Survey: Allied Productions, Inc.

Posted August 05, 2010 by Anonymous

Organization:

Allied Productions, Inc.

Part 1.

Year Founded:

1980

1b. Primary activity[ies] of the organization.:

Multipurpose artist-run umbrella fostering community arts building via collective process

1c. Organization's annual budget.:

$0 - $50,000

1b. Primary activity[ies] of the organization.:

Other

Part 2.

2a. Mission Statement:

ALLIED PRODUCTIONS, INC. IS DEDICATED TOWARDS ENCOURAGING AND FOSTERING THE INTEREST OF ALL SEGMENTS OF THE COMMUNITY IN VISUAL, PERFORMING, AND MEDIA ARTS, AND BROADENING AND ENRICHING THE GENERAL PUBLIC THROUGH PUBLIC PERFORMANCES, SCREENINGS, EXHIBITIONS, DISTRIBUTION, WORKSHOPS, COMMUNITY OUT-REACH PROGRAMS, AND OTHER SIMILAR ACTIVITIES.

Website Link to Mission Statement:

http://alliedproductions.org/

2b. Organization History / Organizational Overview. Index of important events in organization's history.:

Allied Productions, Inc. provides management support in all areas of production. Since its Incorporation in 1981, its purposes have been to provide services and support to individuals, groups, and organizations actively involved in the production of visual, performing, and media arts. Allied has a proven track record for effective management. Allied’s contacts and resource lists are a vital reference for: • Locating funding sources for individuals, groups and organizations. • Locating and providing materials and work and production space. . • Assisting the general growth and development of individuals, groups and organizations actively involved in visual, performing and media arts .

2c. Exhibition / Programming / Publishing History.:

Le Petit Versaillesis a community garden on the Lower East Side of Manhattan offering a Spring to Fall schedule of performances, visual art exhibitions, film, music, readings and multi media. Kembra Pfahleris the singer/composer lead of the band, The Voluptuous Horror of Karen Black. She is a visual artist, fashion designer, actor, model, and entepreneur. Some past events and activities sponsored by Allied have been: P.O.O.L. EUROPEAN TOUR, 1983-84 Spain, Germany, France, Switzerland FOHO TELL DREAMS 1984 Danspace, NYC Large Scale Performance Work, THE ULTIMATELY CIVIL PROJECT AT TOMPKINS SQUARE PARK, 1985 three day festival funded by NEA Interarts Program PERFORMANCE WORKS, of Kembra Pfahler, Samoa, Jack Waters, Peter Cramer under NEA Interarts grant, 1986 NAKED EYE CINEMA CANADIAN CROSS-COUNTRY TOUR, 1988 MIAMI, THE LAST RESORT, 1989 Miami Beach, Florida: • Artist installations at the Leonard Beach Hotel • Group Exhibition at Galaxy Gallery • Performance Event at Club NU ARTCITE GALLERY, 1989 Windsor, Ontario: • ABC NO RIO RETROSPECTIVE EXHIBITION • NAKED EYE CINEMA FILM SCREENING • ALLIED PERFORMANCE GROUP VIDEO INSTALLATION MICHIGAN GALLERY, 1989 Detroit, MI. • GROUP EXHIBITION • NAKED EYE CINEMA FILM SCREENING • PERFORMANCES BY KEMBRA PFAHLER, SAMOA, AND CIRCLE X (music) ABC NO RIO 7 DAYS/10 YEARS AT KUNSTLERHAUS Hamburg, Germany 1991 10TH ANNIVERSARY EXHIBITION OUT AND EXPOSED SHOW, LESBIAN AND GAY COMMUNITY CENTER, NYC 1992 EXHIBITION OF WORKS BY YOUNG LESBIAN AND GAY ARTISTS SEI DABEI, Hamburg Kunstlerhaus 1994 (PARTIAL LIST OF CURRENT AND PAST AFFILIATIONS ): ARDEN PARTY (Theater Company) CURIOUS THEATER COMPANY (Theater group and facility) P.O.O.L. (Dance and performance collective) ZONE (Visual art, music, film, media presenter) NAKED EYE CINEMA (International film exhibition) EMBARGO BOOK, LTD (Multi lingual literature outlet) ABC NO RIO (Multi-purpose exhibitionand performance space) NEW YORK FILM EXPO ( Annual film festival) KOO DANCE (Dance company) I. G. TIMES (Magazine publication focusing on graffitti and urban art and culture) ANTIUTOPIA (Limited edition print collection/magazine curated by artists Bruce Witsieppe, Bobbie Fultz, Eddie Rollins, & Tony Pinotti. Includes works of Leon Golub, Hannah Willke, & many other artists of international repute) BEATRICE ROTH- BROKEN CUPS (Theater/performance piece performed at The Performing Garage) FLORIDA PRESS (printing facility managed by artist Bobbie Fultz) CONSULTANTS TO Jenny Livingston (Paris Is Burning) ......And over 75 other group and individual projects supported by the New York State Council On the Arts, National Endowment On The Arts, Local Arts Councils, Corporate and Foundation Grants, and Individual support.

Website Link to Exhibition / Programming / Publishing History:

http://alliedproductions.org/cgi-bin/view.cgi?n=/lpv/home.xml

Part 3.

3a. Names and email addresses of Founders, Board Members, Directors or other key individuals::

Peter Cramer petmat@mindspring.com

Additional Names and email addresses of Founders, Board Members, Directors or other key individuals:

Susan C. Brown susan.brown@med.nyu.edu

Additional Names and email addresses of Founders, Board Members, Directors or other key individuals:

Carl M. George carl@luxevents.biz

Additional Names and email addresses of Founders, Board Members, Directors or other key individuals:

Linda Richardson lindarichardson@tmo.blackberry.net

3b. Could any of these individuals assist in providing an oral history of your organization?:

Yes

Part 4.

4a. Is organization currently active?:

Yes

4b. Year activity suspended if no longer active.:

Organization Still Active

Part 5.

5a. Type of organization at its founding.:

Non-Profit [IRS certified]

5b. Type of organization currently, or at the termination of activities.:

Non-Profit [IRS certified]

Part 6.

6a. Does the organization have an archive?:

Yes

6c. Other threats to the organization::

General apathy towards aesthetic life and the decreasing importance of critical consciousness.

Part 7.

survey_field_130:

How to emphasize the impoirtance of process without conforming to the cultural primacy of product.

7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.:

1. Very Important

7b. Has planning for the preservation and documentation of archive begun?:

Yes

7c. Does the organization know how and where to seek expertise and assistance?:

Yes

7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?:

Other Concerns - Please describe below.

Part 8.

8a. Is the organization's archives in the collection of another institution or promised to one?:

Yes

8a. Location:

An incentive has been implemented placing works from the Naked Eye Cinema into distribution by the Film Makers’ Cooperative (NYC). A collection of videos titled Naked Eye TV is held by the Royal S. Marks collection of the New York Public Library. Likewise related elements of the archives are available at the NYU Fales Downtown Collection in the Jack Waters Papers grouping. These include film negatives, prints and ephemera related to selected works by Jack Waters. Fales also holds written documents and publication not doirectly related to those three films that are part of the Naked Eye Cinema Cannon. Waters flms and the works of Peter Cramer, also under the Naked Eye rubric are in the collection of the Donnel Media Collection of the New York Public Library.

8b. Archival materials are also located at::

Yes

Where are these locations?:

Documentation of the performances of POOL held in the collection of materials grouped with Hotel Armegeddon A’s Des Refuses; similar documentation held by videographer Franz Villa, and by photographer David Zades. Plans are underway to consolidate these elements.

Part 9.

9. Does the organization maintain archives for any other organization.:

Yes

survey_field_49:

Allied Productions, Inc. shepherds the visual art archives of Abc No Rio. Allied also shares a portion of the media archives related to Abc No Rio including performance and exhibition documentation and the film and video collection known as Naked Eye Cinema, the film program of Abc No Rio from 1980 - 1990.

Part 10a.

10a. Is the archive accessible to scholars, curators or researchers?:

Part 10d.

10d. Would you allow access in the future?:

Yes

Part 10e.

10e. Under what circumstances would access to archives be allowed.:

Once the archives are properly preserved and documented and there is a system to track, monitor and maintain the elements. Access to digital documentation of the archives will likely be the first stage of accessibility. Scholars and profrssionals in the field are welcome to peruse the archives however there is a need to organize and present the materials in a way that is effective and useful.

Part 11.

The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents:

Artist Files

Correspondence

Board Minutes

Exhibition or Production Files

Financial Records

Legal Documents

By-laws / Incorporation Documents

Other Paper Files

11b. Artwork and Documentation:

Audiotapes [Any Format]

Other Audio Recordings (i.e. records, etc.)

CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]

Other Digital Materials

Films

Slides

Photographs

Prints / Lithographs / Etchings / Screenprints / etc.

Videotapes

Unique Art Objects

Other Artwork. Please describe below.

Other::

Three dimensional multi media installations, conceptual works.

11c. Press and Promotional Materials:

Announcements, Mailing Cards, etc.

Newspaper / Magazine / Media Clippings

Posters / Flyers

Other::

Other Press or Promotional Materials:

11d. Printed Publications:

Brochures

Broadsides / Small Press

Commercially Published Materials

Checklists / Performance Programs / Price Lists

Programs of Events

Other Printed Publications - Please describe below.

Other::

Zines, artist made books.

11e. Other:

Architectural Drawings / Floor Plan

Costumes

Layouts / Sketches / Instructions for Installations

Layouts / Sketches / Instructions for Performances

Mock-Ups / Models / Prototypes

Props for Performances

Other::

Other

Part 12.

12. What years does the materials cover?:

1980-1989

1990-1999

2000-2005

Part 13.

13a. How is the material stored?:

Other Boxes

File Cabinets

Please describe:

Shelves

13b. Are some or all of these storage units “archival”?:

Some

Part 14.

14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units:

31 - 40

14b. Estimated Number of Archive Drawers:

11 - 20

14c. Estimated Number of Archive Notebooks:

41 - 50

14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a:

200 +

Other Archive Storage Units - Please describe below.:

Film cans @ 75

Part 15.

15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?:

Yes

Part 16.

16a. Is there a key, index or finding aid to the materials inventoried?:

Yes

16b. Paper-based::

Written or Typewritten Inventories

16c. Electronic Based::

Database

Word Processing Document [i.e. Word]

Spreadsheet [i.e. Excel]

Part 16 / Electronic Files & Archival Management

16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?:

Yes

16g. Who is responsible for working with the archival material?:

General Staff

Part 16 / Database

16d. What type of database software is in use?:

FilemakerPro

16e. If FileMakerPro, what version? Please describe below.:

5.5

Part 17.

17. How are new materials processed?:

Inventory List

Electronic (Database, etc.)

Part 18.

18. What, if any, conservation methods are in place for both physical materials and electronic data?:

Fireproof Building / Fireproof Room

Part 19.

19. What type of climate-controls are present in the area[s] in which the archives are stored?:

Some heating / air conditioning / humidity controls on demand or sporadically

Limited climate-controls

Part 20.

20a. What are the goals for the historical materials for the next year?:

stabilize materials

20b. What are the biggest challenges to reaching these short-term goals?:

Spatial limitations

20c. What goals are in place for the historical materials for the next three to five years?:

Creating a greater public awareness via presentations, exhibitions, and educational activities.

20d. What are the biggest challenges to reaching these long term goals?:

Developing understanding and appreciation in light of the works’ critical stance on product based economies

20e. Are there any additional goals for the organizations historic materials?:

That in the challenging process of evaluating modes of preservation for this type of material it furthers critical understandings of the complex nature of history

Part 21.

21. Estimated cost to achieve these archival goals for the next year.:

$7,001 - $10,000

Part 22.

22. Estimated cost to achieve these archival goals for the next five years.:

$45,001 - $50,000

Part 24.

24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization:

Promote professional standards / protocols for digitization

Part 25.

25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?:

Yes

25b. Who?:

Association of Moving Image Archives, New York State Archives, Franklin Furnace Archives, Martha Wilson, NYSCA, John Gartengerg, Bill Brand, Jim Hubbard

Finish

survey_field_150:

Allied Productions, Inc.

Who executed this survey.:

Jack Waters

Is this survey complete and all appropriate questions answered?:

Yes