Survey: Franklin Furnace Archive, Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
Franklin Furnace Archive, Inc., on a mission to make the world safe for avant-garde art. Franklin Furnace’s mission is to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content. Franklin Furnace is dedicated to serving artists by providing both physical and virtual venues for the presentation of time-based visual art, including but not limited to artists’ books and periodicals, installation art, performance art, "live art on the Internet"; and to undertake other activities related to these purposes. Franklin Furnace is committed to serving emerging artists; to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to cultural life; and to fostering artists’ zeal to broadcast ideas. ffoffice/octdocs03
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Franklin Furnace was founded in 1976 by artist Martha Wilson to champion ephemeral forms neglected by mainstream arts institutions. We have developed a place in art history for artists’ books, temporary installation art, and performance art, and researched the history of the contemporary artists’ book through such exhibitions as Cubist Prints/Cubist Books, The Avant-Garde Book: 1900-1945, Fluxus: A Conceptual Country, as well as thematic shows such as Artists’ Books: Japan, Multiples by Latin American Artists, Contemporary Russian Samizdat, and Eastern European Artists’ Books. Taken together, the magazines and catalogues published to document these exhibitions form a history that is still not available under one cover. The organization set upon a course of substantial change in 1993 when its collection of artists’ books published internationally after 1960, the largest in the United States, was acquired by the Museum of Modern Art in New York. More recently, on September 8, 1997, Franklin Furnace sold its loft and established a Cash Reserve, matching in part a challenge grant from the National Endowment for the Arts. During its 20th anniversary season, Franklin Furnace reinvented itself as a “virtual institution,” not identified with its real estate but rather with its resources, made accessible by electronic and other means.
2c. Exhibition / Programming / Publishing History.: 
The Future of the Present continues Franklin Furnace’s pioneering exploration of the Internet as an art medium. Inaugurated in 1998 as a series of performance art netcasts for worldwide audiences, The Future of the Present has evolved into a sophisticated examination of issues raised by the Internet as an artistic medium and public venue. Franklin Furnace produces works of “live art on the Internet” in collaboration with an array of venues in New York such as Parsons School of Design, the Kitchen, DCTV, Eyebeam Atelier, Location One,, Hunter College and Renssalaer Polytechnic Institute, as well as internationally in such places as Split, Croatia; Managua, Nicaragua; and Tokyo, Japan. In 2004, three proposals, by artists Joshua Kinberg/Yury Gitman, Jenny Polak, and Marie Sester were selected from among 300 received to receive $4,000 awards. The Franklin Furnace Fund For Performance Art: Since 1985, Franklin Furnace has annually awarded grants to artists selected by peer panel review to enable them to prepare major performance art works for presentation in New York. In 2004 Franklin Furnace made seven $4,000 grants to individual artists/collaborations Cave Dogs, Gary Corbin, Nicolas Dumit Estevez, Ex.Pgirl, Melissa Madden Gray/Lance Horne, Alexander Komlosi, and Red Dive. The selection panel consisted of Zhang Ga, Julia Heyward, Yael Kanareck, James Scruggs, and Juana Valdes. Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe that this peer panel system allows artists from all over the world an equal shot at presenting their work. Every year the panel changes, as the definitions of “emerging artist,” the notion of “live art on the Internet,” and “performance art” itself also change. The Fund has consistently identified emerging talent in advance of wider artworld recognition: Karen Finley and Holly Hughes received support before the “culture wars” made their names household words; artists of color such as Papo Colo, Tanya Barfield and Patty Chang received support at crucial, early points in their careers, facilitating access to commercial venues. We believe this success is due to the composition of Franklin Furnace’s peer panels, representing a diverse range of practice, ethnic and cultural background, sexual preference, age and physical ability, as well as familiarity with new technology. Sequential Art For Kids: Since 1985, Franklin Furnace has sponsored arts-in-education workshops in New York City public schools, led by professional artists including book- and paper-makers, performance artists, collectors, videographers, photographers and animators. SAK continues to be a literacy program taught in NYC public schools by artists who use sequential art media -- artists’ books, performance art, photography, film and video -- to enhance literacy and cognitive development among children. Franklin Furnace started planning a collaboration with P.S. 52, Sheepshead Bay, Brooklyn in 1997, introducing video artists Ron Littke and Benita Abrams to an environment which had $80,000 of new video equipment and no staff to exploit its potential. Since 1997, these artists have worked with the English as a Second Language teacher, Odette Lozada, to create videotapes in workshops which make use of the children’s Russian, Chinese and Middle Eastern heritage, and clearly show the delight of the children in learning and understanding a new language in a new environment. In the 2002-03 academic year, Franklin Furnace contracted for the services of an arts-in-education consultant; installed new tools for evaluation; and added Harley Spiller a.k.a. Inspector Collector to the roster of artist-educators. In 2004-05, Franklin Furnace served 210 students in ten-week video workshops, Benita Abrams teaching two for 2nd and 3rd grade, and Ron Littke two for 4th and 5th graders; and Harley Spiller taught one 4th grade and one 2nd grade workshop. The Unwritten History Project is Franklin Furnace’s plan to make all of its archival event records accessible online. Franklin Furnace plans to continue the work of creating a permanent, accessible and ongoing record of its 29-year history of exhibitions of artists’ books, temporary installations, performance art, netcasts, and works of live art on the Internet. The Unwritten History Project is creating a research resource that is electronically accessible from any point on the globe. Through linkage with the Conceptual and Intermedia Art Online (CIAO) consortium, Franklin Furnace will provide the contextual information of other collections of conceptual and intermedia art, facilitating research and understanding of the formal, social and political issues raised. Our goal is to make these works of art, which speak to an array of social issues, accessible to a wide audience beyond conventional art history classes, and to create a model for small arts organizations to participate fully and professionally in the development of museum standards that remain sensitive to the form in which artworks were originally conceived. In 2004-05 Franklin Furnace filed its second application with the National Endowment for the Humanities to digitize its first ten years of event records and publish these records online.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Martha Wilson
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jacki Apple
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Lawrence Weiner
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
David Perlmutter
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.: 
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?: 
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
Just the normal, grinding search for general operating support and project support for upkeep of institutional archives.
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?: 
Our archive is already in place
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?: 
Fiscal Need
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.: 
Not exactly. We have the stock of Tannam Press, Lapp Princess Press and Patenthese Magazine.
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?: 
Users must be Members of Franklin Furnace (at any level, $1 OK). The critical thing is that a staff member must be present while the archives are being used so that materials are not misfiled, damaged or stolen.
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]
Oral History, Recordings and / or Transcripts
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 - Please describe below.
Books containing references to Franklin Furnace.
11d. Printed Publications: 
Artists' Publications
Broadsides / Small Press
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications - Please describe below.
Books concerning avant-garde art.
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
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: 
200 +
14b. Estimated Number of Archive Drawers: 
11 - 20
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: 
200 +
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 16 / Database
16d. What type of database software is in use?: 
16e. If FileMakerPro, what version? Please describe below.: 
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
Disaster Plan
Acid-Free Housing
Fireproof Building / Fireproof Room
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?: 
To continue to publish files on the Internet to make them accessible to scholars
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?: 
Publication of all of Franklin Furnace’s history online
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
To influence art history
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$90,001 - $100,000
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
24e. Not Applicable: 
Not Applicable
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
Conceptual and Intermedia Arts Online (CIAO) consortium Independent Media Arts Preservation (IMAP) Museum of Modern Art (MoMA) ARTstor
Franklin Furnace Archive, Inc.
Who executed this survey.: 
Martha Wilson
Is this survey complete and all appropriate questions answered?: