Survey: Gen Art

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
1b. Primary activity[ies] of the organization.: 
Presenting Organization
Part 2.
2a. Mission Statement: 
Gen Art is the leading arts and entertainment organization dedicated to showcasing emerging fashion designers, filmmakers, musicians and visual artists. With offices in New York, Los Angeles, San Francisco, Miami and Chicago Gen Art produces over 100 events annually ranging from a week-long film festival to massive star-studded fashion shows, DJ competitions, art exhibitions, multi-media events and much, much more. Gen Art strives to provide access to the film, fashion, art and music worlds for those that are interested in these areas, but often are intimidated and made to feel unwelcomed by the exclusive nature of these art / entertainment realms. Gen Art is closely supported by the peer group of the artistic talent it showcases. It has cultivated a loyal following of 21-39 year olds who want to keep in touch with new developments in the arts and who strive to be in-the-know about new happenings in their city. They enjoy life to the fullest.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Gen Art was founded by Ian and Stefan Gerard along with Melissa Neumann in early 1993. At the time, Ian Gerard was a 24 year-old law student, Stefan Gerard was a 22 year-old working in publishing and Melissa Neumann was a 23 year-old analyst with Merrill Lynch. Originally, GEN ART focused solely on the fine arts. While the Gerards had a limited background with the visual arts, they had experience as organizers and administrators. Melissa, on the other hand, was from a family of major contemporary art collectors and had grown up learning how to find the next great talent. In early 1994 Andrea Crane joined GEN ART as a fourth director. Andrea had just received a masters in art history from the University of Chicago and was working at Sotheby’’s. Working out of Ian’’s law school dorm kitchen with a fax machine and a single lap top, the early going at Gen Art was precarious and stressful. After assembling a strong group of volunteers, Gen Art was able to put together a class A advisory board in late 1993 (which included art luminaries such as Christo, William Wegman, Ross Bleckner, Laurie Anderson, Donald Sultan and Andres Serrano) and then to produce a wildly successful benefit in early 1994. Following the benefit and in preparation of its first major exhibition, GEN ART opened its first full-fledge office in the summer of 1994. In 1995, Gen Art launched its first web site created by Scott Matthews. The site was later completely re-produced again by Mr. Matthews in early 1997. The current site was launched in 2004 by ersvp. Following successes in 1994 and early 1995 under the leadership of CEO Stefan Gerard, with its visual arts program, Gen Art branched into the fashion arena in the summer of 1995 with Ian Gerard talking the helm of the new fashion division. Also that summer, the first branch office in Los Angeles opened. In 1996, Gen Art branched into the support of young filmmakers with its first film festival which was directed by Paul Gachot. Later that fall, the Gen Art San Francisco office opened. In late 1997, Ian Gerard took the helm of Gen Art as its CEO and brought in Adam Walden who has successfully served as the company’’s President since February of 1998. In 2002, despite the growing recession, Gen Art underwent a national expansion by opening offices in Miami and Chicago and by expanding its operations in Los Angeles, San Francisco and New York. In New York, Gen Art moved from its original office to a much larger and better equipped space on 25th Street. By the fall of 2002, Gen Art was producing more than 15 events each month in 6-7 different markets. In 2003, Gen Art continued to expand and produced more than 100 events in 9-10 U.S. markets. While Gen Art has grown, it is always a challenge to find the funding to produce the quality events that people have come to expect from Gen Art and the organization still relies largely on a volunteer organization, dependent on the good will and time of many dedicated volunteers. 10 Year Anniversary: In 2003, Gen Art celebrated its 10th year of artistic/entertainment programming. It was a year-long celebration of the best talent that Gen Art has presented over the past 10 years as well as much more of the newest and hottest talent coming out from all over the United States and elsewhere. In 2004, Gen Art branched out and was involved with two television shows: NBC’’s "The Apprentice" and Bravo’’s "Project Runway". Both shows featured Gen Art’’s fashion division. For "The Apprentice" Gen Art’’s fashion director, Mary Gehlhar, presented the two teams six emerging designers for the teams to chose from. Each team picked one designer and then created a mini collection with the designer over the next 2 days. The collections were featured in a full runway show at the St. Regis Hotel which was a Gen Art produced show. When the episode aired, Gen Art and Trump Models partnered to produce a Viewing Party for the episode which was attended by Donald Trump & his fiancee Melania Knauss, as well as cast members from each season including Kwame, Amarosa, Erika, Heidi, Pamela, Jen C. and Katrina. For "Project Runway", Gen Art oversaw and produced the open designer calls for emerging designers in NY, LA, Chicago and Miami. Mary Gehlhar was a judge in each market and helped the show choose the final twelve designers to be featured in the series. In 2005, Gen Art under the leadership of Film Division Director, Jeff Abramson, who has been with the company for four years, will continue to grow its film program to include the debut "Reel Girls Film Festival", as well as hosting the 10th Annual Gen Art Film Festival in April. Join the Revolution!
Website Link to Organization's History / Organization Overview:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Ian Gerard
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Adam Walden
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 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:: 
Are there other threats to your organization? Please describe below.
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 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
Financial Records
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / 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: 
Programs of Events
Other Printed Publications
11e. Other: 
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?: 
File Cabinets
Flat Files
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
I don’t know
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
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: 
I don’t know
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
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?: 
General Staff
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?: 
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?: 
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?: 
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 23.
23e. Not Applicable: 
Not Applicable
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?: 
Gen Art
Who executed this survey.: 
Carrie Schupper
Is this survey complete and all appropriate questions answered?: