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[Laughs.] We'd be so happy to help you. Her student works included imaginary seeds and fruit. And art teachers, again, in high school? So between those two, say, concepts, ancient man began to shape his universe. So young people today don't they're like the musicians; they're remixing all of this great stew and they've never seen the blank slate. 
You know, by the time I got to 59th Street, I was there. MS. SHEA: Okay. And I think that it's just instinctive. How do you find time or make time to read? It manifests itself in dreams and fantasy, poetry and art."[29]. MS. OKA DONER: No, both. And he could mimic every animal and tell stories about the wolves and the foxes and make all the sounds. And at the time of the airport we bought an apartment in Miami Beach[1990], and the apartment had no soffits. So I said, "Okay, well, I don't think we're getting too many more coming around. MS. SHEA: That kind of interrupted her French. And what I was interested in were how things were symbols. And I don't have a huge section on contemporary art, curiously enough. She has also worked in costume and set design and has created over 40 public and private permanent art installations, including A Walk On The Beach, a one and a quarter mile long bronze and terrazzo concourse at Miami International Airport. This steel work table is covered with what Oka Doner refers to as shapes and forms of interest, models for old and new projects. MS. SHEA: And did you have a studio on the campus? MS. OKA DONER: you could spend the whole afternoon. Is there anything else that you want add or elaborate? MS. OKA DONER: They don't have flexibility. MS. OKA DONER: We lived near Trinity School Jeremy was only 9 for a year and a half on Central Park West, and then I found this space and we moved in. The second one ["River of Quintessence," United States Courthouse, 2003, The Webb County Courthouse] I did was Laredo, Texas, and the largest geographical element there was the Rio Grande River. These things are 500 years old. This transcript has been lightly edited for readability by the Archives of American Art. And I think that abstraction, when it's successful, embodies those ideas. Remember Schmidt's in Ypsilanti, this wonderful old barn? Eventually, the entire building will be covered by plant life. MS. OKA DONER: To be respectful so that it can allow me to get up every day and get all the things done and not have to think about my body. So you have to make a choice. It was after the war, and France was tired and there were lots of widows in the gardens, women in black dresses, I remember well. MS. OKA DONER: I don't know why I'm thinking it's Betoss or something. And I wanted to work indoors in terrazzo because I found the cement also very forbidding. I started with one pot and went to two pots when other people joined me who didn't have my patience. Over the past 40 years Michele Oka Doner has been developing her own personal hieroglyphics shaped out of clay to illustrate how language comes from nature. 9:30 a.m.12:00 p.m. And I'm reading the labels, and it says beeswood, beeswax, pearls, aquamarine, crystal. And the person that he mentioned who thought my work would be good for Steuben I also knew peripherally, but she didn't want to make a cold call. MS. OKA DONER: I know, everything now is secondary and tertiary, it's not primary. And also one of my teachers had studied with Maija Grotel at Cranbrook, John Stephenson, and then he had a Fulbright to Japan, so he was on a wavelength I liked. Oka Doner has received many awards and honors, including: Language links are at the top of the page across from the title. That's Philadelphia. MS. SHEA: Ah. There is a stalagmite or -tite piece happening, but it's not that. And we were in our mid-30s, my husband and myself, and we felt this was the time. MS. OKA DONER: My Aunt Dorothy, my difficult Aunt Dorothy [Heller] was still in the Village. Sounds like a lovely way to fly, as opposed to the way air travel seems to be of late. [They laugh.]. MS. OKA DONER: Recently there was one thing I pulled out to look at again. MS. SHEA: And my memory is that you said you plan your day the night before. MS. OKA DONER: have their say, yes. MS. SHEA: It is. Eucalyptus? I feed it well and I bathe and I have a wonderful meal and that's that. [21][22] In 1975, a new body of work, Burial Pieces was laid out on the floor of Gallery 7, then a Cooperative Gallery of black artists, led by Charles McGee. I think today it's a reality. , MS. SHEA: I was wondering, do private clients ever call you up? MS. OKA DONER: Well, the glass shop is, but the facility where things are made are not really connected, I don't think, to the museum. And they were just starting to make paper. MS. OKA DONER: Just rolling them out. MS. OKA DONER: We knew it wasn't a mockingbird. [Laughs.]. Or the book is an object but it also has information I need. [41] The images were also the subject of the book and e-book, Into the Mysterium, a Regan Arts book, also published at this time. Works in Progress,[23] also forsook conventional props. It's uneven. MS. SHEA: So you collected shells. I worked with a man named Al Mullen who was a real New York abstract expressionist painter and had great attitude. Now shes a fashionable grandmother, known for wearing custom-made tunics with draped necklines and leggings. MS. SHEA: Right, right, right. MS. OKA DONER: I'm not certain. I bought Lewis Mumford's Sticks and Stones [New york: Boni and Liveright: 1924], a small book, in a secondhand bookstore because I saw in it a building in St. Louis. And then when I did build a kiln, I did raku. And then in the '50s she went to Germany when Rosenthal did the Raymond Lowey Centennial 2000 and bought a set of that, which was so unusual. We know that now. Photo courtesy of Cirque du Soleil, Oka Doner adds plants to Micco, a sculpture commissioned for the city of Doral, Florida, in 2012. And I was able to choose not to use pedestals. And we used aggregates, stones that are also very grey like the northern beach. Jenna Gribbon, April studio, parting glance, 2021. I don't see it anywhere but Florida, and I don't have a name for it. And another library Sacramento, Evanston and Ocean Branch. It's not the end in itself, the body; it's the instrument to serve the higher purpose. [Master of Fine Arts], they assume you're going to teach. MS. SHEA: But now they're packed away in storage? MS. OKA DONER: Well, most people wouldn't know, but I used to go there and come out, and there would be the fountain with the Milles sculpture and there would be beautiful reeds growing in a pond. MS. SHEA: Right. And so let me have a little more of a sense of things. And cities are about that. And I likened Detroit to the grain of sand that really enabled me to make a pearl, because without irritation you don't do anything, and Miami had no irritation. It's your breath that's in it. MS. OKA DONER: Well, they're very exciting pieces. MS. SHEA: And when you're traveling in, it sounds, like both Central and South America, how would you do that? flowers and a small amount of ornamentation. MS. OKA DONER: And I studied also with Dr. Spink, both of whom I'm still in touch with all these years. MS. OKA DONER: The younger one Cranbrook; the older one Roeper. You know, there's no quote-unquote ceiling. So you have to keep turning up the volume to feel today. In 1979, the DIA initiated a small group exhibition, "Image and Object in Contemporary Sculpture," including Michele Oka Doner, Scott Burton, Dennis Oppenheim, and Terry Allen, which traveled to P.S. It just seemed ripe. WebMichele Oka Doner is an internationally renowned artist and author whose work spans five decades. The minute I got to college, though, I began to work very seriously. MS. OKA DONER: We do, though. Monday-Friday, excluding Federal holidays, by appointment. MS. SHEA: Doing this whole process. It just sounded so great. So I said, how much? It was very interesting. MS. OKA DONER: [Affirmative.] And then also I've lived long enough to see what happens to those who don't. Image reprinted with permission from Prez Art Museum Miami, At Sacred Grove, in Ibiza, Spain, algaroba trees surround Oka Doners cast-bronze Radiant Disk table and Ice Ring bench. Ive made a sacred space. In almost thirty years, its never been damaged.. New York,NY10010, Dedicated to collecting and preserving the papers and primary records of the visual arts in America, Archives of American Art, Smithsonian Institution, 2023 Archives of American Art, Smithsonian Institution, Terra Foundation Center for Digital Collections, Guidelines for Processing Collections with Audiovisual Material, Washington D.C. Headquarters and Research Center, Publications Using Material from the Archives of American Art, Oral history interview with Michele Oka Doner, 2007 August 20-November 17, Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Be a good thing So I'm also looking at glass bowls with fish, I believe. East-facing windows in the dining room provide fantastic light all day and the occasional glimpse of the moon in the evening, according to Oka Doner. MS. SHEA: More territory today. And your first, the exhibition that you said you started with John Neff. MS. SHEA: Yes. And instead I moved to bronze, went into bronze, to make things that a foundry could do in parts and weld together and wouldn't break. So this red is the one that really gets hard. MS. SHEA: So instead of making buttons, now art is being made. MS. OKA DONER: Yes. It was uplifting. On the left, a 1919 Steinway piano standing at the entrance to the library space is topped with A Burning Bush, 1991. Oh, Peter Gluck. MS. OKA DONER: So it's the science of design. And I figured out with Steuben how to write on glass. 1, New York. MS. OKA DONER: And that was a very successful project. Initially, I started walking the beach and picking up things I thought would make interesting pieces. So no one cared about ceramics. It's been a great pleasure to sit in this wonderful, working, creative and, as you said, very thoughtful space, and talk with you. And then he painted frescoes in convents upstate New York before he had a family and went into business. MS. SHEA: The next layer, the next floor. Photo by Michele Oka Doner. Well, we'll pick up tomorrow, then. MS. SHEA: And how do you use that time when you're traveling? I say I like them all because they all have a lot in their literature and in their expression that I find really beautiful. MS. OKA DONER: Yes, I did. That came from the Joseph Campbell book on myths and symbols. MS. OKA DONER: but it was heavy and waterproof and of a kind of cloth material that wasn't very tropical and was . "The curious tattooed porcelain pieces of Doner are rather disturbing truncated body parts, as if eaten away by some leper. But it's otherwise pretty much the way it was. And then did you go back often? MS. SHEA: You know, you kind of talked a little bit about the problem of still getting things manufactured and made in the United States. She bought the newest sportswear that was coming out, all those California movies during the war that took place in the tropical islands. It's called the Reef Collection and that's the Reef Bowl [2006]. But I really somehow hit my stride running, and from very early on, and I wasn't looking for a voice, I had a voice. Not long ago I visited Oka Doner at her remarkable New York SoHo loft, which occupies the entire second floor of a historic cast-iron building and where she lives with her husband, Frederick Doner, and raised their two now grown sons. MS. OKA DONER: Claes Oldenburg saw my work and said to him, this is really great work. And I said, I have the recording, Peter Pears, and he sang it and Benjamin Britten accompanied him. A Conversation with Michele Oka Doner. That sounds wonderful. You know, it's not coming from a rainstorm. And do we call those stalactites or stalagmites? And I don't know, I just didn't connect in high school. And tell me about your father's family. MS. SHEA: [Laughs.] MS. OKA DONER: I used the local. Or . In fact, there's Japanese books from their great grandmother's dowry around 1900. Being down, scrunched over, so to speak. MS. SHEA: [Laughs.] We all pulse electrical waves, and we are tuning forks. MS. SHEA: I was going to say I think I think there was a real benefit to that. Again, it was in the basement of one of these wonderful old Ann Arbor houses. 
I've done a lot of libraries, too. You know, Pre-Columbian, I have some Pre-Columbian pieces I collected during that time, and then books on papermaking. MS. OKA DONER: You can't be in it for the long haul. The reason why Sanibel was such a fantastic place for shells is that most barrier islands run north-south, and Sanibel goes east-west. MS. SHEA: [Laughs.] And these projects are about the essence. And instead of using the Greek and cantis [ph] and more sort of generic symbols, I used . You're right. MS. SHEA: Or as quiet as it is in the city. But they're coming out. But you have to look at things in their time, in their context. The separation of work that was made for its own sake was pretty recent in our wiring.. Her first public piece, though, was for a quieter spot: a historic Michigan cemetery that was the final resting place for many American war veterans. MS. OKA DONER: It's easier to keep indoors clean than outdoors clean. MS. OKA DONER: Yes, much smaller. And then the third courthouse is Gulfport, Mississippi ["Wave and Gate," The Dan M. Russell Jr. United States Courthouse, 2003]. WebNot long ago I visited Oka Doner at her remarkable New York SoHo loft, which occupies the entire second floor of a historic cast-iron building and where she lives with her husband, Frederick Doner, and raised their two now grown sons. It's very slim. It used to be simpler. Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. And no, it was a very unusual thing to do. MS. SHEA: Yes, take their little journey from Florida. MS. SHEA: No, I was talking about women maybe that's not right more associated with the home. MS. SHEA: [Laughs.] That was "City of Trees" [1994]. And second printing comes out with Harper Collins next month, October 2nd. MS. SHEA: So you went and you talked. MS. SHEA: Well, the fish seem to enjoy it. He knew. MS. OKA DONER: And so I was working and busy. MS. SHEA: It's another one of those undiscovered Detroit treasures that more people should know about. I did. He wanted one of my silver trays ["Celestial Tray"]. But you said you were studying the Islamic and the Asian arts. MS. SHEA: And then just to talk a little bit more about the setting. It's used differently. MS. SHEA: And that just reminds me of how you kind of talked about how you started, which was making things that you wanted to be beautiful and useful, like your fireplace tools. So at that point I realized the beeswax had held up. There was the burial of a woman, more than ten thousand years old, and the skeleton had pearls around her neck. MS. OKA DONER: So that's how the reference library functions. It's been a very exciting . And I'd say more than anything that's a little research library. I collected physically and visually. And there'd be nothing from the Hamptons, not those kinds of clams and those kind of oysters. Over the years she has added wax models and organic materials to the display. MS. OKA DONER: They have more bark. MS. SHEA: So it seems that you have always been able to make find inspirations that make your projects relate back to their . Reviewed as classic of social history,[6][7] with material that was part of the public record of its time, it was used as a textbook in Human Geography at George Washington University in 2008. And so that was Philadelphia. MS. OKA DONER: Yes, when he was briefly the curator at the Detroit Institute of Art. And he became a painter, all right, but it was a body shop and the cars were being painted. Right. MS. SHEA: Oh, so it's a combination of the materials. I have it. MS. OKA DONER: No. Towering works on paper hang near round bronze tables surrounded by circular benches and topped with monumental, branchlike candelabra, all of her own making. So it came out very well. That's Schmidt's in Ypsilanti. A one-person show at the Detroit Institute of Arts followed in 1977. He lived nearby. MS. SHEA: do you think that's important? And before that his family, they were scribes and they took notes in the Rabbi's Court in Vilna [Lithuania]. And there was a heart that he painted that hung in the entrance to my parents' bedroom, where I hung out a lot because in the '50s it was the only air-conditioned room. MS. SHEA: And I was going to say in Michigan were they going to, for example, Cranbrook or . It's really nice to have. MS. OKA DONER: That is mother of pearl in lacquer. I've always had a connection with that place, with the Sheeler painting of it. MS. OKA DONER: And then I have the tablets of justice. And that was around the time that was before 9/11, but they still had magnometers and were checking people with guns and knives coming in. I have some wonderful unpublished books that are cyanotypes of algae. MS. OKA DONER: And recipes, and the notion of how to open a coconut, and Florida honey, where to look for it. But if I'm here . Welding. It was the first of many installations that shed pedestals and traditional ways of displaying sculpture. MS. OKA DONER: Not by then. Again hardware, tables. And my cousin [Doris Feldman] remembers him taking her by the hand to the Metropolitan Opera House and showing her the frescoes. Or . WebView Michele Oka Doners 76 artworks on artnet. That's in the bowls and the vase. Different needs. MS. OKA DONER: Tomorrow I think it would be nice to start in the library. MS. OKA DONER: We've made chairs and tables and sinks and hardware, jewelry, sculpture, floors. Totem is a heroic piece, rising like a grand tree trunk laced with vines and, at the same time, suggesting the abstracted form of an ancient caryatid and reminding us of beautys perishability. Following graduation, she stayed in Michigan, building a kiln herself in her backyard and finding success with shows at the Detroit Institute of Arts and PS1 in New York. Oka Doner, in her signature white dress, gazes out at Soho from a window in her loft. MS. SHEA: Or in a sense a stanchion. I've got a piece at the Cancer Center that's about to go to contract. He paid attention., Her mothers side is responsible for her artistic bent. But the school of art was not very practical and I didn't learn practical things. MS. SHEA: Oh, I bet there were some amazing colors in that. I didnt think about comfort., Perhaps most remarkable is that, although she lives in the most urban of American cities, Oka Doner remains firmly connected to the natural world. MS. OKA DONER: I didn't have enough light in the Florida apartment in the living room. Was it an engineer type of person or was it a marketing person? MS. OKA DONER: Distracting, yeah. And then I walked around the area where they built the library and picked up different leaves and twigs and brought it back to the studio and worked from whatever was there. Well, being in the right place at the right time for a particular thing; but then there's also they hold onto it. Seventeen years, so I'm still making do. MS. SHEA: Do you feel like you've been in a screen test? Because it seems to me that you've continued to write. MS. OKA DONER: And you could really look at the statues and look at the paintings and play. And then that you just happened to be staying there and look out the window from . MS. SHEA: And was there art taught in elementary school? As some of the largest wholesaling teams are eliminating all external wholesalers and converting to a hybrid/inside model, it has become abundantly clear the importance of the inside role has become paramount. And you said we. It could be a very fine chair. And that's an interesting piece of advice, I think. Panicelli, Ida. MS. OKA DONER: What do you mean, how? Recent solo exhibitions include, "Close Your Physical Eye," [31] Manitoga Arts Center, Garrison, New York (2019); "New Works on Paper," Marlborough Gallery, New York (2019),[32] " "How I Caught A Swallow in Mid-Air," at the Perez Art Museum Miami (2016),[33] "Mysterium" at David Gill Gallery, London (2016),[34] "Feasting on Bark," Marlborough Gallery, New York (2015),[35] "The Shaman's Hut," Christie's gallery, New York (2014),[36] "Neuration of the Genus," Dieu Donne Gallery, New York, NY,[37] where she was interviewed by the artist Adam Fuss,[38] and "Exhaling Gnosis"[39] at Miami Biennale (2011). And the moons, all of these every day in about '86, '87, The New York Times had these extraordinary pictures of craters and shapes. I fertilize the raw materials I have, I guess, and make something that's my honey. Was there . So that's these four. My older son went to Friends Seminary [New York City] and loved it. I know he knew. So let's keep our fingers crossed. And of course, it lasted only about 15 years before they tore down the Hayden Planetarium. I have stones. MS. OKA DONER: I did. In those days it was very open, very nice. You said you didn't go to Japan until much kind of later. I had never lived in a city, and Miami wasn't a city. Accelerate Inside Sales Now enlists a variety of interactive adult learning technologies. He is the president of the Wholesaler Institute. It's a limited edition. MS. SHEA: So it's limited. MS. SHEA: [Affirmative.] Martin Z. Margulies Sculpture Park at Florida International University, Miami. MS. SHEA: [Laughs.] The red-patinated heart-shaped sculpture next to it is Mermaids Heart, 2002. So you stayed in Michigan for quite a while. Before that, in Charlotte, North Carolina, I did a proposal. Its the mixture of these particulars plus extraordinary design intelligence, huge energy, and, I suspect, a heaping dose of obsessiveness that make her work exceptional. Without it you can't do anything. Several contain a mixture of organic and inorganic materials: sandpaper, fragments of an old polaroid photograph, rubbings from a Roman button found in Spain, a vacuum cleaner filter, fabric from a family couch, tests for different paint colors, and bark and root scraps left over from a recent work on paper. And I'm kind of like a free-ranging bee. I've done work with Bill Sofield. MS. SHEA: Now that's interesting, because how did you choose the University of Michigan [Ann Arbor]? It's the regurgitation, with some attitude or irony, of something that's already been done. That instability of potential is a theme that runs throughout Oka Doners work. And that's what young people did and got together. I have a question about advice. Wholesalers will be introduced to the Value-First Selling System, a state-of-the-art sales process designed specifically for todays inside wholesaler selling in todays unique financial marketplace. I mean, it's not like I get an idea. So that when I work on it the weight doesn't the pressure I put doesn't make it crumble at the ankles. And did you read his writings? Her name was Miss Parsons. While nature is her subject to collect, visualize, depict, and replicate, her art is filtered through imagination and experience: the fragrant mangos ripening, falling, and rotting in her Miami backyard while she was growing up; her mother with frangipani tucked behind her ear; her father, a mayor of Miami Beach and a judge; college and graduate school in the political cauldron and artistic mlange of Ann Arbor in the 1960s; and the soulful artistic cultural institutions of Detroit in the 70s. Actually, it gets dark. Still isn't. MS. OKA DONER: [Affirmative.] So I'm in touch with my books and records and words and poems. MS. OKA DONER: She met him at a musical. MS. OKA DONER: But it was I had seen a beautiful beaker in the Corning Museum that was a German glass from the Renaissance. [Laughs.]. MS. SHEA: And how did you both think of the idea and then how did you present it to them? 
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