Survey: SPACES Gallery

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Part 2.
2a. Mission Statement: 
SPACES advances the artist’’s vision. By providing freedom, resources and an audience, SPACES enables artists to engage the public in a vital dialogue about contemporary art. SPACES interacts directly with artists, promoting excellence and experimentation to produce challenging gallery exhibitions, public programs, residencies and publications.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
SPACES is an alternative, contemporary art space located in our own historic four-story brick building on the western edge of downtown Cleveland. It is our mission to advance the artist’s vision by providing freedom, resources and an audience so artists can engage the public in a vital dialogue about contemporary art. Founded in 1978, SPACES supports the creation and exhibition of work by developing and experimenting artists. SPACES has grown to become a fixture in the region’s contemporary art scene. Five of the six staff members are artists, and the board of directors includes working artists in order to ensure that SPACES remains true to its mission. SPACES interacts directly with artists, promoting excellence and experimentation. From this collaboration, we produce • Gallery exhibitions: SPACES annually presents four major exhibitions of challenging new work by artists in all media, including Web-based, video, and installation. In addition, we present eight SPACELab installations a year to provide a forum for truly emerging artists. SPACELab allows younger artists (including students) who may not yet have a body of work to create a first-time project or experiment with new ideas in a professional setting. • Residencies: The SPACES World Artists Program (SWAP) gives visiting artists from around the world an opportunity to create new work and interact with Northeast Ohioans. Each year, SWAP consists of four, eight-week residencies by national and international artists who create a new body of work that is exhibited at the conclusion of the residency. SWAP artists interact with the community in a variety of ways: they meet with students and Cleveland-area ethnic associations, present talks about their work and the artistic and political climate in their country, and they open the studio to share their work-in-progress to the public. • Public programs: We present 25–35 free events each year, including exhibition openings, artist and curator lectures, gallery talks, symposia, and hands-on workshops with underserved youth. We provide guided tours upon request. • Publications: Each curated exhibition is documented through a detailed color catalogue including images and essays. In addition, a full-color brochure featuring an essay by a nationally known art critic or writer serves as official documentation of each of the four annual SWAP residencies. Our 30-year history marks SPACES as one of the most long-lived artist-run alternative spaces in the United States. The only organization of its kind in Northeast Ohio, SPACES focuses on developing and experimenting visual artists. While all major exhibitions feature innovative new work, two, and sometimes three, are curated and include public programs and a catalogue or comprehensive brochure. Our board of directors’ Programming Committee selects work for the remaining exhibition(s) from our annual open call to artists. This democratic process eliminates barriers to participation for emerging and experimenting artists from all walks of life. As a result, we create access to challenging media for a wide array of audiences. Each exhibition and its related events act as a catalyst for the community to explore contemporary art and social issues ranging from sustainability of the environment to race relations to the nature of democracy. Our dedication to area, national, and international artists and engagement with diverse communities—from upscale urban dwellers to underserved neighborhood youth to Cleveland’s many ethnic groups— has earned SPACES a widespread reputation as a leading exhibition space. All SPACES exhibitions, lectures, and other public programs are entirely free to the public, and our gallery is open six days a week. As a result, we draw audiences from a broad geographic and demographic spectrum.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Jeffry Chiplis
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Marilyn Ladd Simmons
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Christopher Lynn
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Sarah Hoyt
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.: 
Non-Profit [IRS certified]
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?: 
Fiscal endangerment of organization
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.: 
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?: 
Drain on Existing Staff Time
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 a scholar with a specific project relevant to SPACES’’ mission and/or role in the community were to request access, we would probably grant him/her archives if that individual was willing to work within our hours of operation and we had the space available in which they could review things. It might also depend on whether there was a SPACES staff person available to serve as contact person with the researcher -- the staff is frequently stretched too thin.
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]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
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: 
Programs of Events
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
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”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
71 - 80
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
11 - 20
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: 
91 - 100
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]
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?: 
Other - Please describe below.
Please describe: 
We had a part-time contract archivist who worked for several months to catalogue a lot of the materials. Funding for her position has run out.
Part 17.
17. How are new materials processed?: 
No System
We are not currently processing new material
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
None or Limited
Other - Please describe below.
Most of the publications and many of the administrative files and records are in archival quality boxes
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Create shelving in the designated storage room for the catalogued materials
20b. What are the biggest challenges to reaching these short-term goals?: 
We are reliant on volunteer labor and calling in favors for the shelving unit construction, so we can’’t control the timeline for the project.
20c. What goals are in place for the historical materials for the next three to five years?: 
Maintain organized state of historical documents
20d. What are the biggest challenges to reaching these long term goals?: 
Staff turn-over means that new employees aren’’t/won’’t be familiar with the goals and accomplisments of the archiving project
20e. Are there any additional goals for the organizations historic materials?: 
Possibly moving them to a safer, off-site location in Cleveland
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$10,001 - $15,000
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?: 
25b. Who?: 
Cleveland State University Library System and Western Reserve Historical Archives
Who executed this survey.: 
Sarah Hoyt
Is this survey complete and all appropriate questions answered?: