Survey: Home for Contemporary Theatre and Art

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
Presenting Organization
Part 2.
2a. Mission Statement: 
HERE Arts Center supports artists’ independence within an interdependent community. The HERE community provides the artist with access, arts management innovation, and nonprofit enterprise. We measure our success by the lively, active exchange that occurs in our spaces daily. With this in mind, our seasons are driven by the needs of our community of artists and audiences.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Since 1993, the OBIE-winning HERE Arts Center has been one of New York’s premiere arts organizations and a leader in the field of presenting new, hybrid performance work. HERE views hybrid performance as a seamless integration of artistic disciplines—theatre, dance, music, puppetry, performance art—aimed at reflecting the complex age of imagery and information in which society lives. Over 13 years, under the executive and artistic leadership of Kristin Marting, HERE has served 11,100 emerging to mid-career artists developing hybrid performance and work that does not fit into a conventional programming agenda. Examples include The Vagina Monologues, Basil Twist’s Symphonie Fantastique, Hazelle Goodman’s On Edge and most recently Trey Lyford & Geoff Sobelle’s all wear bowlers. Work produced and presented at HERE has garnered 10 OBIE awards, an OBIE grant for artistic achievement, three Drama Desk nominations, two Berrilla Kerr Awards, two NY Innovative Theatre Awards and a Pulitzer Prize nomination. Recently, HERE received a $500,000 federal grant by the Lower Manhattan Development Corporation and Artistic Director Kristin Marting was honored with a 2005 BAX10 Award for Arts Managers. In 2005, HERE purchased its long-time home as part of the five-year, $3.6 million “Secure HERE’s Future” campaign (HERE has $1.8 million left to raise in order to ensure permanent stability).
2c. Exhibition / Programming / Publishing History.: 
We develop programming that focuses on collaboration with the aim of creating original hybrid performance. Many of our artists have gone on to make significant contributions to the world of arts and culture while others (including one of Time Out/NY’s “25 New Yorkers to Watch for 2005,” playwright/director Young Jean Lee and 2003 OBIE winner for Nita & Zita, playwright Lisa D’Amour) are developing their craft and experimenting with form on a long-term basis at our facilities. We offer our artists and their audiences two theatres (including a 74-seat proscenium and a 99-seat flexible blackbox), a cafe/gallery, and support spaces. HERE provides a comfortable home to thousands of emerging, mid-career, and established artists by offering a framework that keeps the artist at the center of our institution. Projects are produced at the scale appropriate to the work—there is no set formula—chamber or main stage, four performances or twenty, one performer or twenty-five. What is key is that the integrity and clarity of the artist’s vision be supported. By providing varied levels of artist participation—Resident Artists, Visiting Artists, and Supported Artists—we keep the artist’s vision paramount. Each season, HERE produces three to six works, which are developed over a one to three-year period through our Resident Artist programs: the hybrid performance-based HARP and the puppetry-focused Dream Music. We also feature hundreds of Resident and Visiting artists in our two annual festivals: CULTUREMART and THE AMERICAN LIVING ROOM. With our Supported Artist Program, we offer more than 800 artists and emerging companies creative workspace, equipment, and administrative support at subsidized rates—allowing us to showcase a broad spectrum of programming 365 days a year.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Kristin Marting
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Barbara Busackino
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Rachel Ford
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.: 
Not Applicable
Part 8.
8a. Location: 
IF YES to 8: University (Name)
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.
IF YES to 9: 10a. Please describe:
Part 11.
Other Artwork
Other Press or Promotional Materials:
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
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: 
Part 20.
20a. What are the goals for the historical materials for the next year?: 
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?: 
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.: 
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