Mr. I's Home Devastated by Fire
(from the official site of Mr. I) Mr. Imagination (Gregory Warmack) was in Winter Park, Florida on Sunday, January 20, 2008 when he received a phone call from a neighbor at 3:30 a.m., telling him that his house in Bethlehem, PA was on fire. The fire department arrived on the scene at about 4 a.m. and 46 City of Bethlehem firefighters fought the fire until 2 that afternoon. Mr. Imagination's beloved dog, Pharoah, along with his six cats, Diamond, Shadow, Tuxedo, Love and Peace, died in the fire.
New blog with updates (recent updates and photos)
Friends of Mr. Imagination Flickr site (please join and add your photos to share with Mr. I and everyone else.)
Rudy Rotter's Sculptures
After a severe rainstorm on July 2007, a section of the roof collapsed on the Rudy Rotter Museum of Sculpture in Manitowoc, WI. Nearly 1000 pieces were destroyed or damaged. The damage is forcing the move of an additional 4000 sculptures to a safer location. Donations to help in the move can be sent to: Rudy Rotter Art Foundation, c/o Peter Rotter, 3918 Seneca Lane, Manitowoc, WI 54220 or to Tony Rajer, trustee of the Rudy Rotter Foundation.
Paradise Gardens!
The Chapel at Howard Finster's Paradise Garden is near collapse and funding is desparately needed for it's survival. You can help. The restoration of Howard Finster's Paradise Gardens is being undertaken by the non-profit which now owns and operates it. Visit Finsters Paradise Gardens more information.
Seymour Rosen
1935 - 2006
Seymour Rosen was one of the great champions of folk art. He founded the Los Angeles-based organization SPACES and launched the successful campaign to save Watts Towers. Raw Visions Magazine has an online tribute to Seymour, as does our friend and contributor “Narrow Larry” Harris.
Seymour Rosen for SPACES - Suggested Steps to Action
(he was one of the major players in the preservation of the Watts Towers)
Develop the following list of people and organizations you will have to deal with. All of them could be useful to fulfill your goals. Having these numbers easily available will prove very useful.
All these people and organizations should know that you exist, have some substantive information on the site you are trying to save an important work of art and cultural attraction. Make sure you have a contact name.
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Local people and organizations
Arts oriented
Historic
Chamber of Commerce/business organizations
Local/state/federal politicians responsible for your are
Public figures
Possible committee members
Celebrities
Service Organizations
Media
Local/state papers
T.V.
State magazine
Local radio
Universities/colleges/schools
Local/State
Potential energy sources (volunteers)
Old folks group
Service organizations
Church groups
Guilds/Unions
Funding
State/Local governmental arts organizations
Local business
Corporations with plants in the area
Local foundations
get guidelines and dates for submission from granting organizations, NOW
Maintenance
Conservation Corps
Service organizations
Potential users of property
Day care,
Senior Citizen Center
Arts Center
Schools
Neighbors
Extremely important
People with skills you need to save/repair
People for Advisory Board
Folks with titles
Artists’ relatives
(when possible get exact names and titles of those listed above.) |
What You Should Know:
We get a lot of letters and telephone calls asking for our help in preserving a site, many at the 11th hour when “The bulldozers are at the otr end of the block”. Even after 20 something years of trying we have found no magic way to do instant preservation. To make your preservation efforts a little easier, SPACES has developed lists of things you should do or be ready to do as well as other information you will need to preserve a site. The following is an abridged set of questions that should be asked when preparing to save a site. We are of course available to answer your questions, to support your activities and help plan the glorious experience of saving an important bit of Americana. You should be ready to answer these questions:
1.) Status of the Artist: Is the artist old, ill, or dead? Is there a person responsible for the artist? (Name-relation-address) Does the artist have any family, children, resources, or insurance? (In the case of poor health) If not, who can you identify to look after him/her? If the person is hospitalized or dies who can be responsible to look after him/her?
2.) Ownership of the Property: Has the artist expressed a desire to save the site, or his/her works? Does the artist own the property? Does the artist want to sell the property? If not who does? Are they willing to sell/rent it? If so for how much? Who can secure the property? Are there no relatives, or do the relatives want to sell the property? Is the area being developed?
3.) Description of the Site and the Artist’s Work: Is this a physical place with art or is the place the piece? What is the condition of the site? Does saving the artifacts in situ enhance their artistic value? Can the artifacts be moved, repaired, and/or restored? Does it matter if they are moved? Is there an inventory of artifacts and physical property or papers? Who has other examples of the artists’ work? Have they been purchased, loaned, donated or are they on consignment?
4.) Preservation Needs: What is the local attitude toward the site? Is there local interest in the artist, in the site? What will it take to preserve the site/artifacts? How long will it take? How much will it cost? How immediate is the need to preserve the site? What are the major threats to preserving the site? What will happen if it is saved on site/off site? Is there a place to move it to? (college, museum, some other place in town) Could the site eventually serve as a tourist destination, and/or enhance the quality of the life of the community? Is there/will there be a person, group of people, organization willing to do the above? Can the artist or his/her family assist in preservation efforts?
5.) Written Documentation on the Site: Is there any substantive documentation? Is there a bibliography? Is there a list of exhibitions or other notable events? Where? Is it available? Are there personal papers or a history of the artist and the site?
6.) Future Transfer of the Property: Will he/she transfer ownership to a non-profit, public entity, other, to accomplish preservation? Is there a will? Will he/she change/write a legal document to that effect? If so, what restrictions are necessary ?: Does he/she wants to live on site until death? Will the transfer of ownership not be complete until that time? Does the artist need some money now?
7.) Expenses and Funding: Do you know of potential funding sources and volunteers at the local, state, or national levels? Can the site be made self supporting? What are the yearly taxes? What other current expenses exist?
Gaining recognition for the site:
State and Local Level Achieving notoriety for an artist and his/her site should first be accomplished at the state or local level. While each state has its own criteria for statewide recognition, some individual states have various levels of status. Write the State Historic Preservation Officer at your state capitol for specific details. This is the place to begin.
Who Can Help You Save a Site:
To supplement our suggested list of questions you should be prepared to answer prior to preserving a site, following is a list of individuals and organizations both at the local and state levels that you should contact. Select those individuals and organizations that are most applicable to the particular needs of the artist and the site. Contact with the first group listed should be initiated immediately. Above all, do not be overwhelmed. Retain your sense of humor and perseverance. Letters of support from any of these individuals and organizations will help obtain recognition for the artist and promote preservation of the site:
1. Local Service Organizations and Resources - contact immediately a.) Certain groups wield political and economic power: arts service organizations could act as advocates, and are also attractive because they have their own accountants and lawyers; historic preservationists can provide expert advice; the Chamber of Commerce, an amalgam of local businessmen, could also be a funding source; celebrities, responsible politicians including the Mayor, City Councilmembers, County Government personnel and other public figures can serve as eloquent and powerful spokespersons; b.) some of the most fruitful outlets for advertising the needs of the artist and the environment are the media, including publications (local newspapers; statewide magazines), television and radio stations; c.) local universities and/or community colleges potentially provide contact persons in departments such as architecture (where one could find someone to draw a site plan), art, folklore, or geography; d.) other organizations are sources of prospective volunteers: churches; special interest groups (e.g. the Boy Scouts, Foxfire, Grey Panthers) as support networks; other service organizations (e.g. Civilian Conservation Corps); e.) local businesses, foundations, and corporations may be interested in funding local, state, or national projects; and finally, f.) for ongoing site maintenance, construction trade workers can estimate the cost of restoration and/or the extent of structural damage, or perhaps restore the site (verify their qualifications: certification is required of private contractors hired by State to work on a cultural resource).
2. State and Federal Government The support of these politically powerful individuals can only help hasten the restoration and preservation of an environment: the Governor; Secretary of State; State Senators; and local Congresspersons.
3. State Government Offices and Arts Agencies These offices and agencies could help pinpoint individuals and/or documentation assisting preservation efforts: the State Chamber of Commerce; Department of Tourism; Library and Archives; Department of Parks and Recreation; Museums; Historical Preservation organizations; Architectural associations; and Folklore/Folklife Departments.
4. Other In the longer term you may want to contact local and county libraries that may serve as resources for, or repositories of a site archive; museums/galleries/art centers; and individuals with site documentation (slides; photographs; tapes; and other unpublished material).
State Arts Supports:
Be sure to familiarize yourself with the types of art support programs in your state, which could either fund restoration of the site, or else provide names of individuals or organizations who would. Check if your state is one of the fortunate few to have a Per Cent for Art Program; this kind of program can facilitate funding documentation, preservation and restoration work, particularly if a folk art environment could be deemed an appropriate location for a park, and as long as the art works are ensured a safe haven.
National Register Criteria Listing a folk art environment on the National Register is no guarantee that the site will be preserved for future generations to enjoy, but can be an important part of preservation efforts while also providing recognition for the artist and his or her work. To have a property considered for listing on the National Register of Historic Places you first need to complete an NRHP nomination form which may be obtained from your local State Historic Preservation Officer who will be able to help you further. The proposal form should demonstrate how well-documented the site is and emphasize how significant it is in the eyes of the community. SPACES would be happy to provide more preservation and documentary assistance as the need arises.
According to the National Register criteria, the site must first be at least 50 years old and the artist must be dead, unless the site demonstrates outstanding cultural significance. The kinds of properties eligible for possible listing on the Register include single architectural structures such as houses, park sites, districts -- “groups of buildings, structures, or sites that make up a coherent whole, such as a neighborhood or an industrial complex,” and finally, large-scale objects, “not portable museum objects, but large movable properties such as fountains and monuments.” Most relevant to large-scale contemporary folk art environments, the National Register outlines several qualities that these properties should possess. The site should provide a sense of history, whether architectural or cultural. A site should serve as a good example of vernacular architecture, a particular style, or possess “high artistic values.” Despite the “National” status of the Register, it was conceived to include properties which are of foremost importance to the local community, not just significant at the national level as “great national landmarks.” Eight folk art environments are currently listed on the Register. Citing them in your proposal will help support your efforts.
To receive a copy of “What Are the National Register Criteria?” as well as “How to Apply the National Register Criteria,” write to: The National Register of Historic Places, Interagency Resources Division, National Park Service, PO Box 37127, Washington, D.C. 20013-7127
Source: “What Are the National Register Criteria?”
Please let SPACES know how your preservation efforts are going.
You might also check SOS on the web. Save Our Sculpture, a Smithsonian survey of sculpture in the U.S..
They were to give condition reports.
If your site is listed, mention it in the PR materials you send out.
I need a lot more information on the site before I can suggest anything specific.
I hope the material above is of some use. Have fun!
Remember the words “Cultural Destination” when talking to politicians or business people.
Seymour Rosen for SPACES.
Some things you should know if you want to save a site:
You should be ready to answer these questions.
What's the problem? — artist old, ill, dead, artist wants to sell property, no relatives, relatives
who want to sell the property, area being developed... lack of local interest?
Has the artist expressed a desire to save the site, the works?
Does artist own the property?
Is there a person responsible for the artist? Name - relation - address
Is this a physical place with art or is the place the piece?
Does saving the artifacts in situ enhance its artistic value?
Can the artifacts be moved, repaired, restored? Does it matter if they are moved?
Is there a will? Will he/she/they transfer ownership to a non — profit, public entity, other, to accomplish preservation? Will he/she/they change/write a legal document to that effect? If so, what restrictions are necessary — he/she/they want to live on site until death?
Description of the site (include condition & legal description)
Is there an inventory of artifacts and physical property — papers?
Is there a bibliography? Is there a list of exhibitions or other notable events? Are there personal papers
or a history of the artist and the site? Is there a Time-Line on the artist?
If applicable - Who has or where are examples of the artists’ work. Sold? On Loan? Gallery?
What is the local attitude toward the site?
What will it take to preserve site/artifacts? How long will it take? How much will it cost?
How immediate is the need to preserve the site? What are the major threats to preserving the site?
What will happen if it is saved on site/off site? (tourist spot, enhance the quality of the life of the community?)
Is there a place to move it to? (college, museum, some other place in town) Local interest carries more weight than outsider concerns. Is there/will there be a person, group of people, organization willing to do all the above?
Do you know of potential funding sources, energy (workers) local, state wide, national? What are your local assets - businesses, places of culture, Chamber of Commerce / Tourism.
••Know all the players. Immediately develop a roster of media, art organizations, politicians, whose district the site is in, and others.
SPACES would love to know what you have discovered — please send us copies for our Archives.
Feel free to call on us! Good luck! SPACES
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...find almost any self-taught artist or visionary site