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Interview with Jean Cohen

DOROTHY SECKLER:  This is Dorothy Seckler interviewing Jean Cohen in the Dunes near Provincetown on August 24, 1967.

We are talking about a series of paintings that Jean has been working on for the past year or so and our comments will be in relationship to the works being shown. In the case of this particular painting which was done, was it last year, Jean, or two?

JEAN COHEN:  This was two years ago, yes.

Interview with Helen Frankenthaler

DOROTHY SECKLER:  You were just saying, I mean, you know, I think what you said was very, a good place to start our discussion of any effect that the avant-garde audience or the culture boom might have on your work. You have very small, a sense of a very small audience that are important to the way you think about your work and, oh, I liked the way you said it. Could you say it again?

Interview with Hans Hofmann

DOROTHY SECKLER:  An introductory tape on sources for Hans Hofmann, taken in Provincetown.

HANS HOFMANN:  —interrupted through two important wars. And my productions had suffered very strongly. I was [indiscernible due to accent] before the first World War too—and what's his name again? And [indiscernible due to accent] Miz will recall it. Miz says this was—

DOROTHY SECKLER:  We'll get here—

HANS HOFMANN:  A protectors, yes protectors.

DOROTHY SECKLER:  Oh, patron. A patron?

HANS HOFMANN:  A patron. A patron, see.


Interview with Wolf Kahn

DOROTHY SECKLER:  This is Dorothy Seckler interviewing Wolf Kahn in New York, on September 17, 1968.

Wolf, I would like to ask you first about your early life, where you grew up, what kind of family it was and anything about your early childhood that might have a bearing on the kind of artist you became.

Interview with Marcia Marcus

DOROTHY SECKLER: This is Dorothy Seckler interviewing Marcia Marcus in Provincetown on August 28th, 1967.

Marcia, your reputation has emerged along with that of a number of other painters who began to tackle the figure in a new way after a period in which, you know, the period of the reign of the Abstract Expressionists in which figure, if it was done at all, it was done as part of a very painterly expression emerging in a field of paint strokes, and so on.

Interview with Raoul Middleman and Unidentified Female Speaker

UNIDENTIFIED FEMALE SPEAKER: We don't really know how to handle this. We came from a very committed world. Committed in so many ways. You know, we were committed politically. In our physical relationships there was a commitment. It became a very big word for us. And to suddenly find that we're bringing up children who are that detached, and even understanding that it's self—protective, it's very frightening. I know it's frightening to me.

RAOUL MIDDLEMAN:  A kind of numbing process.

UNIDENTIFIED FEMALE SPEAKER:  Don't you feel that way, Dorothy?

Interview with William Freed and Lillian Orlowsky

DOROTHY SECKLER: It's turning, yes; it must be recording, but I will play it back in a moment.

So, let's see if your voice records now. Say something, just anyone.

LILLIAN ORLOWSKY: Give your name.

WILLIAM FREED: My name? My name is Freed.

DOROTHY SECKLER:  What's your first name, Freed?


DOROTHY SECKLER:  All right. Well, what's the date of today? Would you tell me that?

WILLIAM FREED:  Today's date?


WILLIAM FREED:  I don't know.


Interview with Olin Orr

DOROTHY SECKLER: [Begins in middle of sentence] 4th, 1968.

Mr. Orr, of course, the reason I have become interested in doing this interview is because of seeing the work that you've just completed for the Provincetown Museum. Which is now installed in front of the museum on their lawn.

And I thought we might begin by having you describe for the tape what's involved with that work, the medium, and how you think of it.

OLIN ORR: Well, in this case the bags that I have done out there are production because I have them different than before production.

Interview with Alvin Ross

DOROTHY SECKLER: [Tape begins mid-sentence] Interviewing Alvin Ross in Provincetown on September 16th, 1974.

In our previous tape, Alvin, we had been discussing the period of the '60s. This was a time in which your subject matter had been simplified. You were concentrating or focusing a great deal on subjects which were various kinds of eatables, you know, strawberries, eggs, cakes sometimes, or perhaps not cakes yet.

ALVIN ROSS: No, not cakes at that time.


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