Survey: Creative Time

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
Over $1,000,000
1b. Primary activity[ies] of the organization.: 
Transient or Non-Physical Organization for Creation or Exhibitions
Part 2.
2a. Mission Statement: 
Creative Time presents the most innovative art in the public realm. From our base in New York, we work with artists who ignite the imagination and explore ideas that shape society. We initiate a dynamic conversation among artists, sites, and audiences, in projects that enliven public spaces with free and powerful expression.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Creative Time was founded in 1973. Its history of commissioning, producing, and presenting adventurous public artworks of all disciplines began in the midst of a significant period. Artists were experimenting with new forms and media. Their work moved out of galleries and museums and into the public realm. At the same time, New York’s citizens responded to the City’s deterioration, which was prompted by the fiscal crisis, with the City Beautification movement. Also recognizing the significance of art in society, the federal government established the National Endowment for the Arts (NEA) to herald the role of artists and introduce uninitiated audiences to contemporary art. Creative Time derives its values from this historic impetus to foster artistic experimentation, enrich public space and the everyday experience, and forefront artists as key contributors to democratic society. Creative Time’s earliest programs invigorated vacant storefronts as well as neglected landmarks like the U.S. Customs House in Lower Manhattan. After gaining early renown for Art on the Beach (1978 – 1985), which fostered collaborations between visual artists, architects, and performing artists at the Battery Park City Landfill, Creative Time soon spread its programs throughout New York City. Presenting projects on billboards, landmark buildings, buses, deli cups, ATM machines, and the Internet, among numerous other venues, Creative Time broadened the definitions of both art and public space throughout the 1980s and 90s. In particular, Creative Time encouraged artists to address timely issues such as the AIDS pandemic, domestic violence, and racial inequality. More recently, Art in the Anchorage (1983 – 2001) drew thousands to the majestic chambers of the Brooklyn Bridge Anchorage, which housed annual exhibitions of emerging creative practices in art, music, theater, and fashion until its closure in 2001 due to national security. Today, Creative Time provides hundreds of emerging and established artists with unparalleled opportunities to create ambitious new works that expand their practices and foster career growth. Each year, Creative Time also offers millions of people rare encounters with contemporary art beyond racial, economic, and age factors, thereby enlivening the everyday experience of New York City. While Creative Time delights New Yorkers with skywriting over Manhattan and colorful sculptures in Grand Central Station, it also inspires with projects like Tribute in Light, the twin beacons that rose from Lower Manhattan. Creative Time’s alumni community continues to grow as the world’s leading artists join the roster next to Vito Acconci, Diller + Scofidio, David Byrne, Felix Gonzalez-Torres, Red Grooms, Jenny Holzer, Takashi Murakami, Shirin Neshat, Sonic Youth, and Elizabeth Streb, among thousands more. Lastly, Creative Time remains committed to promoting collaboration within the creative community, frequently partnering with institutions like the Dia Art Foundation, The Kitchen, Lincoln Center, the Metropolitan Museum of Art, MTA Arts for Transit, and the Whitney Museum of American Art. Creative Time’s pioneering spirit, embrace of artistic innovation, and commitment to New York City has earned the organization the reputation as the vanguard and veteran public arts presenter. From its artists and partners to the extraordinary spaces it animates with public art, Creative Time reflects the eclectic and vibrant spirit that is New York City.
Website Link to Exhibition / Programming / Publishing History:
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?: 
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: 
They will be going to Fales Library at NYU.
8b. Archival materials are also located at:: 
Where are these locations?: 
We suspect that many of the artists we’ve worked with through the years have further documentation of their projects.
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 10c.
10c. How are arrangements made for access to archive?: 
Right now, usually someone will email or call and ask to peruse our archives for various research purposes. Provided the request is valid, we usually welcome visitors to our archive. With our archives moving to Fales, it will be accessible to any NYU student or indepedent scholar by appointment.
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: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
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: 
Commercially Published Materials
Programs of Events
Publication or Merchandise Catalogues
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
File Cabinets
Flat Files
Three-Ring Binders
Other - Please describe below.
Please describe: 
Most of our archives are being moved into acid-free folders and boxes through our donation to Fales.
13b. Are some or all of these storage units “archival”?: 
Not Applicable
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
21 - 30
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 understand the question
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?: 
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
Spreadsheet [i.e. Excel]
searchable website is helpful, though it doesn’t specifically catalog the materials so much as the projects.
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?: 
General Staff
Part 16 / Database
16d. What type of database software is in use?: 
16e. If FileMakerPro, what version? Please describe below.: 
6 for Mac OS X
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Electronic (Database, etc.)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Acid-Free Housing
Part 20.
20a. What are the goals for the historical materials for the next year?: 
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 26.
26. Additional information, comments, observations, and questions.: 
If you currently would like to speak with someone about our archives, please contact Lauren Friedman -, or 212.206.6674 x270, as she is currently managing the in-house archives and the impending transfer. We very much support the AS-AP project!
Creative Time
Who executed this survey.: 
Lauren Friedman
Is this survey complete and all appropriate questions answered?: