Colin de Land collection, 1968-2008, bulk 1980-2003
de Land, Colin, 1955-2003
American Fine Arts, Co
Armory Show (1913 : New York, N.Y.)
Biennale di Venezia
International Art Fair
Art Forum Berlin
Place of publication, production, or execution:
15.6 linear feet
Access Note / Rights:
Use of original material requires an appointment.
Audio visual material: ACCESS RESTRICTED; use requires written permission.
The Colin de Land collection measures 15.6 linear feet and dates from 1968 to 2008, with the bulk of the collection dating from the early 1980s through 2003. The majority of the collection consists of photographic material, primarily snapshots, documenting daily life in and around de Land's gallery American Fine Arts, Co., as well as de Land's pesonal life and affairs. There are candid photographs of exhibition openings, day-to-day gallery operations, art fairs, vacations, social gatherings, and New York City street scenes. Also included are some personal objects belonging to de Land and his wife Pat Hearn, as well as two scrapbooks containing items once decorating the walls of de Land's office at American Fine Arts. The collection includes film and video material documenting trips to Cape Cod, Hearn's illness, and occasional art world events.
The bulk of the collection consists of snapshots, along with their negatives and the envelopes provided by commercial photographic printers. The envelopes are sometimes annotated. The photographs, not typically identified by photographer, were taken by de Land, Hearn, and gallery employees, artists, and visitors. Most of the snapshots provide a candid record of life within de Land's circle, and not formal documentation of gallery exhibitions.
The figures in this collection often occupied blurred boundaries between artist, gallery employee, critic, and friend. Many of the photographs include AFA staff, including Daniel McDonald, Patterson Beckwith, and Craig Wadlin. Also of note are photos showing AFA artists, including John Waters, Mark Dion, Andrea Fraser, Moyra Davey, Dennis Balk, Peter Fend, and Jack Pierson.
In addition to life within the gallery, de Land's cameras also documented a larger art world of the era, candidly showing openings at other galleries, art fairs such as Art Basel, Art Cologne, and the Berlin Artforum, as well as festivals including the Venice Biennale and Documenta, many of which included AFA artists. There is some documentation of the Gramercy International Contemporary Art Fair and The Armory Show. The photographs frequently include de Land and Hearn's friends and fellow art dealers Paul Morris, Matthew Marks, and Carol Greene. Some images include artists that showed at Pat Hearn Art Gallery, such as Mary Heilmann. Collectors, celebrity visitors to the gallery, and critics also occasionally appear in the photographs. There is one 1968 photograph of de Land's mother and a small number of 1970s images of both de Land and Hearn.
In addition to the snapshots, there are a variety of other photographic formats in the collection. The contents of the slides are of similar nature to the snapshots. The contact sheet binders offer some formal exhibition installation documentation, but are not exhaustive.
The collection also includes film and video footage. Thirty-five reels of Super-8 motion picture film primarily documents frequent vacations to Cape Cod, as well as the final stages of Hearn's illness and subsequent death. The 31 DV-mini cassettes include similar content, and some footage of opening receptions and other art world events.
Two scrapbooks include material that was often photographed on the walls surrounding de Land's desk at AFA. Additional artifacts include one small painting by artist Charles Clough, inscribed to Hearn, a baseball hat frequently worn by de Land and appearing in many of the snapshots, and one page of an autographed calendar.
Colin de Land collection, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
The archival gallery records of Colin de Land's art gallery American Fine Arts, Co. as well as the gallery records of the Pat Hearn Gallery are available at the Center for Curatorial Studies at Bard College in New York. The gallery records there also include a fair amount of de Land's personal papers. Bard also acquired de Land's and Hearn's personal library.
Colin de Land (1955-2003) was a New York art dealer whose galleries in the East Village, SoHo, and Chelsea promoted cutting-edge artists with interests ranging from institutional critique to video to abstract painting. De Land's American Fine Arts gallery on Wooster Street in particular became a staging ground and refuge for figures in the alternative art world, with de Land acting as ringmaster and provocateur. Mr. de Land took over the Chelsea space of his wife, Pat Hearn, after she died in 2000, where he staged a notorious performance by the band The Voluptuous Horror of Karen Black led by the performance artist Kembra Pfahler, who became his companion. Mr. de Land studied philosophy and linguistics at New York University and helped found the New York Armory Show.
The papers were donated in 2008 by Dennis Balk, an artist at the American Fine Arts gallery and a close friend of de Land's.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001