Survey: Experimental Skeleton, Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Artist Group / Collective
Part 2.
2a. Mission Statement: 
Experimental Skeleton, Inc. is a not for profit group which promotes research and development in the field of visual arts. The group accepts proposals for projects and then actively pursues experimental materials to fulfill the projects requirements. Experimental Skeleton programs Flight 19- An exhibition space in partnership with the City of Tampa located in a derelict baggage claim building connected to Tampa’s historic Union Train Station. The group will also call for proposals on projects generated within the group on an annual basis. Experimental Skeleton, Inc. also creates multiples, ephemera and sporadically publishes a newsletter.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
A Brief History During the last 15 years in Tampa there have been several attempts to revitalize downtown Tampa. Many attempts have focused on areas where local artists and artist groups had already gained a foothold and began to build their own communities. These flowering locations, such as Ybor City, simultaneously became attractive to developers. The end result for most of the growing art community was to be pushed out by the hikes in rent and real estate. In 1996 The Florida Center for Contemporary Art, a not-for-profit organization that once called Ybor City it’’s home was struggling to reinvent itself in downtown Tampa. The F.C.C.A. began by renting a space on the far north side of Franklin St. where it floundered under the debt it had inherited trying to survive in it’’s Ybor location. At this time a developer offered up free space at the old Crown Wig Shop further south on Franklin St. and the F.C.C.A. took the offer with new hopes of reinvigorating it’’s vitality in the arts community. At this point in time The F.C.C.A. also joined forces with the artist group Titanic Anatomy, Inc. The Titanic Anatomy group took control of the second level of the space and looked after the F.C.C.A.’’s exhibition needs. The partnership yielded a year of energetic projects that made a lasting impact on the arts community. The programming at times linked with Tampa Theater to connect visual projects with film openings ( for example- showing short animations by the Brothers Quay after the opening of their directorial debut Institute Benjamenta and a hands on display of six theremins after the opening of the film biography of the inventor Theremin.) At the end of 1998 the tide again turned and a project to revitalize the Franklin St. Mall became a hot topic. The plans to create a "farmers market" and "art flea market" from old buildings such as the Woolworth’’s building caused enough of a stir that developers pulled the plug on the arts organizations’’ squatting techniques in hopes of high dollar rental. The efforts to breathe life into Franklin St. failed and buildings such as the Crown Wig Shop have remained derelict for seven years and remain so today. The F.C.C.A. did not pursue a new venue. Titanic Anatomy, Inc. splintered off into a new group with a different mission called Experimental Skeleton, Inc. E.S., Inc. was to have many small venues finally landing proper in the Seminole Heights area where Florida Ave. was quickly becoming the breeding ground for galleries, artist studios, and transplants from the old Ybor City days now making it happen again ( notably places like Viva la Frida’’ restaurant/gallery). E.S. Inc. along with other arts organizations like Covivant Gallery continued to function and enrich the city and Seminole Heights neighborhood. Flight 19 Experimental Skeleton, Inc. has a very strong activist nature. The group has weighed in on public/civic projects like gun buy back programs and was instrumental in creating the competition to create a bat house in Al Lopez park to replace the homes of displaced bats from the old Tampa Stadium. In early 2004 E.S., Inc. began to engage the city of Tampa in discussions on the city’’s initiatives to create a "City of the Arts". The idea that E.S.’’s do it yourself approach to the problem may be of use to the city and it’’s attempts to seed downtown with interesting destinations/businesses hit a chord. The end result of the negotiations with the city and it’’s cultural liaisons (most notably Paul Wilborn) was that E.S. would be given a space for programming exhibitions,projects and performances. This space, named Flight 19, would reside in the baggage claim building connected to the Union Station at 601 Nebraska Ave.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Joe Griffith
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Brian Taylor
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Bob Dorsey
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jade Dellinger
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?: 
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:: 
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?: 
Lack of Staff
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?: 
Some materials may be in the hands of venues we have worked with.
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?: 
Simply contact us and we will make an appointment or make copies of materials.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
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 Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
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: 
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Mock-Ups / Models / Prototypes
Props for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Flat Files
13b. Are some or all of these storage units “archival”?: 
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: 
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: 
21 - 30
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:: 
Not Applicable
16c. Electronic Based:: 
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?: 
Part-Time Archivist
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
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?: 
find off-site storage
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?: 
stabalize in archival storage
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Continue producing!
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$45,001 - $50,000
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?: 
Experimental Skeleton, Inc.
Who executed this survey.: 
Joe Griffith
Is this survey complete and all appropriate questions answered?: