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Margaret Carney interviews with ceramicists

Creator:
Carney, Margaret, 1949-  Search this
Names:
Gardner, Paul Vickers, 1908-1994  Search this
Woo, Margaret, 1928-  Search this
Extent:
0.02 Linear feet
0.749 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Date:
1993-2019
Scope and Contents:
Two interviews conducted by Margaret Carney, one with ceramicist Paul Vickers Gardner and one with Chinese American ceramicist, Marie Woo. Carney was compelled to interview Gardner and Woo out of interest. The interview with Gardner was conducted September 27, 1993 at Gardner's home in Washington, D.C. on two sound cassettes and is transcribed (42 pages.) The interview with Woo was conducted digitally on March 5, 2019 (74 minutes, 15 seconds) and is transcribed.
Biographical / Historical:
Margaret Carney (1949- ) is the Director of the Dinnerware Museum, Ann Arbor, Michigan and was the director of the Schein-Joseph International Museum of Ceramic Art in Alfred, N.Y. Carney used to go by the name Margaret Carney Xie.
Related Materials:
Also in the Archives of American Art are interviews of four ceramicists conducted by Margaret Carney for the Archives' Oral History Program, 2001 and 2002, including Val Cushing, Robert Chapman Turner, Fong Chow, and William Underhill.
Provenance:
Donated 2016 and 2019 by Margaret Carney.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Access to audiovisual recordings with no duplicate copy requires advance notice.
Occupation:
Ceramicists  Search this
Topic:
Ceramics  Search this
Glass-ceramics  Search this
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Asian American ceramicists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.carnmarg
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc286095-48f5-43e9-b508-1855df626b0e
EDAN-URL:
ead_collection:sova-aaa-carnmarg

Roger Shimomura papers

Creator:
Shimomura, Roger, 1939-  Search this
Names:
Chin, Frank, 1940-  Search this
Day, Akiko  Search this
Hughes, Jonathan R. T.  Search this
Miller, Wayne  Search this
Extent:
13.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Scripts (documents)
Date:
1959-2014
Summary:
The papers of painter, printmaker, performance artist, and teacher Roger Shimomura measure 13.6 linear feet and date from 1959 to 2014. Found within the papers are biographical materials, correspondence, writings, notes, printed material, one scrapbook, and photographs.

There is a 11.0 linear foot unprocessed addition to this collection donated in 2019 that includes comprehensive project files with initial sketches, technical diagrams, budgets, materials lists, collaborator correspondence, communications with gallerists, curators and venues, and related press clippings; professional correspondence; writings including notebooks related to performance and painting developments, diaristic dated entries, and two experimental notebooks with "diary entries" for 'An American Diary' project; personal business records containing loan records and budgets for projects and exhibitions, and contracts for performance and film commissions; printed material; scrapbooks; and photographs of installations and events. Also included are 17 videocassettes (U-matic) concerning Kabuki theater performances and other perfomances. Materials date from circa 1959-2014.
Scope and Content Note:
The papers of painter, printmaker, performance artist, and teacher Roger Shimomura measure 13.6 linear feet and date from 1965 to 1990. Found within the papers are biographical materials, correspondence, writings, notes, printed material, one scrapbook, and photographs.

Biographical materials include a photograph of Shimomura and a resume. The bulk of the papers consist of correspondence files about exhibitions, grants, performances, lectures, and the Japanese-American redress movement. Correspondence is with friends, colleagues, galleries, and with universities and colleges. Correspondents include Frank Chin, Akiko Day, Jonathan R. T. Hughes, and Wayne Miller. Writings and notes include Shimomura's artist's statement, scripts to four plays, and one folder of miscellaneous notes. The papers also include clippings, exhibition announcements, catalogs and miscellaneous printed material. A scrapbook contains clippings of articles that document Shimomura's career. Photographs are of artwork by other artists.

There is a 11.0 linear foot unprocessed addition to this collection donated in 2019 that includes comprehensive project files with initial sketches, technical diagrams, budgets, materials lists, collaborator correspondence, communications with gallerists, curators and venues, and related press clippings; professional correspondence; writings including notebooks related to performance and painting developments, diaristic dated entries, and two experimental notebooks with "diary entries" for 'An American Diary' project; personal business records containing loan records and budgets for projects and exhibitions, and contracts for performance and film commissions; printed material; scrapbooks; and photographs of installations and events. Also included are 17 video cassettes (U-matic) concerning Kabuki theater performances and other perfomances. Materials date from circa 1959-2014.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1989-1990 (Box 1; 1 folder)

Series 2: Correspondence, 1969-1990 (Boxes 1-3; 2.3 linear feet)

Series 3: Writings and Notes, 1984, 1987-1989 (Box 3; 5 folders)

Series 4: Printed Material, 1975-1990 (Box 4; 0.2 linear feet)

Series 5: Scrapbook, 1975-1989 (Box 4; 1 folder)

Series 6: Photographs, circa 1970s (Box 4; 1 folder)

Series 7: Unprocessed Addition, circa 1959-2014 (Boxes 5-15; 11.0 linear feet)
Biographical Note:
Roger Shimomura (b. 1939) is a Japanese American painter, printmaker, performance artist, and teacher who has worked primarily in Kansas since 1969.

Roger Shimomura was born in 1939 in Seattle, Washington. He was a third generation Japanese-American and received his B.A. in Graphic Design from the University of Washington in 1961, and a M.F.A. in Painting from Syracuse University in 1969. Shimomura spent two childhood years in one of 10 concentration camps for Japanese-Americans during WWII, and later served as an officer in the United States Army from 1962 to 1965. He was active in the Japanese-American redress movement in the 1970s. Since the 1970s, Shimomura's work has combined American popular imagery with the Japanese ukiyo-e tradition.

He has had over 125 solo exhibitions of paintings and prints, as well as presented his experimental theater pieces at such venues as the Franklin Furnace, New York City, Walker Art Center, Minneapolis, and The Smithsonian Institution, Washington, DC. Shimomura has been a visiting artist and lectured on his work at more than 200 universities, art schools, and museums across the country. Shimomura began teaching at the University of Kansas' Department of Art in 1969 and worked there until his retirement in 2004. At that time he started the Shimomura Faculty Research Support Fund, an endowment to foster faculty research in the Department of Art. Throughout his career, Shimomura has had numerous exhibitions and experimental theater pieces on a national level. In 1999, the Seattle Urban League designated a scholarship in his name that has been awarded annually to a Seattle resident pursuing a career in art. In 2002, the College Art Association presented him with the "Artist Award for Most Distinguished Body of Work," for his 4 year, 12-museum national tour of the painting exhibition, "An American Diary." Shimomura continues to live and work in Kansas.
Provenance:
Roger Shimomura donated a portion of his papers in 1990, as part of the Archives of American Art's Northwest Asian-American project in Seattle. Shimomura donated the bulk of the material in 2019.
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.
Occupation:
Painters -- Kansas -- Lawrence  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Japanese American painting  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American printmakers  Search this
Asian American performance artists  Search this
Performance artists -- Kansas -- Lawrence  Search this
Printmakers -- Kansas -- Lawrence  Search this
Art -- Study and teaching -- Kansas -- Lawrence  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Genre/Form:
Photographs
Scrapbooks
Scripts (documents)
Citation:
Roger Shimomura papers, 1959-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shimroge
See more items in:
Roger Shimomura papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97606a60f-1c04-4480-af88-d39ce0446631
EDAN-URL:
ead_collection:sova-aaa-shimroge

Clippings and Press

Collection Creator:
Zarina  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1970-1999
Collection 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.

Use of electronic records requires advance notice.
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:
Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Zarina Hashmi papers
Zarina Hashmi papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e927291f-99dd-404f-97bd-88056991af47
EDAN-URL:
ead_component:sova-aaa-zarina-ref27
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Clippings and Press

Collection Creator:
Zarina  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
2000-2013
Collection 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.

Use of electronic records requires advance notice.
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:
Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Zarina Hashmi papers
Zarina Hashmi papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978b0cc5d-5e1f-4dae-9dda-d2d53a501bf7
EDAN-URL:
ead_component:sova-aaa-zarina-ref549
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  • View Clippings and Press digital asset number 1

Masami Teraoka papers

Creator:
Teraoka, Masami, 1936-  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Videorecordings
Date:
1966-2017
Summary:
The papers of painter Masami Teraoka measure 6.3 linear feet and date from 1966 to 2017. The collection includes biographical material, correspondence, writings, personal business records, project and exhibition files, printed material, and photographic material. Much of the collection documents Teraoka's association with Catherine Clark Gallery.
Scope and Contents:
The papers of painter Masami Teraoka measure 6.3 linear feet and date from 1966 to 2017. The collection includes biographical material, correspondence, writings, personal business records, project and exhibition files, printed material, and photographic material. Much of the collection documents Teraoka's association with Catherine Clark Gallery.

Biographical material includes copies of Masami Teraoka's resume, an appointment book, and assorted documents.

Correspondence is primarily business related, with some personal correspondence scattered throughout. Much of this collection appears to have been compiled by Catharine Clark Gallery, where Teraoka has exhibited since 1998, on behalf of the artist. Of the professional correspondence regarding Teraoka's work and upcoming exhibitions present in this series, a significant portion does not appear to be directly to or from the artist.

The writings series is arranged as two subseries: general writings and Masami Teraoka book project. The first subseries includes artist statements, article and essay drafts, lists, and notes. Many of the notes present in this series appear to be from Catherine Clark Gallery gallery regarding Teraoka projects and exhibitions. The second subseries includes correspondence, contracts, drafts of essays, notes and lists, and images related to the production and publication of the book Ascending Chaos: The Art of Masami Teraoka 1966-2006, published by Chronicle Books.

Personal business records include consignment and loan agreements, reproduction requests, inventory and price lists, and sales records. Also included is a "Mega Binder" compiled by Catharine Clark Gallery, which consists primarily of consignment, loan, and sale information and related correspondence.

Project and exhibition files include such material as correspondence, notes, lists, financial information, printed material, and photographic material related to Masami Teraoka exhibitions and projects. Also included in this series are VHS videos related to a documentary and to exhibitions.

Printed material includes books; a course pack from the University of Southern California which includes an essay about Masami Teraoka; exhibition announcements, invitations, and catalogs; magazines, newspapers, and clippings; museum brochures; posters; and press releases. Some printed material is in Japanese.

Photographic material includes personal photographs and snapshots, photographs and photocopies of works of art, and photographs documenting shipping damage.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, 1970, 1980-2005 (Box 1; 4 folders)

Series 2: Correspondence, 1975-2017 (Box 1; 0.9 linear feet)

Series 3: Writings, 1966-2012 (Box 2; 1 linear foot)

Series 4: Personal Business Records, 1976-2015 (Box 3; 0.7 linear feet)

Series 5: Project and Exhibition Files, 1976-2010 (Boxes 3-4; 0.9 linear feet)

Series 6: Printed Material, 1973-2017 (Boxes 4-7, OV 8-12; 2.5 linear feet)

Series 7: Photographic Material, circa 1976-2008 (Box 7, 5 folders)
Biographical / Historical:
Masami Teraoka (1936- ) is a Japanese American, Hawaii-based painter known for his paintings created in the style of traditional Japanese Ukiyo-e prints. Teraoka studied aesthetics from 1954 to 1959 at Kwansei Gakuin University in Kobe, Japan. In 1961 he moved to the United States where he attended Otis Art Institute (now Otis College of Art and Design) in Los Angeles from 1964 to 1968, earning both a Bachelors of Fine Art and a Masters of Fine Art. He has exhibited widely, including at the Oakland Museum, the Indiana Museum of Art, the Asian Art Museum of San Francisco, the Yale University Art Gallery, the Whitney Museum of American Art, the Queensland Art Gallery, and the Arthur M. Sackler Gallery, Smithsonian Institution. Masami Teraoka lives and works in Hawaii.
Provenance:
The Masami Teraoka papers were donated to the Archives of American Art by Masami Teraoka in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of audiovisual recordings and electronic records with no duplicate copies requires advance notice.
Occupation:
Painters -- Hawaii  Search this
Printmakers -- Hawaii  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American printmakers  Search this
Genre/Form:
Videorecordings
Citation:
Masami Teraoka papers, 1966-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.teramasa
See more items in:
Masami Teraoka papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c26e4ab7-f3e2-4eb5-bdea-2246099975bc
EDAN-URL:
ead_collection:sova-aaa-teramasa

Asia/America: Identities in Contemporary Asian American Art (1993) Exhibition at the Asia Society

Collection Creator:
Teraoka, Masami, 1936-  Search this
Container:
Box 3, Folder 40
Type:
Archival materials
Date:
1993
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of audiovisual recordings and electronic records with no duplicate copies requires advance notice.
Collection Citation:
Masami Teraoka papers, 1966-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Masami Teraoka papers
Masami Teraoka papers / Series 5: Project and Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db02bf00-24c0-4d89-9044-70e0488fa80a
EDAN-URL:
ead_component:sova-aaa-teramasa-ref89

Oral history interview with Carlos Villa

Interviewee:
Villa, Carlos, 1936-2013  Search this
Interviewer:
Roth, Moira  Search this
Extent:
6 Items (5 videocassettes (U-matic); 1 VHS)
5 Items (video files (1 hrs., 38 min.), digital, mov)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1989 July 11
Scope and Contents:
An interview with Carlos Villa conducted 1989 July 11, by Moira Roth, for the Archives of American Art, at Villa's studio in Oakland, California.
Biographical / Historical:
Carlos Villa (1936- 2013) was a Filipino American painter, curator, and educator based in San Francisco, California. Moira Roth (1933- ) is an art historian and writer in Berkeley, California.
General:
Originally recorded on 5 U-matic videocasettes.
Related Materials:
The Archives of American Art also holds an oral history interview with Carlos Villa, 1995 June 20-July 10.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
Occupation:
Painters -- California -- San Francisco  Search this
Art teachers -- California -- San Francisco  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Filipino American art  Search this
Filipino American artists  Search this
Asian American painters  Search this
Asian American curators  Search this
Asian American educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.villa89
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9934be520-cf61-4a19-a714-70c7c61e94a3
EDAN-URL:
ead_collection:sova-aaa-villa89

Oral History interview with Carlos Villa

Interviewee:
Villa, Carlos, 1936-2013  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Park Place Gallery Art Research, Inc.  Search this
University of California, San Francisco. School of Fine Arts  Search this
Berman, Wallace, 1926-1976  Search this
Bischoff, Elmer, 1916-1991  Search this
Brown, Joan, 1938-1990  Search this
Diebenkorn, Richard, 1922-1993  Search this
Garcia, Rupert, 1941-  Search this
Hudson, Robert, 1938-  Search this
Neri, Manuel, 1930-  Search this
Valledor, Leo, 1936-1989  Search this
Wiley, William T., 1937-2021  Search this
Extent:
134 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1995 June 20-July 10
Scope and Contents:
An interview of Carlos Villa conducted 1995 June 20-July 10, by Paul Karlstrom, for the Archives of American Art.
Villa discusses his "progress" from Filipino background to his art world identity; the phenomena and individuals who contributed to the new awareness in the mid-1970s: "El Movimiento," Chicano "Rasquache," Rupert Garcia, Amalia Mesa-Baines; the idea of "recuperation," and the sense of Asian-American identity and community as a basis for his art. Villa recalls growing up in San Francisco; his early life; living in the Tenderloin district and his exposure to racism; the influence of his cousin, artist Leo Valledor; growing up Filipino in California and the difficulties that accompanied it. Villa discusses popular (black) culture, jazz "guapo," zoot-suit style as role models and basis for aesthetic/art; his admiration for black self-esteem; his aesthetics; viewing art as a way out of the ghetto and an escape from racism.
Villa discusses his introduction to the California School of Fine Arts (soon thereafter the San Francisco Art Institute); his need to be part of the artist community; CSFA and other students and teachers; and his self-conception as a modernist. He discusses the technical aspects of his art; the influence of various Bay Area artists on his work; his investigation of Filipino art history and his role models; the role of the women at the CSFA and women as role models. Villa recalls his first show at Pointdexter in New York; his associations with minimalists and the Park Place Gallery group; his New York minimalist phase and his need to escape the New York environment after six years. He discusses his return to the Bay Area and his use of identity/politics as subjects for his art.
Villa recalls or mentions Rupert Garcia, Leo Valledor, Manuel Neri, Joan Brown, Bill Morehouse, David Stone Martin, Wallace Berman, William Wiley, Bob and Dona Hudson, Bill Allen, Elmer Bischoff, Richard Diebenkorn, Ralph DuCass, Walter Kuhlman, Wally Hedrick, Bruce Conner, Alvin Light, Claire Falkenstein, Bob McFarlane, Hayter, Tapies, Fred Martin, Nathan Oliveira, Jennifer Bartlett, Dick Maclean, Elizabeth Murray, Alfred Neumeyer, Mark Rothko, Kenneth Noland, Sol Lewitt, Mark di Suvero, Robert Grovesnor, Tom Seligman, Kurt Schwitters, Robert Rauschenberg, Angela Davis, and Moira Roth.
Biographical / Historical:
Carlos Villa (1936-2013) was a Filipino American painter, curator, and educator in San Francisco, California.
General:
Originally recorded on 8 sound cassettes. Reformatted in 2010 as 15 digital wav files. Duration is 7 hr., 40 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:
Painters -- California -- San Francisco  Search this
Sculptors -- California -- San Francisco  Search this
Topic:
Modernism (Art)  Search this
Latino and Latin American artists  Search this
Asian American art  Search this
Asian American artists  Search this
Filipino American art  Search this
Filipino American artists  Search this
Asian American painters  Search this
Asian American curators  Search this
Asian American educators  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.villa95
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9568c3d5e-69b0-469a-a02b-20a978a5ad1d
EDAN-URL:
ead_collection:sova-aaa-villa95
Online Media:

Oral history interview with Fong Chow

Interviewee:
Chow, Fong  Search this
Interviewer:
Carney, Margaret, 1949-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Students  Search this
Glidden Pottery (Alfred, N.Y.)  Search this
Metropolitan Museum of Art (New York, N.Y.) -- Employees  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parker, Glidden, 1913-1980  Search this
Extent:
27 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2002 February 6
Scope and Contents:
An interview of Fong Chow conducted February 6, 2002, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Chow's home, in New York, N.Y.
Chow speaks of his family, specifically, his grandfather who was sent to Hartford, Connecticutt, in 1874, for schooling, then studied at Columbia University and returned to China, working as general manager of one of the earliest railroads in north China; the schools Chow attended in Hong Kong; working in different media, including painting and photography; attending the Boston Museum School and then Alfred University; his relationship with Charles Harder, the head of the ceramic design department at Alfred; the "wonderful" teachers at Alfred in the early 1950s, including Katharine Nelson in painting, Marion Fosdick in sculpture, Daniel Rhodes and Ted Randall; learning production methods, as well as "studio potters work"; developing forms, new glazes, and decorations at Glidden Pottery; his "famous" pieces for Glidden Pottery, such as "New Equations" and "Charcoal and Rice"; how he became involved with the Metropolitan Museum of Art and his relationship with Alan Priest, curator of Far Eastern art; working at the Met as a curator for more than 20 years; changes at the Met during his tenure there; and his hiatus from making ceramics while working at the Met. He discusses his return to clay in 1983 and his studio near Cooper Union; he describes visiting his best friend from childhood, Pan He, a sculptor in China. He also discusses his health; his wife Chao-Ling and how they met; his current focus on photography. Chow also recalls Glidden Parker, James Romer, Bo Gyllensvard, Sergio Dello Strologo, Theodore Hobby, Paul Bollardo, Norman Arsenault, and others.
Biographical / Historical:
Fong Chow (1923- ) is a Chinese American ceramicist, curator, and photographer from New York, N.Y. Margaret Carney (1949- ) is the director of the Schein Joseph International Museum of Ceramic Art in Alfred, N.Y.
General:
Originally recorded 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 41 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 -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Ceramics -- Chinese  Search this
Art -- Technique  Search this
Asian American art  Search this
Asian American artists  Search this
Chinese American art  Search this
Chinese American artists  Search this
Decorative arts  Search this
Asian American photographers  Search this
Asian American ceramicists  Search this
Asian American curators  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.chow02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f01edc96-bb0b-4ce0-bb04-22e0907cd4c7
EDAN-URL:
ead_collection:sova-aaa-chow02
Online Media:

Oral History Interview with Esther Chow

Interviewer:
Meghelli, Samir  Search this
Creator:
Anacostia Community Museum  Search this
Extent:
1 Sound recording (MP3)
Type:
Archival materials
Sound recordings
Oral histories (document genres)
Interviews
Place:
Chinatown (Washington, D.C.)
Hong Kong
Date:
2016 July 7
Scope and Contents:
Interview created as part of the research for the Anacostia Community Museum's "A Right to the City" exhibition.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Occupation:
College teachers  Search this
Topic:
Neighborhoods -- Washington, D.C. -- History  Search this
Genre/Form:
Oral histories (document genres)
Interviews -- 21st century
Citation:
Interview with Esther Chow, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
A Right to the City Exhibition Records
A Right to the City Exhibition Records / Series I: Oral History Interviews
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7873a1541-ce06-4a4d-9ca3-a52b6a70c4da
EDAN-URL:
ead_component:sova-acma-03-119-ref31
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
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Oral History Interview with Wendy Lim

Interviewer:
Meghelli, Samir  Search this
Creator:
Anacostia Community Museum  Search this
Extent:
2 Sound recordings (MP3)
Type:
Archival materials
Sound recordings
Oral histories (document genres)
Interviews
Place:
Chinatown (Washington, D.C.)
Date:
2016 July 22
Scope and Contents:
Interview created as part of the research for the Anacostia Community Museum's "A Right to the City" exhibition.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
Smithsonian Institution  Search this
Chinese Americans  Search this
Emigration and immigration  Search this
Neighborhoods -- Washington, D.C. -- History  Search this
Genre/Form:
Oral histories (document genres)
Interviews -- 21st century
Citation:
Interview with Wendy Lim, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
A Right to the City Exhibition Records
A Right to the City Exhibition Records / Series I: Oral History Interviews
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa791784641-2096-405f-8f94-a7dce0bd3a7c
EDAN-URL:
ead_component:sova-acma-03-119-ref79
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Oral history interview with Chunghi Choo

Interviewee:
Choo, Chunghi  Search this
Interviewer:
Milosch, Jane  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Students  Search this
Haystack Mountain School of Crafts -- Faculty  Search this
Ihwa Yŏja Taehakkyo  Search this
Museum für Kunsthandwerk Frankfurt am Main  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Handicrafts -- Students  Search this
University of Iowa -- Faculty  Search this
University of Northern Iowa  Search this
Victoria and Albert Museum  Search this
Bush, Cody  Search this
Chateauvert, Jocelyn  Search this
Fujio, Yuho  Search this
Grotell, Maija  Search this
Kao, Ruth  Search this
Kaufman, Glen  Search this
Larsen, Jack Lenor  Search this
Lechtzin, Stanley, 1936-  Search this
Lee, Sang-Bong  Search this
Mayer-VanderMey, Sandra  Search this
McFadden, David Revere  Search this
Merkel-Hess, Mary  Search this
Park, No Soo  Search this
Raab, Rosanne  Search this
Saarinen, Loja  Search this
Smith, Paul J.  Search this
Thomas, Richard C., 1917-1988  Search this
Yeun, Kee-ho  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
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.
Occupation:
Metal-workers -- Iowa -- Iowa City  Search this
Jewelers -- Iowa -- Iowa City  Search this
Textile designers -- Iowa -- Iowa City  Search this
Mixed-media artists -- Iowa -- Iowa City  Search this
Topic:
Decorative arts  Search this
Metal-work  Search this
Jewelers -- Interviews  Search this
Jewelry making -- Equipment and supplies  Search this
Jewelry making -- Technique  Search this
Jewelry making -- Study and teaching  Search this
Asian American art  Search this
Asian American artists  Search this
Korean War, 1950-1953  Search this
Korean American art  Search this
Korean American Artists  Search this
Asian American jewelers  Search this
Asian American metal-workers  Search this
Women artists  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.choo07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d0f3d3d-e648-47b2-9282-e395b73f635f
EDAN-URL:
ead_collection:sova-aaa-choo07
Online Media:

Bob Stocksdale and Kay Sekimachi papers

Creator:
Stocksdale, Bob, 1913-2003  Search this
Names:
Central Utah Relocation Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Tanforan Assembly Center (San Bruno, Calif.)  Search this
War Relocation Authority  Search this
Anderson, Norman  Search this
Collingwood, Peter, 1922-2008  Search this
Larsen, Jack Lenor  Search this
Maloof, Alfreda Ward  Search this
Maloof, Sam  Search this
Merrill, Forrest L.  Search this
Okubo, Miné, 1912-2001  Search this
Shawcroft, Barbara  Search this
Stocksdale, Bob, 1913-2003  Search this
Stocksdale, Kay Sekimachi  Search this
Turner, Tran  Search this
Uchida, Yoshiko  Search this
Former owner:
Stocksdale, Kay Sekimachi  Search this
Extent:
19.5 Linear feet
0.125 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Date:
circa 1900-2015
Summary:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.
Scope and Contents:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The bulk of biographical materials are from Kay Sekimachi with some originating from her time spent in forced internment at Topaz and Tanforan camps. These records include identification cards, War Relocation Authority printed materials, and school records. Also found are awards, resumes, and blank stationery. Some materials are from Stocksdale's 85th birthday and memorial service.

Letters and extensive greeting cards are from friends, family, and professional acquaintances. Correspondents include Norman Anderson, Peter Collingwood, Jack Lenor Larsen, Sam and Alfreda Maloof, Forrest L. Merrill, Miné Okubo, Barbara Shawcroft, and others.

Writings and notes are scattered and include two interviews with Kay Sekimachi, hanging instructions, and notes. Writings by others are by Jack Lenor Larsen, Tran Turner, and Yoshiko Uchida.

Sekimachi's and Stocksdale's professional activities are documented through files relating to their participation at conferences, awards ceremonies, and lectures. Also found are fiber samples, order forms for materials and equipment, and notes on techniques and design by Kay Sekimachi. Exhibition records include extensive documentation on Marriage in Form, In the Realm of Nature, and Loom and Lathe as well as files for various solo and group exhibitions for both Sekimachi and Stocksdale. Gallery and institution files include material on multiple or unnamed exhibitions. Exhibiton documentation may include correspondence, writings, proposals, printed material, financial and loan records, condition reports, and photographs. Project files contain material for proposed book projects, a retrospective, and portfolio, by and about Sekimachi and Stocksdale. Also found are three commissions files for works by Sekimachi. A proposed retrospective on the work of Bob Stocksdale by Kay Sekimachi includes a digital sound recording of recollections.

Personal business records include sales books, purchase records for works of art by others, appraisals, contracts, consignment receipts, and insurance records.

Published books, clippings, exhibition announcements and catalogs, magazines, and newsletters are found within printed materials. Of note is a publication by the San Francisco Chronicle entitled "This World" which features illustrations by Miné Okubo.

Four scrapbooks compiled by Kay Sekimachi date from 1937 to 1944. Most of the scrapbooks contain printed material from magazines and other sources with images such as children, valentines, food, birds, clothing, and may include scattered sketches and notes by Sekimachi. One scrapbook dates from the end of Sekimachi's internment at Topaz and relocation to Cincinnati, Ohio. This scrapbook includes sketches and printed materials concerning local and global events. Loose material found in this series was likely meant to be pasted into a new or the forth scrapbook. These materials include relocation information, Japanese-American publications, maps, clippings, sketches, and printed programs.

The bulk of photographic materials consist of slides of various vacation locations and homes and date from the 1960s to the 1980s. Also found are scattered portraits of Kay Sekimachi and Bob Stocksdale, as well as a photo of Miné Okubo with Roy Leeper and Cecil Thompson. Artworks are largely by Kay Sekimachi and include watercolor and pencil sketches as well as designs for fabrics and a weaving portfolio. Watercolor and pencil sketches are of Tanforan Assembly Center and date from circa 1942.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1920-2003 (1.5 linear feet; Box 1-2)

Series 2: Correspondence, 1943-2014 (7.6 linear feet; Box 2-10)

Series 3: Writings and Notes, 1960s-2008 (0.2 linear feet; Box 10)

Series 4: Professional Files, 1950s-2011 (1.1 linear feet; Box 10-11, 22)

Series 5: Exhibition Files, 1951-2015 (2.9 linear feet; Box 11-14, ER01; 0.125 GB)

Series 6: Project Files, circa 1900-2004 (0.3 linear feet; Box 14)

Series 7: Personal Business Records, 1970s-2010 (0.7 linear feet; Box 14-15)

Series 8: Printed Material, 1943-2011 (2.3 linear feet; Box 15-17, 22)

Series 9: Scrapbooks, 1937-1946 (0.9 linear feet; Box 17, 21)

Series 10: Photographic Material, circa 1950-2001 (0.9 linear feet; Box 18)

Series 11: Artwork, 1942-circa 1970 (1.1 linear feet; Box 18-20, 22-23)
Biographical / Historical:
Bob Stocksdale (1913-2003) was a woodturner active in California. He was known for bowls he formed from rare types of wood. Kay Sekimachi (1926- ) is a Japanese-American fiber artist and educator also active in California. She began her career in weaving on and off the loom and was part of the New Basketry movement.

Born in Indiana, Bob Stocksdale began his interest in carving by whittling with a pocket knife. Later, he created his own lathe with a washing machine motor and turned items such as baseball bats. During World War II, he was a conscientious objector and worked at various camps performing forestry work. It was in one of the camps that he turned his first bowl on a lathe.

After the war, Stocksdale settled in the Bay Area of California where he established his own woodturning shop in his basement. He concentrated on making bowls out of rare woods. His work has been recognized throughout the world and in 1998, he received the American Association of Woodturners Lifetime Achievement Award. In 2003, he received the James Renwick Alliance Masters of the Medium Award.

Kay Sekimachi was born in San Francisco, California in 1926. As a high school student, she was forcibly interned through Executive Order 9066 issued by President Franklin D. Roosevelt which incarcerated approximately 120,000 Japanese and Japanese-American citizens during World War II. Along with her mother and siblings, Kay lived at Tanforan Assembly Center and later moved to Topaz War Relocation Center in Utah. She continued her schooling at Topaz and after 1944, was resettled in Cincinnati, Ohio.

After graduating from high school, Kay Sekimachi enrolled at the California College of Arts and Crafts and the Haystack Mountain School of Crafts where she learned the craft of weaving under Trude Guermonprez and Jack Lenor Larsen. Her early works were tapestries and garments. She later used her weaving techniques as part of the New Basketry movement to create baskets and boxes out of fibers. Also an educator, Kay taught weaving at San Francisco Community College. She received the American Craft Council Gold Medal for Consummate Craftsmanship in 2002.

After the dissolution of his first marriage through which he had two children, son Kim and daughter Joy Stocksdale, Bob married Kay Sekimachi in 1972. The two had been acquainted for many years as they were both craft artists living in the Bay Area. Although they married later in life, Kay and Bob travelled the world and exhibited their art together in many exhibitions including Marriage in Form and Loom and Lathe.

Bob Stocksdale died in Oakland, California in 2003. Kay Sekimachi continues to exhibit her work and lives in Berkeley, California.
Related Materials:
Also found in the Archives of American Art are an oral history interview of Bob Stocksdale conducted February 16-March 21, 2001, by Signe Mayfield and an oral history interview of Kay Sekimachi [Stocksdale] conducted July 26-August 6, 2001, by Suzanne Baizerman. Both interviews were conducted in Berkeley, California, during the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The Bob Stocksdale and Kay Sekimachi papers were donated in 2003, 2004, and 2015 by Kay Sekimachi Stocksdale as part of the Nanette L. Laitman Documentation 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. Use of original 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.
Occupation:
Fiber artists -- California  Search this
Topic:
Concentration camps -- United States  Search this
Textile design  Search this
Decorative arts  Search this
Women artists  Search this
Fiberwork -- Technique  Search this
Woodwork -- Study and teaching  Search this
Textile crafts -- Study and teaching  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Citation:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stockbob
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7db1c3a-95bc-44e4-92d5-382fb539e654
EDAN-URL:
ead_collection:sova-aaa-stockbob

George Nakashima papers

Creator:
Nakashima, George, 1905-1990  Search this
Names:
Caldwell, Alfred, 1903-1998  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1950-1991
Summary:
The papers of architect, craftsman, woodworker, and furniture designer George Nakashima measure 1.0 linear foot and date from 1950 to 1991. The collection is comprised of biographical material, correspondence, writings, subject files, and printed material that mostly relate to Nakashima's work in furniture design.
Scope and Contents:
The papers of architect, craftsman, woodworker, and furniture designer George Nakashima measure 1.0 linear foot and date from 1950 to 1991. The collection is comprised of biographical material, correspondence, writings, subject files, and printed material that mostly relate to Nakashima's work in furniture design.

Biographical materials consist of a curriculum vitae and obituaries. Correspondence is with clients, colleagues, and friends in the United Staes, Japan, and the Sri Aurobindo community. Writings by and about Nakashima include articles, essays, and a speech about his design processes. Subject files are on Alfred Caldwell, flush toilet systems, trademark, and wood and tree services. Printed material includes art reproductions, booklets, catalogs, clippings, and publicity material.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Material, 1990 (Box 1; 1 folder)

Series 2: Correspondence, 1950-1990 (Box 1; 0.7 linear feet)

Series 3: Writings, 1953-1989 (Box 1, 2 folders)

Series 4: Subject Files, 1957-1980s (Box 1, 4 folders)

Series 5: Printed Material, 1954-1991 (Box 1, 0.2 linear feet)
Biographical / Historical:
George Nakashima (1905-1990) was a Japanese American architect, craftsman, woodworker, and furniture designer in New Hope, Pennsylvania. He was born in Spokane, Washington and received a bachelor's degree in architecture from the University of Washington in 1929. He also earned a master's degree from Massachusetts Institute of Technology in 1930.

After his studies, Nakashima traveled around the world by steamship. He spent time in France, North Africa, and Japan. While in Japan, he began working under architect Antonin Raymond. When Raymond's architecture company was commissioned to build for the Sri Aurobindo ashram in Puducherry, India, Nakashima became the onsite architect as well as a devotee of Sri Aurobindo. When World War II began, Nakashima returned to the U.S. with his wife, Marion, whom he met in Japan. George, Marion, and their infant daughter Mira were sent to a Japanese internment camp in Idaho in 1942. The Nakashimas were able to leave the camp after Raymond sponsored their release in 1943. Nakashima began working on Raymond's farm in Bucks County, Pennsylvania, where he eventually built his workshop. Nakashima's son Kevin was born after the family relocated to Pennsylvania.

Nakashima's design work includes furniture lines for the Widdicomb Furniture Company and Knoll Furniture, and 200 pieces of furniture commissioned by Nelson Rockefeller. He also wrote a book titled The Soul of a Tree: A Master Woodworker's Reflections.

Nakashima died in 1990.
Provenance:
The papers were donated by Marion Nakashima, widow of George Nakashima, in 1991.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Artisans  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American architects  Search this
Decorative arts  Search this
Furniture making  Search this
handicrafts  Search this
Woodworkers  Search this
Japanese American art  Search this
Japanese American artists  Search this
Furniture designers--Pennsylvania--New Hope  Search this
Asian American woodworkers  Search this
Asian American furniture designers  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Citation:
George Nakashima papers, 1950-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nakageor
See more items in:
George Nakashima papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw951f5d690-c216-4f39-8cf0-ac548a0c8c03
EDAN-URL:
ead_collection:sova-aaa-nakageor
Online Media:

Roy Leeper and Gaylord Hall collection of Miné Okubo papers

Creator:
Okubo, Miné, 1912-2001  Search this
Names:
Central Utah Relocation Center  Search this
Hall, Gaylord  Search this
Hamilton, Howard  Search this
Leeper, Roy  Search this
Tono, Doris  Search this
Tono, Harry  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Sketches
Illustrated letters
Date:
circa 1940-2001
Summary:
The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.
Scope and Contents:
The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.

Biographical materials consist of Roy Leeper's medical licenses. The bulk of the collection is comprised of Miné Okubo's letters, many of which are illustrated, to Hall and Leeper discussing her health, career, their purchase of her artwork, and mutual friends. Other correspondents include Howard Hamilton and Doris and Harry Tono. Writings and notes by Okubo inlcude a statement about the pricing of her artwork and a list of artwork. Leeper and Hall's personal business records concern the purchase and loan of Okubo's artwork for exhibitions.

Printed materials include a 1944 edition of Fortune magazine devoted to the internment of Japanese Americans during World War II. The issue includes reproductions of Okubo's illustrations of life in the World War II internment camp in Topaz, Utah. Photographs include snapshots of Okubo at an exhibition with her art and of works of art. Sketches and drawings depict mostly cats and flowers.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1942-1994 (1 folder; Box 1)

Series 2: Correspondence, 1957-2001 (0.8 linear feet; Box 1)

Series 3: Writings and Notes, circa 1940-circa 1970 (3 folders; Box 1)

Series 4: Personal Business Records, 1957-1998 (0.1 linear feet; Box 1)

Series 5: Printed Material, 1944-2000 (0.3 linear feet; Boxes 1-3)

Series 6: Photographs, circa 1940-circa 1990s (3 folders; Box 1)

Series 7: Artwork, 1960s-1997 (0.1 linear feet; Boxes 1-2)
Biographical / Historical:
Miné Okubo (1912-2001) was a Japanese American painter, illustrator, and author. She is known for her book Citizen 13600in which she described her experience at the Topaz War Relocation Camp in Utah through prose and drawings.

Born in Riverside, California in 1912, Okubo began her arts education at Riverside Junior College and transferred to the University of California, Berkeley where she completed her BA and MA in Fine Arts (where she first met Roy Leeper). In 1938, she received an award to travel and study under Fernand Léger in Paris. When World War II began in Europe, she moved back to California and worked under the Federal Arts Project. She produced some solo murals and also assisted Diego Rivera on his Treasure Island mural Pan American Unity, (1940).

In April of 1942, Miné Okubo and one of her brothers were sent to the Tanforan Assembly Center under Executive Order 9066, which forcibly interned over 100,000 Japanese and Japanese-American citizens living on the West Coast of the United States. Six months later, they were sent to the Topaz War Relocation Camp in Topaz, Utah. There, Okubo taught art in the camp's school and often sketched camp life. She was art editor for the camp newsletter Trek, a supplement to the Topaz Times.

In 1944, Fortune magazine published a sympathetic special edition on the Japanese and Japanese American internment during World War II. The magazine hired Okubo to illustrate two of the articles. She was permitted to leave the camp and move to New York City, where she remained for the rest of her life, working as a painter and illustrator. She wrote and illustrated a book about her experiences in the Topaz confinement camp, Citizen 13600, which won the American Book Award in 1984. Miné Okubo died in 2001. Medical doctor Roy Leeper befriended Miné Okubo while they were both students at the University of California. Later, he and his partner dentist Gaylord Hall were reintroduced to Okubo and her artwork by a mutual friend. They began a life-long relationship with Okuba, both as friends and collectors.
Related Materials:
Riverside City College in Riverside, California also holds the Miné Okubo papers.
Provenance:
Roy Leeper and Gaylord Hall donated the collection of Miné Okubo papers in 2001.
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:
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Art patronage  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American illustrators  Search this
Asian American authors  Search this
Women painters  Search this
Women illustrators  Search this
Women authors  Search this
Japanese Americans -- Forced removal and internment, 1942-1945  Search this
Genre/Form:
Photographs
Drawings
Sketches
Illustrated letters
Citation:
Roy Leeper and Gaylord Hall collection of Miné Okubo papers, circa 1940-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.okubmine
See more items in:
Roy Leeper and Gaylord Hall collection of Miné Okubo papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ba7aefa2-e800-4bfb-af53-665a6038106d
EDAN-URL:
ead_collection:sova-aaa-okubmine

Sarepta Pierpont Ostrum papers relating to Miye Matsukata jewelry

Creator:
Ostrum, Sarepta Pierpont, 1922-  Search this
Names:
Matsukata, Miye, 1922-1981  Search this
Extent:
7 Items
Type:
Collection descriptions
Archival materials
Date:
1979-1982
Scope and Contents:
Five slides of jewelry designed and made by Miye Matsukata; a letter from Matsukata to Ostrum; and a clipping about her work.
Biographical / Historical:
Ostrum is a collector; Califon, New Jersey. Miye Matsukata (1922-1981) was a Japanese American jewelry designer and metalsmith based in Boston, Massachusetts. She worked at her jewelry firm Janiye in Boston from 1950 to her death.
Provenance:
Donated 1984 by Sarepta Pierpont Ostrum.
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.
Occupation:
Goldsmiths -- Massachusetts -- Boston  Search this
Jewelers -- Massachusetts -- Boston  Search this
Topic:
Jewelry  Search this
Women artists  Search this
Decorative arts  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American jewelers  Search this
Asian American metal-workers  Search this
Women jewelers  Search this
Identifier:
AAA.ostrsare
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfe3b2c2-f839-4dd4-a011-ffb5bb668bf9
EDAN-URL:
ead_collection:sova-aaa-ostrsare

Alexandra S. Watkins papers relating to Miye Matsukata

Creator:
Watkins, Alexandra Solowij, 1933-  Search this
Names:
Matsukata, Miye, 1922-1981  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1980
Scope and Contents:
Forty slides (1969-1979) taken by Watkins of jewelry and a bathroom frieze designed by Miye Matsukata, two press releases (1980), and three photocopies of clippings (1979) concerning Matsukata and her work, one is an obituary.
Biographical / Historical:
Watkins is a jeweler, goldsmith, Boston, Massachusetts who headed jeweler Miye Matsukata's workshop for many years and photographed pieces as they were returned for cleaning or repair. Miye Matsukata (1922-1981) was a Japanese American jewelry designer and metalsmith based in Boston, Massachusetts. She worked at her jewelry firm Janiye in Boston from 1950 to her death.
Provenance:
Donated 1985 by Alexandra Solowij Watkins.
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.
Occupation:
Jewelers  Search this
Jewelers  Search this
Goldsmiths  Search this
Topic:
Jewelry  Search this
Jewelry making  Search this
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American jewelers  Search this
Asian American metal-workers  Search this
Identifier:
AAA.watkalex
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9065b20e1-7e11-4c8a-8f02-8f330f8e5461
EDAN-URL:
ead_collection:sova-aaa-watkalex

Saburo Shimono Papers

Creator:
Shimono, Sab  Search this
Extent:
15 Cubic feet (19 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Theater programs
Photographs
Compact discs
Newspaper clippings
Videocassettes
Black-and-white photographs
Movie scripts
Television scripts
Correspondence
School yearbooks
School records
Date:
1948-2013
Summary:
Collection documents the career of Saburo "Sab" Shimono, an American actor of Japanese descent.
Scope and Contents:
The collection documents Saburo Shimono, an American born actor of Japanese descent primarily through movie and theatre scripts for productions featuring Shimono.
Arrangement:
The collection is divided into five series.

Series 1: Biographical Materials, 1948-2013

Series 2: Scripts, 1962-2012

Series 3: Photographs, 1965-1986

Series 4: Posters, 1966-2010

Series 5: Audiovisual Materials, 1970-2009
Biographical:
Sab Shimono is an accomplished actor and voice performer with numerous television, film, and stage credits to his name and an important figure in Asian-American arts and culture. He was born on July 31, 1937, in Sacramento, California, to restaurant owners Masauchi Shimono and Edith Mary Otani Shimono. During World War II he and his family were incarcerated at the Sacramento Assembly Center, then at Tule Lake Segregation Center, California and Camp Amanche (also known as the Granada War Relocation Center) in Colorado. After graduating from Sacramento High School (where he was student body president) in 1956, Shimono went on to the University of California, Berkeley, where he studied acting under Henrietta Davis. His first professional theatre role was a summer stock production of Flower Drum Song where he played Wang Ta. In 1966 he debuted on Broadway as Ito in the original production of Mame starring Angela Lansbury and directed by Greg Saks. After working on a number of off-Broadway projects including multiple productions with La MaMa, Shimono returned to Broadway in 1976 as Manjiro in the original production of Stephen Sondheim's Pacific Overtures. In addition to the stage, he has appeared in numerous films including, Midway (1976), Gung Ho (1986), Presumed Innocent (1990), Hot Summer Winds (1991), Suture (1993), The Shadow (1994), Waterworld (1995), Paradise Road (1997), The Big Hit (1998), and Southland Tales (2006). He guest starred in many television shows, including 2 ½ Men, Friends, Seinfeld, M*A*S*H, Mad Men, and Hawaii, Five-0. He voiced the role of Uncle for five seasons on Fox's Jackie Chan Adventures, and was the voice of Chow Lo in Disney's Mulan. Shimono has worked extensively with a number of acclaimed Asian-American playwrights including Philip Kan Gotanda, Wakako Yamauchi, and Ken Narasaki. He has appeared in several plays or movies that reference the mass incarceration of Japanese Americans, including Alan Parker's Come See the Paradise(1990), Michael Uno's movie version of the Philip Kan Gotanda play The Wash (1988), and independent shorts Day of Independence (2003) and Half Kenneth (2009). Shimono also starred in a short film for the National Museum of American History's exhibition, A More Perfect Union: Japanese Americans and the U.S. Constitution, which ran from 1987 to 2004. He has been honored on numerous occasions with awards for outstanding performance from the LA Weekly and Dramalogue, and received the 1975 Clio Award for Best Actor. Shimono has also been active in the push for LGBT equality, working extensively with a number of organizations dedicated to LGBT rights, particularly within the Asian-American Pacific Islander communities. He lives and works with his husband, Steve Alden Nelson, in Los Angeles, California.

Source

Densho Encyclopedia
Separated Materials:
Materials about Saburo Shimono's US Army service (1960-1964) and wood hand tools (1940s) from Tule Lake Camp, California and Camp Amanche (Granada War Relocation Center) in Colorado are held in the Division of Armed Forces History (now Division of POlitical and Military History). See accession 2016.3049.
Provenance:
Collection donated by Saburo Shimono, May 2016.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Actors  Search this
Topic:
Japanese Americans  Search this
High school students -- California  Search this
Genre/Form:
Theater programs
Photographs -- Color prints -- 20th century
Compact discs
Newspaper clippings
Videocassettes -- 20th century
Black-and-white photographs
Movie scripts
Television scripts
Correspondence
School yearbooks
School records
Citation:
Saburo Shimono Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1379
See more items in:
Saburo Shimono Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89971c2fd-0bb3-45db-bd3b-a2419c62e298
EDAN-URL:
ead_collection:sova-nmah-ac-1379

Ray Yoshida papers

Creator:
Yoshida, Ray  Search this
Names:
Art Institute of Chicago. School -- Faculty  Search this
Phyllis Kind Gallery  Search this
Berdich, Vera, 1915-2003  Search this
Blackshear, Kathleen, 1897-1988  Search this
Brown, Roger, 1941-1997  Search this
Ito, Miyoko, 1918-1983  Search this
Kapsalis, Thomas Harry, 1925-  Search this
Kim, Jin Soo, 1950-  Search this
Nilsson, Gladys, 1940-  Search this
Nutt, Jim, 1938-  Search this
Ramberg, Christina  Search this
Rossi, Barbara, 1940-  Search this
Spears, Ethel, 1903-1974  Search this
Wirsum, Karl, 1939-  Search this
Extent:
10 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Date:
circa 1895-2010
bulk 1950-2005
Summary:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.
Scope and Contents:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.

Biographical material about Ray Yoshida includes award certificates, identification records, student records, and interview transcripts. Also found is one video recording of a documentary short about Yoshida's art and object collection at his Chicago home.

Correspondence includes letters, postcards, and greeting cards from friends, colleagues, and artists, including Roger Brown, Jim Nutt, Gladys Nilsson, Christina Ramberg, Karl Wirsum, Miyoko Ito, Jin Soo Kim, Barbara Rossi, Vera Berdich, and Tom Kapsalis.

Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items.

Writings by Yoshida consist of college papers, fragments of writings on art and other subjects, and notes. Writings by others include essays by Yoshida's students, exhibition essay drafts, and poetry.

Teaching records primarily document Yoshida's tenure as a professor at the School of the Art Institute of Chicago, though a few records of guest professorships at other schools are included. These records include course evaluations, employment records, teaching notes, and letters of recommendation for students. Miscellaneous teaching records include department memos, course summaries, correspondence, and notes.

Personal business records consists of documentation regarding the sale, exhibition, and loan of artwork by Ray Yoshida, including his business dealings with the Phyllis Kind Gallery. Additionally there are several files regarding the estate of artist Roger Brown.

Printed material includes exhibition catalogs, announcements, news clippings, newsletters and press releases documenting Yoshida's career and other subjects.

Source material consists of material that Yoshida gathered and intended to use for his art. Collected printed material includes postcards, comics and comic books, mail order catalogs, magazines, product labels, and advertisements. Also found are many small clippings from comics collected for collages.

Photographs depict Ray Yoshida, friends, students, travel, and artwork. Also found are a few photographs of Karl Wirsum's studio, as well as photographs of various subjects collected by Yoshida. Additionally, there is one photograph album from the early 1910s of an unidentified family.

Sketchbooks include pencil and ink sketches of various subjects.

Artwork by Ray Yoshida includes collages on paper, pencil sketches, and ink drawings. Artworks by others include numerous prints by Kathleen Blackshear, Ethel Spears, and Vivian Mayers, and collages, drawings, and prints given to Yoshida by students and friends. Some work by unidentified artists is included as well. Other artwork, such as handmade picture and alphabet books, appears to have been created by children and collected by Yoshida.

Scrapbooks include volumes that were created by Yoshida as well as books created by others. Three of the scrapbooks containing source images, clippings, and comics appear to have been created by Yoshida. Additional scrapbooks were created by others and collected by Yoshida.
Arrangement:
The collection is arranged as 12 series.

Missing Title

Series 1: Biographical Material, 1950-2005 (0.5 Linear feet; Box 1)

Series 2: Correspondence, 1952-2009 (2 Linear feet; Boxes 1-3, 11, 15)

Series 3: Notebooks, circa 1956-circa 2000 (0.3 Linear feet; Box 3)

Series 4: Writings, circa 1950-2003 (0.3 Linear feet; Box 3)

Series 5: Teaching Records, circa 1960-2003 (0.6 Linear feet; Boxes 3-4)

Series 6: Personal Business Records, circa 1960-2010 (0.4 Linear feet; Box 4)

Series 7: Printed Material, 1906-2010 (1.8 Linear feet; Boxes 4-6, 11, OV 14)

Series 8: Source Material, circa 1940-circa 2005 (0.7 Linear Feet; Boxes 6-7, 11)

Series 9: Photographs, circa 1910-circa 2005 (0.5 Linear feet; Box 7)

Series 10: Sketchbooks, circa 1960-circa 2000 (1.1 Linear feet; Boxes 7-8, 11-13)

Series 11: Artwork, 1903-2009 (0.7 Linear feet; Boxes 8, 13)

Series 12: Scrapbooks, circa 1895-circa 2005 (1 Linear feet; Boxes 8-10, 13)
Biographical / Historical:
Ray Yoshida (1930-2009) was a Japanese American painter, collagist, and educator based in Chicago, Illinois.

Raymond Kakuo Yoshida was born in Kapaa, Hawaii, in 1930. He attended the University of Hawaii for two years and completed a B.A. in Arts Education at the Art Institute of Chicago in 1953. He also served in the U.S. Army for two years during the Korean War. In 1957 he recieved his M.F.A from Syracuse University and became a faculty member at the School of the Art Institute of Chicago in 1959. He was named Frank Harold Sellers Professor in the Department of Painting and Drawing in 1971, retired as professor emeritus in 1998, and continued to teach until 2003.

Yoshida was a member of the Chicago Imagists, a loose and informal group of representational artists from the late 1960s to early 1970s who were influenced by Surrealism and connected to the School of the Art Institute of Chicago. Yoshida's friends and contemporaries among this group include but are not limited to Roger Brown, Ed Paschke, Christina Ramberg, and Barbara Rossi. Yoshida was an inspiring teacher and he mentored many of the later Chicago Imagists such as Gladys Nilsson, Jim Nutt, and Karl Wirsum.

Yoshida's paintings and collages were strongly influenced by comics as well as his own collection of folk and outsider art. He regularly exhibited at Phyllis Kind Gallery in Chicago from 1975 to 1996, and a major retrospective of his work was organized by the Contemporary Museum of Honolulu in 1998. He retired to Hawaii in 2005 where he lived until his death in 2009 due to cancer. The School of the Art Institute of Chicago's Sullivan Galleries held a posthumous retrospective exhibition of Yoshida's work from 2010-2011 and the John Michael Kohler Art Center had an exhibition of Yoshida's personal collection of art and artifacts in 2013.
Provenance:
The collection was donated in 2012 by Ray Yoshida via Terri Yoho of the Kohler Foundation, representing Yoshida's estate, and in 2013 and 2015-2016 by Jennifer Sabas and Shayle Miller, estate executors.
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. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
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.
Occupation:
Educators -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Collagists -- Illinois -- Chicago  Search this
Topic:
Folk art -- Collectors and collecting  Search this
Art -- Study and teaching  Search this
Art -- History  Search this
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American educators  Search this
Genre/Form:
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Citation:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.yoshray
See more items in:
Ray Yoshida papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw993d0cce5-3340-4d85-adeb-cb1711fd67e8
EDAN-URL:
ead_collection:sova-aaa-yoshray
Online Media:

Oral history interview with Alice Kagawa Parrott

Interviewee:
Parrott, Alice Kagawa, 1929-2009  Search this
Interviewer:
Smith, Paul J.  Search this
Creator:
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:
32 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 July 10
Scope and Contents:
An interview of Alice Kagawa Parrott conducted 2005 July 10, by Paul J. Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Santa Fe, N.M.
Parrott speaks of her childhood in Hawaii; her extended family's fate in the atomic bombing at Hiroshima; her education at the University of Hawaii, The Cranbrook Academy of Art, and at the studio of Marguerite Wildenhain, at Pond Farm, in Guerneville, California; her teaching years at the University of New Mexico and on the island of Maui; her marriage to Alan Parrott in 1956; her travels in Mexico, Guatemala, and India; and her various exhibitions across the U.S. and abroad. She recalls Claude Horan, Hester Robinson, Ernestine Murai, Anna Kang Burgess, Toshiko Takaezu, Marianne Strengell, Maija Grotell, Jack Lenor Larsen, Rufino Tamayo, Isamu Noguchi, George Nakashima, Joan Mondale, and Aileen Osborne Webb, and others.
Biographical / Historical:
Alice Kagawa Parrott (1929-2009) was a Japanese American fiber artist from Santa Fe, New Mexico. Paul J. Smith is the Director Emeritus, American Craft Museum, New York City, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 27 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Fiber artists -- New Mexico  Search this
Topic:
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Decorative arts  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American fiber artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.parrot05
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97905417e-b45a-4ff3-bf76-40515c01277e
EDAN-URL:
ead_collection:sova-aaa-parrot05
Online Media:

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