Corcoran Gallery of Art and Corcoran College of Art + Design, Corcoran Gallery of Art registrar's office records

The first section of this history, covering events through 1981, was prepared by Corcoran Archivist Katherine M. Kovocs for publication in 1985 with the support of the National Endowment for the Humanities.

The Registrar’s position at the Gallery was established in 1952. The Registrar's duties included the registering of art objects; handling of loans, shipping and insurance procedures; and controlling the physical inventory and the storage of art objects. It was at this time that the Curator's and Registrar's offices, one department until this time, divided into two distinct units.

The 1960s saw a continued increase in the size of the Curatorial/Registrarial staffs as well as greater expertise amongst its members. At various times throughout this decade the curatorial staff featured Chief Curators, Registrars, Curators of Exhibitions, Curator of Collections & Research/Research Curator, Curator of Contemporary Art, Assistant and Associate Curators, and various curatorial and registrar assistants and secretaries.

The 1970s featured further expansion, diversity, and organizational innovations in the Gallery's curatorial and registrar's departments. Until 1975, the Gallery's Director maintained an active role in curatorial affairs (e.g. exhibitions), continuing a trend begun by the Corcoran's first Curator/Director. However, with the appointment for the first time of a Chief Curator, Jane Livingston, in 1975, much of the aesthetic initiative and curatorial administrative responsibilities were placed with the Chief Curator. The Director, now aided by a large, expert curatorial staff, turned his focus toward other Gallery concerns, such as budgets, finances, and fundraising. This is especially true with the appointment of Peter Marzio as Director in 1978.

The latter half of the 1970s witnessed other important occurrences such as the creation of the Associate Director's post, the naming of a Curator of Collections, and the reinstallation of the "American" (permanent) collection.

Persons who figure prominently in the Registrar's Office history include Shelby Cave, Jane (McCall) Cohen, Mary (Hoffman) Porbes, Ellen Gross, Rosemary Jones, Martha Morris, Judy Riley, Glenn Thomas and Susan (Grady) Williams.

The following section of this history was prepared in 2019 by George Washington University SCRC staff with the support of the Luce Foundation.

Following the reinstallation of the “American” permanent collection, the Gallery continued to expand on its American art holdings, beginning to branch out into American contemporary art. In 1979, the Gallery created the post of “Associate Curator of Contemporary Art for the Washington Region.” The position was revised later to include a national focus, becoming the Associate Curator of Contemporary Art. With the appointment of Ned Rifken in 1984, the position title was changed again to Curator of Contemporary Art.

Jane Livingston's tenure as the Chief Curator of the Gallery had long lasting effects on the direction of the curatorial department. From 1975 until her resignation in 1989, Livingston placed greater emphasis on photography and progressive modern art. Through her initiative, the Corcoran Gallery became a major force in Contemporary photography. Work by Ned Rifken (Curator of Contemporary Art 1984-1986) and Ed Nygren (Curator of Collections until 1988) further elevated the Corcoran’s position in the Washington contemporary art scene.

The Gallery suffered major setbacks in 1989 following the decision to cancel the controversial Robert Mapplethorpe retrospective The Perfect Moment. Jane Livingston resigned in protest of the cancellation, and several members of the curatorial staff followed her in departing the Corcoran. Jane Livingston’s position would not be filled for another three years, until the appointment of Jack Cowart in 1992. Cowart then created the position of Curator of Photography and Media Arts in the same year.

In 2007, the Corcoran set out five core subjects for the permanent collections; Historic American Art, Historic European Art, Photography and Media Arts, Decorative Arts, and Contemporary Art. There was a particular focus on the photography and American art collections.

The Gallery continued to acquire art, predominantly photographs and paintings, as well as loan works and house traveling exhibitions until its partition and dissolution in 2014.