The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative records, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.
Scope and Contents:
The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative papers, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.
Administrative records consist of property records, advertising files, papers related to professional organizations, non-profits, 139 Spring Street Inc., and scant personal and professional papers from Ruth Braunstein. Correspondence files include letters exchanged between Braunstein and collectors, museums and galleries, artists, conservationists, and printers. Photographs found here depict the gallery's physical space as well as images captured during events, exhibitions, and installations from the 1960s to 1980s.
Artist files mostly include resumes or biographies, correspondence, price lists, newspaper clippings, exhibition announcements, press releases, and catalogs. Folders might also include press packets, a mixture of personal and professional correspondence; CDs, DVDs, photographs, slides, and negatives of artists, artwork, and gallery installations; exhibition material such as loan agreements, announcements and catalogs, reviews, and notices of sale; shipping and transportation papers; and financial records.
Exhibition and event files shed light on group exhibitions held at Braunstein/Quay and events and exhibitions held elsewhere that involved artwork or artists with Braunstein/Quay. Folders might include contracts and agreements, loan and shipping records, correspondence, printed material, photographs, born digital materials, financial papers, and artist resumes. Also found here are press releases, catalogs, announcement cards, and scant clippings from Braunstein/Quay's exhibitions. Financial records consist of artist statements, sales records, and bills for shipping, framing, conservation, and utilities.
Arrangement:
The collection is arranged as four series.
Series 1: Administrative Records, 1961-2009 (Box 1-4; 3.5 linear feet)
Series 2: Artist Files, 1956-2011 (Box 4-29, 39; 25.2 linear feet)
Series 3: Exhibition and Event Files, 1961-2010 (Box 29-33; 4.4 linear feet)
Series 4: Financial Records, 1965-1996 (Box 33-39; 3.8 linear feet)
Biographical / Historical:
Braunstein/Quay Gallery was a contemporary art gallery founded in 1961 in San Francisco, California, by Ruth Braunstein. An early proponent of sculptural clay, fiber art, art furniture, glass, and ceramic work as fine art, the gallery dealt with contemporary art in various mediums. Some of Braunstein/Quay's most well-known artists include Peter Voulkos, Richard Shaw, Robert Brady, John Altoon, Bruce Conner, and Mary Snowden.
Ruth Braunstein and Verna Are began renting a gallery space in Tiburon, California, in July 1961 under the name Gallery 32. Verna Are's expertise was in furniture and interior design items, while Braunstein's was contemporary fine art. Later in the summer of 1961, Braunstein changed the name to The Quay Gallery. She credited architect Raphael Soriano as having come up with the name. In the early 60s, Braunstein developed relationships with others in the California art community, namely David Stuart, Jackie Anhalt, Felix Landau, and Rolf Nelson. Early artists at the gallery included Hal Riegger, Doris Aller, Igor Medvedev, Win NG, Jim Melchert, and Elton Bennet.
In May 1965, Braunstein moved the gallery to San Francisco. After fellow gallerist Jim Newman closed his gallery near Braunstein's in 1968, Braunstein began showing several of Newman's artists, including Richard Shaw, Bruce Conner, Jeremy Anderson, and Sidney Gordon. In 1968, the gallery had its first show of Peter Voulkos's work after agreeing to pay him a stipend for one year. Voulkos and Braunstein's relationship continued into the 2000s.
In 1970, Braunstein went into business with collector Rena Bransten to start Quay Ceramics Gallery. Silvia Brown was involved with the business for one year, and later, Bransten's daughter, Trish, became partners with Braunstein after her mother left. Ruth Braunstein still operated her art gallery, then named Braunstein Gallery, which had moved from its original location on Jerome Street to Sutter Street in San Francisco. Quay Ceramics Gallery was located next door. Several administrative changes and name variations occurred over the next few decades, but Braunstein kept its gallery space on Sutter Street until 1999.
In 1975, Ruth Braunstein joined gallerists Phyllis Kind from Chicago, Carl Solway from Cincinnati, and Ed Thorp from Santa Barbara to establish a gallery in New York called 139 Spring Street, Inc. They opened with a show of Peter Voulkos and Sam Tchakalian. Only Voulkos artwork sold; bought by fellow art dealer Grace Borgenicht. The partners dismantled the gallery coop four years later.
Braunstein/Quay promoted the San Francisco art scene and the careers of many artists for 50 years. In addition to the artists mentioned above, other artists influenced by Braunstein/Quay include Dominic DiMare, Gyongy Laky, Myra Block, Elin Elisofon, Robilee Frederick, Bean Finneran, David Anderson, Kimberly Austin, Arthur Okamura, Dennis Oppenheim, and Kyle Reicher. Braunstein/Quay, known to represent Braunstein's perspective on what she connotated as 'fine art,' exhibited works in the 1990s by tattoo artist Don Ed Hardy, and held a group show exhibiting works by tattoo artists, Out of Skin: Work by Tattooers (1996). Other unique shows included a group exhibition dedicated to dog imagery, The Dog Show, A Group Exhibition (1988); a group exhibition of book art, Redefining the Book (1994); and an exhibition of photographs of actress and Andy Warhol associate, Candy Darling, Candy Darling, Always a Lady (1997). In 2010, Cabrillo Gallery held a retrospective of Braunstein's career as a gallerist, Ruth Braunstein and the Braunstein Quay Gallery, 1961-Present.
Ruth Braunstein was born in Minneapolis in 1923. She pursued a career in modern dance, dancing professionally in Washington D.C. and at the Minneapolis Dance Center. She married Theodore Braunstein in 1943. They moved to San Francisco, California, in 1960 and had two children, born two years apart. Aside from her career as a gallerist, Braunstein gave lectures, juried art competitions, participated in workshops, and was involved in various professional art organizations. In the early 1970s, Ruth Braunstein, along with a group that included Michael Wallace, Jim Willis, Buzz Sawyer, and Helen Henninger, founded the San Francisco Art Dealers' Association. The association put on a series of Introductions exhibitions every July for artists who had never shown in San Francisco; these exhibitions ran until 2002. Braunstein was also a committee member for ArtTable and on the board of Fiberworks. She passed away in September, 2016.
Provenance:
The collection was donated in several installments from 1974 to 2011 by gallery director and owner Ruth Braunstein.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- California -- San Francisco Search this
Braunstein/Quay Gallery records, 1956-2011. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Photographs of artists, many from the San Francisco Bay Area, taken by Mimi Jacobs.
Artists photographed: Ansel Adams, Robert Arneson, Ruth Asawa, Billy Al Bengston, Fletcher Benton, Robert Bechtle, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert B. Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Raymond Saunders, Richard Shaw, Louis Siegriest, Nell Sinton, Wayne Thiebaud, DeWain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William T. Wiley, Emerson Woelffer.
Photographs of Mark Adams, William Allan, Jeremy Anderson, Ruth Armer, Charles Arnoldi, Dennis Beall, Bruce Beasley, Tony Berlant, Elmer Bischoff, Vija Celmins, Judy Chicago, Bruce Conner, Roy de Forest, Tony DeLap, Guy Dill, Claire Falkenstein, Gerald Gooch, Russell Gordon, Wally Hedrick, Tom Holland, Robert Hudson, Robert Emory Johnson, Frank Lobdell, Robert Craig Kaufman, Richard McLean, Bill Martin, Manuel Neri, Bruce Nauman, Nathan Oliveira, Mel Ramos, Sam Richardson, Michael Todd, Julius Wasserstein, Paul Wonner and Norman Zammitt.
In 1999, additional photographs were donated including many duplicates of the previous donations. These include 50 mounted photographs of West Coast artists, twenty-four of which were exhibited in 1980 at the Museum of Contemporary Art, Los Angeles, and published in 50 West Coast Artists: A Critical Selection of Painters and Sculptors (1981, Chronicle Books). Photographs are of Ansel Adams, Robert Arneson, Billy Al Bengston, Robert Bechtle, Fletcher Benton, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Richard Shaw, Louis Siegrist, Nell Sinton, Wayne Thiebaud, De Wain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William Wiley, and Emerson Woeffer.
Biographical / Historical:
Photographer; Kentfield, Calif.; b. 1911; d. April 1, 1999. Known in the San Francisco Bay Area for her portraits of prominent local figures, many of whom were artists. She eventually expanded her scope beyond Northern California to included artists in the Los Angeles region as well. These images were widely reproduced in books and in exhibitions and in many cases became the portraits by which the individuals were best known. Among her subjects were Ed Ruscha, Robert Graham, Peter Voulkos, Joan Brown, Isamu Noguchi, Jay DeFeo, Wayne Thiebaud, Imogen Cunningham, and Richard Diebenkorn. Several exhibitions were devoted to the photographs as independent works of art, an acknowledgement of their pictorial qualities as well as their value as documents.
Provenance:
Donated 1976-1992 by Mimi Jacobs. Additional photos, many of them duplicates of previous donations, were donated in 1999 by Leslie Fleming, Jacobs' daughter, for the Estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of ceramicist, educator, and arts administrator James Melchert measure 7 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021. The collection documents Melchert's career through biographical material, personal and professional correspondence, professional files documenting Melchert's teaching, residences, exhibitions, and other professional activities, writings, printed material documenting exhibitions and more, photographic material including images of Melchert and his artwork, and artwork comprising slide projection works.
Scope and Contents:
The papers of ceramicist, educator, and arts administrator James Melchert measure 7 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021.
Biographical material includes biographies and résumés, travel documents, and student records. Correspondence is professional and personal in nature and includes letters from artists such as Lawrence Weiner, Adrian Piper, Sol Lewitt, Hetty Huisman, and Peter Voulkos; gallerists and curators including Holly Solomon, Paul Kotula, Marcia Tucker, Lucy Lippard, and Harald Szemann; and notable former students including Paul Cotton and Theresa Cha. Professional files include records and correspondence from Melchert's tenures at the American Academy in Rome, the National Endowment for the Arts, and the University of California Berkeley, in addition to documenting other professional activities.
The writings series includes interviews, talks, panels, symposia, notes, artist statements, and autobiographical texts. Printed material includes clippings and exhibition documentation. Photographic material includes images of Melchert and his artwork from various stages of his career. Artwork includes Melchert's slide projection works represented by slides, and an artist multiple by Nam June Paik.
Arrangement:
The collection is arranged in seven series:
Series 1: Biographical Material, circa 1949-2019 (0.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1953-2021 (3.1 Linear feet: Boxes 1-4; 3.93 Gigabytes: ER01-ER02)
Series 3: Professional Files, circa 1965-2020 (0.8 Linear feet: Box 4)
Series 4: Writings, circa 1960s-2020 (0.7 Linear feet: Box 5; 8.35 Gigabytes: ER03-ER05)
Series 5: Printed Material, circa 1960s-2020 (1.4 Linear feet: Boxes 5-7)
Series 6: Photographic Material, circa 1952-2017 (0.6 Linear feet: Box 7)
Series 7: Artwork, circa 1968-1990 (0.3 Linear feet: Box 7)
Biographical / Historical:
James Melchert (1930-) is a ceramicist and educator living in Oakland, California, known for his uniquely conceptualist approach to ceramics which draws from other disciplines including painting and performance art.
Born in New Bremen, Ohio, Melchert's education followed an unorthodox path: upon finishing his undergraduate degree in Art History in 1952, he spent four years in Japan teaching English at a high school, during which time he met his wife to be, a missionary and collage artist named Mary Ann Hostetler, with whom he would have three children. Melchert received a first master's degree from the University of Chicago in 1957 in painting, followed by a second master's degree in ceramics from the University of California at Berkeley in 1961. He shifted his focus to ceramics while completing his painting degree and attended a five-day workshop with the highly innovative and influential Peter Voulkos, with whom he would study at Berkeley and for whom he would serve as studio assistant. Melchert's career as a ceramicist began with a close association to Voulkos and the California Funk art movement.
Melchert's evolving interests led to his work including performance art and slide projection works, one of which was exhibited at Documenta 5 curated by Harald Szeemann in Kassel, Germany. After a trip to Europe in the eighties, Melchert began his experimental investigations with ceramic tile, working with cracks and imperfections in tiles and painting on the resulting works, a theme that would be an occupation of his studio practice to this day. Melchert taught fairly steadily throughout the early stages of his career and is known as a dedicated instructor to artists of various disciplines, including Paul Cotton and Theresa Cha.
Notably Melchert served as a faculty member at University of California at Berkeley from 1964-1994, with a stint living in Washington D.C. serving as the Director of Visual Arts Program of the National Endowment for the Arts from 1977 to 1981, and in Rome, Italy as the Director of American Academy, Rome from 1984 to 1988. As an artist, in addition to being exhibited around the world, Melchert's ceramic works including commissions are held in numerous collections such as the Los Angeles County Museum of Art, Massachusetts Institute of Technology, National Museum of Modern Art, Kyoto, Japan, San Francisco Museum of Modern Art, Smithsonian American Art Museum's Renwick Gallery, Stedelijk Museum in Amsterdam, Netherlands, and Yale University Museum of Art.
Related Materials:
Related materials include Archives of American Art's Oral history interview with James Melchert, 1991 Apr. 4-5, and Oral history interview with James Melchert, 2002 September 18-October 19.
Provenance:
Donated 2004 and 2019-2021 by James Melchert as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.
Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)
Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)
Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)
Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)
Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)
Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)
Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.
Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.
Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.
Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.
Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.
Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington D.C. research center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Editors -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
An interview of Betty Woodman conducted 2003 April 22 and 29, by John Perreault, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in New York, New York.
Woodman speaks of frequent moves with her family during her childhood; her father's woodworking skills; gaining an interest in arts and crafts at four when she made a tablecloth with crayon drawings; attending summer camps, including Girl Scout Camp, where she participated in arts and crafts activities; being the first girl to take shop in her middle school; making model airplanes for air raid wardens during World War II; her interest in making functional objects; her introduction to clay and hand-building in high school; attending the School for American Craftsmen in New York City; collaborating with fellow students; her early desire to be a "craftsperson and not an artist"; her work with silk-screen fabric for The Fabric Workshop in Philadelphia and glass at CIRVA in Marseille, France; teaching at the University of Colorado and the City of Boulder Recreation Department; working at the European Ceramic Work Center in Den Bosch, Holland, and the Bellagio Study Center in Italy; her studios in New York, Colorado, and Italy; her travels to India, The Netherlands, and Mexico; living in New Mexico, New York, Colorado, and Italy; her business Roadrunner Pottery in New Mexico with partner Elenita Brown; collaborative projects with Joyce Kozloff, Cynthia Carlson, Bud Shark, Judith Solodkin, and her husband George Woodman; developing a following in New York; how being a woman has affected her work and how she enjoys working with other women artists; the change of market for American crafts; Italian, Greek, and Etruscan influences; teaching experiences; the importance of getting reviews in art magazines; and the strong support from her husband George, a painter. Betty Woodman recalls Lynn Feelyn, Olan Wassen, Bernard Leach, Peter Voulkos, Shoji Hamada, Bob Kushner, Richard Serra, Wayne Higby, and others.
Biographical / Historical:
Betty Woodman (1930-2018) was a ceramist from New York, New York. John Perreault (1937- ) is an independent critic and curator from New York, New York.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 55 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:
Ceramicists -- New York (State) -- New York Search this
An interview of Ralph Bacerra conducted 2004 April 7-19, by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Los Angeles, California.
Bacerra speaks of his family background; his high school art teachers; attending Chouinard Art Institute and his friendship with his ceramics instructor Vivika Heino and her husband Otto; the interaction among ceramicists in Los Angeles around 1960; attending a workshop taught by Shoji Hamada; teaching at Chouinard Art Institute; building a studio; teaching a workshop at Arrowmont School of Arts and Crafts; traveling to Japan and Taiwan and the influence of Asian ceramics on his artwork. Bacerra also speaks of his daily work routine; the importance of glaze technology; changes in ceramic education and the market for ceramics in the last 50 years; exhibiting works at American Hand, Garth Clark Galleries, and Frank Lloyd Gallery; taking part in pivotal exhibitions including "Objects: USA"; attending National Council for the Education of Ceramic Arts conferences and the current sense of community among early ceramic artists; the importance of craft publications and critical writing; commissions completed throughout his career; attending museums for ideas and inspiration; teaching and the careers of his former students; and how reviews impact his work. Bacerra recalls Susan Peterson, Peter Voulkos, Bernard Kester, Laura Andreson, Sam Maloof, Elsa Rady, Adrian Saxe, and others.
Biographical / Historical:
Ralph Bacerra (1938-2008) was a ceramicist of Los Angeles, California. Frank Lloyd is a gallery owner from Santa Monica, California.
General:
Originally recorded 2 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 2 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.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Paul Soldner conducted 2003 April 27-28, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Claremont, California.
Soldner describes his "wonderful" childhood; learning early in life that critiques hinder creativity; early interest in photography, including building his own enlargers; making a pottery wheel in high school; he recalls the 1933 World's Fair in Chicago and a wheel throwing demonstration by an "Appalachian potter"; his studies at Bluffton College in Ohio; teaching art in Ohio; his art studies at University of Colorado; working with Peter Voulkos at the Los Angeles County Art Institute [now Otis College of Art and Design] and constructing a studio with Voulkos; the importance of accidents, intuition, and invention in his work; how art movements and Eastern artists have influenced him; clay's durability and expressive qualities; he discusses his teaching philosophy and grading system; for beginners, the importance of producing quantity over quality; his role as the "godfather" of Anderson Ranch in Snowmass, Colorado; how he transformed the Scripps Annual ceramics show; he describes the evolution of his work in ten-year cycles, including his tall pots, raku, and "low-salt fuming" periods; his low-tech inventions; traveling and workshops; his definition of a craftsman; his evolution from pottery to sculpture; encouraging his students to "go farther" and experiment; dealers, galleries, and collectors; his aversion to art criticism; the impact of Eastern and Western religion on art; the importance of "surprise," "playfulness," and "energy" in the work; he compares his work to music; commissions and collaborations; subconscious and environmental influences on his work; and the future direction for contemporary ceramics. Soldner also recalls Katie Horsman, Kenneth Price, Jun Kaneko, Millard Sheets, Kaneshige, Cheever Meaders, Robert Arneson, John Mason, Fred Marer, Louana Lackey, and others.
Biographical / Historical:
Interviewee Paul Soldner (1921- ) is a ceramicist of Aspen, Colorado. Interviewer Mija Riedel is a curator, writer of San Francisco, California.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 6 hr., 1 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Wayne Higby conducted 2005 April 12-14, by Mary McInnes, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Alfred Station, New York. Higby speaks of growing up in Colorado Springs, Colorado; choosing to go to University of Colorado, Boulder; traveling to Europe, Asia, and Africa; being influenced by Minoan pottery; working for ceramicist Betty Woodman; deciding to become a teacher; getting a graduate degree at the University of Michigan; working at Archie Bray Foundation; teaching at the University of Nebraska and Rhode Island School of Design; having his first one person art show and exhibiting nationally; teaching at Haystack Mountain School of Crafts; the influence of landscape on his work; how the craft market has changed during his career; working with the Helen Drutt Gallery; writing about craft and the need for critical dialogue in craft publications; being inspired by Asian art; learning ceramics from Jim and Nan McKinnell, and the influence of other teachers on his career; getting hired at Alfred University; the challenges and benefits of teaching at Alfred; his colleagues at Alfred; making functional art and using the vessel form; his teaching philosophy; putting ceramics in a larger art context; his current project; his studio practice; themes in his artwork; choosing to work in porcelain; lecturing and touring in China; being interested in landscape painting; the public response to his work; and recently being awarded several honors. Higby also recalls Manuel Neri, Peter Voulkos, Paul Soldner, Fred Bauer, David Shaner, Francis Merritt, Ted Randall, Bob Turner, Val Cushing, Kenneth Ferguson, Robert Motherwell, and others.
Biographical / Historical:
Wayne Higby (1943- ) is a ceramicist from Alfred Station, New York. Mary McInnes is a professor from Alfred, New York.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 55 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:
Use requires an appointment.
Topic:
Ceramicists -- New York (State) -- Interviews Search this
An interview of Jack Earl conducted 2007 June 19-20, 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 and studio, in Lakeview, Ohio.
Earl speaks of his childhood in Uniopolis, Ohio; using his father's tools in the garage to make toys; developing a long-lasting friendship with his high school art teacher; studying art at Bluffton College and learning to make pottery; learning to read in college and getting a minor in English; getting married while in college; graduating from Bluffton College and getting a job teaching at a local high school; teaching high school art for ten years in New Breman, Ohio; attending a graduate program at Ohio State University and earning a Master's in Ceramic Art; being influenced by professor Paul Bogatay while in graduate school; working at the John Michael Kohler Arts Center over one winter break; teaching at Toledo School of Art and Design following graduation from Ohio State University; learning to make European porcelain; beginning to apply oil paint to his ceramic pieces; copying imagery from European masterpieces; feeling uninspired by Virginia culture after moving there to teach at Virginia Commonwealth University; moving back to Ohio and enjoying the proximity of his children and grandchildren there; his belief that his artwork reflects his life; the greater market for ceramic artwork now compared to when he began working; continuing ceramic tradition by incorporating humor into his work; the importance of his family and Ohio culture to his work; writing a book with Karen Keland to promote crafts, especially ceramics; being much more interested in making things than in his teaching; the versatility of clay as a material; and his work habits. Earl recalls Darvin Lugenbuhl, Paul Bogatay, Carlton Atherton, Edgar Littlefield, Gene Friley, Margaret Fetzer, Howard Kottler, Robert Arneson, Tom LaDousa, Norm Schuman, Peter Voulkos, Paul Smith, Karen Keland, Tom Kerrigan, Ralph Bacerra, Richard Shaw, and others.
Biographical / Historical:
Jack Earl (1934- ) is a ceramic artist from Lakeview, Ohio. Jane Milosch is a curator from Silver Spring, Maryland.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hr., 32 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Robert Sperry conducted 1983 August 11, by LaMar Harrington, for the Archives of American Art's Northwest Oral History Project.
Sperry speaks of his family background; his army service; his education; his early career in ceramics; the Oriental influence in his work; folk art; his contemporaries in ceramics; and his current plans. He recalls Peter Voulkos.
Biographical / Historical:
Robert Sperry (1927-1998) was a ceramist from Seattle, Washington.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 4 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
An interview of Robert Winokur conducted 2011 July 23 and 24, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.
Robert speaks of his mother earning an award for her artwork; his father and other family members being Communists and having to distance himself in being identified with them; his mother making ceramic jewelry while his father was working as a welder at Cramps Shipyard in Philadelphia during World War II; feeling like he had an attention deficit disorder of some kind, which prevented him from doing well in school, so he took ceramics classes in high school to bring his grades up; starting in painting at the Tyler School of Art, finishing in sculpture, clay, and ceramics; appreciating the Abstract Expressionist work of Franz Kline; of the opinion that one learns art by doing and that the teachers are there to direct you only; feeling that he did not have the freedom to experiment with clay as he wished at Alfred University, School of Art and Design for fear of being compared to Peter Voulkos; his first job teaching at North Texas State University in Denton, Texas; teaching in Peoria, Illinois for a year; beginning Cape Street Pottery in Ashfield, Massachusetts; when he began salt firing and working more in sculptural forms; his work influenced by Abstract Expressionism, Paul Klee, Willem de Kooning, Ignazio Giacometti, Zen master calligraphers, Peter Voulkos, and others; feeling that the computer cannot, as of yet, produce the quality of art that humans can through repetition; that the process of creating is more important than the subject; starting his 30-year teaching career at Tyler School of Art in 1966; that students today are approaching ceramics conceptually and academically rather than through a relationship with the material; the beginning of NCECA [National Council on Education for the Ceramic Arts]; and how he enjoys making what he wants to, now that he is retired. Robert also recalls Rudolf Staffel, John Wood, Ted Randall, Daniel Rhodes, Shoji Hamada, Marguerite Wildenhain, Ken Ferguson, Norm Schulman, Victor Babu, Myrna Minter, Don Reitz, Helen Drutt English, Richard Notkin, Dick Hay, Marge Levy, and Ken Vavrek.
Biographical / Historical:
Robert Winokur (1933- ) is a ceramist in Horsham, Pennsylvania. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 5 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.
An interview of Marilyn Levine conducted 2002 May 15, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Oakland, California.
Levine speaks of growing up in Alberta, Canada; going to the University of Alberta for her undergraduate and graduate degrees in chemistry; being an analytical inorganic chemist; meeting her husband at the university; her husband's work at the University of Regina in Saskatchewan and how rules about nepotism prevented her from teaching; auditing a drawing and painting art class when she could not find a job; taking evening pottery classes taught by Beth Hone; teaching chemistry at Campion College during the school year and pottery during the summers at the University of Regina; meeting Jack Sures at the Western Potters' Association and his influence on her career; helping Sures get a pottery position at the University of Regina; teaching with him from 1966-1969; using a travel grant from the Canada Council to meet American artists such as Peter Voulkos, Ron Nagle, James Melchert, and Robert Arneson; applying to graduate school at the University of California at Berkeley and being rejected; a James Melchert workshop at Beth Hone's studio; getting into Berkeley's graduate program with Melchert's help; receiving an M.F.A.; separating from her husband; experimenting with Funk art; seeing a pair of worn down shoes and becoming inspired to specialize in super-realist ceramic sculptures; her work as "timeless" and not of a particular fashion; showing her art in a New York gallery and being ripped off; having her M.F.A., one person show, at the Hansen Fuller Gallery and at the University Art Museum; letting the galleries price her work; exhibiting at OK Harris in New York; the long, slow process of making pieces; her work being accepted in America, but not in Canada; teaching ceramics to non-art majors at the University of Utah; developing a studio building, The West Coast Macaroni Factory, with Peter Voulkos; her methods, techniques, and materials including her experiments with fiberglass, nylon, and Dacron; avoiding big conferences, such as the National Council on Education for the Ceramic Arts [NCECA]; her first museum retrospective in 1974 at the Norman McKenzie Art Gallery; her exhibition at the Canadian Clay and Glass Gallery in Waterloo, Ontario, in conjunction with the University of Waterloo; her exhibition, "Sharp Focus Realism," at the Sidney Janis Gallery; her involvement in the exhibition, "Clayworks: 20 Americans," at the American Craft Museum; her work in museum collections; having a commission to make ceramic sculptures of sporting gear for Pacific Enterprises; her studio assistants and feeling a lack of privacy; titling her work with human names for identification purposes but not having specific references to anyone. Levine also recalls Robert Bechtle, Ruth Braunstein, Joan Brown, Stephen DeStaebler, Ivan Karp, Bella Feldman, Duane Hanson, Clay Jensen, John Mason, Joan Mondale, and others.
Biographical / Historical:
Marilyn Levine (1935-2005) was a ceramist from Oakland, California.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 29 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.
Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.
Magdalena Frimkess also provided another informed perspective on the events described by her husband.
Biographical / Historical:
Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.
Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of William Underhill conducted 2002 June 8, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Wellsville, N.Y.
Underhill speaks of being born in Berkeley, California, to parents who were art teachers; the differences between the West Coast Bay Area arts and crafts movement and that of the east coast; attending California College of Arts & Crafts for two years and then transferring to the University of California at Berkeley, in 1953, to enter the architecture program; building a dome out of aluminum for the city of Oakland's parks department with other students during the summer of 1956; being drafted into the Army in 1957; working for the U.S. Army headquarters in Germany as a draftsman; prominent and influential craft artists that he knew; marrying Linn Baldwin [Underhill], a fellow classmate, in 1957, and starting a family; re-entering UC Berkeley, finishing his B.A. degree in 1960 and completing his M.A. in 1961; his studies with Peter Voulkos; making bronze bowls, which led to his idea of casting wax, modeling wax fabrication, using sheet wax, and making textured sculpture and geometric shapes; having one of his bowl pieces in the Museum of Contemporary Crafts; the Oakland Museum buying a piece of his work; his teaching position at Highlands University in Las Vegas, N.M.; being in the "Young Americans" exhibit and receiving the "Best of Show" award in 1962; most teachers trying to "emulate" the style of Peter Voulkos; moving to New York; showing at the Blumenfeld Gallery; sharing a studio next to the Clay Arts Center in Port Chester, N.Y.; building a foundry and a melting facility; teaching part-time at a community adult art center in White Plains, N.Y.; his financial difficulties; teaching part-time at Pratt Institute in 1965; J. Gordon Lippincott, of the industrial firm Lippincott and Margolies, commissioning him to do large scale steel sculptures for major corporations; working as a draftsman in an architect's office in New York City to pay for rent and groceries in 1966; teaching a summer session at Columbia's Teacher's College; teaching full-time as an instructor at New York University in 1967; teaching a workshop at Alfred University, in 1963; interviewing for a teaching position at Alfred at the College Art Association meeting, in Boston, in 1968; moving in the summer of 1969 to Alfred to teach; his counter-culture lifestyle and consequent decrease in his artistic production; showing at the Lee Nordness Gallery in the 1960s; exhibiting at the Perimeter Gallery, Helen Drutt Gallery, Twining Gallery, and Garth Clark Gallery in the 1980s; creating the bronzed statue of King Alfred for Alfred University and selling his copyright to them; his signature stamp; having pieces in the American Craft Museum and in the San Francisco Museum of Modern Art's collection; teaching at Haystack Mountain School of Crafts, the Anderson Ranch, and the Mendocino Art Center; various craft magazines including Craft Horizons and Metalsmith; being a member of the American Craft Council [ACC]; his retirement in 1997; and working at the Berkeley Art Foundry in the summer of 2002. Underhill also recalls Robert Arneson, Josephine Blumenfeld, Diane Cox, Val Cushing, Peter Dodge, Jack Earl, Andrew Jevremovic, Manuel Neri, Bill Parry, Ted Randall, Dan Rhodes, Glenn Zweygardt, and others.
Biographical / Historical:
William Underhill (1933- ) is a metalsmith from Wellsville, N.Y. Margaret Carney is an art historian from New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 7 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Michael Cohen conducted 2001 August 11, by Gerry Williams, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at his home, in Pelham, Massachusetts.
Cohen speaks of his childhood, living outside of Boston, Massachusetts; his first adventures in art; attending Mass Art; his attraction to clay; his mentors; his first job with Bill Wyman; joining the Army; his travels; his unhappy experience at Cranbrook Academy of Art; his first studio in his mother's basement; enjoying his first summer at Haystack Mountain School of Crafts and the other schools of craft; how his pottery is meant to be functional; his fear of dying at 59 and the great sculptural work he did in that year; exhibition shows and how they have changed over the course of his career; why he's moved to primarily making tiles; apprenticeship and the benefits of paying your apprentices; how expensive being in the pottery business has become; various teaching and workshop experiences; local pottery guilds he is a part of; the creation and design of his studio space; technological advances in the field and the distinctive tools he loves to use; specialized periodicals that he reads or looks at; what makes a pot beautiful; limitations in clay; commissions and the lack of benefits involved with commissions; the permanent collections of museums that he is a part of; how he thinks he will be remembered; his most memorable exhibitions; where he gets his ideas from; social and political issues he's involved in and how he does not include them in his work; the craft organizations; curators he's enjoyed working with; his ex-wife Harriet Goodwin and how their collaboration was important to his work. Cohen also recalls Francis Merritt, Bernard Leach, Peter Voulkos, Ron Burke, John Glick, Bob Sedestrom, and others.
Biographical / Historical:
Michael Cohen (1936-) is a ceramist from Amherst, Massachusetts. Gerry Williams (1926-) is the editor of Studio Potter from Goffstown, New Hampshire.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr.; 6 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:
For more information on how to access this interview contact Reference Services.
Occupation:
Ceramicists -- Massachusetts -- Interview Search this
An interview with Bill and Peggy Foote conducted 2014 February 16-17, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Bill's office and home in San Francisco, California.
Dr. and Ms. Foote speak of their early days growing up and their introduction to art; their meeting in Stockton; the beginnings of the Lincoln Square Gallery; their introduction to Viola Frey; their increasing involvement as art dealers in the Bay Area in the '60s and '70s; Peggy Foote's time at the California College of Arts and Crafts; their collection of Viola Frey's work and other artists' work; their interactions with Charles Fiske and Viola Frey; Frey's early years in Lodi; Frey's love of collecting jewelry and small ceramic figurines; and Frey's work in relation to gender issues. They also discuss Frey and Fiske's health issues; Frey's time at CCAC; Frey's relationship with Fiske; Frey's work as it related to Robert Arneson and Peter Voulkos and other Bay Area artists; Peggy Foote's gallery Conway Antiques in the 70's and 80's; Bill Foote's remembrances at Frey's memorial. Mr. and Ms. Foote also recall Shirley Hanson, Rena Bransten, Squeak Carnwath, Gary Knecht, Leslie Wenger, Nancy Hoffman, Richard McDonald, Maryanne Schulz, the Wiebe twins, Robert Arneson, Vernon Coykendall, Noni Eccles Treadwell, Sam Perry, Jackie Maybeck, Gloria Champion, Jack Laycox, and others.
Biographical / Historical:
Bill Foote (1937- ) and his wife Peggy (1935- ) are art collectors and retired art and antique dealers in San Francisco, California who collected Viola Frey's works of art. Mija Riedel (1958- ) is an independent scholar in San Francisco, 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.
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.
An interview of John Roloff conducted 2009 August 17-18, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Roloff's studio, in Oakland, California.
Roloff speaks primarily about the intersection of art and science; his desire to look at these disciplines from multiple perspectives in his work; the relationship between materials and their geological histories; his exploration and exposure of the physical processes associated with the making of art objects; Roloff talks at length about ceramics; the chemical properties of the clays and glazes; their connection to geological landscapes; and their transformation through the firing process; moreover, he discusses site specific works; the importance of location in giving context to a piece; as well as referencing a site through site based materials; furthermore, he expounds his theory of anthroturbation; discusses the parallels between man-made and natural structures; and ruminates about his work's visual engagement with ecological systems; Additionally, Roloff converses about several formative childhood experiences; how they shaped his later artistic interest and evolved into thematic elements in his work; studying marine geology at University of California-Davis; taking a ceramics class with Robert Arneson; becoming a dual art and science major; the spirit of experimentation at UC-Davis, which led to his early ceramic discoveries; pursuing graduate work at Humboldt University; teaching at the University of Kentucky-Lexington; developing his Exile and Rower series; showing his sculptures at Lester Gallery and Fuller Goldeen Gallery in California; his shift from studio work to landscape/installations; the development of his Ship and Kiln series; as well as his later photographic work; Roloff also recalls Stephen Kaltenbach, Deborah Butterfield, Peter Voulkos, Jim Melchert, Dennis Oppenheim, Joseph Beuys, Kenneth Baker, in addition to the following galleries: Lance Fang, Paule Anglim and Reese Paley.
Biographical / Historical:
John S. Roloff (1947- ) is a sculptor and ceramicist and lives and works in Oakland, California. Roloff also taught at the San Francisco Art Institute and Mills College.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 13 digital wav files. Duration is 8 hr., 50 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Richard Marquis conducted 2006 September 16, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Freeland, Washington.
Marquis speaks of his childhood spent moving around Arizona, Colorado, and California; his lifelong affinity for collecting objects; attending University of California, Berkeley; the influence of seeing the shows "Abstract Expressionist Ceramics" at the University of California at Irvine in 1966 and "American Sculpture of the Sixties" at Los Angeles County Museum of Art in 1967; receiving a Fulbright grant to study glassblowing in Murano, Italy; experiences at Venini Fabbrica Glass Factory in Murano; teaching experiences at University of Washington, Seattle and UCLA; traveling throughout Australia to set up glass workshops; working as artist-in-residence at Tasmanian School of Art in Hobart, Tasmania, Australia; establishing Marquis Deluxe Studios; large-scale installation collaborations with Therman Statom; the importance of teaching and sharing knowledge; the cyclical progression and diversity of his work; future plans to work less with glass and focus instead on daguerrotypes. Marquis also recalls Peter Voulkos, Ron Nagle, Marvin Lipofsky, James Melchert, Harvey K. Littleton, John Eubanks, John Pearson, Ludovico de Santillana, Lino Tagliapietra, Bob Naess, Fred Bauer, Nick Mount, Les Blakebrough, Jack Wax, Jody Fine, Therman Statom, Kenneth Price, Dante Marioni, Jerry Spagnoli, and Bill Concannon, among others.
Biographical / Historical:
Richard Marquis (1945- ) is glass artist and educator from Freeland, Washington. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 57 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.
Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.
Biographical / Historical:
Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.
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:
Art critics -- Illinois -- Chicago -- Interviews Search this
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