This subseries contains documents specific to Jack Eyerly that were donated after the rest of the materials in this collection. The papers in this subseries reflect Eyerly's interests in his genealogy, art writing, and Northwest art. It also holds pieces of memorabilia such as Polly Eyerly's nameplate from her time as the Curatrix of Education at the Portland Art Museum, photos of Jack Eyerly wearing an Experiments with Art and Technology button shortly after his founding the Portland chapter of the EAT group, and photos with many of the Oregon artists that Eyerly would become friends with over the course of his life. A small publication titled "Jack Eyerly Memorialized" is also included. Written by Jim Shull and collaborators, this piece accompanied the service in Eyerly's honor after his death. Shull described this piece as being a labor that was not quite complete. The process of writing it began years before Eyerly's death and was a collaboration between Eyerly, Shull, and many other interesting characters. "Jack Eyerly Memorialized" offers stories from the large cast of artists and friends that Eyerly made over the course of his life. It offers information that helps to frame the rest of the materials in the collection, as many of those who offered stories for the memorial also have documents throughout this collection. This subseries provides notes by the secondary arrangers of this collection who worked to compile the material and transfer it to the Willamette University Archives and Special Collections.

Clifford Gleason was an artist of significant note before his death in 1978. Gleason was a student and collaborator of Louis Bunce during the Works Progress Administration era, and would go on to be a long-term teacher at the Museum Art School in Portland, now the Pacific Northwest College of Art. As a student of Bunce, Gleason was one of the early abstract painters of the Northwest and was well known for his paintings, drawings, and murals. In this subseries there are documents relevant to his many shows over the years, as well as many documents specifically related to a retrospective put on by Eyerly at the Blackfish Gallery in 1985 in Gleason's honor, which was titled "The Late Paintings." Many of the works presented in this show are represented by inventory lists and supplemented by either slides or photos of the images used in the show. These materials also document the assistance that Gleason received from his friends and colleagues during his career as an artist.

Norma Heyser and her husband Ron Peterson were fixtures of the Portland art scene in the 1950s and 60s. They owned and operated the New Gallery of Contemporary Art in Portland until it closed in 1962. While it was open, it hosted many of Oregon's foremost modernist artists. Both painters themselves, Heyser and Peterson participated in shows at their own gallery and were also involved with their local government in Lake Oswego. This subseries contains correspondence related to the operation of the New Gallery of Contemporary Art, exhibition-related materials from the "Paper Works" show at the Portland Art Museum, and a proposal for becoming an artist in residency at Mt. Angel College filed by Ron Peterson.

Eyerly was always interested in the avant-garde and made a point to supply his time, as well as his resources, to groups that were on the cutting edge of the arts. One such group included artists with disabilities who aimed to challenge contemporary viewpoints about what it means to live with a disability and how artists with disabilities are able to express themselves. Chiaki Kawajiri, along with collaborators Emery Blackwell and Bonnie Dunn, created a series of photographs entitled "Flesh of my Flesh," which focused on the nude forms of two people with disabilities in an intimate setting. The papers in this collection surrounding this work focus upon the artists' perspectives, the discourse between artists and the public, the gallery showings of the images, and the collaborative relationship between Eyerly and the artists. It touches upon issues of identity, accusations of exploitation of Blackwell and Dunn by Kawajiri, and the further proliferation of the artists with disabilities movement.

Brian Kazlov was a young painter originally from the Midwest who moved between New York City and the Pacific Northwest, all the while making new works. Kazlov was an abstract painter and showcased his works at various galleries in both New York and Oregon. Eventually, he settled down into a home on the Oregon coast in a small community north of Florence, Oregon. During his time at his coastal home, he worked on his paintings alongside his wife, and fellow artist, Luthera (Lu) Stone-Kazlov who worked in a collage-weaving style. While on a trip to Bali in 1992 to investigate buying property, Kazlov was out swimming with a friend when a sudden and powerful undertow pulled him under and drowned him. A letter from Eyerly details the small ceremony that was held in Bali where his body was cremated after his death. Eyerly's papers focus equally upon the life, death, and legacy of Kazlov, with many pieces of correspondence between Eyerly and Luthera Kazlov. Also contained are a series of photographs from an exhibition of Kazlov's works from 1992, likely from a posthumous retrospective arranged by Eyerly. There are also several pieces of correspondence involving Trudi Kazlov, the mother of Brian Kazlov, writing to Eyerly for information about her son.

Patricia Paolucci was a dancer and long time correspondent of Eyerly's. Their letters begin in the early 1960s and continue until the late 2000s with many hundreds of letters exchanged over this time. Paolucci was a well-respected dancer, and she collaborated with various groups and coordinators in many locations such as Eugene (OR), Portland (OR), Seattle (WA), Dallas (TX), Santa Fe (NM), and others. While primarily a dancer, Paolucci was also involved with the visual arts and posed as a model and muse for artists in every city where she stayed. Paolucci also pursued teaching yoga, dance therapy for adults and troubled youths, and studying Ivanovitch Gurdjieff's spiritual and philosophical teachings. This subseries is composed almost entirely of letters exchanged between Eyerly and Paolucci regarding artistic endeavors, dance, and personal anecdotes.

Isaac Shamsud-Din is an artist and activist from Portland. He was involved with many different projects, foremost in this collection being his work on the Albina Mural Project. Shamsud-Din was also heavily involved with the Black United Front, a pro-black movement that was evolving in Portland in the late 1970s and early 80s. He was a spokesperson for the movement and was recognized by local news outlets as one of Portland's most influential black individuals of the time. Shamsud-Din was vocal on many issues regarding the black community in Portland, in one case calling for a boycott of the Lloyd center during their 20th anniversary celebration because of the board's involvement in keeping school districts separate. Many of the documents in this subseries reflect an intersection between Shamsud-Din's position as an artist and as a member of the black community. These documents show Shamsud-Din's interest in the equal education of the children from his community, creating art that reflects an underrepresented identity, and the process of finding the resources to make these goals into reality.

John Sinclair was a pyrotechnical artist who organized and executed several large shows of fireworks where he combined both aerial elements with large ground-based constructions. Sinclair desired to create a full experience around the fireworks show and was well respected for his ability to craft those experiences. These papers cover Sinclair's design of a show for the 20th anniversary of the Lloyd Center, as well as for many individual private shows. Additionally, a film was created by Harry Dawson entitled "Fireplay," which documents Sinclair's process of creating the pyrotechnical show for the Lloyd Center. There are files outside of this subseries relevant to Sinclair indicating that he gave up designing fireworks several years after his show at the Lloyd Center.

Comprising the bulk of the artists' series, these boxes cover a wide variety of subjects, people, and places that Eyerly was in contact with. The items within the boxes maintain their original order left by Eyerly, reflecting his design and construction of these papers over time. In many cases these items are in a dialogue with each other over the course of a box and create a narrative of the interactions between artists and groups over time. Throughout the subseries many artists appear multiple times, engaging in new dialogues based upon their box and surrounding folders. There are many artists represented, but individuals such as Ray & Genevieve Barnhart, Deryl Clegg, Tom Cramer, Bob Crist, Don Day, Larry Hanson, Karl Krogstad, Jim Shull, Sid & Pat White, along with others, have many files related to them throughout the collection in multiple locations and compiled over many years of correspondence.