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Oral history interview with V. V. Rankine

Interviewee:
Rankine, V. V., 1920-2004  Search this
Interviewer:
Kirwin, Liza  Search this
Names:
Betty Parsons Gallery  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
David Herbert Gallery  Search this
Institute of Contemporary Arts (Washington, D.C.)  Search this
Jefferson Place Gallery  Search this
Albers, Josef  Search this
Bader, Franz, 1903-1994  Search this
Brooks, James, 1906-1992  Search this
Callahan, Harry M.  Search this
Cunningham, Merce  Search this
Davis, Gene, 1920-1985  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Denney, Alice  Search this
Dorrance, Nesta  Search this
Downing, Thomas, 1928-1985  Search this
Duncan, Augustin  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Gabo, Naum, 1890-1977  Search this
Gilliam, Sam, 1933-2022  Search this
Gorky, Agnes  Search this
Gorky, Arshile, 1904-1948  Search this
Graham, John, 1887-1961  Search this
Guston, Philip, 1913-1980  Search this
Halle, Kay  Search this
Hare, David, 1917-1992  Search this
Helburn, Theresa, 1887-1959  Search this
Johnson, Ray, 1927-1995  Search this
Kennedy, Kit  Search this
Kiesler, Frederick  Search this
Kinney, Gilbert H.  Search this
Krasner, Lee, 1908-1984  Search this
Lassaw, Ibram, 1913-2003  Search this
Leopold, Richard  Search this
Louis, Morris, 1912-1962  Search this
Magruder, Esther  Search this
Merrill, Kevin  Search this
Nelson, Wretha  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Bonnie  Search this
Noland, Kenneth, 1924-2010  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pace, Stephen, 1918-2010  Search this
Parsons, Betty  Search this
Penn, Arthur, 1922-  Search this
Phillips, Duncan, 1886-1966  Search this
Pollock, Jackson, 1912-1956  Search this
Rauschenberg, Robert, 1925-2008  Search this
Renault, Jean  Search this
Richman, Robert  Search this
Russo, Alexander  Search this
Sheridan, Walt  Search this
Sherman, Saul  Search this
Snelson, Kenneth, 1927-2016  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Sweeney, James Johnson, 1900-  Search this
Thomas, Dylan, 1914-1953  Search this
Truitt, Anne, 1921-2004  Search this
Warhol, Andy, 1928-1987  Search this
Yektai, Manoucher, 1922-  Search this
Youngerman, Jack, 1926-2020  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1990 Mar. 2-22
Scope and Contents:
An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.
Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.
Biographical / Historical:
V.V. Rankine (1920-2004) was a painter and sculptor from Washington, D.C. Variable forms of the artist's name are notably E. R. (Elvine Richard) Rankine, Vivian Scott Rankine, and her married name, Mrs. Paul Scott.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 53 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Washington (D.C.)  Search this
Sculptors -- Washington (D.C.)  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.rankin90
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9962313c4-a6e1-43b3-b0a1-2b3ae06a7b90
EDAN-URL:
ead_collection:sova-aaa-rankin90
Online Media:

Davis, Gene (DC), 1997

Container:
Box 28 of 55
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 06-089, Archives of American Art, Departmental Records
See more items in:
Departmental Records
Departmental Records / Box 28
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa06-089-refidd1e7966

Davis, Gene

Collection Creator:
Kainen, Jacob  Search this
Kainen, Ruth Cole (1922-2009)  Search this
Container:
Box 35, Folder 1
Type:
Archival materials
Date:
1975-1992
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Kainen papers
Jacob Kainen papers / Series 4: Diaries / 4.2: Diary Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bff2e2fa-8f43-46dd-8ec6-9251d122af72
EDAN-URL:
ead_component:sova-aaa-kainjaco-ref1528

Works of Art

Collection Creator:
Kainen, Jacob  Search this
Kainen, Ruth Cole (1922-2009)  Search this
Extent:
1.2 Linear feet (Boxes 25-26)
Type:
Archival materials
Date:
1942-2000
Scope and Contents note:
The series consists primarily of handmade greeting cards and limited edition prints given to Jacob and Ruth Kainen. The cards contain lithographs, etchings, pen and ink drawings, and woodblock prints by various artists such as Tadeusz Lapinski, Un-ichi Hiratsuka, and Raphael Soyer. Alberta Mayo's portfolio, entitled "Remembering Paradise: Postcards from Southern California," is also part of the series. The series contains a variety of materials given to Kainen by the artist, Irving Amen. The series is arranged alphabetically by the artist's last name and chronologically under each heading. Artists with fewer than five items are filed alphabetically in miscellaneous folders. The material by Irving Amen is organized further by the type of material (i.e. by works of art, photographs, and printed material) and then chronologically.

See Appendix for a list of miscellaneous artists from Series 10.
Appendix: Miscellaneous Artists from Series 10:
Arneson, Robert, undated

Aronson, Irene, 1962

Azechi, Umetaro, undated

Baskin, Leonard, undated

Beeri, Tuvia, 1978-1990

Brashow, James, undated

Browne, Rosalind Bengelsdorf, 1937

Bunts, Frank, undated

Butler, James, undated

Carcan, René, 1978-1990

Celan-Lestrange, Gisèle, 1977

Davis, Gene, 1969

Dayez, George, undated

Dean, Hilliard, 1980-1987, undated

De Léon, Ponce, 1965-1971, undated

Dos Santos, Bartolomeu, undated

Eichenberg, Fritz, 1977

Everson, William and Mary, 1948

Frasconi, Antonio, undated

Greenwald, Bernard, 1976

Griffith, Fuller, undated

Gubbiotti, Jason, 2000

Gumpert, Gunther, 1999

Gurr, Lena, 1971-1972, undated

Hashimoto, Okiie, undated

Highton, Anne, 1985-1991, undated

Isen, Hal and Anita, undated

Kent, Norman, 1966, undated

Kolin, Sasha, undated

Kreindler, Doris, 1967

Kurosaki, Akira, 1979

Landau, Jacob, 1971

Laughlin, Rebecca Mirsch, 1979

Leizman, William, 1961, undated

Lewis, Golda, 1955

Lothar, Ernest, 1951

Lyon, Rowland, undated

Margo, Boris, undated

Michel, Sally, 1970-1977

Moore, Benson, undated

Morse, Peter, 1973-1975

Music, Zoran, 1978

Nama, George A., 1965-1966

Neustadt, Barbara, 1971

Pearlstein, Philip, 1977-1978

Piza, 1983-1988

Purcell, Ann, 1997

Reed, Paul, 1969, undated

Refregier, Anton, 1971

Riabov, George, undated

Schwartz, Carl, undated

Smallwood, Michael, 1973

Stone, J., 1985

Solmon, Joseph, 1944-1952

Soyer, Raphael, undated

Sundberg, Alan, undated

Taylor, Prentiss, 1962-1963

Veinus, Abraham, 1989-1990

Viswanadhan, Velu, 1981

Ward, Lynd, undated

Weber, Joanne Goulart, 1977-1997

Wiley, William T., undated

White, Pat, 1972

Yoshida, undated

Yunkers, Adja, 1948
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kainjaco, Series 10
See more items in:
Jacob Kainen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw936f575aa-5b85-4ca2-a7b9-76e952afc64c
EDAN-URL:
ead_component:sova-aaa-kainjaco-ref562

Fischbach Gallery records

Creator:
Fischbach Gallery  Search this
Names:
Thiabaut Galley  Search this
Altoon, John, 1925-  Search this
Antonakos, Stephen, 1926-2013  Search this
Bladen, Ronald, 1918-1988  Search this
Chamberlain, Wynn  Search this
D'Arcangelo, Allan, 1930-  Search this
Davis, Gene, 1920-1985  Search this
Dunn, Anne  Search this
Gilardi, Piero, 1942-  Search this
Hesse, Eva, 1936-1970  Search this
Katz, Alex, 1927-  Search this
Krushenick, Nicholas, 1929-1999  Search this
Levine, Les, 1935-  Search this
Mangold, Robert, 1937-  Search this
Ohlson, Douglas Dean, 1936-  Search this
Ryan, Anne, 1889-1954  Search this
Ryman, Robert, 1930-  Search this
Slavin, Arlene, 1942-  Search this
Smith, Tony, 1912-  Search this
Sugarman, George, 1912-1999  Search this
Swain, Robert, 1940-  Search this
Extent:
39.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1937-2015
bulk 1963-1977
Summary:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials. The 2015 addition of 14 linear feet consists of inventory and client sales records in the form of card indexes. The 2019 addition consists of material related to Marilyn Fischbach's art collection.
Scope and Content Note:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials.

Artists and Exhibition Files contain information on over one hundred Fischbach Gallery artists and measure 18 linear feet. The contents of each file varies, but typically may include biographical information; correspondence between the artist, museums, and other galleries; scattered consignment information; printed materials including articles, clippings, exhibition announcements and catalogs, and press releases; photographs of the artist, installations, constructions, and works of art; and negatives, slides, and transparencies. Substantial files are found for John Altoon, Stephen Antonakos, Ronald Bladen, Wynn Chamberlain, Allan D'Arcangelo, Gene Davis, Anne Dunn, Piero Gilardi, Eva Hesse, Alex Katz, Nicholas Krushenick, Les Levine, Robert Mangold, Doug Ohlson, Anne Ryan, Robert Ryman, Arlene Slavin, Tony Smith, George Sugarman, and Robert Swain, among others. Also included are files pertaining to group exhibitions including "According to the Letter" (1963), "Hard Center" (1963), "Six Women" (1965), "Game Without Rules" (1966), "Direct Representation" (1969), and "Eccentric Abstraction" (1966) which was organized by Lucy Lippard.

General gallery correspondence is business correspondence between the gallery and companies, individuals, museums, galleries, dealers, new or non-Fischbach artists, and institutions. Additional business records consist of an address book, lists of Fischbach artists, gallery plans, a notebook, as well as guest lists, mailing lists, and press lists.

Financial records are access restricted and require written permission from the donor's representative for use. The files document financial transactions for many of the artists represented in the artists files and includes sales records, invoices, artists' payments, and correspondence about sales and possible sales. The alphabetical financial files document routine gallery business, such as framing, shipping, insurance, messenger, publicity, etc. and are organized by name of business. General financial files consist of accounting ledgers, banking documents, insurance claims, and travel accounts.

Printed materials consist of various business cards, clippings concerning the Fischbach Gallery, and a pamphlet by Ron Williams as a guide to New York galleries. The bulk of printed materials are found in the Artists and Exhibition Files.

A small series of photographs include those from the Thiabaut Gallery, and unidentified photos of landscapes. It is likely that Fischbach Gallery occupied the space previously used by the Thiabaut Gallery and some materials were included in the collection for that reason. The bulk of photographic materials are found in the Artists and Exhibition Files.

In 2015, 14 feet of records were added to the collection. The addition consists of inventory and client sales records in the form of card indexes. The addition is access-restricted until 2065.

A 2019 addition of 0.2 linear feet, consisting of material related to Marilyn Fischbach's art collection, was processed in 2020.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Artists and Exhibitions Files, 1937-1977 (Boxes 1-18, 28; 18 linear feet)

Series 2: Gallery Correspondence, 1962-1974 (Boxes 18-19; 1.75 linear feet)

Series 3: Business Records, 1969-1971 (Box 27; 0.3 linear feet)

Series 4: Financial Records, 1963-1975 (Boxes 20-25; 4.5 linear feet)

Series 5: Printed Material, 1963-1972 (Box 26; 6 folders)

Series 6: Photographs, circa 1960s (Box 26; 2 folders)

Series 7: Inventory Card Indexes, circa 1960s-2015 (12.1 linear feet; Box 29-41)

Series 8: Client Sales Card Index, circa 1970s-2000s (1.9 linear feet; Box 41-42)

Series 9: Marilyn Fischbach Collection Records, circa 1975-2000 (0.2 linear feet; Box 43)
Historical Note:
The Fischbach Gallery was founded in 1960 by Marilyn Cole Fischbach at 799 Madison Avenue in New York City. The gallery was noted for its stable of minimalist young artists in the 1960s, and the work of the painterly realists in the 1970s. The gallery remains open today.

During its early years, the gallery was among the first to focus on 1960s avant-garde and minimalist artists. Marilyn possessed a talent for discovering young artists and for helping them advance their careers. Many of these young artists became well-known, including Ronald Bladen, Eva Hesse, and Alex Katz. Other artists represented by the gallery include Allan D'Arcangelo, Les Levine, Robert Mangold, Robert Ryman, George Sugarman, and Robert Swain.

The gallery also had an active exhibition schedule and organized and hosted group exhibitions of modern art, including "According to the Letter" (1963), "Hard Center" (1963), and "Direct Representation" (1969). Additionally, the Fishbach Gallery hosted "Eccentric Abstraction" in 1966, an exhibition organized by Lucy Lippard.

Later, the gallery moved to W. 57th Street in Manhattan. Fischbach hired A. Aladar Marberger as director of the gallery. Under his direction, the Fischbach Gallery shifted from the avant-garde to contemporary American realism and minimalist sculpture. In the 1980s, Marilyn Fischbach brought three investors into the gallery. She remined a co-owner, but lived in Paris, France for many years prior to her death at the age of seventy-two. The Fischbach Gallery remains open at 210 West 11th Street at 25th Street in New York City.
Provenance:
Gallery founder Marilyn C. Fischbach and director A. Aladar Marberger donated the majority of the Fischbach Gallery records in 1978. Additional records were donated in 2001 by Maureen Dawley on behalf of the Carnegie Mellon University and in 2015 and in 2019 by John Fischbach, Marilyn C. Fischbach's son.
Restrictions:
Use of original papers requires an appointment. Written permission from the donor is also required to view the series of financial records and the 2015 addition of card indexes. Contact the Reference Services Department for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Minimal art -- United States  Search this
Artists -- United States  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Gallery records
Photographs
Citation:
The Fischbach Gallery records, 1937-2015, bulk 1963-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscgall
See more items in:
Fischbach Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9250bd192-6986-4fdd-bec0-08a93a98e4ed
EDAN-URL:
ead_collection:sova-aaa-fiscgall
Online Media:

Bartleby

Artist:
Gene Davis, American, b. Washington, DC, 1920–1985  Search this
Medium:
Acrylic on canvas
Dimensions:
111 × 225 in. (282.9 × 571.4 cm)
Type:
Painting
Date:
(1971)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Anonymous Gift, 1975
Accession Number:
75.3
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Washington Color School
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2b01975ee-4e23-4d1c-ba72-0c84a2224433
EDAN-URL:
edanmdm:hmsg_75.3

Davis, Al-Davis, Gene

Collection Creator:
Johnson, Ellen H.  Search this
Container:
Box 39, Folder 21
Type:
Archival materials
Date:
1963-1989
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ellen Hulda Johnson papers, 1872-2018, bulk 1921-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Ellen Hulda Johnson papers
Ellen Hulda Johnson papers / Series 7: Artist Files / Multiple Artists Alphabetical
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9038fa43e-7c77-4dfe-a05d-b378d10f181d
EDAN-URL:
ead_component:sova-aaa-johnelle-ref905

B.R. Kornblatt Gallery records

Creator:
B. R. Kornblatt Gallery  Search this
Names:
Chicago International Art Exposition  Search this
Chin, Mel, 1951-  Search this
Clapsaddle, Jerry, 1941-  Search this
Davis, Gene, 1920-1985  Search this
De Looper, Willem  Search this
Ferguson, John, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Kahn, Wolf, 1927-  Search this
Kornblatt, Barbara R. (Barbara Rodbell), 1931-  Search this
Landfield, Ronnie, 1947-  Search this
LeWitt, Sol, 1928-2007  Search this
Motherwell, Robert  Search this
Neri, Manuel, 1930-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenberg, Karl  Search this
Rothschild, Amalie, 1916-  Search this
Stella, Frank  Search this
Todd, Mike, 1935-  Search this
Van Alstine, John, 1952-  Search this
Extent:
4.1 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1971-1992
Summary:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.
Scope and Contents:
The records of the B. R. Kornblatt Gallery of Baltimore, Md. and Washington, D.C. measure 4.1 linear feet and date from 1971 to 1992. The collection consists primarily of artists' files along with a few exhibition files and sales records.

Exhibition files are found for the Chicago International Art Exposition (1983-1988), the International Sculpture '90 (1990) exhibition, and exhibitions of African art. Artists' files contain correspondence, photographs and slides, resumes, and financial and printed material for numerous artists associated with the gallery or of interest to the gallery, including Mel Chin, Jerry Clapsaddle, Gene Davis, John Ferguson, Wolf Kahn, Willem de Looper, Helen Frankenthaler, Ronnie Landfield, Manuel Neri, Sol LeWitt, Robert Motherwell, Robert Rauschenberg, Karl Rosenberg, Amalie Rothschild, Frank Stella, Michael Todd, John Van Alstine, and others. The collection also contains sales records.
Arrangement:
The collection is arranged as 3 series.

Missing Title

Series 1: Exhibition Files, 1981-1990 (0.5 linear feet; Box 1)

Series 2: Artists' Files, 1971-1992 (3.0 linear feet; Box 1-4, OV 5)

Series 3: Sales Records, 1988-1992 (0.5 linear feet; Box 4)
Biographical / Historical:
Barbara R. Kornblatt established the B. R. Kornblatt Gallery in 1975 on 326 North Charles Street in Baltimore, Maryland. The gallery specialized in American painting, sculpture, and works on paper. In 1980, Kornblatt moved the gallery to 406 Seventh Street, N.W. in Washington, D. C. where it became the mainstay of downtown commercial art galleries. In the late 1980s and early 1990s, the gallery began feeling the effects of the economic recession, and then suffered a fire in the building. Kornblatt closed the gallery in 1991.
Provenance:
The B.R. Kornblatt Gallery records were donated by Barbara R. Kornblatt in 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Art, African -- 20th century -- Exhibitions  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Art galleries, Commercial -- Maryland
Genre/Form:
Gallery records
Photographs
Citation:
B. R. Kornblatt Gallery records, 1971-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brkornbl
See more items in:
B.R. Kornblatt Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw952769c43-32aa-4240-ae84-88610180a0a7
EDAN-URL:
ead_collection:sova-aaa-brkornbl

Davis, Gene

Collection Creator:
B. R. Kornblatt Gallery  Search this
Container:
Box 1, Folder 26-27
Type:
Archival materials
Date:
1988-1991
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
B. R. Kornblatt Gallery records, 1971-1992. Archives of American Art, Smithsonian Institution.
See more items in:
B.R. Kornblatt Gallery records
B.R. Kornblatt Gallery records / Series 2: Artists' Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94382f040-dcfc-471f-9fb1-152984e567c5
EDAN-URL:
ead_component:sova-aaa-brkornbl-ref33

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, 1933-2022  Search this
Hopps, Walter  Search this
McGowin, Ed, 1938-  Search this
McNeill, Lloyd  Search this
Stovall, Di Bagley, 1947-  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)
Type:
Archival materials
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.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American 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
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e787faf3-2445-469d-92c0-fc3ed72efc9e
EDAN-URL:
ead_component:sova-acma-03-001-ref70

Davis, Gene

Collection Creator:
Susan Conway Gallery (Washington, D.C.)  Search this
Container:
Box 23, Folder 30
Type:
Archival materials
Date:
1987
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Susan Conway Gallery records, circa 1928, circa 1940s-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Susan Conway Gallery records
Susan Conway Gallery records / Series 7: Susan Conway Conservation Studio Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9934eb591-16bc-4de7-977d-1b5e370f9881
EDAN-URL:
ead_component:sova-aaa-susacong-ref944

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 C. (William Chapin)  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Collection descriptions
Archival materials
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.

Missing Title

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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Painters -- Washington (D.C.)  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting  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
GUID:
https://n2t.net/ark:/65665/mw90a230f67-650f-483a-acdf-50b6ca91fe59
EDAN-URL:
ead_collection:sova-aaa-davigene
Online Media:

Davis, Gene

Collection Creator:
American University (Washington, D.C.). Fine Arts Dept.  Search this
Container:
Reel 2215.american
Type:
Archival materials
Microform [31027000123071]
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Collection Citation:
American University Fine Arts Department records. Owned by the American University Fine Arts Department. Filmed by Archives of American Art, Smithsonian Institution.
See more items in:
American University Fine Arts Department records
American University Fine Arts Department records / Series 3: Art Collection Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8c97f21-7dd0-435f-a86f-ae35d12879b3
EDAN-URL:
ead_component:sova-aaa-ameruniv-ref266

Davis, Gene

Collection Creator:
American University (Washington, D.C.). Fine Arts Dept.  Search this
Container:
Reel 2210.american
Type:
Archival materials
Microform [31027000123022]
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Collection Citation:
American University Fine Arts Department records. Owned by the American University Fine Arts Department. Filmed by Archives of American Art, Smithsonian Institution.
See more items in:
American University Fine Arts Department records
American University Fine Arts Department records / Series 1: Departmental Records / Visiting Artists
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92c698ba8-0166-416a-99fe-5c18397c3cc9
EDAN-URL:
ead_component:sova-aaa-ameruniv-ref56

Mary Swift papers

Creator:
Swift, Mary  Search this
Names:
Mehring, Howard, 1931-  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Interviews
Date:
1973-2004
Summary:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and 105 sound recordings and two VHS videocassette tapes of interviews conducted by Swift, radio programs and panel discussions.
Scope and Contents:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and 105 sound recordings and two VHS videocassette tapes of interviews conducted by Swift, panel discussions and radio programs.
Arrangement:
This collection is arranged as four series.

Series 1: Personal Papers, 1973-1984 (Box 1, 2 Folders)

Series 2: "Howard William Mehring 1931-1978: Washington Color Painter", circa 1977-1978 (Box 1, 12 Folders)

Series 3: Photographs, circa 1977-2004 (Box 1-6, OV 7, 5.5 linear feet)

Series 4: Sound and Video Recordings, 1977-1995 (Boxes 6, 8-14, 2.3 linear feet)
Biographical / Historical:
Mary Swift (1929-2022) was a photographer and curator in Washington, D.C. She received her B.A. from Vassar College in 1950 with a major in English History. Swift then moved to London for her husband's work, and did not return to the United States until the 1960s. She received her M.A. from Catholic University's Speech and Drama Department in 1968, and an M.A. in Art History from George Washington University in 1978.

In October 1977, Swift became a production assistant for the Washington Review, a bi-monthly broadsheet on DC cultural life, while finishing her master's thesis at George Washington University. She was promoted to associate editor in 1978, and became managing editor of the arts section in 1980.

While at the Washington Review, Swift also worked as a curator and curatorial assistant on exhibitions in Washington, D.C. She worked as a curatorial assistant for Howard Mehring: A Retrospective Exhibition (1977-1978) at the Corcoran Gallery of Art; as a co-curator with Walter Hopps for the exhibition, Eminent Washington Artists: Benjamin Abramowitz, Sarah Baker, Leon Berkowitz, Robert Gates, Sy Gresser, Lois Milou Jones, Jacob Kainen, Alfred McAdams, James McLaughlin, Howard Mehring, Marjorie Phillips, John Robinson, Alma Thomas (1980), at the Art Barn Gallery; and curated, Drawings: 13 Washington Sculptors; Christenberry, Dickson, Fleps, Haley, Knights, Krebs, Lombardo, Mahoney, Puryear, Rudd, Schwebler, Staton, Truitt (1980), at the Diane Brown Gallery.

The professional appointments Swift held include exhibitions coordinator for the International Sculpture Conference in 1980 as well as board of director memberships at the Washington Gallery of Art, Charles Weidman Dance Company, the Washington Review, and the Washington Project for the Arts. Additionally, Swift was involved with her alma mater, Vassar College, in the capacity of Vice present for Programs of the Vassar Club of Washington, and Chairman of the Washington Friends of the Vassar Art Gallery.

Mary Swift's contributions to the Washington Review include photographs, reviews of art exhibitions, and interviews with artists such as choreographer Lucinda Childs and painter Robert Indiana. The exhibition catalogues Swift contributed to include Breton Morse, Paintings 1960-1978 (1978), Sy Gresser—Sculpture (1978), Howard Mehring: A Retrospective Exhibition (1977-1978), and Hands of Artists (1981)

Photographs from Swift's collection were displayed in an exhibition, Mary Swift's Washington (2005), held at Flashpoint Gallery.
Provenance:
This collection was donated in two installments in 2016 and 2018 by Mary Swift via her children, Isabel Swift Byron and William Swift.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Curators -- Washington (D.C.)  Search this
Photographers -- Washington (D.C.)  Search this
Topic:
Women art critics  Search this
Genre/Form:
Sound recordings
Video recordings
Interviews
Citation:
Mary Swift Papers, 1974-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.swiftmar
See more items in:
Mary Swift papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91faa9aea-9cc2-4186-8c4c-d7e7b0d3e13f
EDAN-URL:
ead_collection:sova-aaa-swiftmar
Online Media:

Oral history interview with Gene Davis

Interviewee:
Davis, Gene, 1920-1985  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Extent:
43 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 April 23
Scope and Contents:
An interview of Gene Davis conducted 1981 April 23, by Estill Curtis Pennington, for the Archives of American Art, at the artist's home.
Davis speaks of his early career as a pulp writer and his subsequent painting activities including outdoor works, installations and micro-paintings.
Biographical / Historical:
Gene Davis (1920-1985) was a painter from Washington, D.C.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 26 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Washington (D.C.) -- Interviews  Search this
Topic:
Art, American  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.davis81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d17ab76a-0511-46f2-b5bd-a790e83f3bfe
EDAN-URL:
ead_collection:sova-aaa-davis81
Online Media:

Davis, Gene

Collection Creator:
Ross, Gloria F.  Search this
Container:
Box 2, Folder 16-17
Type:
Archival materials
Date:
1972-1973
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Gloria Ross papers
Gloria Ross papers / Series 3: Project Files / 3.1: Artist Collaborations
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fa964fd1-ceed-49de-8895-4f82120f6b7c
EDAN-URL:
ead_component:sova-aaa-rossglor-ref35

Oral history interview with Jacob Kainen

Topic:
Art front
Interviewee:
Kainen, Jacob  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
ACA Galleries  Search this
Art Students League (New York, N.Y.)  Search this
Mark Rothko and His Times Oral History Project  Search this
Pratt Institute  Search this
Davis, Gene, 1920-1985  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Gorky, Arshile, 1904-1948  Search this
Graham, John, 1887-1961  Search this
Hayter, Stanley William, 1901-1988  Search this
Lazzari, Pietro, 1898-1979  Search this
Margo, Boris, 1902-1995  Search this
McNeil, George, 1908-1995  Search this
Noland, Kenneth, 1924-2010  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Schnitzler, Max, 1903-  Search this
Solman, Joseph, 1909-2008  Search this
Thomas, Alma  Search this
Extent:
6 Cassettes (Sound recording, analog.)
108 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1982 Aug. 10-Sept. 22
Scope and Contents:
An interview of Jacob Kainen conducted 1982 Aug. 10-1982 Sept. 22, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kainen speaks about his family and educational background; early interest in art; his studies at the Art Students League and Pratt Institute; showing at the ACA Gallery; the community of artists in New York in the late 1930s; writing for ART FRONT; his employment by the graphic arts division of the WPA-FAP in New York; his move to Washington, D.C., in 1942, to work for the Smithsonian Institution; his first marriage to Bertha Friedman and their children; his career in Washinton, D.C. as a curator, painter, printmaker, writer, and teacher; the FBI investigation of his background; and the art scene in Washington, D.C. Kainen also recalls artists he has known including Stuart Davis, Joseph Solman, John Graham, Mark Rothko, Pietro Lazzari, Willem de Kooning, Max Schnitzler, Arshile Gorky, Gene Davis, Alma Thomas, George McNeil, Kenneth Noland, Boris Margo, Stanley Hayter, and Ad Reinhardt. He discusses Mark Rothko's influences, how he "hated the art industry" and was secretive about his art materials. Kainen also recalls encountering Rothko in Provincetown in 1968 and comments on his art and his suicide. Jacob Kainen's wife, Ruth, was also present and contributed her recollections.
Biographical / Historical:
Jacob Kainen (1909-2001) was a painter, printmaker, and curator from Washington, D.C. Studied at the Art Students League and Pratt Institute; died at age 91.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Washington (D.C.) -- Interviews  Search this
Topic:
Abstract expressionism  Search this
Federal aid to the arts  Search this
Printmakers -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kainen82
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b3fdd057-20aa-4e92-aaae-8b8e30d39212
EDAN-URL:
ead_collection:sova-aaa-kainen82
Online Media:

Davis, Gene

Collection Creator:
Fendrick Gallery  Search this
Container:
Box 11, Folder 14
Type:
Archival materials
Date:
1972-1985
Collection Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Fendrick Gallery records
Fendrick Gallery records / Series 1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a4a59476-1a37-4852-b669-b012bef59a56
EDAN-URL:
ead_component:sova-aaa-fendgall-ref100

Davis, Gene

Collection Creator:
Fendrick Gallery  Search this
Container:
Box 73, Folder 28
Type:
Archival materials
Date:
1969
Collection Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Fendrick Gallery records
Fendrick Gallery records / Series 6: Subject Files / Artists' Cards
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw933d59205-6261-41d1-af9a-f30203242546
EDAN-URL:
ead_component:sova-aaa-fendgall-ref1105

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