AS-AP

Survey: Apple

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1969
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: 
"I began the space in 1969 in order to provide an independent and experimental alternative for the presentation of my own work and the work of other artists,,,a place where artists could discuss, present and experience "difficult works -- pieces which often could not be done in commercial galeries. I am concerned with the element of "risk", of stepping out on thin ice.....so that the guiding philosophy of what has been presented her (at Apple) has been that the artist’s attempt at experimentation, investigation, and communication be extended as far as possible... This is more important than the "success" or "failure" of any individual work...The process predominates, thus the aartist’s intent becomes the determining factor. Every act that has taken place in this space, from the moment the artist enters, has been considered an integral part of his/her art activity. in the space there is no separation art and non-art activities. The installation or preparation of a performance event, or process-situation is considered valid as an art situation/activity/event in art context. In the past four years the emphasis at Apple has been placed on Art & Discourse, a forum for work evolving from dialog...collaborative situations - an interaction between artists, art situations and participants, between artists and non-artists... It was part of my studio in the beginning. Thirty artists have participated in this space....they help maintain it...assume some responsibility. It must be restored to its original condition after each event. There has been no outside institutional funding. The financial viability of the work is never the issue... a few friends occasionally make personal contributions -- it always operates on that edge. I would like to expand the concept of Group Activities: an open-ended situation of interaction between an unknown number of people. The idea is to continue a necessary alternative within the art context: an open evolving situation concerned with the exchange of ideas, concepts, experiences, attitudes, perceptions, verbal and non-verbal communication. A meeting place." Billy Apple 1973
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
One of the first of the raw artist spaces created by an artist for artists, with no commercial intent or context. Started in October 1969 by artist Billy Apple in a section of his 23rd Street loft. Ended in May 1973. Presented experimental, process/time-based, and conceptual works by predominently emerging artists. Most pieces were presented over one or two weekends. Some lasted for several weeks, time-based events as long as a month. Each artist was responsible for the space in his/her time slot-- preparing the space, installing the work, and restoring the space for the next artist. Plus writing their own one page announcements. The structure was very collaborative. Although Billy Apple had final say about who participated anad what was presented. Hours were flexible. There was no outside funding, no administrative staff. No phone, no equipment. Just the raw space consisting of a large room with white walls, gray painted wood flood, two posts in the middle, and windows at the far end opening onto a roof. Occasionally Apple did pieces in his adjoiing studio space simultaneous with events in the Apple space. Schedules were never more than a couple of months in advance and subject to change. Events were going on every week from the end of Spetember to the end of May. The space was closed in the summer as was true of most NYC art galleries. Many of the artists came out of Rutgers U. grad school.
2c. Exhibition / Programming / Publishing History.: 
For a full listing of events with dates see the catalog for the exhibition Alternatives in Retrospect: An Historical Overview 1969-75, Curated and edited by Jacki Apple for The New Museum, NYC. 1981 1969-70: 24 pieces by Billy Apple, John Czerkowicz, Jerry Vis, Howard Temple, Nick Bentley, Brenda Miller, Carmen Sanchez, Larry Miller, Geoff Hendricks, Les Mills, 1970-71: 10 pieces by Billy Apple, Howard Temple, Jerry Vis, Bob Watts, Bici Forbes, Davi Det Hompson 1971-72: 27 pieces by Preston McClanahan, Christopher Mc Neur, Billy Apple, Artweisers, Geoff Hendricks, Mac Adams, Davi Det Hompson, Jacki Apple, Pamela Kraft, David Troy, Taka Iimura 1972-73: 11 pieces by Jerry Vis, Ed Hee, John Czerkowicz, Christopher Mc Neur, David Troy, Davi Det Hompson, Billy Apple, Nick Bentley, Jane Greer, Jacki Apple, David Burrows/Elton Anglada
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Billy Apple
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jacki Apple jaworks@sprintmail.com
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
1973
Part 5.
5a. Type of organization at its founding.: 
Collective / Unincorporated Association
5b. Type of organization currently, or at the termination of activities.: 
Collective / Unincorporated Association
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.
survey_field_130: 
Most material is property of Billy Apple who lives in New Zealand. Don’t know answers.
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
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Other Concerns - Please describe below.
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?: 
Any material still in existence would be in the possession of Billy Apple in Auckland New Zealand. Or perhaps some photos or announcements in the files of individual artists. I have several documentary video tapes I made in 1981 in conjunction with the Alternatives in Retrospect exhibition at the New Museum. These are 3/4" tapes in need of digital transfer and restoration before the edit points decay into snow.
Part 9.
9. Does the organization maintain archives for any other organization.: 
Yes
survey_field_49: 
I have a lot of material from an artists non-profit I started in Los Angeles in the 1980s called The Cactus Foundation.
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
I am happy to donate any material I have an archive that is accessible to scholars, researchers, etc.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Slides
Photographs
Videotapes
Other Artwork. Please describe below.
Other:: 
Texts documentation from conceptual works. Maybe some artifacts/materials from pieces. ?
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Other Printed Publications - Please describe below.
Other:: 
6 pages in the Alternatives in Retrospect exhibition catalog. New Musem NYC 1981
11e. Other: 
Architectural Drawings / Floor Plan
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1960-1969
1970-1979
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 don’t know
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Not Applicable
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.)?: 
We do not have any electronic files
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
No one -- don’t know
Part 17.
17. How are new materials processed?: 
We are not currently processing new material
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?: 
I don’t have the materials so I don’t know.
20b. What are the biggest challenges to reaching these short-term goals?: 
1.
20c. What goals are in place for the historical materials for the next three to five years?: 
All artworks I personally did at Apple and accompanying doculmentation, plus video documents, will be archived with my personal artworks and files to be donated to the Fales Library NYU.
20d. What are the biggest challenges to reaching these long term goals?: 
Time and resources.
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.: 
Unknown
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
Unknown
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?: 
Marvin Taylor, Fales Library, NYU
Part 26.
26. Additional information, comments, observations, and questions.: 
It is great you are doing this. So much is lost so easily, or left to the chance of memory. It was one reason I curated the Alternatives in Retrospect exhibition in 1981 before the material was lost, forgotten, the people disappeared or deceased. History is ephemeral! Happy to be of any help that I can.
Finish
survey_field_150: 
Jacki Apple
Who executed this survey.: 
Jacki Apple
Is this survey complete and all appropriate questions answered?: 
Yes