An interview of Lita Albuquerque conducted 1990 July 9-19, by Bonnie Clearwater, for the Archives of American Art.
Albuquerque tells of her Sephardic, Turkish, and Spanish heritage; growing up in Carthage, Tunisia; arrival in the U.S. in 1957; art history studies at UCLA in the 1960s; early influence on her work of James Turrell, Eric Orr, Guy Dill, Larry Bell, and the Los Angeles Woman's Building; later influence of Zen meditation; travel in India; use of figures and abstract symbols in public commissions; second marriage to Carey Peck; teaching at the Art Center College of Design.
Biographical / Historical:
Lita Albuquerque (1946- ) is a painter from California.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 8 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Installation artists -- California -- Los Angeles Search this
Environmental artists -- California -- Los Angeles Search this
An interview of Judy Chicago conducted 2009 August 7 and 8, by Judith Olch Richards, for the Archives of American Art, at Chicago's home and studio, in Belen, New Mexico.
Chicago speaks of her work since the late 1980s, having previously discussed her early life and works; printmaking projects with various print studios around the country; giving archived documents to important museums; creating a foundation with her husband Donald Woodman to protect the legacy of their art; the non-profit organization she started in 1978, Through the Flower; her studio practices and her most practiced techniques; keeping a regular schedule; her interest in collaborative projects such as The Dinner Party [1974-1979], the Birth Project [1980-1985], the Holocaust Project [1985-1993] and Resolutions: A Stitch in Time [1994-2000]; working with various textile and glass artists; feeling a kin with other female artists, like Nikki de Saint Phalle and Marisol Escobar; the responsibility she feels to share underrepresented information; her enjoyment of the process of making art and the hope that she creates art that is not bound by time; her relationships with galleries though the years including the ACA Galleries in New York and LewAllen Contemporary in Santa Fe; her intention in making art was not create proactive or controversial art; various teaching positions; her interest in combining text and images in works like Song of Songs [1997-1999]; her more current interest in glass; experimenting with the techniques of casting and etching to achieve her desired images; her want to change institutional policies that underrepresent women artists in museums and the absence of images of women by women artists. Chicago also recalls Henry Hopkins, Mary Ross Taylor, Susannah Rodee, John Bullard, Jack Lemon, Alice Neel, Edward Lucie-Smith, John Copeland, Harold Rosenberg, Carolee Schneemann, Jeffery Bergen, Audrey Flack, Joan Semmel, Nancy Youdelman, David McFadden, Viki Thomson Wylder, Tom Pruitt, Arlene LewAllen, Flo Perkins, Norman and Ruth Dobbins, Karen LaMonte, Lu Jie and others.
Biographical / Historical:
Interviewee Judy Chicago (1939- ) is a feminist artist and author who lives and works in Belen, New Mexico. Interviewer Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
General:
Originally recorded on 4 compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 40 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:
Installation artists -- California -- Los Angeles Search this
Performance artists -- California -- Los Angeles Search this
Sculptors -- California -- Los Angeles Search this
Quotes and excerpts must be cited as follows: Oral history interview with Mario Ybarra Jr., 2021 October 15 - November 10. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Marnie Weber, 2016 February 10. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Doug Wheeler, 2017 April 4. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- New Mexico -- Santa Fe -- Interviews Search this
An interview of Nancy Rubins conducted 2012 Aug. 7, by Hunter Drohojowska-Philp, for the Archives of American Art, at Topanga Studio, in Topanga, Calif.
Biographical / Historical:
Nancy Rubins (1952- ) is a sculptor and installation artist in Topanga, Calif. Hunter Drohojowska-Philp is a writer and art historian in Los Angeles, Calif.
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.
The papers of Laddie John Dill measure 1.6 linear feet and date from ca 1968 to 2020. The papers document Dill's career as an artist through awards, interviews, artist statements, sketches, blueprints and designs, and other professional activity files; articles, clippings, exhibition announcements and catalogs, a biography, and other printed material.
Scope and Contents:
The papers of Laddie John Dill measure 1.6 linear feet and date from circa 1968 to 2020. The papers document Dill's career as an artist through awards, interviews, artist statements, sketches, blueprints and designs, and other professional activity; articles, clippings, exhibition announcements and catalogs, a biography, and other printed material.
Professional material consists of awards, resumes, artist statements, oral history interviews, and some correspondence. Also included are materials related to his partnership and being represented by Doug Christmas, sketches and blueprints, and photographs of some of his works.
Printed material includes articles and reviews, clippings, exhibition announcements and catalogs, and press releases. Also included is a biography on Dill, a book on the Santa Monica College of Design Art and Architecture featuring Dill, and a series of Los Angeles Times HOME magazines featuring Dill and other area artists.
Arrangement:
The collection is arranged into two series.
Series 1: Professional Activity Files, ca 1968-2020 (0.8 linear feet; Boxes 1-2, OV 3-5)
Series 2: Printed Material, 1972-2020 (0.8 linear feet; Boxes 1-2, OV 3, 5)
Biographical / Historical:
Laddie John Dill (1943- ) is a leading artist of the Light and Space Movement in Los Angeles, California. His most iconic work is his series of "light sentences." Dill also made installations that combined the light sentences with sand and glass. By the late 1970s, he had moved to working with concrete and epoxy. Dill attended the Chouinard Art Institute in the late 1960s.
Provenance:
Donated in 2021 by Laddie John Dill.
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.
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:
Installation artists -- California -- Los Angeles Search this
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:
3 Items (wav files (4 hr., 16 min.), digital)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2009 September 8-9
Scope and Contents:
An interview of Mineo Mizuno conducted 2009 September 8-9, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Mizuno's home and studio, in Los Angeles, California.
Biographical / Historical:
Mineo Mizuno (1944- ) is a sculptor and installation artist in Los Angeles, California.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 4 hr., 17 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:
Ceramicists -- California -- Los Angeles -- Interviews Search this
Potters -- California -- Los Angeles -- Interviews Search this
An interview of Barbara Bloom conducted 2012 October-2013 January 31, by James McElhinney, for the Archives of American Art, at Bloom's home and studio, in New York, New York.
Bloom speaks of growing up in Brentwood, California; her first experience with art; her childhood and exposure to creativity; the influence of art and philosophy; going to museums as a kid; living in Monte Factor and then Los Angeles; her creative process, influences, and life as an artist; art mentors and art lessons with Cathy Herman; traveling with her family; her mom being an actress; attending Bennington College in Vermont, the 1960s, the and collage aesthetic; attending CalArt; the changes in art education at the university level; drugs use; Fluxus; John Cage and attending 4'33; living in Europe and specifically Netherlands, Germany, and Holland; books and love of reading; her daughter; the post-studio era; film and meta-movies; making "The Diamond Lane;" images and objects' connection to meanings; The Gaze; undressing the wall; Homage to Jean Seberg, Godard, Berlin; East Germany; being agnostic and Jewish; Venice Biennale; collectors; cycle of shows; MFA programs; The Tip of the Iceberg; surgeries; hospital visit, personal training, and recovery; The Seven Deadly Sins; her father; Tellus Magazine; Judaism; fabrications and drawings; archives; relationship between the artist and the viewer; her husband; 010011.net; recent show; and As It Were, So To Speak. Bloom also recalls Monte and Betty Factor, Ed Kienholz, Ron Kappe, Robbie Robe, Ray Kappe, Matt Mullican, Eric Orr, Robert Irwin, Doug Wheeler, Total: digital recordings; Claire Steinman, Rosemarie Trockel, Ash Grove, James Lee Byars, Frances Rey, Sidney Tillim, Norman O. Brown, Paul Cotton, Paul Brock, Buckminster Fuller, John Baldessari, Nam June Paik, Dick Higgins, Alison Knowles, Serge Tcherepnin, Simone Forte, Charlemagne Palestine, La Monte Young, David Salle, Eric Fischl, Marcel Broodthaers, Susan Sontag, Tim Maul, Caroline Tisdale, Marcel Duchamp, Laura Mulvey, John Berger, Oscar Wilde, Ed Ruscha, Isabella Kacprzak, Octavio Paz, Leo Castelli, Allen Ruppersberg, Jay Gorney, Claudia Gould, Susan Bronstein, Donald Judd, Robert DuGrenier, Pistoletto, Anthony Coleman, Mel Bochner, and Ken Saylor.
Biographical / Historical:
Barbara Bloom (1951- ) is a photographer, designer, and installation artist in New York, New York. James McElhinney (1952- ) is an artist and professor in New York, New York.
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:
Designers -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Installation artists -- New York (State) -- New York Search this
An interview of Marnie Weber, conducted 2016 February 10, by by Hunter Drohojowska-Philp, for the Archives of American Art at Weber's studio in Los Angeles, California.
Weber discusses growing up in Connecticut and being raised by her parents Evelyn and Charles D. Weber, who was an important art historian and expert in Chinese bronzes; her happy family life in Connecticut with her brother and friends; the family's subsequent residences in California, Hawaii and Asia as a result of Mr. Weber's different teaching positions; her time at high school in Manhattan Beach, California, and her burgeoning interest in theatrical and glam rock; the beginnings of her work with art in high school and her subsequent enrollment as an art student at USC and UCLA; her life as one of the few artists in downtown Los Angeles in the '70s and '80s; her time in the rock band Party Boys, their manager Jack Marquette, his club Anti-Club, and their performances and recordings in L.A. and time spent in London. Weber also describes the influences of Alexis Smith, George Herms and Chris Burden as art teachers, especially the influence of Ms. Smith as a woman artist and as an artist who works in collage; her early character-based performances in Los Angeles hotels; her character-based musical performances in art galleries and the use of collage work and theater in these shows; her time working as a gallery coordinator with Anne Ayres at Otis Art Institute; her work creating films and videos and use of large animal characters; her marriage to the artist Jim Shaw and the raising of their daughter Colette Weber Shaw; their friendships with Mike Kelley and other artists in Los Angeles; the formation of the theatrical rock band Spirit Girls, and their live performances and appearances in her films; her exploration of witches as characters in her two films Night of Forevermore and Day of Forevermore, the latter being a feature-length film shot primarily at Zorthian Ranch in Altadena, California; and the impact of the death of Mr. Kelley on her and Mr. Shaw and the subsequent work they did for Mr. Kelley's foundation. Weber also recalls Israel Kamakawiwo'ole, Donald Dunham, Gillean McLeod, Marc Kreisel, Michèle Lamy, Richard Newton, Rosamund Felsen, Patrick Painter as well as Paul McCarthy, Jacci Den Hartog, Bruce Licher, Rick Owens, Dani Tull, Tanya Haden, and Tamara Sussman, among others.
Biographical / Historical:
Marnie Weber (1959- ) is an installation artist, photographer, and musician in Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, 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.
Occupation:
Musicians -- California -- Los Angeles Search this
Photographers -- California -- Los Angeles Search this
Visual Arts and the AIDS Epidemic: An Oral History Project Search this
Extent:
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 November 25-26
Scope and Contents:
An interview with Nayland Blake, conducted 2016 November 25-26, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Blake's home in Brooklyn, New York.
Blake speaks of growing up in a bi-racial family in New York City; visiting museums, art exhibits and shows, and going to the theatre with their parents; attending Charlotte Moorman's Avant Garde Festivals as a teenager; relating their emerging sexuality to the television shows Batman, The Addams Family, and Star Trek; the decision to attend Bard College; the influence of Times Square Show; co-organizing Bard's first gay and lesbian alliance; attending California Institute of the Arts and the different culture they experienced there; their struggle to make explicitly gay work without it being beefcake; not feeling connected to a gay community in Los Angeles but feeling camaraderie with other artists; their decision to move to San Francisco; first hearing about HIV/AIDS while at CalArts and experiencing the first loss of a friend in San Francisco; the undercurrent of more and more men testing positive in their community; the long two-week wait to receive test results; the generational split within the gay community and how that was squashed by the epidemic; the subjects of mortality and mourning in gay art and how that changed the reception of gay artists; the gay and lesbian shows Extended Sensibilities and Against Nature; the organization of ACT UP San Francisco and subsequent split into ACT UP SF, ACT UP Golden Gate, and ACT UP San Francisco; the "imperiled and heightened physicality" Blake began using in their work; participating in Art Against Aids on the Road; directly addressing the frequency of AIDS deaths in their piece Every 12 Minutes; the social network of caregivers that rallied to support those dying from AIDS through home care and food delivery; curating In A Different Life; the pleasure in curating shows; The Shreber Suite installation pieces; purchasing Wayland Flowers' puppet Madame at auction; being a child of the '60s and believing sex is an expression of one's cultural identity; feeling attacked by the dismissive and oppressive Republican government in the 1980s; the extensive symbolism and meaning in their bunny themed work; the technology boom's affect on the Bay Area and their return to New York City; the show Double Fantasy about their relationship with their partner Philip Horvitz; teaching at International Center for Photography and their work in the kink community; the distance their students have to the HIV/AIDS epidemic; and their identification as an American artist. Blake also recalls Jeff Preiss, Cliff Preiss, William Hohauser, Debra Pierson, Nancy Mitchnick, Jake Grossberg, Robert Kelly, Kathy Acker, Gerry Pearlberg, Kathe Burkhart, Judie Bamber, Catherine Opie, Nancy Barton, Julie Ault, William Olander, Robert Glueck, Kevin Killian, Dodie Bellamy, D-L Alvarez, Stephen Evans, Michael Jenkins, Richard Hawkins, Ann Philbin, Rick Jacobsen, Amy Sholder, David Wojnarowicz, Rudy Lemcke, A.A. Bronson, Philip Horvitz, and others.
Biographical / Historical:
Nayland Blake (1960-) is a performance artist and installation artist in New York, New York. Alex Fialho (1989-) is a curator and arts writer who is the Programs Director for Visual AIDS in New York, New York.
General:
Originally recorded as 4 digital wav files. Duration is 5 hr., 49 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.
An interview with Kenny Scharf conducted 2017 February 22-23, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Scharf's studio in Los Angeles, California.
Scharf speaks of his childhood and adolescence in Los Angeles; choosing to attend the School of Visual Arts in New York; his first exhibition with Fiorucci upon arriving in New York; lasting relationships from his SVA years; the development of his interest in an outer space aesthetic; dancing at various downtown nightclubs in New York before and during the AIDS crisis; his early film work and its environmentalist impulse; his disillusionment with the art market; his intense motivation to become a recognized artist after not being included in the 1983 Whitney Biennial with Keith Haring and Jean-Michel Basquiat; feeling forgotten by the art world again in the 1990s; feeling overlooked as an influence on Takashi Murakami's artwork; seeing many friends die of AIDS in the 1980s; getting married, having children, and living a heteronormative lifestyle in response to the AIDS crisis; sensing a widespread fear of having sex during the AIDS epidemic; his personal struggle to remain joyful and productive during this time; moving to Miami in 1992; his experience of survivor's guilt; Haring's relationship with Scharf's children as their godfather; the difference in reactions to the initial AIDS crisis from the queer and straight art worlds; the difficulties of watching those with HIV physically and mentally deteriorate; rising homophobia during the early AIDS crisis; contracting hepatitis, and then HIV, while in Miami, and receiving successful treatment from a local herbalist; dealing with depression while in Miami; moving from Miami to Los Angeles in 1999, in part to pursue animation; the genesis of the Closets series; moving back to New York in 2007; the genesis of the Cosmic Cavern parties; the pervasive stigma attached to being HIV-positive; his current regimen for remaining HIV-undetectable ; his drive to show the worth and advantages of being an older artist; his desire to be remembered as a contemporary of Haring and Basquiat; the greater appreciation for life that he has after living through the AIDS crisis; his process of becoming more patient in his drive for recognition; the dilemma of wanting to be open about his HIV status without getting pigeonholed or becoming a spokesman; his recent work in painting murals; his disillusionment with Donald Trump's election; and the happy memories he experiences when walking around St. Mark's Place in New York. Scharf also recalls Eileen Guggenheim, Klaus Nomi, Joey Arias, Diane Von Furstenburg, Keith Haring, Jean-Michel Basquiat, John Sex, Wendy Wild, Drew Straub, Jane Panetta, Andy Warhol, Nicholas Moufarrege, Martin Burgoyne, Kwong Chi, Susanne Bartch, Rene Ricard, Johnny Rudo, Jimmy De Sana, Paul Kasmin, Scott Ewalt, and others.
Biographical / Historical:
Kenny Scharf (1958- ) is a painter, muralist, sculptor, installation artist in Los Angeles, California. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
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:
Interview ACCESS RESTRICTED; Use requires written permission.
Occupation:
Muralists -- California -- Los Angeles -- Interviews Search this
An interview of Michael C. McMillen conducted on 1997 Apr. 15-Dec. 8, by Paul Karlstrom, for the Archives of American Art.
Interview with McMillen begins with a discussion about growing up in post-war California, visiting television sets where his father was a scenic artist, and the beginning of an interest in illusion and other realities. He discusses how he became fascinated with ancient civilizations after a visit in 1957 to the Metropolitan Musuem of Art; from this experience he became interested in decay, change, and disintegration. He discusses the elements of open narrative, allowing the viewer to fill in the blanks. He acknowledges the influence of California assemblage movement, aerospace, and Hollywood as sources for his material and art practice.
McMillen explains his goal is to surround the viewer with a total expereince, including smell, sound, moisture, and temperature. He feels that art reflects time and place, a response to history, and a metaphor for events. He next recalls "Journey to the Surface," a submarine, incorporating stand-alone pieces in a large installation that uses historical objects as time markers. He feels that his work is an accumulation of "stuff" that is used as a source for personal identity and the viewer brings his own history pieces and markers of progress through life. He concludes with a discussion of the function of art, as a personal expression and self-validation rather than the political/social aspect of much contemporary art.
Biographical / Historical:
Michael C. McMillen (1946- ) is a painter and installation artist from Los Angeles, Calif. McMillen studied at Santa Monica City College and San Fernando Valley State College (now California State University at Northridge), with Hans Burkhardt. He spent his early career as a model builder for the movies which included making props for "Close Encounters of the Third Kind" and "Blade Runner".
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hrs., 5 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:
Painters -- California -- Los Angeles -- Interviews Search this
An interview of Patssi Valdez conducted 1999 May 26-June 2, by Jeffrey Rangel, for the Archives of American Art.
The interviews were conducted at the artist's home/studio in Los Angeles, California. Valdez discusses her current show at the Laguna Art Museum, "A Precarious Comfort," and the intensely personal nature of the work being exhibited; the liberating aspects of painting and her journey from dealing with the problems and concerns of the Chicano community to a more internal focus in which she examines her personal emotional life through symbol and imagination; how, in her work, landscape has come to represent emotions and states of mind; health problems and her turning to alternative methods of healing; her relationship with Asco and her eventual break from the group to pursue her art studies at Otis Art Institute in Los Angeles (now Otis College of Art and Design) and in New York, and with a NEA grant to Europe and Mexico; difficulties she experienced with her decision to focus on art school and on her survival as an artist, while trying to keep in touch with friends and peers; friendships with Amalia Mesa Bains, Christina Fernandez, and Gronk, as well as with Sister Karen Boccalero whose Self-Help Graphics contributed so much to the growth of a younger generation of Chicano artists; fellow Asco artist Harry Gamboa, Jr., and their mutual goals in their art to subvert Chicano stereotypes; what constitutes Chicano art and how the Les Demon des Anges show changed her perspective; and her ability to create change through her art.
Biographical / Historical:
Patssi Valdez (1951-) is a painter, and installation artist from Los Angeles, California. Valdez is known for her boldly rendered works that vary in themes from homages to female deities to mystical environments.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hr., 32 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. Funding for the interview and transcription provided by the Smithsonian Institution Latino Inititatives Fund.
Restrictions:
Transcript available on the Archives of American Art website.
An interview with Daniel Joseph Martinez conducted 2019 November 23-2020 October 4, by Chon Noriega, for the Archives of American Art at Martinez's home 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. 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:
Sculptors -- California -- Los Angeles Search this
Installation artists -- California -- Los Angeles Search this
Performance artists -- California -- Los Angeles Search this
Quotes and excerpts must be cited as follows: Oral history interview with Bruce Yonemoto, 2020 August 19. Archives of American Art, Smithsonian Institution.
The papers of performance and installation artist, Jacki Apple, measure 2.1 linear feet and date from 1971-2015. Included are performance and installation project files, exhibition files, art project files and public art proposals.
Biographical / Historical:
Jacki Apple (1941- ) is an installation and performance artist in Los Angeles , California.
Provenance:
Donated in 2021 by Jacki Apple.
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.
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:
Installation artists -- California -- Los Angeles Search this
Performance artists -- California -- Los Angeles Search this
An interview with Mario Ybarra Jr. conducted 2021 October 15 - November 10, by Mari Hernandez for the Archives of American Art, at Ybarra Jr.'s home in Wilmington, California.Â
Biographical / Historical:
Mario Ybarra, Jr. (1973- ) is a printmaker and installation artist based in Los Angeles who works at the convergence of Chicano, hip hop, and Southern California culture. He co-founded Slanguage Studio with Karla Diaz.
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:
Printmakers -- California -- Los Angeles Search this
Installation artists -- California -- Los Angeles Search this
Performance artists -- California -- Los Angeles Search this
The Connie Zehr papers measure 15.0 linear feet and date from 1960-2020. Included are extensive sketchbooks and journals (over 50) spanning the late 1960s to 2020. Also included are exhibition files, correspondence, photographs and slides, printed materials, and clippings.
Biographical / Historical:
Connie Zehr (1938- ) is an installation artist who was active in the Los Angeles feminist community starting in the late 1960s. Her work involves sand, clay, and sculptural elements. She was a founding member of Womanspace and she was a participant in the Market Street Program.
Provenance:
Donated in 2021 by Connie Zehr.
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 audiovisual recordings and born-digital records 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:
Installation artists -- California -- Los Angeles Search this
