Survey: SOS Int'l

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.: 
Printed Periodical / Publication
Presenting Organization
Artist Group / Collective
Part 2.
2a. Mission Statement: 
In 1992, SOS Int’l started as a publishing collective with the purpose of creating affordable public art projects - as publication space. We produced special issue, a recipe mannual that had nothing to do with food, it was anti-copyright and included the contributions of over 50 plus artists. Then promotional copy and yellow pages for the artists community in 1993; Time Capsule: A Concise Encyclopedia by Women Artists (co-produced with Creative Time)A publication at the end of the millenuium gathering projects by any who called themselves an artist and a women to be presented at the International Womens Conference in 1995. Time Capsule was produced concurrently with other public projects where the founding members (Robin Kahn, Kirby Cookin, Federico Cruzeman and Victoria Gil) assumed other collective indentities. Agencia de viaje 1992 for Expo 92 to produce La Capsula de Tiempo Codoba, Gratis 1993 - present to create temporary autonomous zones as exhibition spaces in Spain and the United States. Projects include Copiacana, 1995, Isla Del Copyright, 1997 and Cpoilandia 2005-06. Also the publishing collective produced books by Robin Kahn distributed by DAP - namely Fred and Frieda, 1992, Reveries of a spinster 1997, Runaway Girls ( with Sarah Blake) 1998, Sexual Lovemaking for Dummies 2004 and the Intelligent women’s guide to art, 2006.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Robin Kahn
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Kirby Gookin
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Federico Guzman
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 Year activity suspended if no longer active.: 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?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
How to make it available to public, willing to donate material
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?: 
Space Concerns
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?: 
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.: 
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.: 
If someone wanted to access the archive, they can contact us. We are happy to information share and to also make the projects more known.
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
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork
Other Press or Promotional Materials:
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
31 - 40
14b. Estimated Number of Archive Drawers: 
151 - 200
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: 
200 +
I don’t know
Other Archive Storage Units - Please describe below.: 
some cds, some slides, photographs that are digital
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:: 
Other Paper-Based Cataloguing Records
not yet
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?: 
Full-Time Archivist
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
Acid-Free Housing
Fireproof Building / Fireproof Room
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
Part 20.
20a. What are the goals for the historical materials for the next year?: 
keep archive
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
to make the goals of our collective
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
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.: 
We are storing projects, contributors by more than 1000 plus artists who were involved in a variety of our publishin, curatorial and collaborative projects. many were anti-copyright to the "original" is not as importand as the idea behind the contribution. There is a non-hierarchical power behind these projects what is averse to the capital workings of the artworld. In the spirit of information sharing, these projects are invaluable as they are creative, share ideas and work and explore artmaking as a process that is inventive, expansive and generous.
Robin Kahn
Who executed this survey.: 
Robin Kahn
Is this survey complete and all appropriate questions answered?: