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Ed McGowin papers, 1962-1998

Creator:
McGowin, Ed, 1938-  Search this
Subject:
DeMonte, Claudia  Search this
Type:
Sketchbooks
Photographs
Topic:
Painters  Search this
Sculptors  Search this
Record number:
(DSI-AAA_CollID)6208
(DSI-AAA_SIRISBib)216493
AAA_collcode_mcgoed
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216493

Henri Gallery records

Creator:
Henri Gallery (Washington, D.C.)  Search this
Names:
Abraham, Darryl  Search this
Anderson, Harry  Search this
Antin, Eleanor  Search this
Bickley-Green, Cynthia  Search this
Clements, Robert  Search this
Edelson, Mary Beth  Search this
Exton, Leslie  Search this
Greenly, Colin, 1928-  Search this
Herbert, Mimi  Search this
Ishida, Traute  Search this
Kogelnik, Kiki  Search this
Kohlmeyer, Ida, 1912-1997  Search this
McGowin, Ed, 1938-  Search this
Nakashima, Tom, 1941-  Search this
Outerbridge, Graeme, 1950-  Search this
Puryear, Martin, 1941-  Search this
Scanga, Italo, 1932-  Search this
Stackhouse, Robert  Search this
Van Brunt, Philip  Search this
Wilson, May, 1905-1986  Search this
Extent:
55.4 Linear feet
Type:
Archival materials
Collection descriptions
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Date:
circa early 1900s
1940-1996
bulk 1957-1995
Summary:
The records of Henri Gallery, a Washington, D.C. gallery that showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.
Scope and Contents:
The records of Henri Gallery, a Washington, D.C. gallery which showed painters from the Washington Color School and emerging artists, measure 55.4 linear feet and date from circa early 1900s, 1940 to 1996, with the bulk of the materials dating from 1957 to 1995. The gallery's relationship with artists and clients, exhibitions, sales, and other business is documented in alphabetical files containing a wide variety of materials, including correspondence, sales records, printed materials, photographs, slides, and motion picture film. Additional correspondence, newspaper clippings, 114 exhibition posters, scattered drawings, illustrated cards, and photographic materials are also found in the collection.

General Correspondence includes incoming business correspondence with artists, clients, galleries, and museums, regarding artwork, exhibitions, and other business issues. Also found here are holiday cards, handmade cards, and illustrated correspondence.

The bulk of the records consist of Alphabetical Files contains materials regarding artists, clients, exhibitions, galleries, museums, and various subjects of interest, originally arranged alphabetically by folder title. Folders range in quantity and variety of materials, including correspondence, printed materials, photographs, sales and consignment records, resumes, price lists, and exhibition records. There are especially rich or extensive files for Darryl Abraham, Harry Anderson, Cynthia Bickley-Green, Robert Clements, Mary Beth Edelson, Leslie Exton, Colin Greenly, Mimi Herbert, Traute Ishida, Kiki Kogelnik, Ida Kohlmeyer, Ed McGowin, Tom Nakashima, Graeme Outerbridge, Martin Puryear, Italo Scanga, Robert Stackhouse, Philip Van Brunt, and May Wilson. Of interest is the complete series of Eleanor Antin's 100 Boots postcards.

The bulk of Printed Materials are newspaper clippings regarding artists, exhibitions, and Henri Gallery. There are also 114 posters dating from 1959-1979 from Henri Gallery exhibitions and other galleries' exhibitions of artists in which the Henri Gallery represented.

Artwork is comprised of loose drawings and sketches, many of Henri. Photographic Materials contains black and white photographs, scattered color photographs, snapshots, and slides of artwork, exhibitions, Henri, the galleries spaces, and the Not New shop. Most photographs are undated.
Arrangement:
The collection is arranged as 5 series.

Series 1: General Correspondence, 1949-1996 (2.5 linear feet; Boxes 1-3, 55-56)

Series 2: Alphabetical Files, 1947-1996 (50.3 linear feet; Boxes 3-52, 55-57, OV58, FC 62-63)

Series 3: Printed Materials, circa early 1900s, 1940-1995 (1.2 linear feet; Boxes 52-53, 57, OVs 59-61)

Series 4: Artwork, 1952-circa 1996 (5 folders; Boxes 53, 57)

Series 5: Photographic Materials, 1940s-1981 (0.8 linear feet; Boxes 53-54, 57)
Biographical / Historical:
In 1957, Henrietta Ehrsam, known as "Henri," opened her eponymous gallery on South Royal Street in Alexandria, Virginia. Earlier, Henri and her partner Florie King had sold clothing, antiques, accessories and decorative arts alongside works of art at their consignment shop "Not New" in the same location.

In the 1960s, Henri showed painters Gene Davis, Thomas Downing, and Howard Mehring of the Washington Color School. In the summer of 1967, Henri Gallery moved to 1500 21st Street NW, closer to the Dupont Circle art galleries in Washington, D.C. Henri showed many young and emerging artists, including Cynthia Bickley-Green, William Christenberry, Mary Beth Edelson, Ed McGowin, and Robert Stackhouse. In 1970, Henri opened a second location, Henri 2, at 1875 Connecticut Ave. NW to exhibit large scale works. In 1972, Henri 2 held Martin Puryear's first solo exhibition in the United States. Henri passed away in 1996 and both gallery locations closed shortly thereafter.
Provenance:
Henri donated the Henri Gallery records in three accessions between 1980 - 1981. Henri's daughter, Helen Schnoebelen donated additional records in 1996.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Henri Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Color-field painting  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Genre/Form:
Illustrated letters
Greeting cards
Sketches
Drawings
Photographs
Citation:
Henri Gallery records, circa early 1900s, 1940-1996, bulk 1957-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.henrgall
See more items in:
Henri Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-henrgall
Additional Online Media:

Gene Davis papers

Creator:
Davis, Gene, 1920-1985  Search this
Names:
White House (Washington, D.C.)  Search this
Baro, Gene  Search this
Colby, Carl  Search this
Davis, Douglas  Search this
Davis, Florence  Search this
Greenberg, Clement, 1909-1994  Search this
McGowin, Ed, 1938-  Search this
Naifeh, Steven, 1952-  Search this
Nordland, Gerald  Search this
North, Percy, 1945-  Search this
Seitz, William Chapin  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Date:
1920-2000
bulk 1942-1990
Summary:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davigene
See more items in:
Gene Davis papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-davigene
Additional Online Media:

Stovall Workshop Inc. Slide Show Interviews

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran Gallery--Dupont Center  Search this
Stovall Workshop Inc.  Search this
Bronson, David  Search this
Cook, Dana  Search this
Davis, Gene, 1920-1985  Search this
Fralin, Frances  Search this
Gilliam, Sam, 1933-  Search this
Hopps, Walter  Search this
McGowin, Ed, 1938-  Search this
McNeill, Lloyd  Search this
Stovall, Di Bagley  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 sound recordings (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Interviews
Place:
Washington (D.C.)
Atlanta (Ga.)
United States
Date:
1983
Scope and Contents:
Interviews with Dana Cook, Francis Fralin, and David Bronson for Stovall Workshop Inc. Slide Show, which focused on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Cook, an illustrator and printmaker, discusses her experience working with and learning from Stovall at Workshop. Fralin speaks of Walter Hopps' outreach program idea leading to a relationship between Stovall and the Corcoran Gallery of Art, development of the Workshop at the Corcoran Gallery Dupont Circle, Stovall's and McNeill's poster collaboration, Stovall's silkscreening and drawing, Di Stovall's art and imagination, and other Workshop and Corcoran artists, including Sam Gilliam, David Bronson and Gene Davis. Bronson, a technician and craftsman, discusses his role at Workshop: helping to set up Workshop at Corcoran, learning silk screen process, working in woodshop, and creating prints for artists, including Ed McGowin for Name Change exhibition at Baltimore Museum of Art. All speak of Stovall's personality as a person, teacher and leader, particularly his perfectionist nature and high standards.
Interviews for slide show about Stovall Workshop Inc. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dana Cook interview dated 19830801: AV003309-1. Frances Fralin interview dated 19830809: AV003309-1 and AV003309-2. David Bronson interview dated 19830810: AV003314. All recordings have some distortions or skips in sound recording.
Biographical / Historical:
Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression from posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.
Local Numbers:
ACMA AV003309-2

ACMA AV003314
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Stovall Workshop Inc. Slide Show Interviews, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003309-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-03-001-ref507

Gracie Mansion Gallery records

Creator:
Gracie Mansion Gallery  Search this
Names:
Gracie Mansion (New York, N.Y.)  Search this
Bidlo, Mike  Search this
Cleveland, Buster, -1998  Search this
DeMonte, Claudia, 1947-  Search this
Greenblat, Rodney Alan, 1960-  Search this
Lack, Stephen  Search this
McGowin, Ed, 1938-  Search this
Sandrow, Hope, 1951-  Search this
Wojnarowicz, David  Search this
Zwillinger, Rhonda  Search this
Extent:
5.3 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1972-1991
Summary:
The records of the New York City contemporary Gracie Mansion Gallery measure 5.3 linear feet and date from 1972-1991. Most of the records date from the gallery opening in 1982 and later. The bulk of the collection consists of printed material and exhibition loan files that document the activities of the gallery and the East Village art scene. Loan and consignment files are found for numerous artists including Michael Bidlo, Buster Cleveland, Claudia DeMonte, Rodney Alan Greenblat, Stephen Lack, Ed McGowin, David Sandlin, Hope Sandrow, David Wojnarowicz, Rhonda Zwillinger, among others. Also found are scattered business records.
Scope and Content Note:
The records of the New York City contemporary Gracie Mansion Gallery measure 5.3 linear feet and date from 1972-1991. Most of the records date from the gallery's opening in 1982 and later. The bulk of the collection consists of printed material and exhibition loan files that document the activities of the gallery and the East Village art scene. Loan and consignment files are found for numerous artists including Michael Bidlo, Buster Cleveland, Claudia DeMonte, Rodney Alan Greenblat, Stephen Lack, Ed McGowin, David Sandlin, Hope Sandrow, David Wojnarowicz, and Rhonda Zwillinger, among others. Also found are scattered business records.

Extensive printed material includes newspaper and magazine clippings, exhibition catalogs, and artists' files. Exhibition loan files are found for artists, exhibitions, and art fairs. These files contain consignment and loan agreement forms, correspondence, exhibition announcements, newspaper and magazine clippings, negatives and slides of artwork and exhibition installations, and a handful of color photographs of artwork or exhibition locales.

Scattered business records include correspondence, returned consignment forms from 1982-1987, donation records and materials related to art auctions, artist commissions, various lists, materials related to the Gracie Mansion Museum Store, notes, and a variety of other documents related to gallery operations.
Arrangement:
The collection is arranged as 3 series:

Series 1: Printed Material, 1972-1991 (Boxes 1-2, 6; 0.80 linear feet)

Series 2: Exhibition Loans, 1982-1991 (Boxes 2-4; 2.25 linear feet)

Series 3: Business Records, 1982-1991 (Box 5; 1 linear foot)
Historical Note:
Painter and dealer Joanne Mayhew (b. circa 1947) changed her name to Gracie Mansion in 1982, and opened a gallery in the bathroom of her East Village apartment in March of that same year.

Gracie Mansion's first "Loo Division" exhibition was of her friend's photographs. The previous year, Gracie Mansion helped organize the "Limo Show", for which she rented a limousine and parked it on the corner of Spring and Broadway with fellow artists Buster Cleveland and Sur Rodney Sur. There, dressed as tourists, they served champagne and tried to sell their artwork to passersby.

This grassroots approach to the art market came to typify the emerging East Village art scene. Frustrated by the closed system of the SoHo and 57th Street galleries, in 1981-1982 several young artists and artists' groups began organizing shows and forming makeshift galleries of their own for fun and profit in the more affordable dilapidated East Village. The artwork they sold, predominately paintings, were also more affordable than those in SoHo.

The press quickly picked up on the East Village phenomenon and Mansion, who borrowed her name from the New York City mayor's official residence, had a charisma that made her and her gallery one of its favorite subjects. After three well-attended shows in her apartment, her landlord put a halt to her exhibitions and she moved her gallery to a larger space at 15 St. Mark's, then shortly after to 337 East Tenth Street between Avenues A and B. An integral part of the East Village art scene by the mid-80's, the Gracie Mansion Gallery, ran with the assistance of Sur Rodney Sur from 1983-1989, was one of the best known in the East Village during this boon.

Mansion specialized in large group exhibitions, theme shows that dramatically restyled the gallery, and the creative marketing of small affordable art. She represented a synthesis of painting and sculpture, art and environments, as opposed to single isolated objects. Among the artists she represented were Claudia DeMonte, Rodney Alan Greenblat, Ed McGowin , David Sandlin, Hope Sandrow, David Wojnarowicz, and Rhonda Zwillinger.

Eventually, Mansion relocated the gallery to SoHo and then Chelsea before closing in 2002 to focus on private dealing and the secondary market.
Provenance:
The Gracie Mansion Gallery records were donated in 1991 by Gracie Mansion, founder of the Gracie Mansion Gallery.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Gracie Mansion Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Art dealers  Search this
Art galleries, Commercial -- East Village (New York, N.Y.)  Search this
Artists -- United States  Search this
Genre/Form:
Photographs
Citation:
Gracie Mansion Gallery records, 1972-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gracmans
See more items in:
Gracie Mansion Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gracmans
Additional Online Media:

Mississippi Inscape, (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Precast concrete, crushed obsidian with ceramic and found objects
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by General Services Administration Office of Public Buildings and Real Property 100 West Capitol Street, Federal Building Jackson Mississippi 39201
Located McCoy Federal Building 100 West Capitol Street Plaza Jackson Mississippi
Date:
1979
Topic:
Allegory--Place--Mississippi  Search this
Literature--Faulkner  Search this
Dress  Search this
Object--Furniture--Bed  Search this
Object--Tool  Search this
Architecture--Vehicle--Wagon  Search this
Control number:
IAS 87980038
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_302943

Untitled, (sculpture)

Title:
VA Inscape, (sculpture)
Veterans' Administration Inscape, (sculpture)
Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Terra cotta and concrete, with interior figure painted black
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Richard Roudebush Medical Center 1481 West 10th Street Front of building Indianapolis Indiana 46202
Date:
Dedicated Sept. 26, 1985
Topic:
Abstract--Geometric  Search this
Figure--Full length  Search this
Figure--Torso  Search this
Control number:
IAS IN000339
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_322005

Ed McGowin : name change : one artist, twelve personas, thirty-five years : Alva Isaiah Fost, Lawrence Steven Orlean, Irby Benjamin Roy, Nathan Ellis McDuff, Euri Ignatius Everpure, Isaac Noel Anderson, Nicholas Gregory Nazianzen, Thornton Modestus Dossett, Ingram Andrew Young, Melvill Douglas O'Connor, Edward Everett Updike, William Edward McGowin

Title:
Name change
Author:
McGowin, Ed 1938-  Search this
Mobile Museum of Art  Search this
P.S. 1 Contemporary Art Center  Search this
Sarah Moody Gallery of Art  Search this
Ogden Museum  Search this
Flint Institute of Arts  Search this
Eesti Kunstimuuseum  Search this
Subject:
McGowin, Ed 1938-  Search this
Physical description:
100 p. : color illustrations ; 26 cm
Type:
Books
Exhibitions
Date:
2006
C2006
Call number:
N6537.M39657 A4 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_812123

Rebecca Davenport & Ed McGowin : December 5, 1978-February 2, 1979

Title:
Rebecca Davenport and Ed McGowin
Author:
Davenport, Rebecca 1943-  Search this
McGowin, Ed 1938-  Search this
Board of Governors of the Federal Reserve System (U.S.) Fine Arts Program  Search this
Subject:
Davenport, Rebecca 1943-  Search this
McGowin, Ed 1938-  Search this
Physical description:
[8] p. : illustrations ; 28 cm
Type:
Books
Exhibitions
Date:
1978
1978?]
Call number:
ND237.D258 A4 1978
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_816590

Figurative explorations : three contemporary perspectives / preface by Alexander Lee Nyerges ; essay by Elsie Brevard Smith ; biographical text by Daniel Kevin Mason

Author:
Smith, Elsie Brevard  Search this
Mississippi Museum of Art  Search this
Subject:
Francis, Ke  Search this
Hayes, Randy 1944-  Search this
McGowin, Ed 1938-  Search this
Physical description:
26 p. : ill. (some col.) ; 28 cm
Type:
Exhibitions
Date:
1990
[1990?]
20th century
Topic:
Figurative art  Search this
Art, American  Search this
Call number:
N6512 .S627 1990
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_526655

The Southern voice : Terry Allen, Vernon Fisher, Ed McGowin : [exhibition] September 13 to October 25, 1981 / The Fort Worth Art Museum

Author:
Fort Worth Art Museum  Search this
Subject:
Allen, Terry 1943-  Search this
Fisher, Vernon 1943-  Search this
McGowin, Ed 1938- Exhibitions  Search this
Physical description:
32 p. : ill. (some col.) ; 27 cm
Type:
Exhibitions
Date:
1981
Topic:
Narrative art  Search this
Narrative art (Art movement)  Search this
Call number:
N40.1.A418 S7
N40.1.A418S7
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_146436

Ed McGowin's true stories : [Catalogue of the exhibition] September 13-October 26, 1975, Corcoran Gallery of Art

Author:
McGowin, Ed 1938-  Search this
Corcoran Gallery of Art  Search this
Subject:
McGowin, Ed 1938-  Search this
Physical description:
60 pages : illustrations (some color) ; 28 cm
Type:
Books
Exhibitions
Exhibition catalogs
Date:
1975
20th century
Topic:
Art, American  Search this
Environment (Art)  Search this
Call number:
N40.1.M143 C7
N40.1.M143 C7
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_88513

Āto in paradaisu : from Claudia Demonte & Ed McGowin Collection / Omori Tetsuya hoka hen

Title:
アート・イン・ハラタイス : from Claudia Demonte & Ed McGowin Collection / 大森哲也他編
Art in paradise from Claudia DeMonte & Ed McGowin Collection
Author:
Omori, Tetsuya  Search this
Ashikaga Shiritsu Bijutsukan  Search this
Subject:
DeMonte, Claudia 1947- Art collections  Search this
McGowin, Ed 1938- Art collections  Search this
Physical description:
70 p. ; 20 cm. + catalog (114 leaves of postcards: 10.5 x 15 cm.)
Type:
Catalogs
Date:
2001
20th century
Topic:
Outsider art  Search this
Folk art  Search this
Art, American  Search this
Call number:
N7432.5.A78 A78 2001
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_934449

(Untitled), (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Vacuum-formed plastic and aluminum frame
Type:
Sculptures
Owner/Location:
Smithsonian Institution Hirshhorn Museum and Sculpture Garden Independence Avenue at 8th Street, S.W Washington District of Columbia 20560 Accession Number: 78.102
Date:
1967
Topic:
Abstract  Search this
Control number:
IAS 61570524
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_415986

Children, (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Vacuum formed Plexiglas
Type:
Sculptures
Owner/Location:
National Gallery of Art Fourth Street & Constitution Avenue, N.W Washington District of Columbia 20565
Date:
1967-1968
Topic:
Abstract  Search this
Children  Search this
Control number:
IAS 08260089
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_463539

Children, (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Vacuum formed Plexiglas
Type:
Sculptures
Owner/Location:
National Gallery of Art Fourth Street & Constitution Avenue, N.W Washington District of Columbia 20565
Date:
1967-1968
Topic:
Abstract  Search this
Children  Search this
Control number:
IAS 08260090
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_463540

Untitled, (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Plastic and Masonite with oil paint
Type:
Sculptures
Owner/Location:
National Gallery of Art Fourth Street & Constitution Avenue, N.W Washington District of Columbia 20565
Date:
1963
Topic:
Abstract  Search this
Control number:
IAS 08260091
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_463541

Untitled (from the television series), (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Plexiglas with acrulic ink
Type:
Sculptures
Owner/Location:
National Gallery of Art Fourth Street & Constitution Avenue, N.W Washington District of Columbia 20565
Date:
1969
Topic:
Abstract  Search this
Control number:
IAS 08260092
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_463542

Inscape, (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Type:
Sculptures
Owner/Location:
Phillips Collection 1600-1612 21st Street, N.W Washington District of Columbia 20009-1090
Date:
Ca. 1976
Topic:
Abstract  Search this
Control number:
IAS 74960029
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_360020

Fandove (from the Name Change Project), (sculpture)

Sculptor:
McGowin, Ed 1938-  Search this
Medium:
Vacuum-formed plastic, uvex
Type:
Sculptures
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1973.182.28A
Date:
1972
Topic:
Abstract  Search this
Control number:
IAS 08581255
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_290827

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