Voices of Railroad Art is an independent oral history project documenting the people who create, preserve, study, collect, exhibit, publish, sell, and interpret railroad art.
The project’s primary purpose is to preserve firsthand accounts for future scholarship before they are lost. Interviews may also support books, articles, exhibitions, educational programs, podcasts, documentaries, websites, and archival collections, but preservation—not publication—is the central mission.
While the project begins with living railroad artists, the scope is intentionally broader. Over time, interviews may include collectors, curators, historians, editors, gallery owners, preservationists, publishers, and others who have helped shape the field.
To date, I’ve found numerous oral history projects documenting railroad labor and transportation history, but none focused specifically on the people behind railroad art.
Why I’m Doing This
The immediate impetus was the passing of artist Mitch Markowitz (1950–2026).
Mitch had agreed to be interviewed for a proposed article about railroaders who are also artists. While I was waiting for editorial direction, he died before we could record his story.
That experience reminded me that preserving these voices should not depend on whether a particular article has already been commissioned. Every year, we lose artists, collectors, historians, and others whose firsthand experiences cannot be recreated.
What Participation Looks Like
Most interviews will be conducted by Zoom, telephone, or in person.
Interviews are conversational rather than scripted and generally focus on:
- early influences
- artistic or professional development
- creative or collecting process
- significant works or projects
- the evolution of railroad art
- reflections on the field and its future
Whenever possible, interviews will be recorded, transcribed, and preserved along with supporting materials such as biographies, photographs, exhibition information, and (where permission is available) images of important works.
Interviewees will have an opportunity to review transcripts for factual corrections before publication or archival use.
Permissions and Stewardship
The project uses written permission agreements so that interviews can be preserved and responsibly used over the long term.
My goal is to ensure that these oral histories remain available for future researchers, educators, museums, and publications, while respecting any restrictions requested by interviewees.
Although the project is currently independent (and self-funded), I hope that the collection will eventually become part of an appropriate long-term archival repository.
Influences
The Smithsonian’s Archives of American Art has been an important model for this project—particularly its artist oral histories.
I’m also drawing upon the Oral History Association’s Principles and Best Practices, as well as Doing Oral History by Donald A. Ritchie and The Oral History Manual by Barbara W. Sommer and Mary Kay Quinlan.
As the project develops, I expect the methodology to evolve through conversations with oral historians, archivists, and participating interviewees.
Interested in Participating?
If you create, preserve, study, collect, exhibit, publish, or otherwise contribute to the field of railroad art—and would be interested in participating—I would be delighted to hear from you.
Please contact me
Published July 2026 • Last updated August 2026