Survey: The Studio: An Alternative Space for Contemporary Art

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
1998 founded as Commercial Gallery became not-for-profit arts organization in 2002
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Performance Space
Part 2.
2a. Mission Statement: 
The Studio: An Alternative Space for Contemporary Art was founded in 1998 (as a commercial gallery) by artist, Tedd Stratis, in order to cultivate an appreciation for contemporary art among the diverse populations of Westchester County and the greater New York metropolitan area. To accomplish this goal, The Studio provides emerging, mid-career and underrecognized established artists multiple venues for the exhibition of art, bringing their work to the attention of the public in various situations. Year-round exhibitions are programmed for the gallery in Armonk, an architecturally designed 450 square-foot space, which is surrounded by a 2/3 acre outdoor sculpture garden. Additionally, The Studio curates and administers large-scale public installations of outdoor sculpture for the North Castle Town Hall in Armonk. The Studio’s website, slide files, and flat files are also a means by which the public can gain access to the world of contemporary visual art. The Studio’s agenda includes an educational component. Gallery talks by artists and curators, lectures by art historians, collaborative projects with local schools and with other arts institutions are some of the ways in which the organization has been able to foster an undertanding of contemporary art.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Seven feature-length articles about The Studio that have appeared in The Times since 2002. There is no other record of our organizational history except the data that has been saved in our archival files. I have given you a link that is to the published articles in The New York Times.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
Among the impressive speakers who have spoken at The Studio is Irving Sandler. This renowned art historian, author of several important books on modern art, presented a public talk at the gallery in Armonk in the spring of 2005. In the winter of that year, The Studio collaborated with the Westchester Arts Council to present an exhibition entitled "Standards and Shifts in Contemporary Art." The show, which featured the work of moren than 50 artists, was favorably reviewed in The New York Times. (This review is one of seven feature-length articles about The Studio that have appeared in The Times since 2002.) In conjunction with this exhibition, two public lectures were presented. In the fall of 2006, The Studio will strengthen its ties to the educational community by presenting "Artist as Teacher." This show will highlight the work of twelve individuals who are both accomplished artists and enthusiastic teachers. A small catalogue will accompany the exhibition. Our first Tri-State Juried Show was held in the spring of 2006. Simone Subal, independent curator and writer as well as the new director of the Peter Blum Gallery in NYC was the juror.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Theodore Stratis
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Marcy Freedman
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Michael Schwartz
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Katie Stratis
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.: 
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.: 
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?: 
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.: 
I am a volunteer for the Katonah Museum of Art and I am responsible for maintaining their archives in a storage facility at the Museum. They are a non-collecting Museum.
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
They must call The Studio and make an appointment to use the archives at the facility. The archives are located in a residential office at The Studio.
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: 
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
Other Press or Promotional Materials - Please describe below.
Press Packets that include hard copies of press releases for shows and pictures. Exhibition Binders that include information, slides and documentation on the contents of the exhibition.
11d. Printed Publications: 
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Other Printed Publications - Please describe below.
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Other - Please describe below.
The room is also an overflow of Art books and other materials that are art related.
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Three-Ring Binders
Other - Please describe below.
Please describe: 
Store materials in attic that are overflow artist catalogs and materials
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
1 - 10
14b. Estimated Number of Archive Drawers: 
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: 
I don’t know
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
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
I also have press and exhibition binders that have the history of exhibitions in them
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: 
I work part-time for The Studio and I am the only one working on the archives at this time.
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
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Some heating / air conditioning / humidity controls on demand or sporadically
Limited climate-controls
Other - Please describe below.
Artist submissions that were sent without SASE stamps are in attic
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Retention Policy
20b. What are the biggest challenges to reaching these short-term goals?: 
Fiscal budget
20c. What goals are in place for the historical materials for the next three to five years?: 
Database and Database backup
20d. What are the biggest challenges to reaching these long term goals?: 
Fiscal budget
20e. Are there any additional goals for the organizations historic materials?: 
User friendly by arts professionals
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 23.
23d. Other - Please describe below.: 
Health and Safety Issues for the Archivist
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
24d. Other - Please describe below.: 
create a consultant link for archivists to ask questions to you.
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
The Katonah Museum of Art. I volunteer and organize the archives for this Museum. I’m currently working on an inventory spreadsheet for their Museum.
Part 26.
26. Additional information, comments, observations, and questions.: 
It would be helpful to know what you think the criteria for archives should be and the retention policy that you feel is neccessary for non-collecting entities.
Who executed this survey.: 
Katie Stratis, Executive Director
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: