Survey: Artists Alliance Inc/Alianza de Artistas

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Provision of vital supports for visual artists including workspace, exhibit space & professional development.
1c. Organization's annual budget.: 
$100,001 - $250,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
AAI is dedicated to nurturing and supporting under-recognized, emerging, and mid-career artists in the creation and exhibition of new work, by providing access to vital basic supports such as affordable work-space, exhibit space, knowledge, and professional development. AAI is further committed to serving and reflecting the diverse multicultural community of the Lower East Side of New York City through contemporary art education, interaction with local community, promoting discussion and awareness of the visual arts, and advancing work that honors our neighborhood’s unique multiethnic traditions.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The Artists Alliance / Alianza de Artistas Inc. (AAI) is a not-for-profit arts organization founded in 1999 by visual artists based in New York City’s Lower East Side. AAI operates a program of 40 affordable long term artist studios, 4 free rotating studios with 6 month artist-in-residence sessions, the Cuchifritos art gallery/project space, the Matzo Files gallery space, and a host of other locally based contemporary art and educational initiatives. AAI is composed of artists from a broad spectrum of national backgrounds, working in a wide variety of different media. Everything from traditional craft practices to contemporary painting and new media - reflecting the diversity of this vibrant and historically significant multicultural neighborhood. Almost 90% of AAI artists are long time residents in Lower Manhattan, and most of those from the LES. AAI seeks to raise the general level of awareness of visual issues in contemporary society through dialogue. AAI creates direct interaction through collaborative efforts with local schools and community groups, exhibitions, community based contemporary art projects, open studios, and curatorial initiatives. It gives artists and community members a chance to explore issues such as mutual education, critique of art and its processes, and how art relates to people’s everyday lives.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Paul Clay
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Shelly McGuinness
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Tine Kindermann
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Suzanne Varni
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
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?: 
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
End of lease for your space resulting in a move to a smaller location
Changes in your physical space that will result in endangerment to your archival materials
6c. Other threats to the organization:: 
AAI’s primary space is located in a City-owned building. The building has only a month-to-month lease, and although artists have been in the building for more thna a decade, we remain under threat of losing our space due to proposed major increases in rent, and loss of the studio program
Part 7.
We are currently working with Franklin Furnace on developing an archive system. The work is difficult for existing staff to accomplish without additional support.
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?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Fiscal Need
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
We would like our materials to be available to the public online.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
11 - 20
14b. Estimated Number of Archive Drawers: 
11 - 20
14c. Estimated Number of Archive Notebooks: 
21 - 30
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: 
71 - 80
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Not Applicable
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Not Applicable
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Begin Archiving paper materials
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
We would like to create an online database for all archived materials
20d. What are the biggest challenges to reaching these long term goals?: 
Staffing and Funding
20e. Are there any additional goals for the organizations historic materials?: 
Integrate these materials with existing online archives of the arts in New York
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$35,001 - $40,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$70,001 - $80,000
Part 23.
23d. Other - Please describe below.: 
Provide information of the Importance of archiving
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?: 
25b. Who?: 
We have been in contact with Frankin Furnace on creating a database to archive our materials.
Part 26.
26. Additional information, comments, observations, and questions.: 
AAI has a host of projects and programs that we will be archiving. This includes exhibits in our gallery that include hundreds of artists and curators, artists in our flat files, applicants and recipients of our studio program, in addition to a host of other on-going events and exhibits. Since we are only now beginning the process of creating a database to archive our materials we do not know yet really how much time, effort and expense we will need to committ to this project. Our website has some material already digitalized, although much of our other materials will need to be scanned and then archived. It is a daunting project, but one which we are eager to begin.
Artists Alliance Inc
Who executed this survey.: 
Shelly McGuinness
Is this survey complete and all appropriate questions answered?: