AS-AP

Survey: Sandra Gering Gallery

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1991
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Commercial Gallery
Part 2.
2a. Mission Statement: 
The focus of the Sandra Gering Gallery is on artists who use cutting-edge technology and materials, and on placing these artists within a historical context. Artists exhibited at the Sandra Gering Gallery include: Xavier Veilhan, Matthew McCaslin, Karim Rashid, Jose Antonio Hernandez-Diez, Peter Halley, and John F. Simon, Jr. A crucial ambition of Sandra Gering Gallery is to integrate artists into the landscape who are using very advanced technology, and to present them in a context that leads to their acceptance by the more conservative public and museums Sandra Gering enthusiastically stretches the boundaries of what is traditionally presented in a fine art gallery. Exhibitions have included high-tech digital video and internet installations, avant-garde furniture design, and robotics. These cutting-edge works are often exhibited alongside works from a previous generation, such as the blown plastic bubbles of Craig Kauffman, to illuminate the continuity and expansion of ideas as our technological possibilities increase.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Sandra Gering Gallery opened in May of 1991 in Soho, where we operated until moving to a ground floor space at 534 West 22nd Street in May of 2001. Over the past fifteen years the gallery has become known for exhibiting both outstanding emerging artists, and more established artists of the late 20th Century. Sandra Gering Gallery has presented the first New York solo exhibitions of artists such as Janine Antoni, Jose Antonio Hernandez-Diez, Xavier Veilhan, and Leo Villareal. We have also dedicated ourselves to exhibiting artists who have reached the difficult mid-career stage, confronting the fact that the art world’s obsession with “the new” makes it difficult for many excellent, still exciting artists to get the attention they deserve. Among the artists of this earlier generation we exhibit are Craig Kauffman and Nancy Dwyer.
Website Link to Exhibition / Programming / Publishing History: 
www.geringgallery.com
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Sandra Gering sandra@geringgallery.com
Part 4.
4a. Is organization currently active?: 
Yes
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
For-Profit
5b. Type of organization currently, or at the termination of activities.: 
For-Profit
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?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
No
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Drain on Existing Staff Time
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
8a. Location: 
IF YES to 8: University (Name)
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.: 
Yes
survey_field_49: 
Friends of E.1027, a non-profit organization dedicated to the restoration and maintenance of E.1027, the house designed and built by Eileen Gray in Roquebrune Cap-Martin.
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Access by professionals and students.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
11b. Artwork and Documentation: 
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Slides
Photographs
Videotapes
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Checklists / Performance Programs / Price Lists
Publication or Merchandise Catalogues
Other:: 
Other Printed Publications
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1990-1999
2000-2005
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”?: 
Some
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: 
----
or: 
I can’t access the material to determine this
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
No
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
No
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?: 
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?: 
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?: 
Staffing
20c. What goals are in place for the historical materials for the next three to five years?: 
Continue archiving
20d. What are the biggest challenges to reaching these long term goals?: 
Staffing
20e. Are there any additional goals for the organizations historic materials?: 
Ideally, converting some materials to digital files
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$5,001 - $7,500
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$15,001 - $20,000
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_150: 
Sandra Gering Gallery
Who executed this survey.: 
Sandra Gering
Is this survey complete and all appropriate questions answered?: 
Yes