An interview with Jon Shirley conducted 2018 August 7-8, by Mija Riedel, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Shirley's home in Medina, Washington.
Mr. Shirley recalls hiring architect George Suyama to design a 23,000-square-foot home to house the art collection Shirley was assembling with his wife, Mary; growing up in Honolulu, Philadelphia, and Puerto Rico as his father was in the military; an influential humanities class at the Hill School; discovering Alexander Calder while still in high school; studying at MIT; his 25-year tenure with Radio Shack and Tandy International Electronics stores; a five-year period in Brussels that expanded his knowledge of art; his and Mary's move to Seattle and subsequent engagement with art glass and Pilchuck; becoming president of Microsoft and taking the company public; the evolution of his Alexander Calder collection to 40+ works (what has been called the best privately held Calder collection in the U.S.); his 30+ year friendship with Chuck Close, collecting more than 30 of his works, and financing "The Portrait Speaks;" his long-term engagement with the Seattle Art Museum and in particular the founding and endowing of the Olympic Sculpture Park; Mary's death in 2013 and Shirley's subsequent remarriage to Kim Richter; and endeavoring to restore Calder's only posthumously made work, "Mountain and Clouds," in the Hart Senate Office Building. Shirley also recalls working with Robert Mnuchin, Anthony Grant, Sandy Rower, Tobias Meyer, Robert Storr, Patterson Sims, Arne Glimcher, Jinny Wright, Barney Ebsworth and the Pace Gallery; acquiring works by Magdalena Abakanowicz, Jesús Moroles, Marino Marini, Mark Rothko, Gerhard Richter, Mark di Suvero, Claes Oldenburg, David Smith, Joan Mitchell, Korean Dansaekhwa artists, Constantin Brancusi ("Bird in Space") and Alberto Giacometti ("Dog"); and building a collection of 350+ works of sculpture and post-WWI paintings.
Biographical / Historical:
Jon Shirley (1938- ) is a retired president, chief operating officer, and director of the Microsoft corporation, and a collector of Modern art, in Medina, Washington. Mija Riedel (1958- ) is a writer and editor in San Francisco, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.
Scope and Contents:
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.
Personal and professional correspondence is with artists, curators, galleries, museums, art historians, and collectors, including Shifra M. Goldman, Cris Hassold, Helen L. Kohen, collectors Judith and Bill Ladner, Minuca Villaverde, and others. Interviews include video and sound recordings of Demi and Arturo discussing lives and artwork, as well as one interview with Carlos Verdecia Jr. about Arturo. Writings include statements on artwork and autobiographical essays, lectures and talks, and notes. Project files concern the exhibitions The Rage of Children (1991), Walls & Murals: Mike Glier, Arturo Rodríguez & David Wojnarowitz, and Far from Cuba. Other documentation includes a project overview for the Joan Mitchell Foundation, artwork for music album covers, and plans for a retrospective of Demi and Arturo's work that was cancelled due to lack of support.
Personal business records consist of files for donations, financial investments, gallery consignments, receipts, sales lists, and collector information. Printed material includes clippings, exhibition announcements and catalogs, journal and magazines, posters, programs, and several children's books illustrated by Arturo using the pseudonym Hieronimus Fromm. Artwork includes drawings and comics by Arturo, collages, drawings and sketches, and 30 sketchbooks belonging to Demi and Arturo. Photographic materials depict Demi and Arturo together and with others, Demi and Arturo's home and studio, exhibitions, still lives, travel, and works of art.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1957-2013 (Box 1; 4 folders)
Series 2: Correspondence, 1978-2015 (Box 1; 0.8 linear feet, ER01; 0.023 GB)
Series 3: Interviews, 1991-2010 (Boxes 1-2; 0.5 linear feet, ER02-ER07; 6.01 GB)
Series 4: Writings, circa 1975-2015 (Box 2; 0.3 linear feet, ER08; 0.012 GB)
Series 5: Project and Exhibition Files, 1986-2015 (Box 2; 0.8 linear feet, ER09-ER11; 0.607 GB)
Series 6: Personal Business Records, 1988-2012 (Boxes 2-3; 0.4 linear feet; ER12; 0.007 GB)
Series 7: Printed Material, 1979-2016 (Boxes 3-4, 7, OV 8; 0.5 linear feet)
Series 8: Artwork, 1963-2016 (Boxes 4-5, 7, OV 8; 1.5 linear feet)
Series 9: Photographic Material, 1977-2012 (Boxes 5-7; 1.5 linear feet, ER13-ER29; 6.13 GB)
Biographical / Historical:
Demi (1955- ) and Arturo Rodríguez (1956- ) are painters in Miami, Florida.
Demi was born in Camagüey, Cuba. In 1961, her father was executed by the Cuban government. Demi's mother struggled to take care of Demi and her sisters alone and Demi was sent to live with relatives in Puerto Rico in 1962. She came to the U.S. in 1971 where she was able to join her sisters and mother. Eventually Demi settled in Miami in 1978. She attended Miami-Dade College where she studied drama with the Prometeo Theater Group. In 1980, she met Arturo at one of his exhibitions. They married in 1984. Demi worked as a bookkeeper before she knew she could draw and paint. Her first attempts at creating art were in 1984 using a wedding photograph of herself and Arturo as her subject. Her first exhibition was in 1987 at the Cuban Museum in Miami. As she developed as an artist, children became the prime subjects in Demi's paintings. She was the recipient of the Florida State Visual Artist Grant for 1992 to 1993.
Arturo Rodríguez was born in Ranchuelo, Cuba, and showed an interest in art as a small child. Arturo and his family were exiled to Spain in 1971. While in Spain, his visits to see the paintings of Goya and Velázquez at the Prado Museum helped solidify his interest in art. Rodríguez settled in Miami with his family in 1973 where he eventually attended Miami Dade College. Arturo's works are often influenced by his relationship with Demi. In 1995, he created a series of collages using images of Demi as a way to deal with her cancer diagnosis. He has been the recipient of numerous awards including the prestigious Cintas Foundation Fellowship, Florida Arts Council Fellowships, and a Joan Mitchell Foundation grant.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Demi conducted on November 20, 1997 and an oral history interview with Arturo Rodríguez conducted on November 14, 1997 at Demi and Arturo's home/studio in Miami, F.L. by Juan A. Martínez for the Archives of American Art.
Provenance:
The papers were donated by Demi and Arturo Rodríguez in increments from 1997 to 2016.
Restrictions:
One folder of samples of payments for sales is ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Photograph of Demi by Ramon Guerrero: Authorization to publish, quote or reproduce requires written permission from Demi. 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.
An interview with Edna Coll conducted by Marimar Benitez, 1997 October 25- November 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Edna Coll (1906-2002) was an educator and author as well as the founder of the Academy of Fine Arts in Puerto Rico. Marimar Benitez is a critic and art historian, and Chancellor of the Escuela de Artes Plásticas de Puerto Rico, a public university for the visual arts.
General:
Originally recorded on 2 beta videocassettes.
Provenance:
Other artists interviewed include: Artists include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Delta Bravo de Pico, Lorenzo Homar, Antonio Maldonado, Antonio Martorell, and Noemi Ruíz, and José A. Torres Martino.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Records in this series document Ojeda's professional relationships with museums, galleries, and civic and international organizations, as well as specific solo exhibitions and group exhibitions in which Ojeda participated.
Records include correspondence with individuals and organizations relating to arrangements for exhibiting, selling, or taking Ojeda's work on commission, as well as records of sales and exhibition-specific material such as price lists, contracts and legal records, printed matter, and scattered photographs.
Ojeda's relationship with Franz Bader, whose Franz Bader Gallery represented the artist for almost twenty years, is documented through files including detailed balance sheets, inventories, price lists, and receipts documenting sales and consignments of Ojeda's work, as well as records of four exhibitions and correspondence and memoranda documenting Ojeda's relationship with the gallery through location and management changes spanning over a decade. Also found is a video recording of an interview broadcast on television, probably related to the 1995 Inter-American Development Bank exhibition In Honor of Franz Bader.
Other galleries, museums, and organizations represented include several in Washington D. C., including The Phillips Collection; the Smithsonian's National Museum of American Art, which purchased prints by Ojeda for it's permanent collection; the Smithsonian's Resident Associate Program Tour, in which Ojeda participated; and the Gala Hispanic Theater, for whom Ojeda designed sets and produced posters for many years. The Gala Hispanic Theater records include documentation of Ojeda's protest over a GSA sponsored exhibition. Ojeda protested when eight panels with photos and texts describing present day Chile, Argentina, and Uruguay were pulled from the show, by removing his fourteen woodblock prints from the exhibition.
Also represented are international galleries and organizations, including embassies, and other cultural and municipal organizations in Colombia, Greece, Nicaragua, Puerto Rico, and Uruguay; U Galeria de Arte in Montevido, where Ojeda had exhibitions in the 1960s; Galerie les Lumières in Paris where Cristina Pareja organized exhibitions for Ojeda in the 1990s; and the International Monetary Fund Art Society.
Arrangement:
Records are arranged alphabetically by name of individual, business, organization, or name of exhibition.
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:
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
An interview of Avel De Knight conducted 1968, by Henri Ghent, for the Archives of American Art.
Biographical / Historical:
Avel C. de Knight (1921-1995) was an African American painter, educator, and art critic. His birth dates are also cited as 1923, 1925, 1931, and 1933. Born in New York to parents from Barbados and Puerto Rico, he attended Pratt Institute before serving in a segregated United States Army unit in World War II. After the war, he studied at the École de Beaux-Arts, the Grand Chaumière, and the Académie Julian in Paris under the G.I. Bill. He returned to the United States in 1956 and in 1957 began reviewing New York exhibitions for France-Amérique. He also taught at the Art Students League and later at the National Academy School of Fine Arts. De Knight was an Academician of the National Academy of Design and his works are held in collections of the Metropolitan Museum of Art, the Walker Art Center, and the University of Richmond Museums.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 49 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 Demi conducted 1997 November 20, by Juan A. Martínez, in Demi's home/studio, Miami, Florida, for the Archives of American Art.
Demi speaks of her birthplace, Camaguey, Cuba; the death of her father in 1960, and being sent to Puerto Rico in 1971; her move to New York, and arrival in Miami in 1978; her theater studies at Miami Dade Community College. She recalls an opening at the Meeting Point Gallery in Coral Gables in 1980, where she met her husband, painter Arturo Rodriguez. She talks about her first painting in 1984, the role Arturo plays in her life, her first exhibition at the Cuban Museum of Arts and Culture in 1987, and the importance of touching the human spirit.
Biographical / Historical:
Demi (1955- ) is a painter from Miami, Florida. Demi (who uses only her first name) is a self-taught artist born in Cuba. Her husband is the painter Arturo Rodriguez.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav file. Duration is 1 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.
This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Funding for the digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The translation of this interview transcript was provided by Oksana Salamatina.
New Deal and the Arts Oral History Project Search this
Names:
New Deal and the Arts Oral History Project Search this
United States. Farm Security Administration. Historical Section Search this
Extent:
28 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 January 21
Scope and Contents:
An interview of Rexford Tugwell conducted 1965 January 21, by Richard Doud, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Rexford G. Tugwell (1891-1979) was an governmental administrator and professor, as well as Governor of Puerto Rico. Tugwell was an administrator for the Resettlement Administration which later became the Farm Security Administration. Worked with Roy Stryker who oversaw the Photography Project of the FSA.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 59 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Suspension of the law : René Santos : a retrospective / introduction by Thomas W. Sokolowski ; Of two minds, by David Deitcher ; Thoughts on René, moderator, Thomas W. Sokolowski, discussants, Brad Baker ... [et al.]
The collection measures 18.1 linear feet, dates from 1922 to 2012, and documents the career of Cuban born painter and printmaker, Emilio Sanchez. The collection includes letters to Sanchez, business records, photographs of the artist and sources for his artwork, many original sketches, printed material, and calendars.
Scope and Content Note:
The papers of Cuban born painter and print maker Emilio Sanchez comprise 18.1 linear feet of material dating from 1922 to 2012. The papers contain biographical information about Sanchez; letters from galleries and museums recording business transactions; letters from friends; photographs of his artwork and places he visited for inspiration; personal photographs; sketches; exhibition catalogs, announcements, and reviews; clippings; and calendars.
A major portion of the collection consists of sketchbooks and sketches that provide rich documentation of Sanchez's artistic development and his working methods, particularly from the 1950s to the 1970s. Many of the sketches have detailed notations about aspects of an image that Sanchez wanted to recall and capture in his work. Photographs also provide insight into the architecture and landscapes that provided sources of inspiration for Sanchez.
A 10.1 linear foot addition contains biographical materials, correspondence, writings, photographs, works of art, subject files, printed materials, and scrapbooks. Biographical materials include address books, birth certificates, naturalization documents, and family-related documents. Correspondence is personal and professional and is with family, friends and museums. Writings are personal and include a log book and a typed transcription (possibly incomplete). Photographs are of Sanchez, his family, works of art, and source subjects for works of art, as well as CD-Roms of works of art. Some photographs assembled by Hugh Harrison, long-time friend of the Sanchez. Works of art include 10 sketchbooks and loose sketches. Also included are a drawing and 4 prints by Estrella Fonts, Sanchez's mother. Subject files include a print register, appraisals, mailing lists, and consignments. Printed material includes exhibition announcements and clippings. Also included are 3 scrapbooks, 2000-2012, that chronicle the history of the Emilio Sanchez Foundation's activities, including press releases, photographs, and exhibition-related material and hard drives of the foundation's databases in Filemaker format.
Arrangement:
The collection is arranged as seven series. Records are generally arranged by subject category, and then chronologically.
Missing Title
Series 1: Biographical Material, 1969-1977, undated (box 1; 4 folders)
Series 2: Letters and Business Records, 1956-1979 (box 1; 25 folders)
Series 3: Photographs, 1922-1979, undated (boxes 1-3; 51 folders)
Series 4: Printed Material, 1950-1980, undated (boxes 3-4; 17 folders)
Series 5: Calendars, 1967-1976 (boxes 4-5; 7 folders)
Series 6: Sketches, circa 1940-1979, undated (boxes 5-6, sols 7-11, OV's 12-22, RD 23-24; 2.9 linear ft.)
Series 7: Unprocessed Addition to the Emilio Sanchez Papers, 1949-2012 (boxes 25-34, OV 35; 10.1 linear ft.)
Biographical Note:
Emilio Sanchez was born in 1921 in Camaguey, Cuba. He left his native country in 1952 to settle in New York where he became a naturalized citizen of the United States. A prolific painter and printmaker, Sanchez received his formal education at the Art Students' League and Columbia University during the late 1930s, and had his first of many one-man shows in New York in 1949. Sanchez traveled throughout the world sketching his impressions of houses and other buildings and capturing the details of doorways, windows, light, and shadow in his paintings and prints. His paintings of residential architecture in Cuba and throughout the Caribbean are some of his best known works, but in the 1980s he turned much of his attention to the skyline of his adopted home, and was often drawn also to American cities and landscapes over the course of his career.
Sanchez's work is represented in major museums and private collections the world over, including the Metropolitan Museum of Art, the Museum of Modern Art, the Hirshhorn Museum, the National Museum in Havana, and the Cintas Collection. He completed numerous commissions in both the United States and Mexico, has illustrated several books, including Arte del Peru Colonial by Felipe Cossío del Pomar (published in 1958 by the Fondo de Cultura Económica in Mexico), and has exhibited extensively in solo and group exhibitions in locations such as Mexico City, Paris, Havana, Madrid, Puerto Rico, Chile, Colombia, and throughout the United States.
Sanchez died in July, 1999 at the age of 78.
Related Material:
Papers of Emilio Sanchez can also be found at the Dade County Public Library in Florida.
Provenance:
The collection was donated to the Archives of American Art by Emilio Sanchez in a series of gifts between 1975 and 1980, and in 2012 by Emilio Sanchez via Erik J. Stapper, Emilio Sanchez Foundation.
Restrictions:
The collection is open for research. Use requires an appointment.
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:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
An interview of José A. Torres Martino conducted 1997 October 26, by Luis Cancel, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
José A. Torres Martino (1916-2011) was a painter, artist, writer, and journalist in San Juan, Puerto Rico.
Provenance:
Other artists interviewed include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, Antonio Maldonado, Antonio Martorell, Delta Bravo de Picó, and Noemi Ruíz.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview with Lorenzo Homar conducted by Luis Cancel, 1997 Oct. 27, for the Archives of American Art's Puerto Rican Artists Video Project.
Artists include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, Antonio Maldonado, José A. Torres Martino, Antonio Martorell, Delta Bravo de Picó, and Noemi Ruíz.
Biographical / Historical:
Interviewee Lorenzo Homar (1913/09/10-2004/02/16) was a Puerto Rican printmaker, painter, and calligrapher.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview of Antonio Martorell conducted by Luis Cancel, Oct. 25- Nov. 1, 1997, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Interviewee Antonio Martorell (1939) is a Puerto Rican writer, painter, graphic artist, and radio and television personality.
Provenance:
Other artists interviewed include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Delta Bravo de Picó, Lorenzo Homar, Antonio Maldonado, Noemi Ruíz, and José A. Torres Martino
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview of Noemi Ruíz conducted by Luis Cancel, 1997 Oct. 25- Nov. 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Noemi Ruiz (1931) is a Puerto Rican painter, graphic artist, and teacher.
Provenance:
Other artists interviewed include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Delta Bravo de Picó, Lorenzo Homar, Antonio Maldonado, Antonio Martorell, and José A. Torres Martino.
Restrictions:
This interview is not transcibed. The video recording is open for research. Contact Reference Services for more information.
An interview with Antonio Maldonado conducted by Luis Cancel, 1997 Oct. 25- Nov. 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Interviewee Antonio Maldonado (1920-2006) was a Puerto Rican painter and graphic artist.
Provenance:
Other artists interviewed include Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, José A. Torres Martino, Antonio Martorell, Delta Bravo de Picó, and Noemi Ruíz.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview with Delta Bravo de Picó conducted by Luis Cancel, 1997 October 25-November 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Provenance:
Other artists interviewed include: Artists include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, Antonio Maldonado, José A. Torres Martino, Antonio Martorell, and Noemi Ruíz.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview of Myrna Baez conducted by Luis Cancel, 1997 October 25- November 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Myrna Baez (1931-2018) was a painter, printmaker, and educator in Puerto Rico. Luis R. Cancel is an artist, arts administrator, and public servant.
General:
Originally recorded on 4 beta videocassettes.
Provenance:
Other artists interviewed include Ricardo E. Alegria, Felix Rodriquez Baez, Edna Coll, Delta Bravo de Picó, Lorenzo Homar, Antonio Maldonado, Antonio Martorell, Noemi Ruíz, and José A. Torres Martino.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
Thirty-nine interviews conducted by Marc Zimmerman and members of the Chicago Latino/a Artists Studies Project (CLASP) with Latino artists in the Chicago, Illinois area for the Latin American Cultural Activities and Studies Arena (LACASA) in Chicago, Illinois and supporting interviews and supporting documentation and images. Other CLASP members involved in the project include Marta Ayala, Rene Arceo, Len Dominguez, Jeff Huebner, Nicole Marroquin, Diana Solis, Victor Sorell, and John Pitman Weber. The entire collection is born digital.
Biographical / Historical:
Marc Zimmerman is a scholar in Chicago, Illinois and Puerto Rico. Zimmerman was a professor at the University of Illinois, Chicago and founder and director of LACASA Chicago.
Provenance:
Donated 2017 by Marc Zimmerman.
Restrictions:
Use of original files requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of born digital material with no copy requires advance notice.
Topic:
Artists -- Illinois -- Chicago -- Interviews Search this
An interview with Felix Rodríguez Báez conducted by Luis Cancel, 1997 October 25-November 1 for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Interviewee Felix Rodríguez Báez (1929/04/26-2013/03/31) was a puerto rican painter, artist, graphic designer, set designer, cartoonist, and art teacher.
General:
Originally recorded on 4 Betacam video cassette. Reformatted in 2018 to a 4 digital video files.
Provenance:
Other artists interviewed include Ricardo E. Alegria, Edna Coll, Delta Bravo de Picó, Lorenzo Homar, Antonio Maldonado, Antonio Martorell, Noemi Ruíz, and José A. Torres Martino.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
