Survey: 18th Street Arts Center

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$750,001 - $1,000,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Printed Periodical / Publication
Presenting Organization
Part 2.
2a. Mission Statement: 
Founded in Santa Monica in 1988, 18th Street Arts Center is a community which values art making as an essential component of a vibrant, just and healthy society. Our mission is to provoke public dialogue through contemporary art making.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The 18th Street Arts Center came into existence in 1988 as a complex of artist live-work spaces and the headquarters of High Performance magazine. Artist Susanna Bixby Dakin, writer Linda Frye Burnham and artist Steven Durland had been working together for years, documenting the alternative art world through the magazine and Astro Artz publications. In the late ’80s, they decided artists needed more: affordable studio space. Dakin found an acre of land in Santa Monica’s Pico neighborhood, recently zoned specifically for manufacturing and the arts, and asked Burnham to help her develop it as affordable arts studios. The hodge-podge complex of five buildings, they discovered, had once incubated Judy Chicago’s groundbreaking feminist "Dinner Party" installation. Burnham and Dakin conceived of the 18th Street Arts Complex as an intergenerational, intercultural, multidisciplinary beehive, as diverse as possible. Within a year it had become a creative cluster of studios, galleries, offices and public spaces, housing some 30 tenants -- artists ages 20-60 from many different ethnic and national backgrounds, working in the visual, performance and media arts. Some 30 tenants. alone and together, were making and exhibiting paintings and sculpture, operating arts-service organizations, creating film documentaries, presenting performances, publishing magazines and celebrating annually with a neighborhood festival. In residence in those early years were The Empowerment Project, Highways Performance Space (founded by Burnham and artist Tim Miller), Emilie Conrad’s Continuum Movement, Kit Galloway and Sherrie Rabinowitz’s Electronic Café International, Community Arts Resources (CARS), Joan Hotchkis’ Tearsheets Productions, Marcus Kuiland-Nazario, Keith Antar Mason, Dan Kwong, Jill Burnham, Francisco Letelier and Michael Barnard. Soon to join them were Guillermo Gómez-Peña and Coco Fusco, Phranc, Denise Uehara and Side Street Projects. In 1992, the nonprofit Astro Artz was formally reinstated as the 18th Street Arts Complex with High Performance Editor Steven Durland as executive director and Linda Frye Burnham as artistic director. The nonprofit initiated the process of raising the funds to buy the property from Susanna Dakin, who remained on the board of directors. Burnham and Durland departed the Complex for North Carolina in 1993, where they founded another nonprofit organization, Art in the Public Interest. They took with them High Performance magazine, which ceased publication in 1998 and folded into API’s new Community Arts Network on the Internet, supporting artists working with communities. Over the next 15 years, 18th Street formalized its Residency Program. 18th Street also developed an International Artist-in-Residence Exchange Program, a Presenting Program to curate and produce exhibitions, and an Arts Education Program. In 2003, 18th Street changed its name to 18th Street Arts Center, to reflect the ways in which the organization has provided a central focus for arts organizations and artists in West Los Angeles County. Today, 18th Street Arts Center is a respected destination for national and international artists wishing to publish, perform, work and/or exhibit in Los Angeles County. 18th Street’s prominent arts programs have hosted and sponsored over 150 group and solo exhibitions serving 700 artists since 1988. We have featured many of Los Angeles’s most interesting emerging and mid-career artists at crucial points whensuch recognition made a real difference in their careers. The roster is a cross section of the multicultural population of artists in Los Angeles and includes Lita Albuquerque, Alex Donis, Lisa Adams, Robbie Conal, Charles Karubian, Michael Horse, Alex Gray, Francisco Letelier, Judy Baca, Barabara T. Smith, Ron Athey, Diane Gamboa, John Outterbridge, Catherine Opie, Denise Uehara, Mark Spencer, Mark Greenfield, Sheila Pinkel, and Hirokazu Kosaka, to name just a few. Artists and organizations in residence at 18th Street have been recognized for their outstanding work by the Guggenheim Foundation, MacArthur Foundation, the National Endowment for the Arts, the Getty Foundation, and the Rockefeller Foundation. 18th Street Arts Center’s International Program is also a worldwide leader in artist exchange programs and provides one of the few international artist exchange programs in Los Angeles. 18th Street has hosted artists from two dozen countries: Australia, Austria, Cameroon, Croatia, the Czech Republic, Cuba, France, Finland, Germany, Indonesia, Ireland, Israel, Japan, Mexico, Nigeria, Pakistan, Poland, South Korea, Sudan, Sweden, Taiwan, Thailand, and the United Kingdom. Through 18th Street’s exhibitions, workshops, and community festivals, the organization encourages and supports the creation of cutting-edge contemporary art, and fosters collaboration and interaction between artists and arts organizations locally, nationally and internationally. The curatorial focus of 18th Street has remained constant throughout the last fifteen years, with a unique mandate to concentrate on encouraging the careers of emerging and under-represented mid-career artists. 1.Founding of 18th Street in 1988 2. Home of NEA 4 3. Exhibit, Black Panthers- Photos by Pirkle Jones 4. Res Artis International Conference 2004 5. Gallery becomes Polling Place for 2008 Presidential election
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
Publisher High Performance Magazine Traffic Report Magazine Exhibitions- 50 group and one person exhibitions since 2000. Programming Over 250 events in 20 years including art openings, open studio events, book signings, artist talks, seminars, film screenings, dance and music concerts
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Susanna Dakin
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Clayton Campbell
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jan Williamson jwilliamson@18thstreet.og
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Linda Burham
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:: 
Uncertain economy
Part 7.
almost all of the above
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?: 
Technical Support / Expertise
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
We donated the High Performance archives with the permission of the editors to the Getty Research Institute Our other archives need to be assembled and cared for
8b. Archival materials are also located at:: 
Where are these locations?: 
studios, private homes, former employees and board members
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 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
proper facilities and personnel, we might possibly donate archives to another institution set up to handle these tasks
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
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications - Please describe below.
exhibtion catalogues
11e. Other: 
Architectural Drawings / Floor Plan
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: 
41 - 50
14b. Estimated Number of Archive Drawers: 
11 - 20
14c. Estimated Number of Archive Notebooks: 
11 - 20
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: 
91 - 100
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:: 
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?: 
General Staff
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 20.
20a. What are the goals for the historical materials for the next year?: 
begin archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
staff capacity and experience
20c. What goals are in place for the historical materials for the next three to five years?: 
organize all archival material from history of our center
20d. What are the biggest challenges to reaching these long term goals?: 
funding, capacity
20e. Are there any additional goals for the organizations historic materials?: 
publishing, on-line presence, finding permanent location for archives
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$45,001 - $50,000
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?: 
25b. Who?: 
Getty Research Institute
Part 26.
26. Additional information, comments, observations, and questions.: 
not at this time
Clayton Campbell
Who executed this survey.: 
Clayton Campbell
Is this survey complete and all appropriate questions answered?: