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.
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:
Missing Title
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 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 -- New York (State) -- New York Search this
An interview of Claudia DeMonte conducted 1991 February 13-1991 April 24, by Liza Kirwin, for the Archives of American Art.
DeMonte recalls her childhood and growing up in Astoria, New York; her Italian heritage and Catholic education; her early work including the "trade pieces"; the calendar she produced for the Corcoran Gallery show "Five Plus One" in 1976; her marriage to artist Ed McGowin; moving from Washington, D.C. to New York; the making and meaning of her "Claudia dolls"; exhibiting at the Gracie Mansion Gallery; the art community in the East Village in the early 1980s; the dealer Gracie Mansion; gallery representation outside of New York; critical acceptance of her art; collecting the work of Southern self-taught artists and the influence of Sister Gertrude Morgan and James Son Ford Thomas; work methods and techniques; autobiographical and feminist themes; teaching at the university of Maryland from 1972 to the present; and new directions in her art.
Biographical / Historical:
Claudia DeMonte (1947- ) is a painter, mixed-media artist, and instructor of College Park, Maryland and New York, New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 22 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- New York (State) -- New York Search this
Collagists -- New York (State) -- New York Search this
Mixed-media artists -- New York (State) -- New York Search this
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.
Missing Title
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 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.
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.
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
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.
11 videocassettes (U-matic) (ca. 5 hrs.) : sd., col. ; 3/4 in. + brochure and 3 sound cassettes
Type:
Collection descriptions
Archival materials
Date:
undated
Scope and Contents:
Video recordings of 3 day conference on Southern art and artists and the narrative tradition shared with Southern writers. Included are sessions: "Visual Language: The Southern Birthright," moderated by William Dunlap, with Jo Harvey Allen, Harry Crews, Fannie Flagg, Mary Lynn Kotz and Jonathan Williams; "The Home Turf: A Cultivated Mythology," Mitchell Kahan, moderator, with William Christenberry, Frank Fleming, Ke Francis, Jane Livingston and James Surls; "Expatriates: the Southern Artist 'Out There'", Marcia Tucker, moderator, with John Alexander, Terry Allen, James Hill and Ed McGowin; footage of a reception for the exhibition "Southern Narrative"; and a musical performance by Terry Allen.
Also included are a brochure from the conference and 3 sound cassettes of a panel discussion held at the 1979 College Art Association meeting in Washington, D.C. relating to the first Southern Rim Conference in 1976. Particpants include John Alexander, John Canaday, William Christenberry, Larry Edwards, Jim Roche, and James Surls, with William Dunlap as moderator.
Biographical / Historical:
The 1983 conference was organized by Birmingham-Southern College art professor Linda Burgess, and was funded by NEA and the Committee for the Humanities in Alabama. It was a follow-up to the first Southern Rim Conference held in October 1976 in Valle Crucis, N.C.
Provenance:
Lent for duplicating 1986 by Bill Dunlap, moderator of the conference.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
![view Southern Rim 2 [videorecording] :the narrative tradition in the arts /Birmingham-Southern College and the Birmingham Museum of Art, sponsors digital asset: Finding aid](https://ids.si.edu/ids/deliveryService?max=170&id=https://sirismm.si.edu/siris/findingaid.gif "Finding aid")