An interview with Kim Jones conducted 2020 August 15, by Melissa Ho, for the Archives of American Art's Pandemic Oral History Project at Jones' home in New York, New York.
Biographical / Historical:
Kim Jones (1944- ) is a multimedia and performance artist in New York, NY. Jones' alter-ego is Mudman.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
Conceptual artists -- New York (State) -- New York Search this
An interview with Chitra Ganesh conducted 2020 September 1, by Benjamin Gillespie, for the Archives of American Art's Pandemic Oral History Project, at Ganesh's home in Brooklyn, New York.
Biographical / Historical:
Chitra Ganesh (1975 - ) is an multimedia artist in Brooklyn, New York. Ganesh examines feminine and queer representation in mythology and pop culture through media including digital collage, comics, sculpture, and murals.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- Brooklyn Search this
An interview with Cory Arcangel conducted 2020 August 14, by Jacob Proctor, for the Archives of American Art's Pandemic Oral History Project, at Arcangel's home in Stavanger, Norway.
Biographical / Historical:
Cory Arcangel (1978- ) is a multi-disciplinary artist in Stavanger, Norway and Brooklyn, New York. Arcangel is well-known for his modifications of popular video games.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- Brooklyn Search this
An interview with Andrea Zittel conducted 2018 January 8 and 9, by Hunter Drohojowska-Philp, for the Archives of American Art, at the artist's studio in Joshua Tree, California.
Zittel discusses life as an artist and designer at her studio and production company A-Z West in Joshua Tree; growing up in Escondido, California and visiting her grandparents' ranch in El Centro, California as a child and the attraction she felt to the desert; her year in Germany as a schoolchild; her rebellious years as a teenager; her undergraduate work at San Diego State University, her studies of photography and art there and the influence of the photographer Walter Cotten; her subsequent graduate work at the Rhode Island School of Design; her work on the staff at Pat Hearn Gallery; her purchase of a building in Brooklyn and the establishment of A-Z East; her work with breeding animals and insects in her apartment and her living spaces and the first Breeding Unit; the creation of her first self-contained Living Unit; her work with custom-designed uniforms meant for long-term wear; and her early success with significant mid-'90s shows at galleries and museums in the United States and Europe.
Zittel also describes her relocation from New York to Joshua Tree in the Mojave Desert; her relationship with the artist Allan McCollum; her expanding series of sculptural furniture and living pieces including Fleds, Ottoman Furniture, Travel Trailers and the Management and Maintenance Unit; life in the Mojave Desert and the historical impact of the post-war Homestead Act on her part of San Bernardino County; her son Emmett and his father David Dodge; her partner, the musician Katy Davidson; the integration of textiles and handcraft in her work; her work with the arts organization High Desert Test Sites; her clothing production effort Smockshop; and her thoughts about having A-Z West be self-sustaining and creating a legacy.
Zittel also recalls Gillian Theobald; Janet Cooling; Rob Storr; Peter Watson; Andrea Rosen; Dan Wineman; Rainer Ganahl; Craig Kalpakjian; Mike Ballou as well as Klaus Biesenbach; Sebastian Clough; Shaun Regen; Kip Fjeld; Judith Solodkyne; and Brooke Hodge, among others.
Biographical / Historical:
Andrea Zittel (1965- ) is a multimedia artist based in Joshua Tree, California and New York, New York. Hunter Drohojowska-Philp is a writer in Los Angeles, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Artists -- New York (State) -- New York Search this
An interview with Matt Saunders conducted 2020 September 3, by Jacob Proctor, for the Archives of American Art's Pandemic Oral History Project at Saunders' home in New York, New York.
Biographical / Historical:
Matt Saunders (1975 - ) is a multimedia artist in Cambridge, Massachusetts and New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
An interview with Paul Ramírez Jonas conducted 2020 July 7, by Josh Franco, for the Archives of American Art's Pandemic Oral History Project at Ramírez Jonas' home in Brooklyn, New York.
Biographical / Historical:
Paul Ramírez Jonas (1965- ) is a social practice artist in Brooklyn, New York. Ramírez Jonas was born in Pomona, California and raised in Honduras. He is active in Brooklyn, New York, and has taught at Hunter College since 2007.
Related Materials:
The Archives of American Art also holds the Paul Ramírez Jonas papers.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- Brooklyn Search this
Educators -- New York (State) -- Brooklyn Search this
An interview of Vija Celmins conducted 2009 February 11-October 15, by Julia Brown, for the Archives of American Art, at the Celmins' home and studio, in New York, New York.
Celmins speaks of her family's Latvian roots; experiencing World War II as a child; surviving and overcoming the trauma of World War II; the difficulties of being a refugee and moving to the United States; the influence of books on her imagination and art; expressing herself through drawing after moving to Indiana; learning English; studying art at the John Herron School of Art; attending summer school at Yale University; moving to California to obtain her MFA at UCLA; using art to grapple with and understand both her past and her emotions; experimenting with various mediums; discovering the pencil as an art material; the difficulties of printmaking; experimenting with abstraction and Pop art; deciding to drop painting and collage work; finding her own artistic philosophy and practices; her love of nature and its impact on her work; not conforming to the male-dominated, L.A. art scene; her decision to leave L.A. for NYC. Celmins also speaks about Tony Berlant, Chas Garabedian, Ed Ruscha, David Stuart, Philip Guston, Chuck Close, Willem de Kooning, Brice Marden, Joan Mitchell, Robert Irwin, and Jasper Johns.
Biographical / Historical:
Vija Celmins (1938- ) is a multimedia artist in New York, New York. Julia Brown (1951- ) is an independent scholar in San Antonio, Texas.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 33 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:
Painters -- New York (State) -- New York Search this
Multimedia artists -- New York (State) -- New York Search this
An interview with Frederick Weston, conducted 2016 August 31 and September 5, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Weston's home in New York, N.Y.
Weston speaks of his childhood in Detroit; early understandings of his gender; attending Ferris State University in Michigan; moving to New York in 1973; New York nightclub culture before the AIDS crisis; studying at FIT and working in the fashion industry; beginning to consider himself an artist in the late 1990s after years of collage work in street settings; being diagnosed with HIV in the mid-1990s; imbuing his art with his personal experience; his body of work in photography, installations, and poetry; his health care and regiment since being diagnosed with HIV; evolutions in his personal outlook since being diagnosed; the trajectory of his sex life from adolescence; moving into his current apartment in Chelsea; and reflections on America's racial situation. Weston also recalls Claude Payne, Apollonia, Billy Blair, Stephanie Crawford, Franz Renard Smith, Dr. Joseph Sonnabend, Bruce Benderson, and others.
Biographical / Historical:
Interviewer Frederick Weston (1946- ) is a multimedia artist in New York, N.Y. Interviewee Theodore Kerr (1979- ) is a writer and organizer in New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Marilyn Minter conducted 2011 Nov. 29-30, by Judith Olch Richards, for the Archives of American Art, at Minter's studio, in New York, N.Y.
Minter speaks of her childhood and parents, including a body of work surrounding her drug addled mother that introduced her to photography; her years as a student of Jerry Uelsmann at University of Florida; time speat working as a plumber, which eventuated in a job with Kenneth Snelson; Brief time as an abstract expressionist with Christophe Colehauffer; rise to sobriety; shows with Max Protetch; shows at Gracie Manor, White Columns, and Nicola Jacobs in the late 80s; series Money, Food Porn and Porn, based on necessities to live; subsequent ostricization for the Porn series; teaching at the School of Visual Art; her preference for eliminating the context of the subject of her work; collaborations with Jeanne Meyers; her style and process, including her team of staff who help create her paintings; emergent use of film, including a Phantom 25,000 fps slo-mo camera; Minter's thoughts on women in the art world and feminist ideologies and women supporting each other; her work in commercial photography, including shooting for Tom Ford and Versace as well as various other companies; series of work featuring Pamela Anderson; shows at the Whitney Biennial and SF MoMA; the project Creative Time and Minter's work with billboards; repeated collaborations with Salon 94; Minter's films Green Pink Caviar and I'm Not Much But I'm All I Think About. Minter also recalls Jerry Uelsmann, Tom DeSchmidt, Max Protetch, Christophe Colehauffer, Mary Heilmann, Mike Ballou, Kenneth Snelson, Neville Wakefield and Shea Spencer, Anne Pasternak, Jimmy De Sana, various students taught over the years, and others.
Biographical / Historical:
Marilyn Minter (1948- ) is a multimedia artist in New York, N.Y. Judith Olch Richards (1947- ) is an independent writer and curator in New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
An interview of Peter Cramer and Jack Waters conducted 2007 September 6 and October 9, by Liza Kirwin, for the Archives of American Art, in conjunction with the Artists' Spaces Archives Project, at Allied Productions, Inc. Studio in New York, New York.
Cramer and Waters, former co-directors of ABC No Rio, speak of their family and educational backgrounds; dance studies; forming their own company POOL (Performance On One Leg) and their "umbrella" non-profit group Allied Productions; their performance "Seven Days of Creation" at ABC No Rio; "crisis management" of ABC No Rio's building at 156 Rivington Street; Colab [Collaborative Projects]; residents in the building including Bobby G and the Acosta family; programs located at ABC No Rio's including the Naked Eye Cinema, Open Mike, Z Club, hardcore Matinee (punk music), and others; seeking grants; incorporating as a non-profit organization; fostering a queer aesthetic; AIDS and the art community; ABC No Rio's traveling exhibitions and performances; gentrification on the Lower East Side; ongoing conflicts with New York City's Department of Housing, Preservation and Development (owner of the building); management of ABC No Rio's Board; community outreach; NEA funding and the "culture wars"; and the "burnout factor" of running ABC No Rio. They also recall Lou Acierno, Charas/El Bohio Cultural and Community Center, Christa Gamper, Carl George, Felix Gonzalez-Torres, Becky Howland, Joan Karlen, Michael Keane, George Kurtti, Alan Moore, The Pyramid Club, Arlene Schloss, Kiki Smith, Brad Taylor, Brian Taylor, and others.
Biographical / Historical:
Peter Cramer is an interactivist artist from New York, New York. Jack Waters is a media artist from New York, New York. Liza Kirwin is the curator of manuscripts at the Archives of American Art, Smithsonian Institution, Washington, D.C.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 22 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 is available on the Archives of American Art's website.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the interview was provided by Artists' Spaces Archives, New York, New York.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
An interview with Doug Aitken conducted 2017 July 22 and 24, by Hunter Drohojowska-Philp, for the Archives of American Art, at Aitken's home in Venice Beach, California.
Mr. Aitken discusses growing up and his early schooling in Palos Verdes, California, and his first introductions to making art at a young age; his parents intellectual curiosity and his early visits with them to museums in the Los Angeles area; the family's many travels to the Southwest, Latin America and Europe, as well as his subsequent travels hitchhiking alone as a teenager; the impact of his high school art teacher Chizuko de Queiroz; his time as a young teenager exploring the new wave and punk rock scenes in the Los Angeles area; his time at the Art Center College of Design in Pasadena, California and the mentorship there of the illustrator and artist Phil Hays; his focus on photography and illustration and his work for the magazine Ray Gun in the '90s; his decision to move to New York City after graduating from Art Center and his first artist studio residence there with Lawrence Carroll; his almost monastic life at first in New York City working on art with very little social interaction; his first ideas for an artwork using moving image and his first use of film and video; the impact of the concept of "timecode" from video editing and its application as a construct with which to perceive time and consciousness; and his early art exhibitions in non-commercial spaces with the AC Project Room group in New York. Mr. Aitken also describes his multimedia work Diamond Sea and the filming for it in Namibia; his first commercial art gallery shows at 303 Gallery in New York City; his current MOCA retrospective Electric Earth; his piece Song 1 and the inspiration for it; the ideas behind the performance and exhibition series Station to Station that was realized on trains and train stations with the help of many fellow artists and his studio assistants; his mirrored architectural work Mirage in Palm Springs; the mirrored ocean environmental works Underwater Pavilions; the appeal of the ocean and the story of his drowning and near-death experience; the ideas behind his work Migration using animals and anonymous American hotel rooms; his multiscreen film Eraser shot on the island of Montserrat after the volcanic devastation there; the impact of the work of the musician Terry Riley on his art and their subsequent friendship and collaboration; his romantic relationships; the work done building his current house in Venice, California, and his incorporation of sonic elements and visual interplay in the house's construction; his many conversations with artist friends and colleagues and the subsequent use of them in his book Broken Screen; and the recent work Twilight using abandoned telephone booths as inspiration. Mr. Aitken also recalls Jorge Prado, Mike Kelley, Stephen Prina, Keith Edmier, Matthew Barney, Paul Bloodgood, Rirkrit Tiravanija, Spike Jonze, Philippe Vergne, Harald Szeemann, Francesco Bonami, Okwui Enwezor, as well as Tilda Swinton, John Doe, Donald Sutherland, Werner Herzog, Bruce Conner, Lisa Spellman, Ed Ruscha, Werner Herzog, Eva Presenhuber, Victoria Miro, Robert Altman, and Lars von Trier, among others.
Biographical / Historical:
Interviewee Doug Aitken (1968- ) is a multimedia artist based in Venice, California and New York, New York. Interviewer Hunter Drohojowska-Philp is a writer in Los Angeles, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Audio: ACCESS RESTRICTED; use requires an appointment.
The papers of Gretchen Bender measure 2.8 linear feet and date from 1980-2004. This material documents her career as a filmmaker and multimedia artist through biographical materials, correspondence, personal business records, writings, notebooks, printed material, photographs, slides and transparencies, and artwork. Also included are project files detailing Gretchen's collaborations with dancer/choreographer Bill T. Jones, as well as a handwritten transcription of a conversation between Bender and Cindy Sherman.
Scope and Contents:
The papers of Gretchen Bender measure 2.8 linear feet and date from 1980-2004. This material documents her career as a filmmaker and multimedia artist through biographical materials, correspondence, personal business records, writings, notebooks, printed material, photographs, slides and transparencies, and artwork. Also included are project files detailing Gretchen's collaborations with dancer/choreographer Bill T. Jones, as well as a handwritten transcription of a conversation between Bender and Cindy Sherman.
Arrangement:
The collection is arranged as 9 series.
Missing Title
Series 1: Biographical Material, 1996 (Box 1; 4 folders)
Series 2: Correspondence/Letters, 1985-2003 (Box 1; 4 folders)
Series 3: Personal Business Records, 1985-1990 (Box 1; 4 folders)
Series 4: Project Files, 1982-2002 (Boxes 1-2, 5; 0.9 Linear Feet)
Series 5: Writings, 1983-1988 (Box 2; 0.1 Linear Feet)
Series 6: Notebooks, 1980-2000 (Box 2; 0.6 Linear Feet)
Series 7: Printed Material, 1981-2004 (Boxes 3, 6; 0.3 Linear Feet)
Series 8: Photographs, 1984-1989 (Boxes 3-4, 0.3 Linear Feet)
Series 9: Artwork, 1984-1985 (Boxes 4, 5; 0.2 Linear Feet)
Biographical / Historical:
Gretchen Bender (1951-2004) was a New York City based filmmaker, multimedia, and conceptual artist. Bender borrowed from elements found in advertising, television, popular contemporary art, and computer graphics to explore issues of race, gender, politics, and culture in her work. During the 1990s, Bender worked with choreographer/dancer Bill T. Jones as a co-director, set designer, and filmmaker on a number of theater and television projects. Bender was a director, editor, and producer for television, primarily working on music videos. Bender participated in solo and group exhibitions at Metro Pictures and Nature Morte in New York.
Provenance:
Donated 2005 by Kate Bender, Gretchen Bender's sister.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Filmmakers -- New York (State) -- New York Search this
Multimedia artists -- New York (State) -- New York Search this
Conceptual artists -- New York (State) -- New York Search this
The papers of Dominican Republic born multimedia artist and designer iliana emilia garcia measure 0.5 linear feet and date from 1987 to 2014. The collection is comprised of art reproductions, an annotated book, booklets and pamphlets for events and organizations, exhibition announcements and catalogs, and clippings that relate to garcia along with some material related to her sister Scherezade Garcia. The collection also includes one photograph of garcia's Paid/Received installation and student documents from Altos de Chavon.
Scope and Contents:
The papers of Dominican Republic born multimedia artist and designer iliana emilia garcia measure 0.5 linear feet and date from 1987 to 2014. The collection is comprised of art reproductions, an annotated book, booklets and pamphlets for events and organizations, exhibition announcements and catalogs, and clippings that relate to garcia along with some material related to her sister Scherezade Garcia. The collection also includes one photograph of garcia's Paid/Received installation and student documents from Altos de Chavon.
Arrangement:
The collection is arranged as one series.
Series 1: iliana emilia garcia Papers, 1987-2014 (Box 1; 0.5 linear feet)
Biographical / Historical:
iliana emilia garcia (1970- ) is a multimedia artist and designer in Brooklyn, New York. She was born in Santo Domingo, Dominican Republic and attended the Altos de Chavon School of Design before receiving a scholarship to the Parsons School of Design's summer program in 1988. In 1989 she was awarded the Ruth Vanderpool Parsons Institutional Scholarship for Portfolio Excellence. In 1991 garcia went on to receive a Bachelor of Fine Arts in Communication Design from Parsons. She is also one of the founding members of the printmaking collective Dominican York Proyecto Grafica.
Related Materials:
Also found in the Archives of American Art are the papers of Scherezade Garcia, the sister of iliana emilia garcia.
Provenance:
The collection was donated in 2015 by iliana emilia garcia.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Designers -- New York (State) -- New York Search this
The papers of Dominican Republic born multimedia artist, designer, and educator Scherezade Garcia measure 1.2 linear feet and date from 1975 to 2015. The bulk of the collection is comprised of printed materials that include art reproductions, a book and calendar, clippings, exhibition announcements and catalogs, and posters from Garcia's childhood and career as an adult. Other material includes awards and certificates, a photograph of Garcia painting, and school documents from Altos de Chavon School of Design; correspondence with her sister iliana emilia garcia, Justice Sonia Sotomayor, and others; and sketches and mockups for Angeles Caídos [Fallen Angels] and other projects.
Scope and Contents:
The papers of Dominican Repbublic born multimedia artist, designer, and educator Scherezade Garcia measure 1.2 linear feet and date from 1975 to 2015. The bulk of the collection is comprised of printed materials that include art reproductions, a book and calendar, clippings, exhibition announcements and catalogs, and posters from Garcia's childhood and career as an adult. Other material includes awards and certificates, a photograph of Garcia painting, and school documents from Altos de Chavon School of Design; correspondence with her sister iliana emilia garcia, Justice Sonia Sotomayor, and others; and sketches and mockups for Angeles Caídos [Fallen Angels] and other projects.
Arrangement:
The collection is arranged as four series.
Series 1: Biographical Materials, 1984-circa 2000 (Box 1, 3; 0.2 linear feet)
Series 2: Correspondence, 1986-2015 (Box 1; 1 folder)
Series 3: Printed Materials, 1975-2015 (Box 1-3, OV 4; 0.6 linear feet)
Series 4: Artwork, circa 1990, undated (Box 2, OV 4; 0.2 linear feet)
Biographical / Historical:
Scherezade Garcia (1966- ) is a multimedia artist, designer, and educator in Brooklyn, N.Y.
Garcia was born in Santo Domingo, Dominican Republic. She attended the Altos de Chavon School of Design and received a Bachelor of Fine Arts degree from Parsons School of Design in 1988. She also earned a Master of Fine Arts in 2011 from City College of New York. At Parsons she received the Parsons Institutional Scholarship and Dana Foundation Work Program. In 2015 Garcia was awarded the Joan Mitchell Foundation grant.
She is a founding member of the printmaking collective Dominican York Proyecto Grafica. Garcia has taught workshops at Altos de Chavon and El Museo del Barrio. She has also been a lecturer at Parsons School of Design and St. Francis College.
Related Materials:
Also found at the Archives of American Art are the papers of iliana emilia garcia, sister of Scherezade Garcia.
Provenance:
The papers were donated in 2015 and 2017 by Scherezade Garcia.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- New York (State) -- New York Search this
Topic:
Designers -- New York (State) -- New York Search this
