Code,901031,
Subject,John L. Moore,
Date,1/13/2009,
Interviewer,William Busta,
Keywords,"automobile industry, general motors, art, artists, african-americans, tri-c, cuyahoga community college, cleveland state university, cleveland museum of art, university circle, art education, military service, east high school, affirmative action, 101st Airborne, aviation, kent state university, new york city, cleveland.......... SEE ALSO: http://www.johnlmoore.net/",
Abstract,"Artist John L. Moore discusses his life and art.  Born on the east side of Cleveland, Ohio in 1939, Moore attended East High School and took art classes at the Cleveland Museum of Art before attending Cuyahoga Community College, and later Kent State University, where he received his Bachelor of Fine Art.  The artist discusses his experiences at these institutions in some detail, including information about numerous individuals who had an impact on his artistic development.  After high school, Moore joined the Army, where he served in the 101st Airborne Division - an experience that he credits for advancing his personal and artistic development.  As a non-traditional student of art, Moore also worked at Cleveland's General Motors (GM) plant to support his family and to pay for school.  While employed at GM, Moore initiated an employee art program to highlight artistic works by GM employees; the program evolved into an annual judged exhibit.  Moore estimates that some 10% of his co-workers at GM self-identified as artists.  The artist also discusses his teaching career, as well as the impact of Cleveland on his own art.  Moore left Cleveland in 1985 to continue his career in New York City.  throughout the interview, Moore shares his observations and insights on the dynamics of race in the art world, providing detailed examples that illustrate the meaning of race in the conception, production, and consumption of artistic works by African-Americans.  This interview was recorded over a telephone connection.",
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0,[setting up phone interview],
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4,interview begins: introduction,
5,"realization of artistic talent: began in Kindergarten, role of family in artistic development; Born in Cleveland (1939)",
6,art education: classes at Cleveland Museum of Art,
7,Growing up in University Circle area,
8,"realization of artistic talent: encouragement and incentives, contests, viewed in context of normal teenage activities",
9,"art education: encouraging teachers at East High School entered him in contests, art as THE major activity in school",
10,_____applying to art schools,
11,_____financial considerations of attending art school (1958) meant postponing education for military service,
12,"_____perceived job prospects: draftsman or engineer, attended Tri-C (1961) to study Social Work initially, then Art",
13,"_____instructors at Tri-C were impressive and influential (Hopperman [sp?] and Jerry Kramer [sp?]),  student Gary Dunn",
14,__________instructors studied under Lesanski [sp?] at Iowa,
15,"_____figurative drawing, exhibit at CSU Art Gallery curated by Evelyn Mitchell",
16,"_____BFA at Kent State University (1972), worked full-time while attending Tri-C and CSU (1960s)",
17,employment: description of work duties and benefits at General Motors (1960s),
18,_____about 10% of employees at GM considered themselves artists,
19,"_____GM employee art exhibits, curated and promoted by Moore (details)",
20,_____the idea for employee art exhibits came from European factories,
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22,"_____overall good experience at GM, offered supervisor position but declined to pursue art",
23,"art education: Kent State University faculty, being a non-traditional student (older, working, with family)",
24,"art education (teaching): Tri-C, Cleveland Museum of Art",
25,"_____job at CMA: ""basically, it was affirmative action""",
26,art education: Kent State University instructor Joseph O'Sickey,
27,_____developing own style,
28,"art and race: ""as a black artist... i didn't want to follow the direction of the Harlem Rennaissance artists""",
29,artistic development: military experience (in 101st Airborne) informed understanding of landscape (aerial views),
30,_____aerial landscapes,
31,"military service: friendship, 101st Airborne",
32,"_____fear, training",
33,_____military training reinforced positive upbringing by family,
34,"_____when I came out of the military ""I wasn't the same person""",
35,art education: learning in non-academic settings,
36,"_____meeting Jack Torkoff [sp?] in Provincetown, MA; friendship and collaboration with Moe Brooker",
37,gallery exhibits,
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39,"General Motors Employee Art exhibits: ""I do art social work... trying to help artists do exhibits""",
40,"_____individuals involved with program, collaborations with other institutions",
41,"art and race: ""I wanted to find my own way, independent of ...expectations about what an African-American artist should do""",
42,"_____""i deal with all those subjects in my art but i wanted to do it in a more covert way""",
43,_____review of black artists and exhibits featuring black artists as well as artists of other races/ethnicities,
44,"_____Martin Luther King, Jr. themed exhibit at Cleveland Museum of Art (details about curation and audience reactions)",
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47,"_____""they really wanted to be considered artists, not just black artists""",
48,"_____""they consciously made a decision to be abstract artists [so that they wouldn't be limited by race]""",
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50,"_____""the reality is that [many black artists approach art by saying] 'Give them what they expect'""",
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53,_____the audience and collectors want to know the context and background of the artist,
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56,"impact of Cleveland, OH on own art: ""Midwestern quality"" of regional art, influence of Cleveland Museum of Art (CMA)",
57,_____theater,
58,"artistic career:  I've been very lucky.  People actually think I'm a successful artist - not financially of course"", reviews, shows",
59,"_____upcoming shows, ""i'm 70 years old... but i think i'm making some of my best art""",
60,"_____""this art business is very hard work... you're always dependent on someone else""",
61,leaving cleveland (1985) to move to NYC,
62,_____curating exhibits in NYC,
63,"impact of Cleveland, OH on own art: grateful for having grown up in Cleveland and having access to CMA",
64,_____support from institutions and individuals (teachers),
65,closing comments; impact of CMA and New Gallery on own artistic development,
66,closing comments,
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68,end,