Survey: Zelda Artists Project, Inc.

Posted August 05, 2010 by Anonymous
Part 2.
2a. Mission Statement: 
this part I will work on after labor day; it will take a lot of time.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
first draft - not completed Zelda Artists Project, Inc was the not for profit Grethe Holby founded for Grethe Holby and Dancers, and also her various other projects. (dates) As Grethe Holby became more and more immersed in the creation of new American opera, Zelda Artists Project’s name was legally changed to American Opera Projects, Inc. (AOP), Grethe Barrett Holby the founding artistic director. Holby developed and led the company from 1988-2001. She is now immeritus, but took with her when she moved on, one of her deeply important programs, the Family Opera Initiative (FOI) ( 1995-present) as well as various Opera/Music-Theater projects she was currently working on. FOI is now in partnership with The Atlantic Center for the Arts (ACA), an artist residency facility and program located in New Smyrna Beach, FL. Grethe Barrett Holby, her projects, and the FOI are all located at 463 Broome St., NYC, in Soho, down the street from the old Zelda studio at 98 Greene St.
2c. Exhibition / Programming / Publishing History.: 
to be completed during september
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Grethe Barrett Holby
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Richard Peaslee
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Charles Jarden
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Franco Colavecchia
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 Year activity suspended if no longer active.: 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?: 
Fiscal endangerment of organization
Changes in your physical space that will result in endangerment to your archival materials
6c. Other threats to the organization:: 
The organization is split now between American Opera Projects (AOP) and the organization in transition that remains the vision and work of Grethe Barrett Holby. I found running a not-for-profit deadening as an artist, and have set out to restructure my work so that the energy is focused on the creative process and the work, rather that the organizational structure, the fiscal reporting, the networking for grants, the weeks of work on applications for government support. This restructuring is essential to the artist today in today’s economy. As this is a transitional stage, there will hopefully be new history made in exploring new options, as we all did in the early 70’s. (more later- first draft)
Part 7.
all of the above- since you only allow one choice, I choose the last - no money to tranfer 3/4 inch video to DVD; no $ for Web designers to put the whole picture together; total drain on non-existant staff time - we have to suspend all creative work for 2 months now to attempt to get this all under control since there is no $ for dedicated archive staff; storage and space concerns, of course.
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?: 
Other Concerns - Please describe below.
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?: 
Home / Office of Private Individual(s) / Former Board, Staff, Funders, But I have a vast majority of them through 2000.
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.: 
1. First I have to have time to organize it all 2. All the old format videos - many in 3/4 inch video tapes, a number in Reel to reel video !!! - need to be transfered to digital before they all disappear and disintegrate. This requires money. About $50./tape on average, 3. Dedicated staff to work on this project - that requires money and an extra desk, and space. 4. All of it should be at least minimally accessible on the web site - which I can never seem to get up because of money and time constraints, though much of the initial work and design and scanning have been done. 5. People interested in accessing the archives would need a space to work and look at them. We are all in one office. and can’t disrupt the ongoing creative work. I am sure I will add to this.
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
Legal Documents
By-laws / Incorporation Documents
Other Paper 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.]
Unique Art Objects
Other Artwork. Please describe below.
programs, costume elements, models of sets, original set and costume drawings and painting, etc.
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Checklists / Performance Programs / Price Lists
Programs of Events
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
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
Other - Please describe below.
Please describe: 
open shelves, frames,
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: 
41 - 50
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
Other Archive Storage Units - Please describe below.: 
many feet of shelves of video tapes, audio tapes, CD’s, DVD’s, etc.
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:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
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?: 
Other - Please describe below.
Please describe: 
pretty much only me. others don’t know enough about the history to be helpful without full supervision, and I don’t have the # anyway to hire someone.
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?: 
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
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?: 
get web sites up with history and lists of programs, productions, etc.
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?: 
get comprehensive history on web
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
keep them going
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.: 
$50,001 - $60,000
Part 23.
23d. Other - Please describe below.: 
create a collective catalogue and access plan so all the cataloguing is useful to the greater community
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?: 
25b. Who?: 
didn’t even know about these, or consider the possibility. thought I was alone in this venture
Part 26.
26. Additional information, comments, observations, and questions.: 
I am sure I will have many
Who executed this survey.: 
Grethe Barrett Holby
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.