Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
52 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 September 27-28
Scope and Contents:
An interview of Michael Simon conducted 2005 September 27-28, by Mark Shapiro, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Colbert, Georgia.
Simon discusses studying at University of Minnesota with Warren MacKenzie; the counterculture and chaotic atmosphere at the university in the late 1960s; moving to Athens, Georgia, after college to open a studio on Jerry Chappelle's farm; his first pottery sales; obtaining conscientious objector status and working at a hospital in Athens; the influence of Bernard Leach and Shoji Hamada on his work; developing shapes and expanding his repertoire; being inspired by Korean folk potters and by other Asian pottery; teaching at the Penland School of Arts and Crafts and being influenced by fellow potters there; art fairs in Atlanta, Florida, and elsewhere; using various materials for his pots, including Georgia kaolin and grolleg; applying for a fellowship at the University of Georgia, where he completed his Master's of Fine Arts; seeing Mark Pharis's pots in the summer of 1980, which compelled him to build his own salt kiln, which changed subsequent work dramatically; his marriage to Susan Roberts in 1992; experimenting with images on his pots, including fish and bamboo; getting a large commission for dinner plates from the Nakato Restaurant in Atlanta, Georgia, one of the city's oldest sushi restaurants; visiting the Freer Sackler Galleries and being inspired by Chinese Yangshao pottery from the Neolithic period; the influence of Persian jars on his work; the success of his pottery sales with Ron Myers; going to Cortona, Italy, to teach pottery for the University of Georgia; teaching at a school in Santiago, Chile, exploring the countryside, and learning Chilean pottery techniques; the writing of Michael Cardew and its influence on his work and career; what constitutes a typical work day and what motivates him; and the community of American potters and the support he has received over the years. Simon also recalls Angel Lillo, Laurie Samuelson, Gib Krohn, Mark Pharis, Wayne Branum, Sandra Simon (née Lindstrom), Earl McCutcheon, Shoji Hamada, Cynthia Bringle, Ron Myers, Andy Nasisse, Robert Briscoe, Michael Cardew, and others.
Biographical / Historical:
Michael Simon (1947-2021) was a functional ceramist from Athens, Georgia. Mark Shapiro (1955- ) is a ceramist from Worthington, Massachusetts.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 3 hr., 30 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The papers of ceramicist and educator Hobart E. Cowles measure 2.5 linear feet and date from 1924-1980. The collection sheds light on Cowles's career through personal papers, writings and notebooks, professional files, printed material, photographs, artwork, and one video recording.
Scope and Contents:
The papers of ceramicist and educator Hobart E. Cowles measure 2.5 linear feet and date from 1924-1980. The collection sheds light on Cowles's career through personal papers, writings and notebooks, professional files, printed material, photographs, artwork, and one video recording.
Personal papers include resumes, an interview transcript, a video recording of a documentary on Cowles, and correspondence. Writings and notebooks include course notebooks, papers, and more pertaining to Cowles's undergraduate and graduate work, and an annotated outline for a slide presentation given by Cowles.
Professional files primarily deal with exhibitions, Cowles's years teaching at R.I.T., and his involvement with professional organizations.
Printed materials consist of articles and newspaper clippings, book excerpts, exhibition ephemera from solo and group shows, and an advertisement for a workshop conducted at R.I.T. Photographs are of Cowles and his family, his artwork, and events including organizational gatherings, exhibitions, and teaching at R.I.T.
Artwork consists of 5 sketchbooks as well as loose sketches and designs for various projects.
Arrangement:
This collection is arranged as 6 series.
Series 1: Personal Papers, 1924-1980 (Box 1; 11 folders)
Series 2: Writings and Notebooks, 1947-1980 (Box 1-2; .8 linear feet)
Series 3: Professional Files, 1948-1980 (Box 2; .5 linear feet)
Series 4: Printed Material, 1947-1980 (Box 2; 10 folders)
Series 5: Photographs, 1924-1980 (Box 2-3; 9 folders)
Series 6: Artwork, 1947-1980 (Box 3, OV 4; 6 folders)
Biographical / Historical:
Hobart E. Cowles (1923-1980) was a ceramicist and educator in Rochester, New York. He was an early experimenter with the firing of clay and is credited with playing an important role in the introduction of chemistry to clay processes.
Cowles, who was originally from Madison, Ohio, earned a BFA in ceramics from Wesleyan Conservatory in Macon, Georgia, in 1949, and completed his MFA at Ohio University in 1950. Cowles subsequently began teaching at Rochester Institute of Technology's School for American Crafts, working alongside Frans Wildenhain. He taught courses in glaze chemistry and ceramic history at R.I.T up until his death in 1980.
Cowles began showing his work, predominantly boxes, lidded jars, and sculptures decorated with self-designed glazes, almost immediately upon his arrival in Rochester. Although he went on to have his work featured in group exhibitions around the world, including at the Museum of Contemporary Crafts in New York and at the Brussels Worlds Fair, he focused primarily on his craft and his teaching throughout his career.
Provenance:
The collection was donated by Barbara Cowles, Hobart Cowles's widow, between 1981-1982.
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 born-digital records or 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:
Educators -- New York (State) -- Rochester Search this
Ceramicists -- New York (State) -- Rochester Search this
Genre/Form:
Sketchbooks
Video recordings
Interviews
Citation:
Hobart E. Cowles papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Scope and Contents:
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Biographical / Historical:
Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.
Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."
Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.
Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.
Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.
Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.
Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.
John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.
Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.
Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.
Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.
Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.
Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.
Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.
Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.
John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.
J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.
Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.
Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.
W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.
William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.
Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.
James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.
Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.
Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.
Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.
Related Materials:
Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.
The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.
Provenance:
The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.
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:
Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of ceramicist Michael Simon (1947-2021) measure 3.9 linear feet and date from circa 1982-2011. Included is printed material relating to Simon consisting of publications, articles and copies of articles; personal and professional correspondence with colleagues and galleries; letters from Warren MacKenzie; a DVD of "Warren MacKenzie: A Potter's Hands"; teaching files; writings by Simon and others; biographical information; exhibition checklists and forms; slides and photographs of works of art by Simon and others, Simon at work in his studio, friends, family and travel; materials relating to the book Evolution by Susan Stokes Roberts (2011, Northern Clay Center); personal and financial information; lectures, gallery talks and sales; plaster, glaze and clay body notes and recipes; and sketches. A portion of this material is in electronic format.
Biographical / Historical:
Michael Simon (1947-2021) was a functional ceramicist in Athens, Georgia.
Related Materials:
The Archives of American Art also holds a 2005 September 27-28 oral history interview with Michael Simon.
Provenance:
Donated in 2022 by Susan S. Roberts, Michael Simon's widow.
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 and born-digital records 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.
A digital audio recording of an interview with ceramicist Michael Simon conducted February 23, 2018 by ceramics dealer Leslie Ferrin and Lyndel King, director and chief curator of the Weisman Art Museum, University of Minnesota at Simon's studio in Athens, Georgia. Also present is Simon's wife, Susan Roberts. They talk about Simon's pots and the development of his work. The interview was conducted by Ferrin as part of her effort to place Simon's works in private and public collections.
Also included is a conversation between King and potters Warren MacKenzie and Randy Johnston, and MacKenzie's daughter Tamsyn, March 19, 2018 regarding and exhibition being planned about MacKenzie and the Mingei tradition.
Biographical / Historical:
Leslie Ferrin (1958- ) is the director of Ferrin Contemporary in North Adams, Massachusetts and Ferrin Contemporary Project Art in Cummington, Massachusetts, specializing in contemporary ceramics circa 1950 to the present by artists whose primary medium is clay.
Provenance:
Donated 2018 by Leslie Ferrin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of born digital records with no duplicate copy requires advance notice.
