Survey: The Project Lodge

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
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: 
"The Project Lodge is an arts gallery and music venue dedicated to fostering creative collaborations between music and art. The Project Lodge is an all ages D.I.Y. space; meaning that everyone in the community contributes to making the space a great place to see, hear, and do amazing art." - Feb. 2008, Kendra Larson and Christopher Buckingham "Under our management, the Project Lodge will attract inspired Madison minds to participate in an ongoing dialogue in a common space. We believe in the power of channeling common energy through individual interpretation of experience. We want to utilize the space and resources the Project Lodge has to offer--which can often be expensive and/or inaccessible for independent creative professionals-- to foster a productive band of creative explorers. The Project Lodge will remain a music venue and an art space, while expanding its potential as a vehicle for achieving the ideals of creative, collaborative expression." - June 2009, Andrew Berry, Bessie Cherry, Brooke Jackson, and Hayley Thornton-Kennedy "The Project Lodge is an art gallery, music venue and all-around creative space in Madison’s Tenney-Lapham neighborhood. We’re dedicated to fostering artists and supporting creative collaborations. We attract inspired minds locally, nationally, and internationally, to participate in an ongoing dialogue in a common space." - Sept. 2009, Andrew Berry, Bessie Cherry, Brooke Jackson, and Hayley Thornton-Kennedy
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The Project Lodge was founded by Christopher Buckingham and Kendra Larson in late 2007. The idea was spurned out of a necessity in Madison for two things: an all ages music venue and a place to show contemporary art, specifically for graduate students of the University of Wisconsin, Madison. Buckingham and Larson rented a storefront on the isthmus of Madison and recruited friends to fix it up in order to show art, installation, films, theater, and music. To instigate and set the groundwork of The Project Lodge in Madison’s art and music community, Buckingham and Larson organized Sunday brunch, inviting local artists, promoters, community organizers and musicians to attend. From there, they hashed out what Madison was lacking in its art and music community and programmed accordingly. The philosophy from the beginning was to empower artists to fulfill their visions by taking an active part in making it happen. The Project Lodge acted as a platform for many types of artists to share their works.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
First show: Notable highlights: SEMICONDUCTOR - Film screening and lecture on art practice 11/3/2008 presented by Media Embassy – United Kingdom Reading “The Reversible Dog” April 2009 Davide Novelli – Dramatic reading – Madison, WI - A wonderful interpretation of &quot;Novecento&quot;. May 2008 Mike Konopacki <> – Madison, WI: Displayed illustrations and paintings for “Republic or Empire: Work from (and inspired by) the comic book A People’s History of American Empire.” April 2009 Chele Isaac - Madison, WI: Displayed installation for “things are supposed to get increasingly beautiful starting today” May 2009 - Locked the gallery and blocked the windows except several eye holes to watch an inside installation of video from the street. “Western by Northwest” October 2008 - Show curated by Chicago&rsquo;s Western Exhibitions of University of Wisconsin, Madison alumni. &quot;Carolyn Gaska&quot; Curated by Gwen Goos and Breena Wiederhoeft, the late Carolyn Gaska from Middleton, WI created thousands of plates, magnets and dolls- a fraction of which were on display at the Project Lodge- March 2009
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Christopher Buckingham
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Kendra Larson
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Andrew Berry
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.: 
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?: 
Fiscal endangerment of organization
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?: 
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?: 
Other private individual collections.
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 10e.
10e. Under what circumstances would access to archives be allowed.: 
To provide education/ inspiration to future arts organizations or individuals.
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
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Other Audio Recordings (i.e. records, etc.)
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 - Please describe below.
Buttons, magnets, t-shirts.
11d. Printed Publications: 
Checklists / Performance Programs / Price Lists
Other Printed Publications - Please describe below.
Archive catalog (in process).
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
File Cabinets
Three-Ring Binders
Other - Please describe below.
Please describe: 
Computer files, email
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: 
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: 
1 - 10
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
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?: 
Manual System (Card File, File Folders)
Electronic (Database, etc.)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Not Applicable
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 during office hours
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?: 
other priorities
20c. What goals are in place for the historical materials for the next three to five years?: 
Create a catalog of beginning 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.: 
$3,001 - $4,000
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?: 
The Project Lodge c/o Christopher Buckingham
Who executed this survey.: 
Christopher Buckingham
Is this survey complete and all appropriate questions answered?: