Strategic Plan Overview

Transcription

Strategic
Plan
Overview
2014
Colorado Photographic Arts Center: Strategic Plan Overview
iii
Table of Contents
Executive Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Mission Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
History and Impact. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Organizational Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Current Programs and Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Financial Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
CPAC History 1963–2014. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Strategic Plan Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Operations Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
New Facility Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Programming Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fundraising Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marketing Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Strategic Plan Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
1
Executive Summary
The Colorado Photographic Arts Center (CPAC) is Denver’s only nonprofit organization
that is solely dedicated to contemporary photography and other lens-based media.
With a legacy of promoting photography within the state for fifty years, CPAC is
an important cultural resource to the community, fostering the understanding and
appreciation of photography through exhibitions, education and outreach.
CPAC serves this role by hosting dynamic, high-quality exhibitions which introduce
artists of national standing to the Denver Metro community, as well as producing
educational programming and events that nurture critical dialogue regarding
photographic mediums and practice. In addition, CPAC provides a much needed
infrastructure, including exhibition space for local artists, to fulfill the vision and
practice of the region’s exceptional community of artists, writers, and curators.
CPAC aspires to be the premier resource center serving the photographic arts in
Colorado and the Mountain West region by nurturing new talent, expanding concepts,
generating skills, piquing interest, and contributing to a sustainable photography
market for collectors and artists. In addition, the organization intends to become
highly visible as part of Denver’s core cultural center, enhancing the growing reputation
of the City of Denver as a world-class cultural hub. Plans are envisioned for a multipurpose permanent facility of approximately 5,000 – 6,000 sq. ft. with appropriate
classroom and darkroom space, equipment for teaching and creating exhibitions, as
well as space for hosting events, lectures and workshops.
CPAC’s operating income has consistently been well diversified and derived from
individual donations, classes and workshop fees, annual membership dues, fundraisers,
and grants. In 2013, CPAC received grant funding from the Scientific and Cultural
Facilities District (SCFD), as a Tier III organization, as well as Colorado Creative
Industries and The Kinder Morgan Foundation. The organization anticipates continuing
to secure a diverse array of income to support its vision and mission in the future.
Clearly a broad interest for photography exists in the Denver Metro area and the
Colorado Photographic Arts Center is in a strong position to enter a new stage of
continued growth and to reach its vision of being the premiere destination in the
Rocky Mountain Region for the photographic arts community.
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Introduction
Since its invention, photography remains an immediate and democratic
medium for representing, interpreting, and communicating culture and
ideas. Today the ever increasing impact of photography and image
making goes far beyond what CPAC’s founders dreamed it could be
50 years ago. CPAC has an important role in the 21st century as an
interpreter and presenter of photography and the reproduced image
from the past to the present and into the future.
A broad interest in photography is already proven to exist in Denver.
Several local institutions and commercial galleries show photography
on a regular basis (even if they are not devoted to it exclusively).
CPAC’s own events are supported by a broad constituency in terms
of age, gender, and occupation.
CPAC recognizes that the region, overall, demonstrates a good cultural
programming balance, yet has room for growing a more specific and yet
unfilled niche in the photographic arts. As a smaller institution without
a market-driven need to sell art, CPAC can be more nimble and fluid
in its programmatic responses to developments in the field. CPAC can
also serve what is undoubtedly a traditionally underserved audience
of photo enthusiasts, practitioners, and collectors.
Vision
The Colorado Photographic Arts Center’s
vision is to be the premier lens-based media
and photographic resource center serving the
diverse cultural and creative communities
of the Rocky Mountain Region.
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Mission Statement
CPAC is dedicated to fostering the understanding and appreciation of photography
in all forms and concepts through exhibitions, education and community outreach.
•
•
•
•
CPAC benefits the Rocky Mountain Region’s photographic community
by nurturing new talent, expanding concepts, generating skills,
piquing interest, and contributing to a sustainable market for collectors
and artists.
CPAC is a place where photographic artists, hobbyists, collectors, and
the public can come together to exchange ideas; grow their interests,
careers, and professional practice; and engage with photographic
exhibitions, both historic and contemporary, fine art, and experimental.
CPAC values and seeks improved diversity throughout the organization
and audience. In doing so, CPAC intends to broaden the scope of the
work shown and the education CPAC delivers, the people they serve,
and the technique, context, and content of everything with which
CPAC is engaged.
CPAC advocates for the photographic arts through exhibitions,
educational programs, and community outreach to people of all skill
levels, ages, and interests.
Values
CPAC’s core values include:
•
•
•
•
•
Actively serving artists through financial or in-kind support, and
providing opportunities for artists to communicate with their audience
through exhibitions, workshops and events.
Respecting and appreciating diversity in all its forms, including
ethnicity, age groups, gender, artistic levels and media.
Providing a place where photographers can pursue their vision and
build community.
Nurturing partnerships with other arts and community organizations.
Working within and across the organization, and with our communities,
to accomplish common goals.
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First CPAC gallery on Colfax Avenue, 1965
History and Impact
CPAC has programmed photography on and off-site for 50 years, always emphasizing
professionalism and a multiplicity of perspectives and approaches to the medium. As a
result, the organization has a high level of brand recognition, and has helped numerous
regional artists further their careers as artists and educators.
CPAC’s founders are among those who nurtured Colorado’s photo scene in the face of
institutional disregard for the medium, traces of which still linger today. CPAC’s legacy,
and that of similar minded institutions and individuals, is that photography is now more
readily accepted and shown throughout the region in institutions of all types, some of
which may have once spurned the medium.
REGIONAL AUDIENCE REACH
CPAC’s programs currently place an emphasis on the Front Range and Denver metro
areas due to the proximity of the organization. Further afield, the organization has
established developing partnerships throughout the “four corner” states of Colorado,
Arizona, New Mexico and Utah, particularly in centers such as Santa Fe, NM - one
of the most vibrant art markets in the US - and Tucson, AZ - home to the Center for
Creative Photography. As stated in its vision, CPAC aspires to serve the entire Rocky
Mountain Region in the coming years.
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Organizational Structure
SUMMARY
CPAC currently has an eleven-member board of directors ranging from professional
artists and arts faculty to local business professionals interested in the field of
photography. Its current staff comprises a full-time Executive Director and a part-time
Operations Manager that is supplemented with a group of talented interns, volunteers
and its working board. The organization’s goal is to add staff in the areas of fundraising
and marketing in the near future. CPAC also utilizes a group of quality teaching faculty
to provide its educational programs.
While CPAC is several decades old, it has been managed intermittently as a
volunteer-led organization and it is now entering a sustained capacity building and
growth stage as a professionally staffed, stable nonprofit organization.
STAFF
The staff of CPAC currently includes
two permanent positions, two consultant
positions and a number of much
appreciated volunteers.
Rupert Jenkins/Executive Director
Rupert Jenkins assumed the position of
Executive Director in November 2011 after
serving two years as Board Chair (2009-11).
Since 2009, he has organized numerous
photography exhibitions, events and
workshops for CPAC. As director, he
has focused on professionalizing the
organization’s operations, broadening the
scope of artists represented, diversifying
income streams, and raising the visibility
of the organization nationally.
During 2013 Jenkins curated solo projects
by Sharon Harper (Boston) and Vivian
Keulards (Holland), Michael Furman
(Denver), Tsutomu Yamagata (Japan), and
Hector Mediavilla (Spain). In addition, he
secured funding awards from the Colorado
Creative Industries, the Scientific and
Cultural Facilities District (SCFD) and
several corporate and private foundations.
During the year CPAC’s visibility was raised
through partnerships, event planning, and
aggressive use of social media, as well
as CPAC’s July 2013 relocation from
Lakewood to central Denver.
Rupert Jenkins/Executive Director
Staff
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Jenkins moved to Denver in 2005, and as
a returning student graduated from the
University of Denver with an MBA in 2007.
Resuming his arts career after graduation,
he curated “Hal Gould: A Retrospective”
for Redline, Denver (2008) and joined the
CPAC board in 2009. His career in the arts
of 24 years includes serving as Director
of the San Francisco Arts Commission
Gallery for ten years and six years as the
Associate Director of San Francisco
Camerawork (1989-1995). In 1995 he was
exhibition coordinator and book editor
of “Nagasaki Journey: The Photographs
of Yosuke Yamahata,” which opened
simultaneously in San Francisco, New York
City, and Nagasaki, Japan.
Special Event and Fundraising
Consultant. Assists the Executive Director
in grant writing research and preparation
and ensures that deadlines for applications
and final reports are met. In addition,
assists in the coordination of special events
and fundraisers.
BOARD OF DIRECTORS
To complement the limited staffing
capacities, the Board of Directors is being
diversified to magnify outreach and
networking, fundraising capacity, and
operational oversight. As of December
2013, CPAC is governed by an elevenperson Board of Directors, aided by
committees of board members and
Since becoming CPAC director, he has
invited professionals. Current members
reviewed photography portfolios for Photo of the Board of Directors include:
Alliance in San Francisco, the Society for
Photographic Education, CENTER Santa
Edie Winograde/Board Chair
Fe, and Houston Fotofest (March 2014).
Edie received an MFA in Photography
and Related Media from the School of
Operations Manager. Ensures that
Visual Arts in New York, and teaches
gallery business practices are exemplary,
photography at the University of Denver.
and that all facilities, including the
Her photographs have been exhibited in
darkroom and classroom, are well
museums and art venues across the nation
maintained and comfortable for all users.
and she currently is represented by
Reports to the Executive Director and
Robischon Gallery in Denver and the
supervises volunteers, interns, and the
Front Room Gallery in Brooklyn, NY.
education faculty; and is the public face
Her awards include an Aaron Siskind
of the organization. Ensures that all record Foundation Photographer’s Fellowship
keeping, registrations, and databases
and numerous artist’s residencies with
are accurate and updated, and that all
institutions across the country.
communications are clear and professional
in appearance.
Wayne Harris/Treasurer
Wayne is a marketing and business
Exhibitions Consultant. Manages
development professional who has
installations and coordinates volunteer
worked with consulting, accounting and
involvement. Reports to the Executive
law firms for almost 20 years. He grew
Director and is responsible for intake and
up in Memphis, Tennessee where he
return of portfolios, maintaining paperwork graduated with a bachelor degree in fine
including condition reports and artist
art and a graduate degree in city planning.
materials, and managing juried exhibitions. He collects a variety of fine art and crafts
Ensures that the gallery exhibition area
produced by artists throughout the
is prepped and professionally maintained; Southwest, and joined the CPAC board
prepares press releases and manages
after completing the Leadership Arts
distribution.
program held each year by the Colorado
Business Committee for the Arts.
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Monique Crine/Development Chair
Monique was born in Heidelberg, Germany. She obtained her B.A. from San Francisco State University, and her M.F.A. from
Cornell University. She is the recipient of
many awards including a Pollock-Krasner
Fondation Grant; CCA grant; the Bank of
America Award in Fine Arts; and a National MS Society scholarship. Since her first
show in 1996, Crine has exhibited across
North America, with solo shows in New
York, Denver, and California.
Conor King/Exhibition Committee Chair
Conor received his BFA in 2003 from the
University of Colorado at Boulder and his
MFA in 2007 from Pratt Institute. He has
been a member of the art faculty at the
University of Colorado since 2011. King
participated in a three year subsidized
studio artist residency at RedLine Denver
until 2012. He is a founding member of
Tank Studios, LLC and is on the Board of
Directors at the Colorado Photographic
Arts Center (CPAC) where he also assists
with exhibition development.
lections including the Art Institute of Chicago, the Denver Art Museum, the State
of Colorado, the University of Colorado
and the City of Denver. Gary received his
BA from the University of Colorado and his
MFA from the School of the Art Institute of
Chicago.
Carol Keller
Carol served 17 years as director and
curator of Emmanuel Gallery at the Auraria Higher Education Center; was on
the Board of the Alliance for Contemporary Art at the Denver Art Museum for six
years; and on the Board of Trustees for the
Museum of Contemporary Art/Denver for
five years. She has been a gallery owner,
participated on public art panels, juried
exhibitions and is now an art advisor.
Keller holds a Bachelor of Fine Arts and
Master of Humanities combining fine art
and communication.
Board
Donna Altieri
Donna has lived in Colorado since 1970
and holds a BA from Connecticut College,
and an MA in English and Education from
Columbia University in New York City. In
1980, she started Altieri Instrument Bags,
a basement enterprise that has grown
into an international business. Donna is
an active member in the Denver art world,
including the Denver Art Museum (Design Council and DAM Contemporaries),
the Museum of Contemporary Art, the
Kirkland, as well as supporting galleries
throughout the city.
Andrew Lillie
Andrew is a natural-resources and environmental lawyer in Denver, and an avid
photographer. He was a working journalist
before and during law school and has a
passion for photojournalism. Andrew has
served as a CPAC board member since
2011 and has been an active volunteer in
all various fundraising events during his
tenure, as well as offering his legal expertise to the organization when contracts,
and other legal matters have arisen.
Micah Messenheimer
Micah has been curatorial assistant in the
department of photography at the Denver Art Museum since 2010. Previously
he was a digital imaging specialist at the
University of Denver Visual Media Center
Gary Emrich
and assisted with archival inventorying and
Gary is a Colorado-based media artist/
research of the Vittorio Sella photographic
photographer with a 30 year exhibition
collection at the American Alpine Club
record including nine exhibitions at the
Library. He holds an MA in art history and
Denver Art Museum and a solo exhibition museum studies from the University of
in the Fuse Box Gallery in 2011. His work
Denver and an MFA in photography from
resides in numerous private and public col- San Francisco State University.
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Fa
Gary Reed
Gary Reed graduated from the Art Institute
of Colorado in photography, and since
1991 has been the General Manager of
Reed Art & Imaging. From 2004 - 2010 he
co-managed the Reed Photo-Art Gallery
in Denver’s Art District on Santa Fe and in
2005 became an art district board member. He is currently the Treasurer / VP and
has been an integral part of their growth
and success. Still an avid photographer, he
occasionally exhibits and sells his work in
various local galleries and art fairs.
TEACHING FACULTY
Valerie Santerli
Valerie received a B.A. in photography
from the University of Northern Colorado
in 1998. In 2003 Valerie became a dedicated volunteer at Working with Artists
photography school and in 2005 became
the Associate Director. Valerie has been
Gallery Manager at RULE Gallery in Denver
since 2007 and is the gallery assistant at
Evan Anderman Photography. Additionally
she mentors artists to develop their vision
and professional practice while continuing
her own freelance photography business.
Karen Divine (Creative iPhone) has won
numerous international awards including
the 2011 Discovery of the Year Nominee
from International Photography Awards,
The Lucie’s NYC, as well as First Place IPA
2012, 2011 and 2009; 2012 First Place
Fine Art with the Julia Margaret Cameron
Award and Emerging New Artist 2010;
First and Third Place Prix de la Photographie, 2012 First Place iPhone WPGA
Award just to name a few and is in numerous collections around the world.
Greg Cradick (Creativity Workshops) is
the former director of Working with Artists
(2006-2010). At Working with Artists, Greg
taught over 2,500 students in more than
250 different photographic workshops on
over 30 subjects. Greg has been included
in over 50 solo & group art exhibitions
all over the country. He regularly gives
lectures at museums and art institutions
around Colorado, and has curated many
regional photographic exhibitions in the
rocky mountain region.
George Jardine (Adobe Lightroom) has
a degree in commercial photography and
worked as a professional photographer
BOARD COMMITTEES
for over 10 years. His work has appeared
• Executive Committee - board
in Sports Illustrated, Better Homes and
recruitment, financial oversight, policy
• Fundraising – organizing special events, Gardens, Interior Design, and many other national publications. As Digital Video
outreach to donors
Evangelist for Adobe, George taught
• Education – curriculum development,
seminars and workshops in Premiere, After
oversight, advising
Effects and Photoshop. He currently teach• Exhibitions and Events – program
es Lightroom and digital photography
development, oversight, advising
workshops, including online video training
courses.
Jessie Paige (Creativity Workshops)
earned her MFA in Studio Arts/Photography from the San Francisco Art Institute
and her BFA in Photography from the Savannah College of Art & Design where she
was also the recipient of the Outstanding
culty
Achievement Award in Photography. Paige
has exhibited her work nationally and recently was a Visiting Artist at Wichita State
University. Paige teaches art at the University of Colorado-Denver and the University
of Denver.
Denis Roussel (Tintype/Alternative Process) studied chemical engineering at the
Ecole Nationale Superieure de Chimie in
Rennes, France, before completing an MA
(2003) and an MFA (2004), both in photography, at the University of Iowa in Iowa
City. He is a members of the adjunct faculty at the Community College of Aurora,
and has shown his work in several wonderful local venues: The Center for Visual Arts
in Denver, the Dairy Center for the arts in
Boulder, the Alliance Francaise de Denver.
VISITING ARTIST FACULTY
(SELECTED)
Shelby Lee Adams (Summer 2014) is
the author of three photography books,
Appalachian Portraits (1993), Appalachian
Legacy (1998), and Appalachian Lives
(2003). In 2010, Adams was awarded a fellowship from the John Simon Guggenheim
Foundation. His photography is in over
60 national and international collections,
including the Musee De L’Elysee Lausanne, the National Gallery of Canada, the
Whitney Museum of American Art, and the
Amon Carter Museum, among others.
Ed Kashi (Spring 2012/2013) is a photojournalist, filmmaker and educator dedicated to documenting the social and political
issues that define our times. A sensitive
eye and an intimate relationship to his
subjects are signatures of his work. As a
member of VII Photo Agency, Kashi has
been recognized for his complex imagery
and its compelling rendering of the human
condition. He has led two sold out seminars at CPAC (2012, 2013) and is a regular
visitor to the area.
David Taylor (Spring 2014) has photographs that have been exhibited and published widely. His examination of the U.S.
Mexico border was supported by a 2008
fellowship from the John Simon Guggenheim Memorial Foundation. Taylor’s monograph “Working the Line” was published
by Radius Books in 2010 and has received
numerous “best book” and design excellence awards. He resides in Tucson, Arizona and teaches in the University of Arizona
School of Art.
David Emitt Adams (Summer 2014) has
a practice that engages historical media to
create an informed dialogue about photography’s past and present. His work has
been exhibited at established institutions
such as the SOHO Photo Gallery in NYC
and The Studio in London, England. David
was most recently awarded the Freestyle
Crystal Apple Award for Outstanding
Achievement in B&W Photography.
Susan Meiselas (Spring 2015) joined
Magnum Photos in 1976 and has worked
as a freelance photographer since then.
She is best known for her coverage of the
insurrection in Nicaragua and her documentation of human rights issues in Latin
America. Her work is included in collections around the world. She has received
the Robert Capa Gold Medal (1979); the
Hasselblad Foundation Photography prize
(1994); and most recently the Harvard Arts
Medal (2011). In1992, she was named a
MacArthur Fellow.
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Progra
One x One exhibition at 1513 Boulder St, January 2014
Current Programs and Services
EXHIBITIONS
CPAC presents an extensive program of exhibitions with a strong emphasis on
contemporary ideas and approaches to the medium. Exhibitions present nationally
recognized artists from both Colorado and out-of-state, and regional artists who
are developing careers and refining concepts.
Each calendar year averages seven exhibition slots, spanning two gallery spaces for
a total of 11-15 separate shows. Exhibitions range from solo to group shows and
represent between 1 and 30+ artists in each.
Scheduled 2014 Shows (CPAC Gallery):
January 9 – February 15, 2014
Juried Show – Juror Eric Paddock, Curator
of Photography, Denver Art Museum
February 27 – April 12
David Taylor (Tucson, AZ); Ignacio
Evangelista (Spain)
April 17 – May 284
Group show curated by Conor King
May 29 – June 28
2014 Members’ Show
July 10 – August 16
Binh Dahn (San Francisco, CA) + David
Emmet Adams (Tucson, AZ)
August 28 – September 27
2014 CENTER Santa Fe Award Show
October 2 – November 1
Jessamyn Lovell
November 13 – December 20
Picture.Me.Here
Scheduled 2014 Shows (Off-site):
January 26 - March 30, 2014
Prelude - photographs by The Rocky
Mountain Monochrome Salon.
Location: Denver Central Library,
14th and Broadway, 5th Floor Gallery
August – October, 2014
Fashion – group show curated by
Natascha Seideneck.
Location: McNichols Building, Denver
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EDUCATION
The CPAC education program of classes, workshops, and seminars is the most
established of its kind in the Denver Metro region and is geared toward creative
development for artists seeking to further their skills and careers. Short, intensive
workshops that have inter-generational appeal are emphasized, including iPhone,
pinhole, and alternative processes as divergent as wet-plate and photo kite making.
For some months, CPAC has been aligning the education program with its exhibition
schedule, with the intention of presenting a more cohesive focus to its programming
and to reduce its reliance on tech-heavy and beginner classes, which are highly
competitive and have seen reduced enrollment in recent years.
ms
While most workshops are taught by a faculty of local photographers and arts
professionals, CPAC has secured more nationally recognized artists for its higher profile
programs in 2014. This is intended to raise the profile of the programming generally
and to increase earned income while reducing the administrative load of programming
multiple smaller classes.
Due to space constraints at the Boulder Street gallery, currently most classes are taught
off-site at the Art Students League of Denver, at CPAC’s darkroom in central Denver,
and at various artist studios. We anticipate that higher profile classes will attract more
out of state registrants and plan to explore how our future facility can cost effectively
house many of the classes now scheduled off-site.
Gallery Standards seminar, February 2014.
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COMMUNITY PARTNERSHIP EVENTS
Community partnerships leverage new audiences and raise awareness for CPAC and
the photographic arts in Colorado. Projects supplement the core exhibition and
education programs and also benefit fundraising. Community Partnerships events for
2013 included:
• Film Series: Double Exposure – The World of Photography in Film.
Programmed with the Denver Film Society.
• Black & White Social – informal meetings every second Tuesday of the month,
co-hosted with the Rocky Mountain Monochrome Salon.
• Duane Michals lecture – at the Denver Art Museum and in partnership with
the University of Denver.
• Classes and workshops – at the Art Students League of Denver.
• Family Portrait Day – at Denver Botanic Gardens.
• Picture.Me.Here – a photographic storytelling project for refugee teens
living in Denver.
• Kids Photo Week – seven days of youth classes at organizations
throughout Denver.
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Financial Overview
BUDGET AND FUNDING SUMMARY
Operating income is currently derived from individual donations, classes and workshop
fees, annual membership dues, fundraisers, and grants. CPAC also receives funding
from the Scientific and Cultural Facilities District (SCFD), as a Tier III organization.
Members joining at the $250 level and above are eligible to receive limited edition prints
produced for CPAC by some of the region’s most collectible photographers. Corporate
and individual sponsorships are available for outreach projects and exhibitions.
2013 CPAC Revenue Sources
$22,138
14%
Workshops
$29,511
$20,770
18%
Individual Donations
13%
Grants
$23,818
15%
Memberships
Fundraisers
$10,160
6%
Business Enterprises
$53,594
34%
INCOME AND EXPENSE PROJECTIONS
Income
Expenses
FY2014 Projected
FY2013 Actual
FY2012 Actual
FY2011 Actual $201,400
$159, 991
$135,774
$165,457
$195,358
$146,536
$155,446
$165,202
51 YEARS
CPAC History 1963 – 2014
1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980
May 1963: CPAC founded. Certificate of Incorporation signed by Eugene Lang
(Founder/Chair/First President), Jim Milmoe (Vice President), Glen Thrush
(Secretary) and 12 others, including Hal Gould.
November 1963: Inaugural Dinner at the Brown Palace Hotel. Host Ivan Dmitri
tells an audience of 167 that “the center will enrich the aesthetic and cultural
content of your community life in Denver.”
Permanent Collection established with gifts from
Yousuf Karsh, Phillippe Halsman, Ansel Adams and others.
July 1964: IRS 50 I (3c) non-profit status approved. Plans to establish a photography
center at the Pavilion in City Park presented to Denver City Council.
January 1965: First gallery space at 1503 E. Colfax Ave., Denver, is active for just two years.
October 1967-72: CPAC operates as center-without-walls for first time.
Non-accredited School of Photography founded.
August 1972: CPAC’s second gallery at 130I
Bannock Street is located less than a block
from the Denver Art Museum. The building is
owned by Board President Eugene Lang.
Program highlights: Philippe Halsman,
Paul Strand, Judy Dater.
1966: Fine Arts V review
April 1979: CPAC Exhibition Chair Hal Gould opens Camera Obscura Gallery next door.
1972: Exterior of 1301 Bannock Street gallery
1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998
June 1982: CPAC leaves Bannock Street, begins second phase as
center-without-walls.
Program highlights: Richard Misrach, Patrick Nagatani.
April 1998: CPAC shares space with the Carol Keller Gallery at 1513 Boulder St, Denver. A seven-year period of high activity begins under direction
of R. Skip Kohloff (President) and Lisbeth Neergaard Kohloff (Gallery
Coordinator).
Program highlights: Jerry Uelsmann, Emmett and Elijah Gowin,
Ronald Wohlauer, Susan Goldstein, Sally Stockhold, Betty Hahn.
2003: Exterior of 1513 Boulder Street gallery
2000: Personal Vision Awards established. Project Grant recipients: Gary Lynch,
Julie Larsen, Michael Butts, Loay Boggess, John Bonath, David Sharpe.
April 2006: CPAC transitions for third time to a center-without-walls run by a volunteer
Board of Directors. R. Skip Kohloff and Lisbeth Neergaard Kohloff leave the board, having
served 27 and 24 years respectively.
April 2006 – July 2011: Center-without-walls. Off-site exhibitions include
R. Ewing Stiffler retrospective at Roach
Photos, and “(REAL) Photographic
Constructs” at CVA Metro Gallery, voted
“Best of the Year” by Westword.
2007: “(REAL) Photographic
Constructs” collaboration with
Metro State College
August 2011-13: CPAC merges with
Working with Artists (founded by Marcia
Wynne). Moves into WWA facility in Lakewood,
operated by paid staff for first time in its history.
Program highlights: Vivian Keulards, Ed Kashi, Laura Shill, Portfolio Reviews.
2011: CPAC Board (before merger with WWA)
1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
March 2013: Hal Gould Vision in Photography Award established.
First recipient: Mark Sink.
June 2013: Final show at Belmar. CPAC
relocates to former gallery space on Boulder
St. in Denver. Landlord is Carol Keller, now a
board member.
July 2013: Programming resumes in Denver
with most classes off-site.
Program highlights: Picture.Me.Here, Tsutomu
Yamagata, Developing Dialog lecture series.
2013: Mark SInk and Hal Gould at award dinner
August 2014: Strategic Plan unveiled.
Proposes relocation to multi-purpose facility by July 2015.
2012: Ed Kashi review
No history of CPAC is complete without acknowledging the pioneering
contributions of early Board Presidents Eugene Lang (1963-1979), Dick
Nosbisch (1979-1982), Glenn Cuerdon (1982-1986), and R. Skip Kohloff
(1986 to 2005). Grateful thanks are also due to the many other Board
Presidents and members who sustained CPAC as a center-without-walls,
surely the situation when commitment is most needed and belief is
most tested.
2014: One by One installation Photo by Ron Pollard
16
The Plan
Strategic Plan Components
OPERATIONS PLAN
CPAC recognizes the importance of having its operational functions provide high levels
of efficiency and effectiveness as the organization moves forward with the implementation
of its strategic plan. The Board of Directors has identified the following areas as key to
increasing the organization’s sustainability and has already begun to work on select
components as noted below. Included are both short and long term needs, however, all
will add greatly to the tools and ideas needed for ongoing development of the strategic plan.
•Financial policies, procedures and oversight – CPAC’s financial team,
including its treasurer, executive director, operations director, and
volunteer accountant and bookkeeper has developed a Policies &
Procedure Manual for the organization that was recently approved by
the Board of Directors. The effort has already resulted in better usage
of a standardized chart of accounts, more accurate accounting of both
income and expenses, and a higher level of confidence in Board reports.
•Increased volunteer support – Volunteer support is vital to CPAC’s ability
to keep its operations running smoothly on a daily basis. The organization
has been fortunate to have talented, long term volunteers that assist in
exhibitions, workshops and various office related needs. The organization
has identified a need to add to this support and plans are to conduct a
comprehensive review of the needs moving forward and solicitation of
additional support during the spring of 2014.
•Board recruitment strategy and establishment of Board member policies –
Supported by a gap analysis that will be conducted to identify missing
skill sets, CPAC intends to grow its current board to at least 15 members.
In addition, the Executive Committee will develop Board Member Policies
including member contracts that outline financial, attendance and
participation expectations; as well as conducting board training in areas
of recruitment and fundraising.
•Staffing – In order to support a new facility and programming, CPAC
anticipates a part-time staff member with expertise in marketing and
development will be needed by the fall of 2014. This new position will
develop and implement the organization’s annual fundraising efforts,
manage the system for tracking giving, oversee the marketing plan
development and implementation, as well as other related activities.
•Secure a new system for tracking memberships and giving – A Board
Task Force will begin a process in the spring of 2014 to identify a new
member and donor tracking system that is appropriately sized and cost
effective for the organization’s anticipated growth over the coming years.
Interim measures are currently in place to track membership and individual
giving, and approximately 3 years of data will be available for loading
once a new system is secured.
17
NEW FACILITY PLAN
CPAC’s current facility is a transition space that allows CPAC to develop its plans for a
move into a permanent space. Current limitations include a lack of appropriate classroom
and event space, appropriate equipment for teaching and creating exhibitions, and space
for hosting events such as lectures and workshops. In addition, CPAC has a classroom
and a darkroom offsite, so consolidating its various satellite spaces under one roof is
crucial.
A multi-purpose facility (approximately 5,000 – 6,000 sq. ft. total) will enable CPAC to
meet its programming goals and oversee services such as darkroom rentals that right
now are difficult to monitor. It will create an active, energized space in which the
exhibition and education programs coexist and support each other in a reciprocal way.
A more visible facility also benefits the City of Denver because any increase in visibility
to CPAC further enhances the reputation of the City as a cultural hub.
To support its vision and specific programming goals, CPAC future facility will support:
•three simultaneous exhibitions of unrelated work (i.e., collection or historical;
contemporary or fine art; and project-based or site-specific installation)
•a darkroom for hosting artists-in-residence and classes
•classroom space
•administrative and programming staff offices
•digital equipment for workshops, residences, and/or producing exhibitions
•seated events such as lectures and forums (up to 80 people –
larger events will be held offsite)
Some of the models for the facility and programming discussed next include:
•Center for Photography at Woodstock
•LightWork, Syracuse
•Houston Center for Photography
•San Francisco Camerawork
CPAC has appointed a Board of Director-led Facility Planning Committee, which has
been charged with the task of developing a detailed permanent facility plan over the
next year. This committee will oversee the discovery process for CPAC’s permanent
location. The committee will answer key questions regarding ideal size and attributes,
lease vs. purchase options, desired location within Denver, specific layout, renovation
and/or build-out requirements, and costing information.
The exploratory/discovery phase of planning will be completed by summer 2014;
active engagement with possible locations and venues will begin in Fall 2014. CPAC’s
goal is to move into its permanent facility sometime in 2015/16, depending on the
requirements of the needed facility.
18
PROGRAMMING PLAN
With funding being a challenge in any market in the U.S., small institutions are learning
to operate on limited budgets and within their means. Often this means becoming more
of a community-oriented or grass roots operation, tailoring space to programs, and not
over-reaching in terms of programmatic or brick-and-mortar expansion.
CPAC has responded to limited funding issues by reorienting the education program
toward workshop intensives and gallery-based events, while eliminating programming
which would incur high start-up and maintenance costs. The following graphic explains
the organization’s desire to “Support the Core,” of its exhibition schedule, by surrounding
it with programming that will help to meet the needs of the Denver art community as
CPAC grows into its role as the regional hub for contemporary photographic arts.
Programs Aligned to Exhibitions
PRINT COLLECTION
EDUCATION
Acquisitions
Gallery Exhibitions
Online Exhibitions
Searchable Database
Traveling Shows
Creative and Career Growth
4 hr to 4 day Workshops
Visiting Artists
Regional and National teachers
Partnership with ASLD
Darkroom (Onsite 2015)
EXHIBITIONS
CONTEMPORARY
HISTORICAL
MEDIA
YOUTH
EVENTS
Camps
Mentoring
Kids Photo Week
Picture.Me.Here
World-Wide Pinhole Day
Fall & Spring Lecture Series
Themed Series—
Developing Dialogs
One-Time Presentations
Portfolio Reviews/Critiques
Examples of this type of programming include:
•Community programming (youth after school, summer camps, Kids Photo Week,
Picture.Me.Here., etc)
•Local Partnerships (Art Students League, Denver Art Museum, Month of Photography,
University of Denver)
•Regional Partnerships (Society of Photographic Education/SW, Center Santa Fe;
Center for Creative Photography; Houston Fotofest)
•Workshops by Visiting Artists (Shelby Lee Adams, David Emmet Adams, Binh Dahn)
An important goal of this new programming model is to introduce an artist-in-residence
program at the new facility which will intersect with both the education and exhibition
programs. Artists would have use of the darkroom and a basic digital lab, as needed;
and would teach workshops and develop an exhibition of their own and/or their students
work during the time of their residency.
19
FUNDRAISING PLAN
Developing and enhancing diversified funding streams helps ensure sustainable revenue
cycles. CPAC will conduct a comprehensive analysis of its funding structure to identify
areas for improvement in the organization’s current revenue vs. expense picture for
both programming and operations. From the analysis, CPAC will work to develop a
comprehensive fundraising strategy to address the opportunities for improvement.
To expand fundraising capacity, CPAC’s anticipated new marketing/development staff
hire will have experience developing basic fundraising programs and goals that are tied
to marketing.
CPAC will work to grow its funding capacity in the coming years through the following ways:
• Membership
• Grants
• Special Events
• Annual Giving
(details, next page)
At the inaugural “Hal Gould Vision in Photography Award,” Table 6, March 2013
20
FUNDRAISING PLAN, continued
Membership
CPAC has a strong membership base that plays an important role in its annual funding
and the organization believes an even larger group can be secured in the coming years.
The organization offers special benefits to members, including discounts on classes,
events and lectures, and entry in to juried exhibitions; as well as the opportunity to
collect artist’s work through the membership print program.
CPAC anticipates that future membership benefits will be enhanced even more by the
new facility and intends to pursue the following activities to support its efforts:
•Conduct an annual survey of the existing CPAC membership; and conduct a survey
of all new members within their first 60 days.
•Identify potential groups to target as members.
•Seek enhancements to membership as surveys indicate are desired.
•Look for opportunities to make CPAC approachable to non-artist fans of photography.
Grant Writing
•Research grants to locate annual grant targets that fit programming
•Based on results, develop a grant calendar for specific programs and determine how
much is needed each year to fill the gap.
Special Events
•Expand audience for special events
•Putting on a strong event:
•Form a Special Events Committee (Equivalent of CPAC’s Fundraising Committee)
including two co-chairs for each event
•Solicit corporate sponsorships by designing a strong benefit package
•Give attention to event details such as pledge cards, thank-you letters, and adding
attendees into CPAC’s mailing list
•Schedule an event debriefing; and post-event personal visits.
Annual Giving
•CPAC will grow its annual giving program by developing a long-range individual
donor cultivation strategy. Raising money from individuals is the most consistent and
controllable source of revenue and is the feeder system for wills/bequests and
planned giving instruments.
21
MARKETING PLAN
CPAC has developed marketing objectives that are designed to strengthen the
organization’s brand as a community-driven institution dedicated to fostering the
understanding and appreciation of photography in all aspects and genres through
promotion, exhibition, and education. As is seen throughout this Strategic Plan
Overview, the organization has strong messages that support its efforts to achieve
its vision and provide a strong foundation for its marketing objectives.
The following are the key elements of the CPAC marketing plan:
•Establish a strategic marketing focus throughout the organization by:
• Utilizing research techniques such as surveys and other feedback tactics that enable
regular review of and improvements to programs and services. This is critical to
retaining and strengthening CPAC’s engagement with existing relationships, as well
as establishing and building new relationships for the organization.
• Periodically conducting competitive research to gauge the organization’s success in
differentiating its programs and services in its market areas.
• Being disciplined in creating strategic marketing plans that support established
objectives including tactics, responsibilities, time lines and budgets.
•Develop and implement a comprehensive brand strategy that is fully integrated
across the organization by:
• Clearly differentiating CPAC from other sources/options for contemporary
photography and other lens-based media.
• Ensuring brand consistency throughout CPAC including messaging and imagery.
• Keeping CPAC’s photographic legacy an important element in its branding.
•Identification of partnerships with organizations that offer effective co-branding
opportunities to reinforce CPAC’s position as a highly valued institution in its
market areas.
•Increase awareness that builds credibility for the CPAC brand in the community
through:
• Proactive public relations activity that increases media coverage about exhibitions,
programs, accomplishments, community involvement, people, etc.
• Community outreach via speaking presentations to targeted community and
cultural organizations that reinforce CPAC’s leadership position in the photographic arts.
• Hosting strategic gatherings of “influencers” outside CPAC’s existing relationships
in the Denver art world for special events or VIP openings at CPAC.
•Create opportunities for the board, staff, and executive director to connect with
key influencers in one-to-one settings to promote the CPAC vision plan and grow
awareness of the organization in the arts community.
•Attend major arts-related events around the Denver metro area to promote the
CPAC vision plan and strengthen the organization within the larger arts community.
22
Conclusion
A broad interest for photography and the media arts is already proven
to exist in the Denver Metro area and the Colorado Photographic Arts
Center is in a strong position to enter a new stage of continued growth.
With investments in operational capacity building; major efforts to
broaden its audience, friends and supporters; and a dedicated
assessment of its space needs as it prepares to move to a permanent
facility, CPAC will achieve its vision to be the premier lens-based
media and photographic resource center serving the diverse cultural
and creative communities of the Rocky Mountain Region.
CPAC extends its appreciation to all of the members, friends, visitors,
sponsors, partners and numerous other supporting organizations for
their ongoing commitment the vision and mission outlined in this
Strategic Plan Overview. We invite everyone to join us by taking a
greater role in personally supporting CPAC as it works to achieve the
vision and goals outlined in this Plan, and especially to achieve its
desire for a permanent facility.
Please contact the office and learn more about membership, volunteer
opportunities, committee involvement and ways to financially support
our vision.
Colorado Photographic Arts Center
303.837.1341 office
[email protected]
1513 Boulder Street
Denver, Colorado 80211
Begin search development phase
Begin 2014 lecture
series
Hal Gould VIP Award Dinner
Marketing
Develop annual giving drive
Hal Gould VIP Award Dinner
Develop rebranding geared towards new facility
SCFD Grant application
Membership drive
Colorado Gives Day
McNichols Bldg. Fashion Event
Denver Botanic Garden Portrait Day Event
Marketing plan research and development
Identify marketing plan leadership/sponsorship
SCFD Grant application
Membership drive
Membership survey
Fundraising
Juried
exhibition
Move to new facility
Staff development
Implement new branding with
move to new facility
Colorado Gives Day
Annual giving drive
DBG Portrait Day Event
Shelby Lee Adams
Begin 2015 lecture series
Youth Summer Camps
Center (Santa Fe) Award show
Workshop
Youth Summer Camps
Month of Photography reviews,
Fashion in Photo show
exhibition at Redline
Binh Dahn +
Members
(McNichols building)
Juried exhibition
David Taylor +
David Emmet
juried
Ignacio Evangelista
Picture.Me.Here
Adams
exhibition
Programming
Board of Directors at full 15 members
Recruit new Board members
Active site identification
Staff development
Identify and implement member and
donor tracking software
Establish Board facility search committee
CPAC Facility
Implement new accounting
Policies and Procedures
Manual
Operations and procedures
2015
˙2014
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Strategic Plan Timeline

Strategic Plan Overview

Transcription

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