An interview of Billie Ruth Sudduth conducted 2007 July 26-27, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Bakersville, North Carolina.
Sudduth speaks of her childhood in Alabama; her adoptive family; growing up in a creative and musical environment; an early exposure to women working with their hands; buying a Cherokee basket at age 12; childhood piano lessons and later exploring rhythm in her baskets; attending Huntingdon College; a strained relationship with her mother; meeting her biological family; attending the University of Alabama, Tuscaloosa and earning a Master's degree in social work; working as a social worker and psychologist for over 20 years; balancing a career with family; taking a basket-making class in an effort to relax and do something for herself; making baskets in spare time and teaching herself new techniques; her family's move to Las Vegas, Nevada; teaching basket-making classes to adults; developing Math in a Basket curriculum; an interest in Fibonacci and the inclusion of its ratio in her baskets; an interest in color and natural dyes; returning to North Carolina and focusing full time on basket making; receiving a North Carolina Arts Council Emerging Artists grant to photo-document her body of work; becoming interested in chaos theory and its application to her basketry; the popularity and success of Math in a Basket; teaching experiences at Penland School of Crafts, Arrowmont School of Arts and Crafts, and John Campbell Folk School; receiving a North Carolina Arts Council Visual Artist grant to study Cherokee, Choctaw, and other Native American tribes' basketry; her extensive basket collection; the honor of being named a North Carolina Living Treasure; participating in juried shows, including exhibiting at the Smithsonian Craft Show for 12 years and the Philadelphia Museum of Art Craft Show for seven years; the evolution of her workspace and studio; making the Carolina snowflake, which was exhibited at the White House; her exhibition history; an increasing respect for and recognition of baskets as art objects; the advantages university-trained artists have over self-taught artists; learning the business side of art making through trial and error; living and working in an incredible community of artists and collectors in North Carolina; a growing interest and participation in donating her baskets for fundraisers; and looking forward to spending more time with her grandchildren. Sudduth also recalls Cynthia Bringle, Carol Sedestrom Ross, Kenneth Trapp, Howard Risatti, Katie Gingrass, and others.
Biographical / Historical:
Billie Ruth Sudduth is a basketmaker from Bakersville, North Carolina. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 15 digital wav files. Duration is 4 hr., 42 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Carol Eckert conducted June 18-19, 2007 by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home and studio in Tempe, Arizona.
Eckert speaks of moving from North Carolina to New York during her childhood; her interest in making things as a child; her love of reading and a particular interest in mythology, legends, and fairy tales; choosing to pursue painting as an art major at Arizona State University; working as a substitute teacher after graduation; teaching herself the needle arts; and teaching painting and drawing classes at a local community arts center.
She also discusses experimenting with clay; the process that guides her work; the influence of her painting training on her color and composition choices; her marriage to furniture maker Tom Eckert; the development of the basketry field over the past decades; participating in exhibitions and shows; teaching workshops at Arrowmont School of Arts and Crafts and Haystack Mountain School of Crafts; the cross-cultural animal symbolism present in her pieces; the working environment in her studio; the importance of craft publications; the development in her own work towards larger pieces; her commitment to the longevity and preservation of her work; and upcoming exhibitions.
Eckert recalls Steven Covey, Barbara Rose Okun, Jane Sauer, Sandy Blaine, Lillian Elliot, Joanne Segal Branford, John Garrett, John McQueen, Leon Niehues, Norma Minkowitz, Sarah and David Lieberman, Janet Koplos, Marcia Docter, Doug and Dale Anderson, Karen Johnson Boyd, Rudy Turk, Marcia Manhart, Joanne Rapp, and others.
Biographical / Historical:
Carol Eckert (1945- ) is a fiber artist from Tempe, Arizona. Jo Lauria is a curator and arts wrtier from Los Angeles, California.
General:
Originally recorded 3 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 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 is available on the Archives of American Art's website.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 May 2-7
Scope and Contents:
An interview of Dorothy Gill Barnes conducted 2003 May 2-7, by Joanne Cubbs, for the Archives of American Art, at the artist's home, in Worthington, Ohio, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Barnes speaks of her childhood in Iowa; studying art at Coe College, Minneapolis School of Art, University of Iowa, and Cranbrook Academy of Art; her experiences teaching art in a junior high school, college, and at workshops; the role of her family in her artistic career; she describes shows in the 1970s that inspired her interest in basketry, including the Lausanne Biennale, the Miniature Textile Exhibition in London and "In Praise of Hands" at the Ontario Science Centre, Toronto, 1974; the benefits of craft schools in arts education; her travels in Australia, New Zealand, Spain, France, China, and Honduras; collaborations and apprenticeships; her involvement in "Weave a Real Peace," a community aspiring to "improve the world through textiles"; women and ethnicity as inspiration; her reverence for nature and her knowledge and respect for trees; her working environment in her studio and in the woods; the elements of play and experimentation in her work; her use of dendroglyphs; the role of universities in the craft movement; critiques from various audiences and in periodicals; the value of a photo archive; she explains how the material and traditions in basketry influence her art; the difficulty and beauty of working with organic materials; the evolution of her work; her exhibition history; her political and social activities; her involvement in national and local organizations; the importance of timing as part of her artistic process; her use of power tools and collaborators; and she concludes with a statement about the National Basketry Organization. She recalls John Schulze, Audrey Flack, Osma Gallinger Tod, Jane Sauer, Ed Rossbach, Pat Hickman, Lillian Elliot, David and Judy Drew, Jack Lenor Larsen, Jiro Yonezawa, Elsabe Dixon, and others.
Biographical / Historical:
Dorothy Gill Barnes (1927- ) is a basket maker of Worthington, Ohio. Joanne Cubbs (1955- ) is a writer and curator.
General:
Originally recorded 4 sound discs. Reformatted in 2010 as 14 digital wav files. Duration is 4 hr., 38 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.
101 Pasing it On: Master Teachers / Newton Washburn, John Cephas, Duff Severe.
102 Making Hawaiian Leis / Marie A. McDonald.
103 Frames, Fames and Aims: History & Goals of Heritage Program / Bess Lomax Hawes, Barry Bergey, Daniel Edward Sheehy.
104 Southern Italian Stories, Songs and Dances / DeFranco Family, Frank Cofone.
Local Numbers:
FP-1994-1/2VHS-0021
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.).
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Recorded in: Washington (D.C.), United States, June 25, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Twining cedar : Annette Island Tsimshian basket weaving / a produced by : Smithsonian Arctic Studies Center at the Anchorage Museum ; project director : Aron Crowell ; project manager and video editor : Dawn Biddison ; videography by : Anna Hoover, Dawn Biddison
