Survey: Actual Art Foundation

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Educational- actual art
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Part 2.
2a. Mission Statement: 
Actual Art Foundation represents an extraordinary group of artists who are revolutionizing the way we think about art. Actual Artists do not finish works of art; they only start them. The works leave the artists’ hands and go out into the world to be “finished” by weather, dust, oxidation, temperature, humidity, human and/or animal interaction or simply time, as the inner structure of the materials change or interact with each other. At some point, during that evolution, the materials become a work of art…on their own…without the artist’s intervention. This self-conscious enlistment of nature towards the completion of a work of art has a profoundly strong influence on the nature of art. Actual Art changes and evolves in positive ways never before considered by such a large group of artists. As quoted from the founder of the movement, Tery Fugate-Wilcox, when asked how long his work would last:"It lasts forever, as long as you understand it changes."
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
ACTUAL ART FOUNDATION (a 501c-3 tax exempt organization), was founded in 1983 by VALERIE MONROE SHAKESPEARE and TERY FUGATE-WILCOX. Actual Art has always been the focus of the foundation, whose artists create natural art incorporating the effects of time. That is, they tend to use materials in their natural state, allowing the started works to be influenced, if not actually formed by the effects of the forces of nature on the materials of the art at some time in the future.Actual Actual Art Foundation is also raising funds to sponsor the San Andreas Fault Sculpture Project, a one-acre, 20-foot-thick, solid block of conrete spanning the San Andreas Fault near Palm Springs. As the fault continues to move, it will literally rip the gigantic block in two,creating 2 "golden rectangles" which will continue to move past each other, offering a positive, visual manifestation of the immense power of the Earth’s plate tectonics.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
Art Foundation has sponsored art projects throughout the New York City for many years, including numerous public forums and panel discussions and has mounted major exhibitions of Actual Art in Princeton & Newark, NJ; Hartford & New Fairfield, CT; Regensburg Germany; and the New York City Museum, as well as many gallery exhibitions.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Valerie Monroe Shakespeare, president
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Tery Fugate-Wilcox, secretary
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Talbott Manolis, Treasurer
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?: 
None / Not Applicable
6c. Other threats to the organization:: 
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?: 
Our archive is already in place
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?: 
Technical Support / Expertise
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?: 
In Storage Facility
Part 9.
9. Does the organization maintain archives for any other organization.: 
FVLCRVM Gallery and Jean Freeman Gallery, an artist-created conceptual gallery of conceptual art by conceptual (non-existing) artists, (completed in 1970)
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.: 
When we have a viable venue in which to make the material available.
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]
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork. Please describe below.
all materials required to run a gallery, real & unreal.
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials - Please describe below.
videotapes,limited edition artworks as invitations/awards, etc.
11d. Printed Publications: 
Artists' Publications
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications - Please describe below.
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
Props for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Flat Files
Three-Ring Binders
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: 
91 - 1000
14b. Estimated Number of Archive Drawers: 
41 - 50
14c. Estimated Number of Archive Notebooks: 
91 - 100
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 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?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Written or Typewritten Inventories
Other Paper-Based Cataloguing Records
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?: 
Part 16 / Database
just Word documents & some Excell spreadsheets
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 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
organize archives
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
Same as 20A
20d. What are the biggest challenges to reaching these long term goals?: 
Same as 20B
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$5,001 - $7,500
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$5,001 - $7,500
Part 23.
23d. Other - Please describe below.: 
creating venue for access to archives
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?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
Your interest is appreciated. We believe the history is important.
Actual Art Foundation
Who executed this survey.: 
Valerie Shakespeare, president AAF
Is this survey complete and all appropriate questions answered?: