AS-AP

Survey: Contemporary Arts Center

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1976
1c. Organization's annual budget.: 
Over $1,000,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
Due to Hurricane Katrina we do not have access to all of our records. I can provide the current Vision Statement and Mission Statement. Vision Statement: Our vision is that the Contemporary Arts Center in New Orleans be a multi-disciplinary arts center, nationally recognized as a leader in the presentation and support of contemporary arts, artists and emerging art forms. In doing so, it will explore and involve the diverse cultures of our communities. Adopted October 11, 2001. Mission Statement The CAC is a multi-disciplinar arts center, financial stable and professionally managed, which is dediated to the presentation, production and promotion of art of or time. It accomplishes these by organizing curate exhibitions, performances andprograms, educating and enlarging audiences, and encouraging collaboration among diverse artists, institutions, communities and supporters. Adopted October 11, 2001
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Located in a 1905 warehouse in downtown New Orleans, the Contemporary Arts Center is a dynamic incubator of multidisciplinar contemporary art forms and trends in-the-making. Since 1976 the pioneering organization has carried out its mission of serving the public throughan active progamm, which includs music, visual arts, theater, dance, film and video and educatoin for children and adults. In its infanc, the CAC jumpstarted a cultural edvolution in New Orleans by plahying a major role in the re-building of a derelict warehouse district. Today, the CAC celebrates the tenacity it shares with America’s most European of cities as it stands at the gateway of one of our country’s major arts corridors. Dozens of art galleries thrive nearby; the National D-Day Museum is now our neighbor, and the Ogden Museum of Art is across the street. In 1999, Sydney J. Besthoff and his family continued their long dedicated support by donating to the CAC the building we have occupied since our inception. A strategic plan in 2002 points us toward utilizing that facility for fiscal stability. Innovative, quality programs combined with an improved and expanded facility and a commiment to a new endowment will ensure CAC’s future successes. In 2005, Hurricane Katrina caused considerable damage to our building, and the staff was subsequently reduced from 35 to 8 full-time employees. Most of the building has been repaired (41 windows, the roof, a/c has been restored). In the next two months, the elevator will again be working and offices damanged from an overturned watertower on the roof will be rebuilt. Until then, we continue working on our laptops in our former CyberCafe. Other changes on the road back towards normalcy will occur gradually.
2c. Exhibition / Programming / Publishing History.: 
Under the leadership of Curator of Visual Arts, David S. Rubin and CAC Executive Director Jay Weigel, who is Performance Programmer for the organization, the CAC has presented exhibitions of national, international, and regional imporatance over the past six years; solo and group shows have been presented, and all mediums have been represented. Under Rubin, a publications program has been set in place, including hardcover monographs on Douglas Bourgeeois and Willie Birch (the latter due in June 2006). Publications currently available can be found at: http://www.cacno.org/visualarts/publications.html
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Don Marshall percentforart@yahoo.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jeanne Nathan jnyno@aol.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Robert Tannen jnyno@aol.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Sydney Besthoff sjb3@bellsouth.net
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
Yes
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?: 
Yes
6c. Other threats to the organization:: 
Hurrcane damange
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
Yes
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Lack of Staff
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
Yes
8a. Location: 
Early records are at The Historic New Orleans Collection
8b. Archival materials are also located at:: 
Unknown
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Yes
Part 10c.
10c. How are arrangements made for access to archive?: 
Early records can be viewed at The Historic New Orleans Collection by appointment; there are no provisions for more recent records here at the CAC
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Brochures
Publication or Merchandise Catalogues
Other:: 
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Flat Files
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
I don’t know
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
14b. Estimated Number of Archive Drawers: 
----
14c. Estimated Number of Archive Notebooks: 
----
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: 
----
or: 
I can’t access the material to determine this
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
No
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
No
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
no one
Part 17.
17. How are new materials processed?: 
No System
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?: 
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?: 
none--we are recuperating and rebuilding from Hurricane Katrina
20b. What are the biggest challenges to reaching these short-term goals?: 
1.
20c. What goals are in place for the historical materials for the next three to five years?: 
1.
20d. What are the biggest challenges to reaching these long term goals?: 
1.
20e. Are there any additional goals for the organizations historic materials?: 
1.
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
----
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
----
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
No
Finish
survey_field_150: 
Contemporary Arts Center
Who executed this survey.: 
David S. Rubin
Is this survey complete and all appropriate questions answered?: 
Yes