Survey: Downtown Art

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$100,001 - $250,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Transient Organization for Performance
Artist Group / Collective
Part 2.
2a. Mission Statement: 
At its founding in 1987, Downtown Art’s mission was to support and produce the work of emerging artists working in contemporary forms of theater, dance, and music. Activities included fully producing new works for presentation in our own home theater at 64 E. 4th Street, or at other presenting theaters such as PS 122, Dance Theater Workshop, and BAM. These productions also toured nationally and internationally. Downtown Art also worked as a presenting organization, presenting work at our small theater, and providing artist residencies (free rehearsal space) for many of them. In addition, Downtown Art offered subsidized management and administrative services for small non profit arts groups and individual artists. In 1995/96, Downtown Art began a transition. Founding company member Ryan Gilliam was now Artistic Director, and the company’s home at 64 E. 4th Street was closed for extensive renovation. Ms. Gilliam’s interest in the intersection of art and community led to a temporary housing of the company at Judson Church, and when Downtown Art re-opened on E. 4th Street in 1997/98, it was now a theater creating contemporary work with teen artists. Downtown Art’s current mission is to create and develop new work in theater and other disciplines in collaboration with young artists. More about our current mission can be found on our website at
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Please see above and below. For information on Downtown Art’s ’second life’ working with youth, please visit our website at
2c. Exhibition / Programming / Publishing History.: 
DOWNTOWN ART – Recognitions for Company and Productions OBIE Grant Award to Downtown Art for its programs serving artists, 1992 OBIE Award to A COOL MILLION by Dan Hurlin (Producer) NEW YORK DANCE AND PERFORMANCE AWARD (“Bessie”), to SEVENTEEN KILOS OF GARLIC by Dan Froot (Producer) NEW YORK DANCE AND PERFORMANCE AWARD (“Bessie”) for Design to QUINTLAND by Dan Hurlin (Producer) NEW YORK DANCE AND PERFORMANCE AWARD (“Bessie”) to WINDOW ON THE NETHER SEA by Paul Clay, Lora Nelson, and Cydney Wilkes (Presenter) Downtown Art. – Produced Work: 1988 - 1994 Produced works by emerging professional artists at home theater and other theaters in New York. Representative list includes: YOUNG, VERY YOUNG, VERY, VERY YOUNG, Dan Froot, presented by Dance Theater Workshop WALTER’S FINEST HOURS, Susan Marshall, co-produced with Susan Marshall & Company A GUN, A BOOK, A PHOTOGRAPH, A NAME, by Janie Geiser and John C. Russell BREATHING IT IN, by Eduardo Machado QUINTLAND, by Dan Hurlin, presented by Dance Theater Workshop THE PARTIAL TRUTH, by Dan Froot and David Dorfman, presented by Dancespace/St. Mark’s CANAL ZONE, by Roger Arturo Durling SEVENTEEN KILOS OF GARLIC, by Dan Froot, presented by La MaMa E.T.C. THE VULTURE SPEAKS, by Jim Calder and William Pope L. A COOL MILLION, by Dan Hurlin, presented by Dance Theater Workshop CONSTANCE AND FERDINAND, by Victoria Marks & Dan Hurlin, presented by Performance Space 122 DEAD MEAT, by Holly Hughes, presented by Performance Space 122 KNEE DEEP IN A KISS, by Dan Froot, presented by La MaMa E.T.C. SIMULATION, by George Sand, presented by HOME WORLD WITHOUT END, by Holly Hughes, presented by Performance Space 122, Manhattan Theater Club, and New York Theater Workshop TRILOGY by Beatrice Roth, presented by The Wooster Group’s Performing Garage ARCHAEOLOGY by Dan Hurlin, presented by HOME BROKEN CUPS, by Beatrice Roth, presented by the Performing Garage THE JAZZ SECTION, by Dan Hurlin and Dan Froot, music by Roy Nathanson, presented by Performance Space 122 Besides Downtown Art’s theater and the other theaters named above, productions toured to the following sites outside New York: Sarah Lawrence College Yale University Yellowsprings Institute Duke University Bowdoin College Bennington College Keene State College Kalamazoo College University of Pennsylvania Mansfield State College Harvard Summer Dance Program Hobart Williams College Southern Theater Walker Art Center New Haven Artists’ Theater Milwaukee Arts Center Pennsylvania Stage Company First Night – Portland Real Art Ways Cleveland Performance Art Festival Institute of Contemporary Art Pyramid Art Center Sushi Highways Life on the Water Arlington County Arts Council Pontine Movement Theater Dance Umbrella Alice B. Theater D.C. Space American Stage Festival Mayfair Glasgow Festival Brighton Festival, U.K DOWNTOWN ART Presenting Series: 1990 - 1994 Lenora Champagne David Neumann Brian Jucha and Via Theater David Cale and Otrabanda Company Iris Rose Danny Hoch (with P.S. 122) John Leguizamo (with P.S. 122) Louise Smith and John Fleming Dan Zippi Ann Carlson with Otrabanda Company Will Badgett and the Talking Band Paul Clay, Lora Nelson and Cydney Wilkes The Five Lesbian Brothers David Abaire and Chris Lindsay Oliver Wadsworth Washboard Jungle Michael Rush Road Theater Hilary Easton Jessie Allen William Pope L. Meg Cottam Management Services Program, Downtown Art, 1988 - 1993 Subsidized management services offered to small companies and individual artists. Clients included: (on an ongoing basis) Susan Marshall & Company, David Rousseve/Reality, David Dorfman Dance, Stephen Petronio Dance Company, Carlota Santana Spanish Dance, Mettawee River Theater Company, Fiona Templeton, the Talking Band, and many others on a short term project basis. Programs at Judson Church, 1995-1997 Initiated and launched community-based arts program with emphasis on working with young artists, ages 12 - 25. Supervised all artistic and technical staff. Projects produced included: WHO YOU SEE/WHO WE BE (a two-year project) by Clarinda MacLow; Mighty Mouth - a youth theater company, CLIPS - a youth video program, HEROES AND SAINTS - a co-production with the Working Theater, DEF DANCE JAM WORKSHOP - a dance company of hearing and deaf youth, LICKS ’N LICKS - a jazz series for families, OPEN MIKE - a monthly program organized and hosted by youth artists, and SUMMER PERFORMANCE SERIES - free outdoor performances of music and performance art.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Ryan Gilliam
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Cliff Scott
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?: 
Changes in your physical space that will result in endangerment to your archival materials
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.: 
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?: 
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.: 
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 the archives were organized, we wouldn’’t mind sharing them. People would have to make advance appointments to access them. We would be happiest - if our archives are of interest to anyone else - that they be stored off site in a collection.
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]
Prints / Lithographs / Etchings / Screenprints / etc.
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 - Please describe below.
11e. Other: 
Props for Performances
Other - Please describe below.
Physical items - ie costumes, props, tech info - would be in the hands of the individual artists we worked with.
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
31 - 40
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: 
I don’t know
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.)?: 
We do not have any electronic files
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?: 
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?: 
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?: 
begin archive
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?: 
stablize, protect
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
if they are of interest, would like them to be available to others
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$20,001 - $25,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$35,001 - $40,000
Part 23.
23d. Other - Please describe below.: 
create and fund a pool of free lance archivists that can organize and protect materials for small arts org’’s.
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.: 
Ryan Gilliam
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?: