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Oral history interview with Sheila Hicks, 2020 July 21

Interviewee:
Hicks, Sheila, 1934-  Search this
Hicks, Sheila, 1934-  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Subject:
Pandemic Oral History Project  Search this
Type:
Interviews
Video recordings
Topic:
Women artists  Search this
Pandemics  Search this
COVID-19 (Disease)  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)21940
AAA_collcode_hicks20
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_21940

Oral history interview with Sheila Hicks, 2004 March 18

Interviewee:
Hicks, Sheila, 1934-  Search this
Hicks, Sheila, 1934-  Search this
Interviewer:
Zanartu, Cristobal  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Textile crafts -- Study and teaching  Search this
Fiber artists -- France -- Paris -- Interviews  Search this
Art -- Economic aspects  Search this
Women artists  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)12269
(DSI-AAA_SIRISBib)248649
AAA_collcode_hicks04mar
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_248649
Online Media:

Oral history interview with Sheila Hicks, 2004 February 3-March 11

Interviewee:
Hicks, Sheila, 1934-  Search this
Hicks, Sheila, 1934-  Search this
Interviewer:
Lévi-Strauss, Monique  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Fiber artists -- France -- Paris -- Interviews  Search this
Weaving -- Study and teaching  Search this
Weaving -- Technique  Search this
Tapestry  Search this
Women artists  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11947
(DSI-AAA_SIRISBib)248652
AAA_collcode_hicks04feb
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_248652
Online Media:

Oral history interview with Dominic Di Mare, 2002 June 4-10

Interviewee:
Di Mare, Dominic, 1932-  Search this
Di Mare, Dominic, 1932-  Search this
Interviewer:
Mayfield, Signe  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Fiberwork  Search this
Textile crafts  Search this
Weaving -- California  Search this
Art -- Study and teaching -- California  Search this
Fishing  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12551
(DSI-AAA_SIRISBib)237988
AAA_collcode_dimare02
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_237988

Oral history interview with Dominic Di Mare

Interviewee:
Di Mare, Dominic, 1932-  Search this
Interviewer:
Mayfield, Signe  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:
60 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 4-10
Scope and Contents:
An interview of Dominic Di Mare conducted 2002 June 4-10, by Signe Mayfield, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at his home and studio, in Tiburon, California.
Di Mare speaks of growing up in Monterey, California, around thread, as his mother crocheted and his fisherman father made lures; drawing as a child; receiving the Junior Scholastic Art Awards in high school; enrolling at Monterey Peninsula College and San Francisco State; acquiring a teacher's degree and taking a craft class; being "enthralled" by setting up a loom; teaching art in junior high schools; getting married and buying a loom; reading Craft Horizon magazine and becoming inspired by the work of Kay Sekimachi; buying yarn from Helen Pope at The Yarn Depot and forming a friendship with her; exhibiting at The Yarn Depot; participating in craft competitions and showing his work to Paul Smith, the director of the Museum of Contemporary Crafts; his first show at the Museum of Contemporary Crafts in 1965; exhibiting at Museum West (the west coast extension of the Museum of Contemporary Crafts); recognizing "self and struggle and passion" in Ferne Jacobs' work; his dealers including Marjorie Annenberg (Annenberg Gallery, San Francisco), Ruth Braunstein (Braunstein/Quay Gallery, San Francisco), Susan Cummins (Susan Cummins Gallery, Mill Valley, Calif.), and Florence Duhl (Florence Duhl Gallery, New York); receiving a grant from the Marin Arts Council; quitting his teaching job, receiving an NEA grant, and becoming a full-time artist; collectors Dan and Hillary Goldstein; the beauty of poet Betty Parks' article, "Dominic Di Mare: Houses for the Sacred," in American Craft (October/November 1982); his "shrine" imagery; his military service during the Korean War and being assigned to a post office in Paris, France; going to the Louvre and encountering the Nike, "winged victory" sculpture; and Jack Lenore Larson's support.
Di Mare considers himself to be "self-taught" although he attended the California College of Arts and Crafts, San Francisco State, and Rudolph Schaefer School of Design. He also talks about autobiographical elements in his work; his "personal, artistic vocabulary"; the repetition of black and white; his use of sticks and feathers; and cross shapes, representing the church and a ship's mast. He comments on making portraits during his summers in Switzerland and making magical wands; and his artistic philosophy. Di Mare also recalls Camille Cook, Helen Drutt, Trude Guermonprez, Sophi Harpe, Gyongy Laky, Marjorie Livingston, Hal Painter, June Schwarcz, Rose Slivka, Millie Tresko, and Dorian Zachai.
Biographical / Historical:
Dominic Di Mare (1932- ) is a fiber artist from Tiburon, California. Signe Mayfield is an art historian.
General:
Originally recorded 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 2 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:
Patrons must use transcript. Transcript available online. Sound recordings (3 cassettes) are ACCESS RESTRICTED; Written permission required.
Occupation:
Weavers -- California -- Interviews  Search this
Topic:
Fiberwork  Search this
Textile crafts  Search this
Weaving -- California  Search this
Art -- Study and teaching -- California  Search this
Fishing  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dimare02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dimare02

Oral history interview with Sheila Hicks

Interviewee:
Hicks, Sheila, 1934-  Search this
Interviewer:
Zanartu, Cristobal  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:
2 Items (Sound recording: 2 sound discs (1 hr., 44 min.), digital, 2 5/8 in.)
19 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 March 18
Scope and Contents:
An interview of Sheila Hicks conducted 2004 March 18, by Cristobal Zanartu, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Paris, France.
Hicks speaks of working outside of academia; working within the fiber art tradition; teaching classes and workshops; founding the MADESA design school in Cape Town, South Africa; the function of her works; the fluctuating art market; becoming a leader in the "soft art" movement; the role of textiles in society; how her work has changed during her career; and how she gets ideas for her pieces. Hicks also speaks of a typical day in her studio; her circle of friends in Paris; documenting her artwork through photographs; what she hopes to communicate through her works; maintaining notebooks during her career; and the influence of technology on her work.
Biographical / Historical:
Sheila Hicks, (b. 1934), fiber artist of Paris, France. Interviewer Cristobal Zanartu, artist's son, Paris, France; b.1965.
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:
Transcript available on the Archives of American Art website.
Topic:
Textile crafts -- Study and teaching  Search this
Fiber artists -- France -- Paris -- Interviews  Search this
Art -- Economic aspects  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hicks04mar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hicks04mar

Oral history interview with Sheila Hicks

Interviewee:
Hicks, Sheila, 1934-  Search this
Interviewer:
Lévi-Strauss, Monique  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:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 February 3-March 11
Scope and Contents:
An interview of Sheila Hicks conducted 2004 February 3-March 11, by Monique Levi-Strauss, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Paris, France.
Hicks speaks of her family and growing up in various cities; taking classes at the Detroit Institute of Arts; studying art at Syracuse University; spending a summer painting in Taxco, Mexico; transferring to Yale University to study painting; receiving a Fulbright grant to study in Chile; traveling through South America; painting and becoming part of the Chilean artist circle; returning to Yale for a Masters of Fine Arts; moving to Mexico to pursue photography; marrying Henrik Tati Schlubach; being awarded a grant to study in France; discovering a love for Paris and making textiles; meeting other artists in Mexico; taking her early textile pieces to the Museum of Modern Art; getting a contract with Knoll Associates; moving to Paris; meeting and marrying fellow artist Enrique Zañartu; making connections with European artists; creating large scale textiles for architects and designing for spaces; exhibiting at the Lausanne Biennale of Tapestry; opening a studio and hiring employees; the challenges of commissions; creating three-dimensional pieces; visiting other artists' studios; choosing materials and techniques; managing the magazine, "American Fabrics;" her tenure as art director for the King Saud University in Saudi Arabia; the process of making a project in her studio; working in carpet workshops in Morocco; using hospital linen in her sculpture; working on commissions in Japan; teaching; and having her work recognized as art. Hicks also recalls Josef and Anni Albers, Rico Lebrun, Luis Barragan, Claire Zeisler, Lenore Tawney, Mildred Constantine, Mathias Goeritz, and others.
Biographical / Historical:
Sheila Hicks (1934- ) is a fiber artist living in Paris, France. Monique Levi-Strauss is a writer also living in Paris, France.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 28 digital wav files. Duration is 6 hr., 19 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:
Transcript available on the Archives of American Art website.
Topic:
Fiber artists -- France -- Paris -- Interviews  Search this
Weaving -- Study and teaching  Search this
Weaving -- Technique  Search this
Tapestry  Search this
Women artists  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hicks04feb
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hicks04feb

Rudolph Schaeffer papers

Creator:
Schaeffer, Rudolph  Search this
Names:
East & West Gallery (San Francisco, Calif.)  Search this
Rudolph Schaeffer School of Design  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976 -- Photographs  Search this
Frey, Caroline  Search this
Frey, Fred  Search this
Tobey, Mark  Search this
Wright, Frank Lloyd, 1867-1959 -- Photographs  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Place:
Japan -- Description and Travel
Date:
1880s-1997
Summary:
The collection measures 13.3 linear feet, dates from the 1880s-1997 and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.
Scope and Content Note:
The collection measures 13.3 linear feet, dates from the 1880s-1997, and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.

Correspondence documents Schaeffer's personal and professional activities as well as the Rudolph Schaeffer School of Design. Subject files contain various combinations of correspondence, photographs, printed material, and drawings reflecting Schaeffer's activities, projects, and interests. Within the subject files is correspondence with artists, including Mark Tobey. Extensive writings include manuscripts for published and unpublished articles and drafts, notes, and manuscripts of several unpublished books including Collected Lectures of Rudolph Schaeffer on Color and Design, Color and Design, Prismatic Color Theory, and Rhythmo-Chromatics, all undated. Diaries include a volume recording Schaeffer's 1936 trip to Japan. 42 volumes of journals, compiled between 1954 and 1987, contain entries on a wide range of subjects including lists of errands, invitation lists, class notes, drafts of letters, notes including staff assignments and staff meetings, autobiographical notes and reminiscences, and musings on religion and philosophy.

The Artwork series houses artwork by Schaeffer and his students. Found are hand-made Christmas cards, designs, sketches, and sketchbooks. Seven scrapbooks document Rudolph Schaeffer's career, his school and former students, and the San Francisco art scene. They contain printed material, photographs, letters, and a small amount of artwork. Volume 3 is devoted to East West Gallery, and volume 7 documents Rudolph Schaeffer's 90th Birthday and the 50th Anniversary of the Rudolph Schaeffer School of Design.

Most untranscribed sound recordings (audio cassettes and reels) are of lectures by Schaeffer and others delivered at the Rudolph Schaeffer School of Design.

Miscellaneous records includes a series of hand-baticked fabric samples from the Wiener Werkstatte, as well as transcripts of an oral history with Schaeffer and other interviews.

Printed material concerns the career of Rudolph Schaeffer, his school and former students, the San Francisco art scene, and general art topics. Included are articles and a book by Schaeffer, catalogs and other items produced by the Rudolph Schaeffer School of Design, and miscellaneous items about or mentioning Schaeffer and his school. Items of note are announcements of courses taught by Schaeffer in Piedmont and San Francisco prior to the opening of his school, and theatre programs from productions with sets and some costumes designed by Schaeffer in the early 1920s.

Photographs are of artwork, people, places, events, stage designs, and miscellaneous subjects. Artwork includes some designs by Rudolph Schaeffer; people include Schaeffer, his family, friends, and students. Of particular note are a photograph of Frank Lloyd Wright's visit to the Rudolph Schaeffer School of Design, and one of Rudolph Schaeffer and Imogen Cunningham. Places include interior and exterior views of the Rudolph Schaeffer School of Design at its St. Anne Street and Mariposa Street locations. Also included are photographs by Ansel Adams of the home of Ed and Caroline Fey.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Information, 1900-1988 (Box 1; 0.1 linear ft.)

Series 2: Correspondence, 1906-1989 (Box 1, 19; 0.5 linear ft.)

Series 3: Subject Files, 1907-1988 (Boxes 1-2, OV 16; 1.3 linear ft.)

Series 4: Writings, circa 1910-1987 (Boxes 2-6, 15, 19, 21; 4.2 linear ft.)

Series 5: Artwork, 1911-1957 (Boxes 6-15, 19, 21 OV 17; 0.6 linear ft.)

Series 6: Scrapbooks, 1933-1976 (Boxes 6, 14, 19; 0.6 linear ft.)

Series 7: Sound Recordings, 1949-1986 (Boxes 11-13; 1.2 linear ft.)

Series 8: Miscellaneous Records, 1905-1986 (Box 7, 19, 22; 0.8 linear ft.)

Series 9: Printed Material, 1906-1994 (Boxes 7-8, 15, 19, 22; 1.2 linear ft.)

Series 10: Photographs, 1880s-circa 1988 (Boxes 8-10,15, 20, 22, OV 18; 1.8 linear ft.)
Biographical Note:
Rudolph Schaeffer (1886-1988), a proponent of the Arts and Crafts movement, aspired to unite technology, science, and lifestyle in order to live in harmony with nature. An individual with many talents and interests, he was best known for his work in the field of color study and as a teacher and the founder of the Rudolph Schaeffer School of Design in San Francisco.

Born on a farm in Clare, Michigan in 1886, Rudolph Schaeffer displayed musical and artistic talent from a young age. Although he initially wanted to become a professional musician, he began focusing more on art when his musical abilities were compromised by an improperly set broken wrist. Schaeffer received his first formal art training as a high school student and then attended the Thomas Normal Training School in Detroit, where he studied music, art, and design. He continued studying independently, developing interests in calligraphy and metal craft.

In 1907, Schaeffer taught manual training courses in the Columbus, Ohio, public schools. The following summer he traveled to Paris and London. While in London he saw an exhibition of Josef Hoffman's modern interiors that had a great impact on his own design ideas. He then returned to Michigan and taught in schools close to home. In 1909, Schaeffer attended a design course in Minneapolis taught by A. E. Batchelder, director of Throop Polytechnic Institute in Pasadena. Both Batchelder and his course were strong influences on Schaeffer, as was Ralph Johnot, a proponent of Arthur Wesley Dow's design principles. In 1910 Schaeffer joined the faculty of Throop Polytechnic Institute, where he remained for five years.

The U. S. Commission on Education selected Schaeffer to be part of a delegation of twenty-five American teachers sent to Munich for several months in 1914 to investigate the exemplary industrial design curriculum offered in their secondary schools. Schaeffer subsequently expected to begin teaching at the Manual Arts High School in Los Angeles at the start of the 1914 school year, but World War I erupted while he was in Germany and his return to the United States was delayed so long that another teacher had to be hired to fill his place.

In 1915 Schaeffer was a manual training instructor at the California College of Arts and Crafts (formerly the Hopkins School), and taught design and metal crafts at the University of California Berkeley. For a number of years afterwards, he did free lance design work, taught private classes, and ran a small summer school in his Piedmont studio. Schaeffer was a visiting professor at Stanford University in 1918 when he was drafted and sent to drafting and surveying courses by the Army. Between 1917 and 1924 Schaeffer was on the faculty of the California College of Arts and Crafts where he taught design, color, handicrafts, and interior design. During this period he developed a new approach to teaching color and design based on the prismatic color wheel.

During the early 1920s Schaeffer worked as a set designer and as Art Director of Greek Theatre at the University of California at Berkeley, Schaeffer began applying prismatic color theory to set and costume design. He also designed sets for productions in Detroit. In 1925, Schaeffer saw the Paris Exposition and researched interior and stage design while in France.

The Rudolph Schaeffer School of Design which, in its early days was called the Rudolph Schaeffer School of Rhythmo-Chromatic Design, opened on St. Anne Street in San Francisco's Chinatown in 1926. In 1951 the school then moved to Union Street on Telegraph Hill where it remained for nearly a decade. In 1960, the school purchased a former boys' school on Mariposa Street, Portero Hill. Rudolph Schaeffer lived in a small cottage built for him at the rear of the property where he designed and tended a remarkable "Peace Garden."

The Rudolph Schaeffer School of Design was best known for its courses in color and interior design. Schaeffer was the first person in the United States to teach prismatic color theory, is credited with being the first to use the term "interior design" rather than "interior decoration" and the first to incorporate the use of models into interior design coursework. In 1959 the school's courses were expanded from 2 to 3-year programs and a diploma was awarded. Former students include many successful interior designers, textile designers, furniture designers, industrial designers, commercial artists, color consultants, teachers, and master flower arrangers.

In addition to the interior design and color diploma courses, the school offered a summer session, classes for children, a brief lecture series for the general public, and a wide variety of classes including advertising art, architecture and design, art history, art in public schools, calligraphy, color design, color for television, color for weavers, color theory, design, drawing, environmental aesthetics, fashion design, fashion illustration, flower arrangement, industrial design, interior design, Notan, sculpture, space planning, textile design, and weaving. Always struggling financially and sometimes lacking adequate enrollment, the school nevertheless managed to stay open for nearly 60 years. In 1984, the Board of Directors voted to remove Schaeffer from the board and close the school. Two years earlier the board had forced Schaeffer to retire, appointed him Director Emeritus, and brought in a new director charged with making the institution financially solvent, reorganizing the curriculum, and working toward accreditation. Unable to separate himself from the school (though he had done so legally when it was incorporated in 1953), Schaeffer balked and refused to cooperate with plans for revitalizing the institution.

One of the aims of the Rudolph Schaeffer School of Design was to interpret Asian esthetic principles. To this end the East West Gallery was established at the school in 1950. A membership organization, it offered exhibitions, lectures, concerts, and other programs that encouraged cultural integration. Exhibitions alternated between East (Asian art and artifacts from Rudolph Schaeffer's collection or other sources) and West (student work or work of local artists illustrating the influence of the Asian esthetic on contemporary art and design). East West Gallery was a membership organization, the first space of its kind in San Francisco for Asian art and operated in each of the school's locations.

In addition to running the school Schaeffer was involved in many other activities. He wrote several articles about flower arrangement, color, and color theory that were published in popular magazines. In 1935, he published Flower Arrangement Folio I (said to be the first on the subject published in this country) and in 1942 edited and wrote the introduction to Sunset's Flower Arrangement Book by Nell True Welch. Over a period of many years, he worked on several monographs on color, design, and "rhythmo-chromatics." None were ever published.

A sought-after speaker on the subjects of color, interior design, flower arrangement, and myriad other art topics, Schaeffer frequently served as a juror for art exhibitions and flower shows. From the 1930s on, the San Francisco department store Emporium used his services as a color consultant, as did Dutch Boy paints, and numerous textile and clothing manufacturers. Builders also asked Schaeffer to select interior and exterior colors for suburban housing developments.

Schaeffer worked on planning and designing the decorative arts exhibition at the 1939-40 Golden Gate International Exposition. In 1943-44, he participated in the Red Cross's Arts and Skills program, using color therapy with shell-shocked soldiers in a psychiatric unit.

The Rudolph Schaeffer Collection of Asian Art began as a collection of ceramics, both historical and contemporary examples chosen for their form and color, which he used for flower arrangements and in set-ups for still life classes. It soon expanded to include color prints, paintings, screens, and other works of art and portions were exhibited frequently in the East West Gallery. Selections from this collection were exhibited in Kansas City in 1960 and at the Asian Art Museum of San Francisco in 1976.

The City of San Francisco declared June 26, 1986, Schaeffer's 100th birthday, "Rudolph Schaeffer Day" and it was observed with great fanfare. He died at home on March 5, 1988, a few months before his 102nd birthday.
Provenance:
The Rudolph Schaeffer papers were donated in 1991 by Rudolph Schaeffer and the Rudolph Schaeffer School of Design administrator Peter Docili, and in 1999 and 2000 by James Alexander, a friend of both Schaeffer and Docili, who had been storing portions of Docili's estate after his death in 1998, with the assistance of Frances Valesco, a fiber artist and researcher. An addition was received in 2007 by William Woodworth, a close friend and caretaker of Schaeffer's and in 2017 and 2018 by Frances Valesco.
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 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:
Art teachers -- California -- San Francisco  Search this
Topic:
Artists -- California -- San Francisco  Search this
Designers -- California -- San Francisco  Search this
Art -- Collectors and collecting -- California -- San Francisco  Search this
Art, Asian  Search this
Art -- Study and teaching  Search this
Artists -- California -- San Francisco  Search this
Authors -- California -- San Francisco  Search this
Color -- Study and teaching  Search this
Genre/Form:
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Citation:
Rudolph Schaeffer papers, 1880s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.scharudo
See more items in:
Rudolph Schaeffer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-scharudo

Oral history interview with Sheila Hicks

Interviewee:
Hicks, Sheila, 1934-  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Names:
Pandemic Oral History Project  Search this
Extent:
1 Item (digital video files (22 min.) Video, digital, mp4)
5 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Video recordings
Date:
2020 July 21
Scope and Contents:
An interview with Sheila Hicks conducted 2020 July 21, by Ben Gillespie, for the Archives of American Art's Art Pandemic Oral History Project at Hicks' home in Paris, France.
Biographical / Historical:
Sheila Hicks (1934- ) is a fiber artist and arts educator in Paris, France.
Related Materials:
The Archives of American Art also holds an interview with Sheila Hicks conducted 2004 February 3-March 11 by Monique Levi-Strauss, and an interview with Sheila Hicks conducted 2004 March 18 by Cristobal Zanartu.
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:
Fiber artists -- France -- Paris  Search this
Educators -- France -- Paris  Search this
Topic:
Women artists  Search this
Pandemics  Search this
COVID-19 (Disease)  Search this
Genre/Form:
Interviews
Video recordings
Identifier:
AAA.hicks20
See more items in:
Oral history interview with Sheila Hicks
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hicks20
Online Media:

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