Survey: Nsumi Collective

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Transient or Non-Physical Organization for Creation or Exhibitions
Transient Organization for Performance
Artist Group / Collective
Part 2.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Nsumi first became active through two exhibitions organized by Peter Fend-NEWS ROOM at Roger Smith Gallery, and RAPID RESPONSE at American Fine Arts, and as neighbors in Williamsburg, Brooklyn. Our common interest is exploring the creative capacity of social networks and experimental groups. Our practice involves long-term projects and complex interventions. In 2002, Nsumi intervened into an unknown collective’s bid for a show at the Queens Museum, preparing and presenting their concept for an installation and successfully helping them get into the show, (See "Doing Their Own Thing, Making Art Together" 1/03, and "The New Bridge and Tunnel Crowd" 03/05, by Holland Cotter, New York Times). In 2003, Nsumi participated in the and presented Commune Starter Kits at a Deitch Projects event. An article appeared about Nsumi in Art News "Turn On, Tune In, Drop By," by Anya Kamenetz, 05/03. In 2004, Nsumi’s Consulting was launched as "a free service for art collectives," and a presentation was organized at a CUNY Graduate Center conference. An article about the CUNY event appeared in the New York Sun, "Bateson’s Influence, from Circuitry to Crickets," by Gary Shapiro, 10/04. In 2005, the Consulting continued, and an architectural model produced in collaboration with artist Trevor Paglen was exhibited at The Lab Gallery in San Francisco. In 2006, as an outgrowth of the consulting, The Lower Manhattan Cultural Council sponsored Collective Incubator, a large-scale installation in the financial district.
2c. Exhibition / Programming / Publishing History.: 
- Collective Incubator, LMCC Swing Space Residency, 2006 - Peter Fend, Performance - Noritoshi Hirakawa, Talk - Mercurial Productions, Performance - Informal public appearances at events and gatherings in connection with the consulting work, 2002-2005 - SAVI (Mt Sinai) benefit exhibition, 2006 - Recording Carceral Landscapes, The Lab Gallery, San Francisco, with Trevor Paglen, 2005 - Emerging Art Worlds, presentation at the Art, Circuitry, and Ecology conference, CUNY Graduate Center, NYC, 2004 - Green Home, curated by Alan Moore from CoLab (Collaborative Projects), 2004 - Presentation at Harrison White’s Careers and Creativity: Sociology of the Arts class, Columbia University, 2004 - Commune Starter Kits at La Superette, Deitch Projects and Participant Inc. Galleries, 2003 - Three Collaboration Models in Development at The New School, New School University, demonstration, with Paul Ryan, 2003 - auction, 2002 - Artists Space auction, 2002 - White Box Gallery auction, 2002 - Intervention, Queens Museum of Art, 2002 - Nsumiscope programs and presentations at the New School, 2001-2004 - Rainer Ganahl, slide lecture - Ester Partegas, slide lecture - Intervention, NYC, 2000
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
James Andrews
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
David Cook
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.: 
Collective / Unincorporated Association
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
End of lease for your space resulting in a move to a smaller location
End of lease for your space resulting in termination of activities or changing of priorities
6c. Other threats to the organization:: 
If New York City becomes more and more expensive and difficult to live, we are talking about moving to Europe or another US city.
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?: 
Drain on Existing Staff Time
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?: 
With other group members, and various artists and others (friends) who have received items from us for various resons. some are gifts. some should come back some day.. rainer ganahl, The Thing (, Alma Suljevic (bosnian artist), momoyo torimitsu, Yuh Shioh Wong, etc there are several others
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 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
call me: 347-423-8398 or email
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
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Unique Art Objects
Other Artwork. Please describe below.
notes from all of our meetings including drawings on printed agenda lists.
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications - Please describe below.
lots of interesting scraps and informal notes
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Other - Please describe below.
instructions for performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
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: 
1 - 10
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
1 - 10
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 / 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
Acid-Free Housing
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
Part 20.
20a. What are the goals for the historical materials for the next year?: 
continue archiving
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?: 
stabilize material
20d. What are the biggest challenges to reaching these long term goals?: 
basic survival
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.: 
$5,001 - $7,500
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.: 
are there any grants out there for emerging artists or art groups to help w/ archiving management costs?
James Andrews
Who executed this survey.: 
James Andrews
Is this survey complete and all appropriate questions answered?: