The papers of pop artist, sculptor, performance artist, and art instructor Marjorie Strider date from 1965-1978, and measure 1.8 linear feet. Found within the papers are biographical materials, correspondence with colleagues and art institutions, six diaries, scattered business and financial records, notes, writings, teaching and lecture typescripts, printed material, and photographs of the "Peoples' Hole Project" of a summer class taught by Strider at the University of Iowa in 1970.
Scope and Content Note:
The papers of pop artist, sculptor, performance artist, and art instructor Marjorie Strider date from 1965-1978, and measure 1.8 linear feet. Found within the papers are biographical materials, correspondence with colleagues and art institutions, six diaries, scattered business and financial records, notes, writings, teaching and lecture typescripts, printed material, and photographs of the "Peoples' Hole Project" of a summer class taught by Strider at the University of Iowa in 1970.
Biographical materials include an address book. Correspondence is primarily between Strider, colleagues, and art institutions concerning exibitions and art-related activities. Six diaries dated from 1968 through 1973 contain very brief daily entries. Business records are primarily financial, but also include contracts for a commissioned poster for the HKL, Ltd. Project "Ikebana International," and for a merger between the stockholders of Chick Pea Conspiracy, Inc. and Max's Kansas City, Inc.
A teaching file contains material relating to a 1970 summer class taught by Strider and Scott Burton at the University of Iowa contains the best documentation about Strider's ideas about art. Included here are notes outlining various assignments for street performances and avant-garde uses of public spaces, writings by students describing their assignments, miscellaneous printed material, and notes, writings, clippings, and photographs concerning the "Peoples' Hole Project."
Additional notes and writings include miscellaneous teaching and lecture typescripts, a list of artists' names, and miscellaneous notes. Printed material includes clippings, exhibition announcements and catalogs, prospectuses, and press releases.
Arrangement:
The collection is organized into 7 series arranged chronologically:
Missing Title
Series 1: Biographical Material, circa 1968 (Box 1; 1 folder)
Series 2: Correspondence, 1966-1977 (Box 1: 25 folders)
Series 3: Diaries, 1968-1973 (Box 1; 3 folders)
Series 4: Business Records, 1965-1976 (Boxes 1-2; 56 folders)
Series 5: Teaching File from University of Iowa, Iowa City, 1970 (Box 3; 11 folders)
Series 6: Notes and Writings, 1970-1977 (Box 3; 9 folders)
Series 7: Printed Material, 1966-1978 (Box 3; 6 folders)
Biographical Note:
Marjorie Virginia Strider was born on January 26, 1931 in Guthrie, Oklahoma and attended the Kansas City Art Institute in Kansas City, Missouri, earning a Bachelor of Arts degree. After graduating, she spent two years working on window displays for the Robinson Shoe Company in Kansas City.
By the early 1960s, Strider was working as a painter-sculptor in New York City. Along with work by Andy Warhol and Roy Lichtenstein, her work was included in one of the first exhibitions of Pop Art, "First International Girlie Show" at Pace Gallery in 1965. Strider also had solo exhibitions at Pace Gallery in 1965 and 1966, and at Park College, Parkville, Missouri, in 1968.
In 1969, Strider began teaching at the School of Visual Arts in New York. During the summer of 1970, she taught at the University of Iowa in Iowa City.
In the early 1970s, Strider's work evolved into assemblage, three-dimensional multi-media organic forms, street installations, films, and performance pieces, with a characteristic theme of forms breaking out from confined spaces. One of her more famous works, Big Box, 1973, consisted of a hand-constructed cardboard carton displaying an eruption of polyurethane pouring down the side. In 1973 and 1974, Strider had solo exhibitions at the Nancy Hoffman Gallery in New York City.
Strider also participated in group exhibitions at the Felix Handschin Gallery in Basel, Switzerland in 1970, at Boston Museum in 1972, at New York's School of Visual Arts in 1973 and, in 1974, at the Virginia Museum of Art and Storm King Art Center.
Strider's works are in the collections of the Albright-Knox Museum, Des Moines Art Center, New York University, Wadsworth Atheneum, and the Hirshhorn Museum and Sculpture Garden.
Marjorie Strider lives in Saugerties, New York.
Provenance:
Marjorie Strider donated her papers in 1978.
Restrictions:
Use or original papers requires an appointment.
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.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
These files contain material relating to a 1970 summer class taught by Strider and Scott Burton at the University of Iowa in Iowa City. Included are notes describing various assignments and writings by students, miscellaneous printed material, and notes, writings, clippings, and photographs concerning the "Peoples' Hole Project."
Collection Restrictions:
Use or original papers requires an appointment.
Collection 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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Marjorie Strider papers, 1965-1978. Archives of American Art, Smithsonian Institution.
The collection has been digitized and is available online via AAA's website.
Collection 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.
Collection Citation:
Grant Wood papers, 1930-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
An interview of Fritz Dreisbach conducted 2004 April 21-22, by Susanne Frantz, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Tucson, Arizona.
Dreisbach speaks of growing up in Ohio, in a family of educators and deciding at an early age to become a teacher; taking high school art; pursuing a BA in art and mathematics at Hiram College; getting his MAT and teaching high school math; attending the University of Iowa to study painting; the impact of taking a summer class in glassblowing; visiting Dominick Labino at his studio; researching colored glass and glass chemistry; becoming Harvey K. Littleton's teaching assistant at the University of Wisconsin, Madison; building a hot shop and teaching at the Toledo Museum of Art; teaching at Penland School of Crafts; creating the Glass Art Society with Mark Peiser after attending a NCECA conference; moving to Seattle to make glass colors for The Glass Eye; and working for Spectrum Glass Company. Dreisbach also speaks of the importance of community among glass artists; taking part in glass symposia in Frauenau, Germany; traveling around the country to teach workshops, known as his "Road Show"; making representational pop-style pieces as well as historical reference pieces; collaborating on a stained glass window with Gary Noffke; developing techniques for making goblets; working with Dante Marioni on a series of goblets; his commissioned pieces, including the Corning Pokal; engraving glass; his Mongo series; selling works through galleries; the influence of the Italian glass artists; teaching at Pilchuck Glass School; Dominick Labino's career and innovations in glass technology; being invited to give the Samuel R. Scholes lecture at the New York State College of Ceramics at Alfred University; serving twice as Glass Art Society president; inaccuracies in the history of American studio glass; taking part in GAS conferences at Fenton Glass Factory; the importance of the rise of the university-trained glass artist in the 1960s; going to Pilchuck for the first time; meeting international glass artists; attending symposia at Novy Bor, Czech Republic; and his plans for the future. Dreisbach also recalls Tom McGlauchlin, Clayton Bailey, Erwin Eisch, Dale Chihuly, Bill Brown, Marvin Lipofsky, Joel Myers, Billy Bernstein, Dan Dailey, Dudley Giberson, Harvey Leafgreen, Bill Boysen, Henry Halem, Peter Voulkos, Ruth Tamura, and others.
Biographical / Historical:
Fritz Dreisbach (1941- ) is a glass artist from Tucson, Arizona. Susanne Frantz is a writer and curator from Paradise Valley, Arizona.
General:
Originally recorded on 8 sound discs. Reformatted in 2010 as 21 digital wav files. Duration is 8 hr., 41 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.
Korea (South) -- History -- April Revolution, 1960
Date:
2007 July 30-2008 July 26
Scope and Contents:
An interview of Chunghi Choo conducted 2007 July 30-2008 July 26, by Jane Milosch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home, in Iowa City, Iowa.
Choo speaks of establishing the Metalsmithing and Jewelry program at the University of Iowa in Iowa City; the elaborate equipment, tools, and safety protection used in the studio; her experience teaching silent metalforming at Haystack Mountain School of Crafts in Deer Isle, Maine; participating in international workshops and seminars in Korea; the extensive world traveling she does with her husband, Dr. Charles Read, including destinations in Scandinavia, Thailand, Austria, Italy, and South Africa, among others; the house she designed in Iowa City; her love of the city and being surrounded by treasured friends, a supportive university, and beautiful environments; an interest in creative cooking and appreciation for diverse dishes from all around the world; her childhood and young adulthood in Inchon, Korea; growing up with an appreciation for beautiful art objects and classical music; an early interest and talent in drawing; attending Ewha Women's University as generations of women in her family had previously; experiences during the Korean War and April 19 Revolution in 1961; coming to the United States in 1961 as a student; studying English, ceramics, enameling, and stone cutting for one semester at Penland School of Crafts in Penland, N.C.; attending Cranbrook Art Academy in Bloomfield Hills, Michigan and studying metalsmithing with Richard Thomas, ceramics with Maija Grotell, and weaving with Glen Kaufman; living with Mrs. Loja Saarinen during her three and a half years at Cranbrook; teaching general craft at the University of Northern Iowa in Cedar Rapids from 1965-1968; pioneering the mixed-media studies with her students at UNI; accepting the challenge to build a metalsmithing and jewelry program at the University of Iowa in Iowa City in 1968; learning and teaching electroforming; the development of the electro-appliqué technique; extensive donor support and fundraising for the Metalsmithing and Jewelry program and its students; finding inspiration in nature, East Asian calligraphy, classical music, and travel; her long friendship with Jack Lenor Larsen and the great influence he has had on her work; being represented in major art museums and institutions world-wide, including the Museum of Modern Art in New York City, Victoria and Albert Museum in London, Museum fur Kunsthandwerk in Frankfurt, Germany, and many others; the joy she has when her students succeed and surpass her; and plans for future work, writing projects, and travel. Choo also speaks of the 2008 flooding of Iowa City and the state of Iowa during which her studio was severely damaged and many things were lost. Choo also recalls Park, No Soo; Lee, Sang Bong; Ruth Kao; Stanley Lechtzin; Yuho Fujio; David McFadden; Paul J. Smith; Rosanne Raab; Cody Bush; Jocelyn Chateauvert; Mary Merkel Hess; Sandra Mayer-VanderMey; Kee-ho Yeun, and others.
Biographical / Historical:
Chunghi Choo (1938- ) is a Korean American educator, metalsmith, jeweler, and textile and mixed media artist based in Iowa City, Iowa. Interviewer Jane Milosch is a curator from Silver Spring, Maryland.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 27 digital wav files. Duration is 5 hr., 22 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
