AC Project Room records
name: label: Creator
content: A/C Project Room
label: Names
content: Auder, Michel
label: Names
content: Breer, Robert
label: Names
content: Chu, Anne, 1959-
label: Names
content: Hayes, Paula, 1958-
topic: label: Topic
content: Women artists
acqinfo: label: Provenance
content: The collection was donated in 2019 by Kelly E. Adams, widow of Paul Bloodgood.
creator: label: Creator
content: A/C Project Room
setName: label: See more items in
content: AC Project Room records
abstract: label: Summary
content: 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.
bioghist: label: Biographical / Historical
content: AC Project Room was an independent, artist-run commercial gallery that operated in New York City from 1990 to 2001.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.
function: label: Function
content: Art galleries, Commercial -- New York (State)
label: Function
content: Artist-run galleries -- New York (State)
physdesc: label: Extent
content: 12.2 Linear Feet
unitdate: label: Date
content: 1965-2012
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.acprojec
objectType: label: Type
content: Collection descriptions
label: Type
content: Archival materials
arrangement: label: Arrangement
content: 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)
processinfo: label: Processing Information
content: The collection was processed, and a finding aid prepared by Jennifer E. Neal and Lewis Tio in 2021.
scopecontent: label: Scope and Contents
content: 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.