Survey: Estate of Lona Foote

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
preservation of the photographs of Lona Foote
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
The Estate of Lona Foote exists to preserve the photography of Lona Foote, 1948-1993, who specialized in documenting alternative and avant garde dance, music and performance in New York City, including artists associated with Experimental Intermedia and Franklin Furnace as well as the "downtown" jazz and new music world (in such venues as Roulette, Knitting Factory, Village Vanguard, Sweet Basil, Carlos I). The Estate consists of Ms. Foote’s prints and black & white and color negatives.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Ms. Foote, shortly before her death, directed Howard Mandel to preserve her work, and he has done so with the agreeement and cooperation of her sister Naomi and Phill Niblock, director of Experimental Intermedia Foundation.
2c. Exhibition / Programming / Publishing History.: 
A selection of Ms. Foote’s images are on exhibit in the Gallery at, the website of the Jazz Journalists Association (a not-for-profit 501 (c)(3). One of her images of cornetist Olu Dara was used for a photograph on rap artist Nas’ recording Bridging the Gap and another for an album of tenor saxophonist Frank Lowe.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Howard Mandel
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 Year activity suspended if no longer active.: 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?: 
Fiscal endangerment of organization
End of lease for your space resulting in a move to a smaller location
End of lease for your space resulting in termination of activities or changing of priorities
Changes in your physical space that will result in endangerment to your archival materials
6c. Other threats to the organization:: 
The photographs and negatives are stored in cardboard boxes, presumably of archival quality, yet may be threatened by ordinary decomposition and gentle handling during use.
Part 7.
all of these above issues are concerns
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?: 
Drain on Existing Staff Time
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.: 
I maintain main archives for the Jazz Journalists Association
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?: 
Contact Howard Mandel, 212 533 4952 212 533 9495
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
11b. Artwork and Documentation: 
Unique Art Objects
negatives, black and white; contact sheets
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
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?: 
Banker Boxes
Flat Files
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: 
1 - 10
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: 
11 - 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
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?: 
Other - Please describe below.
Please describe: 
me, when I’m not doing anything else (never)
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
We are not currently processing new material
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
Part 20.
20a. What are the goals for the historical materials for the next year?: 
maintain materials as presently stabilized
20b. What are the biggest challenges to reaching these short-term goals?: 
finances may dictate move of materials
20c. What goals are in place for the historical materials for the next three to five years?: 
digital backup of all prints and negatives
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
present exhibit of Lona Foote’s photography
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.: 
$50,001 - $60,000
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?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
thanks for your interest in the Estate of Lona Foote. Ms. Foote left an extensive amouunt of valuable, irreplaceable and unduplicated photography of dance, jazz, new music, and performance mostly occuring in downtown Manhattan from 1985 through 1993. For further information, don’t hesitate to contact me through the numbers I’ve provided elsewhere in this survey.
Howard Mandel
Who executed this survey.: 
Howard Mandel
Is this survey complete and all appropriate questions answered?: