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The same is true in art. That sounds wonderful. It's not the end in itself, the body; it's the instrument to serve the higher purpose. 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. SHEA: And wonderful to look at. I didn't approve, but I couldn't do much about it. But I remember as a child seeing his black Coast Guard coat and his binoculars in the closet, and I was so fascinated with them. Also I had the small Greek temple in the floor. MS. SHEA: That kind of interrupted her French. MS. OKA DONER: Isn't that? That glass was so rare that only noblemen would have it.

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. Martin Z. Margulies Sculpture Park at Florida International University, Miami. MS. OKA DONER: And they did. Unmistakably beautiful at 71, Oka Doner says she never gave her appearance much thought. MS. SHEA: Well, the fish seem to enjoy it. MS. SHEA: So you're both tropical and I guess . MS. OKA DONER: Distracting, yeah.

MS. OKA DONER: You can't be in it for the long haul. SHEA: This is Josephine Shea interviewing Michele Oka Doner at the artist's studio in New York City on Monday, August 20, 2007, for the Archives of American Art, Smithsonian Institution [Washington, DC.] MS. SHEA: And you told me, or the person who was assisting you. So she went down there to teach. Her work is in collections worldwide, notably the Metropolitan Museum of Art, Whitney Museum of American Art, the Cooper-Hewitt, La Muse Des Artes Dcoratifs, the Louvre, the Wolfsoniana in Genoa, the Art Institute of Chicago, the Virginia Museum, the St. Louis Museum, the Dallas Museum of Art, the University of Michigan Museum of Art, the Yale Art Gallery, Princeton University Art Museum, and the Perez Art Museum Miami. MS. SHEA: I'm guessing that might have been a contrast [laughs] because it sounds like he had great (inaudible) where you were, I'm guessing, a little more quiet, a little more . I did a doorbell for a client [Joel Silver, Laqaretta Home, Casa de Plata in Los Angeles]. MS. SHEA: That's probably very true. MS. SHEA: Right, right, right. I mean, think about that. For some people love is given, for others only heaven.". And you see how small it is now. MS. SHEA: And then the bowl, of course, is made of the beautiful, very clear Steuben glass. MS. SHEA: It's crawling forward. MS. SHEA: If you were talking to someone that thought that they wanted to be an artist, what kind of advice would you give them? I can still see her, tall and thin, lots of freckles, and she was a redhead. It turns out North Beach was a WPA [Work Projects Administration]-built school. Again hardware, tables. MS. OKA DONER: [Affirmative.] MS. SHEA: Is it? So that was the first piece that came. Or how did it happen? MS. OKA DONER: And then the brown wax is also it's sort of very sticky and it's called, I think that's called Victory wax and it's used even for another purpose. So I'll read Mahfouz on Palace Walk [Najib Mahfuz; Cairo: The American University in Cairo Press, c1989], Palace Dream, on living in Egypt. We stayed there, and when I was 17 I went to the University of Michigan [Ann Arbor], and I lived there 17 years in Michigan; six years in Ann Arbor, and 12 years in Detroit. I'm doing, right now, for Alexander Gorlin, I'm doing grates for the vents . MS. OKA DONER: We flew. So that's these four. Because it seems to me that you've continued to write. MS. OKA DONER: And so I was working and busy. Panicelli, Ida. MS. OKA DONER: Yes. And the same with the top on that wonderful sculptural kitchen. 750 9th Street, NW Do they look kind of tumbleweedy? MS. OKA DONER: [Affirmative.] I know he knew. And the part that faced the ocean, I could create light with about three of these large burning bushes, which I did, because in the aggregate of candles it's amazing how much light . I'll read Tagore poetry on Bengal. MS. OKA DONER: They don't have flexibility. You cook a beautiful meal and it's eaten. So these are not meant to startle, shock, horrify or , MS. SHEA: Some of the things many people, I think, sometimes associate with contemporary art, the shocking, the horrifying, the , MS. OKA DONER: Well, we have a cult of violence now that is . And last week I did a proposal in Los Angeles. It used to be simpler. I memorize poems because I find it's very good when you're sitting in a taxi not to get annoyed at the traffic, or when you're in the subway. MS. SHEA: And even at that point, for your collecting of those kinds of things, when did you feel that you really started doing that? MS. SHEA: Okay, I didn't realize it was so small is so small. She knows I read. MS. SHEA: So what are you, we did talk a little bit the last time about your thoughts for a developing artist. And so in the '70s I was very excited about them and I really felt I began to think about how to apply what I was doing to that. Time and place have had their say." So I wised up quickly, and the next project was in terrazzo and it worked, which meant I got rid of the texture on the bronzes, but I found out the beautiful texture was holding the dirt, too. So we decided we would all read Henry James with William James; we'd go through it. And so I said, would you show my work? And that's a collage of a lot of natural materials. I have stones. MS. SHEA: And just to kind of recap, we were beginning by talking about a recent talk that you gave at Meijer Gardens in Grand Rapids, Michigan, and how you started off your talk by mentioning about how we all seek the garden. Grounds For Sculpture, New Jersey. But you said you were studying the Islamic and the Asian arts. Its a female instinct, she said, adding, I was in Israel once and we went to see some caves in the hills near Haifa. A cast-bronze Radiant table supports a variety of design objects inspired by the ocean and its detritusthree of Oka Doners hand-blown and etched crystal bowls set on bronze and cast-glass reefs and a wax sculpture of a brain that, she says, emulates or suggests brain coral beneath a glass dome. MS. SHEA: Okay. And she said it reminded them of the South of France. We haven't gotten organized. MS. OKA DONER: No, we didn't come here very often. And I had the state bear. It's really nice to have. MS. SHEA: Often, yeah, that can be interesting as, you know, siblings go to the same school. TO STROLL ALONG STOCKHOLMS HARBORS is to inhale the essentials of the citys largesse and welcoming grandeur: the Use your ← → (arrow) keys to browse, Method & Concept Shakes Up the Design Scene in Naples, The Berkowitz Contemporary Foundation Announces New Home in Miami, Miamis Design District Gets a Surrealist-inspired Parking Garage. And are they okay. MS. SHEA: Is it similar to terrazzo, or something different? But then you've also made things I'm thinking of the and I think you did sequence to the chairs with thorns, because you said that was one plane that you missed. MS. OKA DONER: so they have something interesting. Works in Progress,[23] also forsook conventional props. MS. OKA DONER: in the serious, with the serious students. And you have another one of your burning bushes on that space. MS. OKA DONER: And I'm working with Michigan trees. I'm looking at almost a person height of what would you call, they're almost rough, small, stick-like or coral-like strands that come together. That's where the column came from. On the day I visited, Oka Doner showed me her Poetry Cartsbookshelves on wheels shes made from wood and cast and fabricated bronze. Vaizey, Marina, "Objects, Things" The Financial Times, London, England, August 30, 1973: 1. And so let me have a little more of a sense of things. MS. SHEA: Or in a sense a stanchion. MS. OKA DONER: Yes. MS. SHEA: [Laughs.]

MS. SHEA: [Affirmative.] We fell in love. He wanted one of my silver trays ["Celestial Tray"]. MS. SHEA: Who's had such an impact on that campus. She was difficult, mind you, but these were her shining qualities.

MS. OKA DONER: Fragments from pre-Columbian pieces. And they were just starting to make paper. And she had palm trees on her backside, I'm sure. And everything is speaking, which is it's a very live atmosphere for me. MS. OKA DONER: No, I see different Eucalyptus. And he wrote wonderful things on justice and courthouses and how they evolved, and the rituals. MS. SHEA: Do you feel like you've been in a screen test? And you know, there are larger ideas, global ideas like, transcendent ideas. MS. OKA DONER: And literary, yes.

MS. OKA DONER: I liked that, too. Ive made a sacred space. In almost thirty years, its never been damaged.. MS. SHEA: I was going to say. And it was wet and responsive to my hands. And then in 1990 when both boys were grown, I traveled extensively. And his name was Lee and he was killed in the war, and I am named for him; Michele Lee. And no, it was a very unusual thing to do. It's the same kind of it's just life. MS. OKA DONER: I used the local. We're they actually created in two pieces? MS. OKA DONER: I have ideas. MS. SHEA: So it's limited. MS. OKA DONER: Yes, so that was exciting. MS. SHEA: And was it mostly your mother that was taking you to the museums, or both of your parents? You can't come with a clean slate. [Laughs.]. I had never lived in a city, and Miami wasn't a city. So I didn't want to paint stripes like Kenneth Noland. It's very hard to sustain a working day and the kind of intensity that it takes to create physically and mentally. There's Cadet Blue, Rebel Gray. MS. SHEA: [Affirmative.] MS. OKA DONER: In the art history department. Not this. MS. OKA DONER: I was feminine. And so I used Texas aggregate and I ran in glass the Rio Grande River through the footprint of the courthouse, which is something everybody could connect to; their own land, their own place. All of a sudden you'd come in and it's sitting there. Or do you kind of think about things for a while? Sales segmentation was extremely valuable., Practical, relevant and state-of-the-art training., Invaluable techniques for qualifying and working effectively with the inside team!, Powerful group sharing and a goldmine of strategies to improve sales results., Introduction to Value-First Selling Program, How to Establish Profitable Sales Relationships, Scripting: The Path to Duplicable Success, Highly engaging, fast-paced sessions generated timely solutions., Numerous tactical ideas were discussed that we leveraged into our business., Learning from my peers was one of many highlights., Fantastic formatGreat cutting-edge ideas I can use!. Before the revolution it had been a town of 8000 half Jews. Did you call them? 2003 Ramljak, Susanne, Arthur Danto, Morris Lapidus, Mitchell Wolfson Jr. "Artists Whose Work Doesn't Hang on Walls. And I think it's so true, because being born in Miami Beach was very significant. That, in turn, led to an invitation to participate in the competition for the Miami airport project, which Oka Doner won with her submission of an eight-foot-long drawing. There's white marbles called Persian Cream, Bianco Mexicano. [Laughs.] MS. SHEA: Oh, yes, first show. I've done legs of furniture. You could say who's at the dinner party. I'd like to be in there if I was a fishy. MS. OKA DONER: And I didn't want the trap of a girls' school where it was very precious to be an artist. MS. SHEA: That's really interesting to me. Her corrections and emendations appear below in brackets with initials. MS. OKA DONER: Yes. You know, many times they call and they need oh, Peter Marino. "Sculptress carved her niche in life. MS. SHEA: Doing this whole process. She knew beauty and she knew line and form and color and design. I still have it. It was the first of many installations that shed pedestals and traditional ways of displaying sculpture. Thank goodness for the Internet. I was a teaching fellow. And you said it's actually a close-up of a salt crystal. MS. SHEA: Ah. MS. SHEA: Aha. Were they cast iron? MS. SHEA: And it's a wonderful space. MS. OKA DONER: One did bronzes, one did furniture, one did cars. And he went to Mills College [Oakland, CA] after he left Ann Arbor, and he then ended up growing pot. And then he painted frescoes in convents upstate New York before he had a family and went into business. MS. SHEA: that's based, and do some designs, because it seemed to me that your designs for them are based on nature. It just sounded so great. We didn't take the children often. And we move thus. And I was also making objects. MS. OKA DONER: No, I'm really not a collector. Miami Beach wasn't such a big city either. MS. SHEA: Yes, that does sound like a not very positive stereotype. MS. OKA DONER: So I put it in at this architectural bookstore called Archivia, and two years later they said, "Well, we have it. We'd be so happy to help you. MS. OKA DONER: I think Carlo did the furniture, didn't he? Josephine Shea (1958- ) is a curator in Grosse Pointe Park, Michigan. MS. SHEA: And do you feel that you kind of maybe got that from your mother, or do you feel like you've carefully developed that and focused on trying to have that? So the table is about at least 12 years ago. But I was thinking maybe you could add something to the architecture, an installation. It really devoured the bronzes. And you can't really run electrical cords through, and I don't like the cords hanging, so I had to create light in the evening. I work till about seven every night. And we seek or I seek for both. Would you just try to . And we have both sound bars and a countdown. MS. OKA DONER: No, not until I did this book [Miami Beach: Blueprint of an Eden]. MS. OKA DONER: Yes. I didn't know that. Duration is 3 hr., 20 min. I was going to ask, do you remember your first show? MS. SHEA: And any more aspects because you said your degree was a Bachelor of Science. 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. The artist's longtime home and studio in New York City serves as an incubator for ideas and inspiration.

WebMichele Oka Doner (born 1945, Miami Beach, Florida) is an American artist and author. MS. OKA DONER: I think why I'm able to continue it is that I have a dialogue with certain friends that are also engaged in the same things, so I don't have to start it up. MS. OKA DONER: Yes. And everybody else did graphic design and they handed in something and he had mosaics made. IGY oriented her toward self-curated collections: shells and stones found on the beach and organized in rows like little friends, or her white stoneware raku Seeds and Pods spread evenly within an invisible square. MS. OKA DONER: There are parts of this floor that are original, and they are finished. A cabinet inset in a wall displays one of her armless Tattooed Dolls, part of an early series inspired by the pricked surfaces and torso shapes of coral. "Sometimes a crumb falls from the table of joy, sometimes a bone is flung. MS. SHEA: I was going to say that can be some pretty big things to live up to. And, you know, to do presentations today you can really send JPEGS. Pei did the glass pyramid. But your teacher was John Stephenson. ], MS. OKA DONER: Well, it's nice because I can really add to the piles or walk. I have interns here. Anything you remember about writing about something that really particularly caught your imagination? I also had some kind of technical questions. And I have a book on Mayan papermaking that's really remarkable, with samples, and several rare books on Egypt. And the Tennessee courthouse also has, besides the wonderful articulation at the top of plant life, around the column shaft itself, like you see on these Corinthians, there's usually a secondary band. You couldn't live off campus in those days. MS. OKA DONER: In my exhibition at the Detroit Institute of Arts, "Works in Progress" [1978], it was an installation. MS. OKA DONER: That was wonderful. It's called an Ice Ring [1989.] Her public she prefers Lewis Mumfords term civic artworks had something of a domino effect.One featuring cast-bronze sculptures embedded in the floor of the Evanston, Illinois, public library, for instance, begat another, for the Sacramento Central Library. Using a krypton laser, they created the first art holograms.

Without it you can't do anything. It was my Mother's Day present. I quietly went down where they showed me Steuben would sign their bowls. The interdependency is wonderful. It just seemed ripe. MS. SHEA: Oh, I bet there were some amazing colors in that. There's these bluffs, and we found lots of fossils. And then there's this beautiful natural beeswax that I have here that I used to make that archival piece. It's a red wax. Or I have other friends who well, it's health. And then the last hour I wrap and get things set up for the next day. The idea of sodium and how salt lines up on axes; it's really quite beautiful, and they're kind of fuzzy lines. Is it beeswax, or is it a different kind of wax? And so were there design classes? "Michele Oka Doner: Scultrice, Maga, Filosofa, Donna d'affari. I had a wonderful teacher. It was about, I want one, too. MS. SHEA: And that must have been before they redid now it's kind of part of the museum, the glass shops. This was probably the most political thing I've ever done. Michele Oka Doner (1945- ) is glass artist and sculptor, in New York, New York. MS. OKA DONER: I wrote when I needed to. Sounds like it would be quiet time. Did you do that in grade school?

MS. SHEA: And then I'm looking, as we continue the visual tour around to the right, and I see very dark pieces. It really was very vital in the '20s and '30s, the Scarab Club, all the Pewabic tiles everywhere. She began making these anthropomorphic forms in the late 1970s and returned to them during her 20082010 residency at the historic Nymphenburg Porcelain Manufactory in Germany, creating fifteen hundred more. MS. OKA DONER: Yeah, it wouldn't happen. MS. OKA DONER: So you think about how recently the school of architecture and design was built by Dean Lorch. And then I realized, of course, this had come out in a real book at one point. And it's the collection of Judaica here in New York at Temple Emmanuel. I said, "Don't worry. You talked about paper. She paused and her answer took us back to the postwar period, that gray time during the Cold War: My mother was glamorous. In that project, they left me the plaza identity, but it was so highly designed and there was so little room to do anything that I had trouble sinking a taproot in and expanding. The program is designed to transform the inside team from a client relations mind-set, to a world-class sales team. MS. SHEA: And I remember these tables as well. MS. OKA DONER: And then I have the keystone from the Keystone State, and then struck the floor with big streaks of lightning for Benjamin Franklin. And also other cousins remember that he had quite a few black employees in those days they called them Negroes and my grandfather used to sit and sketch his employees while they worked. And then this iconography is different. Essay: Prof. Nancy Voss. MS. OKA DONER: He cut the floor into circles. MS. SHEA: But with the burning branches you have the white candles. It seems like it was yeah. Her work evolved to include disturbingly tattooed, armless porcelain dolls although the assignment was to make three jars with lids then ceramic body parts, seeds and pods. I think I've always loved beautiful paper. And you'd have to be someplace, I would say, rural or industrial to build the kind of kiln it would take to make the larger figures. You know? MS. OKA DONER: It was her way of also using she had enormous energy. [19] These sculptures traveled to the Edinburgh College of Art in conjunction with the Festival in 1973. So the world will catch up. Because they're quite interesting. . So I borrowed a bowl they had, I borrowed a scribe, I took it back here to New York and I tried it out, and it worked. And you didn't have to, but to get an M.F.A. MS. OKA DONER: My skirts couldn't be short as the other girls. When he was younger, or middle . MS. OKA DONER: Claes Oldenburg saw my work and said to him, this is really great work. And I don't work well in the evening if I've worked all day. And the building's from 1885, and it was a button factory. MS. SHEA: [Laughs.] Pages. Oka Doners designs, she admits, are made for the eye, not the back or derriere. Quotes and excerpts must be cited as follows: Oral history interview with Michele Oka Doner, 2007 August 20-November 17. Before that, in Charlotte, North Carolina, I did a proposal. [Laughs.] accountability, and value add programs., The Wholesaler Bootcamp provided me with the strategies needed to maximize my sales.. You know, Maija Grotel and then I know that you were creating ceramic pieces, but there was the whole, you know, the decoration of pottery that women were doing. Miami Beach native Michele Oka Doner leaves footprint on upcoming Aspen Ideas: Climate Conference Written By Elisa Turner May 3, 2022 at 10:10 PM Miami Beach native and artist Michele Oka Doner will visit the Aspen Ideas: Climate. Her artistic legacy has long been inspired by Floridas fragile eco-system. MS. OKA DONER: Yes, much smaller. And when he came to New York at the turn of the last century, he painted frescoes in the Metropolitan Opera House as it was being erected on 32nd Street here in New York. MS. SHEA: And then just to talk a little bit more about the setting. She has elegantly translated these rudimentary forms into real objects of art."[24]. That's Schmidt's in Ypsilanti. 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. And they were slow to take to the idea. [Laughs.]. I explored Detroit. (Now retired, Fred manages the business side of his wifes studio. It was a very exciting time. And a large scale. MS. OKA DONER: And suffering from having the, some kind of weight on me that I couldn't possibly remove. 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. And I did diatoms, which are just charming and really they look like charms. MS. OKA DONER: because I do a lot of research in it. MS. SHEA: Along the coast and the bluffs? It was the International Geophysical Year [IGY], a pause in hostilities during the Cold War, and a time to think about the family of nature, the family of scientists in the East and the West, and the taxonomic relationships that keep things in order. We werent meant to as humans. I've got a piece at the Cancer Center that's about to go to contract. 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. Breitmeyer, Eleanor. National Art Databases and Museum Inventories: [4] The family lived a public and politically active life. WebExhibitions 2018 Michele Oka Doner Selected Exhibitions in 2018: Dust Thou Art, Grounds for Sculpture, Hamilton, New Jersey (solo exhibition) Mysterium, University of Michigan Museum of Art (UMMA), Ann Arbor, Michigan (solo exhibition) 2017 Michele Oka Doner Selected Exhibitions in 2017: Into the Mysterium, Lowe Art Museum, Miami, Florida, United MS. SHEA: And did you as you were growing up kind of go back and forth between Miami and New York? Went to Sarnia [Ontario] from Port Huron [Michigan]. MS. SHEA: That's interesting, because it was supposedly so experimental or so breaking the mold, but then , MS. OKA DONER: No, it was breaking the mold away from what the last , MS. SHEA: had been, the last didactic people had said you have to do. And art teachers, again, in high school? 9:30 a.m.12:00 p.m. "Your absence goes through me like a needle through cloth.".

So they're three different approaches. And tell me about the wax piece that's around the corner here. michele oka doner husband. MS. SHEA: And that sounds a little going back to you said you studied a lot of the Buddhist and those traditions? Pauls articles are regularly featured in such financial industry publications as Ignites, Registered Rep, On Wall Street, Investment Advisor, and National Underwriters. And it's nice. The first was the WPA era of the 1930s and 40s, when the government program paid artists, including Willem de Kooning and Jackson Pollock, to produce public murals and sculptures. MS. OKA DONER: It was. You've mentioned going to Europe. Fifty years ago, to endow objects with larger meaning, even ceremonial meaning, I often used metals. MS. SHEA: Yes. MS. SHEA: And then I'm also seeing an interesting lacquer chair with the inset of . 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. CORVID CURIOSITY Michele Oka Doner continues her work on Corvid, a rendering of a raven begun on March 12 With seemingly endless commissions and exhibitions to prepare for prior to the pandemic, I never had the luxury of this much time, says Michele Oka Doner, as she pulls out a suite of handsomely scaled works in progress MS. OKA DONER: Yes. MS. SHEA: Ah. The studio is punctuated by Corinthian columns surrounded by circular radiators, which are original to the 1885 building and still distribute heat. MS. OKA DONER: Yes, it was a big canvas for me. And then that was as large as my kiln would hold.

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. MS. OKA DONER: Well, I think because so much communication, I'd say you get more e-mails today than phone calls. MS. SHEA: in a much smaller form. MS. OKA DONER: Right. The late architect Morris Lapidus said of "Celestial Plaza," "By laying these forms at our feet, she encourages us to stop and search the sparkling expanse for landmarks just as we would search the night sky. That's the hardest one.

And you hear sounds and music every day, so it's just remixed, which is exactly what happened when he wrote this book about 15 to 20 years ago. I get it in the block and I add as much as I like or not like.

MS. OKA DONER: Well, they're very exciting pieces. Then the third one was dealing with the social issue of being stopped and screened, and how to dignify that in some way. And then tell me a little bit about the technical aspects, because it sounds to me like when you first started exhibiting you were working a lot in ceramics. And then there's two chairs flanking an old piece of it was a console that I bought from an antique dealer in Michigan, who bought it from Dr. [Paul] Grigaux [Associate Director of Museum of Art in Detroit; retired to Ann Arbor as Emeritas Professor in the early 1960s MOD], who used to teach at the University of Michigan. There were so many of them. MS. OKA DONER: Lucy Lippard came and looked at the studio. And with my grandfather it actually manifested itself and he could imitate any bird he had ever heard in the Russian woods. . MS. OKA DONER: Well, not if you take that Route 7 all the way up to the Au Sable River. I used them differently. And all these home gardens, I think, and botanical paintings, there's so much reflection taking place, and maybe even more now that it's not part of our daily lives. MS. SHEA: [Laughs.] Where did you collect those? I think for me it was a good desert.

And at the time of the airport we bought an apartment in Miami Beach[1990], and the apartment had no soffits. MS. OKA DONER: I had a Rikers mount very early on with a wonderful shell collection from Sanibel Island [Florida] going back to the days when Sanibel Island wasn't connected to the mainland and one had to take a ferry.

And I thought that was a very interesting way to begin.