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"El Gran Poder de Dios" Niche

Artist:
Cash, Marie Romero  Search this
Cash, Don  Search this
Physical Description:
tin (overall material)
wood (overall material)
paint (overall material)
glass (overall material)
roman catholicism (overall single or multi-hued)
carved (overall production method/technique)
Measurements:
overall: 37 1/2 in x 17 5/8 in x 15 in; 95.25 cm x 44.7675 cm x 38.1 cm
Object Name:
niche
Place Made:
United States: New Mexico
Date made:
1991
Subject:
Christianity  Search this
Roman Catholicism  Search this
Jesus Christ  Search this
Angels  Search this
Apostles  Search this
Gran Poder de Dios  Search this
Related Publication:
Morrison, Howard. American Encounters: A Companion to the Exhibition at the National Museum of American History
ID Number:
1991.0770.01
Catalog number:
1991.0770.01
Accession number:
1991.0770
See more items in:
Cultural and Community Life: Religion
Religion
Artifact Walls exhibit
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-d939-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1143061

Historical Reenactments at Colonial Williamsburg

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 Video recording (open reel, 1/2 inch)
Culture:
African American  Search this
Type:
Archival materials
Video recordings
Place:
Colonial Williamsburg (Williamsburg, Va.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1970s
Scope and Contents:
Historical reenactors and artisans talk about and illustrate working in the kitchen, creating candles from bayberries and beeswax, making roof shingles for buildings, basket making, and metal working during the 18th century in the United States. Footage of Williamsburg, including exteriors of historical buildings.
Footage of buildings and historical reenactments. Part of ACM Museum Events, PR, and Ceremonies Recordings. Undated.
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Museums  Search this
Historic sites  Search this
Historical reenactments  Search this
Museum techniques  Search this
Blacks -- History  Search this
Artisans  Search this
African American artisans  Search this
Genre/Form:
Video recordings
Unedited footage
Citation:
Historical Reenactments at Colonial Williamsburg, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-023, Item ACMA AV003198
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-023-ref536

Music and Crafts of the Southeastern United States

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Virtually every area of the South harbors a potter, weaver, toy maker, wood-carver, boatbuilder, calligrapher, ornamental blacksmith, sign painter, or seamstress who has maintained his or her craft in the face of nearly total indifference by the outside world. It is true, certainly, that many southern craftworkers have discarded quilt making, coverlet weaving, and pottery turning as unpleasant reminders of their humble origins. For others, the crafts remain a beloved preoccupation that, like family reunions and music festivals, have grown to symbolize an important component of regional and ethnic identity.

There are few generalizations that can be made about contemporary southern craftworkers as a group. Some are articulate about their work while others are inexpressive. Some practice crafts originally restricted to only one sex and passed from parent to child through an informal apprenticeship while others have not been so constrained. Many find monetary benefit in what they do; a few such as the solitary carver or painter work to some inner purpose largely devoid (until the coming of the folk art collector) of remunerative value. While some folk craftworkers employ modern labor and timesaving techniques, in every case they blend these with the preindustrial technologies of earlier generations. Such technologies, as well as the forms of the objects themselves, are the product of family and regional folk traditions.

The craft component at the 1981 Festival had three subdivisions:

1. a demonstration area where craftworkers were explaining their work; traditional Southeastern music - played, in part, on instruments made by the demonstrators - was also featured;

2. an exhibition of carefully-selected items commissioned specifically for the Festival and reminiscent of forms and styles made by the craftworkers' forebears; these objects were later sold at auction;

3. a general sales tent, planned with the Smithsonian Museum Shops, where an array of traditional crafts made for the Festival were on sale daily.

Secretary S. Dillon Ripley, in commenting on a previous Festival, noted: "The possibility of using a museum that is essentially a historical documentary museum as a theatre of live performance where people actually show that the objects in the cases were made by human hands, and are still being made, practiced on, worked with, is a very valuable asset for our role as a preserver and conservator of living cultural forms." Indeed, many of the objects crafted, exhibited, and sold at the 1981 Festival were very similar to items on view in the Museum. In fact, some of the objects in the permanent collections were purchased from Festival craftworkers in the late 1960s.
Participants:
Participants

David Allen, 1925-, walking stick carver, Homer, Louisiana

Linda Bowers, Seminole jacket maker, Clewiston, Florida

Charles Christian, chair maker, Mt. Judea, Arkansas

Lucreaty Clark, 1904-1986, basket maker, Lamont, Florida

Burlon B. Craig, 1914-2002, potter, Vale, North Carolina

Mrs. B. Craig, potter, Vale, North Carolina

Edsel Martin, musical instrument maker, Old Fort, North Carolina

Irene Miller, 1907-, rag rug maker, Oakland, Maryland

Jack McCutcheon, 1923-2001, chair maker, Mt. Judea, Arkansas

Lois McCutcheon, 1929-, chair maker, Mt. Judea, Arkansas

Lee Willie Nabors, 1916-, chair maker, Oklona, Mississippi

Judd Nelson, 1911-, blacksmith, Sugar Valley, Georgia

Ada Thomas, 1924-1992, basket maker, Charenton, Iowa

Donny Tolson, wood carver, Campton, Kentucky

Celestine Turner, 1928-, basket maker, Mt. Pleasant, South Carolina

Southeastern Crafts Exhibition, Exhibitors

Melvin Owens, pottery, Seagrove, North Carolina

Robert Brown, pottery, Arden, North Carolina

Lanier Meaders, pottery, Cleveland, Georgia

Daniel Garner, pottery, Robbins, North Carolina

Charles Craven, 1944-1997, pottery, Robbins, North Carolina

Hobart Garner, 1922-1985, pottery, Robbins, North Carolina

Burlon B. Craig, pottery, Vale, North Carolina

Vernon Owens, 1941-, pottery, Seagrove, North Carolina

Mary Livingston, pottery, Seagrove, North Carolina

David Farrell, pottery, Seagrove, North Carolina

Wayman Cole, 1905-1987, pottery, Seagrove, North Carolina

Walter Cornelison, pottery, Waco, Kentucky

Dorothy Cole Auman, 1925-1991, pottery, Seagrove, North Carolina

John Wiltshire, carvings, Coffee County, Indiana

Dicie Malone, corn shuck mat – Knox County, North Carolina

Mrs. Blaine Whitaker, corn shuck bonnet, Henderson County, North Carolina

Fairy Moody, 1907-1994, corn shuck crèche, Ashe County, North Carolina

Dieudonne Montoucet, Cajun triangle, Scott, Louisiana

Napolean Strickland, cane fife, Como, Mississippi

Clifford Glenn, 1935-, banjo & dulcimer, Sugar Grove, North Carolina

Dewey Shepherd, 1906-1996, gourd fiddle, David, Kentucky

Edsel Martin, dulcimer, Old Fort, North Carolina

Albert Hash, 1917-1983, fiddle, Mouth of Wilson, Virginia

Audrey Hash Miller, 1949-, dulcimer, Mouth of Wilson, Virginia

Mr. Mabry, wood carvings, Stone County, Arkansas

Willard Watson, wood carvings, Watauga County, North Carolina

Donny Tolson, wood carvings, Campton, Kentucky

David Allen, 1925-, wood carvings, Homer, Iowa

Dallas Bump, furniture, Royal, Arkansas

Charlie Christian, furniture, Mount Judea, Arkansas

Jack McCutcheon, 1923-2001, furniture, Mount Judea, Arkansas

Lee Willie Nabors, 1916-, furniture, Okolona, Mississippi

Bill McClure, furniture, Bloss, Kentucky

Amanda Palmer, baskets, Mount Pleasant, South Carolina

Susan Peoples, 1898-1986, baskets, Aragon, Georgia

Mildred Youngblood, baskets, Woodbury, Indiana

Eva Wolfe, 1922-, baskets, Cherokee, North Carolina

Carol Welch, baskets, Cherokee, North Carolina

Agnes Welch, baskets, Cherokee, North Carolina

Dolly Taylor, baskets, Cherokee, North Carolina

Geneva Ledford, 1921-1998, baskets, Cherokee, North Carolina

Ada Thomas, 1924-1992, baskets, Charenton, Louisiana

Lucreaty Clark, 1904-1986, baskets, Lamont, Florida

Edna Langley, baskets, Elton, Louisiana

Earnest Patton, wood carvings, Compton, Kentucky

Louise Jones, baskets, Mt. Pleasant, South Carolina

Floyd Harmon, baskets, Ocean City, Maryland

Goodwin Family Weavers, Blowing Rock, North Carolina

Pecolia Warner, quilt, Yazoo City, Mississippi

Ora Watson, 1909-2004, quilts, Watauga County, North Carolina

Linda Bowers, Seminole jacket, Clewiston, Florida

Sally Tommie, Seminole jacket, Clewiston, Florida

Philip Simmons, 1912-, metal work, Charleston, South Carolina

Phipps Bourne, metal work, Elk Creek, Virginia

Erwin Thieberger, 1908-1997, metal work, Wheaton, Maryland

James Barnwell, metal work, Henderson County, North Carolina

Pete Howell, 1902-1981, metal work, Yancey County, North Carolina
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Series 7
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref52

Papers and Printed Material

Collection Creator:
Ball, Fred Uhl, 1945-1985  Search this
Extent:
0.3 Linear feet (Box 1)
Type:
Archival materials
Date:
1936-2002, undated
Scope and Contents note:
This series contains a small amount of scattered documentation of Fred Ball's life and three folders of material relating specifically to Ball's father, F. Carlton Ball, his mother, Kathryn Uhl Ball, and his grandfather, George Uhl. One additional folder contains records of an Altar Show Tribute titled "Fred the Glad" by Jean C. Roach in 2005.

Ball's papers include a copy of his influential text on enameling Experimental Techniques in Enameling, a vita of his career compiled in 2001 by Lois and David Warren, memorial resolutions passed in his honor, and birth and death certificates.

News clippings include newspaper and magazine articles written about Ball and his work, including tributes to him after his death. The clippings are an excellent source of information about Ball's significant achievements over the course of his career.

Writings include enameling notes, a partial draft of Experimental Techniques in Enameling, and a copy of an article by Ball, in addition to his work of art commission agreement and a reference from Phillip L. Isenberg.

"Tributes to Fred Uhl Ball - September, 1985" is the guest book for the one-man show at Artists Contemporary Gallery that Ball was preparing for when he was attacked in 1985. The book is signed with messages from people who attended the exhibition and also includes signatures of people who attended a memorial service for Ball on January 3, 1986. The folder contains an announcement for the exhibition and a copy of the program from the memorial service.

Papers of F. Carlton Ball and Kathryn Uhl Ball include photographs of each, news clippings, a letter from F. Carlton Ball to his son, an exhibition announcement for F. Carlton Ball, a letter of recommendation from Lyonel Feininger for Kathryn Uhl Ball, her résumé, photographs of her artwork, and a program from her memorial service. Also found is an October 1985 letter from Kathryn Uhl Ball to Lois and David Warren following her son's hospitalization describing to his condition and the process of working with him in the hospital to continue his work to his specifications. Papers of George Uhl consist of a program for an exhibition at E. B. Crocker Art Gallery in 1945, featuring Uhl's metal work and ceramics by Kathryn and Carlton Ball. There is also a photograph of a silver punch bowl, ladle and cups by George Uhl.
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Fred Uhl Ball papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Fred Uhl Ball papers, 1936-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ballfred, Series 1
See more items in:
Fred Uhl Ball papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ballfred-ref13

Regional America

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
The first week of the 1975 Regional America program focused on the people of the Northern Plains (North Dakota, South Dakota, Nebraska and Kansas), particularly on the occupational life-styles related to agriculture and livestock. This is the region that is called the "breadbasket" and the economy of the area is based on grain crops, feed crops, and livestock production. The Smithsonian represented the agriculture of the area by growing on the Festival site wheat (the principal grain crop), alfalfa (a principal feed crop), and some typical plains grasses as well as sorghum and sunflowers. Livestock grazed on the National Mall and were used in demonstrations of herding techniques. Visitors saw varieties of threshing from individual manual techniques to modern mechanical combines. A daily tractor pull contest demonstrated not only the skills of the farmers in operating equipment, but also the pride they take in the power of their own carefully maintained machinery.

Craft presentations included associated occupational and domestic crafts. For example, livestock-related crafts such as those involved with maintenance, auctioneering, leatherworking, blacksmithing, wagon making and repair, and metal working were highlighted, as well as key occupational skills related to livestock include horse handling, sheep shearing, and ropework. Functional but decorative domestic crafts were also demonstrated: piece quilts, braided and rag rugs, corn husk and rag dolls, toys carved from chips, noisemakers, whimmy diddles.

Festival visitors could see and participate in a variety of folk dancing by different ethnic groups who settled in the Plains: Germans, Scandinavians, Ukrainians and Czechs. Northern Plains music is characteristically performed on instruments practiced in isolation such as the fiddle.These are usually played solo, but at the Festival they were also performed in combination.

The character of the California Heartland region (second week of the Festival) is expressed by its flamboyant image, diverse landscape, and - of utmost importance - a 'Mediterranean' climate that makes outdoor living possible. It is also an area rich in ethnic communities, and many of these were featured at the 1975 Festival.

Mexican American muralists from East Los Angeles completed a mural depicting their contribution to the Festival. Paper flower making and piñata making were demonstrated and taught to visitors, as were masa grinding and tortilla and tamale making. Chinese Americans from the San Francisco area performed a shadow puppet play twice daily. Various crafts including kite-making and the construction of paper ribbon fish welcomed audience participation. Three traditional games (an early form of yoyo, shuttlecock and cat's cradle) were demonstrated and taught.

Portuguese American fisherfolk demonstrated boat building as well as net and lure making accompanied by traditional sea chanteys. A highlight of the Portuguese community is the "Festa da Espiritu Santu", a celebration involving a parade of decorated cows, ceremonial milking, a milk and bread feast and a traditional contest between solo singers who improvise verses, enacted on the Festival site from July 2 to 4.

Unique to San Francisco is the tradition of cable car bell ringing. Cable car gripmen announced each session at the main California stage and dance floor, and competed for the bell ringing championship. A Greek father and son demonstrated traditional woven straw beehive construction and discussed bee-keeping and the agricultural use of bees. California Armenians wove rugs and spun wool.

The joys of sociable dancing were shared by square dances, Portuguese chamaritas, Phillippine tinakling and an evening of waltzes. There were also examples of solo singing by Portuguese, Anglo, French, and black singers and group singing by Molokans, Anglos, Chicanos and blacks.

Administrator for the Regional America program was William K. McNeil, with Charles Camp as Research Coordinator; Rayna Green served as Consultant.
Fieldworkers:
Northern Plains Researchers

Metha Bercier, John Carter, Carey Cook, Larry Danielson, Sister Stephanie Dolyniuk, Karen Heinzman, Lynn Ireland, Constance Kane, Jens Lund, Janet McDonnell, Gina Newbold, Douglas Parks, Marjorie Sackett, Earl Sampson, Darrel Sawyer, Dorothy Shonsey, Scott Sorensen, Kenneth Stewart, Sherry Stoskopf, Robert Thompson, Robert Webb

California Research Staff

Coordinator: Bess Lomax Hawes; Assistant Coordinator: Barbara LaPan Rahm; Researchers: Justin Bishop, Joyce P. Bynum, Nicola Marguerite Deval, Nicholas Hawes, Michael Korn, Marilyn Salvador, Daniel Sheehy; Advisors: Stephen P. and Ethel Dunn (Molokan presentation), Elaine Miller (Mexican American presentation), Joanne B. Purcell (Portuguese presentation)
Participants:
Northern Plains

Margaret Anderson, 1900-2002, singer, cook, Scandia, Kansas

August Anheluk, 1917-2001, musician

Leslie Anheluk, dancer

James Baker, dancer

Emerson Baker, singer

Norman Baker, singer

Wade Baker, dancer

Donna Baranko, dancer

Ann Basaraba, singer

Roy Basaraba, singer

Lydia Bears Tail, bead worker, cook & dancer

Saunders Bears Tail, 1934-1998, dancer

Linnea B. Briggs, 1893-1990, bobbin lace maker, Windom, Kansas

Connie Burian, dancer

Laudie Burian, 1915-2001, musician

Lewis Calwell, 1895-1978, horse trainer, Belle Fourche, South Dakota

Alvin Campbell, 1921-, fiddler, Omaha, Nebraska

Marlys Ciscar, singer

George Crow Flies High, agricultural implement maker, dancer

Dan Dasovich, musician, Omaha, Nebraska

Danny Dasovich, musician, Omaha, Nebraska

George Dasovich, 1942-, musician, Omaha, Nebraska

Peter Drakulich, 1926-1998, musician

Frances Driver, Jr., dancer

Harold C. Edwards, 1927-1992, sheep shearer, Edgemont, South Dakota

Jeanette Evoniuk, 1923-2005, dancer

Johnnie Evoniuk, dancer

Laurence Evoniuk, singer

Matt Evoniuk, dancer

Matt Evoniuk, Jr., dancer

Pearl Evoniuk, dancer

Celia Fliginger, 1907-2003, cook, Freeman, South Dakota

Jarle Foss, 1894-1992, fiddler, Scotland, South Dakota

Dean Fox, dancer

George B. German, 1902-1991, singer

Hilda Goering, 1916-, quilter, Moundridge, Kansas

Aaron Goertzen, 1921-1987, mandolin player, Aurora, Nebraska

Dick Goertzen, mandolin player, Henderson, Nebraska

Jacob C. Goertzen, 1919-1992, mandolin player, Henderson, Nebraska

Delwayne Good Iron, 1943-2014, singer, war bonnet maker

Velda Graber, 1912-1984, soap, sauerkraut maker, Marion, South Dakota

Darrell Griffith, 1930-, horse handler, Faith, South Dakota

Rose Hand, cook, quilter

John Hanzek, 1919-1997, musician

Elmus Henderson, 1908-1979, saddle, harness maker, Kearney, Nebraska

Lyle Henderson, 1947-, saddle, harness maker, Kearney, Nebraska

Mabel Howling Wolf, 1907-1989, cook, quitter

Leslie Jeffery, cattle crew, Sturgis, South Dakota

Margie Jeffery, ranch cook, Sturgis, South Dakota

Mitchel Jeffery, 1951-, cattle crew, Sturgis, South Dakota

William Jeffery, Jr., cattle crew foreman, Sturgis, South Dakota

Betty Johnson, 1927-, rosemaler, Sioux Falls, South Dakota

Edward Johnson, singer, musician

Esther Jorgensen, 1908-1998, cook, Viborg, South Dakota

ArvelIa Kenaston, 1934-, musician, Springview, Nebraska

Robert Kenaston, 1928-2013, musician, Springview, Nebraska

Roger Kenaston, 1954-, musician, Springview, Nebraska

Donna Kordon, dancer

Mary Ann Krush, singer

Kathleen Laible, 1929-1996, canner, Howard, South Dakota

Ann Larson, 1914-2003, cook, Aberdeen, South Dakota

Bill Larson, 1896-1990, fiddler, Sioux Falls, South Dakota

Luella Loganbill, 1928-, quilter, Moundridge, Kansas

Glenn Lornev, tractor pull

Eugene Mack, dancer

George Mack, dancer

Joyce Mack, dancer

Verna Mack, dancer

Don Malnourie, 1939-2005, singer

Ben Makaruk, 1924-1999, singer

Marie Makaruk, singer

Bill Mastel, musician

Mack Medakovich, musician

Merle Messing, 1941-2007, tractor pull, Groton, South Dakota

Alex Morin, dancer, singer

Bill Nameniuk, musician

Debbie Painte, bead worker, shawl maker, dancer

Agnes Palaniuk, singer

Billy Palaniuk, dancer

Fred Penner, 1940-, musical saw player, Tyndall, South Dakota

D. Peter Plechas, musician, Omaha, Nebraska

Agnes Poitra, 1924-1999, dancer, Belcourt, North Dakota

Leon Poitra, 1922-2003, dancer, Belcourt, North Dakota

Harry Porter, 1902-1995, sheep shearer, Edgemont, South Dakota

Ken Putnam, 1955-, fiddler, Rapid City, South Dakota

Jean Roberts, 1932-, cornhusk doll maker, Axtell, Nebraska

Wayne Robinson, sausage maker

Alton Schlag, musician

James Schwab, musician

Larry Schwab, musician

Billy Marlene Short, cattle crew, Piedmont, South Dakota

Dennis Short, 1938-1984, cattle crew, Piedmont, South Dakota

Marlene Sitting Crow, cook, dancer

Murphy Sitting Crow, bustle maker, dancer

Johnny Smith, auctioneer

John E. Stratman, 1908-1989, agricultural spokesperson, Wilcox, Nebraska

Wilhelmine Thue, 1902-1989, cook, Howard, South Dakota

Joe Trottier, musician

Mary Wallette, dancer, cook

Earl Waltner, 1915-1979, blacksmith, Bridgewater, South Dakota

Douglas D. Weber, musician

Gene Weisbeck, musician

Donna Wilkie, dancer, cook

Edward Wilkie, dancer

Helen Wilkinson, quilter

Hugo Wuebben, 1910-1984, carver, Hartington, Nebraska

Alice Yellow Wolf, bead worker

Bert Yellow Wolf, 1939-1995, singer

Joe Zacharias, 1933-, accordion, Wagner, South Dakota

Marie Zaste, dancer, cook

California Heartland

Leslie Alamsha, dancer

Juan Alvarado, 1930-, -- pregonero -- , -- guitarrista -- , -- jaranero

Manuel Azevedo, caller, dancer, singer

Nora Bogdanoff, 1913-1981, Molokan singer

David Botello, muralist

Jane Botieff, Molokan singer

William J. Botieff, Molokan singer

Francisco Carrillo, -- guitarrista

Alfonso Chavez, charro

Kate Chernekoff, 1922-1999, Molokan singer

Peter Chernekoff, 1912-1988, Molokan singer

Jeoffrey Chiang, special Chinese consultant

Vivian Chiang, coordinator

Richard Ching, Chinese yo-yo, shuttlecock, cat's cradle

Dai T. Chung, musician, shadow player

Marilyn Cunningham Cleary, fiddler

Earl Collins, fiddler

Nemo Concepcion, yo-yo demonstrator

Danny Cruz, charro, Los Nietos, California

Jack Cunningham, fiddler

Van Cunningham, 1896-1984, fiddler, Bodfish, California

Antonio Garcia Da Rosa, mandolin player

Leonel Garcia Da Rosa, mandolin player

Al Figueroa, singer, guitarist, Blythe, California

Carmela Figueroa, singer

Alex A. Galkin, 1920-1976, Molokan singer

Juan Gandara, charro, vice president of La Alteña

Alicia Gonzalez, paper crafts, Los Angeles, California

Guadalupe D. Gonzalez, paper crafts, cook, Los Angeles, California

Jose Luis Gonzalez, muralist, Los Angeles, California

Rebecca Gonzalez, paper crafts, cook

Blanche Gonzalez, crafts, cook

Kenneth M. Hall, 1923-2013, mandolin player

Marta Louise Hall, musician assistant

Fermin Herrera, -- harpista

Jorge Herrera, -- jaranero

Maria Isabel Herrera, -- jaranera -- , -- requintera -- , dancer

Chi-mei Kao Hwang, Chinese craft assistant

Hubert Isaac, drummer

Rinold Isaac, dancer

Andrea Ja, shadow player

Robert Ernest Lee Jeffery, 1915-1976, blues pianist, San Diego, California

Kate Kalpakoff, Molokan singer

Craig Ernest Kodros, bee hive maker

George Harry Kodros, bee hive maker

Anna Koh, northern Chinese cook

David Koh, assistant northern Chinese cook

Jim A. Korneff, 1916-1994, singer

Julia Lazar, baker, spinner

Robert Lazar, dancer

Calvin E. Long, tinker, San Diego, California

Pauline Loo, Chinese craft assistant

Francisco Macias, charro

Eddie Martinez, muralist, Hacienda Heights, California

Heli Medeiros, 1921-2003, singer

Nellie Melosardoff, 1913-2007, Molokan singer

Anna Mendrin, Molokan singer

John Mendrin, 1923-1989, Molokan singer

Jonnie Kay Neavill, fiddler

David Page, uilleann bagpiper

Sara J. Patapoff, 1924-1993, Molokan singer

Jack Pavloff, 1919-2000, Molokan singers' director

Mary J. Pavloff, Molokan singer

Dolores Pequeño, singer

George M. Prohroff, 1937-2001, Molokan singer

Pamella Ramsing, shadow player

Rigoberto Rincon, charro, president of La Alteña

Victor Romero, -- guitarrista -- , -- vihuelo

Juanita Saludado, singer, Earlimart, California

Paul Saludado, singer, guitarist, Earlimart, California

Roy J. Samarin, 1920-1994, Molokan singer

Don Jesus Sanchez, 1910-1983, violinist, Los Angeles, California

Surma D'Mar Shimun, 1883-1975, dancer

Joel Silva, -- festa -- coordinator, dairyman

Jose V. Silva, tuna boat designer

Manuel Silva, -- guitarrista

Mary Silva, cook, flower maker

Julia Silveira, -- guitarrista

Rafael Furtado Simas, 1916-2006, violinist

Rosa Maria Simas, dancer, baker

João Soares, singer

Shirley Sun, presenter

Araks Talbert, baker, spinner

Anna Tarnoff, Molokan singer

Smith Tester, banjo player

Eugene Ung, assistant southern Chinese cook

Maizie Ung, kite making, paper folding, ribbon fish demonstration

Agostinho Valim, 1917-2000, singer

Laurindo Valim, dancer

Manuel Vasquez, 1935-, -- requintero

Moses A. Volkoff, 1892-1989, Molokan composer

Ossie White, guitarist, Lakewood, California

Roscoe White, 1923-2009, fiddler, Lakewood, California

Margaret L. Wong, southern Chinese cook

Judy Woo, assistant shadow player

Jesse Wright, singer

Jimmy Wright, singer, Fresno, California

Walter Wright, singer, Fresno, California

William Wright, 1914-1982, singer, Selma, California

Annie Zolnekoff, 1924-2010, Molokan singer

Paul Zolnekoff, 1919-2005, Molokan singer
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1975 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1975, Series 8
See more items in:
Smithsonian Folklife Festival records: 1975 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1975-ref1044

Oral history interview with Boris Bally

Interviewee:
Bally, Boris  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Carnegie-Mellon University (Pittsburgh, Pennsylvania) -- Faculty  Search this
Carnegie-Mellon University (Pittsburgh, Pennsylvania) -- Students  Search this
Comedy Central (Firm)  Search this
Massachusetts College of Art -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Crafts -- Faculty  Search this
Snyderman Gallery  Search this
Society of Arts and Crafts (Boston, Mass.)  Search this
Society of North American Goldsmiths  Search this
Tyler School of Art -- Students  Search this
Velvet da Vinci Gallery  Search this
Works Gallery  Search this
Agro, Elisabeth R.  Search this
Ballay, Joe, 1938-  Search this
Bonner, Jonathan, 1947-  Search this
Cianci, Vincent Albert, Jr., 1941-2016  Search this
Dahm, Johanna  Search this
Ebendorf, Robert, 1938-  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Gialamas, Rosemary, 1962-  Search this
Greenbaum, Toni  Search this
Holt, Steven, 1957-  Search this
Ilse-Neuman, Ursula  Search this
Kangas, Matthew  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Kowal, Dennis  Search this
Kumata, Carol  Search this
Künzli, Otto, 1948-  Search this
Lechtzin, Stanley, 1936-  Search this
Metcalf, Bruce, 1949-  Search this
Nasher, Patsy  Search this
Nasher, Raymond  Search this
Raab, Rosanne  Search this
Schaffner, Alexander  Search this
Simon, Marjorie  Search this
Skov, Mara Holt  Search this
Warhola, Paul  Search this
Wood, Joe, 1954-  Search this
Extent:
4 Sound discs (Sound recording (5 hr., 55 min.), digital)
109 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound discs
Pages
Interviews
Sound recordings
Place:
Haiti -- description and travel
Switzerland -- description and travel
Date:
2009 May 26-27
Scope and Contents:
An interview of Boris Bally conducted 2009 May 26-27, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Bally's home and studio, in Providence, Rhode Island.
The artists speaks of his current studio in Providence, Rhode Island; working without a studio assistant; the benefits of working with studio assistants without an art-school background; apprenticing with Swiss metalsmith Alexander Schaffner when Bally was 19; his own de facto apprenticeship program with his studio assistants; his parents as role models; his vision at age 19 for his career plan; his early interest in CAD; growing up with Swiss-born parents, both with art/design backgrounds; visiting Switzerland as a child; his father's studies with Buckminster Fuller in the late 1950s; his mother's class with L. Brent Kington, whom Bally later studied with; growing up in Pittsburgh, Pennsylvania; his first home metal shop at nine years old; his first formal metal class at about 14 years old; making and selling jewelry throughout his teens; informal apprenticeship with Jeff Whisner; his father's design firm, launched in his last year of high school; summer studying at the Pennsylvania Governor's School for the Arts; year-long apprenticeship in Switzerland; watching Schaffner make and sell a wide variety of objects, which later informed Bally's own perspective; his continuing relationship with Schaffner; undergraduate studies at Tyler School of Art, Philadelphia, Pennsylvania; studying with Daniella Kerner and Vickie Sedman at Tyler; transferring to Carnegie Mellon University, Pittsburgh, Pennsylvania, to study with Carol Kumata; making a "happiness machine"; transition from jewelry to larger sculptures; using found and scavenged materials; meeting Rosemary Gialamas (Roy) and their eventual elopement; moving to the Boston area; work as an industrial design model-maker; the New York art scene of the 1980s; representation with Archetype Gallery, New York, New York; slow but steady artistic recognition and commercial success of his functional objects; Sliding Perfections, flatware; teaching Gialamas metalsmithing and collaborative works by the two; early teaching experience in adult education classes in Cambridge, Massachusetts, then at Massachusetts College of Art, Boston; return to Pittsburgh in 1989, where Bally took a teaching position at Carnegie Mellon in the design department; studio on Bigelow Boulevard; difficulties in his marriage; a commission from the Society of Arts and Crafts, Boston, Massachusetts, and the beginnings of his traffic sign pieces in a collaborative piece with Gialamas; starting his platters series; the dissolution of his marriage to Gialamas in 1993; meeting Lynn, whom he later married; his love of teaching and his teaching philosophy; teaching at Penland School of Crafts, Penland, North Carolina; move to Providence, Rhode Island, to devote his time to studio work; the pros and cons of craft and arts schools versus university settings; the intersection of art, design, and industry: his Humanufactured line of products; functional work in the late '80s, and the influence of a trip to Haiti in the 1980s; bottle cork pieces; Trirod vessels; "More than One: Contemporary Studio Production" exhibition, American Craft Museum, New York, New York, 1992-94; philosophy of making; working in series form; truss pieces; perforation pieces and Vessel with a Silver Heart (1993); armform series; "Jewelries, Epiphanies" exhibition, Artists Foundation Gallery at Cityplace, Boston, Massachusetts, 1990; inclusion in One of a Kind: American Art Jewelry Today, by Susan Grant Lewin. (New York, NY: Harry N. Abrams, 1994); series Dig Wear and Eat Wear bracelets; Calimbo vessel and the Fortunoff prize; gold Tread Wear brooches in the mid-1990s; creating his first chair; moving from hand-made solo work to furniture and a design and production focus; starting to patent his designs in the mid-1990s; further exploration of design and technique in his chairs; "GlassWear: Glass in Contemporary Jewelry," Museum of Arts and Design, New York, New York, 2009; Pistol Chalice and work with the Pittsburgh gun buyback program; traveling exhibition for the project; Gun Totem; Brave necklace; BroadWay armchair; Subway chair; new techniques for graphics on the furniture; his relationship with former scrapyard Paul Warhola, brother to Andy Warhol; commission work, and the importance of commerce in his career and worldview; commission for Comedy Central television network; the changing craft market and the boom times of the 1980s; work with galleries, including: Patina, Santa Fe, New Mexico; Velvet da Vinci, San Francisco, California; Snyderman-Works, Philadelphia, Pennsylvania; Nancy Sachs Gallery, St. Louis, Missouri; the Society of Arts and Crafts, Boston, Massachusetts; seeing one of his pieces used on a set for a daytime television soap opera and in the movie Sex and the City ; the recent "green" (environmentally conscious) trend; blurring boundaries of design and art and craft; growing acceptance of artist-made and -designed multiples; pros and cons of computer technology in art and craft; the pros and cons of the DIY (do-it-yourself) craft movement; influential writers, including Rosanne Raab, Marjorie Simon, Steven Skov Holt and Mara Holt Skov, Bruce Metcalf, Toni Greenbaum, Matthew Kangas, Gail Brown; his involvement in the Society of North American Goldsmiths; making metal benches for his children. He also recalls Heather Guidero, Julian Jetten, Pam Moloughney, Dennis Kowal, Ursula Ilse-Neuman, Bob Ebendorf, Jason Spencer, Rob Brandegee and Ava DeMarco, Stefan Gougherty, Flo Delgado, L. Brent Kington, Curtis Aric, Ralph Düby, Steve Korpa, Joe Wood, Joe Ballay, Yves Thomann, Andy Caderas, James Thurman, Nicholas (Nico) Bally, Elena Gialamas, James Gialamas, Elvira Peake, Ronald McNeish, Johanna Dahm, Jerry Bennet, Kathleen Mulcahy, Nelson Maniscalco, Tom Mann, Otto Künzli, Stanley Lechtzin, Christopher Shellhammer, David Tisdale, Dean Powell, Daniel Carner, Donald Brecker, Robert Schroeder Phil Carrizzi, Lucy Stewart, Elisabeth Agro, Rachel Layton, Sarah Nichols, Peter Nassoit, Dan Niebels, Mary Carothers, Ward Wallau, Ivan Barnett and Alison Buchsbaum, Jonathan Bonner, Raymond and Patsy Nasher, Beth Gerstein, George Summers Jr., Pavel Opocensky, Buddy Cianci, David Cicilline.
Biographical / Historical:
Boris Bally (1961- ) is a metalsmith and designer who lives and works in Providence, Rhode Island. Bally was educated at Carnegie Mellon University and Tyler School of Art.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 5 hr., 56 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.
Occupation:
Sculptors  Search this
Topic:
Art -- New York (State) -- New York  Search this
Art and computers  Search this
Decorative arts  Search this
Designers -- Rhode Island -- Interviews  Search this
Furniture making  Search this
Jewelry making  Search this
Metal-work -- Study and teaching  Search this
Metal-workers -- Rhode Island -- Interviews  Search this
Models and modelmaking  Search this
Function:
Artists' studios
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.bally09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bally09

Oral history interview with William Underhill

Interviewee:
Underhill, William, 1933-  Search this
Interviewer:
Carney, Margaret, 1949-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Faculty  Search this
Lee Nordness Galleries  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 8
Scope and Contents:
An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.
Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.
Biographical / Historical:
William Underhill (1933- ) is a metalsmith from Wellsville, N.Y. Margaret Carney is an art historian from New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 7 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.
Occupation:
Sculptors -- New York (State)  Search this
Topic:
Art metal-work -- Study and teaching  Search this
Art metal-work -- Technique  Search this
Art -- Economic aspects  Search this
Bronze founding -- Technique  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.underh02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-underh02

Oral history interview with Heikki Seppä

Interviewee:
Seppä, Heikki  Search this
Interviewer:
Herman, Lloyd E.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Students  Search this
Fabergé (Firm)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Society of North American Goldsmiths  Search this
Extent:
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 May 6
Scope and Contents:
An interview of Heikki Seppä conducted 2001 May 6, by Lloyd Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home and studio, Bainbridge Island, Washington.
Seppä speaks of his early childhood in Finland and being placed in a children's home (twice) in the Karelian Isthmus; his mother's move to Canada; his parents' divorce; his educational background including his course of study at the goldsmith school in 1940 and 1941, at age 14, and his lack of role models; the postwar growth of the metal industry; his participation in an exchange program with Denmark; his athletic accomplishments, especially kayaking; his service in the Finnish Army; his employment in Helsinki; producing objects for Georg Jensen; the state of Nordic decorative arts in the 1950s; his marriage and move to British Columbia; working with refrigeration systems; obtaining Canadian and American citizenship; teaching metalsmithing in a community center; winning prizes for metal pieces in Canadian national exhibitions; attending Cranbrook Academy of Art; introducing reticulation to Cranbrook; and his Cranbrook classmates Stanley Lechtzin, L. Brent Kington, Leslie Motch, and teachers Richard Thomas and Alma Eicherman. Seppä describes in detail the history of and process for producing a reticulated surface; he refers to crimping and spraying metal; teaching at Washington University in St. Louis, Missouri, from 1965 to 1992; the origin of his spiculum and shell forms; his books, "Form Emphasis for Metalsmiths" (Ohio: Kent State University Press, 1978) and "From Silversmith's Workshop" (1996 or 1998); commissions; his gradual withdrawal from juried and competitive exhibitions; his use and limitations of preliminary drawings; the silversmith as a maker of expressive objects; and repairs he made to silver pieces made by metalworkers who did not understand silver. He discusses a difficult period marked by his early retirement in 1992, his wife's death in 1993, and declining commissions.
He talks about becoming reacquainted with metalsmith Laurie Lyall in 1997 and moving to Bainbridge Island, where he now lives with Lyall. SNAG (the Society of North American Goldsmiths), its founders, membership, and five-year dormancy are discussed as is the organization's revitalization. Seppä speaks about stylistic influences; technique and style; his work-related travel; and his admiration for Jack da Silva's sculpture. He comments on the homogenization of the arts; the difference between jewelers and metalsmiths trained in art schools and vocational schools; the distinction between art and craft; the desire of craftsmen to be called artists; the function of critical writing and the lack thereof; Metalsmith magazine; Bruce Metcalf as critic; his commissioned ecclesiastical pieces, including a triangular chalice for an Episcopal church in St. Louis; metalsmiths and manufacturing companies; Fabergé-trained metalsmiths; reticulation at Fabergé's shop; enamel and enamelers at Fabergé; and gemology. Seppä also speaks about his future pursuits and artistic contributions; silver as an expressive medium; and silver as a material for utilitarian objects. He recalls Eero Saarinen, Aline Saarinen, Loja Saarinen, Nellie Peterson, Alma Eicherman, Robert Ebendorf, Michael Good, David Jaworski, and others.
Biographical / Historical:
Heikki Seppä (1927-) is a jeweler and metalsmith from Bainbridge Island, Washington. Lloyd Herman (1936-) is a former director of the Smithsonian Institution's Renwick Gallery and from Seattle, Washington.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 3 hr., 51 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:
Silversmiths  Search this
Topic:
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Metal-work -- Technique  Search this
Metal-workers -- Washington (State) -- Seattle -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.seppa01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-seppa01

Oral history interview with Hiroko Sato Pijanowski

Interviewee:
Pijanowski, Hiroko Sato, 1942-  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Michigan -- Faculty  Search this
Pijanowski, Eugene, 1938-  Search this
Extent:
123 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 May 13-15
Scope and Contents:
An interview of Hiroko Sato Pijanowski conducted 2003 May 13-15, by Arline F. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Honolulu, Hawaii.
Pijanowski speaks of her American/Japanese identity; childhood in Japan and her small family; the Christian schools she attended; Geidai University; learning Japanese jewelry design in the U.S.; attending Cranbrook Academy of Art; her thesis on line-inlay, a Japanese technique; meeting Eugene (Gene) Pijanowski, her future husband, at Cranbrook; life in Japan with Gene; moving back to the U.S.; her teaching philosophy; teaching at the University of Michigan; computers and other technological advances that have changed the way metals are taught; her presentation at a 1999 SNAG conference, "A Look Into the Future: The Implementation of Computer Aided Design and Manufacturing for Metalsmiths"; the importance of sharing information; her creative work and its relation to teaching; working with Japanese paper cord [mizuhiki]; Zen philosophy; her reoccurring childhood dreams; her line of jewelry "Hiroko Sato Pijanowski"; and the different types of molds she has made in wax, silicon, and rubber. Pijanowski also discusses jewelry tradeshows; her series Gentle Solitude; Issey Miyake's approach to design and his influence; her haiku club; orchids as inspiration; scuba diving experiences; the World Crafts Conference in Kyoto in 1978; the importance of exhibitions, such as "International Jewelry" in Vienna and "Poetry of the Physical" at the American Craft Museum, New York; galleries such as Helen Drutt in Philadelphia and Yaw Gallery in Michigan; the custom of "renting a gallery space" in Japan; and she concludes the interview with a discussion of the effects of of her depression. Pijanowski also recalls Ruth Taubman, Jim Hopfensperger, Leslie Leupp, Michael Rodemer; Stanley Lechtzin, Herman Junger, Albert Paley, David Watkins, Bob Ebendorf, Otto Kunzli, Michael Rowe, and others.
Biographical / Historical:
Hiroko Sato Pijasnowski (1942- ) is a metalsmith from Honolulu, Hawaii. Arline M. Fisch is a jeweler.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 5 hr., 42 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:
Jewelry making -- Equipment and supplies  Search this
Jewelry making -- Study and teaching  Search this
Jewelry making -- Technique  Search this
Jewelers -- Hawaii -- Interviews  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Technique  Search this
Japanese American art  Search this
Japanese American women  Search this
Metal-workers -- Hawaii -- Interviews  Search this
Asian American artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.pijanoh03
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pijanoh03

Oral history interview with Harold O'Connor

Interviewee:
O'Connor, Harold, 1941-  Search this
Interviewer:
Zeiger, Dinah  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alberta College of Art + Design -- Faculty  Search this
Instituto Allende -- Student  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Handicrafts (Penland, N.C.) -- Faculty  Search this
University of New Mexico -- Student  Search this
Western State College of Colorado -- Student  Search this
Brancusi, Constantin, 1876-1957  Search this
Calò, Aldo, 1910-1983  Search this
Chillida, Eduardo, 1924-2002  Search this
Jensen, Georg Arthur, 1866-1935  Search this
Noguchi, Isamu, 1904-1988  Search this
Reiling, Reinhold, 1922-  Search this
Ulrich, Klaus  Search this
Extent:
63 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2007 October 11-31
Scope and Contents:
An interview of Harold O'Connor conducted 2007 October 11 and 31, by Dinah Zeiger, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at O'Conner's studio, Dunconor Workshops, in Salida, Colorado.
O'Connor speaks of his childhood in New York; his father, who was a doctor, and his mother, who was a craft artist; an early exposure to the craft field; attending Western State College in Gunnison, Colorado and studying psychology for one year before returning to Rochester, N.Y.; working in occupational therapy and making commercial apple-peeling machines; returning to WSU, becoming interested in anthropology and transferring to the University of New Mexico in Albuquerque; taking classes in metalwork during his senior year; being inspired by Georg Jensen; attending international schools to learn metalsmithing and goldsmithing, including the National Arts and Crafts School in Copenhagen, Denmark, the National Arts School in Helsinki, Finland, and Kunst und Werkschule in Pforzheim, Germany; the differences between apprenticeship programs and technical schools; working as the first resident metal craftsman at Penland School of Crafts in Penland, N.C.; moving with his wife to Crested Butte, Colorado and setting up a small studio in an alley; returning to UNM to complete his undergraduate degree before attending Instituto Allende in San Miguel Allende, Mexico and receiving his M.F.A.; teaching jewelry for four years at Alberta College of Art and Design at Calgary, Canada and designing workshops; returning to Crested Butte and running his own private school and two-week workshops; identifying as an international artist; his exhibition and show history; his relationship with galleries; self-publishing jewelry and metalsmithing technique books; working in series; finding inspiration through various means and the great diversity in his work over the past 30 years; the materials he has worked in over the years, including labradorite, silver, copper, titanium, and gold; his use of traditional hand tools; his studio space; working intuitively without drawings; the creative stimulation found in Taos, N.M.; his admiration of the work of Eduardo Chillida, Aldo Calò, Constantin Brancusi and Isamu Noguchi; traveling and teaching experiences in the Czech Republic, Austria, the Arctic, South Korea, and other locations; and plans for future travel. O'Connor recalls Klaus Ulrich, Reinhold Reiling, and others.
Biographical / Historical:
Harold O'Connor (1941- ) is a goldsmith in Salida, Colorado. Dinah Zeiger (1947- ) is an art historian from Denver, Colorado.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Goldsmiths -- Colorado -- Interviews  Search this
Metal-work -- Study and teaching  Search this
Metal-workers -- Colorado -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.oconno07
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-oconno07

Oral history interview with Gary L. Noffke

Interviewee:
Noffke, Gary  Search this
Interviewer:
Douglas, Mary F., 1956-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art  Search this
Eastern Illinois University -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Ring Show  Search this
Southern Illinois University (System) -- Students  Search this
Stetson University -- Faculty  Search this
University of Iowa -- Students  Search this
Brown, William J. (William Joseph), 1923-1992  Search this
Coulter, Lane, 1944-  Search this
DeRuiter, Garret  Search this
Dreisbach, Fritz  Search this
Ebendorf, Robert, 1938-  Search this
Erbe, Gary T., 1944-  Search this
Fike, Phillip G., 1927-1997  Search this
Gingras, Toms  Search this
Hu, Mary Lee, 1943-  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Loloma, Charles, 1921-  Search this
Merrit, Barry  Search this
Messersmith, Fred  Search this
Nettles, Dickie  Search this
Norell, Lydia  Search this
Pujol, Elliot  Search this
Streetman, Evon  Search this
Wilde, Sue  Search this
Zelmanoff, Marci  Search this
Extent:
106 Pages (Transcript)
4 Items (Sound recording: 4 sound files (4 hr., 49 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 December 4-5
Scope and Contents:
An interview of Gary L. Noffke conducted 2010 December 4 and 5, by Mary Douglas, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Noffke's home, in Farmington, Georgia.
Noffke speaks of growing up in Sullivan, Illinois; disliking school; the absence of formal art education before college and doing art on his own; his grandfather's farm; attending Eastern Illinois University to study painting, receiving a BS and MS in education with a major in art; what classes he took and his professors; his opinion about art programs in universities; the influence of the Vietnam draft; attending the University of Iowa and his introduction to metals; transferring to Southern Illinois University and his peers; learning techniques with metals; early metal work; working at Stetson University in Deland, Florida; working with colleagues and students and its influence on work; experimenting with different techniques; transition from graduate school to professional life; developing different methods for metal work, and motivations; how the notion of form and function has changed in design, especially regarding metal work and artists; the dynamics of working with students throughout the years; discusses in detail individual works and his approaches and anecdotes; his attraction to rings, simple hardware, and traditional, ancient forms; other teaching jobs before landing at the University of Georgia; building his house and studio; working in the Italy program at Cortona; his experiences at Cranbrook, Michigan and Summervale, Colorado; current and past exhibitions including the National Ring Shows; entering competitions; how the hand-made motif is important in his work; the connotation of labels of craft artist; his casual approach to the art market and formalities in the art world. Noffke also recalls Garret DeRuiter, Brent Kington, Elliot Pujol, May Lee Hu, Marci Zelmanoff, Dickie Nettles, Robert Ebendorf, Gary Erbe, Phil Fike, Bill Brown, Evon Streetman, Lane Coulter, Sue Wilde, Lydia Norell, Fred Messersmith, Tom Gingras, Charles Loloma, Fritz Dreisbach, Barry Merrit, and others.
Biographical / Historical:
Gary L. Noffke (1943- ) is a goldsmith in Farmington, Georgia. Mary Douglas (1956- ) is a curator and artist in Statesville, North Carolina.
General:
Originally recorded on 4 SD memory cards. Reformatted in 2010 as 4 digital wav files. Duration is 4 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.
Topic:
Metal-work -- Study and teaching  Search this
Metal-work -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.noffke10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-noffke10

Oral history interview with John Paul Miller

Interviewee:
Miller, John Paul, 1918-  Search this
Interviewer:
Yager, Jan, 1951-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cleveland School of Art -- Faculty  Search this
Cleveland School of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Miller, Frederick A.  Search this
Extent:
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 August 22-23
Scope and Contents:
An interview of John Paul Miller conducted 2004 August 22-23, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Brecksville, Ohio.
Mr. Miller speaks of spending summers with his grandparents in central Pennsylvania; growing up in Cleveland, Ohio; taking art classes as a child at the Cleveland Museum of Art and in school; participating in theater and set design; attending the Cleveland School of Art and majoring in industrial design; meeting fellow student Fred Miller; working as a film editor; directing a documentary in Alaska; painting murals while in the army; exhibiting early jewelry in the "May Show;" traveling cross-country with silversmith Baron Erik Fleming; researching and experimenting with the granulation process; visiting museums in Europe; teaching at the Cleveland School of Art; being influenced by various books; choosing to work with metal; and pricing and selling his pieces. Mr. Miller also speaks of the enameling process; exhibiting in various local, national, and international shows; sharing a studio with Fred Miller; making gold granules; his work in museum collections; being inspired by Fabergé; making functional, wearable jewelry; the role of nature in his artwork; assembling his pieces; corresponding with German jeweler Elizabeth Treskow; working at Potter and Mellen; traveling throughout Europe; moving to Brecksville, Ohio, and building a home studio; participating in the American Craft Council; making films on metalsmith techniques; subscribing to craft publications; how crafts have changed since he started working; how American and international jewelry compare; his design philosophy; plans for the future; and balancing teaching with studio work. Mr. Miller also recalls Otto Ege, Kenneth Bates, Viktor Schrekengost, Harry Bertoia, Margret Craver, Alma Eikerman, Margaret De Patta, Toshiko Takaezu, Robert von Neumann, Peter Voulkos, Alexander Calder, John Marshall, William Harper, Solve Holquist, Anni Albers, and others.
Biographical / Historical:
John Paul Miller (1918- ) is a jeweler, enamelist, goldsmith, and educator from Brecksville, Ohio; Jan Yager is a jeweler and metalsmith from Philadelphia, Pennsylvania.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 7 hrs., 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.
Topic:
Jewelry making -- Economic aspects  Search this
Jewelry making -- Technique  Search this
Metal-work -- Technique  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.miller04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-miller04

Oral history interview with Fred Fenster

Interviewee:
Fenster, Fred, 1934-  Search this
Interviewer:
Yager, Jan, 1951-  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:
119 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 August 9-10
Scope and Contents:
An interview of Fred Fenster conducted 2004 August 9-10, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Sun Prairie, Wisconsin.
Fenster speaks of his parents and growing up in the Bronx; getting his degree in industrial arts from City College of New York; becoming interested in working with metals; setting up his first studio and making silver jewelry; getting married; teaching industrial arts for two years at a junior high school in the Bronx; studying metal work at the Cranbrook Academy of Art; working in a metal shop; writing his thesis on pewter work; doing commissioned projects while at Cranbrook; showing his work in the graduate exhibition; working as an Army crafts instructor; teaching metal work at the University of Wisconsin; his teaching philosophy; having a studio at home; teaching workshops at many places including Penland School of Crafts; the influence of other artists and periodicals on his work; teaching a workshop in Taiwan; the process of making a piece in his studio.
Fenster also speaks of his favorite piece that he has made; choosing tools; designing and making Kiddush cups; pricing his work; the importance of function in his work; choosing designs, surfaces, and types of metal; being influenced by ironwork; learning problem solving skills from his father; participating in exhibitions; visiting museums; the influence of aboriginal artifacts and tools; visiting Australia, New Zealand, and Japan; his relationship with collectors; preparing for his retrospective; working on commission; how the craft market has changed; what some of his students are doing now; applying for grants; the influence of Scandinavian design on his work; being a member of many metal and craft organizations; and retiring and plans for the future. Fenster also recalls Al Pine, Bernard Bernstein, Richard Thomas, Michael Jerry, Don Haskins, Zoltan Sepeshy, Stanley Lechtzin, L. Brent Kington, Harvey Littleton, Arthur Vierthaler, Eleanor Moty, Mary Ann Scherr, Jack Prip, Art Smith, Bill Brown, Chunghi Choo, Phillip Morton, and others.
Biographical / Historical:
Fred Fenster (1934- ) is a metalsmith of Sun Prairie, Wisconsin. Jan Yager is a jeweler and metalsmith from Philadelphia, Pennsylvania.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 17 digital wav files. Duration is 7 hr., 11 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:
Metal-work -- Technique  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Equipment and supplies  Search this
Metal-workers -- Wisconsin -- Interviews  Search this
Metal-work -- Economic aspects  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.fenste04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fenste04

Oral history interview with Mary Ann Scherr

Interviewee:
Scherr, Mary Ann, 1931-  Search this
Interviewer:
Douglas, Mary F., 1956-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Kent State University -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parsons School of Design -- Faculty  Search this
Penland School of Handicrafts  Search this
Extent:
71 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 April 6-7
Scope and Contents:
An interview of Mary Ann Scherr conducted 2001 April 6-7, by Mary Douglas, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
This interview took place in the artist's home and studio, Raleigh, N.C.
Biographical / Historical:
Mary Ann Scherr (1921- ) is a jeweler from Raleigh, N.C. Mary Douglas (1956-) is a curator at the Mint Museum of Craft and Design in Charlotte, N.C.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 34 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:
Jewelry making -- Equipment and supplies  Search this
Jewelry making -- Technique  Search this
Jewelry making -- Study and teaching  Search this
Jewelry -- Design  Search this
Jewelers -- North Carolina -- Raleigh -- Interviews  Search this
Metal-work -- Technique  Search this
Art -- Philosophy  Search this
Design, Industrial  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.scherr01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-scherr01

Oral history interview with Michael John Jerry

Interviewee:
Jerry, Michael John, 1937-  Search this
Interviewer:
Yager, Jan, 1951-  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
Society of North American Goldsmiths  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Extent:
159 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 November 15-16
Scope and Contents:
An interview of Michael John Jerry conducted 2004 November 15-16, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Santa Fe, N.M.
Jerry speaks of his parents' background and their careers as artists and educators; his father, Sylvester Jerry's, work for the WPA; his father's role as director of the Wustum Museum of Fine Arts in Racine, Wisconsin; living at the museum during his childhood; taking art classes at the museum and industrial arts classes in school; doing metalwork in high school; winning the Scholastic Art Award; attending the Rochester Institute of Technology, School of American Craftsmen; working for Ron Pearson at Shop One and Toza Radakovich; attending Cranbrook Academy of Art; finishing his degree back at the School of American Craftsmen; making liturgical pieces on commission; the New England Silver companies; deciding to teach and taking a job at the State University of Wisconsin at Stout; attending the first Society of North American Goldsmiths conference; attending L. Brent Kington's blacksmithing workshop in Carbondale, Illinois; and teaching at Syracuse University. Jerry also speaks of some of his former students and what they are doing now; his teaching philosophy along with teaching partner Barbara Walter; the difficulties of teaching; the formation of SNAG; how industrial design has changed during his career; teaching at summer art schools; why he decided to work with metal; exhibiting his work; pricing his work; living in London and the metalsmith community there; living in Florence, Italy; how traveling has influenced his work; his tools and setup of his studio; the art community in Santa Fe; the process of designing his pieces; making models and drawings; his current project and working process; design influences; collecting ethnic crafts; making jewelry that is wearable; how the craft market has changed during his career; participating in craft fairs; having pieces at galleries and museums; the need for craft criticism and periodicals; the international versus American metal tradition; and current problems with university art programs. Jerry also recalls John Paul Miller, Hans Christensen, Jack Prip, Fred Fenster, Stanley Lechtzin, Robert Ebendorf, Olaf Skoogfors, Michael Monroe, John Marshall, Alex Bealer, Tom Markusen, Bruce Metcalf, Arthur Pulos, Kurt Matzdorf, Philip Morton, Charles Laloma, Henry Moore, and others.
Biographical / Historical:
Michael John Jerry (1937- ) is a metalsmith and educator from Santa Fe, N.M. Jan Yager (1951- ) is a jeweler and metalsmith from Philadelphia, Pennsylvania.
General:
Originally recorded as 7 sound discs. Reformatted in 2010 as 12 digital wav files. Duration is 9 hr., 16 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:
Art -- Economic aspects  Search this
Metal-work -- Technique  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Equipment and supplies  Search this
Metal-work -- Economic aspects  Search this
Metal-workers -- New Mexico -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jerry04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jerry04

Oral history interview with Robert Ebendorf

Interviewee:
Ebendorf, Robert, 1938-  Search this
Interviewer:
Rosolowski, Tacey A.  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:
96 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 April 16-18
Scope and Contents:
An interview of Robert Ebendorf conducted 2004 April 16-18, by Tacey Rosolowski, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Greenville, N.C.
Ebendorf speaks of growing up in Topeka, Kansas; spending time in his grandparents' tailor shop; his relationship with his parents; having difficulties in school; making jewelry in arts and crafts class; meeting Carlyle Smith and deciding to study art at the University of Kansas; staying at the University of Kansas to get his MFA in Three-Dimensional Design; taking part in important early exhibitions including the "Wichita National"; collaging in his artwork and letters; how his art professors including, Robert Montgomery, mentored him; studying metal craft in Norway on a Fulbright; getting a job teaching at Stetson University; returning to Norway on a Tiffany Grant and working in a goldsmith shop; rebuilding the metals program at the University of Georgia; traveling to Norway once again and designing for the David Anderson Firm; experimenting with mixed media and found objects in his work; exhibiting at the Susan Cummins Gallery; hunting for objects with his daughter Brittany; teaching at SUNY New Paltz; using the ColorCore material; expressing both the masculine and feminine in his art; and making crafts with his mother.
Ebendorf also speaks of his current daily routine and the importance of a home studio; the influence of Scandinavian art on his work, especially the art of Claus Bury; doing work on commission; teaching at Penland School of Crafts and Haystack Mountain School of Crafts; taking part in the founding of the Society of North American Goldsmiths and serving as President; teaching at East Carolina University; preparing students for a career in metalsmithing; the changing trends in American and European jewelry; organizing the "Conversations" series of workshops at SUNY New Paltz; reading various art publications and the need for more critical writing about craft; selling work at craft fairs; the challenges of working with various galleries and museums; the importance of his work Lost Souls and Found Spirits; his recent retrospective "The Jewelry of Robert Ebendorf: A Retrospective of Forty Years;" and his current work and plans for the future. Ebendorf also recalls Kurt Matzdorf, Fred Woell, Bill Brown, Philip Morton, Ronald Pearson, L. Brent Kington, Linda Darty, Jamie Bennett, Earl Krentzin, and others.
Biographical / Historical:
Robert Ebendorf (1938- ) is a metalsmith from Greenville, North Carolina. Tacey A. Rosolowski is an art historian from Washington, D.C.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 6 hr., 29 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:
Art metal-work  Search this
Metal-work -- Economic aspects  Search this
Metal-work -- Study and teaching  Search this
Metal-work -- Equipment and supplies  Search this
Metal-workers -- North Carolina -- Interviews  Search this
Jewelers -- North Carolina -- Interviews  Search this
Jewelry making -- Equipment and supplies  Search this
Jewelry making -- Technique  Search this
Jewelry making -- Study and teaching  Search this
Jewelry -- Design  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ebendo04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ebendo04

L. Brent Kington papers

Creator:
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Names:
American Craft Council  Search this
Artist-Blacksmith's Association of North America  Search this
Cranbrook Academy of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale -- Faculty  Search this
Yellin, Samuel, 1885-1940  Search this
Interviewer:
Hsu, Ilin  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Interviews
Slides (photographs)
Sketches
Sound recordings
Date:
1944-2012
Summary:
The papers of influential blacksmith, sculptor, metalsmith and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence relating primarily to exhibitions, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material. An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Scope and Content Note:
The papers of influential blacksmith, sculptor, metalsmith, and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material.

Correspondence in Series 1 relates primarily to exhibitions in the United States at institutions such as the the American Craft Museum, the Evansville Museum of Arts and Science, and the National Ornamental Metal Museum, in which Kington's work was represented.

Kington's education at Cranbrook Academy of Art, his career at Southern Illinois University, his involvement with various professional organizations, his appearances at conferences and workshops, and his relationships with individual galleries, are more fully represented in Series 2: Subject Files.

The collection also includes printed matter, including exhibition announcements and catalogs for group and solo exhibitions in which Kington's work was featured, and publications containing articles about Kington.

Photographs in the collection include images of Kington's artwork and also picture Kington at various stages throughout his career. Audiovisual material includes an oral history interview with Kington from 2001, and two video recordings of a blacksmith workshop and a program entitled Brent Kington: Image of an Artist.

An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.
Arrangement:
The collection is arranged into six series. Original arrangement has generally been maintained throughout the collection, with some merging of chronological correspondence in Series 1 to facilitate access.

Series 1: Correspondence, 1955-2004, undated (box 1; 0.8 linear ft.)

Series 2: Subject Files, 1956-2005, undated (box 1-3; 1.6 linear ft.)

Series 3: Printed Material, 1952-2003, undated (box 3-4, OV 5; 0.9 linear ft.)

Series 4: Photographs, circa 1944-2001 (box 4; 0.4 linear ft.)

Series 5: Audiovisual Material, 1982, 2001, undated (box 4; 4 items)

Series 6: Unprocessed Addition to the L. Brent Kington Papers, 1956-2012 (boxes 6-12, OV 13; 5.2 linear ft.)
Biographical Note:
L. Brent Kington was born in Topeka, Kansas, in 1934. He received a BFA from the University of Kansas, Lawrence, in 1957 and an MFA from Cranbrook Academy of Art in 1961. Kington began his career primarily as a silversmith working with small-scale objects such as jewelry, silverware, and toys, and then became interested in using forged iron to create sculpture. He sought the help and instruction of the few blacksmiths he could find working in a "traditional" style and began working with large-scale sculptures forged in iron and steel, weathervanes, and other kinetic sculpture. Kington's subsequent research, such as his exploration of forge welding techniques of iron and his experimentation with laminated, non-ferrous alloys, constituted an important contribution to the resurgence of traditional blacksmithing and was highly influential in the fields of blacksmithing and metalsmithing in general.

Kington served as Director of the School of Art and Design at Southern Illinois University in Carbondale from 1981 to 1994. He was a lecturer at SIU from 1961 to 1962, assistant professor from 1962 to 1967, associate professor from 1967 to 1972, professor from 1972 to 1996, and is currently professor emeritus. A committed educator and an avid spokesman for the arts, he has been honored many times as a guest lecturer, visiting artist, exhibit juror, workshop demonstrator, and panelist in the United States and abroad. In 1987 he spent a summer in Cortona, Italy as guest professor in the University of Georgia Studies Abroad Program.

Since 1962, Kington's sculpture and metalwork has been shown in more than 350 group and solo exhibitions in museums and galleries throughout the United States, Europe, Asia, Africa, Canada, Mexico, and South America. Over the years Kington has served in various professional organizations. He has been a Trustee of the American Craft Council, Director of the Artist-Blacksmith Association of North America (ABANA), and President of the Society of North American Goldsmiths (SNAG). In 1978 he was elected to the American Craft Council's Academy of Fellows and has been the recipient of two Artist Fellowship grants from the National Endowment for the Arts.

Kington continues to work from his home and studio in Makando, Illinois.
Related Material:
The Archives also has a transcribed interview of L. Brent Kington, conducted May 3-4, 2001 by Mary Douglas for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. The interview was conducted in Kington's home and studio in Makando, Illinois.
Provenance:
The collection was donated to the Archives of American Art in installments by L. Brent Kington from 2001 to 2012. Materials donated from 2007 to 2012 remain unprocessed.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The L. Brent Kington papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Blacksmithing  Search this
Blacksmiths -- Illinois  Search this
Sculptors -- Illinois  Search this
Art metal-workers  Search this
Art metal-work -- Study and teaching  Search this
Genre/Form:
Video recordings
Photographs
Interviews
Slides (photographs)
Sketches
Sound recordings
Citation:
L. Brent Kington papers, 1944-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kinglbre
See more items in:
L. Brent Kington papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kinglbre

Phillip Fike papers

Creator:
Fike, Phillip G., 1927-1997  Search this
Names:
American Craft Council  Search this
Wayne State University  Search this
Maloof, Sam  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1940-1997
Scope and Contents:
Biographical material, correspondence, writings, photographs, works of art, and printed material documenting the career of metalworker and teacher Phillip Fike.
Biographical material includes degree certificates, awards from the American Craft Council, curriculum vitae, bibliographies, and lists of awards. Correspondence is with friends, family, professional associates, galleries, and universities. Notable correspondents include the American Craft Council, Wayne State University, and artist Sam Maloof, among others. Writings include studio notebooks, notes, drawings for designs of jewelry and sculptures, lecture notes, and manuscripts for Fike's chapter on niello that appeared in the monograph, "Metals Technic: a Collection of Techniques for Metal Smiths," Brynmorgen Press, 1992. Photographs are of Fike at work, in galleries, and his metal pieces. Works of art include annotated design schematics in pen and pencil of Fike's jewelry and sculptures. Printed material includes small exhibition catalogs and announcements, and newspaper and magazine clippings representing all stages of Fike's career.
Biographical / Historical:
Phillip Fike (1927-1997) was a metalworker and teacher in Detroit, Mich.
Provenance:
Donated 2013 by Clare Brackett Morison, Phillip Fike's partner, via Ayers Morison Jr., estate of Clare Brackett Morison.
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:
Jewelers -- Michigan -- Detroit  Search this
Metal-workers -- Michigan -- Detroit  Search this
Sculptors -- Michigan -- Detroit  Search this
Topic:
Metal-work -- Technique  Search this
Genre/Form:
Drawings
Identifier:
AAA.fikephil
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fikephil

Oral history interview with Albert Paley

Interviewee:
Paley, Albert  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Lechtzin, Stanley, 1936-  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 Dec. 2
Scope and Contents:
An interview of Albert Paley conducted 1982 Dec. 2, by Robert F. Brown, for the Archives of American Art.
Paley speaks of his training at the Tyler School of Art under Stanley Lechtzin; his early and continuing compulsion to explore difficult techniques; his rapid rise to prominence through his ornamental ironwork; and his important commissions.
Biographical / Historical:
Albert Paley (1944- ) is an art metal worker and jewelry designer from Rochester, N.Y.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 44 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 others.
Topic:
Art metal-work  Search this
Jewelry making  Search this
Ironwork  Search this
Jewelers -- New York (State) -- Interviews  Search this
Metal-workers -- New York (State) -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.paley82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-paley82

Augustus Foster Rose papers

Creator:
Rose, Augustus F. (Augustus Foster), 1873-1946  Search this
Names:
Rhode Island School of Design  Search this
Extent:
0.8 Linear feet
0.6 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1895-1996
Scope and Contents:
Biographical material; general correspondence file, ca. 1902-1947; project file, 1917; writings by Rose and others describing techniques and styles in jewelry and other metal works, ca. 1906-1938; speeches, 1945 and undated; Rose's recipes for metals and finishes, undated; notes, sketches and studies by Rose done as a student, ca. 1895-1945; teaching notes, 1906; and clippings, ca. 1916-1990, school bulletins, and other printed material. Also found are photographs of Rose, his family and associates, ca. 1914-1945 and undated; 4 phonographs of a lecture given by Rose, 1932; a subject file on the Rhode Island School of Design, ca. 1907-1931; and miscellany, ca. 1912-1928.
ADDITION: Notes, lectures, and writings on various aspects of metalsmithing and jewelry making; reference clippings; tearsheets; and published technical material; photographs of metal work; manufacturers and refiners brochures; and museum publications. and invitations and exhibition catalog for "Masters of American Metalsmithing," organized by the National Ornamental Museum, Memphis, Tenn., 1988.
Biographical / Historical:
Metalworker, jewelry designer, instructor. Taught at the Rhode Island School of Design and in the Rhode Island public school system.
Provenance:
Donated 1994 and 1997 by Margaret and Elizabeth Rose, the daughters of Augustus Foster Rose.
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:
Jewelers  Search this
Metal-workers  Search this
Topic:
Metal-workers  Search this
Jewelry making  Search this
Art metal-work  Search this
Metal-work  Search this
Identifier:
AAA.roseaugu
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-roseaugu

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