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seems to me there was a time when art history was regarded as very dead. Then the students seem to be much more interested now in old master drawings, and ...

Y: I think that one of the things about American art schools at one period was in a funny way I think I went through that myself. There ws a kind of limiting exposure in the sense that there was exposure to the history of Western art primarily -- you mentioned old masters -- in my definition of old masters I would include early African sculpture and Japanese prints, Chinese landscapes ...

G: Oh, yea.

Y: And I'm very interested in exposing the student to the entire history of art, rather than just the history of Western easel painting. And I think that a lot of these successful so-called Chicago artists, the people I have sort of dealt with as students, got a great deal of exposure to these other cultures of the past.

G: I can certainly see a very strong influence of that on Roger Brown in the kind of Oriental perspective that he uses, maybe more obviously with him than any of the others I can think of off hand, but I know they all mention your influence in this kind of thing, it was very significant in their development, several of them in the conversations that I have read on this kind of thing.

Y: Because I feel that just limiting their experience to the history of Western easel painting is insufficient somehow for an artist.