Quotes and excerpts must be cited as follows: Oral history interview with Flora Mace, 2005 August 17-18. Archives of American Art, Smithsonian Institution.
An interview of Flora Mace conducted 2005 August 17-18, by Lloyd E. Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, which she shares with Joey Kirkpatrick, in Seattle, Washington.
Ms. Mace discusses growing up in New Hampshire, in a house that her family had lived in for generations; various family businesses, including clam-shucking; how her mother suffered from depression throughout her childhood; her grandparents, who played a large role in her upbringing; joining the 4-H and becoming a skilled shepherd; her family's hunting, fishing, and gathering, on which they survived during her childhood; the various art projects she did with her mother and grandmother, including making wreaths for friends and relatives; building tree houses out of scrap wood; trapping animals and making their pelts into clothes for her dolls; saving up her money from after school jobs and the 4-H competitions to buy tools; getting a scholarship from her grandmother's old employer to go to college; attending Plymouth State; her involvement in college athletics, including field hockey, skiing, and softball; early artistic influences, especially Alexander Calder; traveling to Norway on the International Farm Youth Exchange; attending the University of Illinois for graduate school and being their sculpture technician; attending a summer workshop at the University of Utah with Dale Chihuly; being invited by Chihuly to go to Pilchuck Glass School to continue her work; becoming an artist-in-residence at Wheaton Glass Village; having her first show at the Contemporary Glass Gallery (later the Heller Gallery) in New York; the growth of the studio glass movement in the late 1970s; and finally going to Pilchuck Glass School for the first time in 1979, where she met Joey Kirkpatrick. The continuation of Mace's story, and her lifelong collaboration with Kirkpatrick, is discussed in a joint interview of Kirkpatrick and Mace. Mace also recalls Bill Morris, Ben Moore, Audrey Handler, Paul Stankard, Mary and Frank Wheaton, and others.
Biographical / Historical:
Flora Mace (1949- ) is a glass artist from Seattle, Washington. Lloyd E. Herman (1936- ) is a curator and former director of the Smithsonian's American Art Museum's Renwick Gallery and currently lives in Seattle, Washington.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 25 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.
Includes correspondence related to exhibitions, photographs of artwork, exhibition announcements and brochures, and clippings.
Collection 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.
Collection 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.
Collection Citation:
Robert Alexander papers and Temple of Man records, 1938-2015. Archives of American Art, Smithsonian Institution.
