Survey: Prenatal Sculpture - Aaberation Press

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Independant sculptor
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
In the year 1310, a Dominican monk created a woodcarving called "The Visitation" which is now on exhibit in the Metropolitan Museum of Art. It depicts two pregnant women whose unborn babies had originally been placed in oval recesses carved into the mother’’s bodies. (See photo above right) But when the museum acquired this masterpiece, both babies were missing and the oval recesses had been plugged up with crystal cabachons. Since that time almost seven hundred years ago, no other sculptor had done work on the subject of gestation until I accidentally revived this art form while trying to duplicate the powerful visual impact of my pregnant daughter’’s prenatal sonogram. I had no way of knowing at the time that the portrayal of pregnancy in art had for centuries been hidden behind a veil of taboo, superstition and religious restriction. As a result, my prenatal sculptures have been condemned by gallery owners and museum curators alike as being "unsuitable for public viewing." I believe that veil of suppression is in reality a holdover from the Dark Ages and a thinly disguised insult to all women. Pregnancy is a subject neglected for so long, I felt justified in treating it as my own personal "virgin territory." In my collection of almost two dozen pieces you will find images that are shocking, ironic, poignant, iconoclastic, satirical, ribald, but most of all images that revel in a "new life kicking beneath its mother’’s heart" to paraphrase author Truman Capote. As a proud grandfather of eight, prenatal sculpture has become my labor of love. When eminent psychologist Robin Grille saw my work and found out about the extreme paucity of prenatal art, he immediately grasped its social significance. "What an amazing concept," he wrote. "You have stumbled onto something major, something that not only speaks of a huge gaping void in the history of art, but also of a vast yawning chasm in the collective human psyche."
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
1. Viewing my pregnant daughter’’s prenatal sonogram and watching my unborn grandson alive and wriggling inside my daughter’’s belly. 2. Deciding to see if I could duplicate that powerful visual image in my own art by cutting holes in the pelvic areas of some of my existing mnetal sculptures of women and welding in tiny fetal figures so they apperaed to be floating in the womb. 3. Discovering a religious sculpture from the year 1310 called "The Visitation" that also showed unborn babies in the womb, now on exhibit at the Metropolitan Museum of Art, thereby proving that I had accidentally revived a 700 year old religious art form. 4. Writing a book about my prenatal art called, "The Undiscovered Art of Pregnancy." 5. Being invited to be the keynote speaker at last February’’s APPAH (Association of Prenatal and Perinatal Psychoplogy and Health) where I gave a talk and slide show on my pregnant sculptures.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
My work has been rejected and condemned by art gallery owners and museum curators alike as being "unsuitable for public viewing."
Website Link to Exhibition / Programming / Publishing History: 
Aaberation Press published my book, "The Undiscovered Art of Pregnancy."
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Norman Gardner
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Barbara Getrost
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Robin Grill
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jody McLaughlin
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
6c. Other threats to the organization:: 
The subject of pregnancy in art has been hidden for centuries behind a veil of taboo, superstition and religious restriction.
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?: 
The Metropolitan Museum of Art
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 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
11b. Artwork and Documentation: 
Unique Art Objects
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Other Printed Publications - Please describe below.
My book, "The Undiscovered Art of Pregnancy."
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
31 - 40
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: 
Not applicable
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:: 
Not Applicable
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: 
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?: 
Standard office heating / air conditioning / humidity controls running 24 hours / 7 days
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Continue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
lack of funding
20c. What goals are in place for the historical materials for the next three to five years?: 
Seeking a one man museum exhibition of my work
20d. What are the biggest challenges to reaching these long term goals?: 
cultural taboo
20e. Are there any additional goals for the organizations historic materials?: 
Would like to create a national touring exhibit of all my artwork
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$4,000 - $5,000
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
24e. Not Applicable: 
Not Applicable
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.: 
Aaberation Press
Who executed this survey.: 
Norman Gardner
Is this survey complete and all appropriate questions answered?: