Survey: Espace D.B.D.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Performance Space
Artist Group / Collective
Part 2.
2a. Mission Statement: 
"Espace Dbd was founded in 1981. Unique in Los Angeles, its purpose is to encourage, expose and develop non-static art forms such as performance art, video, new music and dance in an art context." 1982 "The Rachel Rosenthal Company" is dedicated to the education of the public on current social, environmental, technological and spiritual issues through the form of interdisciplinary art. We strive to extend the meaning of these issues by the use of experimental techniques which break the barriers and test the borders of art to include areas of science, physics, geology, mythology and the frontiers of space. Our company includes innovators from various cultural and ethnic backgrounds and traverses diverse disciplines to attain a "global view". 1997
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
A leading figure in the Southern California Arts movement of the 1960’s and 1970’s, Performance Artist Rachel Rosenthal was a pioneer in addressing feminist and animal rights issues, and was a founder of "WomanSpace". From 1975-2000 Rosenthal created and performed 40 original solo works in theaters and performance venues nationally and internationally. Concurrently,Rosenthal taught performance classes and workshops, inventing and developing her unique methods inspired by Jean Louis Barreault’s concept of "Total Theatre" and the writings of Antonin Artaud. The list of students who have trained with Rosenthal include Performance Artists Cheri Gaulke, Barbara Smith, Suzanne Lacy and John Fleck. Visual Artists include Lee Mullican, (an early member of her "Instant Theatre") Gilah Hirsch and Ruth Weisberg, now the Dean of Art at USC. Rosenthal opened her studio (designed and built by artist Paul McCarthy) Espace Dbd in 1980. From 1981 –1983 until the city shut it down as a gallery space due to zoning issues, Rachel Rosenthal and Espace Dbd presented performances by several emerging and established performance or "non-static" artists including Stellarc, Barbara Smith, Eleanor Antin, Cheri Gaulke, Alan Kaprow, John White, Paul McCarthy, Joyce Cutler Shaw, Tom Jenkins, Bob and Bob, Philip Dimitri Galas and several others. Rachel Rosenthal conducted her Dbd workshops and her ongoing performance classes out of which emerged The Rachel Rosenthal Company. Rosenthal founded The Rachel Rosenthal Company as a non-profit arts organization in 1989. Rosenthal was at that time nurturing a young company of promising performers chosen from her workshops that needed to apply for grant money to present and tour. Rosenthal continued to teach her signature "DbD—Doing by Doing" intensive weekend workshops, as well as her 10-week classes. The Rachel Rosenthal Company of those early years went on to create and perform original works internationally, under Rosenthal’s artistic stewardship. It is significant to note that each member of that early company is a career artist; some formed new companies, others became soloists or work in arts outreach and education. Rosenthal, now retired as a performer, continues to teach and inspire, and has recently formed a new company of performers chosen once again from her workshops. Rosenthal has titled this group "The Fauve Conspiracy". Rosenthal’s goal this time is to deepen the training process so as to develop artists who, like the Fauvists at the beginning of the last Century, become “wild beast” auteurs able to innovate, surprise, and like Rosenthal, infuse the theatre with provocative style onward into the 21st century.
2c. Exhibition / Programming / Publishing History.: 
see above
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Rachel Rosenthal
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Kate Noonan
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.: 
Collective / Unincorporated Association
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
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.
most 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.: 
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?: 
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.: 
At Espace Dbd ( The Rachel Rosenthal Company) on Robertson Blvd. there exists (in cardboard boxes and on shelves), a massive collection of photographs, ephemera, 8mm footage, 1/2 inch videotape, hi-8 tapes and other outmoded documentation of Rosenthal’’s performance and visual art work that urgently needs to be preserved. The building itself is in disrepair, suffering water damage in last year’s heavy rains, and the task of creating an archive has been slow going. We are seeking grant monies to help in this effort, the goal being to create a working archive, both physically and digitally accessible to scholars and artists. At this point in time, preservation, restoration and proper storage is the main concern, so access is limited to our staff.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork. Please describe below.
Costumes, masks, and props created for specific performance pieces.
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
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: 
Layouts / Sketches / Instructions for Performances
Props for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Flat Files
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: 
21 - 30
14b. Estimated Number of Archive Drawers: 
31 - 40
14c. Estimated Number of Archive Notebooks: 
61 - 70
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:: 
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
Other - Please describe below.
Please describe: 
Part 16 / Database
16d. What type of database software is in use?: 
16e. If FileMakerPro, what version? Please describe below.: 
Part 17.
17. How are new materials processed?: 
We are not currently processing new material
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Controlled Access
Acid-Free Housing
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?: 
Stabilize materials
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 create a comprehensive archive
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
a documentary film incorporating archival footage
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$70,001 - $80,000
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?: 
Part 26.
26. Additional information, comments, observations, and questions.: 
I am so glad to see that this important issue is being grappled with on a large scale.
Who executed this survey.: 
Kate Noonan
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?: