Survey: Project Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
I borrowed the exhibition space to put on shows. Over 30 in 3 years, including Martha Wilson.
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Presenting Organization
Part 2.
2a. Mission Statement: 
Project Inc. is the name of a series of one night Conceptual, Performance, Video, Film and other art from 1972-75. I was allowed to use the space of the eponymous community art center which is still open at the same location these 30 plus years later. It was an international program of over thirty shows by a number of artists who are much better known today than they were then. The entire Boston area audience at that time for this type of work was less than thirty people but the mailing list had 300, with about twenty to Europe and most of the rest to NY and California. This is my original statement from 1973. It was before public funding for the Arts in Massachusetts. PROJECT INC. is a small non-profit organization that gives courses in art for children and teen aged kids. They offer photography, ceramics, figure drawing, etc. I rent their white walled storefront space when I do shows. The shows are for one night only. This is necessary for financial reasons, but it is a good idea in itself because it forces a concentration of attention on the work. A lot of people are present and the situation is conducive to critical conversation. Several of the shows became long talking sessions with the artist, lasting an hour or two beyond the scheduled time. Ordinarily there is very little communication between viewers at an art gallery except at an opening, and people do not look at the art very much at openings because they have other things to do and they figure they can come back and see the show later. At PROJECT people know that this is their only chance to see the work and the situation encourages them to talk about it. I think it is important that the shows are run on a non-profit basis (actually at a loss of money), because that makes it clear that the sole motivating force is an interest in showing art. It is important for small galleries like PROJECT to exist on the peripheries of the art world as an alternative to the existing gallery system. The big galleries are not perfect and the culture needs alternatives or else good artists and interesting new ideas may not get shown. Also, because PROJECT is non-profit, I have no bias against showing events and other non-saleable work. The New York galleries that show contemporary work have shown little interest in performance art and tending to show only artist whose work sells. PROJECT places a great deal of emphasis on finding new talent as well as showing more established artists. The shows are presented on a very low buget. I put out a mailing list, rent the space, feed and house the artist, and pay his/her traveling expenses when necessary. This all comes from a modest salary I get working at a gas station, on which I also support myself. The reason I bring this up is to point out that any number of people could afford to do something like what I am doing. My personal interest in running the shows is mainly to try and show new and interesting work and particularly work that, in my opinion has not received as much attention as it should. Along these lines, I think it is extremely important to show the work of very good artists who have not been given full credit for their contributions. A good example of this type of artist is Dan Graham and I was happy to have the opportunity to show him. I also think it is important for me to be flexible about the kinds of work I show. Although most of my shows would be classified as conceptual art, I am interested in showing other kinds of art. I have shown paintings and I will probably show more. I don’t believe that one type of art is necessarily better than another. My only commitment is to show work that I think is interesting and timely.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The organization and execution of all phases of the exhibition process at Project Inc. was done by me with money earned as an attendant at a Citgo gas station. Assisitance came occasionally from a few close friends and family members. I am not aware of the organizational history of the community art center Project Inc., in whose main room I presented the one-night shows. I just came across a man who has been a guest teacher there recently so I know it is still operating in more or less the same way. I think in my case this question is irrelevant or over my head.
2c. Exhibition / Programming / Publishing History.: 
Conceptual Art Shows at Project lnc. December 1972-April 1975 SOLO SHOWS Audrey Adney March 3, 1973 Gregory Amenoff March 3, 1973 Laurie Anderson July 27, 1974 Bruce Andrews November 17, 1973 Michael Asher August 18, 1973 David Askevold May 19, 1973 Alice Aycock May 11, 1974 Donald Burgy January 26, 1973 J.B. Cobb April 4, 1974 Jack.Goldstetn December 22, 1972 Dan Graham Decemberi5, 1972 Gerry Hovigimyan July 27, 1974 Douglas Huebler January 12, 1973 Richards Jarden May 25, 1973 Jay Jaroslav December 29, 1972 Emanuel Kelly November 16, 1974 John Knight February 24, 1973 Sol Lewitt May 24,1974 Tom Marioni February 18, 1973 Paul McMahon December 8, 1972 Robert Morgan November 24, 1972 Matt Mullican December 1, 1973, February 16, 1975 Dean Nimmer October 20, 1973 David Salle March 15, 1975 Willoughby Sharp March 1, 1975 Charles Simonds February, 1975 Alan Sondheim April 1, 1975, December 7, 1974 Athena Tacha May 4, 1974 Lawrence Weiner May 12, 1973 James Welling January 19, 1973 Martha S. Wilson December 17, 1974 Tim Zuck April 7, 1973 Wolfgang Stoerchle March 29, 1973, at Mass. College of Art GROUP SHOWS Five Boston Conceptual Artists: Bruce Andrews, Donald Burgy, Douglas Huebler, Jay Jaroslav and Robert C. Morgan. Held at the ICA in Boston, January 16, 1974. . Indian Summer; Paul McMahon, Robert Morgan, Matt Mullican, David Salle, James Welling. September 9-15, 1974. Postcards: collected and sent by artists. November 10, 1973. Videotapes; by students at California Institute of the Arts, January 19, 1973. Videotapes and a Performance; videotapes by Hudson and Tava, and by Dean Nimmer and Greg Amenoff, performance by Matt Mullican. At the Boston Center for Adult Education, February 6, 1975. PROJECT INC. 141 HURON AVE. CAMBRIDGE, MASS. U.S.A. 02138 Shows organized by Paul McMahon, telephone. 617-891-5885.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Paul McMahon
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.: 
Part 5.
5a. Type of organization at its founding.: 
Collective / Unincorporated Association
5b. Type of organization currently, or at the termination of activities.: 
Collective / Unincorporated Association
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 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not 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?: 
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?: 
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?: 
Whatever works. Interested persons are encouraged to contact me to arrange an appointment.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
11b. Artwork and Documentation: 
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.
A few promotional letters to critics and newspapers.
11d. Printed Publications: 
Other Printed Publications - Please describe below.
A brochure from Project Inc. with a description of the show series in it.
11e. Other: 
Props for Performances
Other - Please describe below.
Postcards from artists’ collections, including some postcard art by Sol Lewitt, Carl Andre. A huge trove of handmade Japanese art students’ postcards in unsolicited response to some announcement somewhere about the show’s existence.
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
Other - Please describe below.
Please describe: 
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
1 - 10
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: 
1 - 10
Other Archive Storage Units - Please describe below.: 
one or two boxes tops
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.)?: 
We do not have any electronic files
Please describe: 
just little old me
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?: 
only contact sheets exist for most shows. would like to print photos
20b. What are the biggest challenges to reaching these short-term goals?: 
funding and other priorities
20c. What goals are in place for the historical materials for the next three to five years?: 
would like to publish a catalog of the series
20d. What are the biggest challenges to reaching these long term goals?: 
funding and other priorities
20e. Are there any additional goals for the organizations historic materials?: 
to make them available for review
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 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
24d. Other - Please describe below.: 
not qualified to respond
24e. Not Applicable: 
Not Applicable
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
Franklin Funhouse
Part 26.
26. Additional information, comments, observations, and questions.: 
There are some other artworks.
Paul McMahon
Who executed this survey.: 
Paul McMahon
Is this survey complete and all appropriate questions answered?: