The AC Project Room records measure 12.2 linear feet and date from 1965-2012. The collection documents the gallery's exhibitions and co-founder Paul Bloodgood's efforts to promote the work of artists such as Doug Aitken, Michel Auder, Paul Bloodgood himself, Robert Breer, Anne Chu, Aki Fujiyoshi, Isa Genzken, Joseph Grigely, Paula Hayes, Kim Jones, Byron Kim, Christina Mackie, Josiah McElheny, Arpiani Pagliarini, Kathleen Schimert, Jane and Louise Wilson, among others. The bulk of the collection dates from 1989-2001 and consists of exhibition files, artists files, guest books, press files, photographs, gallery administration and financial documentation, and sales and inventory records.
Scope and Contents:
The AC Project Room records measure 12.2 linear feet and date from 1965-2012. The collection documents the gallery's exhibitions and co-founder Paul Bloodgood's efforts to promote the work of artists such as Doug Aitken, Michel Auder, Paul Bloodgood himself, Robert Breer, Anne Chu, Aki Fujiyoshi, Isa Genzken, Joseph Grigely, Paula Hayes, Kim Jones, Byron Kim, Christina Mackie, Josiah McElheny, Arpiani Pagliarini, Kathleen Schimert, Jane and Louise Wilson, among others. The bulk of the collection dates from 1989-2001 and consists of exhibition files, artists files, guest books, press files, photographs, gallery administration and financial documentation, and sales and inventory records.
Administrative materials include leases for Renwick and Broome Streets; operational correspondence and correspondence with artists, dealers, and curators; a business plan and lists of operational activities; an annotated calendar; checklists; contracts; invoices; gallery floorplans; intern notebooks; notes; contact lists; project timelines and notebooks; and documentation about storage issues. Artist files include correspondence; clippings; press releases; exhibition announcements; checklists; photographic material; press packets; artist bios; catalogs; loan forms; notes; proposals; shipping invoices; inventories; and info sheets. Two artist files contain born digital media. Exhibition files include guest books; schedules of exhibitions and special events; artist statements and bios; checklists; clippings; proposals; press releases; slides, photographs, and transparencies depicting installation views and artwork; and notes. Financial records include invoices; correspondence; ledgers; operational budgets; royalty statements; and a binder documenting the gallery's finances from 2000-2001. Inventory and sales records include inventories of work by artists represented by the gallery; notes and lists related to sales; and sales receipts, invoices, and worksheets. Printed material includes clippings; exhibition catalogs and announcements; business cards and blank post cards; press packets; publications related to exhibitions; posters; and press releases. Photographic material includes color and black and white photographs, slides, transparencies, and photocopies or digital prints of events held at the gallery, installation views, works of art, and interior and exterior views of the gallery spaces. Facsimile was the gallery's most common method of communication and the bulk of correspondence found throughout the collection is faded.
Arrangement:
The collection is arranged as 7 series.
Series 1: Administrative Records, 1976-2012 (1.00 linear feet; Box 1, OV 13)
Series 2: Artist Files, 1965-2001 (4.30 linear feet; Box 1-6)
Series 3: Exhibition Files, 1989-2001 (2.90 linear feet; Box 6-9)
Series 4: Financial Records, 1992-2001 (0.40 linear feet; Box 9)
Series 5: Inventory and Sales Records, 1992-2001 (0.30 linear feet; Box 9)
Series 6: Printed Material, 1970-2001 (1.50 linear feet; Box 9-11, OV 14)
Series 7: Photographic Material, 1973-2001 (1.80 linear feet, Box 11-12)
Biographical / Historical:
AC Project Room was an independent, artist-run commercial gallery that operated in New York City from 1990 to 2001. It was co-founded by artists Paul Bloodgood, Alissa Friedman, and Anne Chu. The gallery began in a spare room at Art Cart in 1989, an artist-run art transportation and installation company, as the Brand-X Gallery (The Art Cart Gallery), and held permanent locations at 15 Renwick Street, 585 Broome Street, and 453 West 17th Street in Manhattan. In addition to solo and group exhibitions that cut across formal and generational lines, the gallery organized performances and symposiums, collaborated with other galleries, dealers, and curators, and became an informal space for people to gather in community.
Provenance:
The collection was donated in 2019 by Kelly E. Adams, widow of Paul Bloodgood.
Restrictions:
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.
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.
Materials include leases for the 15 Renwick Street and 558 Broome Street locations; the original gallery sign from Renwick Street; database printouts from 1998-1999; a business plan, operational budget documentation, gallery mission statement, and a list of gallery functions; folders related to the "AC Project Room Archive" containing clippings, loan and consignment forms, correspondence and press releases related to exhibitions and special events between 1990 and 1991; a 1998 annotated calendar; announcements related to a new director and moving to West 17th Street in 1998; Anne Chu's letters, invoices, and to do lists dated 1999-circa 2001; gallery floor plans; art fair price lists, announcements, and contact lists; various checklists and memorandums; a circa 1996 Behind Industrial Buildings/Wild Friends Garden Design Notebook; correspondence with artists, dealers, and curators including Catherine Bastide and Corbin Walker; correspondence related to unpaid invoices, possible exhibitions, and a 2001 Robert Breer consignment to Nathalie Bouton; mock-ups and correspondence related to a MAB Magazine project; internship notebooks, notes, and office procedures related to the day to day operations of the gallery; statements, notes, lists, and agendas related to the gallery and gallery operations between 1993 and 2001; correspondence and notes related to storage issues in 2000; and xeroxes of slides that were sent out between 1996 and 1997. The bulk of the correspondence is in facsimile format.
Collection Restrictions:
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:
AC Project Room records, 1965-2012. Archives of American Art, Smithsonian Institution.
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:
AC Project Room records, 1965-2012. Archives of American Art, Smithsonian Institution.
The Dumbo Arts Center records measure 19.1 linear feet and date from 1994 to 2013. The records document the Center's activities through administrative files such as board meeting minutes, strategic business plans, invoices, and workshop materials; grant award files; annual art festival documentation such as permits, schedules, sponsorship contracts, and artist lists; annual auction documentation such as permits, inventories, and invoices; exhbition files consisting of loan agreements, artist resumes, and artist work samples; exhibition announcements, exhibition catalogs, festival schedules, auction invitations, and other printed material; photographs from both the annual arts festivals and auctions; artist video submissions.
Scope and Contents:
The Dumbo Arts Center records measure 19.1 linear feet and date from 1994 to 2013. The records document the Center's activities through administrative files such as board meeting minutes, strategic business plans, invoices, and workshop materials; grant award files; annual art festival documentation such as permits, schedules, sponsorship contracts, and artist lists; annual auction documentation such as permits, inventories, and invoices; exhbition files consisting of loan agreements, artist resumes, and artist work samples; exhibition announcements, exhibition catalogs, festival schedules, auction invitations, and other printed material; photographs from both the annual arts festivals and auctions; artist video submissions.
Administration materials consist of board meeting minutes, strategic business plans for the Center, board member biographies, material related to workshops hosted by the Center, and business expenses. Grant files consist of applications, correspondences, and award letters to various organizations for funding for exhibitions, annual art festivals, and annual auction events. Festival files consist of permit materials, artist applications, sponsorship contracts, local business advertising forms and correspondence for each year of the annual Arts Under the Bridge Festival between 1997 and 2011. Auction files consist of permit materials, artist applications, sponsorship contracts, inventories and item lists, and invoices related to auctions taking place between 2000 and 2009. Exhibition material consists of artist files and resumes, loan agreements, contracts, and invoices related to exhibitions held between 1998 and 2010. Printed material consists of exhibition announcements, exhibition catalogs, exhibition posters, clippings, and press releases for exhibitions, auctions, and the Arts Under the Bridge Festivals. Photographs consist of photographs and slides of artwork showcased at auction events, photographs related to some of the exhibitions hosted by the Center, and photographs of some of the annual Arts Under the Bridge Festival. Artist submission videos are primarily submissions by artists for some of the exhibitions hosted by the Center. Also included is footage from one of the Arts Under the Bridge Festivals. Unprocessed born digital consists of CDs, DVDs, floppy disks, and zip disks, of submissions by artists, as well as, festival related materials.
Arrangement:
The collection is arranged into nine series.
Series 1: Administrative Files, 1997-2010 (1.1 linear feet; Boxes 1-2, 21)
Series 2: Grant Files, 1998-2013 (1.0 linear feet; Boxes 2-3)
Series 3: Festival Files, 1997-2011 (3.6 linear feet; Boxes 3-6, 21)
Series 4: Auction Files, 2000-2011 (1.7 linear feet; Boxes 6-8)
Series 5: Exhibition Files, 1998-2010 (4.2 linear feet; Boxes 8-12)
Series 6: Printed Material, 1997-2011 (1.9 linear feet; Boxes 12-13, 20-21, OV 22)
Series 7: Photographs, 1999-2009 ( 2.0 linear feet; Boxes 13-15)
Series 8: Video Submissions, 1994-2003 (1.6 linear feet; Boxes 15-17)
Series 9: Unprocessed Born Digital Material (2.0 linear feet; Boxes 18-19)
Biographical / Historical:
The Dumbo Arts Center was established in 1997 to preserve the identity of Dumbo, Down Under the Manhattan Bridge Overpass area of Brooklyn, New York, as a vital artists' community. The Center held annual "Art Under the Bridge" arts festivals between 1997 and 2014 as well as annual art auctions. The festivals consisted of exhibitions, dance, and theater performances. In addition to the festivals and auctions, the Center would host exhibitions in its gallery space. The Dumbo Arts Center closed in 2014.
Provenance:
The Dumbo Arts Center records were donated to the Archives of American Art in 2015 by the Dumbo arts Center via Julie Martin, Board member.
Restrictions:
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.
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.
Function:
Art festivals
Genre/Form:
Video recordings
Citation:
Dumbo Arts Center records, 1994-2013. 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.
Administration materials consist of board meeting minutes, strategic business plans for the Center, board member biographies, material related to workshops hosted by the Center, and business expenses.
Collection Restrictions:
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:
Dumbo Arts Center records, 1994-2013. 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:
Dumbo Arts Center records, 1994-2013. 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.
Includes copies of the New Cycle Menstrual Wealth Catalogue (1992), invoices, correspondence, brochures, pamphlets, the newsletter Womankind, an executive summary for New Cycle Products, Inc., and a business plan, workbook, "Reclaiming the Menstrual Matrix" (1990) and the "Ecology of Being Female" (1990) published by the Menstrual Health Foundation (1991).
Collection Restrictions:
Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Museum of Menstruation Collection, Archives Center, National Museum of American History
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Integrated Circuit Engineering Corporation. Search this
Type:
Archival materials
Date:
1973
Scope and Contents note:
Content Summary: Critique on business plan, multinational semiconductor company
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
I.C.E. Integrated Circuit Collection, Archives Center, National Museum of American History
Integrated Circuit Engineering Corporation. Search this
Type:
Archival materials
Date:
1974
Scope and Contents note:
Content Summary: Business plan for a silicon wafer processing joint venture to manufacture & market integrated circuits
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
I.C.E. Integrated Circuit Collection, Archives Center, National Museum of American History
Integrated Circuit Engineering Corporation. Search this
Type:
Archival materials
Date:
1974
Scope and Contents note:
Content Summary: MOS plan-manufacturing
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
I.C.E. Integrated Circuit Collection, Archives Center, National Museum of American History