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David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ireldavi

Dominic Di Mare papers

Creator:
Di Mare, Dominic, 1932-  Search this
Names:
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Palo Alto Arts Center  Search this
Susan Cummins Gallery  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Sketches
Drawings
Date:
1950-2003
Summary:
The papers of Dominic Di Mare measure 3.2 linear feet and date from 1950 to 2003. The collection provides an overview of Di Mare's career as a fiber artist through biographical information, correspondence, writings, printed material, artwork, and photographs.
Scope and Content Note:
The papers of Dominic Di Mare measure 3.2 linear feet and date from 1950 to 2003. The collection provides an overview of Di Mare's career as a fiber artist through biographical information, correspondence, writings, printed material, artwork, and photographs. Of particular interest is the material concerning Di Mare's 1998 retrospective exhibition, including correspondence, a guest book, writings, publications, and photographs.

Biographical material includes award certificates from the American Craft Council and an extensive professional resumé. The correspondence series includes personal and professional correspondence as well as three folders of incoming and outgoing correspondence with the Susan Cummins Gallery, revealing the relationship that Di Mare had with the gallery during the 1990s. Writings include those by Di Mare and others. Of note are numerous artist statements and an illustrated journal from 1971. The printed material provides researchers with press clippings, exhibition catalogs, announcements, and published material on Di Mare, as well as other printed material on topics that Di Mare found of interest, including craft in education and the art of his colleagues. The artwork series includes many drawings, the highlight being a sketchbook of color drawings and diagrams spanning a thirty year period. The extensive collection of photographs include many portraits of Di Mare, photos of exhibitions, and numerous photos and slides of his artwork.

An unprocessed small addition of 0.4 linear feet consists of correspondence with colleagues, arts organizations, galleries, and museums regarding exhibitions and publications; photographs of De Mare at work and of works of art, including two flash drives containing images of works of art; exhibition catalogs and announcements; and one schematic drawing of an unidentified work by De Mare, 1990.
Arrangement:
The collection is arranged into six series:

Series 1: Biographical Material, 1987-2003 (box 1; 4 folders)

Series 2: Correspondence, 1970-2002, undated (box 1; 7 folders)

Series 3: Writings, 1971-1977, undated (box 1; 7 folders)

Series 4: Printed Material, 1964-2003, undated (box 1-2; 1.5 linear feet)

Series 5: Artwork, 1950-1999, undated (box 3; 3 folders)

Series 6: Photographs, 1959-2001, undated (box 3-4; 0.7 linear feet)

Series 7: Unprocessed Addition, circa 1950-2003 (box 5; 0.4 linear feet)
Biographical Note:
Fiber artist Dominic Di Mare was born in San Francisco, California, in 1932. He grew up working on his father's fishing boat and was artistically influenced by the process of making rope and fishing lines. After finishing high school, Di Mare attended the California College of Arts and Crafts in Oakland and later received his art teaching certification at San Francisco State University. In 1960, Di Mare married Margaret Nef, bought his first loom, and began teaching at Francisco Junior High School. He and his wife had three children together, Marcello, Lorenzo, and Livia. A highly respected teacher, Di Mare taught at Francisco Junior High until 1976, when he left to work in his studio full-time.

A self taught fiber artist, Di Mare has explored, throughout his career, the imagery of the ocean and the shore. He works with fiber, wood, handmade paper, and small found objects to create unique sculptures. Since his first one person show at The Yarn Depot in 1963, Di Mare has participated in numerous national and international exhibitions and has been represented by the Anneberg Gallery and Braunstein Gallery in San Francisco, Florence Duhl Gallery in New York, and most recently the Susan Cummins Gallery in Mill Valley, California. In 1998 the Palo Alto Art Center curated "Dominic Di Mare: A Retrospective," which traveled throughout the country. In 1999 Di Mare received the American Crafts Council Gold Medal Award.
Related Material:
The Archives also has a transcribed interview of Dominic Di Mare, conducted June 4 and 10, 2002 by Signe Mayfield for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. The interview was conducted in Di Mare's home in Tiburon, California.
Provenance:
Dominic Di Mare donated his papers in 2003 and 2013 to the Archives of American Art, Smithsonian Institution.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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.
Topic:
Sculptors -- California  Search this
Art -- Study and teaching -- California  Search this
Fiber artists -- California -- Interviews  Search this
Genre/Form:
Scrapbooks
Photographs
Sketches
Drawings
Citation:
Dominic Di Mare papers, 1950-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dimadomi
See more items in:
Dominic Di Mare papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dimadomi

Oral history interview with James Melchert, 1991 Apr. 4-5

Interviewee:
Melchert, Jim, 1930-  Search this
Melchert, Jim, 1930-  Search this
Interviewer:
Jones, Mady  Search this
Subject:
Voulkos, Peter  Search this
San Francisco Art Institute  Search this
University of California, Berkeley  Search this
National Endowment for the Arts  Search this
American Academy in Rome  Search this
Type:
Sound recordings
Interviews
Topic:
Ceramics  Search this
Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this
Arts administrators -- California -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Decorative arts  Search this
Record number:
(DSI-AAA_CollID)13062
(DSI-AAA_SIRISBib)215586
AAA_collcode_melche91
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215586

Oral history interview with Marilyn Levine

Interviewee:
Levine, Marilyn, 1935-2005  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
Melchert, Jim, 1930-  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
54 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 May 15
Scope and Contents:
An interview of Marilyn Levine conducted 2002 May 15, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Oakland, California.
Levine speaks of growing up in Alberta, Canada; going to the University of Alberta for her undergraduate and graduate degrees in chemistry; being an analytical inorganic chemist; meeting her husband at the university; her husband's work at the University of Regina in Saskatchewan and how rules about nepotism prevented her from teaching; auditing a drawing and painting art class when she could not find a job; taking evening pottery classes taught by Beth Hone; teaching chemistry at Campion College during the school year and pottery during the summers at the University of Regina; meeting Jack Sures at the Western Potters' Association and his influence on her career; helping Sures get a pottery position at the University of Regina; teaching with him from 1966-1969; using a travel grant from the Canada Council to meet American artists such as Peter Voulkos, Ron Nagle, James Melchert, and Robert Arneson; applying to graduate school at the University of California at Berkeley and being rejected; a James Melchert workshop at Beth Hone's studio; getting into Berkeley's graduate program with Melchert's help; receiving an M.F.A.; separating from her husband; experimenting with Funk art; seeing a pair of worn down shoes and becoming inspired to specialize in super-realist ceramic sculptures; her work as "timeless" and not of a particular fashion; showing her art in a New York gallery and being ripped off; having her M.F.A., one person show, at the Hansen Fuller Gallery and at the University Art Museum; letting the galleries price her work; exhibiting at OK Harris in New York; the long, slow process of making pieces; her work being accepted in America, but not in Canada; teaching ceramics to non-art majors at the University of Utah; developing a studio building, The West Coast Macaroni Factory, with Peter Voulkos; her methods, techniques, and materials including her experiments with fiberglass, nylon, and Dacron; avoiding big conferences, such as the National Council on Education for the Ceramic Arts [NCECA]; her first museum retrospective in 1974 at the Norman McKenzie Art Gallery; her exhibition at the Canadian Clay and Glass Gallery in Waterloo, Ontario, in conjunction with the University of Waterloo; her exhibition, "Sharp Focus Realism," at the Sidney Janis Gallery; her involvement in the exhibition, "Clayworks: 20 Americans," at the American Craft Museum; her work in museum collections; having a commission to make ceramic sculptures of sporting gear for Pacific Enterprises; her studio assistants and feeling a lack of privacy; titling her work with human names for identification purposes but not having specific references to anyone. Levine also recalls Robert Bechtle, Ruth Braunstein, Joan Brown, Stephen DeStaebler, Ivan Karp, Bella Feldman, Duane Hanson, Clay Jensen, John Mason, Joan Mondale, and others.
Biographical / Historical:
Marilyn Levine (1935-2005) was a ceramist from Oakland, California.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 29 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Ceramicists -- California -- Oakland  Search this
Sculptors -- California -- Oakland  Search this
Topic:
Ceramics -- Technique  Search this
Art -- Philosophy  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.levine02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-levine02

Arline M. Fisch papers

Creator:
Fisch, Arline M.  Search this
Names:
American Craftsmen's Council  Search this
Boston University  Search this
Electrum (Gallery : London, England)  Search this
Internationale Handwerksmesse  Search this
Lee Nordness Galleries  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Endowment for the Arts  Search this
San Diego State University -- Faculty  Search this
Skidmore College  Search this
Society of North American Goldsmiths  Search this
World Crafts Council  Search this
Antunes, Edith  Search this
Extent:
9.8 Linear feet
3.82 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Video recordings
Date:
1931-2015
Summary:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and digital and photographic materials.
Scope and Contents:
The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB and date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and and digital photographic materials.

Awards and certificates are from the Indonesian National Crafts Council, Internationale Handwerksmesse Munchen, San Diego State University, State of California, and other organizations. Correspondence is with Edith Antunes, Skidmore College and other educational institutions, as well as galleries, students, and colleagues. Files for exhibitions consist of inventory and price lists, loan and shipping records, printed material, correspondence, a digital disk, and a video recording for Elegant Fantasy: The Jewelry of Arline Fisch (2000), The Art of Arline Fisch (2003), Arline Fisch: Creatures from the Deep (2008), and various exhibitions.

Gallery files contain business records for Atrium, Electrum Gallery, Lee Nordness Galleries, and galleries in Germany and Switzerland. Project files include records for an advertising campaign, articles and lectures, Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists, a cataloging project, commercial ventures, curriculum development at Boston University, NEA and Fulbright grant projects, an artwork installation, an oral history project, a seminar, and workshops.

San Diego State University teaching files include correspondence, evaluations, exhibition material, grant programs and projects, university programs, recommendations, and sabbatical records. Membership records are for the American Craftsmen's Council (ACC), Society of North American Goldsmiths (SNAG), and World Crafts Council (WCC).

Printed materials consist of booklets, a calendar, clippings, exhibition announcements and catalogs, periodicals and posters, and chronological files. Photographic materials are of Fisch, her family, travel, her studio, with colleagues and in class, and works of art. A detailed archive of Fisch's work on slides and in digital format is also included.
Arrangement:
The collection is arranged as nine series.

Series 1: Awards and Certificates, 1961-2001 (0.3 linear feet; Boxes 1, 11)

Series 2: Correspondence, 1956-2003 (0.8 linear feet; Box 1)

Series 3: Exhibition Files, 1957-2010 (1.0 linear feet; Boxes 1-2)

Series 4: Gallery Files, 1968-2010 (0.5 linear feet; Boxes 2-3)

Series 5: Project Files, 1956-2010 (1.4 linear feet; Boxes 3-4, 11)

Series 6: San Diego State University, 1955-2014 (1.0 linear feet; Boxes 4-5)

Series 7: Membership Records, 1964-1994 (1.0 linear feet; Boxes 5-6)

Series 8: Printed Materials, circa 1960-2015 (3.3 linear feet; Boxes 6-9, 11, OV 12)

Series 9: Photographic Materials, 1931-circa 2005 (0.5 linear feet; Boxes 9-11, 3.82 GB; ER01)
Biographical / Historical:
Arline M. Fisch (1931- ) is a metalsmith, jeweler, and educator in San Diego, California.

Fisch was born in Brooklyn, New York. She studied art education at Skidmore College and earned a master of arts degree from the University of Illinois. From 1956 to 1957 she studied at the School of Arts and Crafts in Copenhagen Denmark, and she returned to Denmark in 1966 under a Fulbright Research Grant. She also received Fulbright and NEA grants for multiple projects in Uruguay, Austria, and the U.S.

From 1954 to 1961, she taught at Wheaton College and Skidmore College. Fisch began teaching at San Diego State University (SDSU) in 1961 where she developed the Jewelry and Metalsmithing program. She retired from SDSU in 2000.

Fisch was a member of the American Craft Council (ACC), Haystack Mountain School of Crafts' Board of Trustees, and was vice president of the World Crafts Council (WCC) from 1976 to 1981. She was a founding member of Society of North American Goldsmiths (SNAG) and was president of the organization from 1982 to 1985.

Fisch has received numerous awards and honors for her accomplishments in craftsmanship including an honorary doctorate degree from Skidmore College, United States Artists fellowship award, and Fresno Art Museum Council of 100 Distinguished Woman Artist award in 2012. Fisch has exhibited her work all over the world including her solo retrospective exhibition titled, Elegant Fantasy: The Jewelry of Arline Fisch, which was shown in San Diego, Oakland, New York, and Washington, D.C.
Related Materials:
Also at the Archives of American Art is an interview of Arline M. Fisch conducted July 29-30, 2001 by Sharon Church McNabb, for the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.
Provenance:
The papers were donated from 2003 to 2018 by Arline M. Fisch as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.
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.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Decorative arts  Search this
Educators--California--San Diego  Search this
Jewelers--California--San Diego  Search this
Metal-workers--California--San Diego  Search this
Women artists  Search this
Genre/Form:
Photographs
Video recordings
Citation:
Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscarli
See more items in:
Arline M. Fisch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fiscarli

Oral history interview with James Melchert

Interviewee:
Melchert, Jim, 1930-  Search this
Interviewer:
Jones, Mady  Search this
Names:
American Academy in Rome  Search this
National Endowment for the Arts  Search this
San Francisco Art Institute -- Faculty  Search this
University of California, Berkeley -- Faculty  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1991 Apr. 4-5
Scope and Contents:
An interview of James Melchert conducted in Oakland, Calif., 1991 Apr.4-5, by Mady Jones, for the Archives of American Art.
Melchert discusses his background; attending the University of Chicago for his MFA in painting; discovering his interest in clay; studying under Peter Voulkos at the Bray Foundation and following him to Berkeley in the Decorative Arts Dept.; artists at Berkeley at the time; teaching ceramics at the San Francisco Art Institute; the art scene in San Francisco; working for the National Endowment for the Arts; moving to Rome to work for the American Academy in Rome; and his future plans. Among the many artists and administrators he recalls are Rudy Autio, Millard Sheets, Bob Arneson, Stephen de Staebler, Jacques Schnier, Peter Selz, Bruce Connor, Bruce Nauman, Manuel Neri, Joan Brown, Susan Peterson, Fred Martin, Ron Nagle, Grace Morley, and Carlos Villa.
Biographical / Historical:
Jim Melchert (1930- ) is a sculptor, teacher, and art administrator of Oakland, Calif. Chairman, Ceramics Dept., San Francisco Art Institute, 1961-1964. Professor at the University of California, Berkeley, 1965-1976. Federal grants chairman of the visual arts for the National Endowment of the Arts in the late 1970s.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 38 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by the Lannan Foundation.
Restrictions:
ACCESS RESTRICTED; use requires written permission.
Occupation:
Artists -- California -- San Francisco Bay Area  Search this
Topic:
Ceramics  Search this
Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this
Arts administrators -- California -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.melche91
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-melche91

James Melchert papers, 1950-2021

Creator:
Melchert, Jim, 1930-  Search this
Melchert, Jim, 1930-  Search this
Subject:
National Endowment for the Arts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Topic:
Ceramics -- Study and teaching  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)11162
(DSI-AAA_SIRISBib)249245
AAA_collcode_melcjim
Theme:
Craft
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_249245

Oral history interview with Dennis Oppenheim, 1995 July-Aug

Interviewee:
Oppenheim, Dennis, 1938-2011  Search this
Oppenheim, Dennis, 1938-2011  Search this
Interviewer:
Boettger, Suzaan  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12924
(DSI-AAA_SIRISBib)215885
AAA_collcode_oppenh95
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215885
Online Media:

Oral history interview with James Melchert, 2002 September 18-October 19

Interviewee:
Melchert, Jim, 1930-  Search this
Melchert, Jim, 1930-  Search this
Interviewer:
Pritikin, Renny  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Ceramicists -- California -- Oakland -- Interviews  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)11926
(DSI-AAA_SIRISBib)237982
AAA_collcode_melche02
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_237982
Online Media:

Oral history interview with John Roloff, 2009 August 17-18

Interviewee:
Roloff, John S., 1947-  Search this
Roloff, John S., 1947-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Subject:
Arneson, Robert  Search this
Beuys, Joseph  Search this
Butterfield, Deborah  Search this
Kaltenbach, Stephen J.  Search this
Melchert, Jim  Search this
Oppenheim, Dennis  Search this
Voulkos, Peter  Search this
Fuller Goldeen Gallery  Search this
Gallery Paule Anglim  Search this
Gallery Reese Palley  Search this
George Lester Gallery (Rome, Italy)  Search this
Humboldt State University  Search this
Lance Fung Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of California, Davis  Search this
University of Kentucky  Search this
Type:
Interviews
Sound recordings
Topic:
Art -- Study and teaching  Search this
Art -- Technique  Search this
Ceramicists -- California -- Oakland -- Interviews  Search this
Ceramics -- Technique  Search this
Science -- Study and teaching  Search this
Sculptors -- California -- Oakland -- Interviews  Search this
Submarine geology  Search this
Record number:
(DSI-AAA_CollID)15703
(DSI-AAA_SIRISBib)283563
AAA_collcode_roloff09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_283563
Online Media:

Oral history interview with Sam Perry, 2014 April 29 and May 1

Interviewee:
Perry, Sam, 1963-  Search this
Perry, Sam, 1963-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Subject:
Viola Frey Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- California -- Oakland -- Interviews  Search this
Record number:
(DSI-AAA_CollID)16177
(DSI-AAA_SIRISBib)366886
AAA_collcode_perry14
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_366886
Online Media:

Oral history interview with Viola Frey, 1995 Feb. 27-June 19

Interviewee:
Frey, Viola, 1933-2004  Search this
Frey, Viola, 1933-2004  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Women in the Arts in Southern California Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- California -- Interviews  Search this
Ceramicists -- California -- Interviews  Search this
Women sculptors -- California -- Interviews  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)12554
(DSI-AAA_SIRISBib)215850
AAA_collcode_frey95
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215850
Online Media:

Oral history interview with John Cederquist, 2009 April 14-15

Interviewee:
Cederquist, John, 1946-  Search this
Cederquist, John, 1946-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Subject:
Bennett, Garry Knox  Search this
Clark, Garth  Search this
Cooke, Edward S.  Search this
Danto, Arthur Coleman  Search this
Gaines, Tom  Search this
Hughes, Robert  Search this
Makepeace, John  Search this
Maruyama, Wendy  Search this
Parrasch, Franklin  Search this
Smith, Roberta  Search this
Snidecor, John  Search this
Straight, Bob  Search this
Straight, Chris  Search this
Turnbull, George  Search this
Zuecher, Gary  Search this
California State University  Search this
Franklin Parrasch Gallery  Search this
Museum of Fine Arts, Boston  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Oakland Museum  Search this
Saddleback College  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Study and teaching  Search this
Decorative arts  Search this
Furniture designers -- California -- Interviews  Search this
Sculptors -- California -- Interviews  Search this
Woodworkers -- California -- Interviews.  Search this
Theme:
Craft  Search this
Architecture & Design  Search this
Record number:
(DSI-AAA_CollID)15662
(DSI-AAA_SIRISBib)282437
AAA_collcode_cederq09
Theme:
Craft
Architecture & Design
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_282437
Online Media:

Garry Knox Bennett papers, circa 1950-2012

Creator:
Bennett, Garry Knox, 1934-  Search this
Bennett, Garry Knox, 1934-  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Video recordings
Interviews
Topic:
Decorative arts  Search this
Theme:
Lives of American Artists  Search this
Craft  Search this
Record number:
(DSI-AAA_CollID)6040
(DSI-AAA_SIRISBib)239435
AAA_collcode_benngarr
Theme:
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239435

Dominic Di Mare papers, 1950-2003

Creator:
Di Mare, Dominic, 1932-  Search this
Di Mare, Dominic, 1932-  Search this
Subject:
Susan Cummins Gallery  Search this
Palo Alto Arts Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Type:
Scrapbooks
Photographs
Sketches
Drawings
Topic:
Sculptors -- California  Search this
Art -- Study and teaching -- California  Search this
Fiber artists -- California -- Interviews  Search this
Theme:
Lives of American Artists  Search this
Craft  Search this
Record number:
(DSI-AAA_CollID)6041
(DSI-AAA_SIRISBib)239496
AAA_collcode_dimadomi
Theme:
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239496
Online Media:

Oral history interview with William Underhill

Interviewee:
Underhill, William, 1933-  Search this
Interviewer:
Carney, Margaret, 1949-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Faculty  Search this
Lee Nordness Galleries  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 8
Scope and Contents:
An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.
Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.
Biographical / Historical:
William Underhill (1933- ) is a metalsmith from Wellsville, N.Y. Margaret Carney is an art historian from New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 7 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- New York (State)  Search this
Topic:
Art metal-work -- Study and teaching  Search this
Art metal-work -- Technique  Search this
Art -- Economic aspects  Search this
Bronze founding -- Technique  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.underh02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-underh02

Oral history interview with Dennis Oppenheim

Interviewee:
Oppenheim, Dennis, 1938-2011  Search this
Interviewer:
Boettger, Suzaan  Search this
Extent:
130 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1995 July-Aug
Scope and Contents:
An interview of Dennis Oppenheim conducted 1995 July- Aug., by Suzaan Boettger, for the Archives of American Art.
Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, "Rebel Without a Cause," Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy DeMaria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self-doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's "Pygmalion Reversed," artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self-exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development. Oppenheim also recalls "American Graffiti," Richard Serra, Nathan Olivera, Keith Boyle, Artforum, Michael Fried, John Gibson, Robert Morris, Rene di Rosa, Allan Kaprow, Richard Long, Hamish Fulton, Alanna Heiss, Lawrence Weiner, Joseph Kosuth, Chris Burden, Mario Salvio, and Bruce Nauman.
Biographical / Historical:
Dennis Oppenheim (1938-2011) was a sculptor from New York, N.Y.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 6 hrs., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Horace N. Goldsmith Foundation.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.oppenh95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-oppenh95

Oral history interview with John Roloff

Interviewee:
Roloff, John, 1947-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Fuller Goldeen Gallery  Search this
Gallery Paule Anglim  Search this
Gallery Reese Palley  Search this
George Lester Gallery (Rome, Italy)  Search this
Humboldt State University -- Students  Search this
Lance Fung Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of California, Davis -- Students  Search this
University of Kentucky -- Faculty  Search this
Arneson, Robert, 1930-1992  Search this
Beuys, Joseph  Search this
Butterfield, Deborah, 1949-  Search this
Kaltenbach, Stephen J.  Search this
Melchert, Jim, 1930-  Search this
Oppenheim, Dennis, 1938-2011  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
13 Items (Sound recording: 13 sound files (8 hr., 50 min.), digital, wav file)
155 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2009 August 17-18
Scope and Contents:
An interview of John Roloff conducted 2009 August 17-18, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Roloff's studio, in Oakland, California.
Roloff speaks primarily about the intersection of art and science; his desire to look at these disciplines from multiple perspectives in his work; the relationship between materials and their geological histories; his exploration and exposure of the physical processes associated with the making of art objects; Roloff talks at length about ceramics; the chemical properties of the clays and glazes; their connection to geological landscapes; and their transformation through the firing process; moreover, he discusses site specific works; the importance of location in giving context to a piece; as well as referencing a site through site based materials; furthermore, he expounds his theory of anthroturbation; discusses the parallels between man-made and natural structures; and ruminates about his work's visual engagement with ecological systems; Additionally, Roloff converses about several formative childhood experiences; how they shaped his later artistic interest and evolved into thematic elements in his work; studying marine geology at University of California-Davis; taking a ceramics class with Robert Arneson; becoming a dual art and science major; the spirit of experimentation at UC-Davis, which led to his early ceramic discoveries; pursuing graduate work at Humboldt University; teaching at the University of Kentucky-Lexington; developing his Exile and Rower series; showing his sculptures at Lester Gallery and Fuller Goldeen Gallery in California; his shift from studio work to landscape/installations; the development of his Ship and Kiln series; as well as his later photographic work; Roloff also recalls Stephen Kaltenbach, Deborah Butterfield, Peter Voulkos, Jim Melchert, Dennis Oppenheim, Joseph Beuys, Kenneth Baker, in addition to the following galleries: Lance Fang, Paule Anglim and Reese Paley.
Biographical / Historical:
John S. Roloff (1947- ) is a sculptor and ceramicist and lives and works in Oakland, California. Roloff also taught at the San Francisco Art Institute and Mills College.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 13 digital wav files. Duration is 8 hr., 50 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art -- Study and teaching  Search this
Art -- Technique  Search this
Ceramicists -- California -- Oakland -- Interviews  Search this
Ceramics -- Technique  Search this
Science -- Study and teaching  Search this
Sculptors -- California -- Oakland -- Interviews  Search this
Submarine geology  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.roloff09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-roloff09

Oral history interview with Viola Frey

Interviewee:
Frey, Viola, 1933-2004  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Creator:
Women in the Arts in Southern California Oral History Project  Search this
Names:
Women in the Arts in Southern California Oral History Project  Search this
Extent:
5 Sound cassettes (Sound recording (5 hrs.), analog)
126 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1995 Feb. 27-June 19
Scope and Contents:
An interview of Viola Frey conducted 1995 Feb. 27-1995 June 19, by Paul Karlstrom, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, at the artist's studio, in Oakland, Calif.
FEB. 27, 1995 SESSION: Family background in the Midwest; Huguenot ancestry; importance of grandmother in her life; living in Central Valley, Calif.; father's collecting junk; early plans to become a writer; declining her acceptance to UC Berkeley and attending community college to study art; attending California College of Arts and Crafts in Oakland, majoring in ceramics; winning a first prize at City of Paris contest; attending Tulane University; moving to New York; working at the Museum of Modern Art; returning to San Francisco in 1960 and community there. She recalls Richard Diebenkorn, Mark Rothko, Peter Voulkos, and Robert Arneson.
MAY 15, 1995 SESSION: Influence of Robert Arneson; comparison of her work to Voulkos, Arneson and Manuel Neri; effect of gender on art subjects; Frey's theme of man in suit as power to do good or bad; interest in archeology; influence of National Geographic magazine on her work, especially as a source for images of grandmothers; production of her large-scale ceramic sculpture; her preference for electric kiln; modular production; studio spaces in Oakland and San Francisco and effect of varying light; working on a piece over a long period of time, which is unusual for sculpture; and the importance of space in the creation of work.
JUNE 19, 1995 SESSION: Influence of television and radio; attitude toward Japanese-influenced ceramics; use of color; overglaze painting; china painting in France; relationships between her figure drawing and sculpture; New York period; funk; plate art; autobiographical and personal qualities in her work; move from house to studio; personal relationship with Charles Fiske; her private art library; interest in artist's monographs; social life; image of man in suit; influence of AIDS in her work; art-brute; and response to critics Donald Kuspit and Susan Larsen.
Biographical / Historical:
Viola Frey (1933-2004) was a ceramist and sculptor of Oakland, Calif.
Provenance:
This interview is part of the Archives of American Art Oral History, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Sculptors -- California -- Interviews  Search this
Ceramicists -- California -- Interviews  Search this
Women sculptors -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.frey95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frey95

Garry Knox Bennett papers

Creator:
Bennett, Garry Knox, 1934-  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
12.5 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Interviews
Date:
circa 1950-2012
Scope and Contents:
Biographical information; personal and professional correspondence; files on gallery and museum exhibitions, conferences, panels, and workshops; drafts of writings about Bennett, his works of art, and drafts of catalog essays; photographs of works of art; financial records including sales of Bennett's works and records pertaining to his non-profit donations; works of art on paper; printed material about Bennett and one scrapbook containing printed material regarding Bennet's exhibition history; and a VHS videotape of An Afternoon with Garry Knox Bennett, Oakland Museum of California, June 9, 2001.
Biographical / Historical:
Garry Knox Bennett (1934- ) is a woodworker, sculptor and furniture designer in Oakland, Calif.
Provenance:
Donated 2003 by Sylvia Bennett, Bennett's wife, and 2017 by Garry Knox Bennett. The papers were collected as part of the Nanette L. Laitman Documentation Project For Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Woodworkers -- California  Search this
Topic:
Decorative arts  Search this
Genre/Form:
Video recordings
Interviews
Identifier:
AAA.benngarr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benngarr

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