AS-AP

Survey: New Art Examiner

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1973
1c. Organization's annual budget.: 
$750,001 - $1,000,000
1b. Primary activity[ies] of the organization.: 
Printed Periodical / Publication
Part 2.
2a. Mission Statement: 
The Chicago New Art Association, publisher of the New Art Examiner, is a not-for-profit organization whose purpose is to examine the definition and transmission of culture in our society; the decision-making processes within museums, schools, and the agencies of patronage which determine the manner in which culture shall be transmitted; the value systems which presently influence the making of art as well as its study in exhibitions and books; and, in particular, the interaction of these factors within the visual arts milieu. The guiding philosophy of the Examiner holds that only through the promotion of a more comprehensive and inclusive cultural discourse free from direct commercial and ideological pressures of the marketplace can one gain a better understanding of our culture. Basic to this philosophy is the perception of visual art as one fact of cultural expression and commentary subject to and influenced by political, economic, and social factors. To this end, the Examiner’s project has entailed developing regional criticism and histories by providing a national forum for established and emerging critics and writers from different regions of the country to publish side by side; promoting journalistic reporting on and theoretical analysis of cultural funding and policies as well as private and institutional patronage; and providing an open forum for diverse, and often conflicting, ideas and opinions about art and the issues that affect it. Featured articles are available in HTML format.
Website Link to Mission Statement: 
New Art Examiner
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The New Art Examiner was founded in 1973 in Chicago, Illinois by Jane Addams Allen and Derek Guthrie. Jane Addams Allen, was the great grandneice of Jane Addams, the social worker who founded Hull House in Chicago. Addams’ tradition of community involvement and grass roots efforts continued in the day to day operation of the art magazine. The focus of the magazine began in Chicago and included smaller, regional art centers in Illinois, gradually expanding and developing its coverage throughout the Midwest and eventually nationally and internationally. Artists and writers composed the copy, Addams and Guthrie edited and often contributed in-depth articles on arts institutions, museums, arts councils and the issues affecting transmission of culture. Controversial, irreverant, intelligent writing gave readers a chance to see and read about relatively unknown artists outside the mainstream, although occasionally mainstream artists were featured. The New Art Examiner provided a training ground for artists/writers, writers were given the chance for publication to an international audience. As a not-for-profit, The New Art Examiner grew from a 4 page black and white tabloid to a 24+ glossy magazine rivaling major New York art magazines.
Website Link to Organization's History / Organization Overview: 
New Art Examiner
2c. Exhibition / Programming / Publishing History.: 
The New Art Examiner began publishing in 1973 and continued to expand from a base in Chicago to Washington, D.C., eventually covering the major cities within the United States as well as international reporting. In the 1980’s the format changed to glossy, four-color magazine style.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Jane Addams Alen deceased
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Derek Guthrie
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Tom Zurfluh
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Devonna Pieszak
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
2000
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?: 
Yes
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
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?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
No
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?: 
Yes
8a. Location: 
educational institutions, colleges, libraries, ARLIS
8b. Archival materials are also located at:: 
Yes
Where are these locations?: 
Home Office of Board Members, Former Staff, Funders, Board
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Yes
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
No
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Correspondence
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Newspaper / Magazine / Media Clippings
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Programs of Events
Other Printed Publications - Please describe below.
Other:: 
Other Printed Publications
11e. Other: 
Other - Please describe below.
Other:: 
Artist pages printed each year.
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Flat Files
13b. Are some or all of these storage units “archival”?: 
Some
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
200 +
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: 
200 +
Other Archive Storage Units - Please describe below.: 
Metal four drawer file cabinets
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Yes
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
Yes
16b. Paper-based:: 
Other Paper-Based Cataloguing Records
16c. Electronic Based:: 
Other
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.)?: 
No
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
Librarians
Part 17.
17. How are new materials processed?: 
We are not currently processing new material
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Fireproof Cabinet
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?: 
Begin archive
20b. What are the biggest challenges to reaching these short-term goals?: 
Funding
20c. What goals are in place for the historical materials for the next three to five years?: 
Archived from beginning of New Art Examiner to most recent published issue
20d. What are the biggest challenges to reaching these long term goals?: 
Funding
20e. Are there any additional goals for the organizations historic materials?: 
provide historical materials for Hull House in Chicago
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$30,001 - $35,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$30,001 - $35,000
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?: 
No
Part 26.
26. Additional information, comments, observations, and questions.: 
The New Art Examiner was a very independent publication and its content reflected that issues affecting the making and exhibiting of the visual arts have a wider significance than aesthetics. Though the art world speaks to people that have an interest in the visual arts, it cannot help but be part of the wider society and therefore in its practice and nature reflects the normal mores of political, social and cultural practice that define all institutions. This was a wide mandate and the publisher, Derek Guthrie believes an enlightened philosophy that did not endear the NAE to the mandarins of the art world. The editors, fought all acts of censorship that were put upon artists and examined the processes of patronage by the Nat’l Endowment of the Arts and some state arts councils. Under the guidance of Jane Addams Allen, the great grandniece of Jane Addams the social worker in Chicago, the very independent and liberal humanistic values set in place at Hull House were continued. The NAE may have been the first nat’l art magazine to devote an entire issue to Black Art in America. The NAE’s final years weould also tell their own story and would provide interesting research. The outstanding fact of the NAE was that it launched or helped the careers of many art writers. This is remarkable that a struggling regional art magazine could have done this, it was due to the fact that its editors and publishers wer enot hierarchical. The NAE had open doors. There was always room for young and aspiring writers. Jane Addams Allen was always interested in what individuals had to say, believed in free speech and rejected political correctness. (exerpt from a letter from Derek Guthrie, founder with Jane Allen of NAE)
Finish
survey_field_150: 
annie Markovich
Who executed this survey.: 
Annie Markovich
Is this survey complete and all appropriate questions answered?: 
Yes