AS-AP

Survey: Southern Exposure

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1974
1b. Primary activity[ies] of the organization.: 
Dynamic, cutting edge art, education, and community programs since 1974.
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Part 2.
2a. Mission Statement: 
SOEX’S CURRENT MISSION STATEMENT Mission Statement Opportunities for creative expression are integral to a healthy society. Southern Exposure’s unique programs nurture a broad range of innovative, risk-taking contemporary art in an accessible environment. As an artist-run organization, Southern Exposure reaches out to diverse audiences, and serves as a forum and resource center providing extraordinary support to the Bay Area’s arts and educational communities. Background Located in San Francisco’s Mission District, Southern Exposure is a 32 year old, non-profit, artist-run organization dedicated to presenting diverse, innovative, contemporary art, arts education, and related programs and events in an accessible environment. Southern Exposure reaches out to diverse audiences and serves as a forum and resource center to provide extraordinary support to the Bay Area’s arts and educational communities. Activities range from exhibitions of local, regional, and international visual artists’ work, education programs, and lectures, panel discussions, and performances. Southern Exposure is dedicated to giving artists—whether they are exhibiting, curating, teaching, or learning—an opportunity to realize ideas for projects that may not otherwise find support. Mission Statement (updated in 1995) Southern Exposure’s mission is to present diverse, risk-taking, innovative contemporary art and related programs. Through exhibitions, panels, lectures, performances and educational programs, Southern Exposure bridges communities and acts as a resource center for artists and the public. Southern Exposure provides opportunities for a wide range of artists to exhibit work in a supportive and open situation.
Website Link to Mission Statement: 
http://soex.org/mission.html
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Background Located in San Francisco’s Mission District, Southern Exposure is a 32 year old, non-profit, artist-run organization dedicated to presenting diverse, innovative, contemporary art, arts education, and related programs and events in an accessible environment. Southern Exposure reaches out to diverse audiences and serves as a forum and resource center to provide extraordinary support to the Bay Area’s arts and educational communities. Activities range from exhibitions of local, regional, and international visual artists’ work, education programs, and lectures, panel discussions, and performances. Southern Exposure is dedicated to giving artists—whether they are exhibiting, curating, teaching, or learning—an opportunity to realize ideas for projects that may not otherwise find support. Gallery Exhibition Program: Exhibitions Program: Featuring solo, group, and thematic exhibitions in three distinct gallery spaces and off-site, Southern Exposure offers emerging artists exhibition opportunities, exposure to new audiences, and the opportunity to work in formats and contexts that extend and challenge their artistic development. Known for their consistent high quality, exhibitions at Southern Exposure are pivotal in many emerging artists’ careers. Selected from an open submissions process through our Curatorial Committee or our fee-free juried show, Southern Exposure is committed to presenting artwork for its merit and its ability to question and challenge cultural assumptions regardless of its commercial viability. Artists in Education Program (AIE): Southern Exposure’s nationally recognized Artists in Education (AIE) program brings together diverse youth, artists, schools and organizations in a dynamic series of innovative programs. AIE offers youth opportunities to learn critical, artistic, vocational, and cultural experiences beyond the traditional school environment. It also offers professional teaching opportunities for local emerging artists to become arts educators, extending their practice into the community. Sparking a dialogue on contemporary artistic practice and sociopolitical issues, AIE demonstrates the role of artists in society and reflects the conceptual thinking from our exhibition programs to provide new means of expression for youth. With the decrease of art taught in the public schools and the lack of positive, creative outlets for youth, AIE fills a crucial need in the community. Events: Lectures, performances, artists’ talks, screenings, educational programs, panels and symposia create a forum on contemporary aesthetic, sociopolitical and cultural issues. Through their inter-disciplinary nature, Southern Exposure’s events bring topical issues to a broader audience.
Website Link to Organization's History / Organization Overview: 
http://soex.org/mission.html
2c. Exhibition / Programming / Publishing History.: 
Gallery Exhibition Program: Exhibitions Program: Featuring solo, group, and thematic exhibitions in three distinct gallery spaces and off-site, Southern Exposure offers emerging artists exhibition opportunities, exposure to new audiences, and the opportunity to work in formats and contexts that extend and challenge their artistic development. Known for their consistent high quality, exhibitions at Southern Exposure are pivotal in many emerging artists’ careers. Selected from an open submissions process through our Curatorial Committee or our fee-free juried show, Southern Exposure is committed to presenting artwork for its merit and its ability to question and challenge cultural assumptions regardless of its commercial viability. Artists in Education Program (AIE): Southern Exposure’s nationally recognized Artists in Education (AIE) program brings together diverse youth, artists, schools and organizations in a dynamic series of innovative programs. AIE offers youth opportunities to learn critical, artistic, vocational, and cultural experiences beyond the traditional school environment. It also offers professional teaching opportunities for local emerging artists to become arts educators, extending their practice into the community. Sparking a dialogue on contemporary artistic practice and sociopolitical issues, AIE demonstrates the role of artists in society and reflects the conceptual thinking from our exhibition programs to provide new means of expression for youth. With the decrease of art taught in the public schools and the lack of positive, creative outlets for youth, AIE fills a crucial need in the community. Events: Lectures, performances, artists’ talks, screenings, educational programs, panels and symposia create a forum on contemporary aesthetic, sociopolitical and cultural issues. Through their inter-disciplinary nature, Southern Exposure’s events bring topical issues to a broader audience.
Website Link to Exhibition / Programming / Publishing History: 
http://soex.org/exhibitions.html and http://soex.org/educa.html
Part 3.
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
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.: 
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?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
survey_field_130: 
technical support, fiscal need, and drain on existing staff time
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?: 
Other Concerns - Please describe below.
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:: 
Unknown
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?: 
No
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
At the request of a scholar, curator or researcher, a monitored reference of the archive could be scheduled.
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: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Slides
Photographs
Videotapes
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: 
Brochures
Broadsides / Small Press
Programs of Events
Other:: 
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
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: 
21 - 30
14b. Estimated Number of Archive Drawers: 
21 - 30
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: 
----
or: 
I don’t know
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:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
General Staff
Interns
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?: 
None or Limited
Part 20.
20a. What are the goals for the historical materials for the next year?: 
1.
20b. What are the biggest challenges to reaching these short-term goals?: 
1.
20c. What goals are in place for the historical materials for the next three to five years?: 
1.
20d. What are the biggest challenges to reaching these long term goals?: 
1.
20e. Are there any additional goals for the organizations historic materials?: 
1.
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?: 
Yes
25b. Who?: 
Franklin Furnace, only.
Finish
Is this survey complete and all appropriate questions answered?: 
Yes