Korea (South) -- History -- April Revolution, 1960
Date:
2007 July 30-2008 July 26
Scope and Contents:
An interview of Chunghi Choo conducted 2007 July 30-2008 July 26, by Jane Milosch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Iowa City, Iowa.
Choo speaks of establishing the Metalsmithing and Jewelry program at the University of Iowa in Iowa City; the elaborate equipment, tools, and safety protection used in the studio; her experience teaching silent metalforming at Haystack Mountain School of Crafts in Deer Isle, Maine; participating in international workshops and seminars in Korea; the extensive world traveling she does with her husband, Dr. Charles Read, including destinations in Scandinavia, Thailand, Austria, Italy, and South Africa, among others; the house she designed in Iowa City; her love of the city and being surrounded by treasured friends, a supportive university, and beautiful environments; an interest in creative cooking and appreciation for diverse dishes from all around the world; her childhood and young adulthood in Inchon, Korea; growing up with an appreciation for beautiful art objects and classical music; an early interest and talent in drawing; attending Ewha Women's University as generations of women in her family had previously; experiences during the Korean War and April 19 Revolution in 1961; coming to the United States in 1961 as a student; studying English, ceramics, enameling, and stone cutting for one semester at Penland School of Crafts in Penland, N.C.; attending Cranbrook Art Academy in Bloomfield Hills, Michigan and studying metalsmithing with Richard Thomas, ceramics with Maija Grotell, and weaving with Glen Kaufman; living with Mrs. Loja Saarinen during her three and a half years at Cranbrook; teaching general craft at the University of Northern Iowa in Cedar Rapids from 1965-1968; pioneering the mixed-media studies with her students at UNI; accepting the challenge to build a metalsmithing and jewelry program at the University of Iowa in Iowa City in 1968; learning and teaching electroforming; the development of the electro-appliqué technique; extensive donor support and fundraising for the Metalsmithing and Jewelry program and its students; finding inspiration in nature, East Asian calligraphy, classical music, and travel; her long friendship with Jack Lenor Larsen and the great influence he has had on her work; being represented in major art museums and institutions world-wide, including the Museum of Modern Art in New York City, Victoria and Albert Museum in London, Museum fur Kunsthandwerk in Frankfurt, Germany, and many others; the joy she has when her students succeed and surpass her; and plans for future work, writing projects, and travel. Choo also speaks of the 2008 flooding of Iowa City and the state of Iowa during which her studio was severely damaged and many things were lost. Choo also recalls Park, No Soo; Lee, Sang Bong; Ruth Kao; Stanley Lechtzin; Yuho Fujio; David McFadden; Paul J. Smith; Rosanne Raab; Cody Bush; Jocelyn Chateauvert; Mary Merkel Hess; Sandra Mayer-VanderMey; Kee-ho Yeun, and others.
Biographical / Historical:
Chunghi Choo (1938- ) is a Korean American educator, metalsmith, jeweler, and textile and mixed media artist based in Iowa City, Iowa. Interviewer Jane Milosch is a curator from Silver Spring, Maryland.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 27 digital wav files. Duration is 5 hr., 22 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
An interview of Tommy Simpson conducted 2004 May 6-July 2, by Edward S. Cooke, Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Simpson speaks of growing up in rural Illinois; making things as a child; discovering his interest in art at Northern Illinois University; getting an MFA in painting at Cranbrook Academy of Art; using the wood shop at Cranbrook; exhibiting at various galleries in New York City and moving to Connecticut; showing work in the "Fantasy Furniture" exhibit at the Museum of Arts & Design; visiting Europe; the New York studio furniture market in the 1960s; writing the book, "Fantasy Furniture"; exhibiting in "Objects USA;" working as artist in residence at the Fairtree Gallery; teaching at the University of Hartford; his work ethic and productivity; living and working in Greenwich, Connecticut; the constraints of being classified as a furniture maker; teaching briefly at the Program In Artisanry and other schools; the increased public interest in fine woodworking in the 1980s; changes in the craft market; writing the book, "Two Looks to Home"; the influence of events on his work; his current interest in making whole interiors; working on commission; the current public interest in craft; expressing themes in his work; his working process in his studio; the future of fine woodworking; the difficulties of working with galleries; designing rugs; and visiting China. Simpson also recalls Zoltan Sepeshy, Wendell Castle, Paul Smith, Sam Maloof, Edward Zucca, Wendy Maruyama, Richard Newman, Judy McKie, and others.
Biographical / Historical:
Tommy Simpson (1939- ) is a furniture maker and sculptor from Washington Depot, Connecticut. Edward S. Cooke, Jr. is a professor from Newtonville, Massachusetts.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 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.
An interview of John Marshall conducted 2001 April 5, by Lloyd Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Edmonds, Washington.
Marshall speaks of his childhood in Pittsburgh, Pennsylvania; participating in an educational program with the Carnegie Museum; his exposure to art while in grade school and throughout his education; joining the army after high school; spending time in Germany with the army and experiencing the metalwork of that area; learning to work hard from his father; his family background; attending Grove City College, then working in construction during the day and going to classes at Carnegie Tech during the night; finally attending Cleveland Institute of Art; some of his teachers at the Institute, Kenneth Bates, Toshiko Takaezu, and John Clague; his first experiences with metal, Fred Miller, and learning how to design metal pieces; getting a job as head of the metals department at Syracuse and completing his MFA there; meeting Paul Smith and Lee Nordness, and participating in Objects: USA; his travels throughout Europe; the many commissions he has done for churches, everything from baptismal bowls, chalices, and crosses; Patrick Lannan, and how instrumental he was in Marshall's career, his collection of work that Lannan bought and where it all is now located; the different types of communities in the different areas he lived; commissions and how they were important to his career; how he challenges himself with new ideas and creations; the Handy and Harman Workshop; the difference between a university trained artist and one who has learned his/her craft outside academia; his students and how much satisfaction he has received from teaching; the decline in metal working programs at the university level; the influence of other faculty members on his work, such as Lee DuSell; the critics of metalwork, Bruce Metcalf and Gary Griffin; his involvement in the Society of North American Goldsmiths; and his two sons. Marshall also recalls John Paul Miller, Winifred Lutz, Ramona Solberg, Ruth Penington, Michael Scott, Don Bacorn, Annie Hauberg, and others.
Biographical / Historical:
John Marshall (1936- ) is a jeweler and metalsmith from Edmonds, Washington. Lloyd Herman (1936- ) is the former director of the Smithsonian Institution's Renwick Gallery from Seattle, Washington.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Joel Philip Myers conducted 2007 May 1, by Daniel Klein, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home, in Marietta, Pennsylvania.
Myers speaks of his childhood in Patterson, New Jersey; making charcoal drawings as a child and taking private courses in oil painting; choosing to pursue a career in advertising design; attending Parsons School of Design in New York City; working as a package designer for Donald Deskey Associates; being influenced by Scandinavian design he saw in New York City to study abroad in Denmark; studying ceramic design at Kunsthaandvaerkerskolen in Copenhagen; meeting and marrying his wife, Birthe, while in Copenhagen; returning to the United States and going back to work for Donald Deskey; attending Alfred University and receiving his B.F.A. and M.F.A. in ceramics; accepting the position director of design for Blenko Glass Company in Milton, West Virginia with no previous experience in glass; teaching himself how to blow glass in the factory alongside the workers; the intense heat and extreme noise of a glass factory; learning of Harvey Littleton's glass workshop in 1962 in Toledo, Ohio, but being unable to attend; having limited exposure to the glass movement and developing his glass art without knowledge of the work of Littleton and his students; designing 50 to 60 different vases, bowls, decanters, and decorative objects a year from 1963 - 1970 at Blenko Glass Company; creating sculptural glass forms in his penetration pieces for his masters thesis; learning of what was happening in the studio glass world by attending the World Craft Council in 1964 in New York City; Paul Smith discovering his work and thereby gaining some publicity in Craft Horizons; being invited by Littleton to give a workshop at the University of California, Berkeley in 1968; the initial shock of seeing glass sculpture made with no real technique; his early attraction to cold-work in order to work intimately with the surface of the glass; acquisition of his work by the Toledo Art Museum and the Mint Museum of Art in Charlotte, North Carolina; establishing a glass program at Illinois University in Bloomington-Normal; his attempts to recruit international students; taking a semester sabbatical in Baden, Austria; being heavily influenced by the natural world; the series Garden, Perfume Bottle, Contiguous Fragment, Dr. Zharkov, The Dialogues, and others; teaching at Pilchuck School of Glass; studying the First World War and consequently creating Musée des Beaux Arts [1996]; travels to Japan; his teaching philosophies; the prevalence of independent glass studios in the world today; and plans for the future. Myers recalls Ted Randall, William H. Blenko, Sr., William H. Blenko, Jr., Marvin Lipofsky, Fritz Dreisbach, Richard Marquis, John Lewis, Bob Ness, Bertil Vallien, David Huchthausen, John Popelka, and others.
Biographical / Historical:
Joel Philip Myers (1934- ) is a glass artist from Milton, West Virginia. Daniel Klein (1938- ) is an art consultant from London, England.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 15 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.
Museum of Arts and Design (New York, N.Y.) Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
61 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 April 19-20
Scope and Contents:
An interview of Paul J. Smith conducted 2010 April 19 and 20, by Lloyd E. Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smith's home, in New York, N.Y.
Smith recalls his childhood; attending the Art Institute of Buffalo; working in display at the Flint & Kent department store in Buffalo; his interest in "hobby crafts" and greater exploration of jewelry and wood; exhibiting; joining the staff of the American Craftsmen's Council; becoming director of the Museum of Contemporary Crafts; developing the museum's program and international focus; organizing the "Objects: USA" exhibition in 1969; developing the permanent collection of the Museum of Contemporary Crafts (in 1979 renamed the American Craft Museum); the 30th anniversary exhibition, "Craft Today: Poetry of the Physical," in 1986; becoming director emeritus; the "Craft Today USA" tour, 1989-1993; developing a consulting service; serving as guest curator; special projects; interest in photography; the current DIY movement as a continuum of the past.
Biographical / Historical:
Paul J. Smith (1931- ) is Director Emeritus of the American Craft Museum (now the Museum of Arts and Design) in New York, N.Y.
General:
Originally recorded on 6 secure digital memory cards. Reformatted in 2010 as 7 digital wav files. Duration is 5 hr., 17 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Arts administrators -- New York (State) -- New York -- Interviews Search this
An interview of Edgar and Joyce Anderson conducted 2002 September 17-19, by Donna Gold, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Morristown, New Jersey.
The interview begins in the home of their frequent patrons, Sandra and Lou Grotta, in Harding Township, New Jersey. The Grottas are not present. They discuss several of their pieces in situ, including tables, beds, a piano bench, the grandfather clock (carved in the shape of Edgar's arm wearing a wristwatch), and the Knight table. Many of these pieces are discussed in detail in terms of their design and construction. They also allude briefly to other pieces in the Grotta's collection by Toshiko Takaezu, Hans Wegner, Bill Wyman, Sam Maloof, and Bob Stocksdale. The Grotta's house, designed by architect Richard Meier, is also discussed. Edgar recalls that Meier designed the house to accommodate the collection. They also talk about the Grotta's participation in the American Craft Council, and the relationship among collectors. The interview continues at the artists' home Harding Township, New Jersey. They discuss several projects for other clients, and they reflect on the relationships that developed. These include: a gaming table for Doug Dayton of Monteath Lumber Company, a jewelry chest for Thelma Newman, collaboration with Newman on a book for Chilton Publishing Company (not published), and a figural chest for Mako Stewart, which is still in the artists' private collection. They reflect on their private and professional partnership and the balance of skills they shared. They recall that their early success was bolstered by a New York Times article by Betty Pepis. This publicity led to new clients, such as Reverend John Mason of the Episcopal Chapel at the University of Maine, who is discussed in detail along with his wife Elizabeth Mason. They explain their expertise in humidity and wood shrinkage, including their work as consultants for the Museum of Contemporary Crafts, before it became the American Craft Museum. There is lengthy discussion of the Andersons' own house, which they designed and built themselves over a period of years. Frank Lloyd Wright was an influence. They discuss other church commissions in general, speaking of the influence of their spirituality. St. Luke's Episcopal Church, Haworth, New Jersey, is discussed in some detail. Edgar briefly talks about a local World Trade Center memorial which he has been working on. They recall the importance of the support of the American Craft Museum, Aileen Osborne (Vanderbilt) Webb, and David Campbell. They discuss in depth their time in Honduras, under the sponsorship of the USAID program, teaching craft techniques to local inhabitants. Joyce describes this as a Kennedy era demonstration program. Other participants in the Honduras program included Dave Chapman, Roy Ginstrom, Bill Wyman, and Emil Milan. They also recall participating in a similar program in Antigua. They also recall Herb and Marje Noyes, Ruth Martin, Patricia Malarcher, John Geraci, Mike Langan, Bob and Rowena MacPhail, Sterling North, Zelda Strecker, Paul Smith, Tom Tibbs, Walker Weed, Lois Moran, Toshiko Takaezu, Tapio Wirkkala, Jack Lenor Larsen, Edward Cooke, Michael Stone, John McPhee, and Dot Blanchard.
Biographical / Historical:
Edgar Anderson (1922- ) and Joyce Anderson (1923- ) are woodworkers from Morristown, New Jersey.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 34 digital wav files. Duration is 5 hr., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Woodworkers -- New Jersey -- Interviews. Search this
The papers of San Francisco metal-worker, jeweler, and painter Merry Renk measure 0.9 linear feet and date from 1952 to 2000. The collection comprises business records that include sales invoices, inventories, exhibition price lists, correspondence, and other material related to Renk's business activities. Also found are printed materials, a few sketches of utensils, writings, and a video recording of the documentary "Merry Renk: Jeweler" by Alan Leveton.
Scope and Contents:
The papers of San Francisco jeweler, painter, and metal-worker Merry Renk measure 0.9 linear feet and date from 1952 to 2000. The collection comprises business records that include sales invoices, inventories, exhibition price lists, and correspondence. Correspondents include Greta Daniel, Mrs. Vanderbilt Webb, Conrad Brown, Rose Slivka, Paul Soldner, Paul J. Smith, Alice W. Nichols, Roger Armstrong, and Francis S. Merritt. Also found is other material related to Renk's business activities; printed materials including clippings, exhibition announcements and catalogs; a few sketches of utensils; writings including an unpublished typescript with illustrations and a draft of Renk's biographical statement; and a video recording containing the documentary "Merry Renk: Jeweler" by Alan Leveton.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Series 1: Merry Renk Papers, 1952-2000 (1.1 linear feet; Boxes 1-2, OV 3)
Biographical / Historical:
Merry Renk (1921-2012) was a jeweler, painter, and metal-worker in San Francisco, California.
Renk was born in Trenton, New Jersey as Mary Ruth Gibbs. She studied painting at the Trenton School of Industrial Arts before moving to Chicago in 1946 to study at Illinois Institute of Technology. In Chicago, Renk founded the 750 Studio, an art gallery, with Olive Oliver and Mary Jo Slick. After taking some time to travel, she settled in San Francisco in 1948 where she became a prominent member of the arts and crafts community. Renk was instrumental in the founding of the San Francisco Metal Arts Guild and served as president in 1954. She also became an honorary fellow at the American Craft Council.
Renk is primarily known for her jewelry work but after suffering an eye injury in a car accident she began focusing on creating large scale sculptures using jewelry techniques sometime in the 1960s to 1970s.
Renk married Stanley Edwin Renk in 1941. After his death in World War II, she married fellow artist Earle Watt Curtis in 1958.
Related Materials:
Also in the Archives of American Art is an interview of Merry Renk conducted on January 18-19, 2001 by Arline M. Fisch for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America in Renk's home and studio in San Francisco, California.
Provenance:
The Merry Renk papers were donated in 2003 and 2004 by Merry Renk as a 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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own in the following material: Unpublished typescript, "Memories for My Children's Children's Children's Children's Children's Children."
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco Search this
Jewelers -- California -- San Francisco Search this
Metal-workers -- California -- San Francisco Search this
Interview of Lewis Iselin, conducted 1981 September 30 by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Camden, Maine.
Iselin speaks of his role as a trustee of the Guggenheim and Tiffany Foundations, the Saint-Gaudens Memorial, and the Haystack Mountain School of Crafts; his own work of modeling in wax; and his "sculpture to wear." Iselin also recalls Henry Geldzahler, Robert Motherwell, Henry Allen Moe, Ron Pearson, Paul Smith and others.
Biographical / Historical:
Lewis Iselin (1913-1990) was a sculptor from Camden, Maine.
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 others.
Topic:
Museums -- United States -- Trustees -- Interviews Search this
An interview of John Mason conducted 2006 August 28, by Paul Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Smith's office, in New York, N.Y.
Mason speaks of his childhood in rural Nevada; early interests in photography and jazz; moving to Los Angeles to attend the Los Angeles County Art Institute, now Otis College of Art and Design; attending Chouinard Art Institute; experiences working at Vernon Kilns and with the head designer Elliot House; opening Glendale Boulevard Studio with Peter Voulkos; his association with Ferus Gallery; and teaching experiences at Pomona College, University of California at Berkeley, University of California at Irvine, and Hunter College. He also discusses the development of the Hudson River series exhibition; solo exhibitions at Los Angeles County Museum of Art, LA Louver Gallery, Pasadena Art Museum, now Norton Simon Museum of Art, and others; participation in group exhibitions such as, "Sculpture Off the Pedestal" at Grand Rapids Museum of Art; imagery found in his work including the orbit, the figure, the torque, the spear form, the vertical form, the cross or X form, symmetry and the monolith; an interest in Frank Lloyd Wright and Louis Sullivan; the architectural qualities in his work; the foresight of Buckminster Fuller; and the accelerating change in technology that has taken place over the course of his career. Mason recalls Susan Peterson, Kenneth Price, Paul Soldner, Mac McClain, Fred Marer, Millard Sheets, Edward Kienholz, Walter Hopps, James Melchert, John Coplans, Richard Ballard, Richard Koshalek, and others.
Biographical / Historical:
John Mason (1927-2019 ) was a ceramicist of Los Angeles, California. Paul Smith (1931- ) is Director Emeritus, American Craft Museum of New York City, N.Y.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hrs., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Ceramicists -- California -- Los Angeles -- Interviews Search this
Sculptors -- California -- Los Angeles -- Interviews Search this
An interview of Edgar Anderson conducted 2002 September 17-19, by Donna Gold, in Morristown, New Jersey, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Anderson describes his philosophy of nature, and the genetic affinities between trees and humans. He discusses childhood in Jersey City, New Jersey; his parents; his grandfather, who was a bookbinder and leather craftsman; and other influences from his childhood, including his uncles and the Stickley family's Craftsman Farms. He recalls that his mother was an accomplished painter and amateur architect; his father was responsible for constructing the foundations for the Chrysler Building. He describes his early admiration for Frank Lloyd Wright, and a meeting with Wright to inquire about the Taliesin Fellowship. Anderson did not join the Fellowship. He briefly discusses Ayn Rand and The Fountainhead. He recalls his architectural studies at Pratt Institute, including a structural investigation of Wright's Fallingwater house, and studying architectural rendering with Caleb Hornbostel. He describes his service during World War II, serving in Italy as a platoon commander for the Army Engineers. He talks about meeting his wife, Joyce, and the genesis of their working partnership. After the war, he and Joyce studied at Pratt under Philip Johnson; he recalls his student projects and the continuing influence of Frank Lloyd Wright. He also studied at Chicago Technical College. He recalls his apprenticeship building boats with his uncle. He describes, in technical detail, the early years of the practice, including a discussion of his wood supplier, the Monteath Company. He comments at length on his personal creative process, which includes elliptical references to a wide variety of sources, including Umberto Eco and the film 2001. He describes several projects for Lou and Sandy Grotta, including an anthropomorphic grandfather clock in the shape of a hand and wristwatch, an illusionary headboard, and the Knight table. He also comments on the Grotta house, designed by Richard Meier. He briefly mentions the editorial strategy of American Craft, and later Craft Horizon, and his relationships with editors such as John Kelsey, Paul Roman, and Rose Slivka. He mentions having taught at Philadelphia College of Art. He recalls racing in a demolition derby. He discusses his attitude towards criticism, mentioning Paul Smith, the director of the Museum of Contemporary Crafts, at length. He briefly describes his design for a 9/11 memorial at Liberty State Park and the political character of his work. He also reflects on his work relative to the culture at large. He talks about new technologies and new tools, and the evolution of the partnership. He describes his involvement in the craft community at Peters Valley, New Jersey. He comments at length on his apprentice Rob Sperber, and their development of the chainsaw mill.
Biographical / Historical:
Edgar Anderson (1922- ) is a woodworker from Morristown, New Jersey. Donna Gold (1953- ) is an art writer from Stockton Springs, Maine.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 24 digital wav files. Duration is 5 hr., 52 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.
An interview of Jane Sauer conducted 2005 July 11, by Paul J. Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Santa Fe, N.M.
Biographical / Historical:
Jane Sauer (1937- ) is a fiber artist and gallery owner from Santa Fe, N.M. Paul J. Smith is a director emeritus of the American Craft Museum, New York, N.Y.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 14 digital wav files. Duration is 6 hr., 15 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the recording is restricted. Contact Reference Services for more information.
An interview of Lloyd E. Herman conducted 2010 September 21, by Paul J. Smith, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smith's office, in New York, N.Y.
Biographical / Historical:
Interviewee Lloyd E. Herman (1932-) is a former director of the Smithsonian Institution's Renwick Gallery and from Normandy Park, Wash. Interviewer Paul J. Smith (1931-) is Director Emeritus of the Museum of Arts & Design in New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Arts administrators -- Washington (D.C.) -- Interviews Search this
