The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund
This is primarily- a photo-taking session at the artist's home in Westport, California and at the Tuoloma Gallery in Fort Bragg. Colclough's technique is discussed in the context of individual pieces, whose subjects are suggested by personal events in the artist's life.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
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.
Volkersz, accompanied by Allan Winkler, toured the artist's home/studio, examining, discussing, and photographing works. During part of the interview, Garrett works on some figures while Volkersz and Winkler watch and ask questions about his work methods.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
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.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
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:
52 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 September 27-28
Scope and Contents:
An interview of Michael Simon conducted 2005 September 27-28, by Mark Shapiro, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Colbert, Georgia.
Simon discusses studying at University of Minnesota with Warren MacKenzie; the counterculture and chaotic atmosphere at the university in the late 1960s; moving to Athens, Georgia, after college to open a studio on Jerry Chappelle's farm; his first pottery sales; obtaining conscientious objector status and working at a hospital in Athens; the influence of Bernard Leach and Shoji Hamada on his work; developing shapes and expanding his repertoire; being inspired by Korean folk potters and by other Asian pottery; teaching at the Penland School of Arts and Crafts and being influenced by fellow potters there; art fairs in Atlanta, Florida, and elsewhere; using various materials for his pots, including Georgia kaolin and grolleg; applying for a fellowship at the University of Georgia, where he completed his Master's of Fine Arts; seeing Mark Pharis's pots in the summer of 1980, which compelled him to build his own salt kiln, which changed subsequent work dramatically; his marriage to Susan Roberts in 1992; experimenting with images on his pots, including fish and bamboo; getting a large commission for dinner plates from the Nakato Restaurant in Atlanta, Georgia, one of the city's oldest sushi restaurants; visiting the Freer Sackler Galleries and being inspired by Chinese Yangshao pottery from the Neolithic period; the influence of Persian jars on his work; the success of his pottery sales with Ron Myers; going to Cortona, Italy, to teach pottery for the University of Georgia; teaching at a school in Santiago, Chile, exploring the countryside, and learning Chilean pottery techniques; the writing of Michael Cardew and its influence on his work and career; what constitutes a typical work day and what motivates him; and the community of American potters and the support he has received over the years. Simon also recalls Angel Lillo, Laurie Samuelson, Gib Krohn, Mark Pharis, Wayne Branum, Sandra Simon (née Lindstrom), Earl McCutcheon, Shoji Hamada, Cynthia Bringle, Ron Myers, Andy Nasisse, Robert Briscoe, Michael Cardew, and others.
Biographical / Historical:
Michael Simon (1947-2021) was a functional ceramist from Athens, Georgia. Mark Shapiro (1955- ) is a ceramist from Worthington, Massachusetts.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 3 hr., 30 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 Harrison McIntosh conducted 1999 Feb. 24-Mar. 4, by Mary McNaughton, in four sessions, for the Archives of American Art, at the artist's home/studio in Claremont, Calif., One of California's best-known ceramists, McIntosh has enjoyed a long career that has brought him recognition as a master crafstman. In this interview, he looked back on four decades of artistic production characterized by disciplined work, elegant forms, and geometric decoration.
Beginning with his childhood in Vallejo, Calif., McIntosh discussed the formative influences on his development as an artist, including the work of his first teacher Arthur Haddock and watercolor painter Barse Miller. He recalled his move to Los Angeles in 1937; the Foundation of Western Art, Stendahl Gallery, and Dalzell Hatfield Gallery; the impact of seeing Japanese ceramics at the World's Fair in San Franciso; his studies with ceramist Glen Lukens; his work in the porcelain studio of Albert King in L.A. and with Ric Petterson at Scripps College, with whom he shared an interest in Swedish, Japanese, and Southwestern cermics; meeting Marguerite Wildenhain in 1953 at a summer pottery workshop at Pond Farm, Guerneville, Calif.; encounters with Bernard Leach, Shoji Hamada, Peter Voulkos, and artists at Scripps, including Jean and Arthur Ames, Paul Darrow, Phil Dike, Roger Kuntz, Douglas McClelland, Millard Sheets, and Jack Zajac.
McIntosh also describes his longtime artistic association with his wife Marguerite McIntosh and his studio mate Rupert Deese; and his techniques for making, glazing, and firing his work.
Biographical / Historical:
Harrison McIntosh (1914- ) is a ceramist from Los Angeles, Calif.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hrs., 10 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:
Ceramicists -- California -- Los Angeles Search this
Korea (South) -- History -- April Revolution, 1960
Date:
2007 July 30-2008 July 26
Scope and Contents:
An interview of Chunghi Choo conducted 2007 July 30-2008 July 26, by Jane Milosch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Iowa City, Iowa.
Choo speaks of establishing the Metalsmithing and Jewelry program at the University of Iowa in Iowa City; the elaborate equipment, tools, and safety protection used in the studio; her experience teaching silent metalforming at Haystack Mountain School of Crafts in Deer Isle, Maine; participating in international workshops and seminars in Korea; the extensive world traveling she does with her husband, Dr. Charles Read, including destinations in Scandinavia, Thailand, Austria, Italy, and South Africa, among others; the house she designed in Iowa City; her love of the city and being surrounded by treasured friends, a supportive university, and beautiful environments; an interest in creative cooking and appreciation for diverse dishes from all around the world; her childhood and young adulthood in Inchon, Korea; growing up with an appreciation for beautiful art objects and classical music; an early interest and talent in drawing; attending Ewha Women's University as generations of women in her family had previously; experiences during the Korean War and April 19 Revolution in 1961; coming to the United States in 1961 as a student; studying English, ceramics, enameling, and stone cutting for one semester at Penland School of Crafts in Penland, N.C.; attending Cranbrook Art Academy in Bloomfield Hills, Michigan and studying metalsmithing with Richard Thomas, ceramics with Maija Grotell, and weaving with Glen Kaufman; living with Mrs. Loja Saarinen during her three and a half years at Cranbrook; teaching general craft at the University of Northern Iowa in Cedar Rapids from 1965-1968; pioneering the mixed-media studies with her students at UNI; accepting the challenge to build a metalsmithing and jewelry program at the University of Iowa in Iowa City in 1968; learning and teaching electroforming; the development of the electro-appliqué technique; extensive donor support and fundraising for the Metalsmithing and Jewelry program and its students; finding inspiration in nature, East Asian calligraphy, classical music, and travel; her long friendship with Jack Lenor Larsen and the great influence he has had on her work; being represented in major art museums and institutions world-wide, including the Museum of Modern Art in New York City, Victoria and Albert Museum in London, Museum fur Kunsthandwerk in Frankfurt, Germany, and many others; the joy she has when her students succeed and surpass her; and plans for future work, writing projects, and travel. Choo also speaks of the 2008 flooding of Iowa City and the state of Iowa during which her studio was severely damaged and many things were lost. Choo also recalls Park, No Soo; Lee, Sang Bong; Ruth Kao; Stanley Lechtzin; Yuho Fujio; David McFadden; Paul J. Smith; Rosanne Raab; Cody Bush; Jocelyn Chateauvert; Mary Merkel Hess; Sandra Mayer-VanderMey; Kee-ho Yeun, and others.
Biographical / Historical:
Chunghi Choo (1938- ) is a Korean American educator, metalsmith, jeweler, and textile and mixed media artist based in Iowa City, Iowa. Interviewer Jane Milosch is a curator from Silver Spring, Maryland.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 27 digital wav files. Duration is 5 hr., 22 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.
Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Folk and Traditional Arts Program of the National Endowment for the Arts (NEA) joined with the Smithsonian to present the 1994 program on "Masters of Traditional Arts". The Festival program offered an opportunity for retrospection - a look at many of the artists and traditions recognized over the years through the National Heritage Fellowships, a grant program of the National Endowment for the Arts. At the same time, it was an occasion for introspection - a close-up, reflexive view of the National Heritage Fellowships, re-examining their purpose, listening to the insights of the Fellows themselves, and talking with those who conceive and plan such awards.
Each year a small number of artists - a dozen or so - are selected by the NEA to receive a fellowship (amounting to $10,000 in 1994) in recognition of their artistic excellence and their contributions to our nation's cultural life. The National Heritage Fellowships try to strike a balance between recognizing outstanding individuals and ensembles and celebrating the collective achievements of their traditions and cultural groups. These awards are announced each spring through a national press release that is disseminated widely, with particular attention given to the artists' home communities and cultural networks. In the fall, Fellows come to Washington for several days of celebratory and honoring events. They receive award certificates in a lively, congressionally-sponsored presentation on Capitol Hill. They perform at a free concert hosted by a national celebrity known for the breadth of his or her work with American cultures.
Joy and excitement run high during this time, but in more private and informal moments, these representatives of our nation's diverse cultural heritage inevitably turn their thoughts toward more serious matters. This is an all-too-rare occasion for the culturally and geographically distant tradition bearers to exchange views and encourage one another. Their eloquent, insightful, personal statements transcend cultural boundaries and map common cultural concerns. Some are striking tributes to the courage and individual determination it often takes to continue local traditions in a world increasingly driven by consumerism and pop culture. Others are testimonies to the vital role of traditional arts in cultural survival and self-determination. Together the National Heritage Fellows reveal the special beauty and deep meaning that the traditional arts hold for those who understand them, as well as the importance of multiculturalism to the nation.
The 1994 Festival program offered Festival visitors the opportunity to eavesdrop on - and participate in - such conversations, as Fellows from the program's first 13 years held a reunion on the National Mall. In workshops and discussion sessions, they spoke of their experiences maintaining their traditions within their communities, and the encouragement that was manifested in the Heritage Fellowship. And they demonstrated their crafts and performed their music and dance for the delight of Festival audiences.
Marjorie Hunt was Curator and Arlene Reiniger was Program Coordinator; Bess Lomax Hawes served as Consultant. Collaborators from the National Endowment for the Arts Folk & Traditional Arts Program were Daniel Sheehy (Director), Barry Bergey, Norma Cantú, Terry Liu, Pat Makell, Rose Morgan, Pat Sanders.
Masters of Traditional Arts was made possible with the collaboration of the National Endowment for the Arts Folk & Traditional Arts Program, with support from The Recording Industries Music Performance Trust Funds.
Presenters:
JoAllyn Archambault, Betty Belanus, Barry Bergey, Paddy Bowman, Norma Cantú, Anna Chairetakis, Walter Murray Chiesa, Amy Chin, Andrew Connors, Gladys-Marie Fry, Bess Lomax Hawes, Marjorie Hunt, Rita Moonsammy, Ann Rynearson, Howard Sacks, Daniel Sheehy, Amy Skillman, Nick Spitzer, Craig Stinson, Joe Wilson
Participants:
CRAFTS
Juan Alindato, 1925-, Puerto Rican mask maker, Ponce, Puerto Rico
Natividad Cano y Los Camperos, -- Mexican American mariachi music -- Natividad Cano y Los Camperos, Mexican American mariachi musicJose Arellano, guitarron, Los Angeles, CaliforniaNatividad Cano, 1933-, director, guitar, vihuela (five-string guitar), Los Angeles, CaliforniaLuis Fuentes Damian, vihuela, Pica Rivera, CaliforniaJesus Guzman, trumpet, Los Angeles, CaliforniaIsmael Hernandez, violin, Los Angeles, CaliforniaSalvador Hernandez, trumpet, Los Angeles, CaliforniaJuan Morales, harp, Phoenix, ArizonaJuan Rodriguez, violin, Los Angeles, California
Chinese Music
Liang-xing Tang, 1948-, pipa (lute), Bayside, New York
Jennifer Tang, pipa (lute), Bayside, New York
Jessica Tang, pipa (lute) Bayside, New York
Jack Coen & Friends, -- Irish traditional music -- Jack Coen & Friends, Irish traditional musicCharles Coen, 1934-, concertina, Red Hook, New YorkJack Coen, flute, Bronx, New YorkJames Coen, guitar, Bronx, New YorkWillie Kelly, fiddle, Parsippany, New JerseyRegan Wick, step dancer, Washington, D.C.Jesse Winch, bodhran (Irish drum), Silver Spring, Maryland
The DeFranco Family with Frank Cofone, -- Southern Italian music & dance -- The DeFranco Family with Frank Cofone, Southern Italian music & danceFrank Cofone, tambourine, vocals, Belleville, New JerseyFaust DeFranco, triccaballacca (clappers), Belleville, New JerseyGiuseppe DeFranco, 1933-, organetto (button accordion), ciaramella (wood oboe), zampogna (bagpipes), Belleville, New JerseyRaffaela DeFranco, 1935-, vocals, dance, Belleville, New Jersey
Fairfield Four, -- a cappella gospel music -- Fairfield Four, a cappella gospel musicIsaac Freeman, Nashville, TennesseeRobert Hamlett, Nashville, TennesseeJames Hill, 1915-2000, Nashville, TennesseeWalter Settles, 1928-1999, Nashville, TennesseeWilson Waters, 1931-2005, Nashville, Tennessee
Richard Hagopian & Ensemble, -- Armenian music -- Richard Hagopian & Ensemble, Armenian musicHarold Hagopian, kanun (zither), Brooklyn, New YorkRichard Avedis Hagopian, 1937-, oud (lute), Visalia, CaliforniaHagop Jack Zarzatian, Jr., dumbeg (Armenian drum), Hudson, New Hampshire
Valerio Longoria y su Conjunto, -- Mexican-American conjunto music -- Valerio Longoria y su Conjunto, Mexican-American conjunto musicKent Bearry, drums, San Antonio, TexasFlavio Guillen, bass guitar, San Antonio, TexasValerio Longoria, 1924-, accordion, San Antonio, TexasValerio Longoria, III, guitar, San Antonio, Texas
Piedmont blues
John Cephas, guitar, vocals, Woodford, Virginia
Phil Wiggins, harmonica, Washington, D.C.
James Jackson, guitar, Fairfax Station, Virginia
John Jackson, 1924-2002-, guitar, vocals, Fairfax Station, Virginia
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
