The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.
Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.
Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.
Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.
Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)
Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)
Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)
Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)
Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)
Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)
Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)
Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)
Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)
Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)
Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.
Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.
In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.
Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.
Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.
David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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:
Sculptors -- California -- San Francisco Search this
Conceptual artists -- California -- San Francisco Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Alison Knowles, 2010 June 1-2. Archives of American Art, Smithsonian Institution.
An interview with William Weller Leavitt conducted 2021 May 7-11, by Annette C. Leddy for the Archives of American Art, at Leddy's home in Los Angeles, California.
Biographical / Historical:
William Leavitt (1941-) is a Los Angeles-based artist who examines the collision of illusion and reality in Southern California film culture, which he calls "the theater of the ordinary," through painting, photography, performance, and installation. Leavitt is associated with West Coast Conceptualism.
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 interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Conceptual artists -- California -- Los Angeles Search this
The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger; and audio and video recordings, including recordings of performances.
Scope and Contents:
The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material, including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger and Barbara McCullough; and audio and video recordings, including recordings of performances.
Arrangement:
This collection is arranged as ten series.
Series 1: Biographical Material, 1962-2006, 2017 (Box 1, Box 14; 0.5 linear feet)
Series 2: Calendars and Journals, 1967-2016 (Boxes 1-6; Box 15; 5.7 linear feet)
Series 3: Correspondence, 1966-2017 (Boxes 6-8; 1.7 linear feet)
Series 4: Writings, 1964-2010 (Box 8; 0.3 linear feet)
Series 5: Professional Activities, 1966-2017 (Boxes 8-10, Box 15; 1.9 linear feet, ER01-ER06; 11.10 GB)
Series 6: Printed Material, 1947, 1963-2017 (Boxes 10-12, Box 15; 1.4 linear feet, ER07; 0.143 GB)
Series 7: Scrapbook, 1974-1976 (Box 15; 1 folder)
Series 8: Photographic Material, circa 1962-2007 (Box 12, Box 15; 0.1 linear feet)
Series 9: Artwork, circa 1960s-2004, 2014, undated (Box 12, Box 15; 0.5 linear feet)
Series 10: Audio and Video Recordings, circa 1974-1998 (Boxes 12-13; 0.4 linear feet)
Biographical / Historical:
Senga Nengudi (1943- ) is an African American conceptual and performance artist in Colorado Springs, Colorado. Born Sue Irons in Chicago, Illinois, she earned a bachelor's degree in art with a minor in dance from California State University, Los Angeles. From 1966 to 1967 she studied Japanese culture at Waseda University in Tokyo, Japan. This study deeply influenced her artistic practice. Upon her return from Japan in 1967, she pursued her master's degree in sculpture at California State University, which she received in 1971.
After receiving her master's degree, she moved to New York to continue her career as an artist, showing at Just Above Midtown Gallery and teaching at the Children's Art Carnival in Harlem. Throughout her career, Nengudi has collaborated and shown with Maren Hassinger, David Hammons, Barbara McCullough, Suzanne Jackson, John Outterbridge, and Bettye Saar. Nengudi is best known for "stationary performance objects," particularly her RSVP series, objects composed of nylon mesh and sand that refer to the flexibility of the female figure. The series debuted in the 1970s and Nengudi returned to it, adding on A.C.Q. to exhibit it at the 57th Venice Biennale in 2017. Also in 2017, Senga Nengudi: Improvisational Gestures opened at the DePaul Art Museum. This was the first solo museum survey for the artist and featured work from the 1970s to 2017.
Related Materials:
The Amistad Research Center also holds 4.5 linear feet of the Senga Nengudi papers, 1966-2017.
Provenance:
The Senga Nengudi papers were donated to the Archives of American Art in 2018 and 2019 by Senga Nengudi.
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:
Conceptual artists -- Colorado -- Colorado Springs Search this
Performance artists -- Colorado -- Colorado Springs Search this
Quotes and excerpts must be cited as follows: Oral history interview with John Baldessari, 1992 April 4-5. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Mark Bradford, 2020 August 14. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Ken Gonzales-Day, 2020 July 31. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Chris Burden, 2012 September 11-21. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Barbara Kruger, 2016 May 9. Archives of American Art, Smithsonian Institution.
An interview with Ken Gonzales-Day conducted 2020 July 31, by Josh Franco, for the Archives of American Art's Pandemic Oral History Project, at Gonzales-Day's studio in Los Angeles, California.
Biographical / Historical:
Ken Gonzales-Day (1964- ) is a conceptual artist in Los Angeles, California.
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 interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Conceptual artists -- California -- Los Angeles Search this
The papers of feminist, conceptual, video, and performance artist Ilene Segalove measure 7.1 linear feet and 6.06 gigabytes and date from 1964 to 2021. The collection contains a small amount of biographical material including resumes, certificates, and address lists; correspondence with family and friends; writings; and teaching files from the University of California, Santa Barbara. The bulk of the collection consists of project and exhibition files for both solo works and works in collaboration with Lowell Darling, and printed material. Also included are photographic materials such as snapshots of exhibition openings and slides of artwork; and artwork, primarily artist notebooks and video art. There is a 2.7 linear foot unprocessed addition to this collection donated in 2021 that include materials from Segalove's childhood, photographs of family events, and materials related to recent projects including sound recordings on cassette. Materials date from 1960-2021.
Scope and Contents:
The papers of feminist, conceptual, video, and performance artist Ilene Segalove measure 7.1 linear feet and 6.06 gigabytes, and date from 1960 to 2021. The collection contains a small amount of biographical material including resumes, certificates, and address lists; correspondence with family and friends; writings; and teaching files from the University of California, Santa Barbara. The bulk of the collection consists of project and exhibition files for both solo works and works in collaboration with Lowell Darling, and printed material. Also included are photographic materials such as snapshots of exhibition openings and slides of artwork; and artwork, primarily artist notebooks and video art. There is a 2.7 linear foot unprocessed addition to this collection donated in 2021 that include materials from Segalove's childhood, photographs of family events, and materials related to recent projects including sound recordings on cassette. Materials date from 1960-2021.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1977-1987, 2014 (Box 1, Box 6; 5 folders)
Series 2: Correspondence, 1975-2005 (Box 1; 1 folder)
Series 3: Writings, 1970s-1980s (Box 1; 0.1 linear feet)
Series 4: Teaching Files, 2012-2013 (Box 1; 2 folders)
Series 5: Project and Exhibition Files, 1971-1991, 2004-2013 (Boxes 1-2, Box 6, OV 7; 1.3 linear feet; 2.50 GB; ER01)
Series 6: Printed Material, 1972-2017 (Boxes 2-4, Box 6; 1.9 linear feet)
Series 7: Photographic Material, 1964, circa 1970s-1990s (Box 4, Box 6; 0.2 linear feet)
Series 8: Artwork, 1974-2013 (Boxes 4-5, Box 6, Box 8; 0.5 linear feet; 3.56 GB, ER02-ER04)
Series 9: Unprocessed Addition, 1960-2021 (Boxes 9-12; 2.7 linear feet)
Biographical / Historical:
Ilene Segalove (1950-) is a feminist, conceptual, video, and performance artist in Santa Barbara, California. She studied fine arts at the University of California, Santa Barbara and communication arts at Loyola Marymount University. In much of her work, Segalove examines "familiar things," making quasi-documentaries about her experiences and her family. She has been featured in several exhibitions, particularly in California and New York, and her works are included in collections of institutions such as the Metropolitan Museum of Art, the Jewish Museum, the Los Angeles County Museum of Art, and the Museum of Fine Arts in Houston.
Provenance:
The Ilene Segalove papers were donated to the Archives of American Art by Ilene Segalove in 2018, 2019 and 2021.
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, and use requires advanced notice. 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.
An interview with Glenn Kaino conducted 2022 October 29, by Denise Markonish for the Archives of American Art, at Mass MoCA in North Adams, Massachusetts.
Biographical / Historical:
Glenn Kaino (1972- ) is a conceptual artist based in Los Angeles known for his installations that address consumerism, consumability, and social networks. Denise Markonish is the chief curator of Mass MoCA, where she has worked since 2007.
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 interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Conceptual artists -- California -- Los Angeles Search this
An interview of Alison Knowles conducted 2010 June 1-2, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project, at Knowles' home and studio, in New York, N.Y.
Knowles speaks of her family background; her father's (an English professor) influence on her education; her love of nature and isolation as a young girl; her French studies at Middlebury College; her transfer to Pratt Institute to study art; the social and academic environment at Pratt; her inclinations towards abstraction; her first marriage to Jim Ericson; her first studio at 423 Broadway; her early jobs as a commercial artist; her first gallery show at Nonagon, in 1958, and how she subsequently burned the paintings in that show; her second marriage to Dick Higgins in 1960; her Judson Gallery Show in 1962 and how she subsequently discarded those works; her involvement in the Fluxus group; her involvement with the "Cage class," and its early performances; her collaboration with John Cage on the book, "Notations" (1968); her collaboration with Marcel Duchamp on a print (1967); the circumstances surrounding her performance piece, "Make a Salad" (1962), her travels through Europe with Higgins; the birth of her twins; her computerized poetic piece and installation, "House of Dust" (1967) and how it was later vandalized; her move to Los Angeles to teach at CalArts; the rebuilding of "House of Dust" at CalArts; her move back to New York; the processes leading up to several projects and collaborations including "Loose Pages," "Big Book," "Bread and Water," and more; where she finds her inspiration; her thoughts on performance art; her studio environment in Barrytown, N.Y.; the influence and support of Germany on her work and Fluxus in general; her recent work, including "Identical Lunch"; and current challenges she faces as an artist.
She recalls Richard Lindner, Adolph Gottlieb, Willem de Kooning, Jackson Pollock, Judy Chicago, Josef Albers, Dorothy Podber, Ray Johnson, Dick Higgins, Robert Rauschenberg, John Cage, Klaus Schöning, Jon Hendricks, Gilbert Silverman, George Maciunas, George Brecht, Jack Mac Low, Yoko Ono, Mieko Shiomi, Takako Saito, Joe Jones, Marcel Duchamp, Daniel Spoerri, Richard Hamilton, Nam June Paik, Charlotte Moorman, Helmut Becker, Coco Gordon, Jim Tenney, Cornelia Lauf, Rirkrit Tirvanija, Allan Kaprow, Simone Forte, Carolee Schneemann, Richard Teitelbaum, Miriam Schapiro, Miguel Abrau, James Fuentes, Cyrilla Wozenter, Kathy Kuehn, Ryszard Wasko.
Biographical / Historical:
Alison Knowles (1933- ) is an artist and a founding member of Fluxus in New York, N.Y. Judith Olch Richards (1947- ) is a former director of iCI in New York, N.Y.
General:
Originally recorded on 5 mini discs. Duration is 5 hr., 45 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:
Conceptual artists -- New York (State) -- New York Search this
A lecture and interviews of twenty-two Southern California painters and sculptors, conducted and recorded by Los Angeles art critic Merle Schipper.
Interview tapes and Schipper's fragmentary notes are available for Greg S. Card, Tony Delap, Robert Graham, Frederick Hammersley, Marvin Harden, Craig Kauffman, Claude Kent, Charles Kessler, Harry Kipper, Jay Phillips, Charles Seliger, Peter T. Shelton, Judith Simonian, David Trowbridge, and John Van Hamersveld.
Only tapes are available for John Anderson, Joyce Cutler-Shaw, Gordon Onslow-Ford, Helen Pashgian, Frederick Stallknecht Wight and Rita Yokoi. Only Schipper's fragmentary notes are available for the DeWain Valentine interview. A tape of Craig Kauffman's May 9, 1979 lecture at the Los Angeles County Museum of Art is also included.
Arrangement:
John Anderson interview is on the Gordon Onslow-Ford tape.
John Van Hamersveld interview is on the Harry Kipper tape.
Frederick Stallknecht Wight interview is on the Joyce Cutler-Shaw tape.
Rita Yokoi interview is on the Helen Pashgian tape.
Biographical / Historical:
California art critic and curator of the Fine Arts Gallery, California State University; b. in 1922.
Provenance:
Donated 1988 by Merle Schipper.
Restrictions:
Untranscribed interviews; use requires an appointment and is limited to AAA's Washington, D.C. office.
Occupation:
Conceptual artists -- California -- Interviews Search this
California Institute of the Arts -- Faculty Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1992 April 4-5
Scope and Contents:
An interview of John Baldessari conducted 1992 April 4-5, by Christopher Knight, for the Archives of American Art
This interview was conducted at the artist's studio in Santa Monica, California, 1992 April 4. Baldessari discusses his education; his teaching career; twenty years of teaching at the California Institute of the Arts from its inception in 1970; the development of his work; photo-emulsion pieces and text and image pieces; the art scene in Los Angeles during the 1960's; exhibitions; and his relationship with various dealers.
Biographical / Historical:
John Baldessari (1931- ) is a conceptual artist of Los Angeles, California.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 4 hr., 3 min.
Provenance:
This interview is part of the Archives' 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 others. Funding for this interview was provided by the Lannan Foundation.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Conceptual artists -- California -- Los Angeles -- Interviews Search this
An interview with Barbara Kruger conducted 2016 May 9, by Hunter Drohojowska-Philp, for the Archives of American Art, at Kruger's home and studio in Los Angeles, California.
Biographical / Historical:
Interviewee Barbara Kruger (1945- ) is a conceptual artist in Los Angeles, California. Interviewer Hunter Drohojowska-Philp is a writer in Los Angeles, California.
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 interview is access restricted; written permission is required. Contact Reference Services for more information.
Occupation:
Conceptual artists -- California -- Los Angeles -- Interviews Search this
