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Laurie Simmons Oral History Interview Conducted by Christopher Lyon for the Archives of American Art, Smithsonian Institution, 2017

CHRISTOPHER LYON:  This is Christopher Lyon. I'm with Laurie Simmons at her studio and home in Williamsburg [Brooklyn, NY]. And it's May 31, 2017.

We mentioned the Sarah Charlesworth interview with you, and there's one phrase that jumped out at me in there that you said: "The big question for me is, why did my work start where it started?"

LAURIE SIMMONS:  Mm-hmm [affirmative].

John Wilmerding Oral History Interview Conducted by Christopher Lyon for the Archives of American Art, Smithsonian Institution, 2018

CHRISTOPHER LYON:  This is Christopher Lyon speaking. I am privileged to be interviewing John Wilmerding for the Archives of American Art, at his home in New York City, on March 19, 2018.

I would like to briefly rehearse your accomplishments, and what I take to be your overall project as a scholar, for lack of a better word, so that you might agree or disagree and send me in a better direction. I was so struck that your career has this symmetrical quality, that it—

JOHN WILMERDING:  [Laughs.] I'm struck by it, too.

[They laugh.]

Lloyd Goodrich Oral History Interview Conducted by Harlan Phillips for the Archives of American Art, Smithsonian Institution, 1962

Whitney Museum, June 13, 1962

HARLAN PHILLIPS: The great virtue of this procedure is that it is spontaneous. This is the mic here. It's very sensitive, but forget about it.

LLOYD GOODRICH: In other words, you and I can just talk.

Peter Goulds Oral History Interview Conducted by Susan Ford Morgan for the Archives of American Art, Smithsonian Institution, 2008

SUSAN FORD MORGAN:  So, this is for the Archives of American Art—

PETER GOULDS:  Okay.

SUSAN FORD MORGAN:  —for their oral history project, and so, I have to open up my identifying statement, which is: This is Susan Morgan interviewing Peter Goulds at the L.A. Louver Gallery in Venice, California, on, I believe, the—

PETER GOULDS:  It is Monday, March the 24th—

SUSAN FORD MORGAN:  —March the 24th—

PETER GOULDS:  —2008.

Clifford Schorer Oral History Interview Conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution, 2018

JUDITH RICHARDS:  This is Judith Olch Richards interviewing Clifford J. Schorer III, on June 6, 2018, at the Archives of American Art offices in New York City.

CLIFFORD SCHORER: Hello.

JUDITH RICHARDS:  Hello. Good afternoon. I wanted to start by asking you to say when and where you were born, and to talk about your immediate family, their names, and anyone else who was important to you in your family.

Volkmar Kurt Wentzel Oral History Interview Conducted by Anne Louise Bayly Berman for the Archives of American Art, Smithsonian Institution, 2002-2003

Volkmar Kurt Wentzel (b.1915 d.2006)

Photographer, Washington, DC

Interviewer: Anne Louise Bayly Berman

Interview of Volkmar Kurt Wentzel by Anne Louise Bayly Berman for the Archives of American Art, Smithsonian Institution, at Wentzel’s home in Washington, DC on October 18 and 24, 2002; November 12, 2002; and January 24, 2003. Wentzel discusses his childhood in Dresden, Germany, and the devastation during bombing of the city in World War II. He recalls a few stories about his fascination with dirigibles, beginning in childhood through his experience taking his first news photograph capturing President Franklin Delano Roosevelt meeting with Germans who traveled in the Hindenburg to unsuccessfully negotiate for helium in the 1930s. Wentzel discusses how his family endured the devastation of Germany toward the end of the World War I, and he recalls his father, Fritz Wentzel, working as a photochemist in Germany, and setting up photo paper factories in the former Czechoslovakia and Spain. Wentzel talks about how his father travelled to the Balkans to take photographs for his hobby before family life, and how he was a contemporary of Alfred Stieglitz, as they both studied under Hermann Vogel in Berlin. Wentzel speaks about how his family immigrated to Binghamton, NY in 1926 for his father's work with the Ansco Company (which later became Agfa-Ansco). Wentzel recalls how his father's home darkroom was his first influence on his photographic career. He talks about his mother passing away of pneumonia at an early age and the effects it had on his family. Wentzel recalls his ambition to travel to South America after graduating Binghamton High School with a friend, but once he arrived in Washington, DC, he ended his journey there. He talks about meeting architects Arved Kundzin and Eric Menke, who lead him to an artist retreat in Aurora, West Virginia. Wentzel discusses how he started making photographs in West Virginia, and a few of the pictures he made into photographs were purchased by First Lady Eleanor Roosevelt on a road trip through the area. Wentzel talks about returning to Washington, DC and working in the darkroom for the portrait studio, Underwood & Underwood. He speaks about documenting Washington at night with his hand-me-down Speed Graphic camera. Wentzel explains that a colleague suggested that he send the photographs to the Royal Photographic Society, and walking into the offices of National Geographic to see their darkroom. He discusses applying for and landing a job in the darkroom of the offices of National Geographic. Wentzel talks about founder Gilbert Grosvenor as a pioneer of printing color photography. He describes National Geographic assignments in Kentucky and West Virginia, and talks about the impact of digital photography on the medium. Wentzel describes his air force service in World War II with the First Photo Squadron, where he helped take photographs to create aerial maps, and talks about ending his service in Okinawa and seeing the destruction of Nagasaki. Wentzel discusses returning to National Geographic after from his military service, and then getting assigned to document India. He speaks vividly of his travels in India, about building a traveling darkroom from a junkyard ambulance. He describes meeting Pandit Nehru, and his travels through Bombay, Jammu, Srinagar, Kashmir, Ladakh, Zoji La pass, Delhi, and Jaipur. He also speaks about his time documenting Africa, including the Weeks Expedition to Central Africa in 1952. He talks of his travels in Namibia, the Etosha Pan, Angola, the Congo, and the Cameroons.

Total: 12 digital recordings; 5:36:06; 110 pages.

Robert Morris Oral History Interview Conducted by Svetlana Kitto for the Archives of American Art, Smithsonian Institution, 2018

SVETLANA KITTO:  This is Svetlana Kitto interviewing Robert Morris at his home in Gardener, New York, on April 19, 2018, for the Archives of American Art, Smithsonian Institution, card number one. So if you could just start by telling me where and when you were born, and a little bit about your early life.

Barbara Fleischman Oral History Interview Conducted by Avis Berman for the Archives of American Art, Smithsonian Institution, 2011

AVIS BERMAN:  This is Avis Berman interviewing Barbara G. Fleischman for the Archives of American Art Oral History Program on December 27, 2011, in her home in New York City.

I start this way with everyone. Would you please state your full name and date of birth?

BARBARA FLEISCHMAN:  Barbara G. Fleischman, March 20, 1924.

AVIS BERMAN:  Okay, and the G is for—

BARBARA FLEISCHMAN:  Greenberg. That was my maiden name.

AVIS BERMAN:  Yes, did you have a middle name?

BARBARA FLEISCHMAN:  Ann.

AVIS BERMAN:  Without an E?

Neil Williams Oral History Interview Conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution, 2014

MIJA RIEDEL: This is Mija Riedel with Neil Williams in the artist's home and studio in Auburn, CA on June 5, 2014 for the Smithsonian Archives of American Art, card number one. So let's start with—a description of this fantastic place that you have. It dates back to 1937, is that right?

NEIL WILLIAMS: I believe '37 or '38—

MIJA RIEDEL: Mm-hmm. [Affirmative.]

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