Survey: at the brewery project

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Part 2.
2a. Mission Statement: 
The exhibition cycle at 676 South Avenue 21 in the Brewery complex downtown will be called, in its final incarnation, &quot;The Brewery Project.&quot; The focus of the project is to have an exhibition space available primarily for L.A. based artists so they have the opportunity to show in the downtown area in a very flexible kind of an industrial loft site. To give you an idea of how it’s been conceptualized, here is the press blurb: {&quot;at the Brewery project&quot; is an independent art space that features an ongoing series of contemporary art exhibitions. It specializes in artist-organized exhibitions for emerging and established artists and links their work to the world in which we live. It is also occasionally a forum for exhibition exchanges with abroad that interlinks the work of different communities through an exchange of artists and artwork. The general director of the project is John O&rsquo;Brien. The specific exhibitions of the project calendar are each directed by the independent curators or artist organizers who proposed them. The project is located at 626 South Avenue 21, No. 33 in the historic 1904 &quot;Los Angeles No. 3 Steam Plant&quot;, designed by John Parkinson on the premises of The Brewery in downtown Los Angeles.} The exhibition idea is pretty straightforward, I think. Besides the nuts and bolts of putting up the art work and having it open to the public during the regular hours, I ask that all artist organizers/curators who are themselves artists, put their own work up in their exhibition. It is the best way to develop the kind of poetics the project has been set up for. The only other thing I would like to ask you to consider is to involve more rather than fewer local artists with your exhibition. This is a political position for me since there really is so much good work being done in Los Angeles and it doesn&rsquo;t have enough outlets to be seen. Also, on the practical side, it makes the tending of the project all the easier. For the rest, whatever tack you take as an artist organizer and whatever you wish to explore, will find my active support. As for the specifics of the nuts and bolts, you can do most anything you want in the space. The floors can be drilled into, the ceiling hung from, whatever it takes to get the work in the right spatial disposition. The artists themselves should be tasked with doing that work but I will be happy to consult with you and them about techniques and the such. The doorway into the project is, unfortunately, the only way to get stuff in and it has size limits. Things that cannot be fitted through the doorway or reconstructed in the space will not be able to make it in. During the installation period, the space will be available to you through a lock box with keys so you can enter and exit at anytime of the day or night. The openings are all planned for a Saturday evening from 7 – 10 in conjunction with other Brewery spaces like Coagula and the gallery should be regularly open from 12 - 5 on Friday, Saturday and Sunday. You and the artists will have access to the space via the lock box during the entire run of the exhibition, so additional appointments can be made at any time. The sitting is to be divided among the participating artists so, depending on the number, it is anywhere from an afternoon to two for each. Just for your information, it is always possible for each of them to pay someone else to sit the exhibition in their stead, but it is somewhat a defeated purpose. The reason to have a project space that contains one’s work would be to have people come down and see you there. If each artist takes a little time and prepares some phone calls to friends, colleagues and collectors, the sitting becomes a productive and significant part of the engagement with the viewing public. I will take care of the press releases and Carlson Industries will print a simple color postcard invitation that will be distributed to the project’s general mailing list and given out to you and the other artists involved for diffusion. The postcard has been designed by Haven Lin-Kirk and the text side of the postcard will remain constant with names and dates changed for each exhibition. The front (color image) side needs to be provided by you, if you desire. A default cover with just a simple color field is available should you have no desire to intervene. Franklin Odel < > and Oversight magazine has been maintaining a site on the web for past projects, so if you want them to have info to post or if you wish to eventually be placed into the updated site, please have everyone involved in your exhibition forward 5-10 images of work to put up on it. This doesn&rsquo;t have to be the same work on exhibit, just so long as it&rsquo;s representative of the artist. If any text is required (titles, resumes, etc.) with the images on the web site, please give it to me via e-mail it to <>. I also will draw up and print out a site map to the works in each project exhibition, since uniform labeling on the project walls is impossible, so we will need to coordinate locations and titles just prior to the opening. What I&rsquo;ve learned from past experience is that you should try to work with artists who are used to and like accomplishing all of the work on their art installation and presentation. The fewer people &rsquo;drop things off&rsquo; for someone else to take care of, the more pleasant and ultimately successful the process is. If you can have a date in mind to give the artists for the delivery and the installation of their work as well as dates for them to sit the show already ready when you speak to them the first time about their involvement, it will be much easier to adjust for the usual last minute changes later. Everyone involved needs to know that it is a project space and not a gallery. It is a showcase, but it&rsquo;s is self-wrought. The most important thing I have found in the process is to frame the event from the beginning with as much deliberateness as possible. If the artists in your exhibition know what is going to be about and how much involvement it will take, then they can say yes or no with more clarity. Most participants have liked the experience, a very small minority has felt they were not being taken care of enough. Please feel free to ask me about anything you like. I have been through every single kind of hassle imaginable One last thing (since it keeps coming up), The Brewery Project is not an appropriate place for the work of full time graduate or undergraduate students. It is neither the proper moment to present their work nor is it the best way to give support to them. Please be aware this matter is of importance to the overall configuration of the Brewery project.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
Exhibition History 1997 Oct. 17 “G.D.I.” o Nov. 15 (pronounced giddy) c an exhibition of recent MFA grads from Art Center, USC, UCSB and CGS with a Color catalog funded by The Pasadena Art Alliance curated by John O’Brien with work by Young An, David Hullfish Bailey, Leonard Bravo, Jessica Buege, Cliff Frates, Stas Orlovski, Laura Paddock, Shirley Tse, Alexis Weidig 1998 Jan. 4 “Travellers - Viaggiatori” o Jan. 31 c an L.A. - Italy Exchange organized by Mark Johnstone and Secondo Sannipoli with work by Terry Braunstein, Jacqueline Dreager, Mark Johnstone, John and Toti O&rsquo;Brien and Steve Roden, Susan Silton from L.A; Sabato Angiero, Rodolfo La Porta, Francesca Nicchi, Remo Giombini/Piergiuseppe Pesce, Ferruccio Ramadori, Giorgio Ricci, Valerio Vivian from Italy Black and white catalog February 8 “Reverb” o March 6 c an Art Center post grad exhibition organized by Wendy Adest with work by Wendy Adest, Carl Bronson, Doug Hammett, Jonathan Herder, Brandon LaBelle, Joyce Lightbody, Rachelle Mark, Daniel Marlos, T. Kelly Mason, Steve Roden, David Schafer, Leonard Seagal, Mark Stritzel, Ted Svenningsen, Dani Tull, Marnie Weber SPECIAL EVENT In Be Tween Noise at &quot;Reverb&quot; A live performance of the space by Steve Roden and Brandon LaBelle. March 15 “3 X 4” o April 10, 1998 c a CGS post grad exhibition curated by Dean DeCocker with work by Tammy Ashworth-Guerrero, Barbara Benish, Cheryl Dullabaun, Jason Eoff, Matt Furmanski, Steve Irwin, Susan Joseph, Barbara Kerwin, Linda Parnell, Lee Pratt, Sharon van der Meiden April 19 &quot;Renovations&quot; o May 15 c curated by John O&rsquo;Brien with work by Karen Atkinson, Stephen Berens, Elizabeth Bryant, Vincent Johnson, Kim Lee Kahn, Kenneth Kim/Robert Balmet, Catherine MacLean, Shelby Roberts, Voychek Szaszor, Adam Teraoka, Paul Tzanetopoulos, Carrie Ungerman, Robert Wedemeyer, Daniel Wheeler Noel Korten in the AVAGO Gallery SPECIAL EVENT Sound Music Combos at &quot;Renovations&quot; with acoustic and electronic noise and music by Solid Eye, Spastic Colon, Subtones Oct. 11 “Contact” o Nov. 13 c a Cal Arts post grad exhibition curated by Joan Hugo with work by Nancy Braver, Ingrid Calame, Barbara Carrasco, Davis and Davis, Christina Fernandez, Randy Gavazzo, Kira Harris, Steven Hull, Heidi Kidon, Soo Jin Kim, Otoño Luhan, Ming-Yuen S. Ma, Dave Muller, Mark Niblock-Smith, Rubén Ortiz-Torres, Mu Lim Park, Jill Poyourow, Alejandro Rosas, Jérôme Saint-Loubert Bié, Joseph Santarromana, Albert J. Winn SPECIAL EVENT Readings at “Contact” Organized by Carol Treadwell with Soo Jin Kim, Chris Muniz, Steve Salardino, Brad Spence and Carol Treadwell. Nov. 22 &quot;Singularities&quot; o Dec. 18 c curated by CPPACCD (Curatorial Practices Program Art Center) with work by Wendy Adest, Edgar Arceneaux, Martin Betz, Sandy Bleifer, Cole Case, Roger Dickes, Steve Nowlin, Grace Quek, Susan Rankaitis, Carolee Toon, Andrew Watanabe Tamara Fites in the AVAGO Gallery SPECIAL EVENT Squint at &quot;Singularities&quot; Music improvisation by Walter Zooi and brief songs by Stefanie Taylor. 1999 Jan. 5 “Of the Earth/Della Terra” o Mar. 5 c L.A. - Italy Exchange organized by Karen Koblitz with work by Tetsuji Aono, Keiko Fukazawa, Phyllis Green, Karen Koblitz and Gifford Myers from L.A. Paolo Biagioli, Mario Boldrini, Luca Leandri, Donatella Fogante, Virginia Ryan and Andrea De Carvalho from Italy Charlene Roth in the AVAGO Gallery Color catalog Mar. 14 &quot;Bad Sonnets: Grand Metaphors&quot; o April 9 c an independent curator curated by Meg Linton with work by Christopher Miles, Betsy Kenyon, Doug Harvey, Tom LaDuke, Simone Adels, Jacqueline Cooper Kathy Haddad in the AVAGO Gallery April 18 &quot;Twig&quot; o May 14 c an independent artist organizer organized by Laura Paddock with work by Wendy Adest, John Elder, Kraig Grady, David Halliday, Lucy Hodgson, Laura McMurray, Laura Paddock, Laura Parker, Pam Strugar, Miki Warner, Ari Ben-Ami Young Bob Wilhite in the AVAGO Gallery Catalog on line at <> Oct. 10 “More And Less” o Nov. 12 c a France - L.A. exchange organized by John O’Brien and Olivier Menantaeu in conjunction with Côte Ouest, A Season of French Contemporary Art with work by Daniel Wheeler, Sharon Van der Meiden, John and Toti O&rsquo;Brien and Steve Roden, and Christie Frields from Los Angeles Jean-Christophe Nourisson, Claire Maugeais, Olivier Menantaeu, Monique Deregibus and Patrick Manez/Anne Favret from France Jessica Newman-Skrentny in the AVAGO Gallery Duotone catalog funded by The Pasadena Art Alliance SPECIAL EVENT “PolyLinglot2” Performance by John O’Brien, Toti O&rsquo;Brien and Steve Roden, Nov. 19 “Jungle Science” o Dec. 18 c an independent curator curated by Richard Hertz An installation by Jean-Luc Vilmouth in conjunction with Côte Ouest, A Season of French Contemporary Art 2000 Jan. 21 “re: Moved” o Feb. 12 c co-curated by John O’Brien and Christina Valentine with work by Craig Ashby, S.E. Barnet, Denice Bartels, Janice DeLoof, Miriam Dym, John Furmanski, Dan Goodsell, Mike McMillin, Hillary Mushkin, Toti M. O’Brien, Kathleen Rogan, Elizabeth Saveri, Kim Schoenstadt and Tom Wolf, with Kirby Ingram in Jennifer Katell’s Dollhouse Mar. 11 &quot;Personals&quot; o April 8 c a Netherlands - L.A. exchange co-curated by John O&rsquo;Brien and Theo Tegelears with work by Lisa Adams, Anne Bray, Jill Giegerich, David Kudzma and Salvatore Reda from Los Angeles Jennifer Tee, Jonas Ohlsson, Dylan Graham, Eylem Aladogan and Gijs Muller from the Netherlands Noel Korten in the AVAGO Gallery Duotone catalog funded by The Pasadena Art Alliance April 15 &quot;Nonzero Sum Games&quot; o May 12 c an independent artist organizer organized by Liz Harvey with work by Apsolutno, Lynne Berman & Kathy Chenoweth, Margaret Crane/Jon Winet, Allan deSouza & Yong Soon Min, dispute resolution services, Liz Harvey & Anna Homler, M.A.M.A. (Joyce Dallal, Deborah Oliver, Lisa Schoyer & Karen Schwenkmeyer), Union de Vecinos withValerie Tevere and Ultra-red Noel Korten in the AVAGO Gallery SPECIAL EVENT Work-Action by Lynne Berman & Kathy Chenoweth May 20 &quot;Another Round&quot; o June 17 c an independent artist organizer organized by Ehren Tool with work by Billy F. Baumann, Elaine Brandt, Sara Floor, Alvin P. Gregorio, Moira Hahn, Diane Hobstetter, Diana Jacobs, Sandra Low, Chuck Moffit, Ben Sakoguchi, Duncan Simcoe, W.A. Ehren Tool Robert Wedemeyer in the AVAGO Gallery Oct. 28 “exquisitely wrought” o Nov. 17 c curated by John O’Brien with work by Christina Aumann, Deborah Aschheim, Laura Cooper, Jacqueline Freedman, Gloria Kondrup, Mark Licari, Katherine Ng, Mihai Nicodim, Harry and Sandra Reese, Steve Roden, Karen Shaw, Matthew Sloly, Nick Taggart, Hoang Vu, Nonchi Wang Cynthia Minet in the AVAGO Gallery Dec. 2 “Flip” o Dec. 22 c an independent artist organizer organized by Robert Wedemeyer with work by Robert Wedemeyer, Christian Mounger, Elizabeth Bryant, Andrew Watanabe and Haven Lin-Kirk from L.A. Ana Opalic, Antun Maracic, Denis Kraskovic, Andreja Kuluncic, Damir Babic, Slaven Tolj and Zlatko Kopljar from Croatia 2001 Jan. 27 “Tricky” o Feb. 23 c organized by Theresa Powers and Karen Reitzel with work byGeorge Domantay, Gordon Haines, Ceres Madoo,Amitis Motevalli, Alexia Pilat, Theresa Powers, Karen Reitzel and Mark Teresa with Paul Morsink in the AVAGO Gallery Mar. 3 “Fracture/Taboo” o Mar. 31 c curated by Juliette Salzmann with work by Jean-Philippe Antoine, Chrystel Egal, Todd Gray, Margaret Honda, Nadege Monchera, Cameron Slocum, Jean-Luc Vilmouth April 21 “Techno Eyes” o May 20 (Techno Eyes Filled with Gleaming Fire from More Than a Thousand Flourescent Bulbs) c organized by April Durham with work by Stephanie Bartron, Juliet Conlon, April Durham, William Fowler, Zhenya Gershman, Bryan Gorrie, Dave Kudzma & Janese Weingarten, Sarah Matsuda Linda Parnell, Robert Watkins Oct. 13 “Saturation” o Nov. 10 c organized by Ryan Hill and Kyungmi Shin with work by Laurel Beckman, Kurt Forman, Amy Green, Ryan Hill, Pam Jordan, Kyungmi Shin, Cheryl Walker, Andrew Bucksbarg, Ragan Cole-Cunningham, Mai Shimonaha, Rick Robinson, David McDonald 2002 Jan. 12 “Verses” o Feb. 10 c Organized by Todd A. Smith with work by Doug Buis, George Dinhaupt, Edward Heckerman, Nina Jun, Beatriz Mejia-Krumbein, Jessica Newman-Skrentny, David Sloan, Todd A. Smith Feb. 16 “emergent behaviour” o March. 15 c curated by John O’Brien with work by Bob Alderette, Tom Allen, Mary Beth Bartoloni / Mim Goodman, Julian Goldwhite, Barbara Hashimoto / Carlos Grasso, Ann Page, Coleen Sterritt, Holly Tempo with Mike McMillin in the AVAGO Mar. 23 “Terrains” o April 27 c organized by Arleen Chikami and Julie Scott with work by Carrie Childs Antonini, Arleen Chikami, Mary Fernety-Herndler, Susan Joseph, Julie Scott, Denise Seider May 4 “Asymptote” o May 25 c in conjunction with the USC Arts Initiative with collaborative work by Brian Andrews, Molly Bendall, Stephan Haas, Veronika Krausas and John O’Brien with Keith Lord in the AVAGO Gallery Aug. 31 “Zero Degrees” o Sept. 29 c organized by Samantha Fields with work by Roxanne Bartlett, Leonardo Bravo, Samantha Fields, Beverly Fishman, Alison Foshee, Benicia Gantner, Keith Lord, Christopher Miclig, Sylvia Tidwell, Tao Urban, Andre Yi Oct. 5 “Media” o Nov. 9 c organized by Joseph Santarromana with work by S.E. Barnet, Eileen Cowin, Sandra De La Loza, Todd Gray, Hillary Mushkin, Joseph Santarromana, Kyungmi Shin, Erika Suderberg Nov. 16 “Undrawn” o Dec. 21 c organized by Alexandra Grant with work by Ismael de Anda, Spencer Chow, Kirsten Cole, Caryl Davis, David Frackman, Marcy Freedman, Alexandra A. Grant, John Mills, Nellie King Solomon, Carrie Ungerman 2003 Mar. 22 “Shelter / Miklat / Malja’” o April. 18 c Organized by Cynthia Minet with work by Jill D’Agnenica, Nechama Golan, Barbara Hashimoto, Cynthia Minet, Ricki Puch, Holly Tempo, Farid Abu Shakra, Yeheskel Yardeni Aug. 30 “Threading Technology” o Sept. 26 c Curated by Christina Valentine with work by SE Barnet, Nicole Cohen, Jonathan Furmanski, Matthew Furmanski, Hillary Mushkin, Daisley Shealor, Matthew Sloly Oct. 4 “Approaching Perfection” o Nov. 7 c Organized by Mery Lynn McCorkle with work by Nancy Braver, Hovey Brock, Benicia Gantner, Robin Hill, Theodora Jones, Mery Lynn McCorkle, Barbara Nathanson, Katherine Powers, Greg Stone, Robert Winkler, Eric Zammitt Nov. 15 “Soft Machines’” o Dec. 19 c Curated by Joseph Santarromana with work by (installations) Nancy Buchanan / Cynthia Maughan, Marsia Alexander Clarke, Harry Dodge, Annetta Kapon, Ken Marchionno, Sheree Rose, Liza Ryan, Erika Suderburg (video screenings) Eileen Cowin, Susan Barnet / Kahty Chenoweth, Annetta Kapon, Jim Ovelman, Harry Dodge & Stanya Kahn, Nancy Buchanan, Bill Jones 2004 May 29 “Now Here’” o June 25 c Organized by Thomas Müller, Margaret Griffith and Jamison H. Carter with work by Jamison H. Carter, Marc Digeros, Margaret Griffith, Shio Kusaka, Ryan Logan, Kristen Morgin, Thomas Müller, Christina Muraczewski, Aaron Noble, Michael Stewart, Nicola Vruwink Sept. 11 “Double-Take” o Oct. 8 c Curated by John O’Brien, with the assistance of Cynthia Minet with work by Margaret Adachi, Caridad I. Barragàn, Bob Bellerue, Jeff Krueger, Maryrose Mendoza, Cynthia Minet, Rebecca Ripple,Leigh Salgado, Carlo Vincenti Oct. 16 “unRAVEL” o Nov. 12 c Organized by Haven Lin-Kirk with work by Lisa Adams, Daniel Brodo, David Dicks, Annick Garcia, Haven Lin-Kirk, Christian Mounger, Osvaldo Trujillo Nov. 20 “Miniature Worlds” o Dec. 18 c Organized by Carolie Parker-Lopez with Noel Korten, Garland Kirpatrick and students from the Department of Art & Art History at Loyola Marymount University. with work by Nena Amsler, Lisa Bloomfield, Gegam Kacherian, Keith Lord, Nancy Monk, Rebecca Niederlander, M. H. Paik, Laura Parker, Carolie Parker-Lopez, Matthew Picton, Fran Siegel, Patricia Smith 2005 Jan. 8 “microcosm” o Feb. 4 c Organized by Victoria Wagner with work by Emily Cheng, Reed Danziger, Alison Foshee, Dee Hibbert-Jones, Seth Koen, Sean Olson, Nomi Talisman, Victoria Wagner, Alexis Weidig, Renee Whitworth Feb. 12 “SMACK” o Mar. 11 c Organized by Robert Wedemeyer with work by Polly Anna, Paola Binante, Kermit Davis, Gianni Davoletti Mark Dutcher, James Gobel, James Graham, Holly Hornstein Iza Jadach, Tulsa Kinney, John Kleckner, Robert John Medvedz Fredrik Nilsen, Christopher Pate, Roberto Pupi, Susan Silton Lark Spur, Carrie Ungerman, Mark Dean Veca, Andrew Watanabe Robert Wedemeyer, Kent Young Mar. 19 “Hey Doll! a collaboration” o April 15 c Organized by Young An with work by Young An, Stephanie Bartron, Bernice Colman Jonna Pangburn Dennis, Dyane Duffy Corrina Gamma, Janet Girard, Beatrice Gonzales Regina Rioux Gonzalez, Stacy Kiel, Stevie Love Magdelena Martinez, Laurel Rioux May 28 “THIS IS THE PLACE, THIS IS THE THING, o May 21 THIS IS THE PERSON...”a collaboration” c Organized by Joseph Santarromana with work by Nancy Buchanan & Carolyn Potter, Johnny Coleman, Kadet Kuhne, Shannon Noble, Joseph Santarromana, Evelyn Serrano, Erika Suderburg, Amanda Yates April 23 “600 Images / 60 Artists / 6 Curators / 6 Cities: o June 25 Bangkok/Berlin/London/Los Angeles/Manila/Saigon” c Curated by Maryrose Cobarrubias Mendoza with work by Annabelle Aylmer, Kireilyn Barber, Jack Butler, Rachel Fermi, Bia Gayotto, Victoria Martin, Yong Soon Min, Mark Nelson, John O’Brien, Alan Valencia Sept. 10 “Vanitas” o Oct. 8 c Curated by Colton Stenke and the Mission College Curatorial group with work by Geoffrey Allen, Matt Driggs, Martin Durazo, Scott Katano,Jared Pankin, Carrie Patterson, Steve Schmidt, and Shirley Tse Other special events 1999 October 13, &quot;Tinsel and Paper&quot; o October 16 c A Romanian contemporary art exhibition of works on paper with work by Dan Perjovschi, Mircea Stanescu, Titu Toncian, Vasile Tolan an independent curator curated by Liviana Dan and presented in conjunction with ActionSpace 734 East Third Street Downtown Los Angeles 2000 February 26 2 p.m. &quot;A Simple Thing&quot; Performance by Thomas Leabhart
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
john obrien
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
kathy reges
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
richard carlson
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.: 
Collective / Unincorporated Association
5b. Type of organization currently, or at the termination of activities.: 
Collective / Unincorporated Association
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
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?: 
Not Applicable
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 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Other Press or Promotional Materials:
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
File Cabinets
Other - Please describe below.
Please describe: 
13b. Are some or all of these storage units “archival”?: 
I don’t know
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
14b. Estimated Number of Archive Drawers: 
14c. Estimated Number of Archive Notebooks: 
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: 
I don’t know
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
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.)?: 
16g. Who is responsible for working with the archival material?: 
Hired Out
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
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?: 
continue archiving
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?: 
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
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?: 
john obrien
Who executed this survey.:
Is this survey complete and all appropriate questions answered?: