AS-AP

Survey: Vox Populi

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1988
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Artist Group / Collective
Part 2.
2a. Mission Statement: 
Vox Populi is a nonprofit artist collective that supports the work of emerging artists with monthly exhibitions, gallery talks, performances and lectures. Vox plays a unique role in the cultural life of Philadelphia by bringing our audience cutting-edge contemporary art and a diverse range of programming, while at the same time providing a supportive environment in which artists can experiment, take risks and gain valuable experience in launching their professional careers.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Vox Populi was founded in 1988 by a group of recent graduates from Philadelphia’s major art colleges. The goals were to show emerging artists’ work, experiment with new forms and ideas, and build a fellowship among artists by working toward a common purpose. Since its founding, Vox Populi has transformed from a loose connection of artists into a stable alternative gallery and has become one of Philadelphia’s most respected venues to see experimental, contemporary art. In 1997, after functioning exclusively on a volunteer basis, Vox Populi employed a part-time Executive Director and applied for non-profit status. In 1998, Vox formed its Board of Directors and relocated from its first home to a renovated space in Old City. In the spring of 2001, Vox took occupancy of its current home in the Gilbert building located at 1315 Cherry Street and with its new neighbors such as the Fabric Workshop and Museum, the Asian Arts Initiative, and the Pennsylvania Academy of Fine Art, created a unique art destination in the heart of Center City. Over the past 18 years, Vox has expanded its programming from member exhibitions to showing the work of national and international artists, hosting exhibitions organized by guest curators, dedicating a space in the gallery to new media and collaborating with a host of outside organizations to promote experimental art and related programming. Member Programming: Members have one solo show during each exhibition year and also participate in group shows, traveling exhibitions and art fairs. For the emerging artist, this is important early exposure. Vox encourages risk taking and experimentation, focused artmaking and the development of essential skills such as articulating the meaning of the work and professionalism during these solo shows, which are often the first time the artist is able to show an entire body of work. In addition, members are able to curate shows, organize educational programs and suggest related programming. The cooperative structure of Vox provides a critical platform for learning essential career skills and gaining arts management and gallery experience, thus providing in-depth arts education to young artists. For nearly 20 years, Vox has served as a platform for the exchange of ideas and acts as a community-building tool and has allowed for shared access to an established audience and a network of resources. Outside Programming Vox Populi is dedicated to bringing in non-member artists, alternative, peer organizations, institutions and emerging curators for collaboration in order to augment our member programming and widen the scope of art being shown in Philadelphia. Guest artist exhibitions help further solidify Philadelphia as a vibrant, creative artistic center. Artists and audiences from the city gain exposure to a wider range of contemporary art while fostering valuable connections and networks among individuals and organizations. Vox’s outside programming is comprised of the following initiatives: • The Video Lounge was established in 2004 in response to a noted lack of venues in the Philadelphia area that show new, experimental media and the recognition of the increasing importance of technology and innovation on art making. • The 4th Room is dedicated exhibition space for visiting artists from around the country and the world. • One month during each exhibition year, Vox’s Guest Curated Exhibition brings in an emerging curator looking for opportunities to hone skills and develop a practice. • Juried and Group Shows are a regular part of our programming. 2005’s Voxennial, juried by Virgil Marti, artists and Elyse Gonzales, Assistant Curator at the Institute of Contemporary Art, was an open call to artists and brought a survey of contemporary art by emerging local and national artists to Vox’s Philadelphia audience. Our second emerging artist group show, Voxumenta, is on display this month and was curated by Emily Hage, Andrew W. Mellon Fellow, Modern and Contemporary Art, at the Philadelphia Museum of Art and Pepon Osorio, Philadelphia-based artist whose exhibitions include the Whitney Biennial, the ICA, and the Smithsonian American Art Museum Education and Outreach Vox also augments its exhibition programming with gallery talks, lectures, and studio visits. In conjunction with our monthly exhibitions, Vox Populi holds gallery talks which are free and open to the public, and are designed to give our audience an opportunity to learn about art and the creative process directly from the artists. In an effort to diversity our outreach and provide quality services to member artists and others in the Philadelphia area, Vox just finished it’s second Real Life Lecture and Workshop series that provided essential and practical information for artists. Topics included: how to purchase a home, get health insurance, save money for retirement, protect artwork with copyright, build a website and plan career strategies. Philadelphia is home to many area colleges and universities and Vox Populi’s Executive Director often lectures to those studying art on the gallery and students are able to directly see the advantages of artists working collectively toward their mutual interests and goals. In addition, these schools use Vox as a resource and regularly visit the monthly exhibitions to engage in dialogue about contemporary art and related issues. Our intern program allows individuals to work side by side with the gallery director for approximately 4 months to gain experience in non-profit gallery management. Our two interns in the last six months gained know-how in such areas as grant writing, event planning, marketing and publications and gallery installation.
Website Link to Exhibition / Programming / Publishing History: 
http://www.voxpopuligallery.org/archive/archive2006.htm
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Ellen Napier ebnapier@yahoo.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Amy Adams director@voxpopuligallery.org
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Sarah McEneaney sarahmce@neatreach.net
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Susan Packer spackerwbc@yahoo.com
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?: 
Fiscal endangerment of organization
End of lease for your space resulting in a move to a smaller location
End of lease for your space resulting in termination of activities or changing of priorities
Changes in your physical space that will result in endangerment to your archival materials
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.: 
2.
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?: 
Lack of Staff
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:: 
Yes
Where are these locations?: 
In personal possession of former members
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 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
By-laws / Incorporation Documents
11b. Artwork and Documentation: 
Slides
Photographs
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
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?: 
Not Applicable
13b. Are some or all of these storage units “archival”?: 
I don’t know
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
14b. Estimated Number of Archive Drawers: 
----
14c. Estimated Number of Archive Notebooks: 
----
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 can’t access the material to determine this
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
No
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
No
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
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.)?: 
No
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
We currently do not have staff capacity to gather and organize any material
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Not Applicable
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Generate thorough list of alumni
20b. What are the biggest challenges to reaching these short-term goals?: 
staffing
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.: 
$2,001 - $3,000
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?: 
No
Finish
survey_field_150: 
Vox Populi
Who executed this survey.: 
Amy Adams
Is this survey complete and all appropriate questions answered?: 
Yes