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Hobart E. Cowles papers

Creator:
Cowles, Hobart E., 1923-1980  Search this
Names:
Rochester Institute of Technology  Search this
School for American Crafts  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Interviews
Date:
1924-1980
Summary:
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.
Identifier:
AAA.cowlhoba
See more items in:
Hobart E. Cowles papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c62d8c6c-2e20-48e9-9dfa-dbddd1667d68
EDAN-URL:
ead_collection:sova-aaa-cowlhoba

Lorrie Goulet papers

Creator:
Goulet, Lorrie, 1925-  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Carolyn Hill Gallery  Search this
Contemporaries (Gallery: New York, N.Y.)  Search this
David Findlay Galleries (New York, N.Y.)  Search this
Inwood Pottery School  Search this
Kennedy Galleries  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Museum of Women in the Arts (U.S.)  Search this
New School for Social Research (New York, N.Y.)  Search this
New York Artists Equity Association  Search this
Scarsdale Studio Workshop  Search this
Anuszkiewicz, Richard  Search this
De Creeft, José, 1884-1982  Search this
Gross, Chaim, 1904-1991  Search this
Nalle, Anna Beck  Search this
Vogel, Dorothy  Search this
Vogel, Herbert  Search this
Vorhees, Aimee  Search this
Extent:
10 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Interviews
Sound recordings
Video recordings
Scrapbooks
Sketches
Date:
1931-2009
Summary:
The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.
Scope and Contents:
The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

Biographical materials include awards, resumes, membership documents for the New York Artists Equity Association, and a scrapbook and photograph portfolio for Jose de Creeft's birthday in 1969. Scattered school records include a photocopy of a letter from Aimee Vorhees at the Inwood Pottery School.

Goulet's correspondence is mostly professional in nature but includes some letters from friends and family, including Jose de Creeft. Other notable correspondents include Chaim Gross, Herbert and Dorothy Vogel, and Richard Anuszkiewicz.

Writings and notes by Lorrie Goulet include artists' statements; notes and essays on sculpture, including a disbound binder entitled "Quadrations"; three journals about the creation of Enigma; a statement on Green Serpentine; lectures and talks, including a memorial tribute to Jose de Creeft; and poems. There are also a few writings by others about Goulet.

There are five transcripts of interviews with Lorrie Goulet and with Lorrie Goulet and Jose de Creeft. One of the interviews includes the original sound recordings on cassette tape and one includes a version of the transcript on floppy disc.

Extensive exhibition files document fifty years of Goulet's solo and group exhibitions held at galleries, museums, and institutions throughout the United States. Many of the files are from shows at Carolyn Hill Gallery, The Contemporaries, David Findlay Jr. Gallery, and Kennedy Galleries. Also found is extensive material on Goulet's exhibition at the National Museum of Women in the Arts, Lorrie Goulet: Fifty Years of Making Sculpture (1998). File contents vary, but often contain photographs of openings and of works of art, correspondence, printed material, and price lists.

Project and commission files document Goulet's public commissioned works in the New York Public Library, 173 St. Branch, the Nurse's Residence and School at the Bronx Municipal Hospital, the New York City 48th Precinct Station House and Fire House, and the bust of King Juan Carlos I of Spain. There are also files concerning Goulet's television show Around the Corner, an educational children's show that aired from 1964-1968.

Teaching files are from Goulet's positions at the Art Students League, the school at the Museum of Modern Art, the New School for Social Research, and Scarsdale Studio Workshop. Personal business records include scattered bills and receipts for works of art by Goulet and Jose de Creeft and a file regarding Goulet's affiliation with art agent Anna Beck Nalle.

Among the printed materials are clippings, exhibition announcements and catalogs, and issues of magazines and periodicals, many of which include articles about Goulet or her exhibitions. Also found is a videocassette tape concerning Jose de Creeft's Alice in Wonderland narrated by Goulet.

Photographs and eleven photo albums depict Goulet, her family life with Jose de Creeft, celebrations with friends, her artwork and studio, and travel. Also found are photos, slides, and transparencies of works of art. Pencil sketches are by Goulet of her studio. There is also a sketch of Lorrie Goulet by Zorach.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1931-2009 (0.5 linear feet; Box 1, 11)

Series 2: Correspondence, 1940s-2006 (0.7 linear feet; Box 1)

Series 3: Writings and Notes, 1949-2002 (0.6 linear feet; Box 1-2)

Series 4: Interviews, 1967-2002 (0.3 linear feet; Box 2)

Series 5: Exhibition Files, 1948-2008 (3.1 linear feet; Box 2-5)

Series 6: Project Files, 1950s-2007 (0.8 linear feet; Box 6, 12)

Series 7: Teaching Files, 1958-2000 (0.2 linear feet; Box 6)

Series 8: Personal Business Records, 1969-1990s (2 folders; Box 6)

Series 9: Printed Materials, 1940s-1999 (1.1 linear feet; Box 7-8)

Series 10: Photographs, 1930s-2008 (2.3 linear feet; Box 8-11)

Series 11: Artwork, 1955-1956 (0.1 linear feet; Box 10)
Biographical / Historical:
Lorrie Goulet (1925- ) is a sculptor, painter, educator, and writer active in New York City, New York. She is well-known for direct sculpture on wood and stone.

Lorrie Goulet was born in Riverdale, NY in 1925. As early as the age of seven, Goulet attended the Inwood Pottery School in New York City where she studied under Aimee Vorhees. After the Goulet family moved to Los Angeles, Lorrie continued her studies in art and, in 1940, apprenticed under Jean Rose, a ceramicist in Southern California. In 1943, Goulet enrolled at Black Mountain College in North Carolina where she studied with Joseph and Annie Albers. This is also where she met her husband, sculptor Jose de Creeft; they married in 1944 and had one child, Donna Maria de Creeft. Goulet and de Creeft divided their time between Hoosick Falls, New York and New York City.

Goulet's first solo exhibition was held at the Clay Club Sculpture Center, New York, in 1948. She was represented by Kennedy Galleries in New York, David Findlay Jr. Gallery, and the Harmon Meek Gallery in Naples, Florida. She has exibited widely, including in a number of Annual Exhibitions at the Whitney Museum of American Art, New York, and in the fine arts pavilion of the New York World's Fair of 1965. In 1998, she was honored by the National Museum of Women in the Arts in Washington D.C. with a solo exhibition titled Fifty Years of Making Sculpture.

Goulet taught sculpture at the Museum of Modern Art's Peoples Center, New York, in 1957. From 1961 to 1975 she was on the faculty of the New School, New York, and in 1981 began teaching at the Art Students League of New York, where she taught until 2004. Between 1964-1968 Lorrie Goulet demonstrated sculpture techniques on a CBS Television children's program called "Around the Corner", sponsored by the New York City Board of Education.

Lorrie Goulet's sculpture can be found in the permanent collections of museums across the country. She also completed a number of public sculptures commissioned by the City of New York for several of its public buildings in the Bronx including the Branch Public Library at 173rd Street and Grand Concourse (1958), the Nurses School and Residence, Bronx Municipal Hospital (1961), and the 48th Precinct Police and Fire Station Headquarters (1971) - all in varying materials. A bronx bust of King Juan Carlos I of Spain created by Goulet is displayed in the Royal Palace in Madrid.

Goulet is also a painter, philosopher and poet and continues to work in her studio in New York City.
Related Materials:
Also found in the Archives of American Art are the papers of Lorrie Goulet's husband, sculptor Jose de Creeft.
Provenance:
Lorrie Goulet lent a portion of her papers in 1972 for microfilming and later donated those papers along with additional materials to the Archives of American Art in 2010.
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 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:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Diaries
Photographs
Interviews
Sound recordings
Video recordings
Scrapbooks
Sketches
Citation:
Lorrie Goulet papers, 1931-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goullorr
See more items in:
Lorrie Goulet papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902b5ece8-1adc-4620-a5f5-f3520a094ffd
EDAN-URL:
ead_collection:sova-aaa-goullorr
Online Media:

Don Reitz Papers

Creator:
Reitz, Don, 1929-2014  Search this
Names:
Autio, Rudy, 1926-2007  Search this
Yamamoto, Yukio  Search this
Extent:
11.6 Linear feet
11.2 Gigabytes
Culture:
Educators--Arizona  Search this
Sculptors--Arizona  Search this
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Photographs
Sketches
Sound recordings
Video recordings
Date:
circa 1935-2015
Summary:
The papers of artist and educator Don Reitz measure 11.6 linear feet and date from circa 1935 to 2015. The collection documents Reitz's work as a professional artist and educator through biographical material, correspondence; writings, interviews and lectures; documentation on workshops and performances; studio records; gallery and exhibition files; printed material, photographic material, and artwork.
Scope and Contents:
The papers of artist and educator Don Reitz measure 11.6 linear feet and date from circa 1935 to 2015. The collection documents Reitz's work as a professional artist and educator through biographical material, correspondence; writings, interviews and lectures; documentation on workshops and performances; studio records; gallery and exhibition files; printed material, photographic material, and artwork.

Correspondence reflects relationships with professional organizations, museums and galleries, friends and family, as well as letters of recommendation from his years as an instructor. Notable correspondence is with fellow artists Rudy Autio and Yukio Yamamoto. Writings include essays and artist statements written by Reitz, as well as articles and essays written about Reitz by others. Lectures and interviews are featured in written form, as well as audio and video, including some digital video recordings. Reitz's notes include sound recordings captured in his car.

Workshop and performance files contain recordings, planning materials, contracts, and other documentation on instructional events led by Reitz. Studio records include technical files on kiln operation, supplies, project plans, and equipment.

Also found are detailed records of gallery and museum exhibitions, as well as commissions including public works and murals, in addition to various studio artwork inventories. Photographic material documents Reitz's participation in workshops and other presentations, and includes photographs of artwork, the Reitz Farm in Wisconsin, the Reitz Ranch in Arizona, as well as his early family life and military career. Photograph formats include snapshots, slides and digital images. Also included are various sketches by the artist as well as some by his niece Sara.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, circa 1935-2014 (0.9 linear feet; Box 1)

Series 2: Correspondence, circa 1951-2014 (1.6 linear feet; Boxes 1-3)

Series 3: Writings and Lectures, circa 1970-2012 (2.0 linear feet; Boxes 3-5, 2.85 gigabytes; ER01-ER03)

Series 4: Workshops and Performances, circa 1972-2008 (0.7 linear feet; Box 5-6, 8.21 gigabytes; ER04-ER05)

Series 5: Studio Records, circa 1965-2010 (0.3 linear feet; Box 6)

Series 6: Galleries and Exhibitions, circa 1966-2014 (1.5 linear feet; Boxes 6-7, 0.065 gigabytes; ER06)

Series 7: Printed Material, circa 1950-2014 (1.3 linear feet; Boxes 8-9, 12)

Series 8: Photographic Material, circa 1940-2015 (2.8 linear feet; Boxes 9-13, 0.065 gigabytes; ER07)

Series 9: Artwork, circa 1980-2012 (0.5 linear feet; Boxes 11, 12)
Biographical / Historical:
Don Reitz (1929-2014) was a ceramic artist in Clarkdale, Arizona.

Reitz was born in Sunbury, Pennsylvania, and was raised in Belvidere New Jersey, before serving for four years in the U.S. Navy as a diver. After years working as a butcher and a house painter, Reitz attended Kutztown State Teachers College, where he studied Abstract Expressionism and discovered ceramics in his last year of study. Reitz quickly developed a passion for ceramics, built a kiln in his back yard, and enrolled in graduate school at Alfred University's New York State College of Ceramics. From 1962 to 1988 Reitz led the ceramics department at University of Wisconsin at Madison, while he raised his two children Brent and Donna on a nearby farm, where he also kept livestock and experimented in ceramic firing techniques.

Don Reitz is known for bringing the salt-firing ceramics technique to the United States, in which colorful metallic surfaces are applied to ceramics by throwing salt in the kiln, as opposed to applying paint-like slips on the clay before firing. Reitz is also widely recognized for expanding the traditional medium of ceramics to incorporate abstract and nonfunctional forms like his contemporaries Peter Voulkos and Rudy Autio, as well as incorporating elements of performance art into his demonstrations and workshops. In 1982 Reitz suffered injuries from a serious automobile accident and required years of rehabilitation. During this time Reitz's niece, Sara, was undergoing treatment for cancer. The two were instrumental in each other's recovery and elements of Sara's drawings for Don were incorporated into his work, imbuing a graphic sensibility and a bold use of color, while his ability to physically manipulate clay was impaired.

In 1988 Reitz moved to a ranch in Clarksdale, Arizona, where he continued to work after his retirement from teaching, building kilns of various types including wood-fire and Anagama kilns, traveling to conduct workshops, and accepting commissions for large-scale commissions and public works. While in Arizona, Reitz developed a strong friendship with Japanese ceramicist Yukio Yamamoto, who had been teaching in Flagstaff, Arizona. Throughout his career Reitz received numerous accolades including being named Trustee Emeritus of the American Craft Council, and making the Ceramic Monthly Reader's Poll as One of Twelve Greatest Living Ceramic Artists Worldwide in 1988 and 2001. Reitz's works are featured in numerous private and museum collections including the Smithsonian Institution, the Museum of Fine Arts, Houston, and the High Museum of Art. Don Reitz passed in 2014 after suffering from a series of heart attacks and related surgeries.
Don Reitz (1929-2014) was a ceramic artist in Clarkdale, Arizona. Reitz was born in Sunbury, Pennsylvania, and was raised in Belvidere New Jersey, before serving for four years in the U.S. Navy as a diver. After years working as a butcher and a house painter, Reitz attended Kutztown State Teachers College, where he studied Abstract Expressionism and discovered ceramics in his last year of study. Reitz quickly developed a passion for ceramics, built a kiln in his back yard, and enrolled in graduate school at Alfred University's New York State College of Ceramics. From 1962 to 1988 Reitz led the ceramics department at University of Wisconsin at Madison, while he raised his two children Brent and Donna on a nearby farm, where he also kept livestock and experimented in ceramic firing techniques. Don Reitz is known for bringing the salt-firing ceramics technique to the United States, in which colorful metallic surfaces are applied to ceramics by throwing salt in the kiln, as opposed to applying paint-like slips on the clay before firing. Reitz is also widely recognized for expanding the traditional medium of ceramics to incorporate abstract and nonfunctional forms like his contemporaries Peter Voulkos and Rudy Autio, as well as incorporating elements of performance art into his demonstrations and workshops. In 1982 Reitz suffered injuries from a serious automobile accident and required years of rehabilitation. During this time Reitz's niece, Sara, was undergoing treatment for cancer. The two were instrumental in each other's recovery and elements of Sara's drawings for Don were incorporated into his work, imbuing a graphic sensibility and a bold use of color, while his ability to physically manipulate clay was impaired. In 1988 Reitz moved to a ranch in Clarksdale, Arizona, where he continued to work after his retirement from teaching, building kilns of various types including wood-fire and Anagama kilns, traveling to conduct workshops, and accepting commissions for large-scale commissions and public works. While in Arizona, Reitz developed a strong friendship with Japanese ceramicist Yukio Yamamoto, who had been teaching in Flagstaff, Arizona. Throughout his career Reitz received numerous accolades including being named Trustee Emeritus of the American Craft Council, and making the Ceramic Monthly Reader's Poll as One of Twelve Greatest Living Ceramic Artists Worldwide in 1988 and 2001. Reitz's works are featured in numerous private and museum collections including the Smithsonian Institution, the Museum of Fine Arts, Houston, and the High Museum of Art. Don Reitz passed in 2014 after suffering from a series of heart attacks and related surgeries.
Related Materials:
Also found at the Archives of American art is an oral history interview with Don Reitz, 2006 June 6-7, conducted by Mija Riedel.
Provenance:
Donated in 2017 by Brent Reitz, Don Reitz's son.
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 and born-digital records with no duplicate 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:
Ceramicists -- Arizona  Search this
Topic:
Ceramics -- Equipment and supplies  Search this
Genre/Form:
Interviews
Photographs
Sketches
Sound recordings
Video recordings
Citation:
Don Reitz papers, circa 1935-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.reitdon
See more items in:
Don Reitz Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b5d1207-c22f-4b3f-b4cd-8bc57ef27530
EDAN-URL:
ead_collection:sova-aaa-reitdon

Oral history interview with Val Cushing

Interviewee:
Cushing, Val M.  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 -- Faculty  Search this
Alfred University -- Students  Search this
Archie Bray Foundation  Search this
Archie Bray Foundation -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Wildenhain, Marguerite  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 April 16
Scope and Contents:
An interview of Val Cushing conducted 2001 April 16, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Cushing's studio, Alfred Station, New York.
Cushing speaks of his early interest in drawing; applying to Alfred University without a portfolio and being accepted on an athletic scholarship to play football; his teachers at Alfred including Katherine Nelson, Charles Harder, Marion Fosdick, Kurt Ekdahl, and Dan Rhodes; his classmates at Alfred including Herb Cohen, Marty Moskof, Marty Chodos, Luis Mendez, Ed Pettengill, and Richard Homer; the influence of Marguerite Wildenhain, who came to Alfred to teach for two weeks in 1952 (Cushing's senior year); his first job making pots at Santa's Workshop in Adirondack Mountains in New York in 1951, and the value of throwing every day; learning that "technique is not enough"; his travels; serving in the military police in Fort Dix, New Jersey, during the Korean War; visiting the Metropolitan Museum to sketch pots; meeting his wife Elsie Brown, who was private-duty nurse in New York; Charles Harder as an administrator and teacher; attending graduate school at Alfred on the G.I. Bill from 1954 to 1956; his decision to become teacher rather than full-time potter at the suggestion of Charles Harder; teaching at University of Illinois in 1956 and then Alfred University in 1957; the "famous" dialogues between Charles Harder and Bernard Leach; the importance of designing functional handmade objects; the evolution of the American craft market; his work for Andover China; exhibitions; his close-knit ceramics community in the 1950s and 1960s; his relationships with galleries including American Hand and The Farrell Collection in Washington, D.C., Helen Drutt Gallery and the Works Gallery in Philadelphia, The Signature Shop & Gallery in Atlanta, Martha Schneider Gallery in Chicago, and Cedar Creek Gallery in Creedmoor, North Carolina; teaching at Penland, Haystack, Arrowmont, Archie Bray, and Anderson Ranch; "the Alfred connection at Archie Bray" and his grant to study at Archie Bray in 1968; the importance of Alfred's summer school to the history of contemporary clay in America; the value of university training; Bob Turner's and Ted Randal's influence on his work through their "philosophic stance" and "presence as artists"; his working space and his 1983 NEA grant to adapt an existing barn for use as a studio; the influence of nature on his work; working with kick wheel, Soldner wheel, Venco Pug Mill, natural gas and electric kilns; his glaze expertise; opportunities for experimentation; his love of jazz music and its influence on his working methods; pricing his pots; commissions; ceramic workshops as theatrical "performances" and an American phenomenon; the role of specialized periodicals in the craft field; the difference between craft critics and painting and sculpture critics; and the place of ceramics in museum collections in the United States and abroad.
Cushing also talks about his involvement with NCECA [The National Council on Education for the Ceramic Arts], the American Craft Council, and the American Ceramics Society; the lack of political and social commentary in his work; his teaching experiences in Europe and Asia; his participation in the opening of The Shigaraki Ceramic Cultural Park in Japan; and the importance of ceramic history for the contemporary ceramist. He also recalls Susan Peterson, Bill Pitney, Marv Rickel, Don Frith, Winslow Anderson, Ken Deavers, Joan Mondale, Joan Farrell, Don Reitz, Gerry Williams, Bill Parry, Ken Ferguson, and others.
Biographical / Historical:
Val Cushing (1931- ) is a ceramic artist and potter from Alfred Station, New York. Margaret Carney (1949- ) is the director of the Schein Joseph International Museum of Ceramic Art in Alfred, New York.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr.
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:
Ceramicists -- New York (State)  Search this
Topic:
Art -- Economic aspects  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Ceramics -- Equipment and supplies  Search this
Glazing (Ceramics)  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cushin01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9572d0cc4-97cb-44d7-9531-068cec70f0b4
EDAN-URL:
ead_collection:sova-aaa-cushin01
Online Media:

Oral history interview with Eddie Dominguez

Interviewee:
Dominguez, Eddie, 1957-  Search this
Interviewer:
Fleming, Stephen  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Students  Search this
Cleveland Institute of Art -- Students  Search this
Haystack Mountain School of Crafts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Crafts  Search this
University of Nebraska -- Faculty  Search this
Abrams, Fay  Search this
Casebeer, Doug, 1956-  Search this
Hepburn, Tony  Search this
Higby, Wayne  Search this
Jimenez, Luis, 1940-2006  Search this
Martin, Agnes, 1912-2004  Search this
Munson, Larry  Search this
Nevelson, Louise, 1899-1988  Search this
Price, Kenneth, 1935-2012  Search this
Rothko, Mark, 1903-1970  Search this
Ryman, Robert, 1930-2019  Search this
Saks, Esther  Search this
Salomon, Judith  Search this
Extent:
71 Pages (Transcript)
12 Items (Sound recording: 12 sound files (4hr., 23 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2006 July 27-28
Scope and Contents:
An interview of Eddie Dominguez conducted 2006 July 27-28, by Stephen Fleming, 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 Roswell, New Mexico.
Dominguez speaks of his childhood in Tucumcari, New Mexico; the strong drive to create he felt from his youth; attending Cleveland Institute of Art in Ohio; receiving his M.F.A. from New York State College of Ceramics, Alfred University in New York; being awarded a Gift of Time grant for the Roswell Artist-in-Residence Program in 1986; the differences he encountered returning to the program 20 years later; his involvement with Haystack Mountain School of Crafts where he serves on the board of directors; participating in numerous workshops and lectures, including workshops at Penland School of Crafts; working as a regional artist and what that designation means to him; teaching experiences at the University of Nebraska, Lincoln; the importance of giving back to communities; his enjoyment in working with children to create public art installations; the influence of the Southwest landscape in his work; the very physical way he interacts with his work through piercing, burning, tearing, et cetera; being influenced by artists such as Louise Nevelson, Mark Rothko, Robert Ryman, Luis Jimenez, Agnes Martin, and others; the issue of ethnicity and race in identifying his art; and recent explorations with computer technology and digital photography. Dominguez also recalls Judith Salomon, Tony Hepburn, Wayne Higby, Fay Abrams, Larry Munson, Esther Saks, Doug Casebeer, Kenneth Price and others.
Biographical / Historical:
Eddie Dominguez (1957- ) is a ceramicist from Roswell, New Mexico. Stephen Fleming (1950- ) is the director of the Roswell Artist-in-Residence Program, Roswell, New Mexico.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 12 digital wav files. Duration is 4 hr., 23 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:
Ceramicists -- New Mexico  Search this
Topic:
Decorative arts  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.doming06
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dbf64952-9fa3-4b0e-ab63-8ce52c481842
EDAN-URL:
ead_collection:sova-aaa-doming06
Online Media:

Eugenie Gershoy papers

Creator:
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Yaddo (Artist's colony)  Search this
Baker, Mildred, 1905-  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Dehn, Virginia  Search this
Force, Juliana, 1876-1948  Search this
Fruhauf, Aline, 1909-1978  Search this
Gottlieb, Harry, 1895-  Search this
Hart, Agnes, 1912-1979  Search this
Knight, Frederic C., 1898-1979  Search this
Marantz, Irving, 1912-1972  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Nakian, Reuben, 1897-1986  Search this
Picken, George, 1898-  Search this
Pollet, Joseph C., 1897-1979  Search this
Presser, Josef, 1906-1967  Search this
Refregier, Anton, 1905-  Search this
Scaravaglione, Concetta, 1900-1975  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thomson, Virgil, 1896-  Search this
Varda, Jean  Search this
Extent:
7.2 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Place:
Woodstock (N.Y.)
Date:
1914-1983
Summary:
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.

Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.

Missing Title

Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)

Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)

Series 3: Business Records, 1952-1978 (box 6; 5 folders)

Series 4: Notes, 1967-1970, undated (box 6; 3 folders)

Series 5: Writings, 1970, undated (box 6; 2 folders)

Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)

Series 7: Printed Material, 1932-1983, undated (boxes 7, 9; 19 folders)

Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.

With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.

Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.

In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.

Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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
Sculptors -- New York (State) -- New York  Search this
Draftsmen (artists) -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women ceramicists  Search this
Women sculptors  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Prints
Christmas cards
Sketchbooks
Sketches
Photographs
Citation:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gerseuge
See more items in:
Eugenie Gershoy papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139
EDAN-URL:
ead_collection:sova-aaa-gerseuge

Henry Varnum Poor papers

Creator:
Poor, Henry Varnum, 1887-1970  Search this
Names:
Montross Gallery  Search this
Skowhegan School of Painting and Sculpture  Search this
Benton, William, 1900-1973  Search this
Biddle, George, 1885-1973  Search this
Billing, Jules  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Caniff, Milton Arthur, 1907-1988  Search this
Ciardi, John, 1916-  Search this
Czebotar, Theodore  Search this
Deming, MacDonald  Search this
Dickson, Harold E., 1900-  Search this
Dorn, Marion, 1896-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Esherick, Wharton  Search this
Evergood, Philip, 1901-1973  Search this
Garrett, Alice Warder  Search this
Houseman, John, 1902-1988  Search this
Marston, Muktuk  Search this
Meredith, Burgess, 1907-1997  Search this
Mumford, Lewis, 1895-1990  Search this
Padro, Isabel  Search this
Poor, Anne, 1918-  Search this
Poor, Bessie Breuer  Search this
Poor, Eva  Search this
Poor, Josephine Graham  Search this
Poor, Josephine Lydia  Search this
Poor, Peter  Search this
Sargent, Elizabeth S.  Search this
Smith, David, 1906-1965  Search this
Steinbeck, John, 1902-1968  Search this
Watson, Ernest William, 1884-1969  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Date:
1873-2001
bulk 1904-1970
Summary:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
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 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:
War artists  Search this
Topic:
Architects -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
War posters  Search this
Educators -- New York (State) -- New York  Search this
Pottery -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Artists' studios  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.poorhenr
See more items in:
Henry Varnum Poor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516
EDAN-URL:
ead_collection:sova-aaa-poorhenr
Online Media:

Mary Frank papers

Creator:
Frank, Mary, 1933-  Search this
Names:
Frank, Robert, 1924-  Search this
Gibson, Ralph, 1939-  Search this
Lockspeiser, Eleanore, 1900-1986  Search this
Meyerowitz, Joel, 1938-  Search this
Steichen, Edward, 1879-1973  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1884-2017
bulk 1957-1990
Summary:
The papers of sculptor and painter Mary Frank measure 4.2 linear feet and date from 1884-2017. Included are correspondence, writings, photographs, artwork and printed material documenting Frank's career. Correspondence is both personal and professional. Writings include dreams recounted in detail, poems, and ideas for works of art, some illustrated. Black and white photographs are of Frank, her sculptures, friends and family, and source material. Artwork includes drawings and sketches in dry point, pencil and watercolor. Printed material includes exhibition catalogs, announcements, brochures and clippings.
Scope and Contents:
The papers of sculptor and painter Mary Frank measure 4.2 linear feet and date from 1884-2017. Included are correspondence, writings, photographs, artwork and printed material documenting Frank's career. Correspondence is both personal and professional. Writings include dreams recounted in detail, poems, and ideas for works of art, some illustrated. Black and white photographs are of Frank, her sculptures, friends and family, and source material. Artwork includes drawings and sketches in dry point, pencil and watercolor. Printed material includes exhibition catalogs, announcements, brochures and clippings.

Materials in this collection document Mary Frank's career as an artist in New York through correspondence with family, friends, and artists; original drawings and watercolors; writings about ideas for her artwork; photographs of Frank in her studio and artwork; clippings reviewing her work and documenting her interest and support in the solar cooker movement; and exhibition catalogs and announcements. Also included are photographs from Frank's travels with Red Grooms and other artists in Italy in the 1960s, which was a formative experience in Frank's artistic development. The collection provides an illuminating context for Frank's artwork of the 1970s and 1980s, present in the collection as photographed sculpture but also as original drawings and watercolors.

The collection also offers a glimpse of her family life and early childhood documented through photographs of Robert Frank, and their children; photographs taken by Robert Frank and other known photographers; photographs that belonged to her parents and aunt; drawings by her son, Pablo, and aunt, Sylvia Weinstein; writings by her maternal grandfather; and writings that document personal struggles she experienced throughout her life. The collection provides a penetrating glimpse into the emotional turmoil of the years before Frank's divorce from Robert Frank, and documents through letters and writings Frank's struggles with her daughter's early death in 1974 and her son's illness that began in 1975 and ended in his death in 1994.
Arrangement:
The collection is arranged in five series.

Series 1: Correspondence, 1943-2001 (0.4 linear feet; Box 1)

Series 2: Writings, 1936-circa 1990 (0.2 linear feet; Box 1)

Series 3: Printed Material, circa 1960-2013 (0.6 linear feet; Box 1-2)

Series 4: Artwork, circa 1930-circa 1990s (0.6 linear feet; Box 2, 4; OV 5)

Series 5: Photographic Material, 1884-circa 2006 (2.4 linear feet; Box 2-3; OV 6-12)
Biographical / Historical:
Mary Frank (1933-) is a sculptor, ceramicist, and painter in New York, New York. She was born in London, England in 1933 to writer, Edward Lockspeiser, and artist, Eleanore Weinstein. In 1940, she and her mother moved to Brooklyn, New York and moved in with her mother's parents, Gregory and Eugenie Weinstein. Eventually Frank and her mother moved to the Village in Manhattan. Frank studied modern dance with Martha Graham and attended the High School of Music and Art, the Professional Children's School, and studied under artists Hans Hofmann and Max Beckmann. While still in high school, she met photographer, Robert Frank, whom she eventually married in 1950. They had two children, Pablo and Andrea, and divorced in 1969. Frank first exhibited her artwork at Poindexter Gallery in 1958 and traveled with Red Grooms across Italy in the 1960s, which had a significant impact on her artistic development. Her work is also influenced by her daughter's untimely death in 1974 and her son's illness that began in 1975 and ended in his death in 1994.

Mostly self-taught, Frank works across multiple disciplines including sculpture, painting, ceramics, and drawing. Reflected in her work are themes of grief, loss, love and sorrow. He career has spanned over five decades where she has exhibited works at numerous galleries and museums around the country. She has been the recipient of many awards and honors, including two Guggenheim Foundation Fellowships, and taught classes at Bard College. Mary Frank's works are included in the permanent collections at the Metropolitan Museum of Art, the Whitney Museum of American Art, Brooklyn Museum, National Museum of American Art, The Art Institute of Chicago, and many others. She has also been a longtime advocate of solar cooking.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Mary Frank conducted by Judith Olch Richards on January 10, 11, and February 3, 2010.
Provenance:
Donated in 2014 and 2019 by Mary Frank.
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.
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:
Ceramicists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Mary Frank Papers, 1884-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franmary
See more items in:
Mary Frank papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae72be15-44b9-45f9-a180-d88acb2bf16b
EDAN-URL:
ead_collection:sova-aaa-franmary

Oral history interview with Marek Cecula

Interviewee:
Cecula, Marek, 1944-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Barneys New York  Search this
Garth Clark Gallery (New York, N.Y.)  Search this
George R. Gardiner Museum of Ceramic Art  Search this
Kunst- og designhögskolen i Bergen  Search this
Memphis (Group)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parsons School of Design -- Faculty  Search this
Tiffany and Company  Search this
Cecula, Lanie  Search this
De Waal, Edmund  Search this
Earl, Jack  Search this
Koplos, Janet  Search this
Kottler, Howard, 1930-1989  Search this
Mayer, Jean  Search this
Nagle, Ron  Search this
Ogen, Gdula, 1929-  Search this
Price, Kenneth, 1935-2012  Search this
Shire, Peter  Search this
Spurey, Gerda  Search this
Spurey, Kurt, 1941-  Search this
Veiteberg, Jorunn, 1955-  Search this
Extent:
104 Pages (Transcript)
10 Items (Sound recording: 10 sound files (4 hr., 55 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Brazil -- Description and Travel
Israel -- Description and Travel
Poland -- description and travel
SoHo (New York, N.Y.) -- Description and Travel
Date:
2009 May 19-20
Scope and Contents:
An interview of Marek Cecula conducted 2009 May 19-20, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Cecula's studio, in New York, New York.
Marek Cecula speaks of his childhood in Kielce, Poland, during World War II; his move to Israel at age 16; studies with ceramists Gdula Ogen and Jean Mayer; the influence of Japanese ceramics on his early studies; life on the kibbutz HaSolelim in the late 1960s and early 1970s; the influence of Kurt and Gerda Spurey and their use of porcelain and slip-casting; his work in both functional and sculptural ceramics; his move to Tel Aviv in early 1970s, then to a commune in Binyamina in 1971; his move to Curitiba, Brazil, and subsequent work with Schmidt porcelain factory; "Art Project 79" exhibition, La Jola, Curitiba, Brazil, 1979; his move to Washington, D.C., with girlfriend (later wife) Lanie in 1976; Klepisko (2008); the cyclical nature in his work; move to New York City in late 1970s; the Soho arts scene in the 1970s and '80s; his work blending design and sculpture; establishing Contemporary Porcelain gallery, 1978; interest in work by Memphis Group, Peter Shire, Jack Earl, Ken Price, and Ron Nagle; head of ceramics department, at Parsons School of Design, New York City (1985-2004); continued design and production work, including for Tiffany & Co. and Barneys New York; establishment of Modus Design firm; continued exploration of industrial processes and use of decals in his work; influence of Howard Kottler; his quest to balance digital and handmade processes, and the continued importance of the tactile; "Scatology" exhibition; series Hygiene, his first purely sculptural series; Porcelain Carpet; representation at Garth Clark Gallery (New York City, Los Angeles, and Kansas City, Missouri); series Violations; series Mutants; series Industrial Interference; "Interface" exhibition (2002), in response to terrorist attacks on September 11, 2001; Look Into My Mind; The Stand For the Heroes, 2001; series Beauty of Imperfection; move to Poland in early 2000s; a teaching/artistic position at Bergen National Academy of Arts, Norway; establishment of Design Centrum Kielce in late 2000s; Menorah, 2007, Kielce (site-specific); Six Stations, 2007, Porsgrunn, Norway (site-specific); future projects for the city of Kielce; work with the Łódź Design Festival, Poland, and design center in Cieszyn, Poland; "kilo of earth" product; Last Supper; Mandala; Islam; limitations and advantages of ceramics as a medium; his globalized, multicultural experiences and outlook; the European vanguard in ceramics; periodicals and publications of interest; writers of interest: Edmund de Waal, Jorunn Veiteberg, Janet Koplos; the "desire society"; curating Third Biennale for Israeli Ceramics, 2004; fusion art, craft, and design; "Object Factory: The Art of Industrial Ceramics," Gardiner Museum, Toronto, 2008; redefinition of the concept of the object.
Biographical / Historical:
Marek Cecula (1944- ) is a ceramist and designer, who lives and works in New York and Poland.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 55 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:
For information on how to access this interview contact Reference Services.
Occupation:
Ceramicists  Search this
Topic:
Ceramicists -- New York (State) -- New York -- Interviews  Search this
Ceramics -- Japan  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Designers -- New York (State) -- New York -- Interviews  Search this
Kibbutzim  Search this
World War, 1939-1945  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.cecula09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e05d630a-38d3-4e7f-81a8-6ad7f55a5d9b
EDAN-URL:
ead_collection:sova-aaa-cecula09
Online Media:

Oral history interview with Jeffrey Mongrain

Interviewee:
Mongrain, Jeffrey  Search this
Interviewer:
Riedel, Mija, 1958-  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:
125 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2011 December 16-17
Scope and Contents:
An interview of Jeffrey Mongrain conducted 2011 December 16 and 17, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Hunter College Art Department, in New York, N.Y.
Biographical / Historical:
Jeffrey Mongrain (1955- ) is a ceramiscist and professor at Hunter College in New York, N.Y. Mija Riedel is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 5 hr., 20 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:
For information on how to access this interview contact Reference Services.
Topic:
Ceramicists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mongra11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96719c808-a9d7-4cc9-a96f-e9258224e6bf
EDAN-URL:
ead_collection:sova-aaa-mongra11
Online Media:

Oral history interview with Michael Lucero

Interviewee:
Lucero, Michael, 1953-  Search this
Interviewer:
Lauria, Jo  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:
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2008 February 26
Scope and Contents:
An interview of Michael Lucero conducted 2008 February 26, by Jo Lauria, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Hotel Empire, in New York, N.Y.
Biographical / Historical:
Michael Lucero (1953- ) is a ceramist from Upper Nyack, N.Y. Jo Lauria (1954- ) is a curator and arts writer from Los Angeles, California.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 12 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.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Ceramicists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lucero08
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw906b21743-bf37-486c-8b8c-db2ab55e6dc4
EDAN-URL:
ead_collection:sova-aaa-lucero08
Online Media:

Oral history interview with Robert Chapman Turner

Interviewee:
Turner, Robert Chapman, 1913-2005  Search this
Interviewer:
Carney, Margaret, 1949-  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
National Council on Education for the Ceramic Arts (U.S.)  Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 June 11
Scope and Contents:
An interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smithsonian Productions, in Washington, D.C.
Turner speaks of his childhood in Brooklyn, N.Y.; his father's business, Turner Concrete (now called Turner Construction); drawing classes; attending the George School for a post-graduate year before attending Swarthmore College, where his major was economics; the importance of Quakerism in his life and work; traveling throughout Europe and the Southwestern United States; his marriage to Sue, their trip to Europe during the outbreak of World War II and the difficulty of coming home to America; his involvement in war activities as a conscientious objector; the transition after the war ended into a "different reality"; visiting the different schools of craft, including Penland, Alfred, and Haystack; attending Alfred University, the teachers and students there during his years there; his relationships with other students, such as Ted Randall and Bill Schickel; teaching at Black Mountain College immediately after his graduation from Alfred; his admiration of Marguerite Wildenhain; his involvement in the first Super Mud phenomenon in 1966; how African culture fits into his work; the collaborative effort at Penland; the establishment of the National Council on Education for the Ceramic Arts (NCECA), and his experience as the third president of the group; his "retirement" since 1979; the types of materials he uses; the awards he has received; galleries and exhibitions in which he has exhibited; and recollections of Bill Brown, founder of the Penland School of Crafts. Turner also recalls Josie Adams, Charles Harder, Kurt Ekdahl, Marion Fosdick, Bill Pitney, Jessie Shefrin, and others.
Biographical / Historical:
Robert Turner (1913-2005) was a ceramic artist from Alfred, N.Y. and Sandy Spring, Maryland. Margaret Carney (1949- ) is the director of the Schein-Joseph International Museum of Ceramic Art in Alfred, N.Y.
General:
Originally recorded on 2 digital audio tapes. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 23 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.
Topic:
Ceramicists -- New York (State) -- Interviews  Search this
Ceramicists -- Maryland -- Interviews  Search this
Quakers  Search this
Ceramics -- Equipment and supplies  Search this
Decorative arts  Search this
World War, 1939-1945 -- Conscientious objectors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.turner01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a8c3d45e-256d-42c2-8bc8-4eb0ac08b6ac
EDAN-URL:
ead_collection:sova-aaa-turner01
Online Media:

Oral history interview with Betty Woodman

Interviewee:
Woodman, Betty, 1930-2018  Search this
Interviewer:
Perreault, John, 1937-2015  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Bellagio Study and Conference Center  Search this
Boulder (Colo.).. Parks & Recreation Department  Search this
Centre internationale de recherche sur le verre et les arts plastiques (Marseille, France)  Search this
Europees Keramisch Werkcentrum  Search this
Fabric Workshop  Search this
Girl Scouts of the United States of America  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
School for American Crafts  Search this
University of Colorado -- Faculty  Search this
Brown, Elenita  Search this
Carlson, Cynthia, 1942-  Search this
Hamada, Shōji, 1894-1978  Search this
Higby, Wayne  Search this
Kozloff, Joyce  Search this
Kushner, Robert, 1949-  Search this
Leach, Bernard, 1887-1979  Search this
Serra, Richard, 1938-  Search this
Shark, Bud  Search this
Voulkos, Peter, 1924-2002  Search this
Woodman, George, 1932-  Search this
Extent:
5 Items (Sound recording: 5 sound files (2 hr., 55 min.), digital wav)
69 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Boulder (Colo.)
India -- description and travel
Mexico -- description and travel
Netherlands -- description and travel
Date:
2003 April 22 and 29
Scope and Contents:
An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.
Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.
Biographical / Historical:
Betty Woodman (1930-2018) was a ceramist from New York, New York. John Perreault (1937- ) is an independent critic and curator from New York, New York.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 55 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:
Ceramicists -- New York (State) -- New York  Search this
Topic:
Airplanes -- Models  Search this
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Glass art  Search this
Handicraft -- United States  Search this
Screen process printing  Search this
Women artists  Search this
World War, 1939-1945  Search this
Women ceramicists  Search this
Function:
Artists' studios
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.woodma03
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90dbbae38-7d68-45f4-bae8-d119dc3aa898
EDAN-URL:
ead_collection:sova-aaa-woodma03
Online Media:

Robert Chapman Turner papers

Creator:
Turner, Robert Chapman, 1913-2005  Search this
Names:
Black Mountain College (Black Mountain, N.C.)  Search this
Haystack Mountain School of Crafts  Search this
York State Craftsmen  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
circa 1917-2005
Summary:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.
Scope and Contents:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.

The bulk of Turner's papers relate to his role as an educator and a lecturer at various institutions including Alfred University, Anderson Ranch Arts Center, Black Mountain College, Haystack Mountain School of Crafts, and Penland School of Crafts. Records, including two sound cassettes, regarding his time at these institutions may be found among his teaching and professional files as well as among photographs. Turner's professional files document his long affiliations with professional organizations such as the York State Craftsmen, National Council on Education for the Ceramic Arts, and the International Academy of Ceramics. Correspondence is with artists, family, and friends. Notable correspondents include Margaret Carney, Kenneth Ferguson, Alice Parrott, Toshiko Takaezu, and Frans Wildenhain among many others and may be found in both the correspondence series and professional files. Photographs of note are by John Wood and depict the building of the pottery studio at Black Mountain College.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-2002 (0.4 linear feet; Boxes 1, 14)

Series 2: Correspondence, circa 1938-2005 (1.8 linear feet; Boxes 1-3)

Series 3: Writings and Notes, 1950s-2000s (0.6 linear feet; Box 3)

Series 4: Teaching Files, 1957-2005 (0.8 linear feet; Boxes 3-4)

Series 5: Professional Files, 1952-2005 (5.5 linear feet; Boxes 4-9)

Series 6: Subject Files, 1950s-2000 (0.8 linear feet; Boxes 9-10)

Series 7: Printed Material, 1939-2000s (1.5 linear feet; Boxes 10-12, 14)

Series 8: Photographs, circa 1917-2000s (1.9 linear feet; Boxes 12-14)
Biographical / Historical:
Robert Chapman Turner (1913-2006) was a ceramicist who was known for functional and abstract pottery. He was active in Alfred Station, New York where he was a longtime faculty member at Alfred University.

Robert Turner was born in Port Washington, New York in 1913. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts where he studied economics and painting. With his wife Sue Turner, Robert lived in Europe to study Old Master paintings but returned to the United States after the start of World War II. A Quaker, Turner was a conscientious objector and served at multiple Civilian Public Service (CPS) camps in the United States during the war.

After leaving the CPS camps, Robert Turner enrolled at the New York State College of Ceramics at Alfred University to study ceramics and graduated in 1949. Turner was a faculty member at Black Mountain College (1949-1951) and Alfred University (1958-1979). He conducted numerous ceramics workshops throughout his career at many institutions including Haystack Mountain School of Crafts and Penland School of Crafts. Additionally, he was an active member of the (New) York State Craftsman.

Turner died in 2005 in Sandy Spring, Maryland.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America,
Provenance:
Robert Chapman Turner donated some of his papers in 1982. Additional materials were donated in 2005-2006 by Rosalind Turner Zuses, Turner's daughter.
Restrictions:
The 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 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:
Ceramicists -- New York (State) -- Alfred Station  Search this
Topic:
American studio craft movement  Search this
Ceramics -- Study and teaching  Search this
World War, 1939-1945 -- Conscientious objectors  Search this
Genre/Form:
Sound recordings
Citation:
Robert Chapman Turner papers, circa 1917-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnrobe
See more items in:
Robert Chapman Turner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978919a00-bcf9-411b-8727-58b0f0818612
EDAN-URL:
ead_collection:sova-aaa-turnrobe

Frans Wildenhain papers

Creator:
Wildenhain, Frans, 1905-1980  Search this
Names:
School for American Crafts  Search this
Herzger, Walter, 1901-1985  Search this
Wildenhain, Marguerite  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Drawings
Sketchbooks
Interviews
Date:
circa 1890-1991
Summary:
The papers of ceramicist, sculptor, and educator Frans Wildenhain measure 8.2 linear feet and date from circa 1890 to 1991. The papers document his career in Europe and the United States through biographical material, correspondence, diaries and notebooks, writings and notes, subject files, project files, printed material, three mixed media scrapbooks, artwork and sketchbooks, and photographic materials.
Scope and Contents:
The papers of ceramicist, sculptor, and educator Frans Wildenhain measure 8.2 linear feet and date from circa 1890 to 1991. The papers document his career in Europe and the United States through biographical material, correspondence, diaries and notebooks, writings and notes, subject files, project files, printed material, three mixed media scrapbooks, artwork and sketchbooks, and photographic materials.

The bulk of Wildenhain's correspondence is from family and friends including Walter Herzger and Marguerite Wildenhain. Twelve diaries and notebooks include general diary entries but may include notes on art, sketches, kiln logs, and designs. Of note is a diary kepy by Wildenhain during his drive from New York City to Guerneville, California upon his arrival in the United States in 1937. Project files contain records relating to four murals completed by Wildenhain on the east coast. Three scrapbooks contain clippings, exhibition materials, and photographs concerning his teaching career at the School for American Craftsmen and exhibitions. Eleven sketchbooks date from the 1930s to 1979 and mostly contain pencil sketches. Photographs depict Wildenhain, family, his wives Marguerite, Marjorie, and Lili, homes, studios, exhibitions, and works of art by Wildenhain and others.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1930-circa 1980 (Box 1; 0.5 linear feet)

Series 2: Correspondence, 1895-1981 (Box 1; 0.4 linear feet)

Series 3: Diaries and Notebooks, 1930-1978 (Box 1-2; 0.7 linear feet)

Series 4: Writings and Notes, 1940-1980 (Box 2-3; 0.4 linear feet)

Series 5: Subject Files, 1951-1985 (Box 3; 0.2 linear feet)

Series 6: Project Files, 1950-1975 (Box 3, 10; 0.7 linear feet)

Series 7: Printed Material, 1930-1991 (Box 3-4; 0.8 linear feet)

Series 8: Scrapbooks, 1934-1965 (Box 4; 0.3 linear feet)

Series 9: Artwork and Sketchbooks, 1930-1979 (Box 4-5, 11; 1.0 linear feet)

Series 10: Photographs, circa 1890-1979 (Box 5-11; 3.1 linear feet)
Biographical / Historical:
Frans Wildenhain (1905-1980) was a German-born ceramicist, sculptor, and educator active in Rochester, New York.

Wildenhain was born in Leipzig, Germany to a family of craftsmen. He began his study of art with drawing and design. For formal training, he enrolled at the Bauhaus where he studied in the pottery studio with Gerhard Marcks, Max Krehan, and his future wife, Marguerite Friedlaender Wildenhain. The Wildenhains moved to Burg Giebichenstein, Halle, Germany to teach at the State School of Applied Art.

In 1933, due to Marguerite's Jewish ancestry, they moved to the Netherlands and set up a studio called Het Kruikje (Little Jug). Marguerite later emigrated to the United States however Frans was unable to follow. He moved to Amsterdam but was drafted into the German Army which he deserted. He followed Marguerite to the United States in 1947 after a seven year separation.

Upon his arrival in the United States, Frans drove from New York City to Geurneville, California where Marguerite had settled at an artist colony, Pond Farm. Their marriage did not last and Frans Wildenhain accepted a position at the School for American Craftsmen at the Rochester Institute of Technology in Rochester, New York. He stayed in that position for over twenty years. He co-founded a cooperative gallery called Shop One, in Rochester, New York.

In 1952, he married Marjorie McIlroy and after her death, married Elisabeth (Lili) Brockkardt.

Franz Wildenhain was a Guggenheim Fellow and exhibited his works around Europe and the United States. His pottery is included in the collections of the Rochester Institute of Technology, Smithsonian Institution, Luther College, and Stedelijk Museum in Amsterdam, Netherlands.
Related Materials:
The Archives of American Art also holds an oral history interview of Frans Wildenhain conducted 1978 April 10-1979 July 28, by Robert Brown for the Archives of American Art; the Marguerite Wildenhain papers, 1930-1982; a Frans Wildenhain grant application, 1974 for the National Endowment for the Arts; Letters from Frans Wildenhain to Virginia Cartwright Katz, 1968-1979; Robert Johnson slides of works by Frans Wildenhain, circa 1978; the Kitty C. L. Fischer papers relating to Frans Wildenhain, 1940-1981; and an interview with Elisabeth (Lili) Wildenhain conducted 1995 August 22, by Robert F. Brown. Also found are the Ron Meyers papers relating to Frans Wildenhain, circa 1967-1979; the Roy Cartwright letters from Frans Wildenhain, 1966-1979; and the Gerhard Marcks letters from Frans Wildenhain, 1950-1979 on reel 2435.
Provenance:
Elisabeth Wildenhain donated her husband's papers in 1989 and 1998.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Ceramicists -- New York (State) -- Rochester  Search this
Sculptors -- New York (State) -- Rochester  Search this
Educators -- New York (State) -- Rochester  Search this
Genre/Form:
Diaries
Scrapbooks
Drawings
Sketchbooks
Interviews
Citation:
Frans Wildenhain papers, circa 1890-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wildfran
See more items in:
Frans Wildenhain papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b4547616-3e1c-46e1-ab19-a3fa682e557c
EDAN-URL:
ead_collection:sova-aaa-wildfran

Monroe Stearns research papers on Henry Varnum Poor

Creator:
Stearns, Monroe  Search this
Names:
Poor, Henry Varnum, 1887-1970  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
1938-1975
Scope and Contents:
Research material on Harry Varnum Poor compiled by Stearns for his unpublished manuscript "Henry Varnum Poor" (422 p.). Included are correspondence with friends, relatives, colleagues and owners of Poor's work, including Ann Poor, Bessie Breuer Poor, Raphael Soyer and Helen Hayes; notes and writings by family members; notes on interviews with Sidney Simon, Al Blaustein and Alex Katz, 1974, on Poor's diary and letters, and from tapes of Poor's lectures; clippings and exhibition catalogs, 1948-1975; photographs of Poor working on murals and of his works of art; and an undated cassette tape "Poor - Basic Lecture."
Biographical / Historical:
Art historian; New York, N.Y. Henry Varnum Poor was a ceramist and painter from New City, N.Y.
Provenance:
Donated 1986 by Michael Stearns, Stearns's son.
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:
Ceramicists -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.steamonr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d80cd87e-ea80-4411-b512-b75746166f6a
EDAN-URL:
ead_collection:sova-aaa-steamonr

Marion Brown Woods interview

Creator:
Woods, Marion Brown, 1900-1982  Search this
Interviewer:
Gaede, Jean  Search this
Names:
Brown, Bolton, 1864-1936  Search this
McFee, Henry Lee, 1886-1953  Search this
Extent:
2 Items (sound cassettes)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1976 June
Scope and Contents:
An interview of Marion Brown Woods conducted by Jean Gaede. Woods discusses her father, the printmaker Bolton Brown, their family, and his work. She also discusses her acquaintance with the painter Henry McFee.
Biographical / Historical:
Painter, ceramist, printmaker; Woodstock, N.Y.
Provenance:
Donated 1985 by Marion S. Sweeney.
Restrictions:
Untranscribed; use requires an appointment.
Occupation:
Ceramicists -- New York (State) -- Woodstock  Search this
Painters -- New York (State) -- Woodstock  Search this
Printmakers -- New York -- Woodstock  Search this
Topic:
Women artists  Search this
Decorative arts  Search this
Women ceramicists  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.woodmari
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92710593a-b5b1-4135-abe9-06bb309bb6d7
EDAN-URL:
ead_collection:sova-aaa-woodmari

Oral history interview with Frans Wildenhain, 1978 April 10-1979 July 28

Interviewee:
Wildenhain, Frans, 1905-1980  Search this
Wildenhain, Frans, 1905-1980  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Pottery -- New York (State)  Search this
Ceramicists -- New York (State) -- Interviews  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12557
(DSI-AAA_SIRISBib)213194
AAA_collcode_wilden79
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213194
Online Media:

Oral history interview with Henry Varnum Poor, 1964

Interviewee:
Poor, Henry Varnum, 1887-1970  Search this
Poor, Henry Varnum, 1887-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bruce, Edward  Search this
Cézanne, Paul  Search this
Sickert, Walter  Search this
Stanford University  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Interviews
Sound recordings
Topic:
Mural painting and decoration -- Washington (D.C.)  Search this
Educators -- New York (State) -- New York -- Interviews  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- Interviews  Search this
Muralists -- New York (State) -- New York -- Interviews  Search this
World War, 1914-1918  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12762
(DSI-AAA_SIRISBib)213729
AAA_collcode_poor64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213729

Oral history interview with Val Cushing, 2001 April 16

Interviewee:
Cushing, Val M., 1931-  Search this
Cushing, Val M., 1931-  Search this
Interviewer:
Carney, Margaret, 1949-  Search this
Subject:
Wildenhain, Marguerite  Search this
Archie Bray Foundation  Search this
Alfred University  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Economic aspects  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Ceramics -- Equipment and supplies  Search this
Glazing (Ceramics)  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12255
(DSI-AAA_SIRISBib)226929
AAA_collcode_cushin01
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_226929
Online Media:

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