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Lorrie Goulet papers

Creator:
Goulet, Lorrie, 1925-  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Carolyn Hill Gallery  Search this
Contemporaries (Gallery: New York, N.Y.)  Search this
David Findlay Galleries (New York, N.Y.)  Search this
Inwood Pottery School  Search this
Kennedy Galleries  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Museum of Women in the Arts (U.S.)  Search this
New School for Social Research (New York, N.Y.)  Search this
New York Artists Equity Association  Search this
Scarsdale Studio Workshop  Search this
Anuszkiewicz, Richard  Search this
De Creeft, José, 1884-1982  Search this
Gross, Chaim, 1904-1991  Search this
Nalle, Anna Beck  Search this
Vogel, Dorothy  Search this
Vogel, Herbert  Search this
Vorhees, Aimee  Search this
Extent:
10 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Interviews
Sound recordings
Video recordings
Scrapbooks
Sketches
Date:
1931-2009
Summary:
The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.
Scope and Contents:
The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

Biographical materials include awards, resumes, membership documents for the New York Artists Equity Association, and a scrapbook and photograph portfolio for Jose de Creeft's birthday in 1969. Scattered school records include a photocopy of a letter from Aimee Vorhees at the Inwood Pottery School.

Goulet's correspondence is mostly professional in nature but includes some letters from friends and family, including Jose de Creeft. Other notable correspondents include Chaim Gross, Herbert and Dorothy Vogel, and Richard Anuszkiewicz.

Writings and notes by Lorrie Goulet include artists' statements; notes and essays on sculpture, including a disbound binder entitled "Quadrations"; three journals about the creation of Enigma; a statement on Green Serpentine; lectures and talks, including a memorial tribute to Jose de Creeft; and poems. There are also a few writings by others about Goulet.

There are five transcripts of interviews with Lorrie Goulet and with Lorrie Goulet and Jose de Creeft. One of the interviews includes the original sound recordings on cassette tape and one includes a version of the transcript on floppy disc.

Extensive exhibition files document fifty years of Goulet's solo and group exhibitions held at galleries, museums, and institutions throughout the United States. Many of the files are from shows at Carolyn Hill Gallery, The Contemporaries, David Findlay Jr. Gallery, and Kennedy Galleries. Also found is extensive material on Goulet's exhibition at the National Museum of Women in the Arts, Lorrie Goulet: Fifty Years of Making Sculpture (1998). File contents vary, but often contain photographs of openings and of works of art, correspondence, printed material, and price lists.

Project and commission files document Goulet's public commissioned works in the New York Public Library, 173 St. Branch, the Nurse's Residence and School at the Bronx Municipal Hospital, the New York City 48th Precinct Station House and Fire House, and the bust of King Juan Carlos I of Spain. There are also files concerning Goulet's television show Around the Corner, an educational children's show that aired from 1964-1968.

Teaching files are from Goulet's positions at the Art Students League, the school at the Museum of Modern Art, the New School for Social Research, and Scarsdale Studio Workshop. Personal business records include scattered bills and receipts for works of art by Goulet and Jose de Creeft and a file regarding Goulet's affiliation with art agent Anna Beck Nalle.

Among the printed materials are clippings, exhibition announcements and catalogs, and issues of magazines and periodicals, many of which include articles about Goulet or her exhibitions. Also found is a videocassette tape concerning Jose de Creeft's Alice in Wonderland narrated by Goulet.

Photographs and eleven photo albums depict Goulet, her family life with Jose de Creeft, celebrations with friends, her artwork and studio, and travel. Also found are photos, slides, and transparencies of works of art. Pencil sketches are by Goulet of her studio. There is also a sketch of Lorrie Goulet by Zorach.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1931-2009 (0.5 linear feet; Box 1, 11)

Series 2: Correspondence, 1940s-2006 (0.7 linear feet; Box 1)

Series 3: Writings and Notes, 1949-2002 (0.6 linear feet; Box 1-2)

Series 4: Interviews, 1967-2002 (0.3 linear feet; Box 2)

Series 5: Exhibition Files, 1948-2008 (3.1 linear feet; Box 2-5)

Series 6: Project Files, 1950s-2007 (0.8 linear feet; Box 6, 12)

Series 7: Teaching Files, 1958-2000 (0.2 linear feet; Box 6)

Series 8: Personal Business Records, 1969-1990s (2 folders; Box 6)

Series 9: Printed Materials, 1940s-1999 (1.1 linear feet; Box 7-8)

Series 10: Photographs, 1930s-2008 (2.3 linear feet; Box 8-11)

Series 11: Artwork, 1955-1956 (0.1 linear feet; Box 10)
Biographical / Historical:
Lorrie Goulet (1925- ) is a sculptor, painter, educator, and writer active in New York City, New York. She is well-known for direct sculpture on wood and stone.

Lorrie Goulet was born in Riverdale, NY in 1925. As early as the age of seven, Goulet attended the Inwood Pottery School in New York City where she studied under Aimee Vorhees. After the Goulet family moved to Los Angeles, Lorrie continued her studies in art and, in 1940, apprenticed under Jean Rose, a ceramicist in Southern California. In 1943, Goulet enrolled at Black Mountain College in North Carolina where she studied with Joseph and Annie Albers. This is also where she met her husband, sculptor Jose de Creeft; they married in 1944 and had one child, Donna Maria de Creeft. Goulet and de Creeft divided their time between Hoosick Falls, New York and New York City.

Goulet's first solo exhibition was held at the Clay Club Sculpture Center, New York, in 1948. She was represented by Kennedy Galleries in New York, David Findlay Jr. Gallery, and the Harmon Meek Gallery in Naples, Florida. She has exibited widely, including in a number of Annual Exhibitions at the Whitney Museum of American Art, New York, and in the fine arts pavilion of the New York World's Fair of 1965. In 1998, she was honored by the National Museum of Women in the Arts in Washington D.C. with a solo exhibition titled Fifty Years of Making Sculpture.

Goulet taught sculpture at the Museum of Modern Art's Peoples Center, New York, in 1957. From 1961 to 1975 she was on the faculty of the New School, New York, and in 1981 began teaching at the Art Students League of New York, where she taught until 2004. Between 1964-1968 Lorrie Goulet demonstrated sculpture techniques on a CBS Television children's program called "Around the Corner", sponsored by the New York City Board of Education.

Lorrie Goulet's sculpture can be found in the permanent collections of museums across the country. She also completed a number of public sculptures commissioned by the City of New York for several of its public buildings in the Bronx including the Branch Public Library at 173rd Street and Grand Concourse (1958), the Nurses School and Residence, Bronx Municipal Hospital (1961), and the 48th Precinct Police and Fire Station Headquarters (1971) - all in varying materials. A bronx bust of King Juan Carlos I of Spain created by Goulet is displayed in the Royal Palace in Madrid.

Goulet is also a painter, philosopher and poet and continues to work in her studio in New York City.
Related Materials:
Also found in the Archives of American Art are the papers of Lorrie Goulet's husband, sculptor Jose de Creeft.
Provenance:
Lorrie Goulet lent a portion of her papers in 1972 for microfilming and later donated those papers along with additional materials to the Archives of American Art in 2010.
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.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Diaries
Photographs
Interviews
Sound recordings
Video recordings
Scrapbooks
Sketches
Citation:
Lorrie Goulet papers, 1931-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goullorr
See more items in:
Lorrie Goulet papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902b5ece8-1adc-4620-a5f5-f3520a094ffd
EDAN-URL:
ead_collection:sova-aaa-goullorr
Online Media:

Marguerite Wildenhain papers

Creator:
Wildenhain, Marguerite  Search this
Names:
Anderson, Eugene Newton  Search this
Eliot, T. S. (Thomas Stearns), 1888-1965  Search this
Marcks, Gerhard  Search this
Wildenhain, Frans, 1905-1980  Search this
Extent:
3.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Motion pictures (visual works)
Video recordings
Date:
1930-1982
Summary:
The papers of California ceramicist and educator Marguerite Wildenhain measure 3.7 linear feet and date from 1930 to 1982. Found within the papers are biographical sketches; correspondence with patrons, students, and colleagues, including Eugene Anderson, T. S. Eliot, and Gerhard Marcks; writings by Wildenhain and others; designs for pottery and other artwork; one scrapbook; news clippings, exhibition catalogs, and scattered printed material. Also found are photographs of Marguerite and Frans Wildenhain, Pond Farm, workshops, exhibitions,and artwork, as well as two film reels depicting Wildenhain lecturing and in her studio. There is a 0.3 linear foot unprocessed addition to this collection donated in 2020 that includes photographs and negatives of Wildenhain's works of art, circa 1960-1970, (many in the collection of Forrest L. Merrill or Luther College) taken by David Stone and photographs at Pond Farm, circa 1980. Additional photographs are of Wildenhain and her works of art, circa 1950 (possibly taken by Otto Hagel).
Scope and Content Note:
The papers of California ceramicist and educator Marguerite Wildenhain measure 3.7 linear feet and date from 1930 to 1982. Found within the papers are biographical sketches; correspondence with patrons, students, and colleagues, including Eugene Anderson, T. S. Eliot, and Gerhard Marcks; writings by Wildenhain and others; designs for pottery and other artwork; one scrapbook; news clippings, exhibition catalogs, and scattered printed material. Also found are photographs of Marguerite and Frans Wildenhain, Pond Farm, workshops, exhibitions,and artwork, as well as two film reels depicting Wildenhain lecturing and in her studio. There is a 0.3 linear foot unprocessed addition to this collection donated in 2020 that includes photographs and negatives of Wildenhain's works of art, circa 1960-1970, (many in the collection of Forrest L. Merrill or Luther College) taken by David Stone and photographs at Pond Farm, circa 1980. Additional photographs are of Wildenhain and her works of art, circa 1950 (possibly taken by Otto Hagel).
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1943 (Box 1; 1 folder)

Series 2: Correspondence, 1940-1981 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1940-1980 (Box 1-2; 1.0 linear foot)

Series 4: Artwork, circa 1961-1969, 1975 (Box 2, OV 5; 4 folders)

Series 5: Scrapbooks, 1934-1963 (Box 2; 3 folders)

Series 6: Printed Material, circa 1932-1982 (Box 2, OV 5; 0.2 linear feet)

Series 7: Photographs, 1930-1976 (Box 2-3, OV 4; 1.2 linear feet)

Series 8: Audio-Visual Recordings, 1954, circa 1965 (Box 3, FC 6-7; 0.2 linear feet)

Series 9: Unprocessed Addition, circa 1950-1980 (Box 8, OV 9; 0.3 linear feet)
Biographical Note:
Marguerite Wildenhain (1896-1985) was a ceramicist and educator in Guerneville, California. Born Marguerite Friedlaender in Lyon, France, Wildenhain received training in sculpture at the Berlin School of Applied Arts. She later worked as a designer for the Royal Berlin Porcelain Factory, leaving in 1919 to apprentice in pottery at the Bauhaus, under Max Krehan and Gerhard Marcks. After receiving her degree as master-potter, she was employed at the Municipal School for Arts and Crafts in Halle Saale, Germany. Fleeing the Nazis in 1933, she and her husband, potter Frans Wildenhain, operated a workshop in Holland before immigrating to the United States in 1940. In 1942 she settled near Guerneville, California, and established an artist colony known as Pond Farm. Following her divorce, she remained at Pond Farm and operated a summer school which lasted until 1980, training approximately 25 students each summer.
Related Material:
Also found at the Archives of American Art are the Marguerite Wildenhain exhibition records, 1977-1981, donated by the Herbert F. Johnson Museum of Art; an oral history interview of Marguerite Wildenhain conducted 1982 Mar. 14, by Hazel Bray; and the Frans Wildenhain papers, 1890-1986. Additional Marguerite Wildenhain letters to Gerhard Marcks are located at the Archiv fur Buldende Kunst of the Germanisches Museum, Nurnberg, Germany.
Provenance:
The collection was donated by Marguerite Wildenhain in 1973-1981. Additional material was donated in 2020 by David Stone, a student of Wildenhain.
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:
Ceramicists -- California  Search this
Topic:
Art -- Study and teaching  Search this
Women artists  Search this
Women ceramicists  Search this
Function:
Artists' studios -- California
Genre/Form:
Scrapbooks
Motion pictures (visual works)
Video recordings
Citation:
Marguerite Wildenhain papers, 1930-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wildmarg
See more items in:
Marguerite Wildenhain papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95670c906-044e-4231-8338-34b9e41a131a
EDAN-URL:
ead_collection:sova-aaa-wildmarg
Online Media:

Oral history interview with Tom McGlauchlin

Interviewee:
McGlauchlin, Tom, 1934-2011  Search this
Interviewer:
Byrd, Joan Falconer  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cornell College (Mount Vernon, Iowa) -- Faculty  Search this
Glass Art Society  Search this
Habatat Galleries  Search this
Heller Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Council on Education for the Ceramic Arts (U.S.)  Search this
Pismo Gallery  Search this
Toledo Art Museum  Search this
University of Toledo  Search this
University of Wisconsin--Madison -- Students  Search this
Vespermann Gallery  Search this
William H. Holston Gallery (New York, N.Y.)  Search this
Bailey, Clayton, 1939-2020  Search this
Day, Russell  Search this
Dreisbach, Fritz  Search this
Labino, Dominick  Search this
Leafgreen, Harvey  Search this
Littleton, Harvey K.  Search this
Schulman, Norman, 1924-  Search this
Takaezu, Toshiko  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
39 Pages (Transcript)
2 Items (Sound recording: 2 sound files (1 hr., 58 min.), digital; wav)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2006 October 13
Scope and Contents:
An interview of Tom McGlauchlin conducted 2006 October 13, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Archives of American Art, Washington, D.C.
McGlauchlin speaks of his childhood in Wisconsin; receiving a B.S. and M.S. in Art from the University of Wisconsin, Madison; studying pottery with Harvey Littleton and Toshiko Takaezu; attending the first workshop for glassblowing at the Toledo Museum of Art in Toledo, Ohio in 1962; building his glass studio; teaching experiences at Cornell College; experiences as the Director of the Glass Program at the University of Toledo/Toledo Museum of Art; the rivalry between Harvey Littleton and Dominick Labino; his relationship with galleries throughout the years including Heller Gallery, Habatat Galleries, Holsten Galleries, Vespermann Gallery, Pismo Gallery, and others; his participation in Glass Art Society and National Council on Education for the Ceramic Arts; his interest in textured surfaces; being influenced by Washington Color Field painters; the strong influence jazz has on his artwork; his involvement with the Art Tatum Jazz Heritage Festival in Toledo, Ohio; his plans to stop blowing glass in the near future; and his interest in working in pottery once again. McGlauchlin also recalls Clayton Bailey, Norm Schulman, Harvey Leafgreen, Otto Wittmann, Fritz Dreisbach, Russell Day, and others.
Biographical / Historical:
Tom McGlauchlin (1934-2011) is an glass artist and potter from Toledo, Ohio. Joan Falconer Byrd (1939- ) is a ceramics professor from Cullowhee, North Carolina.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 58 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Glass artists -- Ohio  Search this
Topic:
Color-field painting  Search this
Decorative arts  Search this
Glass blowing and working  Search this
Jazz  Search this
Pottery -- Study and teaching  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.mcglau06
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99404f59e-e959-4644-bffe-2b078ae0bc72
EDAN-URL:
ead_collection:sova-aaa-mcglau06
Online Media:

Oral history interview with Michael Cohen

Interviewee:
Cohen, Michael, 1936-  Search this
Interviewer:
Williams, Gerald, 1926-2014  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art  Search this
Haystack Mountain School of Crafts  Search this
Massachusetts College of Art  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Burke, Ron  Search this
Glick, John Parker, 1938-  Search this
Goodwin, Harriet  Search this
Leach, Bernard, 1887-1979  Search this
Merritt, Francis Sumner, 1913-2000  Search this
Sedestrom, Bob  Search this
Voulkos, Peter, 1924-2002  Search this
Wyman, William, 1922-1980  Search this
Extent:
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 August 11
Scope and Contents:
An interview of Michael Cohen conducted 2001 August 11, by Gerry Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at his home, in Pelham, Massachusetts.
Cohen speaks of his childhood, living outside of Boston, Massachusetts; his first adventures in art; attending Mass Art; his attraction to clay; his mentors; his first job with Bill Wyman; joining the Army; his travels; his unhappy experience at Cranbrook Academy of Art; his first studio in his mother's basement; enjoying his first summer at Haystack Mountain School of Crafts and the other schools of craft; how his pottery is meant to be functional; his fear of dying at 59 and the great sculptural work he did in that year; exhibition shows and how they have changed over the course of his career; why he's moved to primarily making tiles; apprenticeship and the benefits of paying your apprentices; how expensive being in the pottery business has become; various teaching and workshop experiences; local pottery guilds he is a part of; the creation and design of his studio space; technological advances in the field and the distinctive tools he loves to use; specialized periodicals that he reads or looks at; what makes a pot beautiful; limitations in clay; commissions and the lack of benefits involved with commissions; the permanent collections of museums that he is a part of; how he thinks he will be remembered; his most memorable exhibitions; where he gets his ideas from; social and political issues he's involved in and how he does not include them in his work; the craft organizations; curators he's enjoyed working with; his ex-wife Harriet Goodwin and how their collaboration was important to his work. Cohen also recalls Francis Merritt, Bernard Leach, Peter Voulkos, Ron Burke, John Glick, Bob Sedestrom, and others.
Biographical / Historical:
Michael Cohen (1936-) is a ceramist from Amherst, Massachusetts. Gerry Williams (1926-) is the editor of Studio Potter from Goffstown, New Hampshire.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr.; 6 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:
For more information on how to access this interview contact Reference Services.
Occupation:
Ceramicists -- Massachusetts -- Interview  Search this
Topic:
Ceramics -- Equipment and supplies  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Ceramics. -- Economic aspects  Search this
Decorative arts  Search this
Function:
Artists' studios
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cohen01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941e71885-f8e1-4431-9dbe-e9e6c9e72351
EDAN-URL:
ead_collection:sova-aaa-cohen01
Online Media:

Oral history interview with Paula Colton Winokur

Interviewee:
Winokur, Paula, 1935-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Beaver College -- Faculty  Search this
Graphic Sketch Club (Philadelphia, Pa.)  Search this
Helen Drutt Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Council on Education for the Ceramic Arts (U.S.)  Search this
Philadelphia Museum of Art  Search this
Temple University. -- Students  Search this
Tyler School of Art -- Students  Search this
Andre, Carl, 1935-  Search this
Blai, Boris, 1893-1985  Search this
Bobrowicz, Yvonne  Search this
Cunningham, Imogen, 1883-1976  Search this
Cushing, Val M.  Search this
De Staebler, Stephen, 1933-2011  Search this
Ferguson, Ken, 1928-2004  Search this
Heizer, Michael, 1944-  Search this
Higby, Wayne  Search this
Leon, Dennis, 1933-  Search this
Long, Richard, 1945-  Search this
Love, Arlene, 1953-  Search this
Marks, Graham, 1951-  Search this
McKinnell, James  Search this
Mestre, Enrique, 1936-  Search this
Minter, Myrna  Search this
Moran, Lois  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Nesbitt, Lowell, 1933-1993  Search this
Notkin, Richard  Search this
Randall, Theodore, 1914-1985  Search this
Schulman, Norman, 1924-  Search this
Sedestrom, Carol  Search this
Serra, Richard, 1938-  Search this
Shores, Kenneth, 1928-  Search this
Simon, Sandy  Search this
Slivka, Rose  Search this
Staffel, Rudolf, 1911-2002  Search this
Takaezu, Toshiko  Search this
Vavrek, Ken  Search this
Winokur, Robert, 1933-  Search this
Ólafur Elíasson, 1967-  Search this
Extent:
9 Items (Sound recording: 9 sound files (6 hr., 24 min.))
171 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Alaska
Hungary
Iceland
Mesa Verde (Calif.)
Rocky Mountains
Stonehenge (England)
Date:
2011 July 21-22
Scope and Contents:
An interview of Paula Colton Winokur conducted 2011 July 21-22, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.
Paula speaks of taking drawing and painting classes at the Graphic Sketch Club (now the Fleischer Art Memorial) in Philadelphia at age 11; her first experience handling clay at 13 or 14 when taking a class at the Philadelphia Museum of Art; when her family agreed to send her to college, providing she became a teacher, and she attended the Tyler School of Art at Temple University as a painting major; the influence of her teacher Rudolf Staffel in her sophomore year when she took a ceramics class and fell in love with working in clay; meeting her husband Robert Winokur when they were students at Tyler, getting married in 1958, eventually having two sons; glaze testing to find a palette of glazes to use; moving to Massachusetts and starting Cape Street Pottery for their production pottery; her involvement with NCECA [National Council on Education for the Ceramic Arts] and other professional organizations; when she began a 30-year teaching career at Beaver College in 1973 (more recently known as Arcadia University), building their ceramics department; changing from using stoneware to porcelain in 1970; making boxes and architectural forms; how she stopped making functional items when her first child was born and began creating the things she wanted to; the decision in 1982 to make landscapes and how geology, the Artic, and threats to the environment influence her work; the process she uses when creating texture; selling exclusively through the Helen Drutt Gallery beginning in 1973 until the gallery closed in 2011; the important influences in her work of artists such as Michael Heizer, Carl Andre, Richard Long, Richard Serra, Olafur Eliasson, and Steven De Staebler and others; the immense the geologic formations of Mesa Verde, the Rocky Mountains, Stonehenge, Alaska and Iceland are inspiring; various lecturing opportunities and exhibits through the years, as well as a working residency she took advantage of in Hungary in 1994; slowly moving away from glazes and instead using metallic sulfates for color; that her intention is to express the relationship between the internal part of herself and the external world for other people to experience and find something in common; the importance of a liberal arts education for art students; her gelatin and clay prints; the concern over collectors of clay art dying off and no new ones taking their places; that galleries are closing and Internet galleries are the norm; meeting photographer, Imogen Cunningham, and seeing her as a wonderful role model; and the feeling that the high cost of fuel and the invention of newer materials may end ceramic classes. Paula also recalls Lowell Nesbitt, Myrna Minter, Arlene Love, Dennis Leon, Boris Blai, Ted Randall, Val Cushing, Norm Schulman, Jim McKinnel, Gertrud Natzler, Otto Natzler, Ken Ferguson, Rose Slivka, Enrique Mestre, Sandy Simon, Wayne Higby, Richard Notkin, Graham Marks, Toshika Takaezu, Yvonne Bobrowicz, Ken Vavrek, Carol Sedestrom, Lois Moran, and Ken Shores and others.
Biographical / Historical:
Paula Colton Winokur (1935- ) is a ceramist in Horsham, Pennsylvania. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded as 9 sound files. Duration is 6 hr., 24 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:
Ceramicists -- Pennsylvania  Search this
Topic:
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Painting -- Study and teaching  Search this
Women artists  Search this
Women ceramicists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.winoku11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a7e4adc1-c020-4368-b3ef-02243200b6aa
EDAN-URL:
ead_collection:sova-aaa-winoku11
Online Media:

Festival Recordings: AFS Centennial Stage: Conservation: Natural and Cultural (Sweezy, Sedotal, Fleming, Spitzer)

Creator:
Smithsonian Institution. Festival of American Folklife. American Folklore Society Centennial Program 1988 Washington, D.C.  Search this
Artist:
Sweezy, Nancy  Search this
Sedotal, Raymond, 1924-2006  Search this
Fleming, Elizabeth  Search this
Spitzer, Nicholas R.  Search this
Performer:
Sweezy, Nancy  Search this
Sedotal, Raymond, 1924-2006  Search this
Fleming, Elizabeth  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (compact audio cassette)
sound-tape reel (analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
South Carolina
Charlesville (S.C.)
Louisiana
Massachusetts
Date:
1988 June 25
Contents:
Conservation: Natural and Cultural
Local Numbers:
FP-1988-7RR-0099
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Topic:
Oral history  Search this
Natural resources  Search this
Boatbuilding  Search this
Pottery  Search this
Basket making  Search this
Folklore -- Study and teaching  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1988, Item FP-1988-7RR-0099
See more items in:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife
Smithsonian Folklife Festival records: 1988 Festival of American Folklife / Series 2: American Folklore Society Centennial / Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53649d582-a12b-420b-9ee1-49fc58be9d02
EDAN-URL:
ead_component:sova-cfch-sff-1988-ref581

Oral history interview with Wayne Higby

Interviewee:
Higby, Wayne  Search this
Interviewer:
McInnes, Mary, 1956-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Faculty  Search this
Archie Bray Foundation  Search this
Haystack Mountain School of Crafts -- Faculty  Search this
Helen Drutt Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Rhode Island School of Design -- Faculty  Search this
University of Colorado (Boulder campus) -- Students  Search this
University of Michigan -- Students  Search this
University of Nebraska -- Faculty  Search this
Bauer, Fred  Search this
Cushing, Val M.  Search this
Ferguson, Ken, 1928-2004  Search this
McKinnell, James  Search this
McKinnell, Nan  Search this
Merritt, Francis Sumner, 1913-2000  Search this
Motherwell, Robert  Search this
Neri, Manuel, 1930-  Search this
Randall, Theodore, 1914-1985  Search this
Shaner, David, 1934-  Search this
Soldner, Paul  Search this
Turner, Robert Chapman, 1913-2005  Search this
Voulkos, Peter, 1924-2002  Search this
Woodman, Betty, 1930-2018  Search this
Extent:
9 Items (Sound recording: 9 sound files (4 hr., 55 min.), digital, wav)
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Africa -- description and travel
Asia -- Description and Travel
China -- Description and Travel
Colorado -- description and travel
Europe -- description and travel
Date:
2005 April 12-14
Scope and Contents:
An interview of Wayne Higby conducted 2005 April 12-14, by Mary McInnes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Alfred Station, New York. Higby speaks of growing up in Colorado Springs, Colorado; choosing to go to University of Colorado, Boulder; traveling to Europe, Asia, and Africa; being influenced by Minoan pottery; working for ceramicist Betty Woodman; deciding to become a teacher; getting a graduate degree at the University of Michigan; working at Archie Bray Foundation; teaching at the University of Nebraska and Rhode Island School of Design; having his first one person art show and exhibiting nationally; teaching at Haystack Mountain School of Crafts; the influence of landscape on his work; how the craft market has changed during his career; working with the Helen Drutt Gallery; writing about craft and the need for critical dialogue in craft publications; being inspired by Asian art; learning ceramics from Jim and Nan McKinnell, and the influence of other teachers on his career; getting hired at Alfred University; the challenges and benefits of teaching at Alfred; his colleagues at Alfred; making functional art and using the vessel form; his teaching philosophy; putting ceramics in a larger art context; his current project; his studio practice; themes in his artwork; choosing to work in porcelain; lecturing and touring in China; being interested in landscape painting; the public response to his work; and recently being awarded several honors. Higby also recalls Manuel Neri, Peter Voulkos, Paul Soldner, Fred Bauer, David Shaner, Francis Merritt, Ted Randall, Bob Turner, Val Cushing, Kenneth Ferguson, Robert Motherwell, and others.
Biographical / Historical:
Wayne Higby (1943- ) is a ceramicist from Alfred Station, New York. Mary McInnes is a professor from Alfred, New York.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 55 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Use requires an appointment.
Topic:
Ceramicists -- New York (State) -- Interviews  Search this
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Educators -- New York (State) -- Interviews  Search this
Pottery, Minoan  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.higby05
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bf162d01-21b8-45c0-a721-3b28272fd72c
EDAN-URL:
ead_collection:sova-aaa-higby05
Online Media:

Oral history interview with Robert Winokur

Interviewee:
Winokur, Robert, 1933-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Students  Search this
Helen Drutt Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Council on Education for the Ceramic Arts (U.S.)  Search this
North Texas State University -- Faculty  Search this
Tyler School of Art -- Faculty  Search this
Tyler School of Art -- Students  Search this
Babu, Victor, 1936-  Search this
De Kooning, Willem, 1904-1997  Search this
Ferguson, Ken, 1928-2004  Search this
Giacometti, Ignazio  Search this
Hamada, Shōji, 1894-1978  Search this
Hay, Dick  Search this
Klee, Paul, 1879-1940  Search this
Kline, Franz, 1910-1962  Search this
Levy, Marge  Search this
Minter, Myrna  Search this
Notkin, Richard  Search this
Randall, Theodore, 1914-1985  Search this
Reitz, Don, 1929-2014  Search this
Rhodes, Daniel, 1911-1989  Search this
Schulman, Norman, 1924-  Search this
Staffel, Rudolf, 1911-2002  Search this
Vavrek, Ken  Search this
Voulkos, Peter, 1924-2002  Search this
Wildenhain, Marguerite  Search this
Wood, John, 1922-2012  Search this
Extent:
7 Items (Sound recording: 7 sound files (5 hr., 35 min.))
159 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2011 July 23-24
Scope and Contents:
An interview of Robert Winokur conducted 2011 July 23 and 24, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.
Robert speaks of his mother earning an award for her artwork; his father and other family members being Communists and having to distance himself in being identified with them; his mother making ceramic jewelry while his father was working as a welder at Cramps Shipyard in Philadelphia during World War II; feeling like he had an attention deficit disorder of some kind, which prevented him from doing well in school, so he took ceramics classes in high school to bring his grades up; starting in painting at the Tyler School of Art, finishing in sculpture, clay, and ceramics; appreciating the Abstract Expressionist work of Franz Kline; of the opinion that one learns art by doing and that the teachers are there to direct you only; feeling that he did not have the freedom to experiment with clay as he wished at Alfred University, School of Art and Design for fear of being compared to Peter Voulkos; his first job teaching at North Texas State University in Denton, Texas; teaching in Peoria, Illinois for a year; beginning Cape Street Pottery in Ashfield, Massachusetts; when he began salt firing and working more in sculptural forms; his work influenced by Abstract Expressionism, Paul Klee, Willem de Kooning, Ignazio Giacometti, Zen master calligraphers, Peter Voulkos, and others; feeling that the computer cannot, as of yet, produce the quality of art that humans can through repetition; that the process of creating is more important than the subject; starting his 30-year teaching career at Tyler School of Art in 1966; that students today are approaching ceramics conceptually and academically rather than through a relationship with the material; the beginning of NCECA [National Council on Education for the Ceramic Arts]; and how he enjoys making what he wants to, now that he is retired. Robert also recalls Rudolf Staffel, John Wood, Ted Randall, Daniel Rhodes, Shoji Hamada, Marguerite Wildenhain, Ken Ferguson, Norm Schulman, Victor Babu, Myrna Minter, Don Reitz, Helen Drutt English, Richard Notkin, Dick Hay, Marge Levy, and Ken Vavrek.
Biographical / Historical:
Robert Winokur (1933- ) is a ceramist in Horsham, Pennsylvania. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 5 hr., 35 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Abstract expressionism  Search this
Ceramic jewelry  Search this
Ceramicists -- Pennsylvania -- Interviews  Search this
Ceramics -- Study and teaching  Search this
Communism  Search this
Painting -- Study and teaching  Search this
Sculpture -- Study and teaching  Search this
World War, 1939-1945  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.winokr11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bbe0c1c7-246e-45b7-966f-6278587c8612
EDAN-URL:
ead_collection:sova-aaa-winokr11
Online Media:

Henry Varnum Poor papers

Creator:
Poor, Henry Varnum, 1887-1970  Search this
Names:
Montross Gallery  Search this
Skowhegan School of Painting and Sculpture  Search this
Benton, William, 1900-1973  Search this
Biddle, George, 1885-1973  Search this
Billing, Jules  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Caniff, Milton Arthur, 1907-1988  Search this
Ciardi, John, 1916-  Search this
Czebotar, Theodore  Search this
Deming, MacDonald  Search this
Dickson, Harold E., 1900-  Search this
Dorn, Marion, 1896-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Esherick, Wharton  Search this
Evergood, Philip, 1901-1973  Search this
Garrett, Alice Warder  Search this
Houseman, John, 1902-1988  Search this
Marston, Muktuk  Search this
Meredith, Burgess, 1907-1997  Search this
Mumford, Lewis, 1895-1990  Search this
Padro, Isabel  Search this
Poor, Anne, 1918-  Search this
Poor, Bessie Breuer  Search this
Poor, Eva  Search this
Poor, Josephine Graham  Search this
Poor, Josephine Lydia  Search this
Poor, Peter  Search this
Sargent, Elizabeth S.  Search this
Smith, David, 1906-1965  Search this
Steinbeck, John, 1902-1968  Search this
Watson, Ernest William, 1884-1969  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Date:
1873-2001
bulk 1904-1970
Summary:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
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. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
War artists  Search this
Topic:
Architects -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Authors -- New York (State) -- New York  Search this
War posters  Search this
Educators -- New York (State) -- New York  Search this
Pottery -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Artists' studios  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Motion pictures (visual works)
Diaries
Prints
Photographs
Illustrations
Drawings
Watercolors
Sketchbooks
Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.poorhenr
See more items in:
Henry Varnum Poor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516
EDAN-URL:
ead_collection:sova-aaa-poorhenr
Online Media:

Oral history interview with J.B. Blunk

Interviewee:
Blunk, J. B., 1926-2002  Search this
Interviewer:
Adamson, Glenn  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
61 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 May 16
Scope and Contents:
An interview of J.B. Blunk conducted 2002 May 16, by Glenn Adamson, in Inverness, California, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Blunk speaks about his childhood in Kansas; his studies at UCLA; classes with ceramic artist Laura Andreson; Andreson taking her students to see an exhibition of Japanese potters; Japanese influence and his desire to go to Japan; his service in the United States Army during the Korean War and being stationed in Japan at the end of the war; meeting Isamu Noguchi for the first time at a Mingei ceramic shop; meeting potter Kitaoji Rosanjin through Noguchi's wife, Yoshiko; his apprenticeship with Rosanjin; wedging clay for Rosanjin; his living arrangements at Rosinjin's house; his work for potter Toyo Kaneshige and traveling with him to Bizen, Japan; Blunk's return to California; building a kiln; teaching pottery at a small art school near Santa Monica; meeting his wife and working with her at a children's camp; his work on a sheep ranch and making metal jewelry; his move to Inverness and the abundance of wood there; learning how to use a chain saw while constructing a roof for Gordon Onslow-Ford's home (designed by Warren Callister); the wood he sculpted for his own home; his travels in 1969 and 1970 to Mexico and Macchu Picchu; his bench, "Seating Sculpture, 1968-69," in the exhibition Objects: USA; his Redwood bench sculpture in the California Design exhibition at the Pasadena Art Museum; his exhibition at the Bolinas Museum; his method of making an arch sculpture out of cypress wood, including chiseling the wood with a gouge; his sculpture, "Six Stones," at Stanford University; his use of shoe dye to blacken his sculptures; the personality and tactile qualities in his work; sculpting wet wood; the difficulties of sculpting with eucalyptus and his fondness for redwood; his piece at the Tassajara Mountain Zen Center in Carmel Valley, California; a commission from the Orientation Center for the Blind, Albany, California; and the 1994 forest fire that threatened his house. Blunk also recalls Bruce Mitchell and Warren Callister.
Biographical / Historical:
J.B. Blunk (1926-2002) was a woodworker from Inverness, California.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 3 hr., 34 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Woodworkers -- California -- Interviews.  Search this
Ceramics -- Study and teaching  Search this
Woodwork -- Equipment and supplies  Search this
Woodwork -- Technique  Search this
Sculptors -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.blunk02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e19639c5-7edb-4ad1-afe1-68d69d5d6d5b
EDAN-URL:
ead_collection:sova-aaa-blunk02
Online Media:

Oral history interview with Frances Higgins

Interviewee:
Higgins, Frances Stewart, 1912-2004  Search this
Interviewer:
Adamson, Glenn  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
43 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 November 8
Scope and Contents:
An interview of Frances Higgins conducted 2003 November 8, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Riverside Illinois.
Higgins speaks of her education at the Georgia College for Women and the Chicago Institute of Design; her marriage to fellow artist Michael Higgins; and the development of her glass techniques such as fused glass and the slumped method. She discusses her work for the Dearborn Glass Company, Heager Potteries, and General Electric; and the significance of several of these designs and patterns, including the popularity of Rondelays. She also comments on the Midwest Designer-Craftsmen; the glass blowing movement; the studio in Riverside; and the book, "Higgins: Adventures in Glass." Higgins also recalls Harvey Littleton, Maurice Heaton, Earl McCutcheon, Charles and Ray Eames, and others.
Biographical / Historical:
Frances Stewart Higgins (1912-2004) was a glass artist of Riverside, Illinois. Glenn Adamson is an art historian.
General:
Originally recorded on 1 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 21 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Glass artists -- Illinois -- Chicago  Search this
Topic:
Glass blowing and working -- Technique  Search this
Glass blowing and working -- Study and teaching  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.higgin03
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw994557768-b7c4-4adc-a6cb-19b838b53c35
EDAN-URL:
ead_collection:sova-aaa-higgin03
Online Media:

Oral history interview with Harvey K. Littleton

Interviewee:
Littleton, Harvey K.  Search this
Interviewer:
Byrd, Joan Falconer  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Ann Arbor Potters Guild  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
Corning Glass Works  Search this
Cranbrook Academy of Art -- Students  Search this
Haystack Mountain School of Crafts  Search this
Midwest Designer-Craftsmen  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Penland School of Handicrafts  Search this
Pilchuck School  Search this
Renwick Gallery  Search this
University of Michigan -- Students  Search this
Braden, Norah, 1901-  Search this
Brown, William J. (William Joseph), 1923-1992  Search this
Dreisbach, Fritz  Search this
Eames, Charles  Search this
Eisch, Erwin, 1927-  Search this
Fredericks, Marshall M., 1908-1998  Search this
Hamada, Shōji, 1894-1978  Search this
Marioni, Dante, 1964-  Search this
Milles, Carl, 1875-1955  Search this
Turner, Robert Chapman, 1913-2005  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
36 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 15
Scope and Contents:
An interview of Harvey K. Littleton conducted 2001 March 15, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Littleton's home, Spruce Pine, N.C.
Littleton speaks of his family background including the work of his father [Jesse Talbot Littleton] at Corning Glassworks, and his early experiences with glass at Corning. He discusses his studies at the University of Michigan in physics and his switch to sculpture; his studies at Cranbrook Academy, in 1941, and his teachers Marshall Fredericks and Carl Milles; his studies on industrial design; becoming a potter; and working at Corning Glassworks, in the summers, inspecting hand-blown coffee pots and top-of-the-stove ware. He discusses his service in the 849th Signal Intelligence Unit in North Africa and Italy during WWII; studying with Norah Braden, at the Brighton School of Art, in England; the importance of, "A Potter's Book," by Bernard Leach; teaching pottery at night, in Ann Arbor, Michigan; the beginnings of the Ann Arbor Potters Guild; making his own potters' wheels; serving on the board of Penland School of Crafts; the development of "American" art and the impact of the GI Bill on the creation and expansion of art departments; the "master-slave apprentice system"; "the genius of Shoji Hamada"; the properties of porcelain; artist communities at Penland and Cranbrook; the influence of Bill Brown, director of the Penland School of Crafts; art education and the impact of the MFA; Black Mountain College, Pilchuck Glass School, and Haystack Mountain School of Crafts; problems with the European educational system; the importance of Erwin Eisch's work on his development; his relationship with galleries and museums, particularly the Museum of Modern Art, the Renwick Gallery of the Smithsonian American Art Museum, and American Craft Museum; and consignment laws. He also comments on the founding of the Midwest Designer Craftsmen; his involvement with the American Crafts Council (ACC) and the distinction between "the indigenous craftsman" and the "artist-craftsman"; American Crafts Council fairs; his printmaking; his techniques of sandblasting; teaching vitreography; and his plans for opening a print gallery. He recalls Charles Eames, Peter Voulkos, Shoji Hamada, Robert Turner, Dante Marioni, Fritz Dreisbach, and others.
Biographical / Historical:
Harvey K. Littleton (1922- ) is a glass artist, potter, sculptor, and printmaker from Wisconsin and Spruce Pine, N.C. Joan Falconer Byrd (1939-) ia a professor in the art department of Western Carolina University, Cullowhee, N.C.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Glass artists -- North Carolina -- Interviews  Search this
Potters -- Interviews  Search this
Pottery -- Study and teaching -- United States.  Search this
Printmakers -- North Carolina -- Interviews  Search this
Prints -- Technique  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.little01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw961daf4d2-b6dd-486c-8664-b04a9b099d65
EDAN-URL:
ead_collection:sova-aaa-little01
Online Media:

Oral history interview with Warren MacKenzie

Interviewee:
MacKenzie, Warren, 1924-2018  Search this
Interviewer:
Silberman, Robert B. (Robert Bruce), 1950-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Art Institute of Chicago -- Student  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Minnesota -- Faculty  Search this
Hamada, Shōji, 1894-1978  Search this
Leach, Bernard, 1887-1979  Search this
MacKenzie, Alixandra Kolesky, d. 1962  Search this
Extent:
44 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 October 29
Scope and Contents:
An interview of Warren MacKenzie conducted 2002 October 29, by Robert Silberman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Stillwater, Minnesota.
MacKenzie speaks of his early childhood and eagerness to become a painter; being drafted in 1943; returning from active duty in the Army to find all the painting classes full and registering for a ceramic class; the significance of Bernard Leach's, "A Potter's Book" to his early ceramic education, and fellow classmates; his studies at the Chicago Art Institute; museums in Chicago; his first wife, potter, Alix MacKenzie; traveling to England to receive further training from Leach, first being rejected and then returning a year later to work 2 1/2 years at Leach Pottery at St. Ives; contacts such as Shoji Hamada, Ben Nicholson, Barbara Hepworth, Terry Frost, Peter Lanyon, and others; his lack of interest in sculptural ceramics; the good remnants of Leach pottery pots in his pottery today; Korean and Japanese influences; the International Potters and Weavers Conference in 1952 and returning to the U.S.; Alix's role in arranging Hamada's tour of the U.S. and exhibition in St. Paul; building their first pottery; exhibitions at the Walker Arts Center; purchasing the best Hamada pot at the St. Paul exhibit; teaching at the University of Minnesota; his experiences at craft schools; his involvement with NCECA [National Council on Education in Ceramic Art] and the Minnesota Craft Council; his travels; the self-service showroom on his property; changes in the field of ceramics; the 1968 fire that destroyed his barn studio; his working process; his experience with a salt kiln; experimenting in each firing; and his monthly work schedule. MacKenzie also recalls Kathleen Blackshear, Lucie Rie, Hans Coper, Soetsu Yanagi, Jerry Liebling, Allen Downs, Walter Quirt, Phil Morton, Curt Heuer, Karen Karnes, David Weinrib, Josef Albers, Kenneth Ferguson, Rudy Autio, Peter Voulkos, Tatsuzo Shimaoka, David Lewis, Michael Cardew, and others.
Biographical / Historical:
Warren MacKenzie (1924-2018) was a ceramist from Stillwater, Minnesota.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 3 hrs., 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Ceramicists -- Minnesota -- Interviews  Search this
Ceramics. -- Economic aspects  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Ceramics -- Equipment and supplies  Search this
Ceramics -- Japan  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.macken02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90646a20d-b52f-4f92-8b7f-3b6761d8d09e
EDAN-URL:
ead_collection:sova-aaa-macken02
Online Media:

Oral history interview with Michael and Magdalena Suarez Frimkess

Interviewee:
Frimkess, Michael, 1937-  Search this
Frimkess, Magdalena Suarez  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Clay Art Center -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute -- Faculty  Search this
Otis Art Institute -- Students  Search this
University of California, Berkeley. Department of Art -- Students.  Search this
Rosen, Clara  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 8-April 17
Scope and Contents:
An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.
Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.
Magdalena Frimkess also provided another informed perspective on the events described by her husband.
Biographical / Historical:
Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.
Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 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.
Topic:
Art -- Study and teaching -- Chile  Search this
Potters -- California -- Interviews  Search this
Pottery -- Study and teaching -- United States.  Search this
Ceramicists -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.frimke01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90b4f4424-8f3e-433d-a868-3150ad81b171
EDAN-URL:
ead_collection:sova-aaa-frimke01
Online Media:

Oral history interview with Nan McKinnell

Interviewee:
McKinnell, Nan  Search this
Interviewer:
Holt, Kathy  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2005 June 12-13
Scope and Contents:
An interview of Nan McKinnell conducted 2005 June 12-13, by Kathy Holt, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fort Collins, Colorado.
McKinnell speaks of her childhood in Stanton, Nebraska, and summers spent on her grandfather's farm in Grand Forks, N.D.; her late husband James McKinnell's childhood in Nitro, W.V., and later in Seattle, Washington; her musical education at Wayne State Teacher's College, Nebraska; her first teaching job in Meadow Grove, Nebraska; her husband's tenure in the Navy in the early 1940s, when he was stationed in Hawaii during the bombing of Pearl Harbor on December 7, 1941; her move out West to stay with relatives in Seattle, Washington, and Hollywood, California; obtaining her Master's degree in art at the University of Washington while teaching music at Bryn Mawr College; her early experiences with ceramics under Paul Bonifas at Bryn Mawr; meeting her husband Jim and marrying him in July 1948; their move to Baltimore where Jim McKinnell was working for Locke Insulators; the couple's trip to Paris, France, on the G.I. bill, where Jim studied at the Ecole Nationale Superieure d'Arts et Metiers; bicycling around the French countryside on a tandem bicycle, visiting potters and pottery studios; their short stay in Vallauris, France, where Pablo Picasso was living at the time; travels to Italy, the Netherlands, and finally ending up at Penzance, in Cornwall, to study pottery with Michael Leach at the Penzance School of Art; returning to the U.S., when Jim worked for the U.S. Geological Survey, and traveling the Midwest in a trailer as part of that job; their education at the Archie Bray Foundation for the Ceramic Arts, Helena, Montana, and Haystack Mountain School of Crafts, Deer Isle, Maine; living in Deerfield, Massachusetts, at the historic Bloody Brook Tavern, where they made pottery and gave tours; their first pottery shows, at Deerfield Academy, Deerfield, Massachusetts, and at America House, which became the American Craft Museum, and is now called the Museum of Art & Design, New York, N.Y.; their teaching positions at the University of Iowa, the University of New Hampshire, Colorado University, Loretto Heights College, Denver, Colorado, and the Glasgow School of Art, among others; and their time in Japan on the Hill Family Foundation Grant. McKinnell also recalls Margaret Hancock, Frances Senska, Jack Lenor Larsen, Paul Bonifas, Bernard Leach, Michael Leach, Peter Voulkos, Marguerite Wildenhain, Rudy Autio, Ruth Pennington, Clayton James, Kathleen Horsman, Edward and Mary Scheier, Nils Lou, Edward Osier, Aline Vanderbilt Webb, Ron Brown, Marilyn Scaff Humple, Paul Soldner, Karl Christiansen, Thomas Potter, Kenji Kato, Alec Lecky, Ruth Duckworth, Wayne Higby, Otto and Vivika Heino, Warren MacKenzie, David Shaner, and Gerry Williams, among others.
Biographical / Historical:
Nan McKinnell (1913-2012) was a ceramist from Fort Collins, Colorado. Kathy Holt is a ceramist and educator from Littleton, Colorado.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 4 hrs., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Ceramicists -- Colorado -- Interviews  Search this
Pottery -- Study and teaching  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mckinn05
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw962040cf7-5b02-4933-8fb4-c4d96672045d
EDAN-URL:
ead_collection:sova-aaa-mckinn05
Online Media:

Oral history interview with Kurt Weiser

Interviewee:
Weiser, Kurt D., 1950-  Search this
Interviewer:
Held, Peter, 1951-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Archie Bray Foundation  Search this
Interlochen Arts Academy (Interlochen, Mich.) -- Students  Search this
Kansas City Art Institute  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Babu, Victor, 1936-  Search this
Coleman, Thomas, 1945-  Search this
Hensley, Rick  Search this
Labow, Ed  Search this
Rice, Jackie  Search this
Stevenson, John  Search this
Extent:
47 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2006 May 22
Scope and Contents:
An interview of Kurt Weiser conducted 2006 May 22, by Peter Held, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's studio, in Tempe, Arizona.
Weiser speaks of growing up in East Lansing, Michigan, near the Kresge Art Center at Michigan State University; his mother's encouragement of his interest in the arts; dropping out of high school in the ninth grade and working odd jobs until enrolling at Interlochen Arts Academy in Interlochen, Michigan; teaching himself firing techniques with Hal Reigger's book, "Primitive Pottery"; his relationship with his first ceramics teacher, Jean Parsons; and going to Kansas City Art Institute and meeting Ken Ferguson.
He discusses teaching in Portland after undergraduate school, first in the city at Portland Museum Art School, then in Marlyhurst; his studio at Hillside Center; selling pottery at the Ann Arbor Street Fair; attending graduate school at the University of Michigan and earning his M.F.A.; meeting Akio Takamori on a visit back to Kansas City Art Institute; his first experience at the Archie Bray Foundation in Helena, Mont.; and inviting international residents such as Suwanee Natewong to teach at the Bray.
He also covers his travels to Japan and Thailand; the drawings and sketches he did while abroad, and how these drawings inspired his black and white graffito-style pottery; his interests of natural and psychological subject matter; his use of color and inspirational artists such as Maxfield Parrish and Henri Rousseau; his methods for creating imagery; his teaching position at Arizona State University in Tempe; his opinions about the roles of the universities in art education, and of craft periodicals such as American Craft; his time at Guldagergard in Skaelskor, Denmark; and his involvement with National Council on Education for the Ceramic Arts.
Weiser also recalls Victor Babu, Rick Hensley, Tom Coleman, Jackie Rice, John Stevenson, Ed Labow, and others.
Biographical / Historical:
Kurt Weiser (1950- ) is an artist and educator from Tempe, Arizona. Peter Held (1951- ) is a curator from Chandler, Arizona.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 17 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Ceramics -- Technique  Search this
Ceramics. -- Economic aspects  Search this
Ceramics -- Study and teaching  Search this
Ceramicists -- Arizona -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.weiser06
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e4544afa-e31a-4fd2-bc7d-e8364b6059b2
EDAN-URL:
ead_collection:sova-aaa-weiser06
Online Media:

Oral history interview with Frances Senska

Interviewee:
Senska, Frances, 1914-2009  Search this
Interviewer:
Forbes, Donna, 1929-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Archie Bray Foundation -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
28 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 April 16
Scope and Contents:
An interview of Frances Senska conducted 2001 April 16, by Donna Forbes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
The interview took place in Senska's home and studio Bozeman, Montana. Senska speaks of her childhood in Africa and her exposure to African culture, specifically the pottery; immigrating to the United States, attending high school in Iowa City, Iowa, and completing both her BA and MA at the University of Iowa; joining the Navy; her interests in art and specifically how they developed into ceramics; her instructors; her teaching experience; the establishment of the Archie Bray Foundation in Helena, Montana; the community of artists in Montana; how function is the most important aspect of her pottery; clay-digging expeditions; the design of her house and studio; how she listens to African music when she throws clay; the influence of craft magazines; the National Council on Education for the Ceramic Arts [NCECA]; honorary awards and degrees she has received; and changes in the ceramics world over the past fifty years. Senska recalls Peter Voulkos, Rudy Autio, Trude Guermonprez, Henry Meloy, Jun Kaneko, Maija Grotell, Branson Stevenson and others.
Biographical / Historical:
Frances Senska (1914-2009) was a ceramicist and educator in Bozeman, Montana. Donna Forbes (1929- ) is the director of the Yellowstone Art Center, in Billings, Montana.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 46 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:
Educators -- Bozeman -- Montana  Search this
Topic:
Clay  Search this
Ceramicists -- Montana -- Interviews  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Decorative arts  Search this
Women educators  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.senska01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c5ac37ac-3d23-4df6-ab7b-1db327253d77
EDAN-URL:
ead_collection:sova-aaa-senska01
Online Media:

Oral history interview with David Shaner

Interviewee:
Shaner, David, 1934-  Search this
Interviewer:
Williams, Gerald, 1926-2014  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Archie Bray Foundation  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 June 17
Scope and Contents:
An interview of David Shaner conducted 2001 June 17, by Gerald Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Shaner's home in Bigfork, Montana.
Shaner speaks of his childhood in Pennsylvania and his parents background as pre-Revolutionary German-Swiss immigrants; his love of gardening; travels to the southwest United States, as well as Mexico and Peru; the appeal of the teapot; the spiritual aspect of making a bowl; how American craft has changed during his lifetime; his work at the Archie Bray Foundation; his education and his own teaching experiences; his "Saturday job" with Robert Turner; periodicals and their impact on the American craft movement; the calming effect of classical music while he worked; the construction of his studio space and equipment; the enthusiasm his family has for pottery and the arts in general; his involvement in the environmental movement and membership to the Sierra Club; his political views; the simplicity of his work; his opinion of writing in the field of pottery; his views on technology, especially within the field of pottery; his first one-man show; his opinion of other artists, especially those who are not "ordinary"; being diagnosed with Lou Gehrig's disease and its impact upon him; and the last few pieces he did before closing his studio. Shaner also recalls Kenneth Ferguson, Daniel Rhodes, John Wood, Peter Voulkos, Val Cushing, Ted Randall, Charles Harder and others.
Biographical / Historical:
David Shaner (1934-2002) was a ceramist from Bigfork, Montana. Gerry Williams (1926-) is a ceramist and editor of Studio Potter from Goffstown, N.H.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 5 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
For more information on how to access this interview contact Reference Services.
Topic:
Ceramics. -- Economic aspects  Search this
Ceramics -- Equipment and supplies  Search this
Ceramics -- Study and teaching  Search this
Ceramics -- Technique  Search this
Ceramicists -- Interviews -- Montana  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.shaner01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw954b67e7f-29eb-4f61-b7f1-7705518b3743
EDAN-URL:
ead_collection:sova-aaa-shaner01
Online Media:

Oral history interview with Betty Woodman

Interviewee:
Woodman, Betty, 1930-2018  Search this
Interviewer:
Perreault, John, 1937-2015  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Bellagio Study and Conference Center  Search this
Boulder (Colo.).. Parks & Recreation Department  Search this
Centre internationale de recherche sur le verre et les arts plastiques (Marseille, France)  Search this
Europees Keramisch Werkcentrum  Search this
Fabric Workshop  Search this
Girl Scouts of the United States of America  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
School for American Crafts  Search this
University of Colorado -- Faculty  Search this
Brown, Elenita  Search this
Carlson, Cynthia, 1942-  Search this
Hamada, Shōji, 1894-1978  Search this
Higby, Wayne  Search this
Kozloff, Joyce  Search this
Kushner, Robert, 1949-  Search this
Leach, Bernard, 1887-1979  Search this
Serra, Richard, 1938-  Search this
Shark, Bud  Search this
Voulkos, Peter, 1924-2002  Search this
Woodman, George, 1932-  Search this
Extent:
5 Items (Sound recording: 5 sound files (2 hr., 55 min.), digital wav)
69 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Boulder (Colo.)
India -- description and travel
Mexico -- description and travel
Netherlands -- description and travel
Date:
2003 April 22 and 29
Scope and Contents:
An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.
Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.
Biographical / Historical:
Betty Woodman (1930-2018) was a ceramist from New York, New York. John Perreault (1937- ) is an independent critic and curator from New York, New York.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 55 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Ceramicists -- New York (State) -- New York  Search this
Topic:
Airplanes -- Models  Search this
Art -- Study and teaching  Search this
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Glass art  Search this
Handicraft -- United States  Search this
Screen process printing  Search this
Women artists  Search this
World War, 1939-1945  Search this
Women ceramicists  Search this
Function:
Artists' studios
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.woodma03
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90dbbae38-7d68-45f4-bae8-d119dc3aa898
EDAN-URL:
ead_collection:sova-aaa-woodma03
Online Media:

Robert Chapman Turner papers

Creator:
Turner, Robert Chapman, 1913-2005  Search this
Names:
Black Mountain College (Black Mountain, N.C.)  Search this
Haystack Mountain School of Crafts  Search this
York State Craftsmen  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
circa 1917-2005
Summary:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.
Scope and Contents:
The papers of ceramicist Robert Chapman Turner measure 13.3 linear feet and date from circa 1917 to 2005. The papers document Turner's career as an educator and studio potter through biographical material, correspondence, writings, teaching files, professional files including lectures, subject files, printed material, and photographs.

The bulk of Turner's papers relate to his role as an educator and a lecturer at various institutions including Alfred University, Anderson Ranch Arts Center, Black Mountain College, Haystack Mountain School of Crafts, and Penland School of Crafts. Records, including two sound cassettes, regarding his time at these institutions may be found among his teaching and professional files as well as among photographs. Turner's professional files document his long affiliations with professional organizations such as the York State Craftsmen, National Council on Education for the Ceramic Arts, and the International Academy of Ceramics. Correspondence is with artists, family, and friends. Notable correspondents include Margaret Carney, Kenneth Ferguson, Alice Parrott, Toshiko Takaezu, and Frans Wildenhain among many others and may be found in both the correspondence series and professional files. Photographs of note are by John Wood and depict the building of the pottery studio at Black Mountain College.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-2002 (0.4 linear feet; Boxes 1, 14)

Series 2: Correspondence, circa 1938-2005 (1.8 linear feet; Boxes 1-3)

Series 3: Writings and Notes, 1950s-2000s (0.6 linear feet; Box 3)

Series 4: Teaching Files, 1957-2005 (0.8 linear feet; Boxes 3-4)

Series 5: Professional Files, 1952-2005 (5.5 linear feet; Boxes 4-9)

Series 6: Subject Files, 1950s-2000 (0.8 linear feet; Boxes 9-10)

Series 7: Printed Material, 1939-2000s (1.5 linear feet; Boxes 10-12, 14)

Series 8: Photographs, circa 1917-2000s (1.9 linear feet; Boxes 12-14)
Biographical / Historical:
Robert Chapman Turner (1913-2006) was a ceramicist who was known for functional and abstract pottery. He was active in Alfred Station, New York where he was a longtime faculty member at Alfred University.

Robert Turner was born in Port Washington, New York in 1913. He attended Swarthmore College and the Pennsylvania Academy of the Fine Arts where he studied economics and painting. With his wife Sue Turner, Robert lived in Europe to study Old Master paintings but returned to the United States after the start of World War II. A Quaker, Turner was a conscientious objector and served at multiple Civilian Public Service (CPS) camps in the United States during the war.

After leaving the CPS camps, Robert Turner enrolled at the New York State College of Ceramics at Alfred University to study ceramics and graduated in 1949. Turner was a faculty member at Black Mountain College (1949-1951) and Alfred University (1958-1979). He conducted numerous ceramics workshops throughout his career at many institutions including Haystack Mountain School of Crafts and Penland School of Crafts. Additionally, he was an active member of the (New) York State Craftsman.

Turner died in 2005 in Sandy Spring, Maryland.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America,
Provenance:
Robert Chapman Turner donated some of his papers in 1982. Additional materials were donated in 2005-2006 by Rosalind Turner Zuses, Turner's daughter.
Restrictions:
The 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 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:
Ceramicists -- New York (State) -- Alfred Station  Search this
Topic:
American studio craft movement  Search this
Ceramics -- Study and teaching  Search this
World War, 1939-1945 -- Conscientious objectors  Search this
Genre/Form:
Sound recordings
Citation:
Robert Chapman Turner papers, circa 1917-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnrobe
See more items in:
Robert Chapman Turner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978919a00-bcf9-411b-8727-58b0f0818612
EDAN-URL:
ead_collection:sova-aaa-turnrobe

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