Quotes and excerpts must be cited as follows: Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7. Archives of American Art, Smithsonian Institution.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.
The following is a list of the individuals who conducted the interviews.
1. Brown, Anthony
2. Baker, Lida
3. Burstein, Julie
Interviewer
2. Bluiett, Hamiet
Arrangement:
This collection is arranged into six series.
Series 1, DAT and CD Original Interview Recordings, 1992-2012
Series 2, Cassette Reference and Master Interview Tapes, 1992-2012
Series 3, Audio CD Reference Copies, 2000-2012
Series 4, Video/CD, 1994-2012
Series 5, Transcripts and Abstracts, 1992-2014
Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.
The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.
A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.
For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
Provenance:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Restrictions:
Collection is open for research. Researchers must use reference copies.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Sponsor:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
This series contains material related to the production of AIDS/HIV Florida Keys Update an educational documentary produced and directed by A. Joseph Dietrich of TCI Cablevision of Key West, Florida in 1990-1992. The program won a "Media Award for Exceptional Merit" in 1993 from the Community Action Network (CAN). This addendum includes letters, scans of photographs, news clippings and a DVD copy of the production. The papers and photographs are in scan form on the compact discs in this addendum. There are additional photographs included on the photograph compact disc that were not donated in hard copy.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Materials less than 15 years old Restricted. Records may contain personally identifiable information (PII) that is permanently restricted. Contact reference staff for details
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Report of the Comprehensive Review of the Issues Associated with a Repeal of Don't Ask, Don't Tell, includes a compact disc copy of this publication and the Support Plan for Implementation
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Support to the DoD Comprehensive review Working Group Analyzing the Impact of Repealing "Don't Ask, Don't Tell", Volume 1: Findings from the Surveys, includes a compact disc of the publication and Volume 2
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
An interview of Athena Tacha conducted 2009 December 4-6, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Tacha's studio, in Washington, D.C.
Tacha speaks of her family and her childhood in rural Greece; of growing up during World War II and the Greek Civil War; her early interests in art; traveling to France on a Greek government sponsored scholarship; her education at the School of Fine Arts; obtaining a Master's at Oberlin College on a Fulbright scholarship; obtaining a Ph.D. in aesthetics and art history from the Sorbonne in Paris; her decision to move to the United States; her first job as a museum curator at Oberlin's Allen Memorial Art Museum; her early shows in Ohio museums and galleries; her marriage to art historian Richard Spear; her decision to teach sculpture courses at Oberlin; her fellowship at MIT's Center for Advanced Visual Studies, a turning point in her career; her use of sculpture, light, and the environment to develop site-specific public art pieces and installations, thoroughly discussing all recent projects; her retirement from Oberlin College and move to Washington, DC; her creative process; the influences of her travels around the world on her environmentally-conscious art works; her thoughts on the American aesthetics, change, and temporary versus permanent sculpture; recent shows at Marsha Mateyka Gallery and Katzen Art Center and her recent public art installations in the Washington, DC area. Tacha also recalls her close friendship with Oberlin professor Ellen Johnson, André Chastel, and various art dealers and former students from Oberlin College.
Biographical / Historical:
Athena Tacha (1936- ) is an conceptual artist and photographer in Washington, D.C.
General:
Originally recorded on 1 compact disc. Reformatted in 2010 as 5 digital wav files. Duration is 6 hr., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.
An interview of Jim Sanborn conducted 2009 July 14-16, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Sanborn's home, in Washington, D.C.
Sanborn speaks of his father, Herbert James Sanborn, who worked at the Library of Congress and was also an artist; his education, including attending Randolph-Macon College, taking a course in archaeology at Oxford University, and attending the Pratt Institute; his interest in medieval history and art; how he began to create public art; the difference between his public art and his gallery work; his residency at Glen Echo Park, VA; working on General Services Administration (GSA) commissions; the commissioning, conceptualization, and creation process behind his artwork Kryptos (1990) at CIA headquarters; the media sensation surrounding Kryptos; the importance of secrecy in his work; the process of engineering waves for Coastline (1993) at the National Oceanic and Atmospheric headquarters; his recreation of a particle generator for the exhibition Atomic Time (2003); incorporating science and technology into his work; and how his work changed after 9/11. Sanborn also recalls Jack and Nancy Witt, Nancy Holt, Mark di Suvero, Raya Bodnarchuk, Isamu Noguchi, Gene Davis, Max Protetch, Walter Hopps, Yuri Schwebler, Ned Rifkin, Gordon Hanes, and others.
Biographical / Historical:
Jim Sanborn (1945- ) is a sculptor in Washington, D.C. Sanborn is known for his use of stone and cryptography. Full name is Herbert James Sanborn, Jr.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 6 hr., 30 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Sculptors -- Washington (D.C.) -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the U.S. General Services Administration, Design Excellence and the Arts.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Richard Haas conducted 2009 Jan. 13 and Mar. 16, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Haas' studio, in New York, N.Y.
Haas discusses his early interest in architecture; his family connection to Frank Lloyd Wright; attending Taliesin for two summers in 1955 and '56; Meeting Joseph Friebert while an undergraduate student at the University of Wisconsin-Milwaukee; taking studio classes and experimenting with different art styles and techniques; the influence of Abstract Expressionism and Post-Impressionism on his artworks; joining the ROTC program and painting his first mural at Fort Leonard Wood, MO; viewing the murals of Thomas Hart Benton and John Steurt Curry; going to graduate school at the University of Minneapolis, MN and meeting Jack Tworkov and Peter Busa; visiting Mexico on his honeymoon and viewing the murals of "Los Tres Grandes"; teaching art at Michigan State and developing his series, Boxes; the evolution of his art while teaching at Bennington college in Vermont and the shift from architectural drawings into murals; moreover, Haas speaks about the rise of street art in the 1970s and '80s in New York; his first mural at 112 Prince Street; his collaboration with Doris Freeman; the political challenges associated with doing public art; the collaborative process between the artist and architect; the importance of location when choosing a mural and the work's relationship to its environment; furthermore, Haas discusses his GSA projects in Kansas and West Virginia; his other mural commissions, particularly White House Detention Center, 1997; and the impact of technology on the medium. Throughout the conversation, Haas speaks about fellow artists Richard Serra, James Rosinquist, Malcolm Myers, as well as architects Philip Johnson, Grant Marani and Tim Vreeland.
Biographical / Historical:
Richard Haas (1936- ) is a trompe l'oeil muralist from New York, N.Y. Haas was educated at the University of Wisconsin and University of Minnesota.
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:
Muralists -- New York (State) -- New York -- Interviews Search this
An interview of Leroy Davis and Cecily Langdale conducted 2007 June 26-August 7, by Avis Berman, for the Archives of American Art, in New York, New York.
Davis speaks of losing his parents at a young age; attending music school in Philadelphia; studying at Tyler School of Fine Arts and the Barnes Foundation; usage of the word "art" in terms of music and painting; being drafted into the Air Force during World War II; opening a gallery in New York City; working as a framer on the side; working on the White House Fine Arts Commission; selling English watercolors. Langdale speaks of focusing on history, literature, and art history in college; working on shows at Hirschl & Adler gallery; opening a gallery with Davis; writing a book on monotypes. Davis also recalls Aaron Shikler, Boris Bly, Arthur Penn, Violette de Mazia, Albert C. Barnes, Louis Bouché, Terry Ritter Davis, David Levine, Herman Gundersheimer, Arthur Penn, Minnie Cushing, Paul Mellon, Jackie Kennedy, Jock Whitney, and others. Langdale also recalls Robert Walker, Richard Cowdery, Meredith Long, Seymour Remenick, Dr. Thomas Conroy, and others.
Biographical / Historical:
Leroy Davis (1922- ) is an art dealer from New York, New York. Cecily Langdale is an art dealer from New York, New York and Avis Berman is a writer and art historian from New York, New York.
General:
Originally recorded on 1 sound cassette, 3 sound discs, and 3 data compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 50 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:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview of Clara Diament Sujo conducted 2010 June 8-16, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Sujo's home, in New York, New York.
Diament speaks of her childhood in Argentina; her father's early influence; working with Abbott Industries; her travels with her father as a child to Punta del Este in Urguay, and Mar del Plata; her experiences in the United States; life under Juan Perón and how political events helped shape her education; teaching in Venezuela; collecting art for the Venezuelan science museum; her views on art; the artists that she has worked with and represented; the opening of her first gallery in Venezuela; her gallery in New York City; the influence of Jorge Romero Brest; and her work with the museum network to represent Latin American artists. She recalls Katharine Kuh, Jackson Pollock, Willem de Kooning, Richard Wright, Langston Hughes, Jesus Rafael Soto, Arturo de Cordova, Alejandro Otero, Victor Valera, Armando Reverón, Mercedes Pardo, Wilfredo Lam, Alfred Barr, Rene d'Harnoncourt, Dorothy Miller, Thomas Messer, Marcel Duchamp, Hedda Sterne, Robert Rauschenberg, Jasper Johns, Marisol Escobar, and others.
Biographical / Historical:
Clara Diament Sujo (1921-) is an Argentinian born owner and director of CDS Gallery in New York, New York. Avis Berman (1949-) is a scholar in New York, New York.
General:
Originally recorded on 1 compact disc. Reformatted in 2010 as 3 digital wav files. Duration is 5 hr., 10 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:
Gallery owners -- New York (State) -- New York Search this
Gallery directors -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Collectors -- New York (State) -- New York Search this
An interview of Jackie Ferrara conducted 2009 January 16-February 13, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at the Ferrara's home, in New York, New York.
Ferrara speaks of growing up in Detroit, Michigan; her early interest in mathematics and its ever present role in her work; attending Michigan State University for one year; taking fashion drawing classes at Wayne State University and her supposed lack of drawing skills; an early interest in pottery and leather making; moving to New York City in 1951 on a night train from Detroit; working at the Henry Street Playhouse and its influential role on her art; her relationship with Robert Beauchamp and her friendship with many artists in Provincetown, Massachusetts; early works, including the cotton batting works and the rope works, most of which were destroyed; her dislike of traveling and her use of imagination for inspiration; participating in the performances and happenings of Claes Oldenburg; her friendship with Robert Smithson and his influence on her later works; working with Max Protetch; never teaching art because she herself did not attend art school; her creation process of her wood and stone pieces, including their conception in early drawings; having a positive attitude towards her pieces being rebuilt because of decay; quickly moving into public art in the late 1970s, early 1980s; living and working in the same loft in New York for over 40 years; the helpful role the women's movement played in her successful career though she did not participate; receiving art grants to enable her to work for a year or two without having to find an odd job to support herself; various public art projects around the country, how they came to be, creating the works and their significance to her. Ferrara also recalls Charlotte Tokayer, Don Ferrara, Alvin Nikolai, Richard Bellamy, Mary and Paul Frank, Miles and Barbara Forst, Sally Gross, Hans Hofmann, Robert Motherwell, Helen Frankenthaler, Nat Halprin, Lucas Samara, Letty Lou Eisenhauer, James Rosenquist, Marcia Marcus, Charles Addams, Eva Hesse, Frank Gallo, Tony DeLap, Dorothea Rockburne, Time Doyle, Sol LeWitt, Donald Judd, Carl Andre, Nancy Graves, Marty Greenbaum, Abe Sachs, Mel Bochner, Jan Groover, Alice Aycock, Alice Adams, Jackie Windsor, Scott Burton, Siah Armajani, Michelle Stuart, Lucy Lippard, Zaha Hadid, Max Hutcinson, Andrea Blum, and others.
Biographical / Historical:
Jackie Ferrara (1929- ) is a sculptor. Ferrara works with the built environment in her designs for courtyards and architectural structures.
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:
Audio: ACCESS RESTRICTED; Use requires written permission.
Occupation:
Sculptors -- New York (State) -- New York Search this
Draftsmen (artists) -- New York (State) -- New York Search this
An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
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.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
