Survey: Galapagos Art Space

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$750,001 - $1,000,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Part 2.
2a. Mission Statement: 
The most basic function of the arts is to be relevant in the advancement of society. Galapagos does not accept government grants or public funding of any kind. We believe that if the work we present is strong, communicative, and effective, we will survive. If we don’t produce strong, communicative and effective work then we won’t survive - we’re not doing children’s programming, we’re not feeding the hungry: we make art. If we can’t be grown-up about that and stand up on our own, then we don’t think we’d have anything interesting to tell you anyway. This is New York City. One of the greatest cultural cities to have ever risen; perhaps the greatest. We’re not sitting around smoking rope dreaming of the grant we applied for. We have our whole lives to live and that is terribly important. Culture should reflect that clearly. Robert Elmes Director, Galapagos Art Space
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Founded in 1996 Galapagos art space (!) was born, raised and educated in Brooklyn. Galapagos is a substantial contributor to the creative economy of New york City and is a pillar of the emerging arts, the foundation of the creative eonomy. It’s a 4400 square foot facility houses theater, dance performance art, cinema, music and literary events. Galapagos is located at 70 North 6 Street, Williamsburg, Brooklyn. Galpagos produces 140 shows per month. • Directly employees 32 people on staff • Has an annual payroll of $450,000 • This year alone Galapagos will pay artists at the emergent level over $180,000.00 for performing. • Is working on a plan to afford health insurance for it’s entire staff and residents artists. Galapagos has…. • 32 artists or projects in residence. • On average 150 artists come through Galapagos each week. Galapagos’ effectiveness…. • 2500 people come to Galapagos each week. • Galapagos reaches 14,000 each week via our weekly email. • Each month 26,000 people come to our web site; they view 80,000 pages for a total of 803,000 hits. • Galapagos has co produced over 200 fundraising events for local non profit and community groups. • Galapagos won an Obie Award for presenting and supporting emergent work.
2c. Exhibition / Programming / Publishing History.: 
See above
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Robert Elmes
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.: 
5b. Type of organization currently, or at the termination of activities.: 
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 incredible cost of real esatate in New York City and a resultiing lack of emerging artists.
Part 7.
Fiscal 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?: 
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?: 
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 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
There haven’t ever been any but we’re open to the idea!
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Financial Records
Legal Documents
Other Paper Files
11b. Artwork and Documentation: 
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
email, web archieve of events
11d. Printed Publications: 
Artists' Publications
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
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: 
11 - 20
14b. Estimated Number of Archive Drawers: 
14c. Estimated Number of Archive Notebooks: 
1 - 10
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.
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?: 
Other - Please describe below.
Please describe: 
Robert Elmes
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?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Organize it
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?: 
To publish it
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$15,001 - $20,000
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.: 
Being submited as part of a larger op ed, not for publication! Thanks! In a New York too expensive to incubate young artists many of the best young minds will fly right past our exploding real-estate market and rezoned artistic neighborhoods to cultivate and grow cultural and economic opportunities in other, less expensive cities. It’s important to remember that these young artists have no loyalty to New York; they’re from places like Des Moines after all. As more and more of those less expensive cities begin to understand the advantage they can place in their populace by proactively attracting the emerging arts and either establishing or buttressing their own creative economies, the bidding for our young cultural participants will begin. Soon smart cities everywhere will make New York based artists offers they’d be foolish to refuse, and cities like Philadelphia, Berlin, Seattle or Singapore will get the most adventurous of them – the ones our meritocracy would obviously miss the most – if we can’t find effective ways to continue pooling them here. And we must find ways to pool them here, the foundation of our thirteen billion dollar a year creative economy rests squarely on the fresh ideas and spirited new energies that the emerging arts attract to our city.
Who executed this survey.: 
Robert Elmes
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?: