Oral History
Text, Audio
2025
William T. Williams, Oral History
Oral History Interview of William T. Williams by Liza Zapol in New York on October 17, 2025
Skowhegan Oral History Project
The collection of Oral Histories began as a project in 2011 with oral historian Liza Zapol to create a consistent group of testimonies and memories from different people that shaped the School over the years.
“When I began this project, knowing I would be working with visual artists I formulated my questions visually and sensorially: If you were to make a drawing of an image from your summer in 1957, what would it look like? What is the perspective? What objects and spaces do you remember?
My questions, now that I know Skowhegan through grounded theory, are more dynamic in relation to the narrator’s whole life and understanding, ultimately engaging in how they make meaning. What results is a collection of narratives which evoke images and relationships that are integral to art history, society, and visual culture. And it is resoundingly specific—through this collection of oral histories, we hear a polyvocal Skowhegan.”
-Liza Zapol
A selection of Oral Histories are accessible in The Library. Additional interviews are accessible upon request at archive@skowheganart.org. Participants include: Sigmund Abeles, Emma Amos, Mildred Brinn, Ashley Bryan, Warren Cook, Daphne Cummings, Lois Dodd, Rackstraw Downes, David Driskell, Janet Fish, Richard Haas, Sidney Hurtwitz, Yvonne Jacquette, Penelope Jencks, Alex Katz, William King, Joyce Kozloff, Barbara Lapcek, Brice Marden, Alexander Milliken, Heidi Nitze, Muriel Palmer, Howardena Pindell, David Reed, Thomas Lanigan-Schmidt, Abigail Shahn, Robert Storr and Barbara Sussman.
Abstract
This Oral History interview was developed by Liza Zapol in New York on October 17, 2025 and covers William T. Williams’ early life, artistic development, experiences at Skowhegan, his teaching philosophy, and reflections on art education and institutional changes. Early life and dual cultural experience are discussed: living in rural North Carolina in the 1940s and urban New York City, which influenced his development and shaped his foundation for life and art. He discusses his introduction to art and early encouragement, the development of both his athletic and artistic interests, and linking discipline in sports to focus in art. Williams then moves into discussion of education and his decision to pursue art: graphic design, then enrollment at Pratt Institute, shift to painting, guidance from Richard Bove. He received support from paint supplier Leonard Bocour when he won the Skowhegan prize giving him material and technical support, and enabling him to experiment with acrylics.
Williams walks through first impressions and experiences at Skowhegan: Skowhegan in 1965, minimal racial diversity, and polite and supportive relationships, especially Alfred Leslie. He experienced artistic growth through critique and peer interaction including robust discussions about art, exploring differing views on abstraction and figuration, and the freedom to experiment. He then discusses his teaching philosophy and mentorship at Skowhegan. Williams returned as faculty and later director, supporting students’ individual artistic paths rather than imposing his views. He focused critiques on formal aspects of work and encouraged experimentation and learning from failure. He held administrative roles and discusses institutional challenges including his time as director during a tumultuous period marked by board conflicts and shifts toward greater diversity and inclusion. His tenure included an all-female faculty summer in 1979, and work in recognition of the need for institutional adaptation to changing art forms and demographics. He closes with reflections on diversity and sustainability in art education. His ongoing artistic motivation and legacy include: continual learning, focusing on the creative process rather than external validation, underscoring a lifelong commitment to art-making.
People
William T. Williams