Survey: d.u.m.b.o. arts center (dac)

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
(dac) also does a three day artist workshop, multidisciplinary festival, maintains a slide registry and an intensive internship program.
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Presenting Organization
Part 2.
2a. Mission Statement: 
The D.U.M.B.O. Arts Center (DAC) is a 501 (c) (3) non-profit contemporary arts organization located in Dumbo, Brooklyn, New York. DAC's mission is to catalyze interaction between visual artists, the local community and the wider public, in order to preserve the neighborhood of Dumbo as a springboard for new art.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
D.U.M.B.O (or Down Under the Manhattan Bridge Overpass) is located on the Brooklyn Waterfront, between the Brooklyn and Manhattan Bridge. D.U.M.B.O. has been home to established and emerging artists alike for more than forty years. Observing a growing concentration of artists moving into the neighborhood, a group of locals banded together, under the direction of founding director Joy Glidden, to identify the neighborhood as an artist-based area. The result was the d.u.m.b.o. art under the bridge festival and the establishment of d.u.m.b.o. arts center (dac). d.u.m.b.o. art under the bridge festival is an annual event celebrating contemporary art and the artists thriving in this unique Brooklyn neighborhood. Produced by the d.u.m.b.o. arts center (dac), the festival is a 27-block street closure that consists of 16 genres encompassing nearly every medium. Over three days, the festival presents these varied talents via exhibitions and open studios, site-responsive outdoor and indoor installations, events and performances, readings and discussions, and other formats that defy categorization. This arts festival was the catalyst for the transformation of the neighborhood. (dac) continues to struggle to integrate arts in all the mainstream dialogues that effect this community however the outcome. d.u.m.b.o. arts center (dac), located in the heart of D.U.M.B.O., is an institution that grew out of the first festival’s extraordinary success. It now hosts the festival and serves as a year-round hub for this artist-rich community. The center is a 3000’ ft exhibition space that hold 4-5 shows annually, hosts a three day Artist Opportunity Workshop, maintains a slide registry and an intensive internship. (dac) seeks to foster creative expression in all of its myriad forms.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
The d.u.m.b.o. arts center (dac) exhibits 4-5 group shows in its 3000 sq ft’ space. (dac) maintains a Curatorial Committee that oversees the process by selecting and soliciting curators of note. Curators are selected based on their professional credentials with a distinct consideration for what opportunities they can bring to emerging artists. The Committee meets in November to generate a list of prospective curators. While it is not mandatory for visiting curators to select work from the (dac) registry, (dac) requires that they review it as a potential source of artists and in general, roughly 30-50% of artist exhibiting annually are drawn from the registry. An archive of previous exhibitions is maintained on our web-site from the web-sites inception 2000. Previous exhibition 1998-2000 are archived by hard documentation.
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Joy Glidden
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Julie Martin
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Ben Gilmartin
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Brett Schwartz
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?: 
Fiscal endangerment of organization
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?: 
Fiscal Need
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?: 
In the early stages of this organization (dac) simply did not have the financial resource to document certain festivals. Primarily the second and third years. What we did do was request that all artist document the contents of their particular event/performance/installation. While many artist did take the advise and did document their section of the festival (dac) requested copies but only received a small percentage of the requested footage. Columbia University students from those years also have stock as well as Japanese, Brazilian and Russian Television. All exhibitions were well documented.
Part 9.
9. Does the organization maintain archives for any other organization.: 
We have documented many interactions with other organizations.
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.: 
Many components of the archive is available currently but the early (1997-1998) items remain fragile and sit in Archival boxes. Some system must be administered and time and staff alotment essential to properly place items.
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: 
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
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: 
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications - Please describe below.
Film and video catalogues of the "Short Film & Video Festival" and "Video_dumbo"
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Other - Please describe below.
Festival proposals
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Three-Ring Binders
Other - Please describe below.
Please describe: 
Archival boxes, hard drives,
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: 
11 - 20
14c. Estimated Number of Archive Notebooks: 
21 - 30
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: 
200 +
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:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
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
Please describe: 
Founding Director still oversees (when time permits)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
Acid-Free Housing
Part 19.
office temperature range is too hot and too cold
Part 20.
20a. What are the goals for the historical materials for the next year?: 
collect images documenting neighborhood change from (dac)’s begining 1997 to current 2006
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?: 
Get the archive into the right hands
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
To act as a proto type from other arts organization.
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$10,001 - $15,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$70,001 - $80,000
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?: 
d.u.m.b.o. arts center (dac)
Who executed this survey.: 
Joy Glidden, Founding Director d.u.m.b.o. arts center (dac)
Is this survey complete and all appropriate questions answered?: