AS-AP

Survey: Red Wing Performing Group, Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1979
1b. Primary activity[ies] of the organization.: 
non-profit umbrella for choreographers, performance artists, writers,
1c. Organization's annual budget.: 
$50,001 - $100,000
Part 2.
2a. Mission Statement: 
Red Wing Performing Group, Inc. is a New York-based not-for-profit organization dedicated to experimental and interdisciplinary work in the performing arts. Originally incorporated in 1979 to support the work of a limited number of individual artists, Red Wing began in 1982 to sponsor other similarly oriented organizations and individuals seeking production and funding support. Although Red Wing remains committed to filling the need for sponsorship in experimental and interdisciplinary performance forms, it also works with artists in more traditional forms, as well as educational projects.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Some of the artists that Red Wing have served in the past are choreographers Stephanie Skura, Clarice Marshall, Pam Quinn/Michael O’’Connor, and Tere O’’Connor; theater artist Tom Cayler, performance artist Sharon Hayes, independent theater groups CMP and 3P Productions, video artist Greg Miller, director Oskar Eustis, and writer/dramaturg Stephen Mueller. For several years, Red Wing was the sponsoring organization for Performance Space 122, a seminal New York venue for dance and performance. Red Wing’’s current artist-members are Performance Artist/Writer Jeff McMahon http://www.jeffmcmahonprojects.net/ Theater Artist Dan Hurlin www.multiartsprojects.com Performance Artist/Musician Dan Froot http://ourworld.compuserve.com/homepages/danfroot The accounting firm Woloshen and Herman is the organization’’s part-time accountant and financial adviser. Member-artists administer their respective projects, with Red Wing serving as a financial umbrella. We see ourselves as an innovative model for independent artist-run organizations, putting the emphasis on creative output and not overhead. Red Wing and its member artists have received funding from such organizations as The National Endowment for the Arts, The New York State Council on the Arts, Art Matters, Inc., The Rockefeller Foundation, The John Simon Guggenheim Memorial Foundation, The New York Foundation for the Arts, The Jerome Foundation, The Beards Fund, The Foundation for Contemporary Performing Arts, Creative Time, The Harkness Foundations for Dance, Creative Capital, The Henson Foundation, Savrot Fund, Peg Santvoord Foundation, Dover Fund, KTCA, JCT Foundation, and numerous individual contributors. Red Wing artists have been presented by Dance Theater Workshop, The Los Angeles Festival, Danspace Project, Performance Space 122, The Kitchen, Lincoln Center, St. Anne’s Center, Yale Univ., American Music Center, Flynn Theatre, KTCA-TV, WGBH-TV, The National Performance Network, and other venues throughout the world. Member artists have received The Off-Broadway/Village Voice Theater Award (Obies), and the New York Dance and Theater Awards (Bessies).
2c. Exhibition / Programming / Publishing History.: 
A selected list of artistic accomplishments of individual Red Wing member artists since 1996 We have been in existence since 1979, but archive for that is not immediately available. Performance 2007 FAILURE TO THRIVE (we small hours) text/movement solo written/performed by Jeff McMahon. Directed by Antonio Ocampo-Guzman. Hemispheric Inst. for Performance and Politics, Buenos Aires; Dixon Place, NYC 2006 SHLAMMER by Dan Froot, directed and designed by Dan Hurlin Colony Theater, Miami Beach FL 2005 SHLAMMER by Dan Froot, directed and designed by Dan Hurlin at New York’’s Dance Theater Workshop. LIVE SAX ACTS Dan Froot evening of collaborative duets with choreographer David Dorfman, Florida Dance Festival. HIROSHIMA MAIDEN bunraku style puppet piece created by Dan Hurlin with music by Robert Een. Gammage Auditorium, Ariz. State Univ.’’ REDCAT Theater; Los Angeles; Clarice Smith Performing Arts Center, University of Maryland; Edison Theater, Washington University, St. Louis; Flynn Theater, Burlington HONORABLE DISCHARGE written and directed by Jeff McMahon, Performance Studies International, Brown University 2004 HIROSHIMA MAIDEN, a bunraku style puppet piece created by Dan Hurlin with music by Robert Een. Premiered at St. Ann’s Warehouse, Brooklyn, NY HONORABLE DISCHARGE written and directed by Jeff McMahon. Dixon Place, NYC & Modified Arts, Phoenix SPECIAL OPERATIONS workshop production. written and directed by Jeff McMahon. Lyceum Theatre. Arizona State University, Tempe THE CHERRY ORCHARD by Anton Chekov directed by Marshal W. Mason, ASU Theater mainstage (Performance by Jeff McMahon) THE CENTER OF THE STAR, a play by Yehuda Hyman, directed by Tracy Young, choreographed by Yehuda Hyman and Jennifer Li Aldridge, performed at The Greenway Court Theater, Los Angeles. This is the fourth of a five-part cycle of faith-based plays by L.A.’s Cornerstone Theater Company. (Performance by Dan Froot) 2003 LYSISTRATA an ASU faculty/student staged reading as part of nationwide anti-war effort, choreographed by Jeff McMahon A CERTAIN RELEASE work in progress digital play by Jeff McMahon April 2003, Institute for Studies in the Arts, Arizona State University. HEEL excerpt of solo by Jeff McMahon performed at Hemispheric Institute of Performance and Politics, “Anti-War Cabaret,” NYU HONORABLE DISCHARGE by Jeff McMahon, Modified Arts “Teatro Caliente” Phoenix, AZ 2002 SHTUCK, an interdisciplinary performance piece, by Dan Froot in collaboration with choreographer David Dorfman, directed and designed by Dan Hurlin; premiered at Joyce Theater, New York City EVERY DAY USES FOR SIGHT Nos. 3 & 7, a suite of puppet pieces by Dan Hurlin, International tour dates include The Barbican Theater Festival, London, UK; Ten Days on the Island Festival, Hobart, Tasmania. HEEL premiere of solo by Jeff McMahon. Institute for Studies in the Arts, Arizona State University, Tempe, AZ; Also: "MEMORIA/MEMOIRE" webcast SOUND ZERO Lance Gharavi’s solo installation produced by Jeff McMahon. Institute for Studies in the Arts, Arizona State University 2001 SHLAMMER, a dance-music-theater piece by Dan Froot directed and designed by Dan Hurlin about Jewish gangsters, presented in-progress at A.S.K. Theater Project’’s Common Ground Festival, Los Angeles, Yulman Theater, Schenectady NY, and Los Angeles Theater Center MAKE ME JEWISH DANCE, by Dan Froot in collaboration with choreographer Victoria Marks a four-part dance solo commissioned by and for Rebecca Rossen, (Northwestern University, Evanston IL) HEEL Work-in-progress performance of solo by Jeff McMahon. Arizona State University EVERY DAY USES FOR SIGHT Nos. 3 & 7, a suite of puppet pieces by Dan Hurlin presented as part of the Jim Henson International Festival of Puppet Theater, The Kitchen, NYC ("Bessie" award) 2000 A CERTAIN RELEASE by Jeff McMahon, reading at Dixon Place, NYC SQUEEZE PLAY a theatrical collaboration between Dan Froot and choreographer David Dorfman with accordionist Guy Klucevsek, premiere at The Kitchen, NYC THE HEART OF THE ANDES a puppet piece by Dan Hurlin in collaboration with Guy Klucevsek, presented as part of SQUEEZE PLAY at the Kitchen, NYC 1999 THE SHOULDER, a chamber opera. Book by Dan Hurlin, music by Dan Moses Schreier, directed and designed by Dan Hurlin, remounted for Longwharf Theater, New Haven, CT. PROJECT DESIRE: the mountains and the plains by Jeff McMahon in collaboration with Brian Webb, Eyvind Kang, Tim Folkmann. Performance Space 122 (NYC) LIVE SAX ACTS Three interdisciplinary performance duets by Dan Froot and David Dorfman. National tour dates include: Philadelphia Fringe Festival; Myrna Loy Center, Helena MT; Highways Performance Space, Santa Monica CA; Ko Theater Festival, Amherst MA; Dance Theater Workshop, New York City; Oberlin College, OH; Rinker Playhouse, West Palm Beach FL; FlynnSpace, Burlington VT; Wesleyan University, Middletown CT; America Dance Festival, Durham NC; Western Washington University, Bellingham WA; Clarice Smith Performing Arts Center, College Park MD; John Harms Center, Englewood NJ. THE SECRET WEAPON, a talking-dance collaboration by Dan Froot and choreographer Wendy Perron, premiere at Judson Memorial Church, NYC 1998 THE SHOULDER, a chamber opera. Book by Dan Hurlin, music by Dan Moses Schreier, directed and designed by Dan Hurlin, premiere at Dance Theater Workshop, NYC (National touring, 1998-2000)National tour dates include: Legion Arts, Cedar Rapids, IA; The Lied Center, Lincoln, NE; Alverno College, Milwaukee, WI; The Flynn Theater, Burlington, VT; The Walker Art Center, Minneapolis, MN; Proctor’s Too, Schenectady, NY THE LESBIAN A solo performance by Sharon Hayes* premiered at Dance Theater Workshop, NYC (National touring, 1998-2000) JOHNNY WHOOPS A solo talking-dance, by Dan Froot. Commissioned by and premiered at Dance Theater Workshop, NYC. (National touring, 1998-present) 2,000 IDEAS FOR PERFORMANCE PIECES. A short solo theater piece by Dan Froot. Commissioned by and premiered at Dance Theater Workshop, NYC. (National touring, 1998-present) DINER DANSANT A site-specific interdisciplinary performance by Dan Froot and Victoria Marks. Commissioned by De Beweeging for the Beweeging 1 Festival, Antwerp, Belgium; performed at Oosterweil, Belgium. LIVE SAX ACTS Three interdisciplinary performance duets by Dan Froot and David Dorfman. (National touring, 1998-present) PROJECT DESIRE: the mountains and the plains by Jeff McMahon in collaboration with Brian Webb, Eyvind Kang, Tim Folkmann. Brian Webb Dance Company, John Haar Theater (Edmonton, Alberta) 1997 BALAGANCHIK (THE FAIRGROUND BOOTH) (return engagement) written by Alexander Blok, directed by Roger Babb and Rocky Bornstein (Otrabanda Co.) at LaMama, NYC (Dan Hurlin, performer) 2.5 MINUTE RIDE by Lisa Kron, directed by Dan Hurlin, music composed by Dan Froot, at Soho Rep, NYC THE LESBIAN LOVE TOUR a four-month excursion throughout the United States, featuring 45 solo performances in the homes of lesbians by Sharon Hayes*. FROOT ALONE a collection of interdisciplinary performance solos by Dan Froot. Premier at Los Angeles Contemporary Exhibits. (National touring, 197-present) PROJECT DESIRE; the city and the mountains by Jeff McMahon in collaboration with Brian Webb, Eyvind Kang, Tim Folkmann. Premiere at Jazz City Festival, Edmonton, Alberta. Toured to Dancers’’ Studio West, Calgary, Alberta and Firehall Arts Centre, Vancouver, B.C 1996 BODIES OF EVIDENCE written and performed by Carla Kirkwood, directed by Dan Hurlin, The Whitney Museum of American Art at Philip Morris CAT O’’ NINE TALES by Holly Hughes, directed by Dan Hurlin, premier at PS 122, NYC (National touring, 1996-present) RAPID EYE MOVEMENTS by Art Bridgman and Myrna Packer, choreography by Dan Hurlin, with other choreographers including Mark Dendy, Marta Renzi, Ann Carlson and Bill T. Jones, premiere at Danspace, NYC (National touring, 1996-present) DARK RIDE by Len Jenkin, directed by Julian Webber, choreography by Dan Hurlin, at Soho Rep, NYC NYC SOLOS AND GROUP WORK by Yvonne Meier* performed at Movement Research, NYC; Miami Light, Miami FL; Bellouard Bollwerk, Freibourg Switz 2.5 MINUTE RIDE, a play by Lisa Kron, music composed by Dan Froot, premier at La Jolla Playhouse, San Diego (touring ongoing) FLOCK, a dance by Victoria Marks, music composed by Dan Froot, premier at New York University’s Tisch School of the Arts, NYC BLOW MOLDING by Dan Froot, a concert including the following interdisciplinary performance pieces: ONSET & OUTCOME for Froot’’s Dancing Saxophone Quartet, Floods (collaboration with Laurie Carlos), JOB (collaboration with David Dorfman), THIRST, a solo for Froot, and BLOW MOLDING, a monologue. Premier at Performance Space 122, NYC. (National touring, 1996-present) PERFORMANCE a dance-theater piece by Dan Froot and Victoria Marks, premier at Dance Theater Workshop, NYC. International touring: Tanz 96 Festival, Vienna Austria. Published Writing 2006 "Follow the Money? Location, Community, and Artist Funding" TDR/The Drama Review, Summer 2006 2005 “Future Conditional: a short time teaching in Cuba” PAJ #81 2004 Jeff McMahon “Taliban” book review published in Gay & Lesbian Review International Dan Hurlin, guest editor of a portfolio of puppet scripts, Play a Journal of Plays. 2003 Jeff McMahon writing published in “Street Signs” University of London 2001 Jeff McMahon writing published in Movement Research Journal #22 2000 Jeff McMahon writing published in New England Review , Threepenny Review #81 1997 Jeff McMahon writing published in City Limits Magazine, New York Blade News 1996 Jeff McMahon writing published in Teaching Tolerance ;”XXX Fruit #3; Consider The Alternatives ed. Ron Ehmke (Hallwalls 1996); Exhibitions 2004 "Live on Paper," MCS gallery, Easton, PA (Dan Hurlin) 2003 "Live on Paper," Philip and Muriel Berman Museum of Art, Collegeville, PA (Dan Hurlin) 2002 "Ameri©an Dre@m: A survey," Ronald Feldman Fine Arts, NYC (Dan Hurlin) 2001 "Dance on Paper," Lehigh University Art Gallery, Bethlehem, PA (Dan Hurlin) 2000 "Sticks, Rags & Strings: The Art of Contemporary Puppetry," Courtyard Gallery, NYC (Dan Hurlin) 2000 "Great Small Works, Toy Theater Museum," Here Art Center, NYC (Dan Hurlin) 2000 "Paper Forms," Thompkins College Center Gallery, Cedar Crest College, Allentown, PA (Dan Hurlin) Teaching Jeff McMahon: Assistant Professor, School of Theatre and Film, Arizona State Univ. Interim director of MFA Performance Program at Arizona State University’s Theater Department, Fall 2003-2005. One week course in history of Performance Art for Instituto Superior des Artes in Havana Cuba, Spring 2004. Resident Artist in Theatre, Institute for Studies in the Arts, Arizona State University, Fall 2001- spring 2003. Arts in Education teaching and consulting: Lincoln Center Institute, Arts Horizons, Young Audiences/NY, Little Meadows Early Childhood Center, Orchestra of St. Lukes. Wrote arts curriculum for the Bard Public Charter School (Red Hook, NY). Semester-long college level teaching: Kutztown University 1996-98; 1-day Visiting artist: Univ. of Nevada/Las Vegas 1996; Univ. of LaVerne (LaVerne, CA 1996) Otis Art Institute (Los Angeles); Art Center College of Design (Pomona, CA); CalArts (half semester) 1991. Center for New Dance Development (Arnhem, The Netherlands) 1991. Dan Hurlin: Self Scripting Intensive at the Boston Museum of Fine Art, Museum School, Boston, MA. 1996; faculty in theater and dance at Sarah Lawrence College, 1997-present; Guest Director at Barnard College. 1997-2000; Artist-in-residence at Great Brook School, Antrim, NH, 1998; Director of Inner City outreach program for Minneapolis Children’s Theatre Company, Minneapolis, MN, 1998; Director of “The Puppet Lab” at Arts at St. Ann’s, Brooklyn, NY, 1998-present; Director of The Bessie Schönberg Laboratory in Composition for Experienced Choreographers, at Dance Theater Workshop, NYC, 1999. Director of "Puppet Central" a one week summer intensive at Sarah Lawrence College, 1999-present. Dan Froot: Adjunct Assistant Professor of performance at UCLA’s Department of World Arts and Cultures, 2000-Present; Workshop leader for Center Theater Group/Mark Taper Forum’s Performing for Los Angeles Youth program, 2003; Teaching and performance residency at Virginia Commonwealth University, 2002; Performance workshop at Clarice Smith Performing Arts Center, College Park MD, 2002;Teaching residency at Summer Workshop in Performance Telematics at Arizona State University’s Institute for the Arts, Tempe AZ, 2001; Performance & Improvisation Workshop at Wesleyan University (Middletown CT), 2001; Performance & Improvisation Worshops at: Connecticut College (New London), Philadelphia Dance Project, Temple University (Philadelphia), Liz Lerman Dance Exchange (Washington DC), 2000; Performance & Improvisation Workshops at: Colorado Dance Festival (Boulder), Movement Research (NYC), Pentacle Danceworks (NYC), Emma Willard School (Troy, NY), Eastchester High School (Eastchester, NY), 1999; Performance and Improvisation Workshops at: Sushi Performance & Visual Art (San Diego), Colorado College (Colorado Springs), Pentacle Danceworks (NYC), Movement Research (NYC), Regional Organization of Theaters, South (Black Mountain, NC), Lewis & Clark College (Portland, OR), University of Illinois, Champagne-Urbana, 1998; Department of Theater and Dance at Rhode Island College (Providence), 1997; Lecturer in Performance, University of California, Los Angeles, Department of World Arts and Cultures, 1997; Performance & Improvisation Master Classes at: Sarah Lawrence College, Velocity Studio (Seattle), Off-Center Theater (Tampa, FL), The Performing Arts Academy of Bali (Denpesar, Indonesia), Center for Contemporary Art (Glasgow, Scotland), 1997; Artist in Residence at Eastchester High School (Eastchester, NY), 1995-2000; Teaching Artist, Lincoln Center Institute, New York, NY, 1995; Performance & Improvisation Classes at: Project Alternative Learning (Helena, MT), Portland University (OR), University of Alaska - Anchorage (AK), South Florida Art Center (Miami Beach), LaFayette College (Easton, PA); 1992-94, Guest Faculty, Contemporary Music Program, College of Santa Fe, NM, 1991-92. RECENT MAJOR CONTRIBUTORS Grants • New York State Council on the Arts’ Composer Commission Everday Uses For Sight No. 4: Disfarmer (2007) • National Performance Network’s Creation Fund (Dan Froot: Blow Molding, 1996) • Jerome Foundation (Dan Froot: Blow Molding, 1996) • The Greenwall Foundation (Dan Hurlin: The Shoulder 1997)New York State Council on the Arts (Dan Hurlin: The Shoulder, 1997-98) • Meet The Composer (Dan Froot: Froot Alone, 1998) • Dance Theater Workshop’s First Light Commissioning Program (Dan Froot: Froot Alone, 1998, 1999) • Edith Meiser Foundation Grant (Dan Froot: Live Sax Acts, 1999) • Jim Henson Foundation (Dan Hurlin: Every Day Uses for Sight, 2001) • The Durfee Foundation ARC Grant (Dan Froot: Shlammer, 2001) • National Foundation for Jewish Culture Playwriting Commission (Dan Froot: Shlammer, 2001) • Jim Henson Foundation (Dan Hurlin: The Hiroshima Maiden’’s Project 2002) • Creative Capital (Dan Hurlin: The Hiroshima Maiden’’s Project 2002) • Rockefeller Foundation MAP Fund (Dan Hurlin: The Hiroshima Maiden’’s Project 2002) • National Endowment for the Arts (Dan Hurlin: The Hiroshima Maiden’’s Project 2002) • New York State Council on the Arts (Dan Hurlin: The Hiroshima Maiden’’s Project 2003) • New York State Council on the Arts (Jeff McMahon, playwrighting fellowship, 2003) • National Performance Network (Dan Froot, Shlammer, 2005) • Surdna Foundation (Dan Froot, Shlammer, 2005) • Meet The Composer’s Creative Connections Grant (Dan Froot, Shlammer, 2005) • Herberger College of Art Research Grant, Arizona State University (Jeff McMahon, Counter Indications 2007) Fellowships • National Endowment for the Arts (Jeff McMahon: Choreographers Fellowship 1996) • New Hampshire State Council for the Arts (Dan Hurlin: Individual Artist Fellowship1996-97) • New York Foundation for the Arts Individual Artist Fellowship (Sharon Hayes*, Dan Hurlin, 1999-00) • City of Los Angeles Artist Fellowship (Dan Froot, 2000-01) • Guggenheim Fellowship (Dan Hurlin 2001-02) • Monette/Horwitz Trust research and scholarship award for Jeff McMahon book project. (2001) Awards • Dan Hurlin: American Theater Wing Design Award nomination for “The Shoulder,” 1998; Citation for “The Shoulder” for Outstanding Achievement off-off Broadway, in “Best Plays of 1997-1998 • Dan Froot: Alma Hawkins Award (University of California, Los Angeles, 1998); Harold Williams Award for Excellence in the Arts (University of California, Los Angeles, 1999); Lester Horton Award nomination for solo artist, 1997) • Dan Hurlin: New York Dance and Performance Award (A.K.A. "Bessie) for The Heart of the Andes • Alpert Award in the Arts (theater) Dan Hurlin RESIDENCIES 2004 Dan Hurlin: Artist-in-residence at Haystack Mountain School for Crafts, Deer Isle, ME 2003 Dan Hurlin: Residency at MacDowell Art Colony Dan Hurlin: Residency at The Hangar Studio to develop Hiroshima Maiden 2002 Dan Hurlin: Theater Communications Group funded residency at Arts at St. Ann’’s in Brooklyn, NY to develop Hiroshima Maidens. 2000 Dan Hurlin: Residency at The Hangar Studio to develop Hiroshima Maiden 1999 Dan Froot, Dan Hurlin: Residency at The Virginia Center for the Creative Arts Dan Hurlin: Residency at The Hangar Studio to develop The Heart of the Andes. Sharon Hayes*: Residency at McDowell Colony for the Arts Dan Froot: residency with New York Theater Workshop at Dartmouth College, to develop collaborative project with choreographer David Dorfman 1998 Dan Hurlin: Residency at The Hangar Studio to develop The Shoulder. 1996 Dan Hurlin: Artist-in-residence at Haystack Mountain School for Crafts, Deer Isle, ME Dan Hurlin: Member of Lincoln Center’’s New Director’’s Lab Jeff McMahon: Residency with the Brian Webb Dance Company (Edmonton, Alberta) for creation of collaborative duet OTHER • Jeff McMahon: Completed MFA program, Writing Division of the School of the Arts, Columbia University 1998 • Dan Froot: Completed MFA program in Interdisciplinary Performance, Department of World Arts and Cultures, UCLA 2000 *Indicates Former Red Wing Member artist
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Jeff McMahon jeffmcm@earthlink.net
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Dan Hurlin dhurlin254@aol.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Dan Froot dan@danfroot.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Stephanie Skura sskura@speakeasy.org
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
Yes
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?: 
No
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
being a very loose collective of artists who do independent projects, our only group expense is paying for the accountant who manages our finances. Given the varying budgets and activities of our members, equalizing those expenses is sometimes problematic. Also, our members are disbursed throughout the U.S. now, and this causes organizational issues.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
3. Neutral
7b. Has planning for the preservation and documentation of archive begun?: 
No
7c. Does the organization know how and where to seek expertise and assistance?: 
No
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Not Applicable
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Yes
Where are these locations?: 
homes and offices of present and past member artists
Part 9.
9. Does the organization maintain archives for any other organization.: 
Yes
survey_field_49: 
I personally maintain my own archive, as do each individual member of Red Wing I personally archive my own material at Lincoln Center Library for the Performing Arts’ Jerome Robbins Dance Collection
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Legitimate interest and research. Willingness to come to me and plow through the rather disorganized material
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
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Films
Slides
Photographs
Videotapes
Other:: 
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:: 
published essays
11d. Printed Publications: 
Artists' Publications
Brochures
Checklists / Performance Programs / Price Lists
Programs of Events
Other:: 
Other Printed Publications
11e. Other: 
Costumes
Props for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
File Cabinets
Other - Please describe below.
Please describe: 
metal closet, open table
13b. Are some or all of these storage units “archival”?: 
Some
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
11 - 20
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: 
11 - 20
or: 
I don’t know
Other Archive Storage Units - Please describe below.: 
large metal cabinet
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Yes
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
Yes
16c. Electronic Based:: 
Database
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.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
self
Part 16 / Database
16d. What type of database software is in use?: 
Other “archives management software” - Please identify below.
Other: 
I don’’t know, as I am referring only to my personal materials archived at Lincoln Center Library
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?: 
Other - Please describe below.
Other: 
multiple locations
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Standard office heating / air conditioning / humidity controls running 24 hours / 7 days
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?: 
organize
20b. What are the biggest challenges to reaching these short-term goals?: 
time (no staff)
20c. What goals are in place for the historical materials for the next three to five years?: 
digitize analog videos
20d. What are the biggest challenges to reaching these long term goals?: 
time
20e. Are there any additional goals for the organizations historic materials?: 
move more of them to Lincoln Center (I irregularly send new materials to them)
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$10,001 - $15,000
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?: 
Yes
25b. Who?: 
Martha Wilson, Founder/Exec. Director, Franklin Furnace Madeleine Nichols, Curator, Jerome Robbins Dance Collection, Lincoln Center Library for Performing Arts
Finish
Who executed this survey.: 
Jeff McMahon
survey_field_149: 
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?: 
Yes