AS-AP

Survey: REPO history

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1989
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Artist Group / Collective
Part 2.
2a. Mission Statement: 
REPOhistory began in Manhattan in 1989 as a study group of artists, scholars, teachers, and writers focused on the relationship of history to contemporary society. It grew into a forum for developing public art projects based on history and a platform for creating them. For the past ten years REPOhistory’’s goal has been "To retrieve and relocate absent historical narratives at specific locations in the New York City area through counter-monuments, actions, and events". The work is informed by a multicultural re-reading of history which focuses on issues of race, gender, class and sexuality. We choose to create public art because we wanted to expand the audience for art by going outside the confines of the museum and gallery structure. By choosing to create work with strong, alternative social commentary we are drawing on a tradition in art that is often ignored; the legacy of the Berlin Dadaists, Russian Constructivists, the New York Photo League and contemporary organizations like Political Art Documentation/Distribution (PAD/D), Group Material and Grand Fury. Through 6 major public projects and many smaller events, REPOhistory has continued to pursue this goal as an artist/scholar cooperative, along the way adding to its goals "to raise questions about the construction of history, to provide multiple viewpoints that encourage viewers to think critically, to explore how histories and their interpretations affect us today, and to engage with specific communities in order to facilitate their efforts to construct their own public histories". We believe that the arts are important to all aspects of society. The relationship between art, culture and society is often confused, vague and ambiguous. In the USA it has sparked the "Cultural Wars" of the 1980s and the early 1990s. Even today there are many members of the US Congress and Senate who want to abolish the National Endowment for the Art and the National Endowment for the Humanities. The arts will always be controversial. Societies change and the arts can be a powerful way of expressing these changes. However, the arts are essential for helping individuals find their place within society and for shaping a collective cultural identity.
Website Link to Mission Statement: 
http://repohistory.org/who.html
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
see above
Website Link to Organization's History / Organization Overview: 
http://repohistory.org
2c. Exhibition / Programming / Publishing History.: 
REPOhistory Site-Specific Public Art Projects: •Lower Manhattan Sign Project 1992 •Queer Spaces 1994 •Entering Buttermilk Bottom 1995 •Voices of Renewal 1997 •Civil Disturbances 1998 •Out from Under the King George Hotel 1998 •Circulation 1999 REPOhistory has also exhibited work in museum and galleries. "Choice Histories: Framing Abortion" was a series of installations exhibited at Artist Space. REPO has also exhibited work at the New Museum, the Whitney Museum Downtown Branch, Apex Art and Roebling Hall, Brooklyn.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Gregory Sholette gsholette@verizon.net
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Lisa Maya Knauer lknauer@umassd.edu
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jim Costanzo j@jimcostanzo.us
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
2000
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?: 
Yes
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
6c. Other threats to the organization:: 
Artist collectives like REPOhistory have a limited life time unless they become institutions. Because of the nature of the work produced by REPO, we believe that it would not have been appropriate to evolve into another kind of organization. Though we had non-profit status and received many grants for projects, we did believe that we should become a professional art institution because the process of becoming professional would have fundamentally changed the nature of the collective. In addition to the above mentioned topic there was also the question of personal commitments. Many of the founding members left New York or lost interest in that type of work. Eleven years was actually a long run for this type of organization.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
Not Applicable
7b. Has planning for the preservation and documentation of archive begun?: 
Not Applicable
7c. Does the organization know how and where to seek expertise and assistance?: 
Yes
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: 
Fales Library, New York University
8b. Archival materials are also located at:: 
Unknown
Where are these locations?: 
We believe that the archive has all of the original material. However, there are other copies in the possession of various members.
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?: 
No
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
Other Paper Files
11b. Artwork and Documentation: 
Other Digital Materials
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
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.
Other:: 
books produced for projects
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Commercially Published Materials
Programs of Events
Other:: 
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Mock-Ups / Models / Prototypes
Other - Please describe below.
Other:: 
original artwork for printed signs
Part 12.
12. What years does the materials cover?: 
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
File Cabinets
Flat Files
Other - Please describe below.
Please describe: 
a variety of storage methods
13b. Are some or all of these storage units “archival”?: 
All
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
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: 
----
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
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Database
Part 17.
17. How are new materials processed?: 
We are not currently processing new material
Part 20.
20a. What are the goals for the historical materials for the next year?: 
N/A
20b. What are the biggest challenges to reaching these short-term goals?: 
N/A
20c. What goals are in place for the historical materials for the next three to five years?: 
N/A
20d. What are the biggest challenges to reaching these long term goals?: 
N/A
20e. Are there any additional goals for the organizations historic materials?: 
N/A
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$0
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$0
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?: 
Yes
25b. Who?: 
Marvin Taylor, Fales Library, New York University
Part 26.
26. Additional information, comments, observations, and questions.: 
For REPOhistory the archival process has been completed. However, I agree that is important for collectives to consider archiving their material. We had an individual who took responsibility for the archives on his own imitative. Then we were fortunate to have the director of another organization put us in contact with the Fales Library at NYU. Otherwise our archives would be at best in a garage or attic, at worst in a dumpster. REPOhistory was lucky that a series of events led to the archives being housed at NYU and that the Fales Library has put a portion of the archives online. Other organizations should be planning to secure their archives.
Finish
Who executed this survey.: 
jim costanzo
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