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Oral History Interview with Michael Bierut, 2011 December 13

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Oral History Interview with Michael Bierut, 2011 December 13 Oral history interview with Michael Bierut, 2011 December 13 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Michael Bierut on December 13, 2011. The interview took place in the office of Michael Bierut in New York City, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Michael Bierut has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Smithsonian’s Archives of American Art with Michael Bierut in the designer's office in New York City, December 13th, 2011, for the Smithsonian’s Archives of American Art. This is disc number one. Okay— MICHAEL BIERUT: Oh, I need to warn you of one last thing. My phone might ring, and my partner Abbott's going to ask me a really short question, okay? MIJA RIEDEL: Okay. All right. If you just— MICHAEL BIERUT: And then I'm going to ask him a short question, then I'll be done, okay? MIJA RIEDEL: Okay. We will— MICHAEL BIERUT: That's the only interruption I'm expecting. MIJA RIEDEL: We will pause that if— MICHAEL BIERUT: It's not confidential. MIJA RIEDEL: Okay. MICHAEL BIERUT: It can be committed to tape; it shouldn't be in the transcript probably. MIJA RIEDEL: Okay. You were born in Cincinnati? MICHAEL BIERUT: No, no, I was born in— MIJA RIEDEL: There we go. [They laugh.] MICHAEL BIERUT: I was born in Garfield Heights, Ohio— MIJA RIEDEL: Okay. MICHAEL BIERUT: —which is a southwestern suburb of Cleveland, in 1957. MIJA RIEDEL: What was the date? MICHAEL BIERUT: August 29th. MIJA RIEDEL: Okay. And would you describe your childhood and family background, what your parents did, with their names and siblings? MICHAEL BIERUT: Sure. My parents were Anne Marie and Leonard Bierut. My mom was a housewife, exactly in the Donna Reed mold—went to a technical high school and worked as a stenographer and late '50s era secretary, and—until she married my dad. And my dad went to Kent State on the GI Bill, got a business degree there and then did a couple of things and took a job selling printing presses actually— MIJA RIEDEL: Interesting. MICHAEL BIERUT: —and eventually started a business selling printing presses in Cleveland. And I—it's funny, it's —he died on my 30th birthday. And we had a lot of fights, but I was basically close to him. But as I matured, I got closer to him. There's an old joke about how much he seemed to pick up in a few years—[inaudible]—but— MIJA RIEDEL: [Inaudible]—right? MICHAEL BIERUT: —I came to appreciate, actually, that he was a real salesman. He had two partners. One of them was a finance guy. The other guy kind of ran the people inside. And he was in charge of the sales force. And selling printing presses is a complicated business. So it's, like, not everybody needs one—and it's a big, big purchase when people buy one, right? And one or two sales would make a whole year for him. And God bless him. He—I mean, there must have been a lot of worries and tension for his business in my house, but we were— me and my two brothers, twins, Ronald and Donald, three and a half years younger than me, must have been fairly well protected from all that didn't get a sense of him holding his breath waiting to see if that big Heidelberg sale went through so that we could, you know, move or go to college or stuff. [Laughs.] But he did. So that was his life. I think he internalized all of the worry, which is why he died of a heart attack in his 50s on my 30th birthday. MIJA RIEDEL: Oh, how awful. MICHAEL BIERUT: It was August 29th, 1987 is when he died, so tough. MIJA RIEDEL: Yes, that's awful. MICHAEL BIERUT: Yes. MIJA RIEDEL: Sorry to hear that. Do you as a child have recollections of printing presses? MICHAEL BIERUT: Oh, yes, yes, yes, yes. MIJA RIEDEL: Yes, and type and—interesting. MICHAEL BIERUT: He had a company called Turner Equipment; he and his partners had bought it out from—I think from someone else who had given it that name. And Saturdays I would go down to Turner with him. And in the front where these front offices where he worked, where they had fun things like old-fashioned adding machines and things. But in the back were all these, just—a lot of presses. They'd buy a derelict press and rebuild it and then resell it as a piece of used equipment. They would get things in and do it. This was the '60s. And so it was really like a physical, you know, business and still is to a certain degree. There's been a lot of computerization, digitization of the whole process, but still it's a manufacturing process that has an enormous amount of craft in it to a certain degree. That said—well, so my childhood was—I went to Catholic school in Garfield Heights. First I went to William Foster elementary school for kindergarten. Then I went to four years of Catholic school at St. Theresa's in Garfield Heights. And Garfield Heights was sort of a lower, lower-middle class suburb of Cleveland with a lot of very small kind of postwar bungalows. Then we moved to a slightly more upscale lower-middle class suburb—maybe middle-class suburb of Cleveland called Parma, Ohio, which is—it had such a large population of Eastern European immigrants that the word Parma in Cleveland circles was an acceptable euphemism for "Polack." So if you were—you can say, "Did you hear about these two guys from Parma"— MIJA RIEDEL: [Laughs.] MICHAEL BIERUT: —and know that you weren't giving offense while still giving plenty of offense. And in fact, my dad was Polish. His parents were Polish immigrants. My mom was Irish. Her parents were Irish immigrants. And so in Parma, we lived in a 1960s split level, a development of identical—or very similar—split-level houses. So it was very kind of Steven Spielberg-y kind of suburban life, you know, except with Cleveland winters and I'd say a kind of underlying tone of almost everyone I knew was Roman Catholic and parents who couldn't speak— had grandparents who couldn't speak English. You know, I might have been past the age of 20 before I went to a Protestant wedding where they say "Dearly beloved, we are gathered here in the sight of God." I literally said, "Shit, I thought they just invented that for television. I didn't know that people actually got married with those words." MIJA RIEDEL: [Laughs.] MICHAEL BIERUT: And, you know, I didn't know any really poor [people] it was a real homogenous environment. MIJA RIEDEL: Yes. MICHAEL BIERUT: So I didn't know anyone really poor. I didn't really know any black or Hispanic people. I also didn't know anyone rich. I'd never set foot in places like Shaker Heights or Gates Mills or Hunting Valley or the— fancier—parts of Cleveland. MIJA RIEDEL: Right. MICHAEL BIERUT: You know, so it was only when I went off to college that I started meeting different people, which was interesting. MIJA RIEDEL: Did you take art classes? MICHAEL BIERUT: Yes. Well, I was good at art, you know, as a— MIJA RIEDEL: You drew early on, correct? MICHAEL BIERUT: Yes, I drew a lot. I was very interested in drawing and good—and could do realistic drawing, which is what "good at art" means actually. MIJA RIEDEL: Right. [Laughs.] MICHAEL BIERUT: The other kinds of creativity aren't really revered quite as much as doing photographically realistic drawing, which I was able to get better and better at as I got older actually and sort of kind of got more and more kind of contemptuous of as I got better at it. It sort of—sort of seemed like such a cheap, easy-to-do— it just took time— MIJA RIEDEL: Yes. MICHAEL BIERUT: I sort of sensed that I didn't actually have real artistic creativity as I was growing up, too. MIJA RIEDEL: Why do you say that? MICHAEL BIERUT: I remember, like, I had one cousin—I had sort of like a cousin, who I don't think is a real cousin, though. I think she was actually the daughter of a guy who worked at Turner with my dad named Donna Sindelar. And Donna went to, I believe, Temple—or Tyler School of Art, Temple. And so she was the one person I knew who was an artist. And she was already, I think, at Tyler. And I was maybe in first or second grade. And she would take me to the Cleveland Art Museum— MIJA RIEDEL: Okay.
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