Survey: Goldwell Open Air Museum

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Outdoor sculpture park and artist residency
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
Goldwell Open Air Museum is a Nevada nonprofit organization that preserves and encourages artistic exploration in, and of, the Amargosa Desert--an evocative landscape along the eastern edge of Death Valley National Park. This mission is achieved through the care and presentation of a 15-acre outdoor sculpture park near the ghost town of Rhyolite and through an artist residency and workspace program in the Museum’s nearby Red Barn Art Center.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The Museum began in 1984 as a project of Belgian artist, Albert Szukalski (1947-2000) with his installation of a life-size sculptural interpretation of Leonardo Da Vinci’s Last Supper against the backdrop of the expansive Amargosa Desert. In subsequent years, three other Belgian artists (Fred Bervoets, Hugo Heyrman, and Dre Peeters) added six additional pieces to the site in the early 1990s. They, like Szukalski, were also notable figures in contemporary European art. Fred Bervoets, arguably the most famous of the Goldwell artists, recently had an exhibition in Antwerp, Belgium (Sept 2008)based upon his work created in Nevada over 14 years prior. Albert Szukalski died in January 2000, and the Goldwell property and its artworks came into the sole ownership of Albert’s business partner who lives in Amargosa Valley. At that time, the partner contacted Suzanne Hackett and Charles Morgan with a request to find a solution to her desire to both continue Albert’s vision and yet relieve her of the burden and risk of owning the property as a private individual. An agreement was reached in March 2000 to donate the sculptures and real property to a newly formed non-profit, the transfer of which was finalized in 2003. Goldwell has conducted eight years of successful programming, including producing a feature-length documentary video on the creation of the Last Supper sculpture, conducting conservation projects, sponsoring artist residencies, and creation of an annual evemnt, Albert’s Tarantella. Highlights of past programming include: A three-day event celebrating the 20th Anniversary of “the Last Supper” sculpture featuring the “Beatty premiere” of the documentary and a panel discussion on art-making in the desert led by author William L. Fox, Los Angeles-based public artist Kim Abeles, geographer Richard Francavigilia, and Diane Perlov, an art & science investigator (2004) Restoration of Hugo Heyrman’s Lady Desert sculpture involving community volunteers and garnering significant exposure for the Museum’s preservation mission (2005) A three-dimensional storytelling project, Kymaerica, by L.A.-based artist Eames Demetrios that included presenting public lectures in Las Vegas, installing an artwork at the sculpture park, and creating a ten-segment audio tour of Kymaerican Rhyolite (2006 & 2007) Completion of an NEA-funded conservation assessment of Marta Becket’s Amargosa Opera House (2006) Rescue, installation and re-imagining of Sofie Siegmann’s Sit Here mosaic and found object sculpture (2007) The Museum’s new Red Barn Art Center, located in proximity to the sculpture park, began full-time operations in April 2008. The Barn offers a workspace/residency program for emerging and mid-career artists, exhibitions, and free and fee-based public programming and workshops.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Charles Morgan
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Suzanne Hackett-Morgan
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Richard Stephens
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
David Lancaster
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.: 
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?: 
Fiscal endangerment of organization
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?: 
Private Individuals
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?: 
Email request...we work it out on an individual basis. We get frequent requests for historical photographs and oral histories.
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: 
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.
Television programs on DVD
11d. Printed Publications: 
Artists' Publications
Commercially Published Materials
Programs of Events
Other Printed Publications - Please describe below.
Books: Destination Art Kymaerica Travel Guide Weird Nevada Roadside America The Compleat Nevada Traveler
11e. Other: 
Architectural Drawings / Floor Plan
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
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: 
11 - 20
14b. Estimated Number of Archive Drawers: 
1 - 10
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.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
Spreadsheet [i.e. Excel]
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: 
Volunteer Board Member
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?: 
Relocate archive to new facility
20b. What are the biggest challenges to reaching these short-term goals?: 
Staff with knowledge of what to do (I know but have no time!)
20c. What goals are in place for the historical materials for the next three to five years?: 
To centralize all historical materials a single, accessible location.
20d. What are the biggest challenges to reaching these long term goals?: 
Funding for a staff person to do it.
20e. Are there any additional goals for the organizations historic materials?: 
Eventually we would like to publish our own book on both the Szukalski era and the artists in our residency program
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$45,001 - $50,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$50,001 - $60,000
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?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
This was made me think about things I have been putting off but are highly important, especially considering the importance of Fred Bervoets, one of our original artists, in Europe. Also, the artist coming through our residency program are of very high quality and will be of interest to scholars in the future.
Goldwell Open Air Museum
Who executed this survey.: 
Suzanne Hackett-Morgan
Is this survey complete and all appropriate questions answered?: