AS-AP

Survey: Randolph Street Gallery

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1978
1c. Organization's annual budget.: 
----
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Printed Periodical / Publication
Part 2.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Starting in the late 1970s, RSG served as a model for other alternative spaces and had serious impact on the programming, curatorial practices, and audience cultivation of other not-for-profits and of commercial galleries The work that RSG curated was generally very experimental, and the gallery started to slowly increase in staff size, activities, audience and working budget. Numerous volunteer committees started to form and the entire venue thrived up until the 90s. (There was in fact an especially vibrant performance scene in place at that time in Chicago.) RSG started to gain national reputation for showing cutting edge work at a point when social aspects of art making, educational programs for local youth, collaborative projects, etc. were just emerging. They supported activities before they became mainstream (community outreach, focus on access to cultural resources for a broader audience, debate, commentary and action on social issues) With curatorial foresight, artists at the beginning of their careers were selected and many have since come to international reputation However, by the mid 1990s the political climate was changing drastically (significant drops in government and private funding at the local, state and national level, what had been radical in the 70s and 80s was now becoming to a certain extent mainstream, etc.) Additionally, the size of the organization needed a more professional administrative structure - in fact grant agencies had come to require this, even though it was opposed to RSG’s original mission. With the elimination of federal subsidies and the departure of its director the program eventually came to a complete end.
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
1998
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?: 
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.: 
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?: 
Not Applicable
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Not Applicable
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
Yes
8a. Location: 
School of the Art Institute of Chicago, John M. Flaxman Library, Special Collections.
8b. Archival materials are also located at:: 
No
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.: 
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?: 
Yes
Part 10c.
10c. How are arrangements made for access to archive?: 
Researchers need to get in touch with the Special Collections Librarian (312-899-5098) and make arrangements for viewing RSGA material. All boxes are housed in off-site storage. For about half of the boxes, detailed finding lists are available as MS Word documents. At this point (January 2006) fiscal and administrative files have not been processed and are not available to the public. Specific dulication fees apply if photocopies or scans are requested.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Other Audio Recordings (i.e. records, etc.)
Slides
Photographs
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Other:: 
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
Part 13.
13a. How is the material stored?: 
Banker Boxes
Flat Files
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
None
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
200 +
14b. Estimated Number of Archive Drawers: 
11 - 20
14c. Estimated Number of Archive Notebooks: 
41 - 50
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 +
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
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
General Staff
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?: 
None or Limited
Part 20.
20a. What are the goals for the historical materials for the next year?: 
stabilize materials
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?: 
add records to the library’s online database
20d. What are the biggest challenges to reaching these long term goals?: 
funding
20e. Are there any additional goals for the organizations historic materials?: 
display and promote it as primary research material
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$35,001 - $40,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$100,001 - $150,000
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
Finish
survey_field_149: 
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: 
No