AS-AP

Survey: The Center for Advanced Visual Studies, MIT

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1967
1c. Organization's annual budget.: 
$100,001 - $250,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
The Center for Advanced Visual Studies is a community for contemporary art in the School of Architecture and Planning at the Massachusetts Institute of Technology. The Center commissions and produces new artworks, acting as an artist’s advocate and co-producer in the context of MIT. A portal to MIT’s enormous range of academic and research disciplines, the Center provides an integrating structure for ground-breaking art projects that involve non-art disciplines, as well as those which fuse art and pedagogy in innovative ways. Established in 1967 by Gyorgy Kepes, in its first decade the Center provided long-term appointments to artists such as Maryanne Amacher, Stan van der Beek, Lowry Burgess, Peter Campus, Charlotte Moorman, Nam Jun Paik, Yvonne Rainer, Alan Sonfist and many others. In 2004-2005, the Center embarked on an ambitious revitalization program. Visits by twelve artists including Marjetica Potrc, 16 Beaver Group, Seth Price, Miranda July, and Michael Smith doubled as site visits, "seeding" proposals for long-term residencies in the future. In 2005-2006, the visitor series continues while the Center produces two major new projects and builds new positions into its working community of artists.
Website Link to Mission Statement: 
http://cavs.mit.edu/about.html?id=53
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The Center for Advanced Visual Studies was established in 1967 at the Massachusetts Institute of Technology. Its founder, the artist and MIT professor Gyorgy Kepes, conceived of the Center as a fellowship program for artists. Its initial mission was twofold: to facilitate "cooperative projects aimed at the creation of monumental scale environmental forms" and to support participating fellows in the development of "individual creative pursuits." To achieve these goals, fellows worked collaboratively with each other and with the wider MIT community. Kepes, who had taught at the New Bauhaus in Chicago prior to joining the faculty of MIT’s School of Architecture and Planning in 1946, strongly believed in the social role of the artist. With the founding of the Center he sought to bring about the "absorption of the new technology as an artistic medium; the interaction of artists, scientists, engineers, and industry; the raising of the scale of work to the scale of the urban setting; media geared to all sensory modalities; incorporation of natural processes, such as cloud play, water flow, and the cyclical variations of light and weather; [and] acceptance of the participation of ’spectators’ in such a way that art becomes a confluence." [Please follow link to continue]
Website Link to Organization's History / Organization Overview: 
http://cavs.mit.edu/about.html?id=3
2c. Exhibition / Programming / Publishing History.: 
http://cavs.mit.edu/artists.html
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Otto Piene piene@mit.edu
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
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
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?: 
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?: 
Lack of Staff
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
No
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.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Currently, we allow access to the VHS tapes and other materials that can’t be damaged through use to people we know well and feel won’t hurt it!
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 Digital Materials
Films
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Other:: 
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1960-1969
1970-1979
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Banker Boxes
File Cabinets
Flat Files
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
None
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
21 - 30
14b. Estimated Number of Archive Drawers: 
21 - 30
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: 
61 - 70
Other Archive Storage Units - Please describe below.: 
Steel cabinets with video and film.
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
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.)?: 
We do not have any electronic files
16g. Who is responsible for working with the archival material?: 
General Staff
Part 17.
17. How are new materials processed?: 
Inventory List
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?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
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?: 
Funding, staffing, other priorities
20c. What goals are in place for the historical materials for the next three to five years?: 
To stabilize them and begin digitally copying them so they can be preserved and accessible
20d. What are the biggest challenges to reaching these long term goals?: 
staff time to work on getting this moving
20e. Are there any additional goals for the organizations historic materials?: 
mainly, access; then possibly an exhibition
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$70,001 - $80,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$200,001 - $250,000
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?: 
No
Finish
survey_field_150: 
Center for Advanced Visual Studies, MIT
Who executed this survey.: 
Larissa Harris
Is this survey complete and all appropriate questions answered?: 
Yes