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New directions in fabric design

Author:
Towson State University Art Gallery  Search this
Physical description:
[34] p. : ill. ; 20 x 25 cm
Type:
Exhibitions
Place:
United States
Date:
1977
C1977
Topic:
Textile design  Search this
Textile crafts  Search this
Call number:
NK4701.T7 T75
NK4701.T7T75
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_146222

Miniature fiber arts : a national exhibition

Author:
Armory for the Arts (Santa Fe, N.M.)  Search this
Textile Workshops, Inc  Search this
Physical description:
iv., 119 p. : ill. ; 20 x 22 cm
Type:
Exhibitions
Place:
United States
Date:
1980
C1980
Topic:
Textile crafts  Search this
Fiberwork  Search this
Call number:
NK8812 .M66
NK8812.M66
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_144550

Sufi lovers, Safavid silks and early modern identity Nazanin Hedayat Munroe

Author:
Munroe, Nazanin Hedayat  Search this
Physical description:
248 pages illustrations 25 cm
Type:
Books
History
Place:
Iran
Date:
2023
16th century
17th century
Topic:
Textile crafts--History  Search this
Silk pictures--History  Search this
Women sufis--Clothing  Search this
Clothing and dress--Religious aspects--Islam  Search this
Clothing and dress--History  Search this
History of fashion  Search this
Middle Eastern history  Search this
DESIGN / History & Criticism  Search this
DESIGN / Textile & Costume  Search this
HISTORY / Middle East / Iran  Search this
Clothing and dress  Search this
Silk pictures  Search this
Textile crafts  Search this
Fashion and textile design  Search this
History of design  Search this
Material culture  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1161067

Isishweshwe : a history of the indigenisation of blueprint in Southern Africa Juliette Leeb-du Toit

Author:
Leeb-du Toit, Juliette  Search this
Physical description:
302 pages
Type:
Books
Place:
South Africa
Topic:
Clothing and fress--History  Search this
Resist-dyed textiles--History  Search this
Textile crafts  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1160825

Bob Stocksdale and Kay Sekimachi papers

Creator:
Stocksdale, Bob, 1913-2003  Search this
Names:
Central Utah Relocation Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Tanforan Assembly Center (San Bruno, Calif.)  Search this
War Relocation Authority  Search this
Anderson, Norman  Search this
Collingwood, Peter, 1922-2008  Search this
Larsen, Jack Lenor  Search this
Maloof, Alfreda Ward  Search this
Maloof, Sam  Search this
Merrill, Forrest L.  Search this
Okubo, Miné, 1912-2001  Search this
Shawcroft, Barbara  Search this
Stocksdale, Bob, 1913-2003  Search this
Stocksdale, Kay Sekimachi  Search this
Turner, Tran  Search this
Uchida, Yoshiko  Search this
Former owner:
Stocksdale, Kay Sekimachi  Search this
Extent:
19.5 Linear feet
0.125 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Scrapbooks
Date:
circa 1900-2015
Summary:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.
Scope and Contents:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The bulk of biographical materials are from Kay Sekimachi with some originating from her time spent in forced internment at Topaz and Tanforan camps. These records include identification cards, War Relocation Authority printed materials, and school records. Also found are awards, resumes, and blank stationery. Some materials are from Stocksdale's 85th birthday and memorial service.

Letters and extensive greeting cards are from friends, family, and professional acquaintances. Correspondents include Norman Anderson, Peter Collingwood, Jack Lenor Larsen, Sam and Alfreda Maloof, Forrest L. Merrill, Miné Okubo, Barbara Shawcroft, and others.

Writings and notes are scattered and include two interviews with Kay Sekimachi, hanging instructions, and notes. Writings by others are by Jack Lenor Larsen, Tran Turner, and Yoshiko Uchida.

Sekimachi's and Stocksdale's professional activities are documented through files relating to their participation at conferences, awards ceremonies, and lectures. Also found are fiber samples, order forms for materials and equipment, and notes on techniques and design by Kay Sekimachi. Exhibition records include extensive documentation on Marriage in Form, In the Realm of Nature, and Loom and Lathe as well as files for various solo and group exhibitions for both Sekimachi and Stocksdale. Gallery and institution files include material on multiple or unnamed exhibitions. Exhibiton documentation may include correspondence, writings, proposals, printed material, financial and loan records, condition reports, and photographs. Project files contain material for proposed book projects, a retrospective, and portfolio, by and about Sekimachi and Stocksdale. Also found are three commissions files for works by Sekimachi. A proposed retrospective on the work of Bob Stocksdale by Kay Sekimachi includes a digital sound recording of recollections.

Personal business records include sales books, purchase records for works of art by others, appraisals, contracts, consignment receipts, and insurance records.

Published books, clippings, exhibition announcements and catalogs, magazines, and newsletters are found within printed materials. Of note is a publication by the San Francisco Chronicle entitled "This World" which features illustrations by Miné Okubo.

Four scrapbooks compiled by Kay Sekimachi date from 1937 to 1944. Most of the scrapbooks contain printed material from magazines and other sources with images such as children, valentines, food, birds, clothing, and may include scattered sketches and notes by Sekimachi. One scrapbook dates from the end of Sekimachi's internment at Topaz and relocation to Cincinnati, Ohio. This scrapbook includes sketches and printed materials concerning local and global events. Loose material found in this series was likely meant to be pasted into a new or the forth scrapbook. These materials include relocation information, Japanese-American publications, maps, clippings, sketches, and printed programs.

The bulk of photographic materials consist of slides of various vacation locations and homes and date from the 1960s to the 1980s. Also found are scattered portraits of Kay Sekimachi and Bob Stocksdale, as well as a photo of Miné Okubo with Roy Leeper and Cecil Thompson. Artworks are largely by Kay Sekimachi and include watercolor and pencil sketches as well as designs for fabrics and a weaving portfolio. Watercolor and pencil sketches are of Tanforan Assembly Center and date from circa 1942.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1920-2003 (1.5 linear feet; Box 1-2)

Series 2: Correspondence, 1943-2014 (7.6 linear feet; Box 2-10)

Series 3: Writings and Notes, 1960s-2008 (0.2 linear feet; Box 10)

Series 4: Professional Files, 1950s-2011 (1.1 linear feet; Box 10-11, 22)

Series 5: Exhibition Files, 1951-2015 (2.9 linear feet; Box 11-14, ER01; 0.125 GB)

Series 6: Project Files, circa 1900-2004 (0.3 linear feet; Box 14)

Series 7: Personal Business Records, 1970s-2010 (0.7 linear feet; Box 14-15)

Series 8: Printed Material, 1943-2011 (2.3 linear feet; Box 15-17, 22)

Series 9: Scrapbooks, 1937-1946 (0.9 linear feet; Box 17, 21)

Series 10: Photographic Material, circa 1950-2001 (0.9 linear feet; Box 18)

Series 11: Artwork, 1942-circa 1970 (1.1 linear feet; Box 18-20, 22-23)
Biographical / Historical:
Bob Stocksdale (1913-2003) was a woodturner active in California. He was known for bowls he formed from rare types of wood. Kay Sekimachi (1926- ) is a Japanese-American fiber artist and educator also active in California. She began her career in weaving on and off the loom and was part of the New Basketry movement.

Born in Indiana, Bob Stocksdale began his interest in carving by whittling with a pocket knife. Later, he created his own lathe with a washing machine motor and turned items such as baseball bats. During World War II, he was a conscientious objector and worked at various camps performing forestry work. It was in one of the camps that he turned his first bowl on a lathe.

After the war, Stocksdale settled in the Bay Area of California where he established his own woodturning shop in his basement. He concentrated on making bowls out of rare woods. His work has been recognized throughout the world and in 1998, he received the American Association of Woodturners Lifetime Achievement Award. In 2003, he received the James Renwick Alliance Masters of the Medium Award.

Kay Sekimachi was born in San Francisco, California in 1926. As a high school student, she was forcibly interned through Executive Order 9066 issued by President Franklin D. Roosevelt which incarcerated approximately 120,000 Japanese and Japanese-American citizens during World War II. Along with her mother and siblings, Kay lived at Tanforan Assembly Center and later moved to Topaz War Relocation Center in Utah. She continued her schooling at Topaz and after 1944, was resettled in Cincinnati, Ohio.

After graduating from high school, Kay Sekimachi enrolled at the California College of Arts and Crafts and the Haystack Mountain School of Crafts where she learned the craft of weaving under Trude Guermonprez and Jack Lenor Larsen. Her early works were tapestries and garments. She later used her weaving techniques as part of the New Basketry movement to create baskets and boxes out of fibers. Also an educator, Kay taught weaving at San Francisco Community College. She received the American Craft Council Gold Medal for Consummate Craftsmanship in 2002.

After the dissolution of his first marriage through which he had two children, son Kim and daughter Joy Stocksdale, Bob married Kay Sekimachi in 1972. The two had been acquainted for many years as they were both craft artists living in the Bay Area. Although they married later in life, Kay and Bob travelled the world and exhibited their art together in many exhibitions including Marriage in Form and Loom and Lathe.

Bob Stocksdale died in Oakland, California in 2003. Kay Sekimachi continues to exhibit her work and lives in Berkeley, California.
Related Materials:
Also found in the Archives of American Art are an oral history interview of Bob Stocksdale conducted February 16-March 21, 2001, by Signe Mayfield and an oral history interview of Kay Sekimachi [Stocksdale] conducted July 26-August 6, 2001, by Suzanne Baizerman. Both interviews were conducted in Berkeley, California, during the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The Bob Stocksdale and Kay Sekimachi papers were donated in 2003, 2004, and 2015 by Kay Sekimachi Stocksdale as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of original 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:
Fiber artists -- California  Search this
Topic:
Textile design  Search this
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Woodwork  Search this
Textile crafts  Search this
Fiberwork  Search this
Genre/Form:
Interviews
Sound recordings
Scrapbooks
Citation:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stockbob
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7db1c3a-95bc-44e4-92d5-382fb539e654
EDAN-URL:
ead_collection:sova-aaa-stockbob
Online Media:

Paul Marrot et ses amis : [exposition] : Novembre 1953-Février 1954

Author:
Zahar, Marcel  Search this
Musée des arts décoratifs (France)  Search this
Physical description:
38 p. : ill. (some col.) ; 22 cm
Type:
Exhibitions
Place:
France
Date:
1953
[1953]
Topic:
Textile crafts  Search this
Textile designers  Search this
Call number:
NK8849 .P32
NK8849.P32
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_139626

Moderne hollandsk tekstilkunst og glas / [redigeret af Vibeke Woldbye og Jørgen Schou-Christensen] ; [for tekstens vedkommende i samarbejde med Lisbeth Cromlien, Bernadine de Neeve, Doris Keyken-Schneider, samt de deltagende kunstnere ; oversættelser fra hollandsk til dansk ved Den kongelige Nederlandske Ambassade i København, fra dansk til engelsk ved Olivia Cole Collin]

Author:
Danske kunstindustrimuseum  Search this
Woldbye, Vibeke  Search this
Schou-Christensen, Jørgen  Search this
Physical description:
59 p. : ill. ; 22 cm
Type:
Exhibitions
Place:
Netherlands
Date:
1979
20th century
Topic:
Glassware--History  Search this
Textile crafts--History  Search this
Call number:
NK5154.A1 C66 1979X
NK5154.A1C66 1979X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_139879

Designer textiles : stitching for interiors / the Embroiderers' Guild ; photographs by Dudley Moss ; text by Fiona Adamczewski

Author:
Adamczewski, Fiona  Search this
Moss, Dudley  Search this
Embroiderers' Guild  Search this
Physical description:
127 p. : ill. (some col.) ; 29 cm
Type:
Exhibitions
Place:
Great Britain
Date:
1987
C1987
Topic:
Embroidery  Search this
Textile crafts  Search this
Call number:
TT769.G7A33 1987X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_354856

Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015

Creator:
Stocksdale, Bob, 1913-2003  Search this
Stocksdale, Kay Sekimachi, 1926-  Search this
Subject:
Stocksdale, Bob  Search this
Collingwood, Peter  Search this
Anderson, Norman  Search this
Stocksdale, Kay Sekimachi  Search this
Turner, Tran  Search this
Larsen, Jack Lenor  Search this
Maloof, Alfreda Ward  Search this
Maloof, Sam  Search this
Okubo, Miné  Search this
Merrill, Forrest L.  Search this
Shawcroft, Barbara  Search this
Uchida, Yoshiko  Search this
Central Utah Relocation Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
War Relocation Authority  Search this
Tanforan Assembly Center (San Bruno, Calif.)  Search this
Type:
Interviews
Sound recordings
Scrapbooks
Citation:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Topic:
Textile design  Search this
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Woodwork  Search this
Textile crafts  Search this
Fiberwork  Search this
Theme:
Craft  Search this
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)11112
(DSI-AAA_SIRISBib)246683
AAA_collcode_stockbob
Theme:
Craft
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_246683
Online Media:

Oral history interview with Dominic Di Mare

Interviewee:
Di Mare, Dominic, 1932-  Search this
Interviewer:
Mayfield, Signe  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
60 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 4-10
Scope and Contents:
An interview of Dominic Di Mare conducted 2002 June 4-10, by Signe Mayfield, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at his home and studio, in Tiburon, California.
Di Mare speaks of growing up in Monterey, California, around thread, as his mother crocheted and his fisherman father made lures; drawing as a child; receiving the Junior Scholastic Art Awards in high school; enrolling at Monterey Peninsula College and San Francisco State; acquiring a teacher's degree and taking a craft class; being "enthralled" by setting up a loom; teaching art in junior high schools; getting married and buying a loom; reading Craft Horizon magazine and becoming inspired by the work of Kay Sekimachi; buying yarn from Helen Pope at The Yarn Depot and forming a friendship with her; exhibiting at The Yarn Depot; participating in craft competitions and showing his work to Paul Smith, the director of the Museum of Contemporary Crafts; his first show at the Museum of Contemporary Crafts in 1965; exhibiting at Museum West (the west coast extension of the Museum of Contemporary Crafts); recognizing "self and struggle and passion" in Ferne Jacobs' work; his dealers including Marjorie Annenberg (Annenberg Gallery, San Francisco), Ruth Braunstein (Braunstein/Quay Gallery, San Francisco), Susan Cummins (Susan Cummins Gallery, Mill Valley, Calif.), and Florence Duhl (Florence Duhl Gallery, New York); receiving a grant from the Marin Arts Council; quitting his teaching job, receiving an NEA grant, and becoming a full-time artist; collectors Dan and Hillary Goldstein; the beauty of poet Betty Parks' article, "Dominic Di Mare: Houses for the Sacred," in American Craft (October/November 1982); his "shrine" imagery; his military service during the Korean War and being assigned to a post office in Paris, France; going to the Louvre and encountering the Nike, "winged victory" sculpture; and Jack Lenore Larson's support.
Di Mare considers himself to be "self-taught" although he attended the California College of Arts and Crafts, San Francisco State, and Rudolph Schaefer School of Design. He also talks about autobiographical elements in his work; his "personal, artistic vocabulary"; the repetition of black and white; his use of sticks and feathers; and cross shapes, representing the church and a ship's mast. He comments on making portraits during his summers in Switzerland and making magical wands; and his artistic philosophy. Di Mare also recalls Camille Cook, Helen Drutt, Trude Guermonprez, Sophi Harpe, Gyongy Laky, Marjorie Livingston, Hal Painter, June Schwarcz, Rose Slivka, Millie Tresko, and Dorian Zachai.
Biographical / Historical:
Dominic Di Mare (1932- ) is a fiber artist from Tiburon, California. Signe Mayfield is an art historian.
General:
Originally recorded 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 2 hr., 47 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:
Patrons must use transcript. Transcript available online. Sound recordings (3 cassettes) are ACCESS RESTRICTED; Written permission required.
Occupation:
Weavers -- California -- Interviews  Search this
Topic:
Fiberwork  Search this
Textile crafts  Search this
Art -- Study and teaching -- California  Search this
Fishing  Search this
Decorative arts  Search this
Weaving  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dimare02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b7ef2f19-f62a-41b4-9a04-be2dd364ab11
EDAN-URL:
ead_collection:sova-aaa-dimare02
Online Media:

Marianne Strengell papers

Creator:
Strengell, Marianne, 1909-1998  Search this
Names:
Cranbrook Academy of Art  Search this
Hammarstrom, Olav, 1906-2002  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Date:
1904-1980s
Summary:
The papers of weaver, fiber artist and educator Marianne Strengell date from 1904 to the 1980s and measure 1.5 linear feet. The scattered papers focus on Strengell's career as an artist and include biographical materials, correspondence, writings, six scrapbooks, printed material, photographs, and artwork.
Scope and Contents:
The papers of weaver, fiber artist and educator Marianne Strengell date from 1904 to the 1980s and measure 1.5 linear feet. The scattered papers focus on Strengell's career as an artist and include biographical materials, correspondence, writings, six scrapbooks, printed material, photographs, and artwork.
Biographical / Historical:
Finnish-American textile artist Marianne Strengell (1909-1998) was known for the use of synthetic fibers in her work. She was an educator and was at the Cranbrook Academy of Art from 1937 to 1962.

Born in Helsinki, Finland in 1909, Marianne Strengell studied industrial arts at a Helsinki university. She spent her early career designing textiles and rugs throughout Scandinavia but came to the United States in 1936. Strengell was invited to teach at the Cranbrook Academy of Art by Eliel Saarinen, a family friend. She began as a professor but became the head of the Department of Weaving and Textile Design after the retirement of Loja Saarinen. Strengell focused on texture in her weavings and often used synthetic fibers. She took many commissions during her career, including many for automotive companies in Detroit. Also, she exhibited her works at institutions and in print.

Under the United States government in 1951, Strengell travelled to the Philippines to establish weaving as a cottage industry. In the mid-1960s she acted as a consultant on textile production to the United Nations Technical Assistance Administration with her husband, Olav Hammarstrom.

Marianne Strengell married fellow Cranbrook artist Charles Yerkes Dusenbury in 1940. They had two children but divorced in 1949. Later, she married architect Olav Hammarstorm.
Related Materials:
Additional papers are held at the Cranbrook Archives, Bloomfield Hills, Michigan.
Provenance:
Along with her husband Olav Hammarstrom, Marianne Strengell donated her papers to the Archives of American Art in 1982-1983 and 1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Fiber artists -- Michigan -- Bloomfield Hills  Search this
Weavers -- Michigan -- Bloomfield Hills  Search this
Educators -- Michigan -- Bloomfield Hills  Search this
Topic:
Women artists  Search this
Textile crafts  Search this
Weaving  Search this
Finnish Americans  Search this
Women educators  Search this
Women textile designers  Search this
Genre/Form:
Scrapbooks
Drawings
Citation:
Marianne Strengell papers, 1904-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stremari
See more items in:
Marianne Strengell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94c2885ac-24ef-4010-b726-5ea49bc144d7
EDAN-URL:
ead_collection:sova-aaa-stremari

Oral history interview with James Bassler

Interviewee:
Bassler, James W., 1933-  Search this
Interviewer:
Emanuelli, Sharon K.  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
University of California, Los Angeles -- Faculty  Search this
University of California, Los Angeles -- Students  Search this
Extent:
125 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 February 11-June 6
Scope and Contents:
An interview of James Bassler conducted 2002 February 11-June 6, by Sharon K. Emanuelli, for the Archives of American Art, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Bassler speaks of his early childhood; traveling with his father, a major league baseball catcher; his early interest in fiber through his father's hooked rugs, which he worked on during the off season; his early education; his sister Sally and a course she took from Laura Andreson where they dug for clay at UCLA; working at Douglas Aircraft; drafted into the Army; his travels through Europe while in the Army; his wife Veralee Osborn Bassler; his education at UCLA with professors such as Bernard Kester, Laura Andreson, Cornelia Breitenbach, and fellow student Neda Al Hilali; teaching at Emerson Junior High School; the Egg and Eye Gallery; his siblings, Barbara Bassler Johnson, Sally Bassler Chest, and John Bassler. Bassler also discusses living in Oaxaca from 1970-1975; returning to the U.S. and then moving to Tennessee to teach at Appalachian Center for Crafts; the camaraderie at the Craft Center; his experience with commissions; the impact of the music of John Cage; his teaching techniques; artistic process; political issues that influenced his artwork, such as the Exxon Valdez Oil spill [Shroud] or the Persian Gulf War [Soiled]; his relationships with dealers and galleries, Barbara Okun, Christa Thurman, and currently the Gail Martin Gallery in New York; the spontaneity of Willem de Kooning's artwork and a recent exhibit "Willem de Kooning: Tracing the Figure" at the Museum of Contemporary Art [MOCA], Los Angeles, February 10-April 28, 2002; the Peruvian influence upon his work and experiments with dyeing and batik; a piece he was working on for Jack Lenor Larsen's 75th birthday; exhibitions to which he loaned pieces of his collection; significant books he has read and uses in his classes, such as James Burkes' "Connections," and Jared Diamond's "Guns, Germs and Steel"; the "Art in Embassy" Program and his exhibit in Poland; the benefits of a university education; the Ann Blinks Research Group; his enjoyment of the weaving process; lack of signatures on his artwork; new technology; visiting the "Andy Warhol Retrospective," MOCA, May 25 - August 18, 2002 and solving his artistic block there; the difficulty in being a perfectionist; important artist friendships with Olga de Amaral, Ruth Asawa, Trude Guermonprez, Dominic Di Mare, and Lenore Tawney; and finally his reactions to Craft in America, a symposium which Emanuelli coordinated the agenda for. Bassler also recalls Ina Conradi-Chavez, Edward Durell Stone, Carol Shaw-Sutton, Roger Herman; Larry Pittman; Judy Mitoma; Victoria Vesna; Robert Brady, Phil Fike, Susan Petersen, Eudora Moore, Edith Wyle, Patricia Anawalt, Ed Rossbach, Mildred Constantine, Mary Kahlenberg, Martin Puryear, Magdalena Abakanowicz, Mary Dusenbury, Robert Rauschenberg, Wayne Thiebaud, Adrian Saxe, Kaye Spilker, and others.
Biographical / Historical:
James Bassler (1933- ) is a fiber artist of San Pedro, California.
General:
Originally recorded on 6 sound cassettes and 4 sound discs. Reformatted in 2010 as 23 digital wav files. Duration is 10 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.
Topic:
Art -- Political aspects  Search this
Decorative arts  Search this
Weaving  Search this
Textile crafts  Search this
Fiberwork  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bassle02
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c456ed65-65e0-4878-8ad6-642d46dcf78d
EDAN-URL:
ead_collection:sova-aaa-bassle02
Online Media:

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 15 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 23.
Slide No. E 1 BMB 15 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3388
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7554955c4-64f3-4edd-a346-61cb6cccc280
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19762

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 16 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 19.
Slide No. E 1 BMB 16 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3389
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7600e2332-fa32-4298-97cb-4d8bae5e0df9
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19763

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 17 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 15.
Slide No. E 1 BMB 17 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3390
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo793bf87f1-138b-4a3e-b1a6-2e3aa454af4d
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19764

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 18 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 16.
Slide No. E 1 BMB 18 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3391
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo748fc8fc5-37ed-418f-b4e2-d635eb6f7843
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19765

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 19 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 14.
Slide No. E 1 BMB 19 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3392
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo72980ef36-c60d-4243-ab1a-a753f2419f73
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19767

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 20 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 21.
Slide No. E 1 BMB 20 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3393
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo78deaeadd-6871-4e77-9a2d-c87e44d018d9
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19768

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 20.1 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 17.
Slide No. E 1 BMB 20.1 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3394
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7630de2dc-f900-4abd-8401-db9700194b06
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19769

Masked performer wearing vertical Chi wara headdress, Bougouni village, Mali

Photographer:
Elisofon, Eliot  Search this
Collection Photographer:
Elisofon, Eliot  Search this
Extent:
1 Slide (col.)
Culture:
Bamana (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Mali
Date:
1970
Scope and Contents:
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 20.1.1 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 10.
Slide No. E 1 BMB 20.1.1 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Dance  Search this
Animals in art  Search this
Animals in art -- antelopes  Search this
Animals in art -- Composite animals  Search this
Textile crafts  Search this
Headdresses -- headgear -- Africa  Search this
Genre/Form:
Color slides
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Identifier:
EEPA.1973-001, Item EEPA EECL 3395
See more items in:
Eliot Elisofon Field collection
Eliot Elisofon Field collection / Mali
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo731cf0a43-97bc-4d2d-a271-2aa0ff44b5f4
EDAN-URL:
ead_component:sova-eepa-1973-001-ref19770

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