AS-AP

Survey: Exit Art / The First World

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1982
1c. Organization's annual budget.: 
$750,001 - $1,000,000
1b. Primary activity[ies] of the organization.: 
Performance Space
Presenting Organization
Part 2.
2a. Mission Statement: 
Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 28-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Since 1982, Exit Art has provided a unique perspective on contemporary culture by bringing under-recognized areas of artistic production to public attention, thereby stimulating dialogue on our diverse histories, values and aesthetic sensibilities. Exit Art’s programs bring together different levels of cultural interpretation and creation, and serve as a prototype for the way different media and disciplines can be combined to reflect the polymorphous and multivalent nature of cultural experience. Exhibitions fall into four broad categories: historical shows; graphic design and communication; young and emerging artists; and inventing new curatorial models. BEGINNINGS Exit Art was founded in 1982 with the purpose of researching critical issues in contemporary art through exhibitions and publications. From 1982 to 1984, Exit Art created programs in existing exhibition spaces in New York City. From these earliest years on, Exit Art’s commitment to diversity was seen to fill a void in the contemporary art community. These initial activities were recognized by critical acclaim in the national and international art press, establishing the role of Exit Art in its field. EXIT ART IN SOHO In 1984, faced with increased demands for its work and the clear need for a permanent home, Exit Art moved into a renovated 5,000 square foot space in a landmark building in SoHo and initiated a regular exhibition program. From 1984 to 1992, it organized and presented a series of comprehensive one-person mid-career shows of artists who were not recognized in the contemporary arts field for social, political, aesthetic, and/or ethnic reasons. These exhibitions with accompanying catalogues were for most of the artists their first major shows. During this period, Exit Art provided exposure for many artists who are now widely accepted and acclaimed, including Jimmie Durham, Ursula von Rydingsvard, Hachivi Edgar Heap of Birds, Jane Hammond, Juan Sanchez, Jerry Kearns, Willie Birch, Krzysztof Wodiczko, Tehching Hsieh, Martin Wong, Adrian Piper, David Wojnarowicz, and David Hammons. Exit Art also contemporaneously organized and presented selected projects in film, video, performance and music. In December of 1992, Exit Art moved and reopened in its present and expanded facility in SoHo. This 17,000 square foot facility, which Exit Art renovated, includes two exhibition spaces, a café, a theater, and The Warehouse, a destination for collectors of new art. Since 1992, Exit Art has focused on large-scale, multi-disciplinary explorations of key issues in contemporary art and culture. At the same time, Exit Art instituted an emerging artist program that, through annual group exhibitions, has launched the careers of innovative new artists like Roxy Paine, Shirin Neshat, Arnaldo Morales, Inka Essenhigh, Nicole Eisenman and Fred Tomaselli – many of whom garnered gallery representation and museum exhibition opportunities as a direct result of their presentation at Exit Art. In 2000, Exit Art presented a retrospective of its own 18-year history, prompting an international critical consensus on the importance of Exit Art’s ongoing contributions to the contemporary art dialogue. Over 70,000 people attended Exit Art’s programs in 2001/02. Two-thirds hailed from the New York metropolitan area. The remaining one-third, a remarkable proportion, were from outside the New York area, from across the U.S. and abroad. Approximately 10% of those visitors were international. EXIT ART IN HELL’S KITCHEN In January, 2003, after two decades in SoHo, Exit Art has made a new home at 475 Tenth Avenue on the corner of 36th Street, in the far west of midtown Manhattan. Within easy walking distance from Penn Station, the Port Authority Bus Terminal and the Eighth Avenue subway lines and located on the ground floor of a 13-story loft building built in 1913, Exit Art’s dramatic new facilities include 17,000 square feet of prime space, retail-level gallery space with 11,000 square feet on the ground floor devoted to exhibitions and 6,000 on a lower level for theatre, film, and music. The storefront access will ensure a more lively recreation of its Café and The Warehouse, a dynamic “museum shop” devoted to the sale of works by artists who have shown at Exit Art. Out beyond the reaches of the Chelsea art world and south of the Broadway theater district, Exit Art is the first cultural outpost of its kind in its new neighborhood of Hell’s Kitchen. Hell’s Kitchen is a patchwork of small shipping and freight companies, lumberyards, warehouses, rail yards, and parking lots, and includes the Javits Convention Center. The area is currently targeted for major redevelopment and economic revitalization by New York City and State and will become part of a new pedestrian-friendly urban central business district with a mix of office, hotel, entertainment, exhibition, and retail space, new housing and public parks. By anchoring itself in a long neglected and unexplored neighborhood of Manhattan, Exit Art is once again a pioneer, ready to embrace the 21st century from a fresh vantage point.
Website Link to Organization's History / Organization Overview: 
http://www.exitart.org/history/
2c. Exhibition / Programming / Publishing History.: 
http://www.exitart.org/history/
Website Link to Exhibition / Programming / Publishing History: 
http://www.exitart.org/history/
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Jeanette Ingberman jeanette@exitart.org
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Papo Colo papocolo@exitart.org
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Charles Kremer
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Peter F. Frey
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?: 
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?: 
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?: 
Fiscal Need
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?: 
Yes
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Yes
Part 10c.
10c. How are arrangements made for access to archive?: 
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
Correspondence
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
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
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other:: 
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Costumes
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
Props for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Other Boxes
Flat Files
13b. Are some or all of these storage units “archival”?: 
All
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
200 +
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
41 - 50
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: 
200 +
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
16c. Electronic Based:: 
Database
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
Full-Time Archivist
Part 16 / Database
16d. What type of database software is in use?: 
FilemakerPro
16e. If FileMakerPro, what version? Please describe below.: 
7
Part 17.
17. How are new materials processed?: 
Electronic (Database, etc.)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
Acid-Free Housing
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Standard office heating / air conditioning / humidity controls running during office hours
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Digitize collections
20b. What are the biggest challenges to reaching these short-term goals?: 
Funding
20c. What goals are in place for the historical materials for the next three to five years?: 
Organize and stabilize collections
20d. What are the biggest challenges to reaching these long term goals?: 
Time
20e. Are there any additional goals for the organizations historic materials?: 
1.
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.: 
$250,001 +
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?: 
Yes
25b. Who?: 
CIAO (Conceptual and Intermedia Arts Online) Rick Rinehart, Berkeley Museum (consultant) Barry Landua, American Museum of Natural History (consultant) Debra Wythe, Brooklyn Museum Marvin Taylor, NYU SAA (Society of American Archivists) METRO Archivist’s Roundtable of New York
Part 26.
26. Additional information, comments, observations, and questions.: 
We were fortunate to have received funding from the Institute of Museum and Library Services to organize and digitize our archival collections. In recognition of this, it is our intention to make all of the tools that we create, including our database and our digitization plan, open source. We are very much interested in assisting other institutions with the creation and management of archival programs and hope to act as a model.
Finish
Who executed this survey.: 
Kate Caiazza
survey_field_149: 
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: 
Yes