A 2-page letter printed by James Acord in August 1994, in which only just over half of the first page printed correctly.
This letter — or at least that can be read — notes an "accident" involving falling Fiestaware bowls and a dead shrew. Acord also discusses a difficult week in Seattle after his truck broke down after deinstalling "Controlled Access" at CoCA (Center for Contemporary Art, Seattle). The remainder of the letter is more or less illegible.
This is a 7-page set describing Acord's proposal for artist-in-residency at Massachusetts Institute of Technology, in August 1994.
This includes: (1) a cover page with some printed "invisible characters" at top, and a brief handwritten note, signed by Acord; (2) 4 pages of draft proposal, including "Consulting and Teaching," "New Works," "Transmutation," "Drawing and Sculpture," and a conculsion; (3) 2 pages of budget proposals.
These sheets are held together with an oversized green plastic paperclip.
A handwritten and undated letter, recto only, assumed to be in August 1994 based on other materials this is with, from James Acord to Janet and Edward Galore.
This letter discusses the contents of the envelope in which this letter is maintained, including a 2-page letter that Acord had difficulty printing. There was a disk originally included with this, which Acord directed the Galores to open and print out the enclosed files, and then return the disk.
This manila envelope from James Acord in Richland, WA to the Galores in Seattle, WA contains: (1) a handwritten cover letter; (2) a 7-page set of papers for Acord's draft proposal for artist-in-residency at MIT; (3) a partial letter, typed, from Acord to the Galores, et al., exhibiting his printing challenges.
A printed set of correspondence between James Acord and Mark Ramsay, printed on 19 July 2001.
The initiating message from James Acord to Mark Ramsay describes: (1) appreciation that Ramsay attended the talk at the National Museum of Science and Industry and frustration that the slide carousel jammed; (2) dissatisfaction with the state of his hand-out, and an ask for Ramsay to provide feedback; (3) on meeting the NMSI personnel; (4) on Simon Franklin at CONSORT Reactor at Silwood Park; (5) a mention of the ISIS accelerator, a desire to use it for art, and the need for funding; (6) the possibility of using an Imperial College Am Be neutron sources, and some worry at potentially causing Mark trouble down the road; (7) looking forward to a meeting later in the week.
A printed email from James Acord to David Wark, printed "for James Flint" on 20 July 2001.
This email describes: (1) An appreciation to Wark for attending Acord's talk at the National Museum of Science and Industry [London]; (2) an ask for feedback from Wark on his hand-out; (3) Acord's meeting with NMSI; (4) his hope to use the ISIS accelerator for art; (5) curiosity about the Oxford University artist-in-residency program; (6) a request for feedback on his "Am Be" drawing and proposal; (7) a wish to meet David Sington; (8) a paragraph on "ultra-cold neutrons" and potential use of the Imperial College's Blackett Lab; (9) a concern from Acord of putting Wark at some risk with his proposals.
This is a 5-page corner-stapled packet.
The title page notes "Art and Science in the Nuclear Age / Presented by James L. Acord / 18th July 2001 / to the / National Museum of Science and Industry" and his contact information at the time.
The second page is a series of bullet points on "The Concept."
The third page is a series of bullet points on "The Work."
The fourth page is an image of Acord's "No Access" (1998) installation at the ATOMIC exhibition, Bovic, Slovenia, 1999.
The fourth page is Acord's C.V.
A typed and signed letter from James Acord to "Push-Button" (the cat belonging to Janet and Edward Galore), undated, but in an envelope postmarked 20 July 2001.
This letter addresses: (1) a discussion of the quality of his London residency; (2) a mention of a cat named "Stuffy"; (3) Acord's workload of emails and dinner engagements; (4) an updated email address; (5) an expectation that Acord will be homeless when he returns to Seattle; (6) mention of the other enclosed materials.
A color photocopy of James Acord's drawing of a setup for transmutation using Americium, as drawn on 13 May 1999.
This may have been included with May 2002 correspondence with Janet Galore regarding "Mending Fences" with Carey Young and James Flint.
