Survey: zingmagazine

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$100,001 - $250,000
1b. Primary activity[ies] of the organization.: 
Printed Periodical / Publication
Part 2.
2a. Mission Statement: 
zingmagazine, established in 1995, by Devon Dikeou, came out of the idea that within certain disciplines, artistic and otherwise, various cross-references occur, both with individuals and the material of their particular interest. Rather than remaining isolated and apart, either through an unaware and uninformed (or aware and informed) malaise, there is a need to commingle arenas. By establishing a forum of collaborative exchange, zingmagazine examines points of both similar and dissimilar articulations. Like sets and subsets in a mathematical diagram with similar and opposite properties, parts of the exchange will share epiphanies while others will securely diverge. In the examination of these current issues, born out of the curatorial collaborative spirit, zingmagazine reaches for the crossing point, and it is from this “crossing”—where fiction meets poetry for lunch, theorists mingle with artists, where we all assume new boundaries with an excess of technology in the modern world—that we find our inspiration. Likewise, it is from this crossing that zing’s title is honed. Each issue is comprised of rotating curatorial projects. Each curator is invited to create a project of up to 16 pages with the freedom to explore a myriad of different disciplines: photography, drawing, architecture, design, fiction, poetry, video, music, fashion, or other. zing also publishes special projects including books, posters, and CDs. Lack of parameters or limits is the impetus, with the idea that the creative impulse, within each of the curators/disciplines, will produce original projects—by the curators, artists, and/or participants. “The Reflections, The Reviews, The Reactions” supplement accompanies each issue, with critical reports of shows, readings, publications, happenings, renegades, etc—from New York, Los Angeles, London, Stockholm, Philadelphia, Geneva, Paris, Tucson, New Haven, Boston, Tokyo, Mexico City, Athens, Rome, Antwerp, Newark, Denver and Tijuana, and elsewhere.
Website Link to Mission Statement:
Website Link to Organization's History / Organization Overview:
Website Link to Exhibition / Programming / Publishing History:
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Devon Dikeou
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Anna Knoebel
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Grace Kim Kim
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Janice Yu
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.: 
5b. Type of organization currently, or at the termination of activities.: 
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
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.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
Our archive is already in place
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?: 
Not Applicable
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?: 
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.: 
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 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
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
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Programs of Events
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Flat Files
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
200 +
14b. Estimated Number of Archive Drawers: 
21 - 30
14c. Estimated Number of Archive Notebooks: 
51 - 60
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
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?: 
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?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Dedicated climate control system
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?: 
other priorities
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.: 
$100,001 - $150,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$200,001 - $250,000
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?: 
Who executed this survey.: 
Anna Knoebel, managing editor
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?: