artists image resource www.artistsimageresource.org

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PUBLIC 11.28.11

artists image resource www.artistsimageresource.org PLANNING DOCUMENT NOVEMBER 2011

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artists image resource planning document 2011 TABLE OF CONTENTS

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• Program Areas o Production and Artmaking Education and Community Access o Archives and Exhibition • Studio Facilities o Relief and Intaglio Lithography and letterpress o Screeprinting o Digital Media

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History and Philosophy

Major Three year Goals • Strategic Initiatives

Implementation Plan including actions o Production and Artmaking o Education and Community Access o Archives and Exhibition o Operations o Staffing o Facilities o Communications o Finances o Governance

Supplemental Materials (by request) • Letters of Support • Programs and Participation • Organizational Information o Board and Staff o Demographic Information o 501(c)3 Determination Letter •

Action Lists by Year

artists image resource www.artistsimageresource.org

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ARTISTS IMAGE RESOURCE Strategic Plan 2011-2014 November 28, 2011

HISTORY AND PHILOSOPHY Artists Image Resource (AIR) is an artist-run, nonprofit printmaking studio located in an urban neighborhood on the Northside of Pittsburgh, Pennsylvania. The studio serves as a broad-based print and imaging resource whose purpose is to integrate the creation of fine art printwork with innovative educational programs that explore the creative process. Over the past 15 years, AIR has developed an alternative organizational model for the provision of its creative and educational services. The creative work of the professional artist serves as the engine for the studio and is the anchor for educational and public programs. We connect the working artist (who has managed to carve out a life as an artist in our culture) with the aspiring artist (who is asking questions about best practices, methods and how it is possible to carve out a life as an artist). We believe that the artist’s work is fundamentally critical inquiry and by supporting this inquiry, we investigate and strengthen the role of the artist today. By making the critical practices of working artists available to educators, educational institutions and schools, we also work to enhance cultural dialogue about the artist, creative practice, artistic practice, critical thinking, education, citizenship, voice and responsibility. AIR’s activities are predicated on the idea that conventional print and imaging processes provide a concrete reference (a stable floor) that informs how information, knowledge and meaning is created and disseminated in a contemporary environment. We believe that critical creative inquiry is a fundamental part of how we inform and are informed by our world. AIR stimulates inquiry and provides resources for the creation of new work while supporting educational activities in the community.

Vision Statement artists image resource is a laboratory environment where the artist serves as the engine for critical inquiry. Print and imaging processes are used for the exploration of meaning and voice in our culture.

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PROGRAM AREAS A. Production & Artmaking constitutes the primary activity at AIR. This programming includes resident artists’ projects, independent artists’ work, and contract projects. Through each of these programmatic structures, AIR stimulates and encourages flexible, creative thinking and facilitates the creation of new work. For our resident artists’ projects, each year AIR invites 4 to 6 professional artists working in a variety of media to create new printrelated work. Projects range from the creation of a suite of original prints (relief, intaglio, lithographs or screenprints) to larger installation or sculptural works that incorporate print-related elements or methodologies. AIR provides each artist with access to printmaking equipment, supplies, facilities, and materials needed to create a new body of work. AIR provides technical support for the execution of the work. AIR develops, organizes and presents educational events to the public as the work progresses. Independent artists engage AIR to assist with projects, paying nominal fees for use of the studio and for assistance with their projects. AIR assists an average of 20 artists annually in this way, and works in partnership with galleries and museums to assist with works required for their exhibitions. AIR also provides more conventional fee for service contract printing services when appropriate.

B. Education & Community Access programs utilize the processes of the artists’ projects as the basis for hands-on internships, workshops, classes and tutorials. Through the ongoing work of the studio, AIR creates an educational learning environment that makes artists, their work and working methods accessible to the aspiring artist. These education and access programs include collaborative educational projects with schools and institutions, a dynamic apprenticeship (internal workforce) program, a direct access “open studio” program, tutorials, shop rentals, exhibition and event rentals as well as numerous other outreach programs and projects. C. Through the Archives & Exhibition program, AIR is committed to providing opportunities for the public to have access to not only the artists’ work, but also the artist’s methods, thinking and as possible, the artists themselves. Exhibitions and Open House events are organized throughout the year, often including works in progress and opportunities for the artists to meet visitors and talk about their work. All prints are available for sale. In a permanent archive, AIR retains a record of all printmaking projects and utilizes the materials as teaching tools, making them available for research and study. AIR’s goal is to make the work and the facility easily accessible to collectors, patrons, educators, artists and the community.

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ARTISTS IMAGE RESOURCE STUDIO The physical Artists Image Resource studio is organized by discipline-specific shop areas, each focused around a particular printmaking or imaging process. Though focused around processes, each shop remains flexible and “modular” allowing for a particular responsiveness based on individual project needs Relief and Intaglio Shop: Relief printing is most commonly understood as the technique used in printing woodcuts or linoleum cuts. Intaglio printing refers primarily to engraving, drypoint printing, etching and/or gravure printing. AIR dedicates approximately 1000 square feet to these activities. The shop makes available two etching presses, two sinks for processing and an assortment of other equipment and supplies (water baths, blotters, printing blankets, rollers, glass inking slabs, etc). Lithography and Letterpress Shop: Lithography is commonly understood as the technique used to print either “stone” or “plate” lithographs, and letterpress printing refers to the process of composing messages utilizing movable type on a specific relief letterpress. AIR dedicates approximately 1000 square feet to these activities. The shop makes available one lithography press and three letterpresses. There is one sink for processing and an assortment of other equipment and supplies (rollers, glass inking slabs, stones, etc). Screen-printing Spaces: Screen-printing refers to printing through a stencil adhered to a fabric screen. Stencils can be photographic in nature or hand drawn and processed. Screens can be fabricated at any reasonable size. There are two screen-printing garage spaces in the studio, each dedicated to a primary purpose: one is for professional projects; the other is for education and public access. Each screen shop takes up approximately 1000 square feet. One screen-printing space makes available a “tech area” where computers, scanners, digital printers and screen exposure units are available. This area is made accessible to the public and is also used for tutorials and more focused educational projects. Both shops make available wash out sinks, power washers, printing stations, squeegees and other general screen-printing equipment, materials and supplies. Digital Printing Digital printing at AIR refers to all digital processes and equipment used by the artist and educator in the production of work. This includes actual “printing” from large format (and small) inkjet and laser printers on archival substrates for finished, high quality fine art prints (giclee); and printing from these same printers to create films and other materials for processing in other print processes. Generally, we refer to digital imaging for any project work that utilizes computers, software, printers, projectors, web driven projects, mobile devices and all things “digital”. There are currently two digital loft spaces in the shop (approximately 500 square feet) where we make available two large format inkjet printers and two Mac computers with imaging software.

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The original organizational strategy was to develop an organization that could support the work of the individual artist, could support inquiry and could develop ideas with the artist, with students, and on its own for the benefit of public audiences

MAJOR THREE YEAR GOALS The next phase of development for AIR involves creating a more efficient and accessible organization by: •

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Improving structures and delineation of programs, services and access points to make the organization’s purpose clear and accessible to a larger population. . Enhancing equipment and facilities to better support our creative and educational projects, creating protocols and methods that allow equipment to be more accessible to more artists in more efficient ways.

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Enhancing staffing and human resources to support our creative and educational projects by continuing to engage a dynamic mix of artists, educators and technicians as paid and un-paid internal workforce participants.

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Achieving sustainable long term solvency for the organization by increasing earned income through the provision of studio resource services (open studio, digital printing, studio use, fee-based education programs, print sales, contract printing artist-service fees).

STRATEGIC INITIATIVES These major organizational goals will be pursued within the following framework of strategic initiatives and organizational priorities. Production & Artmaking 1. Continue to stimulate and encourage flexible, creative thinking and critical cultural analysis to facilitate the creation of new work. 2. Continue to offer Resident Artist and Independent Artist project opportunities, maximizing AIR’s laboratory structure so that the artist can engage in inquiry-based, investigations that strengthen their work practice. Education & Community Access 3. Create an educational learning environment that makes mature working artists, their work and work methods available to the aspiring artist. 4. Expand the number of Collaborative Education and Outreach programs, providing services that strengthen our partner institutions and schools. 5. Strengthen the structure of Community Access programs, effectively directing studio users to Tutorials, the Open Studio program, or more advanced studio rentals, depending upon skill level and project scale. 6

6. Continue mentorship-based workforce structure utilizing ‘see one, do one, teach one’ formula, incrementally building each artist’s role and responsibility level as they work at the studio and build their skill levels (overlap with Operations #12). Archives & Exhibitions 7. Continue to present Exhibitions as the foundation for quarterly Open House events, showcasing work of Resident Artists, mentors, open studio artists and others. 8. Expand visibility, impact and influence locally, regionally and nationally through exhibitions and public forums, including community use of the galleries. 9. Maximize print inventory and archival collection in exhibitions and for sales locally, nationally and internationally. 10. Organize the educational archive so that artists, students, and educators have access to films, in-progress proofs and final prints. Operations (Staffing & Facility) 11. Stabilize the staffing structure to provide more complete support for the artists’ projects and for organizational administration. 12. Continue mentorship-based workforce structure utilizing ‘see one, do one, teach one’ formula, incrementally building each artist’s role and responsibility level as they work at the studio and build their skill levels (overlap with Education and Community Access #6). 13. Enhance facilities and studio availability through necessary equipment upgrades and finalizing written protocols and studio access rate cards. 14. Monitor landlord’s new building purchase in case AIR must take advantage of a positive opportunity to relocate or to purchase existing building. Communications 15. Improve the quality, clarity and strategic significance of marketing and visibility efforts 16. Continue to formalize more dynamic web based access points and communications possibilities through the AIR website and other on-line vehicles. 17. Create system of outreach and promotion regarding printwork available for sale. Finances 18. Increase earned income via the provision of studio resources (open studio, tutorials, shop rentals) education program fees, artist service fees. print sales, and studio and gallery rental. 19. Increase contributed income from individuals, local businesses and local and nonlocal foundations and donors. Governance 20. Continue building more dynamic involvement in the leadership, governance and operation of the organization by continuing to engage new board members, creating clearer committee structures. 21. Challenge artist/workforce members to become more involved with the governance and strategic movement of the organization.

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IMPLEMENTATION PLAN (TACTICAL TIMELINE)

In the following section we discuss and outline the tactical timeline and implementation plan for the organization including significant action steps. Production and Artmaking RESIDENT ARTIST PROJECTS AIR has supported over 75 Resident Artists since 1996 and will continue with an ongoing schedule of residencies, with 4 - 6 active Resident Artists working at the studio on a rolling schedule. Resident Artists are invited by AIR and their work is fully supported by the studio. AIR has slowly been shifting its “residency” structure to provide more time and more latitude for each artist to optimize their involvement with the studio. Each artist will be invited for a 15-month residency, including opportunities for inclusion in portfolios, in exhibitions and public programs. All materials, studio time and facilitation assistance are paid through the residency, through project grants AIR secures for this purpose. The artist is fully supported in exploring new work. We are researching new funding opportunities to support this rolling structure and we continue to formalize how the artist is integrated into the broader workings of the studio. The artist donates work back to the organization for inclusion in the print inventory and these works are available for sale. Proceeds from these sales support projects. Through this program, in 2011, we continued to work with the Pittsburgh 250 Portfolio artists (Arne Svenson, Shepard Fairey, Delanie Jenkins, John Ritter, Nick Bubash, Glenn Kaino and Hiroki Otsuka). We also began work supporting a number of artists who are now our 2011 resident artists (Michael Hegedus, Jerstin Crosby, Tresa Varner, Abbey Sheehan, Michael Budai and Robert Williams). We intend to continue this process, inviting resident artists, planning the schedule for showing their work in Open House exhibitions and developing additional public programs as appropriate. For each artist, AIR maintains a sampling of work from each project in the prin archive and makes process proofs available for research and study in the educational archive. ACTION In 2012, AIR will complete the PGH 250 portfolio and develop other new work with these artists. Also in 2012, AIR will complete work with 2011 Resident Artists and exhibit finished work through our new Open House exhibition structure. In 2012, AIR will begin work with 2 to 4 new Resident Artists. In 2013 and 2014 this Programs will continue; 2012 Resident Artists will complete work and exhibit; new Resident Artists arrive for 2013, develop new projects, engage staff artists and internal workforce, complete work and exhibit through open house exhibitions and events.

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Organizational questions: what is the role of the artist? How does that role create and support culture? How does that role support learning (and education)? How has the role changed over the years and how will it change into the future? INDEPENDENT (CONTRACT) ARTISTS PROJECTS AIR serves as a resource to artists on a contract basis, in response to inquiries from the artists themselves. Often, they pay for AIR’s services through professional development grants from universities where they are faculty members, or have other means of funding their personal work. Often these independent projects are focused on inquiry and it benefits the studio (and the artist) to assimilate the projects into the overall functioning of the studio (linking with education programs, for example). In support of this initiative, which brings dynamic energy and earned income to the studio, AIR will strengthen communications materials about the availability of the studios for these projects and will build networks and procedures for information dissemination. ACTIONS In 2012, 2013 and 2014, AIR will continue to responsively facilitate work with artists on an independent project and contract basis. AIR will continue to develop communications and marketing materials to make these services available to a broader population of artists. BENCHMARKING AIR will benchmark residency and artmaking program protocols at noted print studios and presses and will refine and ratify the residency program structure over the 2011 – 2014 duration of this strategic plan. Education and Community Access In our Education and Community Access programs, we work in partnership with schools, cultural organizations and community groups, strengthening their program offerings through our services. Additionally, through our studio access structures, AIR provides an education-based continuum for aspiring artists investigating print and imaging methods and practices. They might begin with a tutorial, learning a particular process, and then become regular participants at Open Studio, eventually graduating to reserved use of one of the shops for half day or full day work sessions. COLLABORATIVE EDUCATIONAL PROJECTS Our recognition as an artist-partner for organizations as they provide hands-on arts experiences for their students is growing. We serve as a technical resource either in their classrooms or on-site at the AIR studio. We continue to see revenue increase because of these contractual relationships, providing educational and technical services.

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COLLABORATIVE EDUCATIONAL PROJECTS Three relationships of note are our ongoing, ten-year relationship with the Warhol Museum, our four-year relationship with West Virginia University and our two-year relationship with the Sarah Heinz House. These relationships provide revenue streams while allowing us to focus directly on the educational component of our stated mission and purpose. Our main goal here is to continue these curriculum-based collaborations, and long-term partnerships, gradually expanding numbers of partners and numbers of students served. We will explore sources of funding to cover gaps in program expenses not met by payments from school partners (i.e. studio overhead, administrative time). ACTIONS In 2012, 2013 and 2014, AIR will continue working with Collaborative Education Partners, including Warhol Museum, Pittsburgh CAPA, Pittsburgh Obama, Sarah Heinz House, West Virginia University and will expand programs and numbers of partners.

By making the critical practices of working artists available to educators, educational institutions and schools, we aspire to enhance the cultural dialogue about the artist, creative practice, critical thinking, education, citizenship, voice and responsibility. INTERNAL WORKFORCE / MENTORSHIP AIR’s internal workforce efforts (volunteers and interns) continue to bring dynamic individuals into the shop, young artists willing to trade their skills for shop access and opportunities to improve their skills. Through this, AIR has a dynamic staffing model that is integral to the daily operations of the studio. Artists who have worked on their own at AIR and have a strong familiarity with the studio can broaden their involvement, working at the studio in exchange for studio time for their own work. Via this barter system, they work with resident artists and assist with teaching and mentoring. The progression of their involvement is “see one, do one, teach one’ as they progress through levels of responsibility and acquire skills. As these participants become more skilled, more engaged, and more responsible, they become shop monitors, project coordinators and they become more involved in maintenance, equipment and inventory functions. These internal workforce efforts continue to create a collective baseline for the shop that allows the core resource to function in an efficient, cost effective manner, minimizing the need for paid staff and cost prohibitive organizational structures. AIR has ongoing partnerships with universities who support the Internal Workforce Model through their internship programs. One of our key current partners is West Virginia University, but interns from Pittsburgh and regional universities are also actively involved.

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INTERNAL WORKFORCE / MENTORSHIP AIR also makes sure to make access to this workforce model available to aspiring artists and students who are not necessarily affiliated with a university program. Many aspiring individuals are looking for alternative access points to the rigor and substance of serious art-making environments even though they may not have the means to pay for enrollment in the university. We also try to be responsive to younger students, not yet ready for university involvement, who may be investigating possibilities for artistic expression. ACTIONS In 2012 AND 2013, AIR will investigate two-year residency / fellowship programs in efforts to create a more formal apprentice/fellowship -based training environment that provides a more focused leadership component. In 2012, 2013 and 2014, AIR will continue to build and streamline the Internal Workforce / Mentorship program through relationships with regional universities and independent artists.

Beyond access to AIR’s professional artists’ project work, we assist students (and educators) with their own projects by engaging them in broad yet focused activities that range from one day studio print sessions to fifteen-week projects. These activities connect the student directly with contemporary artistic methods and techniques and allow them to follow the production of artwork from idea all the way through to outcome.

STUDIO ACCESS PROGRAMS AIR provides flexible studio access matched to the skills and needs of artists. Programs include Tutorials for those just gaining exposure to printmaking, Open Studio programs for those with specific projects that can be realized in one evening, and a Shop Rental program for those with projects that require larger amounts of workspace or multiple work sessions. Tutorials Tutorials are scheduled based upon demand, facilitated by AIR staff. The goal is to provide an overview of a particular printing process and build basic skill level so that the artist can “graduate” to create their own projects at Open Studio sessions or through shop rentals. Open Studio AIR's Open Studio offers walk-in studio access for emerging artists and students every Tuesday and Thursday evening. For a nominal fee, on a first-come, first-serve basis, artists are provided with access to printing screens, workspace and a convivial friendly atmosphere in which to work. Open Studio is an extremely self directed, per to peer learning environment and projects are usually limited to one or twocolor, short run prints that can be finished in one session.

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STUDIO ACCESS PROGRAMS Studio Rental AIR makes traditional and contemporary printmaking and imaging equipment, shop time and expertise available to artists and others on a rental basis. Artists must be proficient in the chosen process and must approach the shop with an eye toward the overall learning environment being nurtured in the shop. Technical assistance and materials can be provided by AIR separate from the rental relationship or materials and supplies can be provided by the renter. Studio Access Projects are a point of entry into AIR and some artists become increasingly involved with the studio, through the Internal Workforce Program (above). ACTIONS In 2012, 2013 and 2014, AIR will continue to stabilize, formalize and streamline Community Access Program methodologies (intake systems, fee structures, tracking). In 2012, 2013 and 2014, AIR will continue to create forums to connect working artists with the Internal Workforce artists and Open Studio population. OUTREACH PROJECTS Through Outreach Projects, AIR supports efforts of community groups, museums, schools and others via short-term outreach programs, provided on a fee-for-service basis. In committing to these projects, AIR responds to inquiries from the community at-large and is responsive in designing an artmaking project that dovetails with the theme of the partner’s event or program. Generally, for these Outreach Projects, AIR brings a mobile studio to the event and provides staff to facilitate the project. Examples include the Mattress Factory’s summer Garden party, Fresh Fridays presented by Northside groups at the Friday evening farmer’s market, the EastEnd Food Co-op Harvest Festival, and a one-day program at The Pittsburgh Project. ACTION In 2012, 2013 and 2014, AIR will continue to develop and execute outreach projects and will continue to create a dynamic and sustainable network of partners for these activities.

We support artists, makers, entrepreneurs, and cultural workers at all levels of experience by serving as a technical and intellectual incubator and catalyst for the development of ideas. Products range from fine art prints, to projects being exhibited and contracted by museums and galleries (locally, regionally and nationally), to posters, books, garments and cards being sold locally and on the Internet.

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Exhibition & Archives EXHIBITIONS Through exhibitions in AIR’s 2500 square feet of gallery space and through access to the archive of contemporary printwork and process materials, the focused work of today’s artist is made available to the community. In 2012 and into the future, as part of AIR’s new rolling artists project structure, AIR will incorporate completed Resident Artists work as content for quarterly Open House exhibitions (Feb, May, Oct, Dec.). Open House events will most often be anchored by exhibitions of completed work by Resident Artists who have been working in residence through the course of the previous year. AIR will distribute official press releases for the exhibition, seeking critical review. These exhibitions serve as the first opportunity for the resident artists to exhibit their completed work from the residency. During the months between the open House Events and Exhibitions, AIR pursues other exhibition projects and events (long and short term) and provides access to the galleries to educational and community partners and in response to external inquiries. AIR will use this ongoing schedule of events to provide structure to the rolling residency and exhibition program, providing an opportunity for the resident artists and others to show finished work, and for the public to experience new contemporary work along with more dynamic hands on activities and programs. ACTION In 2012 AIR will present work through its new open house exhibition and event structure in February, May, October and December. These exhibitions will include work from the 2011 resident artists projects. In 2012 AIR will make the exhibition spaces available on a flexible basis for other community and educationally based projects including an exhibition of work by West Virginia University graduate and undergraduate students, an exhibition of work by high school students attending the Pittsburgh High School for the Creative and Performing Arts and other projects. In 2012, AIR will pursue the idea that it is time to present a national juried exhibition of printwork. We are researching this possibility and intend to put it in motion as soon as possible. In 2013 and 2014, AIR will continue to follow this Open House and Community Access exhibition and event structure, being responsive to exhibition opportunities for AIR resident project artists as well as providing room for the development of other specific AIR projects, community access and educational projects, events and exhibitions.

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Exhibition & Archives (continued) PRINT INVENTORY AND ARCHIVAL COLLECTION As part of the residency program relationship, each artist donates half of each printed edition and proofs from the Resident Artist Projects back to AIR. These prints make up the Print Inventory, available for sale, and the Archival Collection, preserved as a record of activity at the studio. The proceeds from the sale of the Print Inventory provide revenue streams for the organization. AIR will investigate improved methods for communicating information about the prints available for sale, via the organization’s website and other means, with an eye to streamlining purchase processes. ACTION In 2012 / 2013, AIR will photograph the Print Inventory & Archive, making images available via computer screens in studio and on website (to facilitate sales). EDUCATIONAL ARCHIVE AIR also provides access to its Educational Archive of prints and developmental materials for research and study. Each print project is executed in layers and AIR provides examples of the films, plates and proofs that combine to create the final artwork. AIR utilizes these materials in Collaborative Education programs and organizes displays in the appropriate shop during Open Houses and other events (for example, samples of litho work in the lithography shop). AIR will continue to organize this educational archive to create an accessible resource for artists, scholars and the public. ACTION IN 2012 / 2013 AIR will organize the Educational Archive, making it easily accessible to students, educators and artists.

Operations

STAFFING As we continue to define a staffing model for AIR, we have explored various hierarchical, non-hierarchical, co-operative, collaborative and collective organizational structures. AIR continues to move toward more horizontal business structures that incorporate a broad base of individuals in the operations and functions of the organization. AIR now employs one full time staff person (director), a part time administrative manager, four part time artist/educators who serve as “specialists” in various areas (printing, education, technical skills, internal workforce) and a utility/staff support person.

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Operations (continued) STAFFING (continued) Along with these paid functions, we maintain a community of high functioning volunteers that fluctuates from 10 to 20 individuals at any moment (a pool of skills available to the organization). This community of individuals continues to provide baseline functions that allow the basic resources of the studio to become more accessible to more individuals. Area Leaders / Specialists AIR employs four area leaders or specialists at 10 hours per week. These individuals take responsibility for providing leadership and organization, guaranteeing quality controls and outcome for the studio’s project work. They are the printers, the technicians, the educators, the organizers, the mentors. A reliance on specialists allows AIR to take advantage of individuals committed to the organization, with a strong interest in the programs and ideals of the studio and a symbiotic need for work space for their own projects. They continue to serve as the eyes and ears of the organization while on-site working on their own time, on their own projects. These specialists, for the most part, come up through the ranks of the organization. Three of the four paid individuals currently responsible for many of the studio’s activities began as interns years ago. This cycle is becoming more stable as the resource becomes more accessible and the Internal Workforce protocols become stronger. This Internal Workforce model is becoming a significant part of the alternative model that we are creating that allows responsive access to a diverse population of artists, educators, workers and makers. Operations Staff Person (utility / staff support) AIR intends to expand the paid hours allotted to the part-time staff position responsible for all utilitarian functions of the studio. Currently, AIR employs one person 10 hours per week to prep for Open Studio and other programs and to take responsibility for cleaning and exposing screens and ensuring there is adequate supply of papers, inks and other supplies and materials. This post should be 20 hours per week at minimum and will require modest additional funds to support growth to this level. ACTION In 2012, AIR will expand hours for our utility staff position and will continued to expand hours for specialists. Internal Workforce As described in the section on Education and Community Access and under “staffing” above, AIR maintains a “talent pool” of interns and volunteers available not only on a regular basis, but also on an intermittent basis to assist with weekly Open Studio events, exhibitions and special events.

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Operations (continued) Internal Workforce (continued) While concentrating more specifically on the development of particular skills and on the development of the participant’s sense of personal responsibility, this internal workforce model maintains a fundamental concentration on quality control from many angles (equipment, materials, instruction, and outcome). Specialists provide leadership and take responsibility for specific outcomes, but the entire workforce is challenged to engage fully in any project with which they become involved. While emphasizing the participant’s responsibilities “to” the organization, AIR takes great pains to stay focused on each participant’s developing skills and abilities and works to serve the needs and interests of each individual. As participants become vested in this dynamic, the environment becomes more supportive, more collaborative and teamwork and collective problem solving becomes the norm. Simultaneously, as the organization serves the individual and the individual serves the organization in this active dynamic, this workforce structure also incorporates these participants as “clients” who are also paying as they go for the materials and studio access they require and use for their own work. Each participant supports the organization by supporting their own work and by making their skills available to other participants and to the overall shop operations. This allows AIR to make more resources available in more cost effective ways to broader populations of artists and educators. This structure also brings in funds from these active workforce members that helps create a sustainable environment for studio operations. ACTION In 2012, AIR will formalize Internal Workforce tiers: four weeks working on Tuesday and Thursday evenings with Open Studio; “graduation” to working on artists projects during the day; “graduation” to working on specific projects from beginning to end; “graduation” to broader opportunities and responsibilities. BENCHMARKING As a formal extension of the Internal Workforce model, AIR will investigate two-year residency / fellowship programs, linked with Education Program goals. The fellows are likely to be post-graduate school artists, seeking to build skills and experience in running an education-based arts organization that provides services to artists of all skill levels.

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Operations (continued)

FACILITIES Similar to the way that we think about flexible staffing protocols (a given individual may have some very specific skills, but is also capable of covering a multiplicity of functions within the studio), much of the equipment and many facilities spaces are also thought of as “modular”. Most of the spaces in the shop remain open and clear of impediments. Though shops are generally organized by discipline or process, fundamentally projects define the physical needs of the space at a given time. Most equipment, work-tables and storage units are on wheels and are movable throughout the facility. Much of the equipment used in the shop is used for both production projects (resident artists projects, etc) and educational and community access projects (collaborative education, tutorials, etc). Again, the modular nature of how the space is organized and thought about helps us simultaneously optimize and protect the available equipment. ACTION Over the course of the next three years (2012, 2013, 2014) AIR will upgrade equipment and capacities in the following areas: Digital Equipment (computers) upgrades are necessary for production, administrative and archive functions. This includes computers, monitors, software, large format printers as well as medium and small format printers, scanners, cameras, projectors and other peripherals). Processing and Printing Equipment including large (and small) format photo exposure units, upgrading dark storage for photo sensitive materials, upgrading chemical and flammable materials storage, upgrading printing stations and clean out areas, upgrading ink storage and mixing spaces as well as paper storage. Materials, Project and Archival Storage including flat files for paper and other flat stock, flat files and lockers for in progress project storage and flat files for archival storage of AIR’s print inventory and educational archive.

EXTERNAL OPPORTUNITY AIR’S landlord has purchased a new, large factory building in an industrial park near the Ohio River, approximately 3 miles from AIR’s current location. There may be significant opportunities for the organization associated with this purchase (expanded space, lower costs per square footage, etc). During 2012, AIR’s Board of Directors will actively monitor this situation and continue to maintain an active dialogue about these potential opportunities.

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Communications AIR is striving to establish a systematic communications plan to not only promote exhibitions, events, studio access, and educational opportunities but also to stimulate the creation of new work and support inquiry throughout the cultural / educational landscape in the region. The three key target groups are artists and educators for studio services (1 and 2) and the general public for exhibitions and events (3). A key goal in this area is to create a more responsive and dynamic web-based communication system that connects us more directly to our constituents. We intend to create a more dynamic web access portal that provides clear information about services and activities and that is also updated and responsive. Most of AIR’s work is already organized and scheduled through email accounts and communications. We intend to make this a more accessible system that can be accessed more directly through the website itself. Further, we intend to develop more dynamic ways to make the printwork available at the studio more visually accessible via the website. This includes the print inventory (available for sale) and the educational archive and project work. ACTION In 2012 AIR will complete rate cards for Open Studio, Tutorials, Shop Rental, Digital Printing, Resident Projects, Contract Work, and Education Programs In 2012, AIR will develop a communications schedule that will include schedules for e-blasts, mailings, press releases and other communications materials In 2012 / 2013 AIR will continue to consolidate its efforts to create a single website structure that makes information available clearly and succinctly to the public. In 2012 / 2013 AIR will create a more accessible “Gallery” for viewing the Print Inventory and Archives on line and on the ground. In 2012 / 2013 AIR will institute a more dynamic inquiry response system and a more dynamic social media interface (flicker, facebook, blog, etc) Finances Generally, AIR has functioned on a lean $250,000 annual budget. We have often spoken of an accordion structure to the organization – the organization “expands” through access to a growing network of workers, artists and printers when projects and funds are plentiful and “contracts” back to a sustainable core when things become lean.

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Finances (continued)

Over the past few years we have watched this process and are proud of our performance. The organization expanded for a portfolio project that allowed the organization to exercise and more fully develop its resources and also held great promise for new revenues that would help stabilize the organization at a new plateau through the sale of artwork created. As the project moved on, a number of circumstances changed and as the economy took a downward turn, sales projections faded and other funding became lean. The organization immediately exercised this idea of “contraction” and we believe that the organization has used these circumstances as an opportunity to return to purpose. The organization is perhaps now even stronger and more capable of continued services to an even broader population. We have grown the organization in a measured and we believe responsible manner, continually building strength and capacity through each project and stabilizing the organization at each plateau. Historically, funding from private, government and individual contributions has totaled approximately $100,000 to $150,000 each year. Earned income is generated through Independent Artists Projects (approx $30,000 in annual revenue); Collaborative Education projects with museums, schools and organizations (approximately $30,000 in annual revenue); direct studio services including contract print projects, tutorials, shop rentals, and digital printing (which yield approximately $30,000 in annual revenue); and the sale of artwork (which historically yields $5,000 to $10,000 each year). Program expenses generally total $150,000 and are allocated as follows: projects with artists invited to work in residence cost $50,000; the open studio program through which the community has inexpensive access to the studios three nights per week costs $50,000; apprenticeship programs cost $20,000; forums and exhibitions cost $10,000; open house events cost $20,000. General operating expenses total approximately $40,000 for administration and $60,000 for facilities and equipment. AIR has no debt. The organization has developed its audience and created its market primarily through grassroots, word of mouth reputation and relationship building. This plan attempts to articulate the specific steps that we are taking and the specific investments that we are making to:
First, upgrade and stabilize the facilities themselves so that we can continue to efficiently provide these services, build our capacity and grow our audience.
Second, create and disseminate clear marketing materials that we project will grow the market for our services and make more people aware of our operations.
Third create more efficient human resource methods and operational systems and procedures that allow us to continue to provide this resource in a cost effective manner for our constituents.

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Finances (continued)

We intend to make investments in these areas and we project consistent stabile yet dynamic operations and significant growth over the next four years. Earned Income Specifically, a key financial goal is to stay focused on our general operations, services and programs, working to expand client relationships, and pursue earned income opportunities. Through communication to promote the range of studio services available and through proper staffing structures and procedures allowing for efficient follow-through on inquiries and projects, earned income will grow. ACTION In 2012 AIR will increase earned income by increasing Community Access activities (more tutorials, shop rentals, simplified studio access) In 2012 AIR will make peripheral items and supplies available for sale through the Open Studio environment (ink, paper, shirts). In 2013, this may expand to an “Art Supply Store”. Contributed Income AIR continues to work toward offsetting the costs of the organization’s activities and programs through contributed income initiatives including grant writing, requests for individual giving and other fundraising vehicles including events, sponsorship and other support. AIR’s goal is to formalize protocols for grant writing and develop efficient systems for research and communications regarding funding opportunities in and outside of the local area. AIR also continues to work toward developing partnerships and networks with other organizations that help artists and organizations pursue funding sources. In regards to individual contributions, AIR’s goal is to increase our individual contributions through various direct mail, web based activities and fundraising events. In regards to events and other fundraising activities, AIR continues to develop new fundraising strategies including various methods for making the print archive available and sponsorship opportunities. AIR intends to Increase contributed income from individuals, local businesses and local and non-local foundations and donors. ACTION In 2012 AIR will formalize contributed income strategies, including grantwriting protocols and outreach to individual donors and the local business community.

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Governance In relation to our efforts to create an alternative “new” model for the provision of our support services and resources, we are looking at workforce and staffing structures, production models, educational learning strategies and facilities operations, access and workflow. We are also interested in leadership, governance, vision and new models and structures that challenge and stimulate engagement and personal responsibility. Though the organization is governed by an eleven member board of directors who engage in quarterly “board” meetings and are responsible for various functions of the organization, we are constantly working to engage the board more fully in the strategic and tactical life of the organization, from vision through execution to outcome. We simultaneously work to incorporate the voices of our workforce members who engage daily in the mechanics of the studio. In 2011, two significant long time board members moved out of the area, yet they have both remained on the board and are still pivotal in our strategic planning and organizational priorities. These individuals and others who have become involved with the organization from a distance have great things to offer and we are working on how to structure their involvement with the organization and with the governance and leadership of the organization. We are also working to more fully integrate a more formal “committee” structure for the board and staff and we are working to challenge board members to become more involved in fundraising efforts as well as hands-on project work for the organization. In 2010 we elected a new board chair and created a new executive committee, and in 2011 we have added two new members to the board. ACTION In 2012 AIR will refine Board protocols to account for distant members (voting mechanics, quorum definitions). In 2012, AIR will determine committee structures and set clear responsibilities and expectations for Board members, including outcomes for their efforts. In 2012, AIR will determine goals for Board revenue-generating activity in support of the organization and annual contributions.

We believe that by creating and supporting connections between production resources and working artists; between working artists and aspiring artists; between working artists and institutions; and between artists and educators that we continue to support and investigate the role of the artist and through this work we serve the larger community.

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