Survey: Real Art Ways

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$750,001 - $1,000,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
Real Art Ways Mission & Goals Mission: Real Art Ways is an alternative, multi-disciplinary arts organization that presents and supports contemporary artists and their work, facilitates the creation of new work, and creatively engages and informs audiences and communities. Goals 1 Provide Space: Real Art Ways uses its space to support alternative and challenging artistic points of view and engage audiences as an integral part of the work. 2 Present Contemporary Art: Real Art Ways presents culturally diverse contemporary work that builds and serves a culturally, economically and generationally broad audience. 3 Support Artists: Real Art Ways supports emerging and established artists and provides unique social and intellectual opportunities for a broader creative community. 4 Engage in Dialogue: Real Art Ways is committed to engaging its publics in dialogue, which explores esthetic, cultural, and social issues. 5 Build Community: Real Art Ways integrates artists and innovation into creative development of communities. 6 Sustain Capacity: Real Art Ways professionally manages diversified funding, personnel, and other resources to build sustainable capacity.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
ABOUT REAL ART WAYS Real Art Ways, founded in 1975, is one of the leading innovative contemporary arts organizations in the United States. Living artists, new ideas, and connections to community are central to its mission. Real Art Ways’ multidisciplinary program includes Visual Arts (self-curated exhibitions, commissioned projects, artist talks), Cinema (presenting independent and international films 7 nights a week, filmmaker nights, and self-produced festivals), Live Arts (concerts, performance, spoken word events, as well as commissioned works), and Educational Programs. Real Art Ways is located in a former typewriter factory in Hartford’s Parkville neighborhood. Facilities include an exceedingly comfortable 155 seat cinema/theater (35mm, 16mm, video), and 5,000 sq. ft. of beautifully renovated exhibition space with 3 separate galleries and a video screening room. Renovations recently added a 900 sq. ft. exhibition/live arts performance space (the Real Room), a soft seating area, and a renovated coffee bar (the Loading Dock Lounge). Real Art Ways has a record of working in collaboration, and fostering the creation of work that connects contemporary art and community. Since 1990 Real Art Ways has commissioned and produced 29 artists’ projects, including Pepón Osorio’s En la Barbería no se Llora, (No Crying Allowed in the Barbershop)set in Hartford’ Frog Hollow neighborhood in the aftermath of gang violence; and Mel Chin’s Ghost, which evoked Connecticut’s first African-American church on its original site and involved the descendant congregation in conception and celebration. Most recently, Real Art Ways has commissioned projects for its immediate neighborhood, resulting in work by videographer Liz Miller (portraits of neighborhood people for the cinema), and poet Verandah Porche (a volume of “told poetry” based on a year long presence in Parkville). Two artists whose work Real Art Ways commissioned, Osorio and Iñigo Manglano-Ovalle, later were awarded MacArthur “genius” grants. Real Art Ways is a committed participant in community activities (eg participating in a community-wide process of re-thinking of the neighborhood’s public space, resulting in a plan for more pedestrian-friendly street and sidewalk design). And Real Art Ways is collaborating with the Connecticut Department of Transportation on a national design competition for stations on a planned mass transit busway connecting Hartford and New Britain. In 2001, Real Art Ways was one of only 14 organizations in the country awarded support from the Lila Wallace - Readers’ Digest Funds LEAP program for engaging arts and the community. Other significant funders include the National Endowment for the Arts, the Andy Warhol Foundation for the Visual Arts, the Rockefeller Foundation, the Ford Foundation, the Albert A. List Foundation, the Hartford Foundation for Public Giving, the Connecticut Commission on the Arts, the Greater Hartford Arts Council, and many other area foundations and corporations. Real Art Ways’ projects generate considerable regional and national media coverage, with recent stories in the New York Times, ArtNews, Art in America, Rolling Stone, Sculpture, and the Associated Press, and National Public Radio. Artists whose work has been presented by Real Art Ways include some of the most respected creative minds of our times, for example visual artists Ernesto Pujol, Vik Muniz, Robert Longo, David Salle, Josiah McElheny, Yinka Shonibare, Cindy Sherman, Jenny Holzer, Bill Viola, Christo, Sol Lewitt, Gary Hill, Carolee Schneeman, William Wegman, Mark Dion, Alexis Rockman, Nan Goldin, Ana Mendieta, and Ida Applebroog, and performing artists Laurie Anderson, Danny Hoch, Dael Orlandersmith, Eric Bogosian, Anthony Braxton, John Cage, Steve Reich, Ornette Coleman, Don Byron, Trilok Gurtu, Waldemar Bastos, Jerry Gonzalez, Spalding Gray, Cecil Taylor, Philip Glass, Papo Vazquez, David Murray, Meredith Monk, John Kelly, Josh Kornbluth, Allen Ginsberg and many, many more.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
What is Real Art Ways? 10 Things You Should Know About Real Art Ways (in no particular order) 1. We’re unique Real Art Ways is a welcoming environment for the convergence of people, art and ideas. It is a place where city and suburb meet, a comfortable place for people from different backgrounds.We have a national and international reputation for programming excellence. 2. We were founded in 1975 Real Art Ways is one of the United States’ seminal multi-disciplinary alternative spaces. Started in the 1970s during the boom of "alternativity" (eg. alternative newspapers, schools, food coops, health care), Real Art Ways has continued to grow and evolve because of the support of our contributors and a steady mission to present contemporary art in Hartford. [Full history] 3. We work with living artists It is in our mission to support living artists. We often serve as a venue for emerging artists at a critical point in their careers. The artists we present come from a variety of stages — local, regional, national and international. 4. We rely on our members The support of our members is crucial to Real Art Ways’ mission of bringing new, innovative art of all forms to you. Members receive discounts to all our events as well as really good karma. Visit the secure pledge page and become a member today! 5. We do more than one thing Exhibitions, movies, concerts, readings, educational programs, openings, lectures, workshops, spoken word, performance... Put it this way: check out our calendar and chances are something going on this month will interest you. 6. This used to be a typewriter factory Like many of the industrial buildings in Hartford’s Parkville neighborhood, 56 Arbor Street was formerly a factory. Since 1995 renovations have totaled $1.8 million. Resources include: a 155-seat cinema/theater; 5,000 sq. ft. of beautifully renovated exhibition space; the Real Room, a 900 sq. ft. exhibition and performance space; and the Loading Dock Lounge. 7. We like it when you hang out here We opened the Loading Dock Lounge in 2002 to create a place for you to hang out — whether it be for discussing the art in the galleries or debating the merits of the film you just saw. The lounge is open until 10 during the week and midnight on Friday and Saturday. So come early or stay late. 8. We’re not done yet Since moving into 56 Arbor Street, we’ve undergone a steady stream of renovations to build the arts center. What’s next, you ask? Well, for starters, we have designs on building more cinema screens and a 350-seat concert hall. Stay tuned for the next phase. 9. We’re good neighbors Since Real Art Ways moved to Parkville in 1989, we have maintained a strong, healthy relationship with the neighborhood. Through various public art projects, our summer program in the park across the street and involvement in neighborhood planning committees, Real Art Ways will be a presence in Parkville for years to come. 10. And, well, you can drink beer and wine in our movie theater Not to mention we’re the only area theater that makes fresh popcorn with real butter every night. - top - Programs: FILM & VIDEO: Featuring first-run independent films from all over the world and the most comfortable seats you’ll find, Real Art Ways Cinema has been showing the best of indie cinema since 1996. VISUAL ARTS: The Visual Arts Program consists of exhibitions, installations, artist talks and educational workshops, as well as RAW Specifics, a vigorous series of commissioned temporary work sited throughout Hartford. We support the investigation of new ideas and foster the creation and presentation of innovative work of all kinds. Programs encompass themes of interest to the established art world yet are intended also for people largely ignored by mainstream art circles. LIVE ARTS: Contemporary music knows few boundaries; commercial demarcations — jazz, pop, classical, techno, hip-hop, rock, new music — don’t adequately describe the interwoven web of today’s abundant musical creativity. We present concerts, workshops and artist talks, and commission new work. We present innovative theatrical productions and support the creation of new work. Solo performance, interdisciplinary explorations, small ensemble pieces all have a home at Real Art Ways. We present readings by a wide range of authors, and larger community-oriented events evolving around the word aloud. PUBLIC ART: Since 1997, Real Art Ways has commissioned over 20 public art projects in Hartford communities. The RAW Specifics program is a vigorous series of commissioned temporary work that has been placed throughout Hartford. Scan the Real Art Ways archives for several examples of past projects and look for more to be added in the coming months. EVENTS: From the Creative Cocktail Hour to gallery openings, Real Art Ways is a space where people can connect. EDUCATION: All of Real Art Ways’ programs are open to classrooms across the region. We also present the Digital Skills Program, which teaches youth the ins and outs of sound recording, as well as ParkArt, a summer arts program for kids in the neighborhood. - top -
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Joseph Celli
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Leslie Thornton
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Peter Waite
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Bob Gregson
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.: 
Non-Profit [IRS certified]
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.: 
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?: 
Lack of Staff
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?: 
Private Individuals eg former staff, board, may have some materials.
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.: 
Archives are not orderly. They are a collection of things stored in boxes and filing cabinets. They need to be put in order, and inventoried.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
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.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / 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:
11d. Printed Publications: 
Artists' Publications
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Flat Files
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
I don’t know
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
41 - 50
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
21 - 30
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: 
100 - 150
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:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
Spreadsheet [i.e. Excel]
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 16 / Database
16d. What type of database software is in use?: 
16e. If FileMakerPro, what version? Please describe below.: 
for mac, updated 3 years ago
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?: 
Some heating / air conditioning / humidity controls on demand or sporadically
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Move some into off-site storage - we need more room!
20b. What are the biggest challenges to reaching these short-term goals?: 
Money for staffing
20c. What goals are in place for the historical materials for the next three to five years?: 
We would like to hire a professional to inventory all that we have and put it in order
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
We would like to integrate our history more effectively into our web presence.
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$15,001 - $20,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$70,001 - $80,000
Part 23.
23d. Other - Please describe below.: 
Archival issues should be tied into a public demand for recognition of the significance of the field
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?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
None of our organizations anticipated the need to archive, and few of us have the resources. Most of us have bounced from place to place, so some archives have gotten jumbled. With all of the pressures of keeping the present moment going, archiving is at the back of the line for resources. But we have a lot of good stuff, and it would be great if it could be saved. Is there a university that could take on being a centralized archival repository? That would be fantastic.
Real Art Ways
Who executed this survey.: 
Will K. Wilkins
Is this survey complete and all appropriate questions answered?: