Dated 1/25/82. Visits with artists and performers from around Maine and New England including Julien Olivier, storyteller, Gilbert Roy, artist, Buck McHenry, wood sculptor, Josee Vachone [sic], singer. FOR REFERENCE ONLY.
Three volumes of minute books, 1883-1948, containing minutes, constitution, letters and annual reports; and newspaper clippings, 1949-1972, about the Craft Center.
Primarily correspondence; also business records, and printed matter containing information on marketing, sales, funding, membership, Craftsmen's Fairs, classes of craft instruction, and Works Project Administration and the Emergency Relief Administration.
An interview of Michelle Holzapfel conducted 2008 January 26-March 1, by Josephine Shea, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Holzapfel's home and studio, Applewoods Studio and Gallery, in Marlboro, Vermont.
Holzapfel speaks of her childhood in Rhode Island; her large extended family and their French-Canadian heritage; working with her father in his machine shop; early art education and exposure from elementary school through high school; the influence of high school art teacher Audrey Blake; trips to Rhode Island School of Design Museum and Boston Museum of Fine Arts; attending Marlboro College; meeting her husband, David, at Marlboro; traveling in Italy with friends and David; earning her B.A. from Norwich College; participating in craft shows; having two children in two years; teaching experiences at Worcester Center for Crafts and Wood Turning Center; the difference in relationships with galleries and museums; the woodturning field; and the struggles and success of women artists; and plans for the future. Holzapfel recalls Gilbert Taylor, Barry Friedman, Glenn Adamson, Nathan Ancell, Peter Joseph, Kenneth Trapp, Chris Tyler, Albert LeCoff, and others.
An interview of Michael James conducted 2003 January 4-5, by Patricia Harris and David Lyon, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Lincoln, Nebraska.
James speaks of his childhood in New Bedford, Massachusetts, in a large Catholic French-Canadian family; his parochial school experience; the early influence of French language and textiles; his undergraduate studies at Southeastern Massachusetts University and graduate studies at Rochester Institute of Technology in painting and printmaking; his first exposure to the craft world; transitioning from painting to quilts while starting a family; his first teaching jobs and shift to self employment; he discusses his books Quiltmaker's Handbook I and II; being male in the women's world of quiltmaking; he comments on the importance of fiber as a means of expression; his artistic influences; his 1990 residency in Switzerland; creating fabrics by hand-painting and digital printing; representational imagery in his work and themes; commissions; the impact of religion, spirituality, mortality, politics and social issues on his quilts; his working environment in Somerset, Massachusetts, and Lincoln, Nebraska; teaching at the University of Nebraska, and the International Quilt Study Center there; his wife Judy and her art; quiltmakers inside and outside academia; the value of quilts as "art"; crafts schools; his involvement in national and regional craft organizations; his early exhibitions; his relationships with dealers; the state of the art market; the lack of critical reception in the quiltmaking field; his own writings; how American fiber arts rank on an international scale; and new uses of technology in his work. He also recalls Jon Gnagy, Donald Krueger, Susan Russo, Faith Ringgold, Mickey Lawler, Ulysses Dietz, Robert and Ardis James, Florence Dionne, Lois Martin, Diane Itter, Hilda Raz, and others.
This collection provides data on singers, musicians, and other artists in the Upper Saint John Valley during the 1991 – 1993 research. It will be of interest to researchers of French language songs, spoken French language usage, local history and local oral history. The Saint John Valley Folk Arts Survey has identified over 200 traditional artists in the Saint John Valley. It has developed a database of traditional music and dance ensembles and also developed a database of persons and groups involved in dissemination, promotion, and sales of traditional arts (located in administrative files). The research done throughout the Saint John Valley Folk Arts Survey documented field visits with traditional artists, produced slides, photos, field notes, informant statistics, hours of recorded performances and interviews, and pages of transcriptions and tape logs. Materials were collected in the field by Lisa Ornstein who was Director of the Acadian Archives / Archives acadiennes at the University of Maine at Fort Kent. Lisa had minimal assistance from Nick Hawes, Archives’ assistant, and from Don Cyr of Lille, Maine, who served as a research consultant.
White apron with small pink and blue flowers, worn on Sundays only, by Nellie LaValley, grandmother of Audrey Falcon. Worn at home in Champlain, NY near the Canadian border.
White apron with small pink and blue flowers, worn on Sundays only, by Nellie LaValley, grandmother of Audrey Falcon. Worn at home in Champlain, NY near the Canadian border.
White apron with large pink flowers with blue stems, worn on Sundays only, by Nellie LaValley, grandmother of Audrey Falcon. Worn at home in Champlain, NY near the Canadian border.
White apron with black dot pattern, worn everyday except Sunday by Nellie LaValley, grandmother of Audrey Falcon. Worn at home in Champlain, NY near the Canadian border.
Doily cross-stitched, embroidered, and crocheted by Yvonne Strumpf. It is meant to be used on wooden furnture to block moisture and dust. Probably made in either Queens or Lake Peekskill, NY.
Decorative wedding blanket with design of Mary and baby Jesus in center; floral design, including lilies, around Jesus and Mary; stars surrounding the outside.
