Survey: eyewash

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.: 
Transient or Non-Physical Organization for Creation or Exhibitions
Part 2.
2a. Mission Statement: 
eyewash initially was involved with exhibiting emerging artists from northwest Brooklyn, New York especially the neighborhoods of Williamsburg & Greenpoint. Housed in a turn-of-the-century apartment building eyewash utilized two different apartments as exhibition/installation areas. An important aspect of this early phase was artists doing installations & designing exhibitions utilizing the layout and possibilities of exhibiting new work in an essentially domestic environment. In 1999 eyewash was ordered by the New York City Dept. of Buildings to cease operating at 143 North 7th St. due to its status as a Rent Stabilized Building & therefore was unable to function as a commercial business. At this time eyewash became a migratory gallery doing collaborative exhibitions at other neighborhood spaces as well as Apex Art in Manhattan. eyewash continued as an active exhibition space doing several collaborations with galleries/spaces such as Front Room, Figureworks, Open Ground, Holland Tunnel, Parkers Box, Schroeder Romero, Gallery Boreas and Jack Pelican Gallery. In 2007 eyewash will exhibit at Croxaphox Gallery in Ghent, Belgium and in 2006 at Exit Art of New York City. In 2002 eyewash organized the largest public arts exhibition in Brooklyn with "Window Shopping" that spanned 26 store fronts on Bedford Ave. from North 10th to North 2nd Streets. This was a collaboration between store owners and selected artists in the Williamsburg area of Brooklyn, New York.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
see above
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
see above. eyewash has been documented in several publications including The New York Times, Art in America, The Burlington Magazine(U.K.), ArtNews, Flash Art, Time Out New York, Brooklyn Rail, The Art Newspaper, Details, and several others.
Website Link to Exhibition / Programming / Publishing History: 
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Larry Walczak
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
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
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?: 
Technical Support / Expertise
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.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Serious inquiries only for significant research/projects.
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: 
Other Digital Materials
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: 
Checklists / Performance Programs / Price Lists
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other 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: 
1 - 10
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:: 
Other Paper-Based Cataloguing Records
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 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?: 
None or Limited
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?: 
not formulated
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 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.: 
My co-founder Annie Herron recently died from cancer & left with me paper documents & videotapes of her curtorial & directorial work in the visual arts from 1983 on. I am unsure what to do with these boxes of material I feel can be important in the historical development of such art scenes as The East Village, Williamsburg and latter Soho. I desperately want them available to researchers.
Larry Walczak
Who executed this survey.: 
Larry Walczak
Is this survey complete and all appropriate questions answered?: