Survey: Brooklyn Arts Exchange

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
Before 1950
1c. Organization's annual budget.: 
$500,001 - $750,000
1b. Primary activity[ies] of the organization.: 
Performance Space
Part 2.
2a. Mission Statement: 
To provide a nurturing, year-round, performance, rehearsal and education venue in Brooklyn that encourages artistic risk-taking and stimulates dialogue among diverse constituencies.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
BAX/Brooklyn Arts Exchange, a professional multi-arts center, is a neighborhood home for the arts and recognized citywide and nationally for its work “developing” artists. BAX is recognized as an advocate of cultural diversity and inventiveness. BAX received a Special Citation in 1998 from the New York Dance and Performance Awards (“Bessie’’) for “building a house and a home for the arts in Brooklyn … championing the vital connection of accessible education to the life and livelihood of artists; for imagining, supporting and leading a wildly diverse, aesthetically vocal community…” BAX is a place that connects people. It is a rigorous forum for ideas and creativity as well as a nurturing place to stay or visit: an arts center where unlikely partners intersect. It is a place that welcomes people who wish to challenge their minds and hearts, and a safe space where emerging and maturing artists come to begin, or to become a beginner again. Children discover theater and dance, become teenage playwrights and choreographers, and return as young adults to teach and complete the cycle. BAX offers a full-range of services including an annual presenting season; on-site educational programs in theater, performance art, and dance, and in-school education programs at five public schools in Brooklyn. BAX celebrates its 15th anniversary in 2006.
2c. Exhibition / Programming / Publishing History.: 
PERFORMANCE SERIES & ARTIST PROGRAMS • New Work – New Audiences – in Brooklyn. This series offers artists the opportunity to develop and premiere new work and receive the artistic and production support that supports it. It features commissioned works, special interest projects and targeted festivals. • The BAX Platform. A hybrid conversation series combining the best of your front stoop and kitchen table with the unique perspective of the newsmakers – making sure all things are considered. Topics in the 2005/06 series include Gay Marriage, Who Gets the Gowanus?, and Crossing the Boulevard (new immigrants to NYC). • First Weekends New Performance & Discussion Series. These programs feature multiple artists in back-to-back shared performances, including artist’s commentary about their work. • Groundhog Series for Family Audiences. These interactive programs, which are often preceded by hands-on educational workshops, are specifically designed for children and their families. • Women’s Performance Festival. Featuring dance, theater, visual art and workshops by women. • Artists-in-Residence. Four exceptional artists are provided with a home base for a one-year period. The residencies offer rehearsal space, formal presentations of new works and works in progress, administrative and technical support, and a tangible sense of permanence and place. Artists serve as mentors and guest curators. Current 2005/2006 artists are choreographers Faye Driscoll and Shannon Hummel, and Theater/Performance Artists Allison Farrow and Fernando Maneca. • Subsidized Rehearsal Space and Space Grants. This program has provided free rehearsal space grants to dozens of artists and groups, and reduced-cost rehearsal space to hundreds of artists. In the 2005/06 season, six dance and theater artists received 70 hours of space and presentation of their works-in-progress.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Marya Warshaw
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Vanessa Adato
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Non-Profit [IRS certified]
5b. Type of organization currently, or at the termination of activities.: 
Non-Profit [IRS certified]
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
The possibility of rent raise resulting in fiscal endangerment of organization or resulting in move to a less ideal location.
Part 7.
All of the above
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
7b. Has planning for the preservation and documentation of archive begun?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Other Concerns - Please describe below.
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
Office of Private Individuals Former Artists
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
When staff needs to access administrative archives, we go to the back and pull down archive boxes. When artists call to access videos of past performaces, we cross our fingers and look at video archive boxes.
Part 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
A written request could be made and then video archives would have to be viewed on site.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
11b. Artwork and Documentation: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
11 - 20
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
1 - 10
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
31 - 40
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16c. Electronic Based:: 
Spreadsheet [i.e. Excel]
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
16g. Who is responsible for working with the archival material?: 
General Staff
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Standard office heating / air conditioning / humidity controls running 24 hours / 7 days
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
20b. What are the biggest challenges to reaching these short-term goals?: 
other priorities
20c. What goals are in place for the historical materials for the next three to five years?: 
Re-examination to determine contents
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Somehow documenting an oral history that doesn’t exist in any archive
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
Part 23.
23e. Not Applicable: 
Not Applicable
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
24e. Not Applicable: 
Not Applicable
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
We are primarily a performing arts organization. Our video archives are of past live performanes. Our visual art exhibitions are archived only in administrative materials.
Who executed this survey.: 
Julie Betts, Office Manager
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: