"I follow straws in the wind, and that's how I came to Mendocino. A friend of mine from art school, whom I hadn't seen for twenty five years, recommended me to Bill Zacha. I was busy, so I recommended Hilda Pertha to Bill, and she came...later I taught a summer course at the Art Center and fell in love with the place. All the wood, for example, really excited me, the wonderful gray wooden fences. I did a whole series of close-ups of the wood, all the grains and knotholes, and when it was shown in San Francisco, it sold out. The very tempo of living here has influenced my art. I think there is a magic in this place, something very special that people call a kind of 'power center', like Mount Shasta, and I think that this was the moving spirit of Bill Zacha, that remarkable catalyst." - Dorr Bothwell, Arts & Entertainment Magazine, Mendocino, California, May 1989
Sometimes by chance, more often by courageous intuition, where ever Dorr Bothwell found herself, she was both at the creative center of her times and unselfconsciously moving ahead of them.
A native San Franciscan, Bothwell remembered her crib rolling across the floor during the Great San Francisco Earthquake of 1906 and she remembered the chaos in the city streets in its aftermath.
In her twenties Bothwell lived, worked and opened a gallery at the Montgomery Block, that architectural marvel at the heart of the bohemian intellectual life of San Francisco.
In 1928, Dorr Bothwell traveled alone to Ta'u, the easternmost of the Manu'a islands of American Samoa, where she lived for two years doing the block prints, drawings and watercolors she always considered her finest work. After Samoa, Bothwell studied art history and painting in England, France and Germany. She lived in Paris, San Diego, San Francisco, New York, Joshua Tree and Mendocino, traveled and worked in Europe, Asia and Africa, but her bond with the land and the people of Samoa, not least the Samoan family which formally adopted her, was unique, a powerful lifelong source of inspiration, strength and longing.
Although Dorr Bothwell rejected "Surrealism" as descriptive of her art, one can see why the term tempts some of her biographers. Recurring throughout each period in her work, even at its most purely representational, distance and time collapse; the past and present interpenetrate.
Beyond surreal resonances in her work, Bothwell has an historical connection to Surrealism as well.
Dorr Bothwell tells of a day walking in Paris when she wandered into the 1938 Exposition Internationale du Surrealisme and found herself stunned, seared, transformed by the power of the images, the first five of which Bothwell could recall in order, with perfect clarity, fifty-five years later.
Picture Bothwell after the Exposition as she meanders through the city seeing only the images behind her eyes until her attention is caught by an open doorway slightly below the level of the street. A woman is standing in the doorway; she makes herself understood, invites Bothwell to come down the steps to watch a film. The price is a franc or two. The seating is an assortment of kitchen chairs. A few others have gathered. The woman is Gala. Not yet released to the public, the film is "Un Chien Andalou".
An innovator in the use of serigraphy as a fine art medium, Dorr Bothwell also worked in oil painting, water media, sculpture, collage and assemblage. In addition to continuing work on her own prints and paintings, in the mid-1930s Bothwell was both a muralist for the Federal Arts Project and a ceramics designer for Gladding McBean where the artist's small decorative ceramic pieces were distinguished by her attention to full presentation in the round.
In 1961, over a year after Bill Zacha's initial invitation, Dorr Bothwell came to Mendocino. Zacha and Bothwell had never met before she came to teach at the Mendocino Art Center, but their connection was immediate and profound. In Dorr Bothwell Bill Zacha found his mentor and each found in the other a life-long friend.
So intent was Bill Zacha on making Dorr Bothwell comfortable in Mendocino that he custom-tailored a combination home and studio space for her at the corner of Kasten and Albion Streets and later built for her a larger studio with living space overlooking his rose garden behind the Bay Window Gallery. Although Bothwell often repaired to her desert studio in Joshua Tree during Mendocino's cold, wet Mendocino winters and continued her far-flung adventures into her nineties, she always returned to Mendocino.
Dorr Bothwell left her unique imprint on Mendocino and, as with so many who come to Mendocino, Mendocino also left its mark on her. A brief biography on the website of her longtime dealer, the Tobey C. Moss Gallery, alludes to a change in focus which coincides with Dorr Bothwell's move to Mendocino: "A thread of surreality and abstraction is observed in her paintings of the late 1920s through the 1950s, overtaken by her irrepressible gusto for life and nature." That "irrepressible gusto" produced the vibrant collages, the serigraphs, the paintings of Mendocino cats and fences and the large format metaphysical paintings of Dorr Bothwell's last forty years.
In addition to her art, Dorr Bothwell's legacy includes half a century as a gifted teacher of painting, serigraphy, collage, color theory and design, including the theory of notan.
First published in 1968, "Notan, the Light-Dark Principle of Design" was written by Dorr Bothwell and Marlys Mayfield. The Dover Books edition is available from Gallery Bookshop in Mendocino.
Bothwell's teaching credits include the California School of Fine Arts (1944-1948), the San Francisco Art Institute, the Parsons School of Design in New York, the Inner London Educational Authority and the Ansel Adams Yosemite Workshops where she taught Composition and Design for Photographers. In four decades teaching at the Mendocino Art Center, with insight and unstinting generosity, Dorr Bothwell mentored generations of younger artists.
Dorr Bothwell's work can be seen in the collections of the Victoria and Albert Museum in London, the Hunterian Museum and Art Gallery in Glasgow, the Bibliotheque Nationale in Paris, the Metropolitan Museum of Art, the Achenbach Foundation of Graphic Art, the Brooklyn Museum of Art, the Whitney Museum of American Art and the Museum of Modern Art in New York, the United States Library of Congress, the National Museum of Women in the Arts and the National Gallery of Art in Washington, D.C., the Georgia Museum of Art, Athens, Georgia, the Fogg Museum in Cambridge, Massachusetts, the Boston Museum of Fine Arts, the Crocker Gallery in Sacramento, the San Diego Museum of Fine Art and the former San Francisco Museum of Art, renamed the San Francisco Museum of Modern Art (SFMOMA).
- Carol Goodwin Blick (2008)
See the archive of Dorr Bothwell's artwork.
DORR BOTHWELL IN THE ARCHIVES OF AMERICAN ART: YEARS 1921-2001
In 2005, the Archives of American Art's West Coast office, previously located in the Huntington Library's Virginia Steele Scott Gallery of American Art, was closed due to budget constraints. Fortunately, the microfilm of unrestricted material, including the Dorr Bothwell papers, 1921-2001, officially held by the Archives in Washington, D.C., remains at the Huntington Library Art Collections, 1151 Oxford Road, San Marino, CA 91108; telephone 626-405-2100.
The Huntington Art Collections staff will continue to provide access to the unrestricted microfilm by appointment only. To schedule an appointment to view Dorr Bothwell's archives, call 626-405-2234.
Before calling the Huntington Library, visit the website of the Smithsonian Archives of American Art, Smithsonian Institution Research Information System (SIRIS) and search their database for the reel numbers of the microfilm you wish to see.
Dorr Bothwell papers, 1921-2001
Dorr Bothwell interview, February 27, 1965
Dorr Bothwell Chronology, Tobey C. Moss Gallery
Doris (Dorr) Hodgson Bothwell, personal history, The Journal of San Diego History, Summer 1986
Dorr Bothwell, biography with links to images of early work, The Tobey C. Moss Gallery, 2000
Dorr Bothwell Memorial page, The Tobey C. Moss Gallery, 2000
Dorr Bothwell, The Mendocino Art Center
Dorr Bothwell, Wikipedia
Bothwell, Dorr. Dorr Bothwell's African Sketchbook. Monica Hannasch, editor. Arti Grafiche Ambrosini - Roma, 2000. Print.
Bothwell, Dorr and Mayfield, Marlys. Notan: The Dark-Light Principle of Design. ISBN: 048626856X. Dover Publications, 1991. Print.
Bowers, Karen. "Dorr Bothwell: Original Prints from Three Decades", Arts & Entertainment Magazine, March/April 1999. Mendocino Art Center, Mendocino, California. Print.
Fort, Ilene Susan. "The Adventurers, the Eccentrics, and the Dreamers: Women Modernists of Southern California", Independent Spirits: Women Painters of the American West, 1890-1945. Patricia Trenton, editor. ISBN 9780520202030. University of California Press, 1995. Pages 76, 80, 82, 86, 89, 95, 98. Print.
Oliver, Myrna. "Dorr Bothwell; Painter Lived Nomadic Life." Los Angeles Times, 21 September 2000: B-8.
Richard, Valliere T. "Dorr Bothwell: Edited Biography." Arts & Entertainment Magazine, March/April 1999. Mendocino Art Center, Mendocino, California.
Trenton, Patricia. Independent Spirits: Women Painters of the American West, 1890-1945." ISBN: 9780520202030. University of California Press, 1995.
Stevenson, Charles. "Local Artists on Avant Garde: Charles Stevenson talks about the onward march of culture and other things related to the avant garde." Arts & Entertainment Magazine, March 1981. Antonia Lamb, editor. Mendocino Art Center, Mendocino, California. Pages 8, 9. Print.