That was my first museum show and I have a picture of the whole thing up above the door to the library there. The Corcoran in Washington, right across from the White House. Der Amerikaner Duane Hanson ... Aber der Monteur vom Dienst war eine Skulptur von Hanson. The director, who is now head of the Hirshhorn, we were out at dinner at a restaurant and he said, “We better get going because you have to give a talk and so on.” So we went and there were cars all over. He might still be alive, but I heard he was in a nursing home. Im Werk beider Künstler sind gewöhnlich wirkende Szenen, Durchschnittsmenschen, sowie bedrückende Alltagsszenarien in ungeschönter Detailtreue eingefangen. It upsets my family, though, when they read about it because it brings back all that trauma and the worry that they had. You know, it looked like a cake but it wasn’t, and served canapés. One’s teaching up here in Boca Raton, teaching art in a private school. So many people in our society we take for granted that really hold the fabric of the country together. A lot of his work was shown at the Walker. Summer is summer and we have longer summers here. I don’t do much before then. So anyway, it’s worked out because, like I said, I need some time to read where you’re not in a mess with all the dirt and grime and dust I’ve had in warehouse situations, but they don’t have light. This is in the plaster room where he made his sketches. It’s very symbolic and surrealistic. One kid has got a place in Hawaii and he’s doing quite well and up here in Gainesville. He’s done a lot of big monuments of Churchill and whatnot. The legs and arms, and the whole thing he makes one mold of. MR. HANSON: My wife’s father and mother live just ten minutes away and he was ill with cancer at the time. So then I felt like I was an idiot, you know. I was always interested in carving things out, working with my hands, working in three dimensions with clay or wood, plaster, whatever. HANSON: That was before sculptors got into welding. He was only around 60, but he had a hard time in his later life.
It’s just ruined, and then they put in this ugly foundry in Cranbrook. KIRWIN: When you have your figures in exhibition, do you arrange them? I could work all night but that’s not good to get in that habit because you get detached from the real world too much, I think. MR. HANSON: They were painted and they were all a very rough surface carved out with a rasp. I could use some help. So we came back to the States in 1960. It’s wonderful material but, I had some ideas how that can go faster, too, but I let it go until I get these bronze editions going and then I’ll come back to it. Then I get to thinking, “You know, this could have been better if this arm was down or if this leg was bent, or if this head was tilted a little bit.” I got into all these self-agonizing things about what I could have done. In Berkeley, the Whitneys saw it and they didn’t tell me about it, but they said they’d like to have it. I don’t know what she does now. MR. HANSON: Oh, yes. But my parents weren’t like that. I’m going to Florida.” So I got a job down here in Miami Dade Junior College. The culturists kept the country alive. But that’s all right. I want to do something that I have strong feelings about, about the society, about war, about the environment, about all these things, which I still have.
MR. HANSON: Yes, we’ve exchanged types of materials we use and that’s usually what we talk about when we’re together. Then the next year they wanted a show again and I got a grant from the German Academic Exchange Service. MS. KIRWIN: So these issues weigh heavily on your figures? He said, “Now, this is the artist here, Duane Hanson, and all his grandparents came from Sweden.” So I thought, oh, my, that would perk him up, Gustav Adolph, whatever it is, XVI. These children, about fifty of them, sent me letters that, “I like this one best because—“This was the best.” “Oh, it was real.” A great response from the kids. “That’s him!” I said to my dad. MS. KIRWIN: Is your work in a lot of corporate collections? He did welded things. Julie Schmidt. So I was looking for something else. People are attracted and I’m always amazed and I always think that wherever I have a show that it won’t happen again, but it does happen. He had talked like dusters in his throat.
I had to go through that period. But, I admire him. Those were the two sculptors. Er besuchte das Luther College in Decorah (Iowa) und studierte ab 1944 an der University of Washington Kunst im Hauptfach. That was one of the first things I did, [a carving of Gainsborough’s] MR. HANSON: All painted up, lifelike. Last year, I had a show in Auckland at this time of year and that was the same thing there. In fact, I wanted to do a jogger some years ago and I was taking pictures for a couple years and I couldn’t find the right guy, the right model, and I didn’t know how I was going to portray it. Now, could you tell me about when you were born; what it was like growing up in Minnesota. New Zealand, we have a Iot of my own work in that show. Especially in New York, I was very pleased because they’re so—MR. They imitate us and still reject a lot of it. So you have to kind of compensate for that and realize that they might be seen in such a situation. I went back to the University of Minnesota and that’s where I met John Rood and met my future wife, who was a medical student.
MS. KIRWIN: I was asking about how many pieces of sculpture do you make each year? So you get a new kind of realism that was based on the material; the carvings to show the honesty of the material.
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