Survey: Collaborative Projects COLAB

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Collaborative Projects today is primarily the umbrella organization for MWF Video Club (Monday/Wednesday/Friday Video Club), a non-commercial distribution project for artists’ and independents’ videotapes. MWF Video is rather moribund, however, and is in negotiation with the Film-Makes Coop to take over our active distribuution. Consequently, Colab today is about managing its archives.
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
Mission Statement of Collaborative Projects Established in 1978, Collaborative Projects, Inc. produced influential exhibitions which helped launch the careers of artists like Jenny Holzer, Tom Otterness, John Ahearn, Kiki Smith and many others. The group produced the seminal Times Square Show in 1980, and closely supported the artists’ spaces Fashion Moda and ABC No Rio. Colab also built a solid base of media production in NYSCA-funded feature film and cable television series. MWF Video began as a media distribution and exhibition project of Colab in 1986. The project developed a broad list of titles in the four broadly defined areas of narrative film and video, video art and art film, documentary, and artists’ television. The current mission of both Colab and MWF Video Club is to gather and disseminate art and information past, present and future. At present this is done through maintenance of archives of art, electronic media and documents, and through the sale of VHS videotape editions. MWF also produces exhibitions, events, websites and videotapes of art and information. 2001 /////////// short form mission statement, sent to NEA in 2003 The mission of Collaborative Projects is to enable creative production, and to disseminate art and information about artists to a broad audience. The MWF Video Club accomplishes this through the distribution and sale of VHS videotape editions. Colab also produces exhibitions, screenings, and performances.
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 Year activity suspended if no longer active.: 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.: 
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
Changes in your physical space that will result in endangerment to your archival materials
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
all of the above -- technical re. video materials; unsuccessful in getting funding from granting organizations; living 2,000 miles from archive, paying out of own pocket to store materials
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?: 
Other Concerns - Please describe below.
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?: 
former members of Colab have extensive personal archives, some of them very well kept, I expect
Part 9.
9. Does the organization maintain archives for any other organization.: 
some papers of ASCI (Artists and Scientists Collaborative, Inc.).
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 10c.
10c. How are arrangements made for access to archive?: 
One gets in touch with Alan Moore, and we try to work out and time when the scholar or curator might see the material. At this point, access to video materials may be arranged through Michael Carter. There will be a fee to pay for his time to arrange such access.
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
Financial Records
Legal Documents
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
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: 
Artists' Publications
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
11e. Other: 
Props for Performances
very large collection of videotapes in analog formats (3/4" and VHS). These are artists works and documentary tapes relating to Colab activities. This material has been roughly logged in a Filemaker database. The inventory includes the distribution collection of the MWF Video Club project.
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
Flat Files
Other - Please describe below.
Please describe: 
some material -- maybe 20% -- is lying around loose
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
91 - 1000
14b. Estimated Number of Archive Drawers: 
1 - 10
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
Other Archive Storage Units - Please describe below.: 
flat file type boxes (acid-free) -- probably 10 to 20
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:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
two boxes of paper materials were archived by Yasmine Van Pee of the Bard Center for Curatorial Studies; 80-90 boxes of videotapes were roughly inventories in the IMAP format in Filemaker
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?: 
Other - Please describe below.
Please describe: 
me, Alan Moore, just a regular joe on the street
Part 16 / Database
16d. What type of database software is in use?: 
IMAP FileMaker Template
Part 17.
17. How are new materials processed?: 
Other - Please describe below.
thow it in a drop box
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?: 
trying to complete agreement with Film-Makers Coop to take charge of videootapes in distribution
20b. What are the biggest challenges to reaching these short-term goals?: 
money (none but out of my pocket); ergo, no staff
20c. What goals are in place for the historical materials for the next three to five years?: 
migrating analog materials to digital media before they deteriorate beyond retrieval
20d. What are the biggest challenges to reaching these long term goals?: 
time to pay attention to it
20e. Are there any additional goals for the organizations historic materials?: 
ideally, that i should be compensated for the money out of pocket paid to store it for all these years
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.: 
$50,001 - $60,000
Part 23.
23d. Other - Please describe below.: 
I think some sort of networking of people with problems would be good. This above all. I don’t need more instructional classes that I don’t have time to go to, to learn things I can’t put into practice, or when I can I have forgotten how to do. I need strategies to get past perennial problems, and a chance to chat with others who have faced and overcome the same problems.
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
24d. Other - Please describe below.: 
Help to network the private individuals who are stuck with the stuff while their colleagues moved on. Strategic archival intervention to keep stuff from hitting the sidewalks that people simply cannot any loner take care of.
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
Bard Center for Curatorial Studies helped us out a little last year. We continue long protracted draining negotiations with the Film-Makers Coop to take over SOME of our materials -- we pay for the transfer, and kiss the revenue goodbye... A GREAT DEAL IN THIS GAME!! Center for Psychotherapy; local liquor store.
Part 26.
26. Additional information, comments, observations, and questions.: 
A very interesting process to participate in. I think that the problems of artists who end up as "archive widows" are very different from the problems of organizations which cannot maintain their archives. It may be that the organizational archives are actually in more danger than the holdings of the widows... unless their situations change! My situation has changed, and the whole attempt to move the archive into some more permanent condition -- (I’m told it’s a "collection" until it has actually been acquired by an institution) -- has been thrown into disarray by taking a job out of state. The process as it was was glacial. Taking forever to get any help from any institution, taking a monstrous amount of time and energy to try and leverage a dollar or two from the state, etc. Another thought -- something that would be nice would be a cooperative "store" where people with archival materials could sell things off in order to benefit their storage project. Arranging a sales outlet is more work than most people can manage.
Collaborative Projects, Inc.
Who executed this survey.: 
Alan Moore
Is this survey complete and all appropriate questions answered?: