AS-AP

Survey: Time & Space Limited

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1973
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Presenting Organization
Part 2.
2a. Mission Statement: 
Time & Space Limited creates opportunities for individuals and families to participate in a culturally rich environment, encourages artistic expression in daily life, and supports the evolution of Hudson, New York, as a community that celebrates its diversity. TSL does so by engaging audiences with original theater productions exploring themes that reflect the local and global concerns of Hudson Valley residents, and by providing a cultural center in which a diverse public audience can enjoy performances, music, art exhibitions, multi-media productions, independent and documentary films, youth projects, and special events. By exposing an underserved area of New York State to the benefits of artistic expression, TSL has become a beacon and leader in the neighborhood, county, and state, shaping the lives of community members through innovative and exciting cultural projects of quality and substance. Its mission is to educate, enliven, and expand the artistic quality of life in the community it serves. TSL’s goal is to lead rather than follow, to include rather than exclude, and to debunk images of art and artists as elitist. TSL, a not-for-profit 501(c)(3) organization, is supported by box office receipts, commissioned works, grants, individual donors, and the ongoing support of hundreds of members in the Hudson Valley Region. The Film Series, Mussmann/Bruce Performances, and Presenting Programs are funded, in part, with public funds from the New York State Council on the Arts.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Time & Space Limited is an interdisiplinary arts organization, under the direction of Linda Mussmann and Claudia Bruce, that presents alternative films, performances, art exhibitions, readings, open forums, and is commmitted to community outreach projects. In May 1973, Linda Mussmann’s avant-garde theatre, Time & Space Limited, produced its first performance, Eugene Ionesco’s The Bald Soprano at the Zarattini Bond Street Theater on Great Jones Street in the Bowery. Shortly after this production, she moved TSL to the Universalist Church on West 76th Street where she worked for the next three years producing classics with a strong directors’ point of view, developing into one of New York’s most creative young directors. Claudia Bruce was working as an actress, and for the feminist newspaper, Majority Report. As the reporter covering women’s events throughout the city, Claudia ventured to the Universalist Church to see Linda’s 1976 production of Gertrude Stein’s The Making of Americans. Thus began the collaboration that has now culminated in The TSL Archive Project. Since their initial collaboration in 1976, Linda and Claudia have worked as theater artists exploring the relationship between language and movement. The original scripts were written by Linda and edited by Claudia. During the 1970s and 1980s, Linda and Claudia worked with artists from Turkey, Japan, Germany, Switzerland, Denmark, France, Italy, and places in between. The ensemble was trained using an intensive blend of vocal technique and dance movement and ranged in number from 4 to 12. The performances were directed by Linda who became adroit at writing for the voices of the individual performers and, specifically, for Claudia who was the central character in all the work. Linda also designed the sets, lighting, lighting boards, and fixtures. In addition to the original scripts, Linda adapted literary texts and classic plays by writers including Virginia Woolf, Henrik Ibsen, Herman Melville, Shakespeare, Georg Büchner, and Kikue Tashiro. Their artistic collaborators have included composer, musician, and dramaturge, Semih Firincioglu and set designer, Jun Maeda. Their productions have been presented in traditional and alternative spaces in NYC such as La Mama E.TC., P.S. 122, Riverside Church Theater, Merce Cunningham Studio, Marymount College Theater, Museum of Modern Art, Japan Society, Cooper Hewitt Museum, Equitable Center, Philip Morris Sculptural Court, A.I.R. Gallery as well as spaces in Canada, Denmark, and throughout the US. In 1990, Time & Space Limited joined other artists and organizations in rejecting funding from the National Endowment for the Arts, in protest of the agencies’ stipulation that recipients of the funding promise not to produce “obscene” work. The $10,000 grant would have covered 10% of Time & Space’s annual budget. “ I have been receiving endowment grants since 1979 and I don’t make work that falls under the guideline of offensive work, but it is important to make a stand,” Linda stated in an article in the September 24th 1990 issue of the New York Times. In 1991, after making twenty years of innovative, experimental theatre in NYC, Mussmann and Bruce packed up their Manhattan space and moved 130 miles upstream to Columbia Street in Hudson, NY. They found a town in desperate need of empowerment and unification, and were compelled to find a way to be a part of the movement towards change. It was in that spirit that TSL was born. The desire to engage, to find connection, a sense of place, a home—these are the common threads that move through our community. They converted a 120x80ft bakery into an interdisciplinary arts and educational space that began providing a center-point in which that connection continues to be realized. Mussmann and Bruce continue in theater with two new projects each year. In 2001 and 2002, they returned to La Mama with an original work, “Blind in Time”, and an adapted version of Hamlet. They have also produced four projects for German radio stations Sender Freies Radio, Berlin and WDR: “Danton’s Death”, “Lenz”, “Grief Has Taught Us Nothing”, and “Time to Talk: The Story of James B. Snead.”
2c. Exhibition / Programming / Publishing History.: 
1969-1973: Mussmann estalishes herself as a director in New York venues such as the Manahattan Theatre Club, Zarattini’s, Theatre East, Theatre of The University of the Streets, The Cubiculo 1973: Time & Space Limited is established 1973-1976: TSL finds home at the Universalist Church on West 76th Street America celebrates 200 years, TSL presents THE MAKING OF THE AMERICANS (Stein) Mussmann and Bruce meet, begin collaborating 1977: THE WAVES ( Woolf), THE CREDITORS (Strindberg), THE MOMENT (Woolf) 1977-1985: Years at TSL store front, West 22nd Street BANDIT PRINCESS tours Europe and US TRIPTYCH: ROOM/RAUM, DOOR, WINDOW at the Cooper Hewitt Museum DANTON’S DEATH at La Mama E.T.C.. 1984: CAMOUFLAGE tours the midwest. University of Iowa 1984-1986: AVOIDANCE & PECULIAR at the Kitchen, NYC Lawndale, University of Houston, Toronto FLATLANDS LITTLE REMARKS at P.S. 122 HARBORS WAIT at MOMA Scultpure Garden SILENT WHEN LOADED at Merce Cunningham Studio and Yale Art Gallery OMAHA TO OGDEN Riverside Dance Festival
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Linda Mussmann lmcb@timeandspace.org
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Claudia Bruce lmcb@timeandspace.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.: 
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?: 
Yes
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.
survey_field_130: 
The concerns listed above all apply--funding, time, storage space, access.
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?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
Yes
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?: 
No
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
No
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.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Yes
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
No
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
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
Films
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications - Please describe below.
Other:: 
Journal articles by and about Linda Mussmann. Senior thesis paper written by Rebecca Schnieder about Mussmann’s Civil War Chronicles.
11e. Other: 
Architectural Drawings / Floor Plan
Costumes
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Props for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
2000-2005
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Flat Files
Three-Ring Binders
Other - Please describe below.
Please describe: 
Trunks, racks, and unfortunately, scattered throughout the building.
13b. Are some or all of these storage units “archival”?: 
Some
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: 
31 - 40
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: 
41 - 50
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
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Database
Word Processing Document [i.e. Word]
Spreadsheet [i.e. Excel]
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?: 
General Staff
Interns
Hired Out
Please describe: 
We are in the process of applying for a constulant grant, which will bring in a professional for limited time, to help direct the project.
Part 16 / Database
16d. What type of database software is in use?: 
FilemakerPro
16e. If FileMakerPro, what version? Please describe below.: 
Version 7. Our technology staffer is in the process of building a specialized program for us.
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Inventory List
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
Other - Please describe below.
Other: 
We are in the early stages of this project. One of our biggest challenges is creating a climate-controlled and accessible space for this material.
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Continue archiving materials.
20b. What are the biggest challenges to reaching these short-term goals?: 
Funding. We are struggling on a day-to-day basis with purchasing archival materials.
20c. What goals are in place for the historical materials for the next three to five years?: 
We have an archive consultant currently preparing our materials to be brokered for sale. It is imperitive that whatever institution purchases our archive provide access to students, teachers, and practitioners.
20d. What are the biggest challenges to reaching these long term goals?: 
1.
20e. Are there any additional goals for the organizations historic materials?: 
1.
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.: 
$15,001 - $20,000
Part 23.
23d. Other - Please describe below.: 
Building alliances such as this index. It is through extensive research that I beginning to find colleagues in the experimental arts that are creating archives and forums for discussing them.
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?: 
No
Finish
survey_field_150: 
Time & Space Limtied
Who executed this survey.: 
Sarah Davis, Managing Director, Time & Space Limited
Is this survey complete and all appropriate questions answered?: 
Yes