis Gallery, Graham Gallery, and Graham Modern in New York City.
Robert White's private and public commissions included works for the American Battle Monuments Commission, Amyas Ames, Theodore Cremer, John Marquand, Peabody Museum, State University of New York, William Styron, and Xerox Corporation. His work can be viewed in the collections of the Boston Athenaeum, Brooklyn Museum, Civici Musei 3 Gallerie di Storia e Arte, Heckscher Museum, and the Rhode Island School of Design. Robert White was the recipient of the Laurel Gallery's "New Talent" exhibition prize, 1948; American Academy's Rome Prize, 1952-1954; and the Proctor Memorial Prize at the National Academy of Design, 1962, 1982. He was also awarded grants from the Tiffany Foundation, 1950 and the Fairfield Foundation, 1968. From 1952-1955, White was a fellow of the American Academy in Rome, where he also served as an artist-in-residence from 1969-1970. Robert White was a member of the American Academy in Rome, the Augustus Saint Gaudens Memorial, Century Association, and the National Academy of Design.
Robert White continued to work on the family estate in St. James, New York until his death in 2002.
Provenance:
The Robert W. White Papers were donated in 2003 by Claire Nicolas White, widow of Robert White.
Restrictions:
Use of the original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Educators -- New York (State) -- New York Search this
Children of Mercury : the education of artists in the sixteenth and seventeenth centuries : [exhibition] Bell Gallery, List Art Center, Brown University, Providence, Rhode Island, March 2 through March 30, 1984
Author:
David Winton Bell Gallery (Brown University) Search this
Rhode Island School of Design. Museum of Art Search this
Type:
Photographs
Place:
Providence, R.I.
Date:
ca. 1960
Citation:
John R. Frazier lecturing at Rhode Island School of Design, ca. 1960. John Robinson Frazier papers, 1920-1969. Archives of American Art, Smithsonian Institution.
Rhode Island School of Design. Museum of Art Search this
Type:
Photographs
Place:
Providence, R.I.
Date:
ca. 1960
Citation:
John R. Frazier lecturing at Rhode Island School of Design, ca. 1960. John Robinson Frazier papers, 1920-1969. Archives of American Art, Smithsonian Institution.
