Survey: Art Across the Park

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Public Art Organization
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
Art Across the Park was created in 1979 to present new/ commissioned site-specific art works by young and emerging artists in the public parks of New York City. The mission was to bring art into sites used by the public on a regular basis. Our chief focus were those locations in which contemporary art was rarely presented. Artists were selected who represented a diverse range of artistic approoaches and ethnic backgrounds.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
AATP was conceived by David Hammons. Curators Horace Brockington and Gylbert Coker organized the project as a non-profit institution uner the umbrella in l979-80 under El Museo del Barrio. For the l981-82 season, AATP umbrella under the Lower Manhattan Cultural Council. AATP ended its programming in l984. AATP operated under an advsiory board which included; Bevery Ryder: VP Citibank Marcos Delgado: VP Chase Manhattan Bank Lisa Frigand: Con Edison Eugene Santamasso: Columbia University Henry Geldzahler:Metropolitan Museum/ NY Commissioner Department of Cutural Affairs Jenny Dixon: Public Art Fund Staff: Gylbert Coker Co-Curator/ Co-Director Horace Brockington:Co-Curator/Co-Director Technical Staff/Artists Assitants: Department of Cultural Affairs Columbia University Summer Interns Program New York City Department of Parks Advisors; Central Park : Betsey Barlow Prospect Park: Tupper Thomas Van Cortlandt parl: Various Various private and public advsiory assisted artists in realing, constructing and transporting artworks to sites and building works on sites The organization operated out of space donated by co-director : Horace Brockington 1979-1984
2c. Exhibition / Programming / Publishing History.: 
Art Across the Park presented two years of site specific works, and planned for a third year before ending operation. Artists were in the first year ( 1980) selected by co-curators , Horace Brockington and Gylbert Coker For the second year (1982) , artists were selected by a committee of curators from various museums and non-profit organization in the U.S. For the third proposed year ( 1984) , artists were selected by Horace Brockington 1980: Central Park 1982: Central Park, Van Cortlandt Park, Bronx New York, and Prospect Park, Brooklyn New York 1984: Orchard Beach ( under the auspices of the NYC Parks Department) In addtition to site works, AATP presented through invitation others groups to collaborate within the Parks sites , extending the programming beyond merely sited works: Organizations which AATP acting as presenting organization also hosted included: Jazz Mobile Bill T. Jones and Arnie Zane Celebrate Brooklyn Brad Brewer Puppets Film in Parks Children Arts Carnival Indiviudal performance artists / poets presented works in conjunction with the Exhibitions; FILM DOCUMENTARY: In collaboration with Channel L Working Group AATP created a doucmentary with live interviews by artists Tom Butter and Ana Mendieta, narrated by Gylbert Coker, scripted by Horace Brockington. This documentary was presented on Public Television in l982.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Horace Brockington
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
David Hammons via Van Doren Gallery,NYC
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Gylbert Coker via Florida A&M University
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.: 
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?: 
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.
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?: 
Space Concerns
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?: 
Archives are with artists Former Co-Director
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
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?: 
By appointment, becuase they are stored ina warehouse and with various former boad members.
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
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials - Please describe below.
Other Press or Promotional Materials:
11d. Printed Publications: 
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Mock-Ups / Models / Prototypes
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
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: 
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:: 
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.)?: 
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
Artists/ former co-Directors
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?: 
Fireproof Building / Fireproof Room
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
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?: 
to evaluate the material
20b. What are the biggest challenges to reaching these short-term goals?: 
accessing and bringing the materials into one sites for archiving
20c. What goals are in place for the historical materials for the next three to five years?: 
20d. What are the biggest challenges to reaching these long term goals?: 
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.: 
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$1,001 - $2,000
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?: 
25b. Who?: 
As a former NYSCA visual art panel I am aware of the archivalproject, but i am not a member of any specific group
Part 26.
26. Additional information, comments, observations, and questions.: 
Iam interested in locating researchers, and graduate students interested in compiling the archives, and workign with artists to pull all the material in database format.
Who executed this survey.: 
Horace Brockintgon
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?: