Survey: DiverseWorks Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$500,001 - $750,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
DiverseWorks is a non-profit art center dedicated to presenting new visual, performing, and literary art. DiverseWorks is a place where the process of creating art is valued and where artists can test new ideas in the public arena. By encouraging the investigation of current artistic, cultural and social issues, DiverseWorks builds, educates, and sustains audiences for contemporary art. (Approved by the Board of Directors May 17, 1998. From the 1998-2002 and the 2004-2007 Strategic Plans.)
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Now in its 24th year, DiverseWorks continues to be an artist-inspired organization dedicated to presenting provocative new works in the visual, performing and literary arts. Founded by artists in 1982, DW was originally situated downtown at 214 Travis and helped revitalize the Market Square area of downtown. In 1989, DiverseWorks moved six blocks north to a 1920’s former cotton warehouse in the Warehouse District. DiverseWorks is a leader of the nationwide movement of artist-centered organizations, and is a vital presence in national organizations such as the National Performance Network, the National Association of Artists’ Organizations, and the National Dance Project. DiverseWorks serves as a forum for issues and work that have no other public outlet in Houston, playing a similar role nationally, DW provides first-time commissioning opportunities for emerging artists and acts as a catalyst for young artists and arts organizations. The organization’s support of challenging work by local artists, especially those considered too young or controversial to be featured in the city’s galleries and museums, contributed to Houston’s emergence as a leading art center in the 1980s. Other recent projects and successes include originating the national touring exhibition of William Pope.L:eRacism, a show that has won awards from the American Association of Museums for best catalogue, and from the International Art Critics Association for best show in an alternative space. Visual arts exhibitions have also included major exhibitions by artists such as Maria Elena Gonzalez (2002), Paul Henry Ramirez (2002), and David McGee (2003). In the performing arts, new and continuing projects such as the Houston Residency Program, Monday Night Footfall, and 12 Minutes MAX! continue to support Houston artists while presenting new works to Houston audiences. DW is also well known for bringing to Houston some of the nations’ hottest talent, including performer Miranda July (2001), choreographers Bill Shannon (2001) and Jennifer Monson (2004) and musicians Susie Ibarra (2000) and Eve Beglarian (1998, 2000, 2004). DiverseWorks remains committed to nurturing other arts institutions in Houston and around the country in order to further broaden the reach of its programs. Accomplishments include organizing the Houston Coalition for the Visual Arts, being the first fiscal agent for Project Row Houses and making a three-year commitment to commission new works by the then-fledgling theater company Infernal Bridegroom Productions. DW recently completed a successful two year incubation with activist literary organization Voices Breaking Boundaries. DiverseWorks’ partnership with local schools and community centers has flourished. The organization’s education program currently provides an annual teacher training program on contemporary art and artists, after-school programs in partnership with the Education Foundation of Harris County, and an annual artists residency for members of the Houston Area Teen Coalition of Homosexuals. DiverseWorks hard work and successes have been recognized on many fronts have been consistently recognized and supported by numerous funders, both regional and national. DW has been awarded prestigious grants from the Andy Warhol Foundation for the Visual Arts, Houston Endowment Inc., the Rockefeller Foundation, Institute of Library and Museum Services, and the Ford Foundation and had been noted by the National Endowment for the Arts as a top multidisciplinary arts center in the U.S.
Website Link to Organization's History / Organization Overview:
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Sara Kellner
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Diane Barber
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Sixto Wagan
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:: 
Are there other threats to your organization? Please describe below.
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?: 
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?: 
Lack of Staff
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?: 
Former staff and board.
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 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
If they were willing to access the archives in the summer when we are between shows, and assist us in organizing these archives.
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
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials - Please describe below.
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Broadsides / Small Press
Commercially Published Materials
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?: 
Banker Boxes
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: 
41 - 50
14b. Estimated Number of Archive Drawers: 
11 - 20
14c. Estimated Number of Archive Notebooks: 
31 - 40
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: 
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?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
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?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
Disaster Plan
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
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Evaluate condition of collecttion
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
To have everything organized in archival boxes
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$2,001 - $3,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$4,000 - $5,000
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?: 
Who executed this survey.: 
Sara Kellner
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?: