Search Results

Creator:

Bennett, Garry Knox, 1934-2022  Search this

Subject:

Castle, Wendell  Search this

Stocksdale, Kay Sekimachi  Search this

Schwarcz, June  Search this

Paley, Albert  Search this

Jurs, Nancy  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Drawings

Interviews

Video recordings

Citation:

Garry Knox Bennett papers, 1917-2017, bulk 1960-2017. Archives of American Art, Smithsonian Institution.

Topic:

Scrapbooks  Search this

American studio craft movement  Search this

Theme:

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6040

(DSI-AAA_SIRISBib)239435

AAA_collcode_benngarr

Theme:

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_239435

Creator:

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

Citation:

Dominic Di Mare papers, 1950-2003. Archives of American Art, Smithsonian Institution.

Topic:

Sculptors -- California  Search this

Art -- Study and teaching -- California  Search this

Fiber artists -- California -- Interviews  Search this

Theme:

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6041

(DSI-AAA_SIRISBib)239496

AAA_collcode_dimadomi

Theme:

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_239496

Creator:

Melchert, Jim, 1930-  Search this

Subject:

Voulkos, Peter  Search this

Tucker, Marcia  Search this

Cotton, Paul  Search this

National Endowment for the Arts  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Citation:

James Melchert papers, circa 1949-2021. Archives of American Art, Smithsonian Institution.

Topic:

Interviews  Search this

Conceptual art  Search this

Funk  Search this

Ceramics  Search this

Theme:

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)11162

(DSI-AAA_SIRISBib)249245

AAA_collcode_melcjim

Theme:

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_249245

Interviewee:

Levine, Marilyn A., 1935-2005  Search this

Interviewer:

Adamson, Glenn, 1972-  Search this

Subject:

Melchert, Jim  Search this

Voulkos, Peter  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Marilyn Levine, 2002 May 15. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Philosophy  Search this

Decorative arts  Search this

Women artists  Search this

Women ceramicists  Search this

Women sculptors  Search this

Ceramics  Search this

Theme:

Craft  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)12144

(DSI-AAA_SIRISBib)237984

AAA_collcode_levine02

Theme:

Craft

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_237984

Interviewee:

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

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with John Roloff, 2009 August 17-18. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Art -- Technique  Search this

Ceramicists -- California -- Oakland -- Interviews  Search this

Science -- Study and teaching  Search this

Sculptors -- California -- Oakland -- Interviews  Search this

Submarine geology  Search this

Ceramics  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

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:

Art -- Philosophy  Search this

Decorative arts  Search this

Women artists  Search this

Women ceramicists  Search this

Women sculptors  Search this

Ceramics  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.levine02

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b959aad3-2ab2-445a-a8f4-1671c87a6288

EDAN-URL:

ead_collection:sova-aaa-levine02

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

Science -- Study and teaching  Search this

Sculptors -- California -- Oakland -- Interviews  Search this

Submarine geology  Search this

Ceramics  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.roloff09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f4887af7-aabd-4e00-8143-9c793cab7f34

EDAN-URL:

ead_collection:sova-aaa-roloff09

Interviewee:

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

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Viola Frey, 1995 Feb. 27-June 19. Archives of American Art, Smithsonian Institution.

Topic:

Decorative arts  Search this

Women artists  Search this

Women sculptors  Search this

Women ceramicists  Search this

Ceramics  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

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.

Occupation:

Sculptors -- California -- Oakland  Search this

Ceramicists -- California -- Oakland  Search this

Topic:

Decorative arts  Search this

Women artists  Search this

Women sculptors  Search this

Women ceramicists  Search this

Ceramics  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.frey95

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db9c412d-25d6-496d-a6a5-de26a0eb82d9

EDAN-URL:

ead_collection:sova-aaa-frey95

Interviewee:

Oppenheim, Dennis, 1938-2011  Search this

Interviewer:

Boettger, Suzaan  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Dennis Oppenheim, 1995 July-Aug. Archives of American Art, Smithsonian Institution.

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

Interviewee:

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

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with John Cederquist, 2009 April 14-15. Archives of American Art, Smithsonian Institution.

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

Interviewee:

Cederquist, John  Search this

Interviewer:

Riedel, Mija, 1958-  Search this

Creator:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

California State University -- Students  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 -- Faculty  Search this

Bennett, Garry Knox, 1934-  Search this

Clark, Garth, 1947-  Search this

Cooke, Edward S., 1954-  Search this

Danto, Arthur Coleman, 1924-  Search this

Gaines, Tom  Search this

Hughes, Robert, 1938-2012  Search this

Makepeace, John  Search this

Maruyama, Wendy, 1952-  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

Extent:

11 Items (Sound recording: 11 sound files (4 hr., 54 min.), digital, wav file)

111 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 April 14-15

Scope and Contents:

An interview of John Cederquist conducted 2009 April 14-15, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Cederquist's studio, in San Clemente, California.

John Cederquist speaks of his recent series Dollar Bill; his long-standing interest in perspective and use of tool imagery in his work; his childhood in Southern California; his early interest in art through custom car art; high school art instruction and focusing on craft; earning undergraduate and graduate degrees at California State University, Long Beach in the late 1960s and early 1970s; teaching at Saddleback College, Mission Viejo, California, starting in the early 1970s; work in wood and leather; other brief teaching jobs in Southern California universities; early exhibitions; exhibition and demonstrations at Parnham House, Beaminster, England, 1978; starting to teach perspective at Saddleback; Number One; the Egg and the Eye gallery/cafe, Los Angeles, California; Game Table [1982]; Auntie Macassar Goes West, 1987-88; philosophical and aesthetic differences between wood artists on the East and West coasts; exhibition: "Material Evidence: Master Craftsmen Explore ColorCore," Workbench: the Gallery, New York, New York, 1984; "California Woodworking," the Oakland Museum [of California, 1980; Thonet catalog as source material]; influence of animation in film and television; the perceptual and conceptual issues in translating two dimensions into three, and vice versa; the nature of illusion and perception; inclusion of work in an exhibition at the Museum of Fine Arts, Boston, 1989; the influence of How to Wrap Five Eggs: Traditional Japanese Packaging, Hideyuki Oka, Trumbull, Connecticut: Weatherhill, 1967; use of the Thomas Chippendale book (1754) as source material; subtle influence of cubism on Ghost Boy [1992] piece; his choice of furniture as the vehicle for his aesthetic exploration; series Furniture That Builds Itself (1991-2007), and continued influence of cartoons and animation; his choice of different kinds of wood; series How to Wrap Five Crates; series Kimonos and the influence of Japanese aesthetics; When Machines Dream of Hokusai [1995]: Road to Dreamland; series Wave (early to mid-1990s), and Tubular [1990], the first in the series; series Kosode; series This Is Not Lunch; historical Japanese tattoos as a source of inspiration; "Furniture That Builds Itself," Franklin Parrasch Gallery, New York, New York, 2003; sense of humor and "goofiness" in his work; Flat Foot Floogie Builds a Bench. [2003]; influence of photography on his work; his pieces as functional furniture and the artistic potential therein; social commentary in his recent Kosode pieces; Heavenly Victory; how his pieces get named; "The Art of John Cederquist: Reality of Illusion," Oakland Museum of California, 1999-2000; Breakthrough series: Steamer, early 1990s; Top Drawer (1985); Space Age Wave Machine (1999); use of thick wood instead of veneer; strengths and weaknesses of a university setting for art studies; the importance of being part of the craft movement; the role of Garth Clark's gallery in the movement; the importance of working with the Franklin Parrasch gallery; his admiration for art critic Robert Hughes; the role of online media in art journalism and criticism and journalism. He also recalls Gary Zuercher, Franklin Parrasch, John Snidecor, George Turnbull, John Makepeace, Edward S. Cooke, Garry Knox Bennett, Wendy Maruyama, Tom Gaines, Bob and Chris Straight, Arthur Danto, and Roberta Smith.

Biographical / Historical:

John Cederquist (1946- ) creates fine art furniture and wood sculpture. Cederquist is known for using trompe l'oeil in his work. He was educated at Long Beach State University and teaches at Saddleback College.

General:

Originally recorded on 3 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 4 hr., 54 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:

Cabinetmakers -- California -- Interviews  Search this

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

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cederq09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e6b8700a-8d69-4730-8c1b-fa580b376816

EDAN-URL:

ead_collection:sova-aaa-cederq09

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

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.oppenh95

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93a2c9e96-240c-4478-bf6c-1a704e9d5c33

EDAN-URL:

ead_collection:sova-aaa-oppenh95

Creator:

Bennett, Garry Knox, 1934-  Search this

Names:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Castle, Wendell, 1932-2018  Search this

Jurs, Nancy, 1941  Search this

Paley, Albert  Search this

Schwarcz, June, 1918-2015  Search this

Stocksdale, Kay Sekimachi  Search this

Extent:

12.4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Video recordings

Date:

1917-2017

bulk 1960-2017

Summary:

The papers of woodworker, sculptor, and furniture designer Garry Knox Bennett measure 12.4 linear feet and date from 1917 to 2017 with the bulk of the material dating from 1960 to 2017. The collection documents the artist's life and career through biographical materials, correspondence with family and friends including other artists, exhibition files, professional files, financial and legal records, and printed material and scrapbooks recording his exhibition history and more, including photographs from his youth.

Scope and Contents:

The papers of woodworker, sculptor, and furniture designer Garry Knox Bennett measure 12.4 linear feet and date from 1917 to 2017 with the bulk of the material dating from 1960 to 2017.

The collection includes biographical materials containing Bennett's birthday and wedding celebration material, appointment calendars, childhood artwork, sketches and patterns for projects, photographs and notes regarding the Bennetts' marriage, resumes, student records, and material regarding the Bennetts' house fire in 2003. Correspondence is with artists Wendell Castle and Nancy Jurs, June Schwarcz, Kay Sekimachi and Bob Stocksdale, Albert Paley who describes an accident that occurred in 2002, and good friend and writer Jack Marlowe, as well as with wife Sylvia and daughter Jessica. Exhibition files consist of artwork price lists, artist statements, shipping documents, correspondence, and printed materials for Bennett's solo and group exhibitions. They also include documentation of a few exhibitions showing pieces from his personal art collection.

Professional files relate to workshops, lectures, exhibitions, donations, and grant proposals. Also found are project and publication files, artist statements written by Jack Marlowe and Tom Farber for Bennett, studio visit records, a video recording of an interview with Bennett, and a few digital recordings. The Made in Oakland: The Furniture of Garry Knox Bennett (2001) retrospective files consist of correspondence, fundraising records, lender files, and material regarding the creation of a book that also served as the catalog for the exhibition. Financial and legal records contain check registers, invoices and receipts, card files containing sales information, and legal material relating to the estate of Peter T. Joseph. Printed materials include clippings, exhibition announcements and catalogs, and exhibition history material. Additional printed material can be found in the scrapbooks recording exhibitions and Bennett's career. The scrapbooks also include some personal items such as letters, photographs, and documents from Bennett's youth.

Handwritten notes by Sylvia Bennett, offering additional history and context, can be found throughout the collection. The notes were typically written onto the original folders which have been preserved along with the related material.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1917-2009 (0.8 linear feet; Boxes 1, 13, OV 14)

Series 2: Correspondence, 1955-2017 (2.0 linear feet; Boxes 1-3)

Series 3: Exhibition Files, 1979-2017 (1.4 linear feet; Boxes 3-4)

Series 4: Professional Files, 1959-2017 (5.0 linear feet; Boxes 4-9)

Series 5: -- Made in Oakland: The Furniture of Garry Knox Bennett -- Retrospective, circa 1977-2009 (1.5 linear feet; Boxes 9-11)

Series 6: Financial and Legal Records, 1950s-2010 (0.5 linear feet; Boxes 11-12)

Series 7: Printed Materials, 1960-2015 (0.8 linear feet; Box 12)

Series 8: Scrapbooks, 1948-1997 (0.4 linear feet; Boxes 12-13)

Biographical / Historical:

Garry Knox Bennett (1934-2022) was a woodworker, sculptor, and furniture designer in Oakland, California.

Bennett was born in Alameda, California to Katherine von Tagen and Robert Bennett, but was raised by his grandparents. He attended the California College of the Arts, then the California College of Arts and Crafts, where he studied painting and began experimenting with metals. During this time he married his wife Sylvia.

He opened a studio in the late 1960s where he produced his famous roach clips, then later opened a larger studio named Squirkenworks in Oakland. In the 1970s, he began working with wood and on 1980 fabricated his infamous Nail Cabinet, a wood cabinet with a single nail driven through the face of the door, which garnered attention not only for Bennett's expert craftsmanship but also for what some saw as disrespect for the craft. Regardless of any controversy Bennett's work created, he became highly respected as a craftsman. In step with his unconventional nature, Bennett exhibited and sold his paintings and jewelry using the pseudonyms Ambrose Pillphister and Gerraldo Bennucci.

Bennett received the Award of Distinction from the Furniture Society and the Master of the Medium Award from the James Renwick Alliance, and was a Fellow of the American Craft Council. A major retrospective, Made in Oakland: The Furniture of Garry Knox Bennett, took place in 2001 at the American Craft Museum in New York and the Oakland Museum in California.

Bennett died unexpectedly in 2022 in Oakland, California.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Garry Knox Bennett conducted February 1-2, 2002 by Glenn Adamson in Oakland, C.A. for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Provenance:

The Garry Knox Bennett papers were donated in 2003 by Sylvia Bennett, Bennett's wife, and in 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:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Sculptors -- California -- Oakland  Search this

Woodworkers -- California -- Oakland  Search this

Furniture designers -- California -- Oakland  Search this

Topic:

Scrapbooks  Search this

American studio craft movement  Search this

Genre/Form:

Drawings

Interviews

Video recordings

Citation:

Garry Knox Bennett papers, 1917-2017. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.benngarr

See more items in:

Garry Knox Bennett papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw910abe018-7381-4bf6-b522-a4b42fcfc6c8

EDAN-URL:

ead_collection:sova-aaa-benngarr

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.

Missing Title

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.

Sponsor:

Funding for the processing of this collection was provided by The David Ireland Revocable Trust.

Identifier:

AAA.ireldavi

See more items in:

David Ireland Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw927567772-c71f-4f30-a427-adbd535e1009

EDAN-URL:

ead_collection:sova-aaa-ireldavi

Creator:

Danieli, Fidel  Search this

Names:

Almaraz, Carlos  Search this

Antin, David  Search this

Antin, Eleanor  Search this

Bell, Larry, 1939-  Search this

Berman, Wallace, 1926-1976  Search this

Bettelheim, Judith, 1944-  Search this

Brigante, Nicholas P., 1895-1989  Search this

Delano, Annita, 1894-  Search this

Feitelson, Lorser, 1898-1978  Search this

Flavin, Dan, 1933-  Search this

Graham, Robert, 1938-  Search this

Kaprow, Allan  Search this

Krasnow, Peter, 1886-1979  Search this

Langsner, Jules, 1911-1967  Search this

Lloyd, Gary, 1943-  Search this

McLaughlin, John, 1898-  Search this

Pettibone, Richard, 1938-  Search this

Pettibone, Shirley  Search this

Plagens, Peter  Search this

Rosenthal, Rachel, 1926-  Search this

Saar, Betye  Search this

Smith, Alexis, 1921-1993  Search this

Extent:

8.4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Photographs

Interviews

Date:

1962-1987

Summary:

The papers of Los Angeles art critic and writer, art historian, professor, collector, and artist Fidel Danieli (1938-1988) measure 8.4 linear feet and date from 1962 to 1987. Found within the papers are writing and research files, and 108 sound recordings of interviews with or about 45 Los Angeles artists conducted by Danieli in 1974-1975 for the U.C.L.A. oral history project "L.A. Community Artists." There are also sound recordings of art performances and art talks, and printed materials, including numerous exhibition announcements.

Scope and Contents:

The papers of Los Angeles art critic and writer, art historian, professor, collector, and artist Fidel Danieli (1938-1988) measure 8.4 linear feet and date from 1962 to 1987. Found within the papers are writing and research files, and 108 sound recordings of interviews with or about 45 Los Angeles artists conducted by Danieli in 1974-1975 for the U.C.L.A. oral history project "L.A. Community Artists." There are also sound recordings of art performances and art talks, and printed materials, including numerous exhibition announcements.

Writing and research files consist of articles and reviews written by Fidel Danieli and supporting documentation and printed material. Files cover individual artists, exhibitions, and other scattered topics. Files on reviews of artists Danieli wrote include typescripts and handwritten drafts, printed materials, and photographs. Artists covered include Carlos Almarez, Larry Bell, Wallace Berman, Lorser Feitelson, Dan Flavin, Robert Graham, Jules Langsner, Richard Pettibone, Rachel Rosenthal, Alexis Smith, and John White, among many others. The file for Richard Pettibone includes 2 original sound cassettes and duplicates. Writings for exhibition catalogs and reviews of exhibitions focus primarily on Los Angeles area exhibitions or exhibitions of California artists. These files include notes, typescripts, and printed materials. Also found are files for magazine articles written by Danieli. Research files include a set of index cards documenting a chronology of Los Angeles art and 9 sound cassettes of television shows that focus on California art.

Interviews of and performances by Los Angeles comprise 108 sound cassettes. The majority of the cassettes are artist interviews conducted by Danieli in 1974-1975 for the U.C.L.A. oral history project "L.A. Community Artists," but there are also scattered recordings of art talks, panel discussions, and performances. Artists include David Antin, Eleanor Antin, Judith Bettelheim, Nick Brigante, Annita Delano, Allan Kaprow, Peter Krasnow, Peter Plagens, Gary Lloyd, John McLaughlin, Shirley Pettibone, Betye Saar, and John White, among many others.

Printed material consists primarily of exhibition announcements about California artists and exhibitions.

Arrangement:

The collection is arranged as 3 series.

Missing Title

Series 1: Writing and Research Files, 1962-1987 (3.2 linear feet; Boxes 1-4)

Series 2: Los Angeles Artist Interviews and Performances, 1974-1975 (3.1 linear feet; Boxes 4-7)

Series 3: Printed Material, 1969-1985 (2.1 linear feet; Boxes 7-9)

Biographical / Historical:

Fidel Danieli (1938-1988) was an art critic and writer, art historian, educator, and artist based in Los Angeles, California. Danieli received his B.A. in 1960 and M.A. in 1965 from the University of California, Los Angeles (UCLA). For nearly 22 years, he taught at the Los Angeles Valley College in Van Nuys. He also taught and lectured at the California State College in Los Angeles and San Fernando Valley State College in Northridge.

Danieli was perhaps best known for his work as an art critic and writer, notably his reviews for Artforum from 1963-1968 that brought national recognition to many modern Southern California artists, such as Billy Al Bengston, Bruce Nauman, Robert Graham, and George Herms. Danieli was a member of the editorial committee of the Los Angeles Institute of Contemporary Art's (LAICA) Journal, a contributing editor to Artweek, and writer and reviewer for ArtScene and Images and Issues.

Danieli's special interest was in the early Los Angeles Modernists and he received a National Endowment for the Humanities grant around 1974 to fund research on the subject. From 1974-1975, he was also an interviewer for the UCLA oral history project "Los Angeles Art Community." The project culminated in the 1974 exhibition Nine Senior Southern California Painters at LAICA.

Danieli was also a painter, sculptor, and collector. His extensive art collection included photographs, paintings, ceramics, and prints. He bequeathed the bulk of his collection to the Oakland Museum and the Los Angeles Museum of Contemporary Art (MOCA), and a few private collectors who were friends. His art library was donated to Los Angeles Valley College.

He was briefly married to Edie Ellis though they later separated. He suffered ill health for several years and passed away in North Hollywood on March 26, 1988, at the age of 49.

Provenance:

The Fidel Danieli papers were donated to the Archives of American Art in 1990 by Sage Stormcreek, executor of Danieli's estate.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:

Authors -- California -- Los Angeles  Search this

Art historians -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Art critics -- California -- Los Angeles  Search this

Topic:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Painting, Modern -- 20th century -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Photographs

Interviews

Citation:

Fidel Danieli papers, 1962-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources Hidden Collections grant program.

Identifier:

AAA.danifide

See more items in:

Fidel Danieli papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9858e7d83-ed3b-4205-80fb-92e4c2d3a544

EDAN-URL:

ead_collection:sova-aaa-danifide

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 -- Economic aspects  Search this

Bronze founding -- Technique  Search this

Decorative arts  Search this

Metal-work  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.underh02

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95087d49d-5038-472c-9acd-5e8f7ca6ca3c

EDAN-URL:

ead_collection:sova-aaa-underh02

Interviewee:

Bennett, Garry Knox, 1934-2022  Search this

Interviewer:

Adamson, Glenn, 1972-  Search this

Subject:

Bennett, Sylvia  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Garry Knox Bennett, 2002 February 1-2. Archives of American Art, Smithsonian Institution.

Topic:

Woodworkers -- California -- Interviews.  Search this

Decorative arts  Search this

Theme:

Craft  Search this

Record number:

(DSI-AAA_CollID)11705

(DSI-AAA_SIRISBib)237767

AAA_collcode_bennet02

Theme:

Craft

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_237767

Interviewee:

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

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with James Melchert, 2002 September 18-October 19. Archives of American Art, Smithsonian Institution.

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

Interviewee:

Perry, Sam, 1963-  Search this

Interviewer:

Riedel, Mija, 1958-  Search this

Subject:

Viola Frey Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Sam Perry, 2014 April 29 and May 1. Archives of American Art, Smithsonian Institution.

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