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Wings of a ragtag quest chronicles of a passionate pursuit of appliqué Nell Battle Booker Sonnemann ; edited by Patricia Malarcher

Author:
Booker, Nell  Search this
Editor:
Malarcher, Patricia  Search this
Author:
Smithsonian Libraries Artists' Books DSI  Search this
Subject:
Booker, Nell Travel  Search this
Catholic University of America Faculty  Search this
Physical description:
12 volumes color illustrations, color maps, facsimiles 21 cm, in box (27 x 18 x 11 cm) + 1 fabric sheet
Type:
Biography
Artists' books (books).)
Artists' books
Biographies
Place:
United States
Date:
2015
Topic:
Appliqué  Search this
Textile artists  Search this
Textile crafts  Search this
Travel  Search this
Universities and colleges--Faculty  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1066652

Jeffrey Gibson : this is the day / curated by Tracy L. Adler, Johnson-Pote Director, Ruth and Elmer Wellin Museum of Art

Title:
This is the day
Interviewee:
Gibson, Jeffrey 1972-  Search this
Interviewer:
Adler, Tracy L.,  Search this
Author:
Sims, Lowery Stokes  Search this
Panetta, Jane  Search this
Host institution:
Ruth and Elmer Wellin Museum of Art  Search this
Subject:
Gibson, Jeffrey 1972-  Search this
Gibson, Jeffrey 1972-  Search this
Physical description:
214 pages : color illustrations, portraits 36 cm
Type:
Exhibitions
Interviews
Exhibition catalogs
Essays
Illustrated works
Place:
United States
Date:
2018
21st century
Topic:
Indian art  Search this
Art, Modern  Search this
Fashion and art  Search this
Textile crafts  Search this
Painting, Abstract  Search this
Pottery, American  Search this
Indian artists  Search this
Gay artists  Search this
Call number:
N6537.G444 A4 2018
N40.1.G4483 R98 2018 folio
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1107735

Anneberg Gallery records, 1966-1981

Creator:
Anneberg Gallery  Search this
Anneberg Gallery  Search this
Subject:
Anneberg, Margery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Topic:
Folk art  Search this
Textile crafts  Search this
Decorative arts  Search this
Folk art -- Collectors and collecting  Search this
Folk art -- Mexico  Search this
Theme:
Art Market  Search this
Craft  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)11573
(DSI-AAA_SIRISBib)248730
AAA_collcode_annegall
Theme:
Art Market
Craft
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_248730

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
EDAN-URL:
ead_collection:sova-aaa-stremari

Oral history interview with Katherine Westphal

Interviewee:
Westphal, Katherine  Search this
Interviewer:
Austin, Carole  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Fiberworks, Center for the Textile Arts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Rhode Island School of Design  Search this
University of California, Davis -- Faculty  Search this
Farago, Daphne  Search this
Hickman, Pat (Patricia Lynette), 1941-  Search this
Karoly, Frederic, 1898-1987  Search this
Laky, Gyöngy, 1944-  Search this
Larsen, Jack Lenor, 1927-2020  Search this
Lynn, Greg  Search this
Rossbach, Ed  Search this
Extent:
58 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
2002 September 3-7
Scope and Contents:
An interview of Katherine Westphal conducted 2002 September 3-7, by Carole Austin, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
This interview took place in Berkeley, California. Westphal speaks of drawing every day; her rewarding education experience teaching at University of California, Davis' Applied Behavioral Sciences Department; her college encounters; the World Crafts Conference in Vienna in 1980; the significance of her travels in her artwork, including trips to Egypt, Hawaii, Wyoming, and Indonesia among others; her fascination with different types of art; the non-functional aspect of her artwork; the lack of necessity to sell artwork due to her job teaching, and the personal nature of her work not driven by a "craft market"; working for the textile industry; working with agent Frederick Karoly in New York; the considerable collection Daphne Farago has made of both Katherine's and her husband, Ed Rossbach's, artwork; her working environment; her storage condo; her most precious possession, her dogs; remodeling her Berkeley home and installing a glass elevator; the artist community at UC Davis and Fiberworks before it became a school; people she took workshops with at Fiberworks; a chronology of her work from the 1960s to present day; her and Ed's retirement in 1979 and their subsequent trip to Bali; her relationship with the home health care industry when Ed became sick; her development of baskets; her love of color; her artist in residency at Rhode Island School of Design in 1980, learning to work on the Jacquard loom; her very personal collection of postcards, which she created while on trips; her dog stories; several of the shows she has been in, including "Objects: USA" and "American Crafts at the Vatican"; the commission she completed for a hotel in Tokyo; and her copy machines and the various technological advances made during her career. Westphal also recalls Gyöngy Laky, Chere Lai Mah, Pat Hickman, Greg Lynn, Helen and Tio Giambruni, Jack Lenor Larsen and others.
Biographical / Historical:
Katherine Westphal (1919- ) is a fiber artist in Berkeley, California. Carole Austin is an interviewer, curator, and writer in Orinda, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Use requires an appointment.
Access is to transcript only.
Topic:
Decorative arts  Search this
Fiber artists -- California -- Berkeley -- Interviews  Search this
Textile crafts -- California  Search this
Women artists  Search this
Women textile artists  Search this
Genre/Form:
Interviews
Identifier:
AAA.westph02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-westph02

Oral history interview with Ruth Adler Schnee

Interviewee:
Schnee, Ruth Adler, 1923-  Search this
Interviewer:
Schnee, Anita  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:
159 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 November 24-30
Scope and Contents:
An interview of Ruth Adler Schnee conducted 2002 November 24-30, by Anita Schnee, at the artist's home in Southfield, Michigan, for the Archives of American Art as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Schnee talks about her early childhood in Germany, living in Nazi Germany and her family's emigration to the U.S. in 1939; her family's beginnings in the U.S. and her education; working in the display department at Winkleman's Department store; her scholarship to Rhode Island School of Design; experiencing New York City at the close of WWII; attending Cranbrook Academy of Art; her friendship with Eliel and Loja Saarinen; meeting and marrying Edward Charles Schnee; their first silk screening studio in Detroit; early designs; a fire that destroyed the first Adler Schnee shop in 1955; the new Adler Schnee store on Livernois; buying trips to Norway, Sweden, and Finland; difficulties and strategies for selling fabric designs; teaching herself the silk-screening process; designing for the airline industry; her love of color; and the labor intensive process of making the perfect design.
Schnee also discusses her sources of inspiration and how they have changed over the years; good design as "problem solving"; participating in tradeshows and finding clients; the shop paper, "The Bugle;" the Detroit Artists Market; significant commissions including Braniff Airlines, Ford Rotunda Auditorium, the Feld-Weisberg Clinic, and the Jewish Home for the Aged; and a research trip to Williamsburg, Virginia, to learn early American design techniques. Schnee comments on her travels to Mexico, Germany, South America, Israel, and in the U.S. She concludes the sessions by reviewing the recording and providing additional information. Schnee recalls Paul Klee, Albert Kahn, Minoru Yamasaki, Maija Grotell, Richard Savage, Al Taubman, Louis Redstone, Hans Knoll, Victor Gruen, Edward Wormley, Edgar Kaufman, Susanne Dotson, Harley Melzian, Selma Fraiberg, Hedie and Helmut Goedeckemeyer, Roberto Lago, and others.
Biographical / Historical:
Ruth Adler Schnee (1923- ) is a textile artist from Southfield, Michigan.
The interviewer, Anita Schnee, is her daughter and is from Fayetteville, Arkansas.
General:
Originally recorded on 9 sound discs. Reformatted in 2010 as 70 digital wav files. Duration is 11 hr., 9 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:
Textile crafts -- Michigan -- Detroit  Search this
Voyages and travels  Search this
Textile designers -- Michigan -- Detroit -- Interviews  Search this
Design -- Study and teaching  Search this
Art -- Economic aspects  Search this
Nazis -- Germany  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.schnee02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schnee02
Online Media:

Oral history interview with Jack Lenor Larsen

Interviewee:
Larsen, Jack Lenor, 1927-2020  Search this
Interviewer:
Fisch, Arline M.  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 Washington -- Students  Search this
Adamson, Glenn  Search this
Rossbach, Ed  Search this
Extent:
78 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 February 6-8
Scope and Contents:
An interview of Jack Lenor Larsen conducted 2004 February 6-8, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Longhouse, East Hampton, N.Y.
Larsen speaks of his childhood in Seattle, Washington; his parents and other adults who had a positive impact on his development; building things with his friends; attending the University of Washington to study architecture and deciding to study textiles instead; visiting Dorothy Liebes's textile studio; leaving school and moving to Los Angeles; attending the University of Southern California and eventually returning to the University of Washington; becoming a teaching assistant to Ed Rossbach; getting a Masters degree at Cranbrook Academy of Art; meeting many influential people in San Francisco and New York; moving to New York and setting up a studio; working on commission for several companies including Thaibok; expanding his offices to include larger looms and a showroom; setting up a branch of production in Haiti; working in the fashion industry and designing home decor; and working in Southeast Asia developing handcrafted woven exports. He also speaks of his involvement with the American Craft Council and the World Crafts Council, re-organizing and building the new campus at the Haystack Mountain School of Crafts; traveling to Central Asia, Africa, Europe, and his desire to travel more; working and exhibiting in Japan; experiencing the Japanese textile industry; writing numerous books on fiber arts including, "The Dyer's Art," often collaborating with other fiber artists; developing a classification system for interlacing; collecting art; gardening and its relation to art and design; building Round House and the inspiration behind it; building LongHouse using the Japanese Ise Shrine as a model and plans for further expansion; retiring and difficulties writing, "A Weaver's Memoir." Larsen also recalls Dorothy Liebes, Marianne Strengell, Florence Knoll, Edgar Kaufman, Ed Rossbach, Toshiko Takaezu, Francis Merritt, Mary Bishop, Garth Clark, Issey Miyake, Mildred Constantine, and others.
Biographical / Historical:
Jack Lenor Larsen (1927-2020) was a weaver and textile designer from East Hampton, N.Y. Arline M. Fisch (1931- ) is a jeweler from San Diego, Cailfornia.
General:
Originally recorded on 7 sound discs and 1 sound cassette. Reformatted in 2010 as 19 digital wav files. Duration is 6 hrs., 23 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:
Textile designers -- New York (State) -- New York  Search this
Topic:
Textile crafts  Search this
Textile industry -- Japan  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.larsen04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-larsen04
Online Media:

Oral history interview with Gerhardt Knodel

Interviewee:
Knodel, Gerhardt  Search this
Interviewer:
Adamson, Glenn  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Faculty  Search this
Los Angeles City College -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of California, Los Angeles -- Students  Search this
Abakanowicz, Magdalena  Search this
Al-Hilali, Neda, 1938-  Search this
Albers, Anni  Search this
Andreson, Laura  Search this
Christo, 1935-  Search this
Hicks, Sheila, 1934-  Search this
Kester, Bernard  Search this
Larsen, Jack Lenor, 1927-2020  Search this
Leland, Mary Jane  Search this
Smith, Kiki, 1954-  Search this
Tawney, Lenore  Search this
Zeisler, Claire, 1903-1991  Search this
Extent:
7 Items (Sound recording: 7 sound files (5 hr., 23 min.), digital, wav)
77 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
California -- Los Angeles -- Description and Travel
Michigan -- Description and Travel
Date:
2004 August 3
Scope and Contents:
An interview of Gerhardt Knodel conducted 2004 August 3, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Bloomfield Hills, Michigan.
Knodel speaks of his German heritage; his parents each immigrating to Los Angeles; growing up in Los Angeles and being part of the German community; his father building houses; the influence of his childhood environment on his artwork; taking art classes in school; participating in theater and set design; studying art at Los Angeles City College; collecting textiles; transferring to UCLA; teaching high school art; the influence of Abstract Expressionism on his early work; quitting teaching and studying fiber arts at University of California, Long Beach; traveling to numerous countries, and their influence on his artwork; researching and lecturing on fabric as environment; how the fiber art movement has evolved and changed; early exhibitions and the need for more venues; the fiber art community in the 1960s and 70s; the importance of University art programs; moving to Michigan and teaching at Cranbrook; the importance of scale and context in his work; making large scale pieces to fit within an architectural space; working on commission for public projects; working with the community in Pontiac, Michigan on a commissioned piece; the influence of the history of textiles; being director of the Cranbrook Academy of Art; putting figures on to textiles; the decline of the fiber art movement; and the benefits of schools such as Cranbrook. Knodel also recalls Bernard Kester, Mary Jane Leland, Laura Andreson, Anni Albers, Sheila Hicks, Neda Al-Hilali, Lenore Tawney, Claire Zeisler, Magdalena Abakanowicz, Jack Lenor Larsen, Christo, Kiki Smith, and others.
Biographical / Historical:
Gerhardt Knodel (1940-) is a fiber artist from Bloomfield Hills, Michigan. Glenn Adamson is a curator and, art historian from Wisconsin.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 5 hr., 23 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Fiber artists -- California  Search this
Topic:
Abstract expressionism  Search this
Decorative arts  Search this
Textile crafts -- Study and teaching  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.knodel04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-knodel04
Online Media:

Oral history interview with Michael James

Creator:
James, Michael, 1949-  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Interviewer:
Harris, Patricia, 1949-  Search this
Lyon, David, 1949-  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
91 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 January 4-5
Scope and Contents:
An interview of Michael James conducted 2003 January 4-5, by Patricia Harris and David Lyon, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Lincoln, Nebraska.
James speaks of his childhood in New Bedford, Massachusetts, in a large Catholic French-Canadian family; his parochial school experience; the early influence of French language and textiles; his undergraduate studies at Southeastern Massachusetts University and graduate studies at Rochester Institute of Technology in painting and printmaking; his first exposure to the craft world; transitioning from painting to quilts while starting a family; his first teaching jobs and shift to self employment; he discusses his books Quiltmaker's Handbook I and II; being male in the women's world of quiltmaking; he comments on the importance of fiber as a means of expression; his artistic influences; his 1990 residency in Switzerland; creating fabrics by hand-painting and digital printing; representational imagery in his work and themes; commissions; the impact of religion, spirituality, mortality, politics and social issues on his quilts; his working environment in Somerset, Massachusetts, and Lincoln, Nebraska; teaching at the University of Nebraska, and the International Quilt Study Center there; his wife Judy and her art; quiltmakers inside and outside academia; the value of quilts as "art"; crafts schools; his involvement in national and regional craft organizations; his early exhibitions; his relationships with dealers; the state of the art market; the lack of critical reception in the quiltmaking field; his own writings; how American fiber arts rank on an international scale; and new uses of technology in his work. He also recalls Jon Gnagy, Donald Krueger, Susan Russo, Faith Ringgold, Mickey Lawler, Ulysses Dietz, Robert and Ardis James, Florence Dionne, Lois Martin, Diane Itter, Hilda Raz, and others.
Biographical / Historical:
Michael James (1949- ) is a fiber artist from Lincoln, Nebraska. Patricia Harris and David Lyon are art critics from Cambridge, Massachusetts.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 6 hr., 35 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Quiltmakers -- United States  Search this
Topic:
Fiber artists -- Nebraska -- Interviews  Search this
Textile crafts -- United States  Search this
Art -- Economic aspects  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.james03
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-james03
Online Media:

Oral history interview with Sheila Hicks

Interviewee:
Hicks, Sheila, 1934-  Search this
Interviewer:
Zanartu, Cristobal  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:
2 Items (Sound recording: 2 sound discs (1 hr., 44 min.), digital, 2 5/8 in.)
19 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 March 18
Scope and Contents:
An interview of Sheila Hicks conducted 2004 March 18, by Cristobal Zanartu, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Paris, France.
Hicks speaks of working outside of academia; working within the fiber art tradition; teaching classes and workshops; founding the MADESA design school in Cape Town, South Africa; the function of her works; the fluctuating art market; becoming a leader in the "soft art" movement; the role of textiles in society; how her work has changed during her career; and how she gets ideas for her pieces. Hicks also speaks of a typical day in her studio; her circle of friends in Paris; documenting her artwork through photographs; what she hopes to communicate through her works; maintaining notebooks during her career; and the influence of technology on her work.
Biographical / Historical:
Sheila Hicks, (b. 1934), fiber artist of Paris, France. Interviewer Cristobal Zanartu, artist's son, Paris, France; b.1965.
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:
Fiber artists -- France -- Paris  Search this
Educators -- France -- Paris  Search this
Topic:
Decorative arts  Search this
Textile crafts -- Study and teaching  Search this
Art -- Economic aspects  Search this
Women artists  Search this
Women textile artists  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hicks04mar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hicks04mar
Online Media:

Oral history interview with Peggie L. Hartwell

Interviewee:
Hartwell, Peggie L., 1939-  Search this
Interviewer:
Malarcher, Patricia  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 3 and July 10
Scope and Contents:
An interview of Peggie Hartwell conducted 2002 June 3-July 10, by Patricia Malarcher, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's apartment, on Central Park West, New York, N.Y.
Hartwell speaks of growing up on a farm with her extended family in Springfield, S.C.; female quiltmakers and male storytellers in her family; drawing in sand as a child; her mother's move to Brooklyn; joining her mother and father in New York; growing up in Brooklyn; her awareness of the many cultures in New York and being surrounded by art, including her mother's crocheting and her father's a cappella group; taking tap dancing lessons; experimenting with art in public school; working at various factory jobs after high school until "reconnecting" with art; studying with dancer Syvilla Fort at the Katherine Dunham School of Dance in New York; Fort encouraging her to draw on the studio walls and sew costumes; touring internationally with the theater group Harlem Rhythm USA from 1965 to 1972; her return to the U.S. and receiving a theater degree at Queens College; working at an insurance company to support her art; exhibiting her black and white, pen-and-ink drawings; the narratives and "oral histories" in her quilts; the meaning of various fabrics and colors; participating in "quilting communities" such as the Women of Color Quilters Network, Empire Quilters, and the American Quilter's Society; her lectures, workshops, and residencies; working with children;narratives inspired by childhood memories; her move back to South Carolina; themes in her quilts and "quilting styles" (improvisational, traditional, contemporary, and African American); serving on the board of the New York Chapter of the Women of Color Quilters Network; and planning the exhibition "Threads of Faith" for the New York Bible Association. She also comments on John Cage, Cuesta Benberry, Asadata Dafora, Francelise Dawkins, Carolyn Mazloomi, Edjohnetta Miller, Arthur Mitchell, Harriet Powers, Faith Ringgold, Marie Wilson, and others.
Biographical / Historical:
Peggie L. Hartwell (1939- ) is a quiltmaker of Summerville, S.C. Patricia Malarcher is a fiber artist.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 3 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.
Occupation:
Quiltmakers -- South Carolina  Search this
Topic:
Textile crafts  Search this
Decorative arts  Search this
African American artists  Search this
African American quilts  Search this
Women artists  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hartwe02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hartwe02
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
Weaving -- California  Search this
Art -- Study and teaching -- California  Search this
Fishing  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dimare02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dimare02
Online Media:

Oral history interview with Joyce Marquess Carey

Interviewee:
Carey, Joyce Marquess  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
University of Wisconsin--Madison -- Faculty  Search this
University of Wisconsin--Madison -- Students  Search this
Extent:
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 16
Scope and Contents:
An interview of Joyce Marquess Carey conducted 2002 June 16, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Carey's home, in Madison, Wisconsin.
Carey speaks of growing up in Redding, California; her widowed mother working to support Carey and herself; her "lonesome" childhood and her eagerness to leave Redding to attend the University of California at Berkeley; majoring in English; meeting her husband Harlan (Mark) Marquess in her senior year at Berkeley and marrying him; dropping out of college; regretting her marriage; her life as a housewife and mother in the late 1950s and 1960s; moving to Madison, Wisconsin, for her husband's job as a Russian teacher; taking weaving classes with Larry Edman at the University of Wisconsin-Madison; and meeting fiber artist Claire Zeisler on a field trip to Chicago. Carey discusses experimentation in her work and "stretching the limits of the technique" in Edman's class; receiving her undergraduate degree in textile arts in 1971; working with a computer-driven Dobby Loom; studying with Ruth Gao and Jim Peters at the University of Wisconsin-Milwaukee for her MFA in the early 1970s; teaching weaving at the University of Wisconsin-Madison, with a focus on technical and design skills; writing articles on the technical aspects of fiber art for "Fiber Arts," "Weaver's Journal," "Shuttle, Spindle, & Dye Pot," and other periodicals; exhibiting with the Wisconsin Designer Craftsmen in the 1970s; participating in the Quilt National Show in 1979; receiving a five-year development grant from the University of Wisconsin and quitting her teaching job; using "systematic" weaving methods in quilting; her involvement with galleries such as the Connell/Great American Gallery in Atlanta, Georgia; working with art consultants; the difference between private and corporate commissions; her use of bright colors and various fabrics; her use of tools and technology including an industrial sewing machine and computer programs such as Photoshop; her second marriage to Phil Carey in 1980 after her divorce to Marquess in the mid-1970s; and the "ephemeral" qualities in art. She considers herself a "collager," assembling fabrics and "embellishments." She also discusses her involvement with the Studio Art Quilt Associates and in the Art Quilt Network; and her piece, "Blue Ribbon," in the collection of the American Craft Museum. Carey recalls Camille Cook, Lia Cook, Martha Connell, Hillary Fletcher, Ted Hallman, Pat Mansfield, Ursula Ilse-Neuman, Yvonne Porcella, [Laurence] Rathsack, Victor Vasarely, and others.
Biographical / Historical:
Joyce Marquess Carey (1936- ) is a quilt maker from Madison, Wisconsin. Glenn Adamson is an art historian.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 51 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:
Quiltmakers -- Wisconsin  Search this
Educators -- Wisconsin  Search this
Topic:
Decorative arts  Search this
Fiberwork  Search this
Textile crafts  Search this
Women artists  Search this
Women educators  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.carey02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carey02
Online Media:

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:
Fiberwork -- California  Search this
Textile crafts -- California  Search this
Weaving -- California  Search this
Art -- Political aspects  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bassle02
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bassle02
Online Media:

Claire Zeisler papers

Creator:
Zeisler, Claire, 1903-1991  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1941-1992
Summary:
The papers of fiber artist Claire Zeisler measure 3.5 linear feet and date from 1941 to 1992. Zeisler's career is documented through project files, printed materials, and scrapbooks. The bulk of the collection consists of twenty-two scrapbooks containing resumes and chronologies; an honorary degree; business correspondence with libraries, museums, and other institutions concerning exhibitions of Zeisler's work and the loan of her personal art collection; exhibition lists and condition reports; loan records; printed materials for exhibitons; and scattered sketches and hanging instructions. Project files contain documents relating to titled weavings and general works, and may include fabric samples, hanging instructions, plans, and material costs. Also found are three exhibition catalogs.
Scope and Contents:
The papers of fiber artist Claire Zeisler measure 3.5 linear feet and date from 1941 to 1992. Zeisler's career is documented through project files, printed materials, and scrapbooks. The bulk of the collection consists of twenty-two scrapbooks containing resumes and chronologies; an honorary degree; business correspondence with libraries, museums, and other institutions concerning exhibitions of Zeisler's work and the loan of her personal art collection; exhibition lists and condition reports; loan records; printed materials for exhibitons; and scattered sketches and hanging instructions. Project files contain documents relating to titled weavings and general works, and may include fabric samples, hanging instructions, plans, and material costs. Also found are three exhibition catalogs.
Arrangement:
The collection is arranged as three series

Series 1: Project Files, circa 1941-1991 (0.8 linear feet; Box 1)

Series 2: Printed Material, 1977-1987 (0.2 linear feet; Box 1)

Series 3: Scrapbooks, 1941-1992 (2.5 linear feet; Boxes 2-5)
Biographical / Historical:
Claire Zeisler (1903-1991) was a fiber artist and art collector active in Chicago, Illinois.

Zeisler was born Claire Block in Cincinnati, Ohio in 1903. She studied at Columbia College Chicago but left to marry Harold Florsheim in 1921. The couple divorced in 1943 and she married Ernest Zeisler in 1946.

For much of her early life, Claire concentrated her interest in art on collecting. Throughout the 1930s, she acquired paintings by European modern artists such as Paul Klee, Joan Miró, and Pablo Picasso. Later, she collected paintings by American artists such as Franz Kline and Robert Rauschenberg. She expanded her collection to include textile works and baskets by Native Americans, and African sculpture among others.

After her divorce, she returned to the study of art at the Chicago Institute of Design and the Illinois Institute of Technology. She studied under Bea Swartchild who inspired a love for weaving. Zeisler's first works used traditional loom techniques but later she focused on knotting and braiding. She innovated free-falling fiber sculpture and her works helped push fiber art from craft to a fine art.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Claire Zeisler conducted by Dennis Barrie in June 1981.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 3109) inluding scrapbooks lent by Ziesler in 1983. Some, but not all, of this material was included in later donations. This material remains with the lender and is not described in the collection container inventory.
Provenance:
Scrapbooks on reel 3019 were lent to the Archives of American Art for microfilming in August 1983 by Claire Zeisler. In 1992 her son and executor, Thomas Florsheim, donated additional scrapbooks, and project and weaving files. He interfiled new material in the previously microfilmed scrapbooks, 1941-1983, expanding them from eight notebooks to thirteen.
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:
Weavers -- Illinois -- Chicago  Search this
Fiber artists -- Illinois -- Chicago  Search this
Textile designers -- Illinois -- Chicago  Search this
Collectors -- Illinois -- Chicago  Search this
Topic:
Art -- Collectors and collecting  Search this
Textile crafts -- United States  Search this
Fiberwork  Search this
Women artists  Search this
Women textile designers  Search this
Citation:
Claire Zeisler papers, 1941-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zeisclai
See more items in:
Claire Zeisler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zeisclai

Jana Vander Lee papers

Creator:
Vander Lee, Jana, 1945-  Search this
Names:
Contemporary Handweavers of Houston  Search this
Museum of Fine Arts, Houston  Search this
Extent:
3 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1979-1984
Scope and Contents:
REELS 2906-2907: Papers, 1979-1981, compiled by Vander Lee, symposium coordinator of "Fiber in the 80's: Current and future issues in the textile arts," held October 3-4, 1980, at the Alfred J. Glassell, Jr. School of Art and the Museum of Fine Arts, Houston, Tex. Included are correspondence with participating panelists and grants organizations; artists' resumes; contracts; income and expenditure lists; mailing lists; meeting minutes of the Contemporary Handweavers of Houston, a sponsor of the symposium; and 3 clippings.
REEL 3362A: Material regarding the exhibition, "American Fiber: A New Aesthetic," including resumes and printed biographical information on the participants; correspondence; checklists; loan agreements; writings including Vander Lee's notes regarding the planning of the exhibition, and her draft for the text of the catalog; printed material; and photographs of the installation.
Biographical / Historical:
Museum curator; Houston, Tex.
Provenance:
Lent for microfilming 1981 & 1984 by Jana Vander Lee.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Museum curators -- Texas -- Houston  Search this
Designers -- Texas  Search this
Topic:
Textile crafts -- United States  Search this
Women museum curators  Search this
Function:
Art museums -- Texas
Identifier:
AAA.vandlee
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vandlee

Bob Stocksdale and Kay Sekimachi papers

Source:
Stocksdale, Kay Sekimachi  Search this
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, 1927-2020  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
Sketches
Scrapbooks
Watercolors
Photographs
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:
Concentration camps -- United States  Search this
Textile design  Search this
Decorative arts  Search this
Women artists  Search this
Fiberwork -- Technique  Search this
Woodwork -- Study and teaching  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Textile crafts -- Study and teaching  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American women artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese American women artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
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
EDAN-URL:
ead_collection:sova-aaa-stockbob

Oral history interview with Katherine Westphal, 2002 September 3-7

Interviewee:
Westphal, Katherine, 1919-  Search this
Westphal, Katherine, 1919-  Search this
Interviewer:
Austin, Carole  Search this
Subject:
Farago, Daphne  Search this
Hickman, Pat (Patricia Lynette)  Search this
Karoly, Frederic  Search this
Laky, Gyöngy  Search this
Larsen, Jack Lenor  Search this
Lynn, Greg  Search this
Rossbach, Ed  Search this
Fiberworks, Center for the Textile Arts  Search this
Rhode Island School of Design  Search this
University of California, Davis  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Interviews
Topic:
Decorative arts  Search this
Fiber artists -- California -- Berkeley -- Interviews  Search this
Textile crafts -- California  Search this
Women artists  Search this
Women textile artists  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11788
(DSI-AAA_SIRISBib)238673
AAA_collcode_westph02
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238673

Oral history interview with Ruth Adler Schnee, 2002 November 24-30

Interviewee:
Schnee, Ruth Adler, 1923-  Search this
Schnee, Ruth Adler, 1923-  Search this
Interviewer:
Schnee, Anita  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Textile crafts -- Michigan -- Detroit  Search this
Voyages and travels  Search this
Textile designers -- Michigan -- Detroit -- Interviews  Search this
Design -- Study and teaching  Search this
Art -- Economic aspects  Search this
Nazis -- Germany  Search this
Women artists  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)12111
(DSI-AAA_SIRISBib)238676
AAA_collcode_schnee02
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238676
Online Media:

Oral history interview with Michael James, 2003 January 4-5

Interviewee:
James, Michael Francis, 1949-  Search this
James, Michael Francis, 1949-  Search this
Interviewer:
Harris, Patricia, 1949-  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Fiber artists -- Nebraska -- Interviews  Search this
Textile crafts -- United States  Search this
Art -- Economic aspects  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12585
(DSI-AAA_SIRISBib)238834
AAA_collcode_james03
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_238834
Online Media:

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