Seventeen photographic lantern slides on glass and pottery manufacture. Includes diagrams of a gas-fired glass tank, the Fourcault process for making plate glass, the Colburn process for making sheet glass, a recuperative glass tank, silica minerals, a graph of the time-temperature curve for annealing flat glass, and pictures of the Kastner Neill Process calcining furnace, a pug mill, kilns at West Virginia University and pottery made there, and a porcelain decorating factory.
These slides were used as teaching aids at West Virginia University, Morgantown, West Virginia.
Collection donated by Professor Emory L. Kemp, 1985, May 14.
Collection is open for research.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
17 video taped interviews conducted by Betty and Robert Kumler with china painters including, Sonie Ames, Jean Bushnell, Barbara Duncan, Valerie Frost, Phyllis Galik, Hazell Gibbons, Lorna Gould, Jean Harper, Kay Knapp, Annette Krum, Vi Lane, Gigi Leavelle, Wilma Leighton, Brenda Morgan, Jane Marcks, Kari Unn Paye, Octavia Payne, Lolita de Smith, Ruth Venable and collectors Don and Betty Burbank.
Donated by Betty and Robert Kumler, 1983.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
An interview of Viola Frey conducted 1995 Feb. 27-1995 June 19, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, at the artist's studio, in Oakland, Calif.
FEB. 27, 1995 SESSION: Family background in the Midwest; Huguenot ancestry; importance of grandmother in her life; living in Central Valley, Calif.; father's collecting junk; early plans to become a writer; declining her acceptance to UC Berkeley and attending community college to study art; attending California College of Arts and Crafts in Oakland, majoring in ceramics; winning a first prize at City of Paris contest; attending Tulane University; moving to New York; working at the Museum of Modern Art; returning to San Francisco in 1960 and community there. She recalls Richard Diebenkorn, Mark Rothko, Peter Voulkos, and Robert Arneson.
MAY 15, 1995 SESSION: Influence of Robert Arneson; comparison of her work to Voulkos, Arneson and Manuel Neri; effect of gender on art subjects; Frey's theme of man in suit as power to do good or bad; interest in archeology; influence of National Geographic magazine on her work, especially as a source for images of grandmothers; production of her large-scale ceramic sculpture; her preference for electric kiln; modular production; studio spaces in Oakland and San Francisco and effect of varying light; working on a piece over a long period of time, which is unusual for sculpture; and the importance of space in the creation of work.
JUNE 19, 1995 SESSION: Influence of television and radio; attitude toward Japanese-influenced ceramics; use of color; overglaze painting; china painting in France; relationships between her figure drawing and sculpture; New York period; funk; plate art; autobiographical and personal qualities in her work; move from house to studio; personal relationship with Charles Fiske; her private art library; interest in artist's monographs; social life; image of man in suit; influence of AIDS in her work; art-brute; and response to critics Donald Kuspit and Susan Larsen.
Biographical / Historical:
Viola Frey (1933-2004) was a ceramist and sculptor of Oakland, Calif.
This interview is part of the Archives of American Art Oral History, 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. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Transcript available on the Archives of American Art website.
This accession consists of records related to the research and planning of exhibitions at the Renwick Gallery. The majority of the records document the research of
Kenneth R. Trapp, Curator-in-Charge for the proposed exhibition, Silver on the High Seas: United States Navy Presentation Silver Services which was to open in fall
2004. Also included are research materials created and maintained by Trapp in regards to proposed exhibitions on china painting and knives as art, as well as installation
images for Clay Revisions: Plate, Cup, Vase and Lost and Found Traditions: Native American Art 1965-1985. Lastly there are some general exhibition records which
are primarily research related. Materials include correspondence; memoranda; checklists; reports; bibliographies; notes; articles; brochures; magazines; black-and-white photographs,
negatives, and slides; color photographs, negatives, and slides; and clippings. Some materials are in electronic format.