AS-AP

Survey: Standby Program

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1983
1b. Primary activity[ies] of the organization.: 
Media Arts Service Org which has published a Journal
1c. Organization's annual budget.: 
$100,001 - $250,000
1b. Primary activity[ies] of the organization.: 
Other
Part 2.
2a. Mission Statement: 
Standby is dedicated to fostering the creation and preservation of media art work by democratizing access to media technology, providing technical information and consultation, and creating resources which advance the development of the field as a whole.
Website Link to Mission Statement: 
http://www.standby.org/about.html
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Since 1983 The Standby Program has been providing artists and cultural organizations access to broadcast quality media post-production services at greatly reduced rates. Standby had no precedent when it began operations. It has since developed into a model program for making technically advanced media tools accessible to the arts community. Rick Feist, a staff editor at Matrix Video in 1983, proposed the idea of the Standby Program to the company’s owners, who agreed to offer the service on a trial basis. During the first year a part-time administrator volunteered to process applications, schedule edits, file grant applications, etc. By 1984, Standby had secured a place for itself at Matrix and began to seek contributed income to cover the costs of administering the program. By 1985 the demand for Standby editing was so great that the program had to expand its administrative operations. A small initial grant from the New York State Council on the Arts allowed Standby to hire a part-time operations manager. To meet the demand for editing time, Standby had to triple its editing staff. New editors were trained and an increasingly larger amount of projects were taken on every year. In addition to the grants from the New York State Council on The Arts and the National Endowment for the Arts which have constituted our main source of support for operation since 1986, Standby has been funded by the John T. and Catherine D. MacArthur Foundation; the Andy Warhol Foundation; Art Matters; Con Edison and New York City’s Department of Cultural Affairs. In 1989, Standby had to relocate due to the closing of Matrix Video. An administrative office was established at 536 Broadway, in a space that was shared with Electronic Arts Intermix, a non-profit media art center dedicated primarily to distribution of video art. To safeguard the program against dependency on any one studio and against the ups and downs of private enterprises, Standby now works out of several different facilities. In 1989-90, due to its growth, the Standby Program became incorporated and obtained its own 501 (c) 3, non-profit status. In 1990-91 Standby undertook the publication of FELIX, Journal of Media Arts and Communications. FELIX aims at promoting the discourse on media arts and encouraging dialogue among video-makers. Now in 2006, Standby is continually adding to its services so that we can continue to meet the technical needs of the arts and cultural community. As part of our new services, we now offer video and audiotape preservation and restoration services, specializing in open reel and 3/4” formats. Our offices are currently located at 135 W. 26th St., 12th Floor in Chelsea. Standby is the only program of its kind in NYC.
Website Link to Exhibition / Programming / Publishing History: 
http://www.standby.org/felix.html
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
marshall reese risarano@rcn.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
kathy high kittyhigh@earthlink.net
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
bill seery bill@mercermedia.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
maria venuto maria@standby.org
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.
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?: 
Yes
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: 
The New York State Media Alliance
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.: 
Any art historian, researcher, student who was working on a history project would be welcome.
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
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Videotapes
Other Artwork. Please describe below.
Other:: 
Publication mechanicals
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Other:: 
Other Printed Publications
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
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: 
31 - 40
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: 
41 - 50
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?: 
No
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
General Staff
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?: 
Cull & Refine Archive - determine what is historically valuable
20b. What are the biggest challenges to reaching these short-term goals?: 
Staff time
20c. What goals are in place for the historical materials for the next three to five years?: 
reduce and organize
20d. What are the biggest challenges to reaching these long term goals?: 
staff time
20e. Are there any additional goals for the organizations historic materials?: 
convert some paper data to electronic form
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$7,001 - $10,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$7,001 - $10,000
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?: 
Yes
25b. Who?: 
Our organization, the Standby Program specializes in the archiving and preservation of magnetic media - in particular video and audio tape.
Finish
survey_field_150: 
The Standby Program, Inc.
Who executed this survey.: 
Maria Venuto, Executive Director
Is this survey complete and all appropriate questions answered?: 
Yes