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Oral history interview with Richard Haines

Interviewee:
Haines, Richard, 1906-1984  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recordings: (15 min.), 3 in.)
6 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 Jan. 29
Scope and Contents:
An interview of Richard Haines conducted 1965 Jan. 29, by Betty Hoag. Haines speaks of the Treasury Department competition for art work in various public buildings; and working on a Wichita, Kan. Post Office mural.
Biographical / Historical:
Richard Haines (1906-1984) was a painter and mural painter from Santa Monica, Calif.
General:
Only a portion of this interview was successfully recorded.
Sound quality is poor.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California  Search this
Muralists -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.haines65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9798339a2-ee49-44d4-9592-0e125d4112e5
EDAN-URL:
ead_collection:sova-aaa-haines65
Online Media:

Oral history interview with Ted Gilien

Interviewee:
Gilien, Ted, 1914-1967  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Bocour, Leonard, 1910-1993  Search this
Levine, Jack, 1915-2010  Search this
Extent:
2 Sound tape reels (Sound recording, 3 in.)
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 Mar. 3
Scope and Contents:
An interview of Ted Gilien conducted 1965 Mar. 3, by Betty Hoag, for the Archives of American Art. Gilien speaks of his background and education; getting on the WPA Federal Art Project; starting out as an assistant mural painter on Ellis Island; his military service in World War II as a combat artist; working in New York City and then in California after World War II; experimenting in screenwriting and novel writing; recurring themes in his paintings; his feelings about the FAP; art criticism; the politics of government support for the arts; camaraderie among artists during the WPA years. He recalls Leonard Bocour and Jack Levine.
Biographical / Historical:
Ted Gilien (1914-1967) was a painter and muralist in New York, N.Y. and Los Angeles, Calif.
General:
An unrelated interview of Charles White (3/9/65) conducted by B. Hoag is also on one tape.
An interview of F. J. Schwankovsky (3/1/65) conducted by B. Hoag is also on one tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Use requires an appointment.
Topic:
Art and state  Search this
Federal aid to the arts  Search this
Art and war  Search this
Mural painting and decoration  Search this
Muralists -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Muralists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gilien65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fc464c8e-b350-4f4f-8840-f7f2c6144164
EDAN-URL:
ead_collection:sova-aaa-gilien65

Oral history interview with Charles Griffin Farr, 1964 Oct. 22

Interviewee:
Farr, Charles Griffin, 1908-1977  Search this
Farr, Charles Griffin, 1908-1977  Search this
Interviewer:
McChesney, Mary Fuller, 1922-  Search this
Subject:
Federal Art Project (Fla.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Mural painting and decoration  Search this
Federal aid to the arts  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12996
(DSI-AAA_SIRISBib)213451
AAA_collcode_farr64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213451
Online Media:

Oral history interview with George Gaethke, 1964 Sept. 26

Interviewee:
Gaethke, George, 1898-  Search this
Gaethke, George, 1898-  Search this
Interviewer:
McChesney, Mary Fuller, 1922-  Search this
Subject:
McChesney, Robert, 1913-2008  Search this
Albro, Maxine  Search this
Bertrand, Ray  Search this
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Coit Memorial Tower (San Francisco, Calif.)  Search this
Mural painting and decoration  Search this
Printmakers -- California -- San Francisco -- Interviews  Search this
Mosaicists -- California -- San Francisco -- Interviews  Search this
Muralists -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)11941
(DSI-AAA_SIRISBib)213464
AAA_collcode_gaethk64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213464
Online Media:

Oral history interview with George Gaethke

Creator:
Gaethke, George, 1898-  Search this
New Deal and the Arts Oral History Project  Search this
McChesney, Robert, 1913-2008  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Albro, Maxine, 1903-1966  Search this
Bertrand, Ray, 1909-  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
20 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 Sept. 26
Scope and Contents:
An interview of George Gaethke conducted 1964 Sept 26 by Mary McChesney for the Archives of American Art.
Gaethke speaks of his background and art training in California and Chicago; his work on the Coit Tower murals; working on a mosaic under the Federal Art Project; printmaking under the FAP; his post-FAP career. He recalls Maxine Albro and Ray Bertrand.
Biographical / Historical:
Painter, printmaker, mosaicist, mural painter; San Francisco, Calif.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Federal aid to the arts  Search this
Coit Memorial Tower (San Francisco, Calif.)  Search this
Mural painting and decoration  Search this
Printmakers -- California -- San Francisco -- Interviews  Search this
Mosaicists -- California -- San Francisco -- Interviews  Search this
Muralists -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gaethk64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9159e430b-62ea-4253-aa99-b450e96d2e6b
EDAN-URL:
ead_collection:sova-aaa-gaethk64
Online Media:

Oral history interview with Charles Griffin Farr

Interviewee:
Farr, Charles Griffin, 1908-  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Fla.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recordings, 5 in.)
22 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 Oct. 22
Scope and Contents:
An interview of Charles Griffin Farr conducted 1964 Oct. 22, by Mary McChesney for the Archives of American Art.
Farr speaks of his background and education; working as a sculpture and pottery restorer in the Federal Art Project (FAP); working on murals and as an art teacher in Key West, Florida for the FAP; and his feelings about the FAP and its influence on his career.
Biographical / Historical:
Painter, mural painter, educator; California.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Educators -- California  Search this
Educators -- Florida  Search this
Painters -- California  Search this
Painters -- Florida  Search this
Muralists -- California  Search this
Muralists -- Florida  Search this
Topic:
Mural painting and decoration  Search this
Federal aid to the arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.farr64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw937c9efed-5856-4796-8a43-cb92beea3e8a
EDAN-URL:
ead_collection:sova-aaa-farr64
Online Media:

Charles Henry Alston papers

Creator:
Alston, Charles Henry, 1907-1977  Search this
Names:
City University of New York. City College -- Faculty  Search this
Bearden, Anna Alston  Search this
Bearden, Romare, 1911-1988  Search this
Browne, Byron, 1907-1961  Search this
Lawrence, Jacob, 1917-2000  Search this
Logan, Myra, 1909-1977  Search this
Welty, Eudora, 1909-2001  Search this
Woodruff, Hale, 1900-1980  Search this
Wright, Louis T. (Louis Tompkins), 1891-1952  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1924-1980
Summary:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston measure 0.9 linear feet and date from 1924-1980. Included are biographical materials, correspondence, commission and teaching files, writings and notes, printed materials, and photographs. Notable correspondents include Romare Bearden, Byron Browne, Jacob Lawrence, and Hale Woodruff.
Scope and Content Note:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston (1907-1977) measure 0.9 linear feet and date from 1924-1980. The bulk of the collection documents his personal and professional relationships with figures of the Harlem Renaissance. Researchers should note that this collection contains very little documentation on Alston's actual federal WPA work with the Harlem Art Workshop, the Harlem Artists Guild, or his Harlem Hospital murals completed in 1940. A photograph of Alston in 1937 is likely the only reference to the actual WPA murals in this collection.

Scattered correspondence includes general correspondence; letters concerning Alston's artistic endeavors; and personal letters from friends and family. Found is a copy of a thank you note from Eudora Welty to John Woodburn for a jacket design presumably by Alston; letters from Harlem Renaissance figures and personal friends Romare Bearden, Byron Brown, Jacob Lawrence, and Hale Woodruff.

Commission files are for Alston's murals including those in the Golden State Mutual Life Insurance building in Los Angeles, California (1947); and the addition to the Harlem Hospital (1965); and the Family and Criminal Courts Building in the Bronx, New York (1976). There is one file concerning teaching at City College New York (CUNY).

Writings and notes includes scattered notes and three short stories probably by Alston entitled "Bitsy O'Wire," "Body and Soul," and "Gigi."

Printed materials include illustrations by Alston in the Columbia University literary magazine, The Morningside, and medical illustrations done for Dr. Louis T. Wright. Also found are scattered clippings, exhibition announcements, press releases, and materials from the First Conference on Aesthetic Responsibility.

Photographs are of Alston, Alston with his wife, Myra Logan, his mother Anna Alston Bearden, Romare Bearden, and Hale Woodruff. Photographs of note include one of Alston holding a self-portrait, and one of the artist in 1937 with works that are most likely preliminary sketches of his WPA murals at Harlem Hospital. There are also photographs of Alston's works of art.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Information, 1924-1977 (Box 1; 3 folders)

Series 2: Correspondence, 1931-1977(Box 1; 7 folders)

Series 3: Commission and Teaching Files, 1947-1976 (Box 1; 4 folders)

Series 4: Writings and Notes, circa 1940s-1970s (Box 2-3; 4 folders)

Series 5: Printed Material, 1928, 1946-1980(Box 2-3; 5 folders)

Series 6: Photographs, 1925-1968 (Box 2; 2 folders)
Biographical Note:
Charles Henry Alston (1907-1977) worked primarily in New York city as a painter, muralist, illustrator, and educator. He was part of the Harlem Renaissance movement in the 1930s and helped form the Harlem Art Workshop and the Harlem Artists Guild.

Charles Henry "Spinky" Alston was born in Charlotte, North Carolina on November 28th, 1907. His parents were the Reverend Primus Priss and Anna Miller. After the death of his father, Alston's mother married Henry Pierce Bearden (Romare Bearden's uncle) in 1913 and the family moved to New York City.

At DeWitt Clinton High School in New York, Alston served as art editor of the school's literary magazine. Alston majored in fine arts and history at Columbia University, graduating in 1929. He became active in the Harlem community and accepted a position as director of Utopia House, a boy's camp, where he started an art program. He returned to Columbia and recieved a Masters degree in art education from Columbia's Teachers College. While still a student, he illustrated album covers for jazz musician Duke Ellington and book covers for poet Langston Hughes.

Alston played a major role in the Harlem Renaissance Movement of the period. During the Great Depression, he and sculptor Henry Bannarn directed the Harlem Art Workshop which was funded by the Works Progress Administration Federal Art Project. There he taught and mentored African American painter Jacob Lawrence and Romare Bearden, among others.

In the 1950s, Alston embarked on a series of portraits of African American figures. He also taught at the Art Students League and later with the City College of New York (CUNY). Along with his wife, Myra Logan, a surgeon at Harlem Hospital, Alston lived in Harlem and remained an active member of the community until the end of his life. Charles Alston died in 1977.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Charles Henry Alston, one conducted by Harlan Phillips on September 28, 1965 and another by Al Murray on October 19, 1968.

Additional Charles Henry Alston papers are located at the University of North Carolina's Southern Historical Collection at the Louis Round Wilson Special Collections Library.
Separated Material:
In 1970, Charles Alston loaned materials for microfilming, including correspondence with Henry Epstein, Langston Hughes, Robert Riggs, Harry Sternberg, J. Johnson Sweeney, Hale Woodruff and others. Also loaned for microfilming were sketchbooks, printed materials, and photographs. Subsequently, some of the photographs were later donated by Alston's sisters. The loaned materials are available only on microfilm reel N70-23 at Archives of American Art offices, and through interlibrary loan. These materials are not included in the container listing of this finding aid.
Provenance:
Charles Alston lent portions of the collection for microfilming in 1970. Aida Winters and Rousmaniere Alston Wilson, Charles Alston's sisters, donated additional materials to the Archives of American Art in 1982 and 1984.
Restrictions:
Use of original papers requires an appointment.
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:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Harlem Renaissance  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American sculptors  Search this
Genre/Form:
Photographs
Citation:
Charles Henry Alston papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alstchar
See more items in:
Charles Henry Alston papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9659f264f-7afb-4e05-bf28-ed3872b7cfea
EDAN-URL:
ead_collection:sova-aaa-alstchar
Online Media:

Charles W. White papers

Creator:
White, Charles, 1918-1979  Search this
Names:
Belafonte Enterprises  Search this
Heritage Gallery  Search this
Otis Art Institute  Search this
Barthé, Richmond, 1901-1989  Search this
Catlett, Elizabeth, 1915-2012  Search this
White, Frances Barrett  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Scrapbooks
Date:
1933-1987
bulk 1960s-1970s
Summary:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American printmakers  Search this
Genre/Form:
Interviews
Sound recordings
Scrapbooks
Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitchar
See more items in:
Charles W. White papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648
EDAN-URL:
ead_collection:sova-aaa-whitchar
Online Media:

A Life in Art: Alma Thomas 1891-1978 (1981-1982), National Museum of American Art, Printed Material

Collection Creator:
Thomas, Alma  Search this
Container:
Box 3, Folder 14
Type:
Archival materials
Date:
1981-1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Collection 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.
Collection Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d0b4c83e-b6c3-43f3-8fa1-b6081f47f390
EDAN-URL:
ead_component:sova-aaa-thomalma-ref824
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Nuestra Música: Latino Chicago

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Chicago has one of the largest and most diverse Latino communities in the nation, with a rich history and a thriving artistic life; Latino Chicago is a multinational, multicultural community. The largest population is Mexicans, followed by Puerto Ricans, then Guatemalans. Smaller groups from the Caribbean and Central and South America include Ecuadorans, Colombians, Cubans, Peruvians, Salvadorans, and Chileans. A small group of Belizeans and Brazilians also consider themselves part of the community.

In partnership with the Old Town School of Folk Music, the Smithsonian Institution launched a research project in the spring of 2005. Twenty local researchers explored various aspects of Latino folklife in Chicago, recording the stories of artists and organizations, documenting special events and parades, foodways, and more. Two large questions guided the researchers: How do the arts shape, and how are they shaped by, community and identity? And, what characterizes Chicago's Latino community as unique and distinct from other Latino communities elsewhere?

One discovery was that diversity is key to community organization and shaping of identity. In Latino Chicago many types of diversity come into play - ethnic, national, regional, and generationaL Some community organizations are more inclusive of diverse groups and form international, multigenerational, or multiregional groups; others focus on preservation and assemble specialized groups who champion a single form. Besides music and dance, other artists are equally active in theater, poetry and spoken word, film, and graphic and mural arts.

In Chicago, numerous strong communities have formed. Chicago's Latino neighborhoods continue to be ports of entry where many new arrivals can feel right at home. Businesses in these neighborhoods thrive because they do not cater only to the needs of the local neighborhood; they are specialty supply centers for a larger community across the Midwest. Grocery stores, music, entertainment, clothing, and bridal shops line commercial strips that extend for miles.

Because there is such strong neighborhood identity and presence, it is possible for individuals to remain close to their traditions, food, music, language, religion, and other practices for their whole lives. However, those who leave the relative familiarity of the neighborhood and interact with people from other cultures can also explore multiple identities and add to the diversity of the community. Another discovery, then, was that professional musicians who work with various clienteles find that in a diverse community they must command a broad repertoire to appeal to a broader audience and increase their job opportunities.

Wherever you are in Chicago's Latino neighborhoods, you encounter a rich multisensory experience that is also highly localized, rooted in the ethnic and regional identities that define this diverse community. Heading west from the corner of 18th Street and Blue Island in the Pilsen neighborhood you enter a piece of Mexico (indeed, parts of all Mexico), run by Mexicans and catering to more than a million Mexicans who live in the Chicago area or travel there for supplies. Stand on Division Street and California Avenue, just twenty blocks north, and walk into Humboldt Park. You know you are in a Puerto Rican neighborhood because you just walked under a forty-foot-high iron gate in the shape of the Puerto Rican flag. Guatemalans, Peruvians, Ecuadorans, or Colombians also have their own neighborhoods - each unique, but all animated by the sound of nuestra música - the music of Chicago's thriving and vibrant Latino communities. The Smithsonian Folklife Festival offered visitors an opportunity to enjoy these diverse traditions first hand.

The 2006 program was the third in a multi-year sequence devoted to Latino music in the Americas (see also the 2004 2005 and 2009 programs).

Olivia Cadaval and Daniel Sheehy were Co-Curators and Juan Dies was Guest Curator. Cristina Díaz-Carrera was Research Coordinator and Courtney Lutterman was Research Assistant; Carlos Flores, Michael Orlove, Henry Roa, Silvia Rivera, David Roche, and Encarnación Teruel were Project Advisors.

Latino Chicago was part of the multi-year Nuestra Música: Music in Latino Culture project produced in partnership with the Old Town School of Folk Music in Chicago, in collaboration with the Cultural Institute of Mexico and supported by the Smithsonian Latino Initiatives Fund and the Music Performance Fund. The Smithsonian Institution thanked the Illinois Arts Council, a state agency, for supporting the participation of AfriCaribe, Carlos Mejía, Gustavo López, The Mexican Folkloric Dance Company of Chicago, Nelson Sosa, Nahuí Ollin/Tarima Son, and Sones de México Ensemble.
Researchers:
Yolanda Androzzo, Rita Arias Jirasek, Katherinne Bardales, Nashma Carrera Massari, Evelyn Delgado, Juan Dies, Sue Eleuterio, Lilia Fernández, Lidia Huante Mendoza, Melanie Maldonado, Christopher Martin, Argelia Morales, José Luis Ovalle, Lisa Rathje, Paul Tyler
Presenters:
Yolanda Androzzo, Katherinne Bardales, Nashma Carrera Massari, Lidia Huante Mendoza, Lisa Rathje, Cynthia Vidaurri, Matthew Mulcahy
Participants:
Music and Dance Groups

AfriCaribe -- AfriCaribeEvaristo "Tito" Rodríguez, 1962-, director, drums, voice, dance, Chicago, IllinoisCharles Barbera, 1966-, percussion, Chicago, IllinoisNiolani Holloway, 1988-, percussion, Chicago, IllinoisIsabelino "Silo" Landor, 1955-, percussion, Chicago, IllinoisAlicia Luz Marrero, percussion, Chicago, IllinoisJosé Natal, 1953-, percussion, Chicago, IllinoisRafael A. Quiñones Morales, 1975-, percussion, Chicago, IllinoisEvelyn Rodríguez, percussion, Chicago, IllinoisJessica Rodríguez, 1987-, percussion, Chicago, IllinoisRuth N. Venegas, 1990-, percussion, Chicago, Illinois

Banda Ansiedad -- Banda AnsiedadJustino Román, managerSimplicio Román, 1981-, keyboard, accordion, Chicago, IllinoisMoisés Román, 1984-, electric bass, Chicago, IllinoisMelesio Román, voice, Chicago, IllinoisSalomón Román, drums, Chicago, IllinoisJesús Ocampo, 1986-, synthesizer, electric tuba, Chicago, IllinoisAlejandro Ocampo, 1983-, alto saxophone, Chicago, Illinois

Los Chalanes -- Los ChalanesRoberto Arce, 1933-, guitar, Kissimmee, FloridaAlfredo Espinosa, 1936-, cajón, guitar, Chicago, Illinois

The Essence -- The EssenceRonald "Don Evoua" Vásquez, 1978-, percussion, Chicago, IllinoisThomas "P.R.ism" Cubas, 1977-, percussion, Chicago, IllinoisWilliam "Casino" Colón, percussion, Chicago, IllinoisDaniel Martinez, 1983-, Chicago, IllinoisJorge "DJ Maddjazz" Ortega, guest DJ, Brewyn, Illinois

Grupo Nahuí Ollin/Tarima Son -- Grupo Nahuí Ollin/Tarima SonRoberto Ferreyra, 1957-, director, strings, percussion, dancer, Chicago, IllinoisCeleste Alsina, strings, dancer, Chicago, IllinoisMontserrat Alsina, percussion, dancer, Chicago, IllinoisIrekani Ferreyra, 1982-, strings, percussion, dancer, Cicero, IllinoisAnabel Tapia, 1983-, percussion, dancer, Cicero, Illinoi

Guarionex -- GuarionexJavier "Dedos de Oro" Méndez, 1966-, cuatro, Chicago, IllinoisMario Carrasquillo, 1938-, voice, Chicago, IllinoisIsrael Medina, 1964-, guitar, Chicago, IllinoisOrlando Otero, 1964-, bass, Chicago, IllinoisEfraín Otero, 1970-, güiro, Chicago, IllinoisWilliam Vélez, 1963-, congas, Chicago, Illinois

Latin Street Dancing, Inc. -- Latin Street Dancing, Inc.Victor Manuel Ceja, 1982-, dancer, Chicago, IllinoisRosa Guadalupe Villanueva, 1987-, dancer, Chicago, Illinois

Carlos Mejía Guatemalan Marimba -- Carlos Mejía Guatemalan MarimbaCarlos Mejía, 1957-, marimba, Chicago, IllinoisKatalina Trujillo, 1990-, marimba, Chicago, Illinois

Gustavo López, 1938-, guitar, Chicago, Illinois

MAYCO Andes -- MAYCO AndesHugo Ricardo "Hugito" Gutiérrez, 1954-, winds, Chicago, IllinoisRogelio Linares, 1957-, guitar, Summit, IllinoisErnesto Rodríguez, 1946-, percussion, Chicago, IllinoisMilton Perugachi, 1972-, charango guitar, Chicago, Illinois

The Mexican Folkloric Dance Company of Chicago -- The Mexican Folkloric Dance Company of ChicagoJosé Luis Ovalle, 1959-, artistic director, Chicago, IllinoisMatiana Medrano Ovalle, artistic director, Chicago, Illinois

Perú Profunda -- Perú ProfundaCarmen Mejía, 1956-, director, dancer, Niles, IllinoisHiledebrando Alcázar, 1945-, dancer, Chicago, IllinoisJudith Glikberg, dancerDaniel Glikberg, dancer

Sones de México Ensemble of Chicago -- Sones de México Ensemble of ChicagoVictor G. Pichardo, 1961-, artistic director, vocals, huapanguera, jarana, guitar, clarinet, Oak Park, IllinoisJuan Dies, 1964-, vocals, guitarrón, Chicago, IllinoisLorena Íñiguez, 1976-, vihuela, jarana, small percussion, Chicago, IllinoisVictor Zacbé Pichardo, 1986-, percussion, Oak Park, IllinoisJosé Juan Rivera, 1977-, vocals, requinto, violin, Chicago, IllinoisJavier Saume, drums, percussion, Chicago, Illinois

Nelson Sosa, 1947-, guitar, Chicago, Illinois

Paola Alemán, singer, Chicago, Illinois

Community Radio

Radio Arte -- Radio ArteSilvia Rivera, 1980-, Radio Arte manager, Chicago, IllinoisArgelia Morales, 1978-, interviewer, Chicago, IllinoisTania Unzueta Carrasco, 1983-, youth radio producer, Chicago, IllinoisDulce Jatziri García, youth radio producer, Chicago, Illinois

Muralists

Héctor Duarte, 1952-, Chicago, Illinois

Gamaliel Ramírez, 1949-, Chicago, Illinois

Special Guests

Trío Chalchihuecan -- Trío ChalchihuecanJosé Gutiérrez, requintoMarcos Ochoa, jaranaFelipe Ochoa, harp

Son de Madera -- Son de MaderaRamón Gutiérrez Hernández, requintoJuan Pérez, bassLaura Marina Rebolloso Cuellar, leona (jarocho bass guitar)Andrés Vega Hernández, jarana

Suni Paz, 1935-, Canoga Park, California

Rafael Manríquez, voice, guitar, charango, Berkeley, California
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: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2006, Series 4
See more items in:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk574795ea5-f0dd-4de9-9d19-ade1dc3f9d8b
EDAN-URL:
ead_component:sova-cfch-sff-2006-ref34

Oral history interview with Charles Mattox

Interviewee:
Mattox, Charles, 1910-1996  Search this
Interviewer:
Ferbraché, Lewis  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Apr. 9
Scope and Contents:
An interview of Charles Mattox conducted 1964 Apr. 9, by Lewis Ferbraché, for the Archives of American Art.
Biographical / Historical:
Charles Mattox (1910-1996) was a muralist in San Francisco, Calif.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 59 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- San Francisco  Search this
Muralists -- California -- San Francisco -- Interviews  Search this
Motion pictures -- Production and direction  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mattox64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f252e953-bcab-40f7-ae6b-b59f22bb1eb2
EDAN-URL:
ead_collection:sova-aaa-mattox64
Online Media:

Oral history interview with Dorr Bothwell

Interviewee:
Bothwell, Dorr  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project  Search this
Clements, Grace, 1905-1969  Search this
Feitelson, Lorser, 1898-1978  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
16 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 February 27
Scope and Contents:
An interview of Dorr Bothwell conducted 1965 February 27, by Mary Fuller McChesney, for the Archives of American Art. Bothwell describes her education and art training in San Francisco; painting for the Public Works of Art Project; Federal Art Project murals in Los Angeles; effects of the federal projects on her artistic development; and friends and colleagues Grace Clements, Lorser Feitelson, and Stanton Macdonald-Wright.
Biographical / Historical:
Dorr Bothwell Mural (1902-2000) was a painter and printmaker from Joshua Tree, California. Charter member of the Society of San Francisco Women Artists. Co-wrote "Notan: the Dark-Light Principle of Design."
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 58 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Occupation:
Muralists -- California  Search this
Painters -- California  Search this
Art teachers -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Federal aid to the arts  Search this
Women muralists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bothwe65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e791fbe4-04c2-493e-ad4c-5ebe5a8a2603
EDAN-URL:
ead_collection:sova-aaa-bothwe65
Online Media:

Lucinda H. Gedeon research material on Charles W. White

Creator:
Gedeon, Lucinda H.  Search this
Names:
University of California, Los Angeles  Search this
White, Charles, 1918-1979  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1940-1997
bulk 1980-1981
Summary:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions; a card file catalogue of works by Charles White; photographs and negatives; printed material; transcripts of interviews; bibliographic information; and writings.
Scope and Contents:
The Lucinda H. Gedeon research materials on Charles W. White measure 1.4 linear feet and date from 1940 to 1997, with the bulk of the materials dating from 1980 to 1981. This research material was compiled for a catalogue raisonné at UCLA and includes correspondence with collectors and institutions regarding Charles White works in their collections; a card file catalogue of works by White; photographs and negatives of works by White; printed material including exhibition materials and magazine and newspaper clippings; transcripts of interviews with White and other individuals; bibliographic information; and writings about White.
Arrangement:
Due to the small size of this collection, the papers are arranged in one series.

Series 1: Lucinda H. Gedeon Research Material on Charles W. White, 1940-1997, bulk 1980-1981 (Boxes1-2; 1.4 linear feet)
Biographical / Historical:
Lucinda H. Gedeon is a retired art historian in Vero Beach, Florida. Previously the director of the Neuberger Museum at the State University of New York, Purchase, and later of the Vero Beach Museum of Art, Gedeon earned both a master's degree and a doctorate at UCLA. She completed her master's thesis on the work of Charles White.

Charles W. White (1918-1979) was an African American painter. White was born in Chicago and attended the Art Institute of Chicago. He worked as an artist for the Works Progress Administration and later taught first at Dillard University, then at Otis Art Institute from 1965 until his death in 1979.

White exhibited widely and his work is held at a number of institutions. He was elected to the National Academy of design in 1972.
Related Materials:
Also found in the Archives of American Art are the Charles W. White papers, circa 1930-1982, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Provenance:
The Lucinda H. Gedeon research materials on Charles W. White were donated to the Archives of American Art by Lucinda H. Gedeon in 2007.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Art historians -- Florida  Search this
Museum directors -- Florida  Search this
Painters -- California -- Los Angeles  Search this
Muralists -- California -- Los Angeles  Search this
Topic:
Women art historians  Search this
African American artists  Search this
Women muralists  Search this
Genre/Form:
Interviews
Citation:
Lucinda H. Gedeon research material on Charles W. White, 1940-1997, bulk 1980-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gedeluci
See more items in:
Lucinda H. Gedeon research material on Charles W. White
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfef48ad-58ac-4312-8f1f-31bf5ba4f195
EDAN-URL:
ead_collection:sova-aaa-gedeluci
Online Media:

Emmy Lou Packard Papers, 1900-1990

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Packard, Emmy Lou, 1914-1998  Search this
Subject:
Covarrubias, Miguel  Search this
Edmunds, John  Search this
Rivera, Diego  Search this
Reynolds, Malvina  Search this
Refregier, Anton  Search this
Lange, Dorothea  Search this
Kahlo, Frida  Search this
O'Higgins, Pablo  Search this
O'Gorman, Juan  Search this
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Type:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Topic:
Printmakers -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women muralists  Search this
Women printmakers  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
American Art and Artists in a Global Context  Search this
Record number:
(DSI-AAA_CollID)5519
(DSI-AAA_SIRISBib)211816
AAA_collcode_packemmy
Theme:
Latino and Latin American
Women
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211816
Online Media:

Oral history interview with Millard Sheets

Interviewee:
Sheets, Millard, 1907-1989  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Chouinard Art Institute (Los Angeles, Calif.)  Search this
Chamberlin, F. Tolles (Frank Tolles), 1873-1961  Search this
Feitelson, Lorser, 1898-1978  Search this
Hatfield, Dalzell, 1893-1963  Search this
Lebrun, Rico, 1900-1964  Search this
Modra, Theodore B., 1873-1930  Search this
Extent:
167 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1986 October-1988 July
Scope and Contents:
An interview with Millard Sheets conducted 1986 October-1988 July, by Paul Karlstrom, for the Archives of American Art.
Sheets speaks of his childhood and early education; attending Chouinard Art Institute and being influenced by instructor F. Tolles Chamberlin; teaching at Scripps College Foundation of Art from 1931 to 1955; the beginnings of the California Watercolor Society; his painting career; his thoughts on Southern California Modernism; the growth and development of California art; artists including Lorser Feitelson and Rico Lebrun; designing forty buildings for Howard Ahmanson from the 1950s through the 1970s; his relationships with art critics; his involvement with architecture and design; and his philosophy as an art teacher. He recalls Theodore Modra and Dalzell Hatfield.
Biographical / Historical:
Millard Sheets (1907-1989) was a painter, educator, designer, and mural painter from California.
General:
Originally recorded on 8 sound cassettes. Reformatted in 2010 as 16 digital wav files. Duration is 8 hr., 13 min.
Provenance:
These interviews are part of the Archives' 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, Modern -- 20th century -- United States  Search this
Art -- Study and teaching -- California  Search this
Painting, Modern -- 20th century -- California  Search this
Painters -- California -- Interviews  Search this
Designers -- California -- Interviews  Search this
Educators -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Watercolorists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sheets86
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b040f34-68ec-4a79-b405-0e9a667037b0
EDAN-URL:
ead_collection:sova-aaa-sheets86
Online Media:

Oral history interview with John Spencer

Interviewee:
Spencer, John, 1911-1996  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Cornwell, Dean, 1892-1960  Search this
Extent:
2 Items (sound cassettes (1 hr., 23 min.), analog.)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Los Angeles (Calif.) -- Buildings, structures, etc
Date:
1994 September 1
Scope and Contents:
An interview with John Spencer conducted 1994 September 1, by Paul J. Karlstrom, for the Archives of American Art.
Spencer discusses his work assisting Dean Cornwell on the Los Angeles Central Library murals between 1927-1933; his subsequent relationship with Cornwell; and his experience as a young artist in Southern California in the 1930s.
Biographical / Historical:
John Spencer was a painter from Pasadena, California.
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 23 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Art, American -- California, Southern  Search this
Art, Modern -- 20th century -- California, Southern  Search this
Muralists -- California -- Interviews  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.spence94
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f03c77d5-b351-47f5-b669-9440dd021916
EDAN-URL:
ead_collection:sova-aaa-spence94
Online Media:

Oral history interview with Maxine Albro and Parker Hall

Interviewee:
Albro, Maxine, 1903-1966  Search this
Hall, Parker  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Allied Artists Guild  Search this
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Bertrand, Ray, 1909-  Search this
Gaethke, George, 1898-  Search this
Neininger, Urban  Search this
O'Higgins, Pablo, 1904-  Search this
Rivera, Diego, 1886-1957  Search this
Stackpole, Ralph, 1885-1973  Search this
Zakheim, Bernard Baruch, 1898-1985  Search this
Extent:
44 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 July 27
Scope and Contents:
An interview of Maxine Albro and Parker Hall conducted by Mary McChesney on 1964 July 27 for the Archives of American Art.
Albro speaks of her educational background including her work with Paul O'Higgins and as an assistant to Diego Rivera; of fresco and mosaic techniques; her mural at Coit Tower for the Public Works of Art Project; mosaics at San Francisco State College; her relationship with George Gaethke, Urban Neininger, Ralph Stackpole, Bernard Zakheim, and others; the Allied Artists Guild; the influence of the Federal Art Project on her career; and Ray Bertrand's lithography project. Parker Hall comments on his fresco at Coit Tower and other projects. Also present at the interview is Robert McChesney.
Biographical / Historical:
Maxine Albro (1903-1966) was a mural painter and mosaicist in Carmel, California. Her husband, Parker Hall, is a mural painter.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 26 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California  Search this
Mosaicists -- California  Search this
Lithographers -- California  Search this
Printmakers -- California  Search this
Painters -- California  Search this
Topic:
Women artists  Search this
Women printmakers  Search this
Women painters  Search this
Federal aid to the arts  Search this
Women muralists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.albro64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d877d3d1-f351-436b-9923-9fe358a1c582
EDAN-URL:
ead_collection:sova-aaa-albro64
Online Media:

Oral history interview with Buckley Mac-Gurrin

Creator:
Mac-Gurrin, Buckley, 1896-1971  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 June 20
Scope and Contents:
An interview of Buckley Mac-Gurrin conducted 1964 June 20, by Betty Hoag, for the Archives of American Art, in his home, in El Monte, Calif.
Biographical / Historical:
Buckley Mac-Gurrin (1896-1971) was a mural painter from Los Angeles, Calif.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 32 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Muralists -- California -- Los Angeles -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- California -- Los Angeles  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.macgur64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f6b2f29a-da2d-4c50-a6e5-19232e98b2d5
EDAN-URL:
ead_collection:sova-aaa-macgur64
Online Media:

Oral history interview with Milford Zornes

Interviewee:
Zornes, James Milford, 1908-2008  Search this
Interviewer:
Anderson, Susan M. (Susan Mary)  Search this
Extent:
152 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 July 18-September 5
Scope and Contents:
An interview of Milford Zornes conducted 1999 July 18-September 5, by Susan M. Anderson, for the Archives of American Art, in Zornes' studio/home, Claremont, California.
Beginning with his childhood in Oklahoma, this interview recounts the formative influences on Mr. Zornes' development as an artist, including his close relationship with Millard Sheets at Pomona College. He discussed the impact of the Mexican muralist Jose Clemente Orozco on his work and on other artists of the California School as well as the importance of nature. He recalled his prolific work on federally-funded art projects such as the PWAP and his mural commission for the Claremont Post Office. Mr. Zornes discussed the impact that WWII had on the California School in general and his particular experience on the China-Burma-India front as one of forty-two official US army artists. He described his long career as a teacher in various educational institutions as well as in outdoor painting workshops conducted around the world. Finally, Mr. Zornes discussed his struggle with macular degeneration and the subsequent change in his working methods due to his recent blindness.
Biographical / Historical:
James Milford Zornes (1908-2008) was a painter from Claremont, California. Zornes is one of the leading artists of the California School, a West Coast watercolor movement that arose during the Depression era.
General:
Originally recorded on 12 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 11 hrs., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by Orange County Museum of Art Historical Collections Council
Restrictions:
Transcript available on the Archives of American Art website.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.zornes99
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986bf335b-b59f-4686-b717-b4292dc319de
EDAN-URL:
ead_collection:sova-aaa-zornes99
Online Media:

Oral history interview with Edwin Emery

Interviewee:
Emery, Edwin, 1918-  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
38 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 May 24
Scope and Contents:
An interview of Edwin Emery conducted 1965 May 24, by Betty Hoag, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Edwin Emery (1918-) was a mural painter in California.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 34 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Federal aid to the arts  Search this
Muralists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.emery65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ddc7d27b-324c-45ea-b01b-38015cf8c7d3
EDAN-URL:
ead_collection:sova-aaa-emery65
Online Media:

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