The papers of New York School painter and sculptor Fritz Bultman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships; Hans Hofmann is the most thoroughly documented subject. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.
Scope and Contents:
The papers of New York School painter and sculptor Fritz Bultlman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.
Biographical materials include school records and notice of Bultman's army classification.
Most letters are addressed to Fritz Bultman and his parents. Fritz's education in Munich and studying with Hans Hofmann is well-documented. Many letters are from Miz Hofmann and Hans Hofmann. Also found are a smaller number of letters from museums, galleries, universities, and arts organizations. The surviving letters by Bultman are mainly to his family. Most were written when he was a student in Munich or traveling in Europe. There are some drafts and copies of letters concerning professional activities, arrangements for lectures, exhibitions, and Cynthia Goodman's editing "Form and Color in the Creative Process: The Painter's Primer" by Hans Hofmann.
Most interviews focus on Bultman's career. An interview with Jeanne and Fritz Bultman is about John Graham, and one of the interviews with Jeanne Bultman concerns Hans Hofmann.
Bultman's writings and notes include articles, lectures and talks about Hans Hofman, lectures about his own work, and a book review. Among the writings about Bultman are articles, a catalog essay and exhibition review.
Notebooks/sketchbooks (39 volumes) contain a variety of writings and notes, including some that are autobiographical, along with sketches and several finished drawings. Some volumes consist of writings and notes with a few sketches and doodles while others are mainly sketchbooks containing a few stray notes and brief writings; many contain approximately the same amount of text and drawings.
Diaries (4 volumes) contain entries about his work, professional and personal activities. One volume is a record of his October 1978 trip to Istanbul.
Subject files contain varying combinations of correspondence, photographs, printed material, and manuscripts. The most extensive file relates to Hans Hofmann and includes copies of writings by him. Other files of note concern Joseph Cornell, the exhibitions "Forum '49" and "Forum '49 Revisited," Weldon Kees, Tony Smith, and Donald Windham.
The largest series, printed material, consists of exhibition catalogs, announcements, reviews, articles and clippings about or mentioning Bultman.
Noteworthy among the small amount of artwork by Bultman is an early print; also found are loose drawings and paintings on paper.
Photographs of artwork document the full range of Bultman's production --paintings, sculpture, drawings, collage, stained glass, interior design and decoration. Also found are a few photographs of works by other artists. Photographs of Fritz Bultman include many by Renate Ponsold. Other indentified individuals include parents Fred and Pauline Bultman, sister Muriel Bultman, childhood nurse Katie Belle, son Johann Bultman, Sherman Drexler, Hans Hofmann, Miz Hofmann, Miss Katsura, Lee Krasner, Annalee Newman, Barnett Newman, Alfonso Ossorio, Jeanne Reynal, Thomas Sills, Jack Tworkov, and Wally Tworkov. A group portrait of the artists of Long Point Gallery includes: Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Budd Hopkins, Rick Klauber, Lee Manso, Sidney Simon, Robert Motherwell, Judith Rothschild, Nora Speyer, and Tony Vevers. Also found in this series are photographs of Bultman exhibition installations and views of miscellaneous places.
Arrangement:
The collection is arranged in 10 series:
Missing Title
Series 1: Biographical Materials,1928-2003 (Box 1; 0.1 linear feet)
Series 2: Letters, 1930-1995 (Box 1; 0.4 linear feet)
Series 3: Interviews, 1968-1998 (Box 1; 0.4 linear feet)
Series 4: Writings and Notes, 1935-circa 1980s (Boxes 1-2; 0.8 linear feet)
Series 5: Notebooks/Sketchbooks, 1937-circa 1979 (Boxes 2-3, 11; 0.7 linear feet)
Series 6: Diaries, 1977-1979 (Box 3; 0.3 linear feet)
Series 7: Subject Files, 1942-2010 (Boxes 3-5, 11; 2.3 linear feet)
Series 8: Printed Material, 1941-2006 (Boxes 5-9, OV 12; 3.5 linear feet)
Series 9: Artwork, circa 1930s-1956 (Boxes 9, 11; 0.1 linear feet)
Series 10: Photographs, 1935-1997 (Boxes 9-10; 0.6 linear feet)
Biographical / Historical:
Fritz Bultman (1919-1985), a New York School painter and sculptor who lived and worked in Provincetown, Massachusetts and New York City, was also a collagist, stained glass artist, and educator.
Anthony Fred Bultman, III --always known as Fritz --was from a prominent and cultured New Orleans family. He began studying art as a boy and one of his teachers was Morris Graves, a family friend. His last 2 years of high school were spent at the Munich Preparatory School, boarding with Mrs. Hans Hofmann whose husband was working in New York for an extended period. Bultman attended the New Bauhaus in Chicago before studying for three years with Hans Hofmann in New York City and Provincetown, Massachusetts. As well as being a major influence on Bultman's development as a painter, Hofmann became a life-long friend.
Fritz Bultman met dancer and model Jeanne Lawson (1918-2008), when she was posing in Hofmann's studio during the summer of 1941. They married in 1943 and the following year bought a house in Provincetown. In 1945, Bultman built a studio designed by a friend from the New Bauhaus, sculptor and architectural designer Tony Smith, who also helped with its construction.
His first solo exhibition was held in 1947 at the Hugo Gallery, New York; others followed in 1950, again at Hugo Gallery and at Kootz Gallery, New York. After receiving an Italian Government Grant for Exchange Fellowship, Bultman spent 1950-1951 in Florence, Italy, where he learned the process of casting and began making metal sculpture. In 1952 the Bultmans moved to New York City. Depressed and beset by anxiety, Bultman began Freudian psychoanalysis, and between 1952 and 1956 produced very little artwork.
In 1958 Bultman resumed exhibiting and continued to show regularly for the remainder of his life. He enjoyed solo exhibitions in New York City, Paris, New Orleans, North Carolina, Provincetown, and other venues. Between 1958 and 1963 Bultman taught painting at Hunter College and was an instructor in design and painting at Pratt Institute. Bultman spent 1964-1965 in Paris on a Fulbright Grant painting and sculpting, studying European methods of bronze casting, and meeting French artists. Bultman maintained his reputation as a highly regarded art instructor and in later years was a sought after guest lecturer at a various colleges. While artist-in-residence at Kalamazoo College, Michigan in 1981, he designed and produced a stained glass mural with technical assistance from his wife, Jeanne Bultman, a skilled artisan.
Fritz Bultman died of cancer in Provincetown, Massachusetts, in 1985.
Related Materials:
An oral history interview with Fritz Bultman, 1986 January 6, was conducted by Irving Sandler for the Archives of American Art (available on microfilm reel 3196).
Provenance:
Gift of Fritz Bultman in 1984, which included material lent for microfilming in 1970 and 1971. Additions donated by Jeanne Bultman, his widow, in 1988 and 2000, and by his sons, Anthony F. Bultman, IV and Ellis Johann Bultman, in 2013.
Restrictions:
Use of original papers requires an appointment. 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.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
An interview of Harvey K. Littleton conducted 2001 March 15, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Littleton's home, Spruce Pine, N.C.
Littleton speaks of his family background including the work of his father [Jesse Talbot Littleton] at Corning Glassworks, and his early experiences with glass at Corning. He discusses his studies at the University of Michigan in physics and his switch to sculpture; his studies at Cranbrook Academy, in 1941, and his teachers Marshall Fredericks and Carl Milles; his studies on industrial design; becoming a potter; and working at Corning Glassworks, in the summers, inspecting hand-blown coffee pots and top-of-the-stove ware. He discusses his service in the 849th Signal Intelligence Unit in North Africa and Italy during WWII; studying with Norah Braden, at the Brighton School of Art, in England; the importance of, "A Potter's Book," by Bernard Leach; teaching pottery at night, in Ann Arbor, Michigan; the beginnings of the Ann Arbor Potters Guild; making his own potters' wheels; serving on the board of Penland School of Crafts; the development of "American" art and the impact of the GI Bill on the creation and expansion of art departments; the "master-slave apprentice system"; "the genius of Shoji Hamada"; the properties of porcelain; artist communities at Penland and Cranbrook; the influence of Bill Brown, director of the Penland School of Crafts; art education and the impact of the MFA; Black Mountain College, Pilchuck Glass School, and Haystack Mountain School of Crafts; problems with the European educational system; the importance of Erwin Eisch's work on his development; his relationship with galleries and museums, particularly the Museum of Modern Art, the Renwick Gallery of the Smithsonian American Art Museum, and American Craft Museum; and consignment laws. He also comments on the founding of the Midwest Designer Craftsmen; his involvement with the American Crafts Council (ACC) and the distinction between "the indigenous craftsman" and the "artist-craftsman"; American Crafts Council fairs; his printmaking; his techniques of sandblasting; teaching vitreography; and his plans for opening a print gallery. He recalls Charles Eames, Peter Voulkos, Shoji Hamada, Robert Turner, Dante Marioni, Fritz Dreisbach, and others.
Biographical / Historical:
Harvey K. Littleton (1922- ) is a glass artist, potter, sculptor, and printmaker from Wisconsin and Spruce Pine, N.C. Joan Falconer Byrd (1939-) ia a professor in the art department of Western Carolina University, Cullowhee, N.C.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 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.
Topic:
Glass artists -- North Carolina -- Interviews Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Harvey K. Littleton, 2001 March 15. Archives of American Art, Smithsonian Institution.
Topic:
Glass artists -- North Carolina -- Interviews Search this
An interview of Joel Philip Myers conducted 2007 May 1, by Daniel Klein, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home, in Marietta, Pennsylvania.
Myers speaks of his childhood in Patterson, New Jersey; making charcoal drawings as a child and taking private courses in oil painting; choosing to pursue a career in advertising design; attending Parsons School of Design in New York City; working as a package designer for Donald Deskey Associates; being influenced by Scandinavian design he saw in New York City to study abroad in Denmark; studying ceramic design at Kunsthaandvaerkerskolen in Copenhagen; meeting and marrying his wife, Birthe, while in Copenhagen; returning to the United States and going back to work for Donald Deskey; attending Alfred University and receiving his B.F.A. and M.F.A. in ceramics; accepting the position director of design for Blenko Glass Company in Milton, West Virginia with no previous experience in glass; teaching himself how to blow glass in the factory alongside the workers; the intense heat and extreme noise of a glass factory; learning of Harvey Littleton's glass workshop in 1962 in Toledo, Ohio, but being unable to attend; having limited exposure to the glass movement and developing his glass art without knowledge of the work of Littleton and his students; designing 50 to 60 different vases, bowls, decanters, and decorative objects a year from 1963 - 1970 at Blenko Glass Company; creating sculptural glass forms in his penetration pieces for his masters thesis; learning of what was happening in the studio glass world by attending the World Craft Council in 1964 in New York City; Paul Smith discovering his work and thereby gaining some publicity in Craft Horizons; being invited by Littleton to give a workshop at the University of California, Berkeley in 1968; the initial shock of seeing glass sculpture made with no real technique; his early attraction to cold-work in order to work intimately with the surface of the glass; acquisition of his work by the Toledo Art Museum and the Mint Museum of Art in Charlotte, North Carolina; establishing a glass program at Illinois University in Bloomington-Normal; his attempts to recruit international students; taking a semester sabbatical in Baden, Austria; being heavily influenced by the natural world; the series Garden, Perfume Bottle, Contiguous Fragment, Dr. Zharkov, The Dialogues, and others; teaching at Pilchuck School of Glass; studying the First World War and consequently creating Musée des Beaux Arts [1996]; travels to Japan; his teaching philosophies; the prevalence of independent glass studios in the world today; and plans for the future. Myers recalls Ted Randall, William H. Blenko, Sr., William H. Blenko, Jr., Marvin Lipofsky, Fritz Dreisbach, Richard Marquis, John Lewis, Bob Ness, Bertil Vallien, David Huchthausen, John Popelka, and others.
Biographical / Historical:
Joel Philip Myers (1934- ) is a glass artist from Milton, West Virginia. Daniel Klein (1938- ) is an art consultant from London, England.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 15 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.
Quotes and excerpts must be cited as follows: Oral history interview with Joel Philip Myers, 2007 May 1. Archives of American Art, Smithsonian Institution.
An interview of Mark Peiser conducted 2004 February 26, by Henry Halem, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Penland, North Carolina.
Peiser speaks of growing up in Chicago; his relationship with his parents; developing an early interest in music and engineering; attending Perdue University and transferring to the Institute of Design, Illinois Institute of Technology; working for a design firm in Chicago; becoming interested in glass after seeing an exhibit at the Art Institute of Chicago; attending a workshop at Penland School of Crafts; becoming Penland's first Artist-in-Residence in glass and developing a technique on his own; working with Fritz Dreisbach to set up the first Glass Art Society conference; making improvements to the Penland glass studio; teaching at Penland; making a living as an artist; making opal glass for the first time; choosing certain imagery and color in his work; experimenting with technique including glass casting; making his Innerspace series; his relationship with collectors; finding challenges with his latest body of work; and the influence of Zen on his art. Peiser also recalls Harvey Littleton, Bill Brown, Billy Bernstein, and others.
Biographical / Historical:
Mark Peiser (1938- ) is a glass artist from Penland, North Carolina. Henry Halem (1938- ) is a glass artist from Kent, Ohio.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 55 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.
Quotes and excerpts must be cited as follows: Oral history interview with Mark Peiser, 2004 February 26. Archives of American Art, Smithsonian Institution.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Richard Ritter, 2005 August 2. Archives of American Art, Smithsonian Institution.
An interview of Robert Levin conducted 2004 December 11, by Joan Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Burnsville, North Carolina.
Levin speaks of growing up in Dundalk, Maryland; participating in theater in high school; attending Denison University; becoming interested in ceramics and glass; attending graduate school at Southern Illinois University; working as an assistant to Fritz Dreisbach at Pilchuck Glass School; teaching at Penland School of Crafts; becoming resident glass artist at Penland; influential artists; moving to Celo; the North Carolina craft community; the element of play in his work; mixing glass colors; keeping variety in his work; the process of making sculptural and functional pieces; the influence of nature and other cultures on his work; including political and social statements in his work; making mixed-media pieces; working on commission; making Judaica pieces; the glass blowing process; being part of an international glass tradition; participating in the Glass Art Society; the reasons he enjoys teaching; attending GAS conferences; participating in regional art organizations; his home studio and the equipment he uses; how his working process has changed; designing a series of awards; his interest in music and guitar; the qualities of glass; and the importance of intuitiveness in creating his pieces. Levin also recalls Audrey Handler, Bill Boysen, Bill Brown, Richard Ritter, Bill Bernstein, Mark Peiser, Harvey Littleton, and others.
Biographical / Historical:
Robert Levin (1948- ) is a glass artist from Burnsville, North Carolina. Joan Falconer Byrd (1939- ) is a professor in the art department, Western Carolina University, Cullowhee, North Carolina.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 3 hr., 14 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.
Quotes and excerpts must be cited as follows: Oral history interview with Robert Levin, 2004 December 11. Archives of American Art, Smithsonian Institution.
An interview of Tom McGlauchlin conducted 2006 October 13, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Archives of American Art, Washington, D.C.
McGlauchlin speaks of his childhood in Wisconsin; receiving a B.S. and M.S. in Art from the University of Wisconsin, Madison; studying pottery with Harvey Littleton and Toshiko Takaezu; attending the first workshop for glassblowing at the Toledo Museum of Art in Toledo, Ohio in 1962; building his glass studio; teaching experiences at Cornell College; experiences as the Director of the Glass Program at the University of Toledo/Toledo Museum of Art; the rivalry between Harvey Littleton and Dominick Labino; his relationship with galleries throughout the years including Heller Gallery, Habatat Galleries, Holsten Galleries, Vespermann Gallery, Pismo Gallery, and others; his participation in Glass Art Society and National Council on Education for the Ceramic Arts; his interest in textured surfaces; being influenced by Washington Color Field painters; the strong influence jazz has on his artwork; his involvement with the Art Tatum Jazz Heritage Festival in Toledo, Ohio; his plans to stop blowing glass in the near future; and his interest in working in pottery once again. McGlauchlin also recalls Clayton Bailey, Norm Schulman, Harvey Leafgreen, Otto Wittmann, Fritz Dreisbach, Russell Day, and others.
Biographical / Historical:
Tom McGlauchlin (1934-2011) is an glass artist and potter from Toledo, Ohio. Joan Falconer Byrd (1939- ) is a ceramics professor from Cullowhee, North Carolina.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 58 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.
William H. Holston Gallery (New York, N.Y.) Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Tom McGlauchlin, 2006 October 13. Archives of American Art, Smithsonian Institution.
An interview of Tom Patti conducted 2010 January 18 and 19, by William Warmus, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Patti's residence, in Miami Beach, Florida.
Patti talks about growing up in Pittsfield, Massachusetts, in a working-class neighborhood, and playing in and around the General Electric Corp. landfill, the major employer in the area; losing vision in one eye after a childhood accident; he recalls running with a tough crowd during high school and making homemade tattoos for his friends; his probation officer during high school, who encouraged his interest in art; meeting Norman Rockwell, who encouraged him to attend Pratt Institute in Brooklyn, New York; majoring in industrial design at Pratt, where he worked with Rowena Reed Kostellow; the idealism and social consciousness of the 1960s; exposure to the ideas of visionary architects such as Moshe Safdie and Buckminster Fuller; the New York art/social scene in the 1960s, including Max's Kansas City; meeting Marilyn Holtz, whom he later married; a trip to Colombia to discuss shelter development, and exposure to severe poverty; a resulting focus on people-centered shelter ideas; graduate work at Pratt, and the value of his studies in an academic environment; working with inflatable shelters, experimenting with different materials, including using glass; returning to the Berkshires in Massachusetts, working odd jobs, running a small glass school for children; becoming aware of the studio glass movement and attending a glassblowing workshop at Penland School of Crafts in Penland, North Carolina, in 1971; continued work with glass, including Vitrolite and other scavenged materials; growing public recognition in the 1970s; an internship at Haystack Mountain School of Crafts, Deer Isle, Manie, where he met Steve Feren, with whom he worked for several years; acquisition of work by the Corning Museum of Glass, Corning, New York, in 1976; first one-man gallery show in 1977; purchase of work by the Museum of Modern Art, New York, New York; series Solar Riser and the importance of a meditative/spiritual component of his work; setting up a studio in Plainfield, Massachusetts; first museum exhibition at the George Walter Vincent Smith Art Museum in Springfield, Massachusetts; speaking at the World Crafts Council conference in Vienna in the late 1970s; continued travel and recognition in Europe in the 1980s; "Genic Doran Divider-Sentinel," (1982-84), commissioned sculpture for General Electric in Pittsfield, which led to his focus on laminated materials; early 1990s studio expansion to work on a larger scale; commission work with Cesar Pelli for Owens Corning Fiberglas in 1993; one-person show at Serge Lechazynski's gallery in Biot, France; travels in Europe and Israel; serving on the board of the Norman Rockwell Museum in Stockbridge, Massachusetts; consulting work with the glass and materials industry; "Spectral-Luma Ellipse" (2000); "Spatial Boundary" (2001), commissioned by Ann and Graham Gund; continued smaller-scale work; designing the window for Sienna Gallery in Lenox, Massachusetts, owned by his daughter; recent commissions including "Morton Square" in 2004, the Roosevelt Avenue Intermodal Station (2004), both in New York City, and "Miami Rain" (2009), Miami, Florida; and the importance of transparency, opacity, and translucency in his work. He also recalls Joseph Parriott, Sybil Moholy-Nagy, Rudolf Arnheim, Art Wood, Thomas Buechner, Doug Heller, Penelope Hunter-Stiebel, Laurie Wagman and Irvin Borowsky, and Malcolm Rogers.
Biographical / Historical:
Tom Patti (1943- ) is a glass artist, sculptor, and designer in Pittsfield, Massachusetts and Miami Beach, Florida.
General:
Originally recorded on 6 memory cards. Duration is 4 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.
Quotes and excerpts must be cited as follows: Oral history interview with Tom Patti, 2010 January 18-19. Archives of American Art, Smithsonian Institution.
Tapes and transcripts of interviews with North Carolina glass artists conducted by Mary Douglas as part of her research for a paper, "Rural Esthetics in the North Carolina Glass Community," delivered at the 1995 Glass Art Society (GAS) Conference in Asheville, N.C. Interviewees include: Rick and Valerie Beck, William Bernstein, Gilbert C. Johnson, Rob Levin, Joe Nielander, John and Sharon Nygren, and Kate Vogel and John Littleton.
Topics covered include "craft culture': whether there is a rural esthetic in North Carolina glass; the idea of community around Penland School and the surrounding region of the Southern Highlands; the significance of the region's craft history on contemporary glass artists; and the distinctive qualities of North Carolina glass.
Biographical / Historical:
Art historian; Statesville, N.C.
Provenance:
Donated 1997 by Mary Douglas. The paper for which these interviews was conducted was subsequently published in the Glass Art Society Journal (1995, p. 34-41). Each of the artists interviewed agreed to donate their interviews to the Archives, with the exception of Harvey K. Littleton.
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.
Occupation:
Art historians -- North Carolina -- Statesville Search this
Topic:
Glass artists -- North Carolina -- Interviews Search this
The papers of William J. and Jane Brown date from circa 1940-2014 and measure 7.9 linear feet and 0.32 gigabytes. The collection is comprised of biographical material, correspondence, interviews, writings and notes, printed material and documentaries, photographs and moving images, and administrative records from the Penland School of Crafts where William served as director from 1962 to 1983.
Scope and Contents:
The papers of William J. and Jane Brown date from circa 1940-2014 and measure 7.9 linear feet. The collection is comprised of biographical material, correspondence, interviews, writings and notes, printed material and documentaries, photographs and moving images, and administrative records from the Penland School of Crafts where William served as director from 1962 to 1983.
Biographical materials consists of awards, business cards, annotated calendars, consignment forms, material from Haystack Mountain School of Crafts, resumes, sketches, and student documents. Correspondence is with artists, former students, instructors, local residents, Paulus Berensohn, Robert Ebendorf, Theodore Hallman, Lucy Morgan, Toshiko Takaezu, and others.
Sound and video recordings are of interviews with Bill and Jane Brown, Lucy Morgan, and "Flossie" Perisho regarding personal and Penland history. One transcript of Marvin Lipofsky's conversation with Bill is also included. Bill's writings are on industrial design, directing Penland, and mankind. Two notebooks contain daily logs, sketches, and other notes. Notes by Bill and Jane are on inventions, John Ehle, metal history, poems, and other topics. Other writings are about Bill and a manuscript on craftsman education by Harold J. Brennan.
Penland's administrative records contain files documenting the board of trustees, residents program, a special 2-week session, artwork, Bill Brown's Glass Studio dedication ceremony schedule, a certificate of incorporation, financial material, grant proposals, and maps. Also found are records of Penland's 50th birthday celebration, including a video recording of "A Quest" by Dan Bailey.
Books, booklets, four documentary video recordings, exhibition catalogs and announcements, flyers, pamphlets, periodicals, postcards, posters, and stickers and patches designed by Bill are in printed materials. Photographs and slides are of Bill and Jane; family and friends; works of art; and of Penland's grounds, students, and faculty along with photographs and video recordings documenting Penland's history.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Materials, 1948-2011 (0.6 linear feet; Boxes 1, 9)
Series 2: Correspondence, 1949-2014 (1.8 linear feet; Boxes 1-3, 9)
Series 3: Interviews, 1968-1991 (0.4 linear feet; Box 3)
Series 4: Writings and Notes, circa 1950-2005 (0.2 linear feet; Box 3)
Series 5: Penland School of Crafts Administrative Records, 1954-1995 (1.1 linear feet; Boxes 3-4, 9)
Series 6: Printed Materials and Documentaries, 1942-2005 (1.8 linear feet, 0.32 GB; Boxes 4-6, 9; ER01)
Series 7: Photographic Materials and Moving Images, circa 1940-2011 (2.0 linear feet; Boxes 6-10, RD 11)
Biographical / Historical:
William "Bill" J. Brown (1923-1992) was a designer and educator who was married to Jane Brown (1932- ), an arts administrator. They lived in Bakersville, North Carolina.
Bill Brown was born in Flint, Michigan in 1923. He studied at the Cranbrook Academy of Art receiving a bachelor of fine art in 1949, a master of fine art in 1950, and was chosen to work at Corning Glass Works for a summer. After his studies, he taught at the Haystack Mountain School of Crafts and at the University of Delaware. In 1962 Lucy Morgan, who founded the Penland School of Crafts in 1929 in North Carolina, retired and offered the position of director to Bill. At the time, the school focused on traditional mountain crafts. As director, Bill changed the emphasis of the school to the advancement of professional craftsmen and the expansion of media to include iron and glass. He began a resident artist program that allowed artists to develop their skills at a low cost. Together, Bill and Jane created a supportive community of craftsmen that attracted renowned artists to teach and work at Penland. Bill resigned as director in 1983 but remained a respected member of the arts community. He earned several awards including the North Carolina Award in the Fine Arts in 1991.
Jane Brown graduated from the University of Delaware with a bachelor of arts in education and a master's degree in special education. Jane studied the Alexander Technique, a technique that can be used to improve the performance of dancers and musicians.
Bill Brown died in 1992. After his death, Jane participated in the dedication of the Bill Brown Glass Studio at Penland during a Glass Arts Society conference in 1995. She continues to live in Bakersville, North Carolina.
Related Materials:
Also found at the Archives of American Art is an oral history interview with William J. Brown and his wife Jane Brown conducted on January 19, 1991 and March 2, 1991 by Jane Kessler.
Provenance:
The portions of the William J. and Jane Brown papers that were lent for microfilming in 1991 by Jane Brown were subsequently donated by Jane Brown 1995 and 2015 along with additional papers.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
