AS-AP

Triple Candie

Posted January 08, 2012 by Triple Candie
Organization: 
Part 1.
Year Founded: 
2001
1b. Primary activity[ies] of the organization.: 
Exhibition-making
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Part 2.
2a. Mission Statement: 
Triple Candie is a research-oriented gallery that produces exhibitions about art but largely devoid of it. A typical exhibition consists of reproductions, surrogates, models, stage-sets, or common objects, displayed using a combination of rhetorical devices borrowed from history and anthropology museums (e.g. extensive wall-labels, photo-documentation, glasstop cases, ephemera) and community art galleries (free-standing wall-panels, amateurish sculpture pedestals). When a show is de-installed, the materials -- both the objects and the display paraphenalia -- are generally recycled for future use or discarded. Triple Candie's primary purpose since 2005 has been to explore the possibilities of exhibition-making as a distinct and truly alternative practice.
Website Link to Mission Statement: 
http://www.triplecandie.org/About%20Purposes.html
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Triple Candie received its not-for-profit business license from New York State on September 12, 2001 -- the day after the attacks on the World Trade Center -- and its tax-exempt status from the IRS shortly thereafter. It opened its doors to the public on December 15, 2001, joining Christian Hayes' The Project as one of the few art spaces in Harlem and becoming the first new, large-scale space in the neighborhood since the Studio Museum in Harlem was founded in 1969. From 2001 to 2008, Triple Candie operated in a 6,000 square foot renovated warehouse on West 126th Street. In 2008, the gallery relocated to 500 W148th Street. That location was closed in December 2010, when the co-founders, Shelly Bancroft and Peter Nesbett, relocated to Philadelphia. In 2011 Triple Candie began organizing exhibitions in other people's spaces in the U.S. and Europe.
Website Link to Organization's History / Organization Overview: 
http://www.triplecandie.org/About%20History.html
2c. Exhibition / Programming / Publishing History.: 
2011: "The Italian Job" -- a lecture/reading at California College of Arts about the cancellation of Triple Candie's arte povera exhibition in Turin, Italy 2009-10: "Maurizio Cattelan is Dead: Life & Work, 1960-2009" -- presented at Triple Candie in Harlem and then reinstalled at the Deste Foundation in Athens 2007: "Undoing the Ongoing Migration of the Negro by Jacob Lawrence" -- a critique of an exhibition at the Whitney Museum of American Art that mis-represented an important work by American artist Jacob Lawrence (1917-2000) 2006: "David Hammons: The Unauthorized Retrospective" and "Cady Noland Approximately: Editions and Sculpture, 1984-1999" 2005: "Mark Lewis: Three Silent Film Projections:
Website Link to Exhibition / Programming / Publishing History: 
http://www.triplecandie.org/Archive%20List%20Since%202009.html
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Shelly Bancroft, founder and co-director, triplecandie@aol.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Peter Nesbett, co-director, triplecandie@aol.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
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?: 
Yes
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
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?: 
No
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?: 
Drain on Existing Staff Time
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Correspondence
Exhibition or Production Files
Financial Records
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Other Digital Materials
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Other Press or Promotional Materials - Please describe below.
11d. Printed Publications: 
Checklists / Performance Programs / Price Lists
11e. Other: 
Layouts / Sketches / Instructions for Installations
Part 12.
12. What years does the materials cover?: 
2000-2005
2006-2011
Part 13.
13a. How is the material stored?: 
Banker Boxes
File Cabinets
Other - Please describe below.
Please describe: 
Hard drives
13b. Are some or all of these storage units “archival”?: 
None
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
11 - 20
or: 
I don’t know
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:: 
Other
Other: 
JPG and TIFF images
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?: 
General Staff
Part 16 / Database
Other: 
none at the moment; used to use FilemakerPro
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 20.
20a. What are the goals for the historical materials for the next year?: 
none currently, need to develop a plan
20b. What are the biggest challenges to reaching these short-term goals?: 
staffing/time
20c. What goals are in place for the historical materials for the next three to five years?: 
none
20d. What are the biggest challenges to reaching these long term goals?: 
n/a
20e. Are there any additional goals for the organizations historic materials?: 
yes, we hope to publish some of it
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
Unknown
Part 23.
23c. Information on digitizing materials : 
1: this is high priority for us as we are worried about the preservation of our digital files
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: 
Protocols for the archiving of digital materials
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
No
Finish
Who executed this survey.: 
Shelly Bancroft
Is this survey complete and all appropriate questions answered?: 
No