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papers/SCORE.md

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··· 18 18 platter (raw material: notes, code, conversations, references) 19 19 → thread (a question or observation worth following) 20 20 → draft (a paper that tries to answer or frame it) 21 21 - → formats (arXiv two-column, cards single-sheet, JOSS software paper) 21 21 + → formats (arXiv two-column, cards single-sheet, JOSS software paper, dossier) 22 22 → targets (conferences, journals, submissions, mail art) 23 23 ``` 24 24 25 25 - The platter feeds everything. Threads get pulled from it. Some threads become papers, some become code, some stay threads. Papers can be rendered in multiple formats — the same .tex source produces both a full arXiv-style PDF and a single-sheet index card via `cards-convert.mjs`. 25 25 + The platter feeds everything. Threads get pulled from it. Some threads become papers, some become code, some stay threads. Papers can be rendered in multiple formats — the same `.tex` source produces both a full arXiv-style PDF and a single-sheet index card via `cards-convert.mjs`. 26 26 + 27 27 + ## Swimlanes 28 28 + 29 29 + The mill runs several parallel tracks. Each lane is a different shape of artifact, with its own posture, its own audience, and its own pipeline. 30 30 + 31 31 + ### 1. arXiv-format papers (`arxiv-*/`) 32 32 + 33 33 + The main lane. Two-column LaTeX with AC custom fonts (`ywft-processing-bold`, `ywft-processing-light` + Latin Modern). Roughly **30 active titles** ranging from 3 to 8 pages. Subjects: KidLisp internals, AC native OS, network audits, latency, identity, sustainability — all derived from things actually built inside AC. Source lives next to the artifact: `arxiv-<slug>/<slug>.tex` + `references.bib` + per-paper `figures/`. 34 34 + 35 35 + ### 2. Dossiers (`arxiv-<org>/`, dossier subset) 36 36 + 37 37 + A sub-lane of arXiv format with a different posture: **fact-surfacing, not argumentative**. The dossier records what is publicly recoverable about a digital-arts organization (or its funder) — financials, governance, programs, people, locations, named grants — and stops where the facts run out. Each dossier folder includes a structured `data/` directory (CSVs + a README of what's solid / soft / missing) that sits alongside the `.tex`. The dossier swimlane started **2026-05-02** with Rhizome and SFPC; current set of 13: 38 38 + 39 39 + | Dossier | Posture | Status | 40 40 + |---|---|---| 41 41 + | Rhizome.org | 501(c)(3) recipient, IRS XML pipeline | first-pass | 42 42 + | School for Poetic Computation | LLC, public github finance repo | first-pass | 43 43 + | Eyebeam | 501(c)(3) recipient, IRS XML pipeline | first-pass | 44 44 + | Recurse Center | for-profit, founder interviews + recruiting model | first-pass | 45 45 + | Internet Archive | 501(c)(3) recipient + litigation track | first-pass | 46 46 + | Mellon Foundation | **funder flip** — 990-PF + grants database | first-pass | 47 47 + | Pioneer Works | 501(c)(3) recipient, founder-as-funder | first-pass | 48 48 + | NEW INC | embedded in New Museum 990 | first-pass | 49 49 + | Studio Museum in Harlem | 501(c)(3) recipient, capital campaign | first-pass | 50 50 + | HathiTrust | UMich library service, no separate 990 | first-pass | 51 51 + | The Kitchen | 501(c)(3) recipient, 50+ year arc | first-pass | 52 52 + | Machine Project | 501(c)(3) recipient (until 2018), Echo Park | first-pass | 53 53 + | Heavy Manners Library | small space, status-undisclosed | first-pass | 54 54 + 55 55 + Candidates queued in [`papers/hitlist.md`](hitlist.md). 56 56 + 57 57 + ### 3. JOSS papers (`joss-*/`) 58 58 + 59 59 + Condensed software papers for the [Journal of Open Source Software](https://joss.theoj.org/). Markdown with LaTeX includes. JOSS review process focuses on software quality, documentation, and community impact — distinct from academic-novelty review. Current: `joss-ac/`, `joss-kidlisp/`. 60 60 + 61 61 + ### 4. Cards (`*-cards.tex`, generated) 62 62 + 63 63 + Single-sheet index-card layout reformatted from arXiv source via [`cards-convert.mjs`](cards-convert.mjs). Designed for printing, passing hand-to-hand, pinning on walls. The same `.tex` source produces both the full arXiv PDF and the card. 64 64 + 65 65 + ### 5. Conference-specific scaffolds (`<venue>-*/`) 66 66 + 67 67 + Venue-specific submissions that don't fit arXiv format: 68 68 + - `siggraph-asia-2026-tech/` — `acmtog` LaTeX class for SIGGRAPH Asia Technical Papers (double-blind) 69 69 + - `cc-demo-2026/` — ACM Demo format for Creativity & Cognition 70 70 + - `iccc-kidlisp/`, `els-kidlisp/` — ICCC and ELS submission packages 71 71 + - `ars-electronica-2026/` — Prix Ars Electronica entry materials 72 72 + 73 73 + ### 6. Lectures (`lectures/`) 74 74 + 75 75 + Lecture transcripts paired with commentary and references. Material that started as spoken-word and was captured for later citation. 76 76 + 77 77 + ### 7. Platters (sub-platters) 78 78 + 79 79 + Smaller scoped collections. Each has its own `manifest.json` + `sync.mjs`: 80 80 + - [`jeffrey-platter/`](jeffrey-platter/) — biographical materials, image corpus, archival sources for Jeffrey-as-subject 81 81 + - [`whistlegraph-platter/`](whistlegraph-platter/) — Whistlegraph-specific artifacts and references 82 82 + - [`people-platter/`](people-platter/) — TODO; will hold AC-adjacent people biographies 83 83 + 84 84 + ### 8. CV (`cv/`) 85 85 + 86 86 + Jeffrey's CV is built through the same pipeline (LaTeX → PDF → site deploy) and treated as a long-form paper for tooling purposes. Hidden from the public index. 87 87 + 88 88 + ## Tooling 89 89 + 90 90 + The mill's code lives at the top of `papers/` and in [`bin/`](bin/). All scripts are runnable as `node papers/bin/<name>.mjs`. 91 91 + 92 92 + ### Top-level (build, deploy, index) 93 93 + 94 94 + | Script | Purpose | 95 95 + |---|---| 96 96 + | [`cli.mjs`](cli.mjs) | Primary build CLI. `build`, `deploy`, `publish`, `status`, `log`. Multi-pass xelatex per paper × 4 languages. Auto-bumps `metadata.json` revisions on each build. | 97 97 + | [`papermill.mjs`](papermill.mjs) | Older translation-build pipeline (still used for `--format cards`). | 98 98 + | [`sync-platter.mjs`](sync-platter.mjs) | Refresh `system/public/papers.aesthetic.computer/platter.html` (the rendered index of reports / plans / studies / paper count). | 99 99 + | [`cards-convert.mjs`](cards-convert.mjs) | Convert an arxiv `.tex` source into the single-sheet card layout. | 100 100 + | [`metadata.json`](metadata.json) | Per-paper `created` date + `revisions` counter + `updated` ISO timestamp. Auto-bumped by `cli.mjs publish`. | 101 101 + 102 102 + ### `bin/` (dossier-cycle utilities, added 2026-05) 103 103 + 104 104 + | Script | Purpose | 105 105 + |---|---| 106 106 + | [`bin/build-dossier.mjs`](bin/build-dossier.mjs) | Multi-pass xelatex + bibtex build for a single dossier or `--all`. Reports undefined citations. | 107 107 + | [`bin/gen-cover.mjs`](bin/gen-cover.mjs) | Generate the colored-pencil vignette cover illustration for a dossier from `figures/cover-prompt.txt` via OpenAI gpt-image-2 (1024×1024 square, faded edges). | 108 108 + | [`bin/gen-qrs.mjs`](bin/gen-qrs.mjs) | Generate per-paper QR-code PNG pointing to the deployed permalink at `papers.aesthetic.computer/<siteName>.pdf`. Uses `qrencode` CLI. | 109 109 + | [`bin/migrate-cover.mjs`](bin/migrate-cover.mjs) | One-shot migration: rewrite an old-style cover block (4em pals + 15em hero) into the new vignette layout (pals top-left + QR top-right + TikZ-overlaid title floating over faded illustration). Idempotent. | 110 110 + | [`bin/fix-people-tables.mjs`](bin/fix-people-tables.mjs) | One-shot: convert `tabularx{lXl}` people tables to `tabularx{lXX}` so the third column wraps and stops overflowing the column width. | 111 111 + 112 112 + ### Style files 113 113 + 114 114 + | File | Purpose | 115 115 + |---|---| 116 116 + | [`ac-paper-layout.sty`](ac-paper-layout.sty) | Shared visual identity for arxiv papers: AC color palette, font commands, draft watermark, pals logo watermark, section formatting, header/footer. | 117 117 + | [`ac-paper-cards.sty`](ac-paper-cards.sty) | Cards-format layout. | 26 118 27 119 ## Formats 28 120 29 121 - **arXiv**: Two-column academic layout with AC custom fonts, syntax-highlighted code, development history, adoption metrics. For preprint submission and sharing. 122 122 + - **Dossier**: arXiv-format twocolumn but with a vignette cover, AI-generated colored-pencil illustration as hero, QR top-right pointing to permalink, structured `data/` folder with raw CSVs alongside the `.tex`. Posture is fact-surfacing, not argumentative. 30 123 - **Cards**: Single-sheet index-card layout reformatted from arXiv source. Designed for printing, passing hand to hand, pinning on walls. 31 124 - **JOSS**: Condensed software papers for Journal of Open Source Software. Markdown with LaTeX includes. JOSS reviews focus on software quality, documentation, and community impact. 32 125 33 126 ## Translations 34 127 35 35 - Every paper exists in four languages: English, Danish, Spanish, and Chinese. Translations are generated and maintained alongside the English source. This is not decoration — it reflects a commitment to the work being accessible beyond the anglophone academic world. 128 128 + Every paper exists in four languages: English, Danish, Spanish, and Chinese (and increasingly Japanese). Translations are generated and maintained alongside the English source. This is not decoration — it reflects a commitment to the work being accessible beyond the anglophone academic world. 129 129 + 130 130 + The `cli.mjs build` pipeline runs xelatex × 4 languages per paper. `metadata.json` tracks revision counts per English build only (to avoid double-counting translations). 36 131 37 132 ## Papers 38 133 ··· 40 135 41 136 | Paper | Format | PDF | Source | 42 137 |-------|--------|-----|--------| 138 138 + | A Fraserin' Art + Tech (methodology essay + prior-art survey, labor-folk register) | arXiv (LaTeX, PLAN only) | (build pending) | `arxiv-fraserin/PLAN.md` | 43 139 | Pioneer Works: A Dossier (Genealogy, History, Programs, People, Money, Footprint, 2012–2026) | arXiv (LaTeX, dossier) | `arxiv-pioneer-works/pioneer-works.pdf` | `arxiv-pioneer-works/pioneer-works.tex` | 44 140 | Mellon Foundation: A Dossier (Genealogy, Programs, Giving, People, Politics, 1969–2026) | arXiv (LaTeX, dossier) | `arxiv-mellon/mellon.pdf` | `arxiv-mellon/mellon.tex` | 45 141 | Internet Archive: A Dossier (Genealogy, History, Programs, People, Money, Footprint, 1996–2026) | arXiv (LaTeX, dossier) | `arxiv-internet-archive/internet-archive.pdf` | `arxiv-internet-archive/internet-archive.tex` | ··· 82 178 | Aesthetic Computer '26 | JOSS (Markdown) | `joss-ac/paper.pdf` | `joss-ac/paper.md` | 83 179 | KidLisp '26 | JOSS (Markdown) | `joss-kidlisp/paper.pdf` | `joss-kidlisp/paper.md` | 84 180 181 181 + ## Cover-prompt doctrine 182 182 + 183 183 + Every dossier cover illustration must be **sourced**, not blind-prompted. The colored-pencil vignette is generated from `figures/cover-prompt.txt` via [`bin/gen-cover.mjs`](bin/gen-cover.mjs), but the *contents* of that prompt are research-driven: each visual element must trace to a real photograph, building, founder portrait, signature product, brand identity, or environmental detail of the organization being dossiered. The point is that the resolved image carries information density, not generic associations. 184 184 + 185 185 + For each dossier, `figures/` carries two files: 186 186 + - `cover-prompt.txt` — the prompt fed to gpt-image-2, with rich specificity (the actual building's facade, the founder's recurring outfit, the org's signature object). 187 187 + - `cover-sources.md` — the citation log. For every visual element in the prompt, a line of attribution: which photo, which interview, which physical object, which brand asset. Source URLs included. This is the dossier's audit trail for the cover. 188 188 + 189 189 + This rule is non-optional: a cover is the dossier's most-shared artifact (it's the IG-screenshot vector), so its visual claims need to be defensible the same way the dossier's text claims are footnoted. 190 190 + 191 191 + ## Dossier cover gallery 192 192 + 193 193 + Each dossier opens with a colored-pencil vignette illustration generated via [`bin/gen-cover.mjs`](bin/gen-cover.mjs). The covers share a visual identity: cream paper, single floating iconic form, faded edges. Click through to the dossier `.tex` to read the source, or scan the in-PDF QR code to fetch the deployed permalink. 194 194 + 195 195 + | | | | 196 196 + |---|---|---| 197 197 + |  |  |  | 198 198 + | **Rhizome.org** | **School for Poetic Computation** | **Eyebeam** | 199 199 + |  |  |  | 200 200 + | **Recurse Center** | **Internet Archive** | **Mellon Foundation** | 201 201 + |  |  |  | 202 202 + | **Pioneer Works** | **NEW INC** | **Studio Museum in Harlem** | 203 203 + |  |  |  | 204 204 + | **HathiTrust** | **The Kitchen** | **Machine Project** | 205 205 + |  | | | 206 206 + | **Heavy Manners Library** | | | 207 207 + 85 208 ## Building 86 209 87 210 ### Automatic (Oven Papermill) ··· 112 235 113 236 # Individual paper (manual 3-pass build) 114 237 cd papers/arxiv-ac && xelatex ac.tex && bibtex ac && xelatex ac.tex && xelatex ac.tex 238 238 + ``` 239 239 + 240 240 + ### Dossier-specific (Local) 241 241 + 242 242 + ```bash 243 243 + # Build all 13 dossiers (multi-pass xelatex + bibtex with citation report) 244 244 + node papers/bin/build-dossier.mjs --all 245 245 + 246 246 + # Build a single dossier 247 247 + node papers/bin/build-dossier.mjs arxiv-rhizome 248 248 + 249 249 + # Generate the colored-pencil vignette cover from cover-prompt.txt 250 250 + node papers/bin/gen-cover.mjs arxiv-rhizome --force 251 251 + 252 252 + # Generate ALL dossier covers (slow — calls OpenAI gpt-image-2 for each) 253 253 + node papers/bin/gen-cover.mjs --all --force 254 254 + 255 255 + # Generate per-paper QR code pointing to the deployed permalink 256 256 + node papers/bin/gen-qrs.mjs --all 257 257 + node papers/bin/gen-qrs.mjs --all --langs # also generate da/es/zh/ja variants 258 258 + ``` 259 259 + 260 260 + ### After publish: refresh the platter 261 261 + 262 262 + ```bash 263 263 + node papers/sync-platter.mjs 115 264 ``` 116 265 117 266 ## Subdomain

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papers/arxiv-eyebeam/eyebeam.tex

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{eyebeam-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Eyebeam}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Eyebeam}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par ··· 151 172 \section{People} 152 173 153 174 \begin{table}[h] 154 154 - \small 175 175 + \footnotesize 155 176 \centering 156 156 - \begin{tabularx}{\columnwidth}{lXl} 177 177 + \setlength{\tabcolsep}{3pt} 178 178 + \begin{tabularx}{\columnwidth}{lXX} 157 179 \toprule 158 180 \textbf{Tenure} & \textbf{Director} & \textbf{Note} \\ 159 181 \midrule

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papers/arxiv-eyebeam/figures/cover-prompt.txt

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··· 1 1 - A vertical, sketchbook-style portrait of an art-and-technology workshop in transition. Foreground: a bay of mismatched workstations on long shared tables — a beige CRT monitor and chunky tower PC of the late-1990s at one end, a thin flat-screen and laptop of the late-2010s at the other, cables draped between. Two artist-residents bend over the workstations, sketching circuit boards and code on graph paper, headphones on, faces calm and focused; a third stands at a whiteboard mid-marker. The studio is clearly post-loft: exposed brick, polished concrete floor, a roll-up garage door at the far end admitting Brooklyn warehouse light. Corkboards pinned with open-source schematics, dot-matrix printouts, soldering irons in a coffee mug, a pegboard of small electronic parts, plants on the windowsill. High ceiling; a single industrial fluorescent fixture and a desk lamp throw warm pools of light over the cool background. The window at upper right shows a faint ghost of an unbuilt curving ribbon-architecture facade — Chelsea — folded into the new Bushwick brickwork. Colored pencil illustration on cream paper, soft layered strokes, art-school sketchbook tone, no text, no logos, vertical composition. 1 1 + A single floating eye-shaped form, drawn as a sculptural object. The iris is rendered as concentric rings of circuit-board pathways radiating outward like a printed-circuit eye. The pupil is solid and dark. Subtle filaments and fiber-optic-like strands extend from the eye's outer edges and dissolve into the cream paper. The form has the presence of a beacon or insignia — bold, simple, recognizable from a distance. Centered composition, densest at the pupil, fading to nothing at the corners.

papers/arxiv-eyebeam/figures/cover.png

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papers/arxiv-hathitrust/data/README.md

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··· 1 1 + # arxiv-hathitrust / data --- first-pass record pull 2 2 + 3 3 + First-pass dossier data assembled 2026-05-02. All numbers are sourced; gaps and TBDs are flagged inline rather than guessed. 4 4 + 5 5 + ## Files 6 6 + 7 7 + - `financials.csv` --- HathiTrust does not file a Form 990 in its own name; it is a service of the University of Michigan, not a standalone 501(c)(3). The financial record therefore reads through cost-per-volume figures, the 2019 projected budget, and the year-by-year tier fees rather than ProPublica/IRS structured data. 8 8 + - `members.csv` --- partial member list. 14 founding institutions (CIC 12 + UC system + UVa) with subsequent additions. As of 2024, 219+ research libraries; as of 2025, 290+. Full alphabetical list at hathitrust.org/member-libraries/member-list/. 9 9 + - `people.csv` --- John Wilkin (founding Executive Director 2008-2013), Mike Furlough (2014-), Paul Courant (UMich co-creator), HTRC co-PIs Beth Plale (Indiana) and J. Stephen Downie (Illinois), recent Board electees. 10 10 + - `funders.csv` --- Mellon Foundation, Sloan Foundation, IMLS, member library dues, in-kind contribution from Google (digitization). 11 11 + - `grants.csv` --- Mellon $1M (2023-02) is the headline named grant; Sloan funding for HTRC Data Capsule + IU's $600K non-consumptive research investigation (2011); IMLS National Leadership Grants underwriting CRMS (2008+) and CRMS-World (2011-2014). 12 12 + - `timeline.csv` --- 2008 founding through 2026; emphasizes the litigation arc (Authors Guild filed 2011 / district 2012 / 2nd Circuit 2014 / settlement 2015), the COVID-era ETAS launch (March 2020), and the HTRC sunset (end of 2026). 13 13 + - `locations.csv` --- University of Michigan Library (host); Indiana / Illinois (HTRC co-hosts, sunsetting); BTAA + CDL coordinating roles. 14 14 + - `programs.csv` --- Digital Library, PageTurner, Catalog/API, HTRC, CRMS, ETAS (discontinued), Shared Print, US Federal Documents, Disability Access, Orphan Works (discontinued). 15 15 + - `litigation.csv` --- Authors Guild Inc. v. HathiTrust (filed Sept 2011, district court Oct 2012, 2nd Circuit June 2014, settlement Jan 2015). 16 16 + 17 17 + ## What's solid 18 18 + 19 19 + - **Founding date**: October 13, 2008 (launch announcement). Founding members: 12 universities of the CIC (now Big Ten Academic Alliance) + 11 University of California libraries + University of Virginia. 20 20 + - **Headquarters**: 1001 N. Buhr Building, 200 Hill Street, Ann Arbor MI. Embedded inside the University of Michigan Library. 21 21 + - **Legal structure**: NOT a standalone 501(c)(3). HathiTrust is a service of the University of Michigan, a public-university body. Funded by member dues + external grants. Member-elected Board of Governors (12 voting members + 2 ex officio non-voting). 22 22 + - **Authors Guild v. HathiTrust** ruling: filing September 2011; District Court (Judge Harold Baer Jr.) ruling October 10, 2012; Second Circuit (Judges Parker / Walker / Cabranes) affirmation June 10, 2014; settlement January 6, 2015. Two of the three uses (full-text search + accessibility) found to be fair use; preservation-copy claim remanded on standing and ultimately settled. 23 23 + - **Corpus scale**: 18M+ volumes (Sept 2024); 19M+ (2025); 6.7M in US public domain. 24 24 + - **Members**: 219+ (2024); 290+ (2025). 25 25 + - **Cost-per-volume**: $0.2294 (2023); $0.2403 (2026). 26 26 + - **Tier 2 baseline public-domain fee** (majority of members): $7,414 (2023). 27 27 + - **2019 projected budget**: $3,777,445 (Wikipedia citation). 28 28 + - **Mellon $1M grant (Feb 2023)**: cross-referenced with arxiv-mellon dossier. 29 29 + - **HTRC sunset**: HathiTrust voted in 2024 to end HTRC funding at end of 2026. 30 30 + - **ETAS launch date**: March 2020; in use at 171 campuses within 2 months; ~300K accesses by mid-2020. 31 31 + 32 32 + ## What's known but not fully quantified 33 33 + 34 34 + - **Year-by-year HathiTrust budget**: only the 2019 projected number ($3.78M) and 2023 / 2026 cost-per-volume rates are publicly cited. Total annual budget by year is not pulled in this pass; would require the Members area newsletters or annual reports from hathitrust.org/newsletters. 35 35 + - **Member dues income vs grants income split**: structurally member dues dominate, but exact ratio not surfaced in this pass. 36 36 + - **Sloan grant amounts for HTRC Data Capsule**: confirmed Sloan funded the Data Capsule, but specific year and amount TBD beyond IU's $600K investigation grant (2011). 37 37 + - **IMLS grant amounts for CRMS**: National Leadership Grants confirmed for 2008 (US) and 2011-2014 (CRMS-World), but dollar figures not retrieved in this pass. 38 38 + - **Full board roster across years**: only most recent elections (Romaniuk, McAllister) and founding-period leadership (Wilkin, Courant, Furlough) captured. Full Board / PSC roster across 2012-2026 is partial. 39 39 + - **Full member roster**: 290+ as of 2025; ~30 captured in members.csv. Full alphabetical list lives at hathitrust.org/member-libraries/member-list/. 40 40 + 41 41 + ## What's missing entirely (not yet attempted) 42 42 + 43 43 + - **The HathiTrust Bylaws (2012, with amendments)**: the governing document was not pulled in this first pass. 44 44 + - **Year-by-year annual reports**: the HathiTrust Newsletters page (hathitrust.org/newsletters) likely contains member-meeting minutes and budget-vote outcomes. 45 45 + - **University of Michigan Library annual reports**: would surface HathiTrust expenditures and revenue inside the host budget; not pulled. 46 46 + - **Full Mellon grant history to HathiTrust**: 2023 $1M is the headline; possible earlier or later grants to HathiTrust specifically (vs to UMich for HathiTrust-related work) not exhaustively pulled. 47 47 + - **Big Ten Academic Alliance financial alignment**: BTAA is co-located and programmatically aligned with HathiTrust; the funding flows between BTAA and HathiTrust are not pulled in this pass. 48 48 + - **Settlement amounts in Authors Guild v. HathiTrust**: the 2015 settlement was on the preservation-copy and orphan-works claims. Monetary terms (if any) of the settlement are not in the public summaries. 49 49 + - **HTRC final-year transition costs**: the 2024 Board decision to end HTRC funding at end of 2026 implies a transition budget; specifics not surfaced. 50 50 + 51 51 + ## Data quality notes 52 52 + 53 53 + - HathiTrust does NOT have an EIN of its own. The legal employer of HathiTrust staff is the University of Michigan (EIN 38-6006309). For tax/financial-disclosure purposes, HathiTrust's footprint lives inside UMich filings rather than as a separate Form 990. 54 54 + - The "Committee on Institutional Cooperation" was renamed "Big Ten Academic Alliance" in 2016. Pre-2016 sources will say CIC; post-2016 sources will say BTAA. Both refer to the same 12-university consortium. 55 55 + - Several member institutions appear under multiple names in source documents (e.g., "University of California" can mean the UC system, a specific UC campus, or the California Digital Library). 56 56 + - The Authors Guild ruling and the Internet Archive's Hachette ruling sit on the same Second Circuit fair-use corridor and are decided by the same court a decade apart. The cases are doctrinally tightly linked: HathiTrust won on transformative fair-use (search + accessibility); the Internet Archive lost on whole-book lending. 57 57 + 58 58 + ## Source URLs 59 59 + 60 60 + - HathiTrust home: https://www.hathitrust.org/ 61 61 + - HathiTrust About: https://www.hathitrust.org/about/ 62 62 + - HathiTrust Governance: https://www.hathitrust.org/about/governance/ 63 63 + - HathiTrust Cost Model: https://www.hathitrust.org/Cost 64 64 + - HathiTrust Member List: https://www.hathitrust.org/member-libraries/member-list/ 65 65 + - HathiTrust Newsletters: https://www.hathitrust.org/newsletters/ 66 66 + - HathiTrust 2026 Budget Press: https://www.hathitrust.org/press-post/2026-budget-new-board-members/ 67 67 + - HTRC: https://www.hathitrust.org/about/research-center/ 68 68 + - HTRC Transition FAQ: https://www.hathitrust.org/about/research-center/htrc-transition-faq/ 69 69 + - ETAS: https://www.hathitrust.org/member-libraries/services-programs/etas/ 70 70 + - 2023 Mellon Grant: https://www.hathitrust.org/hathitrust-receives-1-million-mellon-grant-to-enhance-core-operations 71 71 + - Wikipedia: https://en.wikipedia.org/wiki/HathiTrust 72 72 + - Wikipedia (Authors Guild case): https://en.wikipedia.org/wiki/Authors_Guild,_Inc._v._HathiTrust 73 73 + - 2nd Circuit ruling: https://law.justia.com/cases/federal/appellate-courts/ca2/12-4547/12-4547-2014-06-10.html 74 74 + - Big Ten Academic Alliance: https://btaa.org/library/programs-and-services/hathitrust-digital-library/governance 75 75 + - 2008 Launch (CDL): https://cdlib.org/cdlinfo/2008/10/15/major-library-partners-launch-hathitrust-shared-digital-repository/ 76 76 + - 2008 Launch (UMich): https://news.umich.edu/major-library-partners-launch-hathitrust-shared-digital-repository/

+9

papers/arxiv-hathitrust/data/financials.csv

reviewed

··· 1 1 + fiscal_year_end,total_income,member_dues_income,grants_income,operating_expenses,cost_per_volume_usd,total_volumes_millions,notes,source 2 2 + 2019,3777445,---,---,---,---,17.0,Projected 2019 budget cited on Wikipedia,Wikipedia 3 3 + 2020,---,---,---,---,---,17.5,No published number; ETAS launched March 2020; member fees adjusted for emergency,hathitrust.org press 4 4 + 2021,---,---,---,---,---,17.7,---,hathitrust.org 5 5 + 2022,---,---,---,---,---,17.9,40 percent of collection in public domain on July 1 2022 when 2023 fees calculated,hathicost 6 6 + 2023,---,---,1000000,---,0.2294,18.0,Mellon $1M grant landed Feb 2023; Tier 2 baseline public-domain fee $7414,hathicost / hathimellon2023 7 7 + 2024,---,---,---,---,---,18.2,18M+ volumes Sept 2024; 219+ members; 6.7M public domain,wikipediahathi 8 8 + 2025,---,---,---,---,---,19.0,19M+ volumes; 290+ members,wikipediahathi 9 9 + 2026,---,---,---,---,0.2403,---,Budget passed by member vote; new board members elected (Romaniuk Calgary; McAllister Hofstra),hathi2026budget

+10

papers/arxiv-hathitrust/data/funders.csv

reviewed

··· 1 1 + funder,role,notes,source 2 2 + Andrew W. Mellon Foundation,Major institutional funder,$1M grant Feb 2023 (Public Knowledge program) for portfolio management staffing and core preservation/access mission; cross-referenced in arxiv-mellon/data/recipient-spotlight.csv,hathimellon2023 / mellon.org 3 3 + Alfred P. Sloan Foundation,Major institutional funder,Funded HTRC Data Capsule (secure VM environment for non-consumptive research over copyrighted text); $600K to Indiana University Data to Insight Center for non-consumptive research investigation 2011,iudata2011 / plale2016educause 4 4 + Institute of Museum and Library Services (IMLS),Federal grant agency,Multiple National Leadership Grants supporting Copyright Review Management System (CRMS) 2008-2011 (US) and 2011-2014 (CRMS-World); 50+ individual reviewers across partner institutions,hathicrms 5 5 + University of Michigan,Founding host institution,Hosts HathiTrust staff infrastructure and operations; UMich Library budget contains the operational core,wikipediahathi 6 6 + Big Ten Academic Alliance (formerly CIC),Founding consortium,12-university consortium contributing 2 Board of Governors seats and ongoing programmatic alignment,btaagovernance 7 7 + University of California (system),Founding consortium,11 libraries plus California Digital Library; 2 Board of Governors seats,cdl2008launch 8 8 + Member libraries (annual dues),Primary funding source,219+ libraries (2024) paying annual dues based on cost-per-volume rate ($0.2294 in 2023; $0.2403 in 2026); split into public-domain (common-good) tier fees and copyright-portion fees,hathicost 9 9 + Google (in-kind via Google Library Project),Initial digitization partner,Most of the founding corpus was digitized by Google through partner-library agreements; HathiTrust receives the scans and preserves them,wikipediahathi 10 10 + National Endowment for the Humanities (NEH),Federal grant agency,Periodic grants tied to digital humanities scholarship over the corpus,---

+7

papers/arxiv-hathitrust/data/grants.csv

reviewed

··· 1 1 + funder,date,amount_usd,program_area,project,term_months,source_url,notes 2 2 + Mellon Foundation,2023-02,1000000,Public Knowledge,Strengthen preservation and access mission; portfolio management staffing,60,https://www.hathitrust.org/hathitrust-receives-1-million-mellon-grant-to-enhance-core-operations,Cross-referenced in papers/arxiv-mellon/data/recipient-spotlight.csv 3 3 + Sloan Foundation,2011,600000,Digital Information Technology,Investigation of non-consumptive research for mass digitized collection (to IU Data to Insight Center),,https://newsinfo.iu.edu/news/page/normal/19252.html,IU-led grant supporting HTRC research direction 4 4 + Sloan Foundation,---,---,Digital Information Technology,HTRC Data Capsule -- secure VM environment for non-consumptive research on copyrighted content,,---,Specific year and amount TBD; underwrites the HTRC secure-compute infrastructure 5 5 + IMLS,2008,---,National Leadership Grants,Copyright Review Management System (CRMS) -- US determination of public-domain status 1923-1963 works,36,https://www.imls.gov,Original CRMS grant; specific amount TBD 6 6 + IMLS,2011-12,---,National Leadership Grants,CRMS-World extension; copyright determination for non-US works,36,https://www.imls.gov,Ran December 2011 to November 2014; 50+ partner institution reviewers 7 7 + NEH,---,---,Digital Humanities Advancement,Periodic support for HTRC corpus tooling,,https://www.neh.gov,Specific year and amount TBD

+2

papers/arxiv-hathitrust/data/litigation.csv

reviewed

··· 1 1 + case_name,case_number,filing_date,plaintiffs,district_court_ruling,appeals_ruling,status,key_disclosures,source 2 2 + Authors Guild Inc. v. HathiTrust,1:11-cv-06351 (S.D.N.Y.) / 902 F.Supp.2d 445 / 755 F.3d 87 (2d Cir. No. 12-4547),2011-09-12,Authors Guild / Authors Licensing and Collecting Society (UK) / Writers Union of Canada / Australian Society of Authors / individual authors,2012-10-10 Judge Harold Baer Jr. grants summary judgment for HathiTrust; full-text search and accessibility uses are transformative fair use; preservation-copy claim rejected on standing,2014-06-10 Second Circuit (Parker / Walker / Cabranes; opinion by Parker) affirms in part; full-text search and accessibility = fair use; preservation-copy claim remanded for standing,Closed - settled 2015-01-06 on remaining preservation-copy claim and orphan works program (HathiTrust had voluntarily suspended orphan works in 2011),Defendants: HathiTrust + UMich + UC + UWisconsin + Indiana + Cornell. Precedent ruling for full-text-search and accessibility fair use over scholarly digitized libraries; foundation for Authors Guild v. Google (2nd Cir. 2015) snippet-view ruling; same legal corridor that the Internet Archive's Hachette case (2024 2nd Cir.) failed to extend to whole-book lending,authorsguildwiki / hathirulingdistrict / hathirulingappeal / arlblog2014

+7

papers/arxiv-hathitrust/data/locations.csv

reviewed

··· 1 1 + location,role,start_year,end_year,address_or_city,notes,source 2 2 + University of Michigan Library,Headquarters / operational host,2008,,1001 N. Buhr Building 200 Hill Street Ann Arbor MI 48109,Hosts HathiTrust staff and core repository infrastructure; embedded inside UMich Library organization,wikipediahathi / hathiteam 3 3 + Indiana University,HTRC co-host,2011,2026,Bloomington IN,Co-hosts HathiTrust Research Center; Beth Plale's Data to Insight Center; HTRC sunsetting end 2026,iuhtrc2011 / htrctransition 4 4 + University of Illinois at Urbana-Champaign,HTRC co-host,2011,2026,Urbana-Champaign IL,Co-hosts HathiTrust Research Center; J. Stephen Downie iSchool; HTRC sunsetting end 2026,iuhtrc2011 / htrctransition 5 5 + Big Ten Academic Alliance,Co-located coordinating consortium,2008,,Champaign IL,Programmatic alignment with HathiTrust on shared library programs; founding consortium contributing 2 Board seats,btaagovernance 6 6 + California Digital Library,Founding consortium coordinator,2008,,Oakland CA,Coordinates the 11 UC libraries' relationship to HathiTrust; 2 Board seats,cdl2008launch 7 7 + Distributed storage,Storage infrastructure,2008,,---,Multiple sites; UMich operates the primary infrastructure with mirrors,wikipediahathi

+32

papers/arxiv-hathitrust/data/members.csv

reviewed

··· 1 1 + institution,country,founding_member,join_year,leave_year,notes,source 2 2 + University of California (system - 11 libraries),USA,Yes,2008,,Founding bloc; UC Office of the President / California Digital Library coordinates; 2 Board of Governors seats,cdl2008launch 3 3 + University of Chicago,USA,Yes,2008,,CIC founding member,um2008launch 4 4 + University of Illinois at Urbana-Champaign,USA,Yes,2008,,CIC founding member; co-host HTRC,iuhtrc2011 5 5 + University of Iowa,USA,Yes,2008,,CIC founding member,um2008launch 6 6 + Indiana University,USA,Yes,2008,,CIC founding member; co-host HTRC; 1 Board of Governors seat,iuhtrc2011 7 7 + Michigan State University,USA,Yes,2008,,CIC founding member,um2008launch 8 8 + University of Michigan,USA,Yes,2008,,Founding administrator; hosts HathiTrust staff and infrastructure; 1 Board of Governors seat,um2008launch 9 9 + University of Minnesota,USA,Yes,2008,,CIC founding member,um2008launch 10 10 + Northwestern University,USA,Yes,2008,,CIC founding member,um2008launch 11 11 + Ohio State University,USA,Yes,2008,,CIC founding member,um2008launch 12 12 + Pennsylvania State University,USA,Yes,2008,,CIC founding member,um2008launch 13 13 + Purdue University,USA,Yes,2008,,CIC founding member,um2008launch 14 14 + University of Wisconsin-Madison,USA,Yes,2008,,CIC founding member,um2008launch 15 15 + University of Virginia,USA,Yes,2008,,Joined founding partnership outside CIC and UC,wikipediahathi 16 16 + Cornell University,USA,No,2009,,Joined early after launch,wikipediahathi 17 17 + Columbia University,USA,No,,,Member,hathitrust.org/member-libraries 18 18 + Princeton University,USA,No,,,Member,hathitrust.org/member-libraries 19 19 + Harvard University,USA,No,,,Content contributor / member,hathitrust.org/member-libraries 20 20 + Stanford University,USA,No,,,Member,hathitrust.org/member-libraries 21 21 + Yale University,USA,No,,,Member,hathitrust.org/member-libraries 22 22 + Library of Congress,USA,No,,,Content contributor,hathitrust.org/member-libraries 23 23 + Smithsonian Libraries,USA,No,,,Member,hathitrust.org/member-libraries 24 24 + New York Public Library,USA,No,,,Member,hathitrust.org/member-libraries 25 25 + University of Toronto,Canada,No,,,Member; Robarts Library scanning hub,hathitrust.org/member-libraries 26 26 + University of Calgary,Canada,No,,,Member; Mary-Jo K. Romaniuk elected to 2026-2028 board term,hathi2026budget 27 27 + McGill University,Canada,No,,,Member,hathitrust.org/member-libraries 28 28 + Hofstra University,USA,No,2024,,Joined July 2024; Lorrie McAllister re-elected to board,hathi2026budget / hofstranews2024 29 29 + Bibliothek der Bayerischen Staatsbibliothek (Bavarian State Library),Germany,No,,,European member; Google Books partner,hathitrust.org/member-libraries 30 30 + Complutense University of Madrid,Spain,No,,,European member,hathitrust.org/member-libraries 31 31 + Universidad de Lausanne,Switzerland,No,,,European member,hathitrust.org/member-libraries 32 32 + Note - partial list,---,---,---,---,Total members 219+ (2024) and 290+ (2025); full alphabetical list at hathitrust.org/member-libraries/member-list/,hathitrust.org/member-libraries/member-list

+10

papers/arxiv-hathitrust/data/people.csv

reviewed

··· 1 1 + name,role,start_year,end_year,notes,source 2 2 + John Wilkin,Founding Executive Director,2008,2013,Associate University Librarian for Publishing and Technology UMich; left HathiTrust 2013 to become Dean of Libraries / University Librarian U Illinois Urbana-Champaign; in 2024 became CEO of Lyrasis; received 2019 Hugh C. Atkinson Memorial Award,wilkin2013illinois / wilkin2024lyrasis 3 3 + Mike Furlough,Executive Director,2014,,Succeeded Wilkin; works closely with Board of Governors and Program Steering Committee; bears responsibility for membership engagement; based at University of Michigan,hathiteam 4 4 + Paul Courant,Co-creator / UMich Dean of Libraries (founding period),2007,2013,UMich Provost 2002-2005; Arthur F. Thurnau Professor of Public Policy and Economics; key institutional commitment for Michigan to host HathiTrust,courantfordschool 5 5 + Beth Plale,HTRC Co-PI,2011,2026,Indiana University Data to Insight Center; co-founded HTRC with U Illinois; HTRC sunsetting end of 2026,iuhtrc2011 / htrctransition 6 6 + J. Stephen Downie,HTRC Co-PI,2011,2026,University of Illinois at Urbana-Champaign iSchool; co-founded HTRC,iuhtrc2011 / plale2016educause 7 7 + Mary-Jo K. Romaniuk,Board of Governors,2026,2028,University of Calgary; elected to 3-year term beginning January 1 2026,hathi2026budget 8 8 + Lorrie McAllister,Board of Governors,2024,2027,Hofstra University; re-elected for 2 additional years on board,hathi2026budget 9 9 + Jeremy York,Early staff / library policy,~2010,,Author of "This is HathiTrust" early descriptive document,york2010thisis 10 10 + Heather Christenson,Early staff / library science,~2011,,Author of HathiTrust: A Research Library at Web Scale (LRTS 2011),christenson2011

+12

papers/arxiv-hathitrust/data/programs.csv

reviewed

··· 1 1 + program,launched,status,description,key_funders,source 2 2 + HathiTrust Digital Library,2008-10,Active,Core preservation-and-access service; trusted repository for member-library scans; full-text searchable; public-domain volumes readable in full; 19M+ volumes by 2025,member dues / Mellon / Sloan,wikipediahathi 3 3 + PageTurner,2008,Active,Web reader for in-copyright and public-domain volumes; PDF download for public domain,member dues,wikipediahathi 4 4 + Bibliographic Catalog / API,2008,Active,Shared catalog records; OAI-PMH feeds; institution identifiers; persistent IDs,member dues,hathitrust.org 5 5 + HathiTrust Research Center (HTRC),2011,Sunsetting end 2026,Computational text and data mining over the corpus; non-consumptive research; HTRC Data Capsule secure VM environment for in-copyright analysis; 2024 Board vote to end funding,Sloan / Mellon / IMLS,iuhtrc2011 / htrctransition / plale2016educause 6 6 + Copyright Review Management System (CRMS),2008,Active,Production system for human-reviewed determination of public-domain status (US 1923-1963); CRMS-World extension for non-US works; 50+ partner institution reviewers,IMLS National Leadership Grants,hathicrms 7 7 + Emergency Temporary Access Service (ETAS),2020-03,Discontinued (post-COVID),Time-limited online access for member libraries with closed physical collections during emergencies; one-digital-loan-per-physical-copy model gated by emergency declaration; reached 171 campuses in 2 months,member dues / operational,hathicovid2020 / etasterms 8 8 + Shared Print Program,~2017,Active,Print monograph retention compact; participating libraries commit to retain ~18M monograph volumes for 25-year term; distributes physical preservation footprint across consortium,member dues,wikipediahathi 9 9 + US Federal Documents Program,~2010,Active,Targeted preservation of US government publications,member dues,hathitrust.org 10 10 + Cataloging Hub / Print Holdings Database,~2012,Active,Shared cataloging infrastructure across membership,member dues,hathitrust.org 11 11 + Disability Access (print-disabled users),2008,Active,Accessible-format access for users with certified print disabilities; central use upheld in Authors Guild ruling,operational,hathirulingappeal 12 12 + Orphan Works Project,2011,Discontinued,Voluntary suspension during Authors Guild litigation; never resumed at scale,operational,authorsguildwiki

+27

papers/arxiv-hathitrust/data/timeline.csv

reviewed

··· 1 1 + year,event,category,source 2 2 + 2004,Google Books / Google Library Project launches; partner libraries (Michigan UC etc) begin contributing scans of print collections,context,Wikipedia 3 3 + 2005,Open Content Alliance forms (Internet Archive-led counter-program); same partner-library digitization work flows there too,context,blog.archive.org 4 4 + 2008-10-13,HathiTrust launches as shared digital repository; founding members include 12 CIC universities + 11 UC libraries + University of Virginia,org,cdl2008launch / um2008launch 5 5 + 2008,IMLS National Leadership Grant launches Copyright Review Management System (CRMS),funding,hathicrms 6 6 + 2008,John Wilkin (UMich Associate University Librarian) becomes founding Executive Director,people,wilkin2013illinois 7 7 + 2011-09-12,Authors Guild and others file copyright suit against HathiTrust and member universities (S.D.N.Y.),litigation,authorsguildwiki 8 8 + 2011,HathiTrust Research Center (HTRC) launches as Indiana U + U Illinois Urbana-Champaign + HathiTrust partnership,program,iuhtrc2011 9 9 + 2011,HathiTrust voluntarily suspends Orphan Works Project,program,authorsguildwiki 10 10 + 2012,HathiTrust governance bylaws established; Board of Governors and Program Steering Committee formalized,org,hathigovern 11 11 + 2012-10-10,District court (Judge Harold Baer Jr.) grants summary judgment for HathiTrust on full-text-search and accessibility uses,litigation,hathirulingdistrict 12 12 + 2013,Founding Director John Wilkin leaves HathiTrust to become Dean of Libraries at U Illinois Urbana-Champaign,people,wilkin2013illinois 13 13 + 2014,Mike Furlough succeeds Wilkin as Executive Director,people,hathiteam 14 14 + 2014-06-10,Second Circuit (Judges Parker Walker Cabranes; opinion by Parker) affirms district court; full-text search and accessibility uses are fair use; preservation-copy claim remanded for standing,litigation,hathirulingappeal 15 15 + 2015-01-06,Authors Guild settles remaining preservation-copy claim with HathiTrust,litigation,authorsguildwiki 16 16 + 2016,Committee on Institutional Cooperation (CIC) renamed Big Ten Academic Alliance (BTAA),context,btaagovernance 17 17 + 2019,Projected annual budget $3,777,445; corpus ~17M volumes,funding,wikipediahathi 18 18 + 2020-03,Emergency Temporary Access Service (ETAS) launches in response to COVID-19 library closures,program,hathicovid2020 19 19 + 2020-05,Within ~2 months of launch ETAS in use at 171 campuses; ~300K accesses,program,hathicovid2020 20 20 + 2023-02,Andrew W. Mellon Foundation awards $1M grant for core preservation and portfolio management staffing,funding,hathimellon2023 21 21 + 2023,Cost-per-volume $0.2294; Tier 2 baseline public-domain fee $7414,funding,hathicost 22 22 + 2024,HathiTrust Board votes to end HTRC funding at end of 2026; HTRC Transition FAQ posted,program,htrctransition 23 23 + 2024-07,Hofstra University Library joins HathiTrust,members,hofstranews2024 24 24 + 2024-09,Corpus passes 18M volumes; 6.7M in US public domain; 219+ member libraries,program,wikipediahathi 25 25 + 2025,Corpus passes 19M volumes; 290+ member libraries,program,wikipediahathi 26 26 + 2025,Members vote to approve 2026 budget; Mary-Jo K. Romaniuk (U Calgary) elected to Board for 2026-2028; Lorrie McAllister (Hofstra) re-elected,org,hathi2026budget 27 27 + 2026,Cost-per-volume $0.2403; HTRC funding ends end of year (planned closure),org,hathi2026budget / htrctransition

+1

papers/arxiv-hathitrust/figures/cover-prompt.txt

reviewed

··· 1 1 + A single floating iconic stack of leather-bound research-library books, perfectly stacked vertically as if balanced on nothing, centered on a square cream paper field. From between the pages of the books, soft translucent ribbons of data lift gently upward and curl outward like a slow-moving double-helix, dissolving into wisps of pale ink before they reach the edges of the page. The ribbons carry the faintest suggestion of running text and tiny page numbers, as if pages of the books themselves had become weightless and were drifting up. On top of the stack stands a small, dignified elephant figure no taller than a single book's spine, drawn in soft graphite outline, looking calmly forward --- a quiet reference to the name (hathi means elephant). The book spines carry no readable titles, only suggestions of gilt bands and faded labels. Muted color palette: warm umber leathers, oxblood reds, dusty teals, soft graphite, cream paper. The stack and the elephant float on the page with no ground line, no shadow beneath, edges of the lower books softly fading into pure cream. Colored pencil illustration, soft layered strokes, square 1:1 composition, no text, no logos, vignette form.

papers/arxiv-hathitrust/figures/cover.png

reviewed

This is a binary file and will not be displayed.

papers/arxiv-hathitrust/figures/qr.png

reviewed

This is a binary file and will not be displayed.

+272

papers/arxiv-hathitrust/hathitrust.tex

reviewed

··· 1 1 + % !TEX program = xelatex 2 2 + \documentclass[10pt,letterpaper,twocolumn]{article} 3 3 + 4 4 + \usepackage[top=0.75in, bottom=0.75in, left=0.75in, right=0.75in]{geometry} 5 5 + \usepackage{fontspec} 6 6 + \usepackage{unicode-math} 7 7 + % Latin Modern via OTF filenames so the same preamble renders identically under 8 8 + % macOS xelatex (Core Text, no fontconfig) and the oven's Linux xelatex (uses 9 9 + % fontconfig). kpathsea finds the OTFs in texmf-dist on both platforms. 10 10 + \setmainfont{lmroman10-regular.otf}[ 11 11 + BoldFont=lmroman10-bold.otf, 12 12 + ItalicFont=lmroman10-italic.otf, 13 13 + BoldItalicFont=lmroman10-bolditalic.otf, 14 14 + ] 15 15 + \setsansfont{lmsans10-regular.otf}[ 16 16 + BoldFont=lmsans10-bold.otf, 17 17 + ItalicFont=lmsans10-oblique.otf, 18 18 + BoldItalicFont=lmsans10-boldoblique.otf, 19 19 + ] 20 20 + \newfontfamily\acbold{ywft-processing-bold}[Path=../../system/public/type/webfonts/,Extension=.ttf] 21 21 + \newfontfamily\aclight{ywft-processing-light}[Path=../../system/public/type/webfonts/,Extension=.ttf] 22 22 + \setmonofont{lmmono10-regular.otf}[Scale=0.85, 23 23 + BoldFont=lmmonolt10-bold.otf, 24 24 + ItalicFont=lmmono10-italic.otf, 25 25 + ] 26 26 + 27 27 + \usepackage{xcolor} 28 28 + \usepackage{titlesec} 29 29 + \usepackage{enumitem} 30 30 + \usepackage{booktabs} 31 31 + \usepackage{tabularx} 32 32 + \usepackage{fancyhdr} 33 33 + \usepackage{hyperref} 34 34 + \usepackage{graphicx} 35 35 + \usepackage{tikz} 36 36 + \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 37 37 + \usepackage{ragged2e} 38 38 + \usepackage{microtype} 39 39 + \usepackage{natbib} 40 40 + \usepackage[colorspec=0.92]{draftwatermark} 41 41 + 42 42 + \definecolor{acpink}{RGB}{180,72,135} 43 43 + \definecolor{acpurple}{RGB}{120,80,180} 44 44 + \definecolor{acdark}{RGB}{64,56,74} 45 45 + \definecolor{acgray}{RGB}{119,119,119} 46 46 + \definecolor{draftcolor}{RGB}{180,72,135} 47 47 + 48 48 + \DraftwatermarkOptions{text=WORKING DRAFT,fontsize=3cm,color=draftcolor!18,angle=45} 49 49 + 50 50 + \hypersetup{colorlinks=true,linkcolor=acpurple,urlcolor=acpurple,citecolor=acpurple, 51 51 + pdftitle={HathiTrust: A Dossier}} 52 52 + 53 53 + \titleformat{\section}{\normalfont\bfseries\normalsize\uppercase}{\thesection.}{0.5em}{} 54 54 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 55 55 + \titleformat{\subsection}{\normalfont\bfseries\small}{\thesubsection}{0.5em}{} 56 56 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 57 57 + 58 58 + \pagestyle{fancy}\fancyhf{} 59 59 + \renewcommand{\headrulewidth}{0pt} 60 60 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 61 61 + \fancyfoot[C]{\footnotesize\thepage} 62 62 + 63 63 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 64 64 + \setlist[description]{nosep, leftmargin=0pt, itemindent=0pt, labelsep=0.4em} 65 65 + \setlength{\columnsep}{1.8em} 66 66 + \setlength{\parindent}{1em} 67 67 + \setlength{\parskip}{0.3em} 68 68 + 69 69 + \tolerance=800 70 70 + \emergencystretch=1em 71 71 + \hyphenpenalty=50 72 72 + 73 73 + % --- paper metadata (created/revision shown on cover) --- 74 74 + \newcommand{\papercreated}{2026-05-02} 75 75 + \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{hathitrust-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 78 78 + 79 79 + \begin{document} 80 80 + 81 81 + \twocolumn[{% 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 96 96 + \begin{center} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut HathiTrust}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Structure, History, Programs, People, Money, Litigation --- 2008 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about HathiTrust --- the academic-library digital-preservation consortium founded in October 2008 by the University of Michigan together with the twelve members of the Committee on Institutional Cooperation (CIC, now the Big Ten Academic Alliance) and the eleven libraries of the University of California --- across origin, structure, programs, people, finances, and litigation. There is no thesis, no verdict, and no conclusion section. Where facts run out the dossier stops; gaps are flagged inline. The Authors Guild v.~HathiTrust outcome --- HathiTrust won at the district level (2012), and the Second Circuit affirmed (2014), establishing the precedent that full-text search and accessibility uses of a digitized scholarly library are fair use --- is presented factually with court rulings cited. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + HathiTrust opens publicly in October 2008 as a shared digital repository for the research libraries that had been feeding their print collections into the Google Library Project (begun 2004) and the Open Content Alliance (founded 2005). The founding partnership joined three pre-existing consortia: the twelve member universities of the \emph{Committee on Institutional Cooperation} (CIC, the academic consortium of the Big Ten plus the University of Chicago, since 2016 renamed the \emph{Big Ten Academic Alliance}), the eleven libraries of the \emph{University of California} system (including the California Digital Library), and the \emph{University of Virginia}. Together those founding members had, by 2008, accumulated more than two million digitized volumes between them and faced a common practical problem: where to put the bits. 135 135 + 136 136 + The name \emph{hathi} is the Hindi word for \emph{elephant} (from Sanskrit \emph{hastin}); the figure of speech is the elephant's proverbial memory and the elephant's size as an emblem of long-term, large-scale storage. The launch announcement of October 13, 2008 framed HathiTrust as ``a shared digital repository'' and a ``trusted'' archive, not as a consumer-facing book service in the manner of Google Books~\citep{cdl2008launch,um2008launch}. The University of Michigan, which had built and continues to operate the underlying repository infrastructure, is the founding administrative host and has remained so ever since~\citep{wikipediahathi}. 137 137 + 138 138 + The structural decision that distinguishes HathiTrust from the Internet Archive, and that this dossier returns to throughout, is that HathiTrust did not incorporate as a standalone 501(c)(3). It is a \emph{service of the University of Michigan} run on behalf of a member consortium, with member dues funding most operations and a member-elected Board of Governors directing strategy. The federal-tax footprint of HathiTrust therefore lives inside the University of Michigan's Form 990 family rather than as a separate Form 990 of its own. 139 139 + 140 140 + \section{Structure} 141 141 + 142 142 + HathiTrust's governance was formalized in 2012, four years after its 2008 launch, in the \emph{HathiTrust Bylaws}. Three bodies sit on top of the consortium~\citep{hathigovern,btaagovernance}: 143 143 + 144 144 + \textbf{The Members.} A set (over 219 research libraries as of 2024; over 290 by 2025) that pays annual dues, votes on the budget, and elects representatives to the governing bodies. Membership tiers are based on the size of the library's print holdings; the \emph{cost-per-volume} number, recalculated annually, is the rate at which costs are allocated~\citep{hathicost}. 145 145 + 146 146 + \textbf{The Board of Governors.} 12 voting members. Six seats are reserved for founding members: two for the University of California System, one for Indiana University, one for the University of Michigan, and two rotating among the remaining founding institutions of the Big Ten Academic Alliance. Six seats are filled by election of the voting members. The Chief Executive Officer (Executive Director) and the Program Steering Committee Chair sit as non-voting members. The Board has final responsibility for HathiTrust's activities, functions, operations, and the long-term integrity of deposited materials~\citep{hathigovern}. 147 147 + 148 148 + \textbf{The Program Steering Committee (PSC).} Members serve three-year terms via a nominating-and-appointment process. The PSC reviews HathiTrust's development agenda, shapes initiatives and strategies for Board discussion, and works with the Board to develop policy~\citep{hathipsc}. 149 149 + 150 150 + A small operational staff, led by the Executive Director and embedded inside the University of Michigan Library, runs the day-to-day repository, member services, partnerships, and the (now-sunsetting) HathiTrust Research Center. The Big Ten Academic Alliance has a co-located coordinating role with HathiTrust on shared library programs. 151 151 + 152 152 + The structural punchline: \textbf{HathiTrust is not a 501(c)(3) Form 990 filer in its own name}; it is a service of the University of Michigan, a public-university body. Its peer comparator in this respect is not the Internet Archive (which is a standalone California 501(c)(3) at EIN 94-3242767) but rather an academic shared service like a state library cooperative or a research-library consortium. 153 153 + 154 154 + \section{People} 155 155 + 156 156 + \begin{table}[h] 157 157 + \footnotesize 158 158 + \centering 159 159 + \setlength{\tabcolsep}{3pt} 160 160 + \begin{tabularx}{\columnwidth}{lXX} 161 161 + \toprule 162 162 + \textbf{Role} & \textbf{Name} & \textbf{Note} \\ 163 163 + \midrule 164 164 + Founding Director & John Wilkin & 2008--2013 \\ 165 165 + Executive Director & Mike Furlough & 2014-- \\ 166 166 + Co-creator (UMich) & Paul Courant & UMich provost / dean of libraries \\ 167 167 + Board (UMich) & Mike Furlough & ex officio (CEO) \\ 168 168 + PSC Chair & rotating & ex officio (Board non-voting) \\ 169 169 + HTRC co-PI & Beth Plale & Indiana University \\ 170 170 + HTRC co-PI & J.~Stephen Downie & U Illinois iSchool \\ 171 171 + \bottomrule 172 172 + \end{tabularx} 173 173 + \caption{Key roles of record. Board membership rotates; full roster in \texttt{data/people.csv}.} 174 174 + \label{tab:people} 175 175 + \end{table} 176 176 + 177 177 + \textbf{John Wilkin} served as the founding Executive Director from 2008 to 2013, alongside his role as Associate University Librarian for Publishing and Technology at the University of Michigan, where he had been a senior library administrator for two decades. In 2013 he left HathiTrust to become Dean of Libraries and University Librarian at the University of Illinois at Urbana-Champaign~\citep{wilkin2013illinois}; in 2024 he became CEO of Lyrasis~\citep{wilkin2024lyrasis}. \textbf{Mike Furlough} succeeded him as Executive Director and remains in that role as of 2026~\citep{hathiteam}. 178 178 + 179 179 + \textbf{Paul Courant}, University of Michigan provost (2002--2005) and Arthur F. Thurnau Professor of Public Policy and Economics, was University Librarian and Dean of Libraries at UMich during the launch period and is widely credited as the senior administrator who made the institutional commitment for Michigan to host HathiTrust~\citep{courantfordschool}. 180 180 + 181 181 + The HathiTrust Research Center (HTRC), launched in 2011, was led by \textbf{Beth Plale} (Indiana University, Data to Insight Center) and \textbf{J.~Stephen Downie} (University of Illinois at Urbana-Champaign, iSchool) as co-PIs. HTRC funding ends at the close of 2026 per a 2024 board decision~\citep{htrctransition}. 182 182 + 183 183 + The Board of Governors and Program Steering Committee rotate. As of January 2026, recent elections placed Mary-Jo K. Romaniuk (University of Calgary) on the Board for a 2026--2028 term, with Lorrie McAllister (Hofstra University) re-elected for an additional two years~\citep{hathi2026budget}. The full roster across years is partial in this first pass. 184 184 + 185 185 + \section{Programs} 186 186 + 187 187 + \textbf{HathiTrust Digital Library} (2008--) --- the core preservation-and-access service: a single trusted repository for the digital scans contributed by member libraries, with full-text search, cataloguing, and (for public-domain works) full-text reading. By September 2024 the collection holds 18M+ volumes; by 2025 over 19M~\citep{wikipediahathi}. 188 188 + 189 189 + \textbf{Bibliographic API / Catalog} --- shared catalog records, public-domain determination, persistent identifiers, OAI-PMH feeds. 190 190 + 191 191 + \textbf{Page\-Turner} --- web reader for in-copyright and public-domain volumes; supports PDF download for public-domain works. 192 192 + 193 193 + \textbf{HathiTrust Research Center (HTRC)} (2011--end of 2026) --- a partnership with Indiana University and the University of Illinois at Urbana-Champaign for non-consumptive computational text and data mining over the HathiTrust corpus. Includes the \emph{HTRC Data Capsule}, a Sloan-funded secure-VM environment for analysis of in-copyright text. HathiTrust voted in 2024 to end HTRC funding at the close of 2026, transitioning text-mining services~\citep{htrctransition,iuhtrc2011}. 194 194 + 195 195 + \textbf{Emergency Temporary Access Service (ETAS)} (March 2020--) --- the COVID-19-pandemic response: member libraries whose physical buildings were closed could grant their patrons time-limited online access to digital copies of in-copyright books that the library held in its physical collection. Within two months of launch, ETAS was active at 171 campuses and had been used nearly 300{,}000 times~\citep{hathicovid2020,etasterms}. ETAS is a \emph{controlled digital lending}-style service: one digital loan tied to a held physical copy, gated by an active emergency. 196 196 + 197 197 + \textbf{Copyright Review Management System (CRMS)} (2008--) --- the production system for human-reviewed determination of public-domain status for works published 1923--1963 (US) and parallel batches for non-US works under CRMS-World. Funded by a series of IMLS National Leadership Grants from 2008 onward~\citep{hathicrms}. 198 198 + 199 199 + \textbf{Shared Print Program} --- a print-monograph retention compact: participating libraries commit to retaining roughly 18M monograph volumes for a 25-year term, distributing the physical-preservation footprint across the consortium~\citep{wikipediahathi}. 200 200 + 201 201 + \textbf{US Federal Documents Program} --- targeted preservation of US government publications. 202 202 + 203 203 + \textbf{Cataloging Hub / Print Holdings Database} --- shared cataloging infrastructure across the membership. 204 204 + 205 205 + \textbf{Disability access} (2008--) --- accessible-format access for HathiTrust users with certified print disabilities, the use that was central to the Authors Guild ruling (\S\ref{sec:litigation}). 206 206 + 207 207 + \section{Money}\label{sec:money} 208 208 + 209 209 + HathiTrust's finances are unusual among large preservation infrastructures because the org is not a standalone 501(c)(3) and does not file its own Form 990. Funding is dominantly \emph{member dues}, with \emph{external grants} (Mellon, Sloan, IMLS) layered on top for specific programs. The annual budget is voted on by the membership. 210 210 + 211 211 + \textbf{Cost model.} HathiTrust calculates an annual \emph{cost-per-volume} = total budget ÷ total volumes. In 2023 the cost-per-volume was \$0.2294; in 2026 it is \$0.2403~\citep{hathicost,hathi2026budget}. Total budget is approximately cost-per-volume times the corpus size; on an 18M-volume corpus at the 2023 rate, the implied annual budget is on the order of \$4M, consistent with the publicly cited 2019 projected budget of \$3{,}777{,}445~\citep{wikipediahathi}. 212 212 + 213 213 + \textbf{Fee structure.} 40\% of HathiTrust's collection was in the public domain on July 1, 2022 when the 2023 fees were calculated. Fees are split into a \emph{public-domain (common-good) portion}, which is allocated across all members in tiers, and a \emph{copyright portion}, which is allocated based on each member library's share of the in-copyright corpus. Tier 2 libraries (the majority of members) paid a \$7{,}414 baseline public-domain fee in 2023~\citep{hathicost}. 214 214 + 215 215 + \textbf{External grants.} The Andrew W.~Mellon Foundation made a \$1{,}000{,}000 grant in February 2023 (Public Knowledge program) titled \emph{Strengthen Preservation and Access Mission; Portfolio Management Staffing}~\citep{hathimellon2023}. The Alfred P.~Sloan Foundation funded the HTRC Data Capsule (specifics in \texttt{data/grants.csv}). The Institute of Museum and Library Services (IMLS) funded the Copyright Review Management System through National Leadership Grants beginning in 2008 (US-only) and continuing 2011--2014 (CRMS-World). Indiana University's Data to Insight Center received a \$600{,}000 Sloan grant for non-consumptive-research investigation of the corpus~\citep{iudata2011}. 216 216 + 217 217 + \textbf{The path is legibly different from a 501(c)(3).} The Internet Archive runs at roughly the \$20--\$30M annual scale on a Form 990 with two-thirds contributions and one-third earned program-service revenue. HathiTrust runs at roughly the \$4--\$5M scale, with most revenue coming through member dues that flow as ordinary university expenses on each member library's budget rather than as charitable contributions to a separate nonprofit. There is no Brewster Kahle figure; there is no founder family foundation; there is, instead, a 219-library consortium and a member-elected Board. 218 218 + 219 219 + \section{Litigation}\label{sec:litigation} 220 220 + 221 221 + \subsection{Authors Guild v.~HathiTrust} 222 222 + 223 223 + \textbf{Filed:} September 12, 2011 (S.D.N.Y.). \textbf{Plaintiffs:} The Authors Guild, the Authors' Licensing and Collecting Society (UK), Writers' Union of Canada, Australian Society of Authors, and individual authors. \textbf{Defendants:} HathiTrust and member universities (University of Michigan, University of California, University of Wisconsin-Madison, Indiana University, Cornell University). \textbf{Subject:} HathiTrust's full-text search index, accessible-format access for the print-disabled, and library preservation copies of works digitized through the Google Library Project~\citep{authorsguildwiki,hathirulingdistrict}. 224 224 + 225 225 + \textbf{District-court ruling.} On October 10, 2012, Judge Harold Baer Jr.~granted summary judgment for HathiTrust. The court held that two principal uses --- (i) creation of a full-text search index, and (ii) accessibility for users with certified print disabilities --- were transformative fair uses and that the four-factor analysis favored HathiTrust. The court rejected the Authors Guild's preservation-copy challenge on standing grounds at the district level. \emph{Authors Guild, Inc.~v.~HathiTrust}, 902 F.~Supp.~2d 445 (S.D.N.Y.~2012)~\citep{hathirulingdistrict}. 226 226 + 227 227 + \textbf{Second Circuit ruling.} On June 10, 2014, the United States Court of Appeals for the Second Circuit (Judges Barrington Daniels Parker Jr., John M.~Walker Jr., José A.~Cabranes; opinion by Parker) largely affirmed. The Second Circuit held that the full-text search use is transformative fair use, and that the print-disabled access use is also fair use. The preservation-copy claim was remanded for the district court to consider whether the plaintiffs had standing to sue, the Second Circuit having concluded that the record on standing was insufficient. \emph{Authors Guild, Inc.~v.~HathiTrust}, 755 F.3d 87 (2d Cir.~2014)~\citep{hathirulingappeal,arlblog2014}. 228 228 + 229 229 + \textbf{Settlement.} The remaining preservation-copy claim and the orphan-works program (which HathiTrust had voluntarily suspended in 2011) were resolved by settlement on January 6, 2015~\citep{authorsguildwiki}. 230 230 + 231 231 + \textbf{Precedent.} The 2014 Second Circuit ruling is cited as the foundational fair-use precedent for full-text search and accessibility uses of mass-digitized scholarly libraries. It set the doctrinal frame that \emph{Authors Guild v.~Google} (2nd Cir.~2015) followed in upholding Google Book Search's snippet view. It is the same fair-use frame that the Internet Archive's Controlled Digital Lending program later relied on in \emph{Hachette v.~Internet Archive} --- and that the Second Circuit, in 2024, declined to extend to whole-book lending~\citep{hachettecourt2024}. HathiTrust's wins (search, accessibility) and the Internet Archive's loss (whole-book lending) sit on the same legal corridor and turn on whether a use is, in the Second Circuit's words, ``transformative.'' 232 232 + 233 233 + \section{Footprint} 234 234 + 235 235 + \textbf{The corpus} is the headline footprint: 18M+ volumes (Sept 2024); 19M+ (2025); 6.7M of which are in the US public domain. The collection draws principally from the Google Library Project digitization of partner-library print collections, plus contributions from the Internet Archive's Open Content Alliance work and from member-library local digitization. As a single trusted repository for the scanned print holdings of every major US public-research-university library, HathiTrust is the default backstop for the Google-era digitization wave. 236 236 + 237 237 + \textbf{The members.} 219+ libraries (2024); 290+ (2025) across the United States, Canada, and Europe. Including all of the Big Ten, all of the University of California, the Library of Congress (as a content contributor), and a long tail of liberal arts colleges and government libraries. 238 238 + 239 239 + \textbf{Reading and lending.} Public-domain volumes are readable in full via PageTurner; in-copyright volumes are full-text searchable but only excerpts are returned. ETAS opened a brief, member-gated reading window during COVID-19. The HathiTrust Research Center, until end-of-2026, supports non-consumptive computational research on the in-copyright corpus. 240 240 + 241 241 + \textbf{The Authors Guild ruling} is itself a footprint: it is the doctrinal foundation that allowed both HathiTrust and Google Books to operate at scale, and the ruling is cited far beyond library digitization (machine-learning training-data fair-use arguments since 2023 routinely cite the case). 242 242 + 243 243 + \textbf{Headquarters.} 1001 N.~Buhr Building, 200 Hill Street, Ann Arbor, MI --- the University of Michigan Library complex. 244 244 + 245 245 + \section{Reading list} 246 246 + 247 247 + \textbf{York, \emph{This is HathiTrust} (2010)}~\citep{york2010thisis} --- early self-description.\\ 248 248 + \textbf{Authors Guild v.~HathiTrust (2d Cir.~2014)}~\citep{hathirulingappeal} --- the precedent ruling.\\ 249 249 + \textbf{Hathitrust district-court opinion, 902 F.~Supp.~2d 445 (S.D.N.Y.~2012)}~\citep{hathirulingdistrict}.\\ 250 250 + \textbf{Christenson, \emph{HathiTrust: A Research Library at Web Scale} (2011)}~\citep{christenson2011} --- early library-science framing.\\ 251 251 + \textbf{HathiTrust 2008 launch announcement}~\citep{cdl2008launch,um2008launch} --- founding documents.\\ 252 252 + \textbf{HathiTrust governance bylaws} --- the 2012 governance instrument~\citep{hathigovern}.\\ 253 253 + \textbf{HathiTrust Research Center (EDUCAUSE Review, 2016)}~\citep{plale2016educause} --- HTRC frame. 254 254 + 255 255 + \textbf{To acquire.} A copy of the full HathiTrust Bylaws (2012, with amendments). Year-by-year budget filings and member-vote outcomes from the HathiTrust Newsletters. The full Mellon grant detail page for the 2023 \$1M grant. The IMLS grant detail pages for all CRMS / CRMS-World awards. The University of Michigan Library's annual report sections that surface HathiTrust expenditures inside the host budget. 256 256 + 257 257 + \section{What this dossier is not} 258 258 + 259 259 + \begin{itemize} 260 260 + \item Not a thesis. There is no question being answered. 261 261 + \item Not a critique. The Authors Guild ruling is surfaced as fact, not endorsed or challenged. 262 262 + \item Not a comparison. Adjacent organizations (Internet Archive, Google Books, Big Ten Academic Alliance, Lyrasis, ITHAKA / JSTOR, Project Gutenberg, DPLA) are mentioned only where they directly intersect HathiTrust. 263 263 + \item Not exhaustive. The dossier covers what is publicly recoverable in a first pass; gaps are flagged inline. Year-by-year HathiTrust budget figures, the full member roster across years, and IMLS grant amounts are partial. The companion data folder (\texttt{papers/arxiv-hathitrust/data/}) contains the underlying CSVs. 264 264 + \end{itemize} 265 265 + 266 266 + \vspace{0.5em} 267 267 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 268 268 + 269 269 + \bibliographystyle{plainnat} 270 270 + \bibliography{references} 271 271 + 272 272 + \end{document}

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··· 1 1 + @misc{cdl2008launch, 2 2 + author={{California Digital Library}}, 3 3 + title={Major Library Partners Launch HathiTrust Shared Digital Repository}, 4 4 + year={2008}, 5 5 + howpublished={\url{https://cdlib.org/cdlinfo/2008/10/15/major-library-partners-launch-hathitrust-shared-digital-repository/}}, 6 6 + note={Founding announcement, 13 October 2008} 7 7 + } 8 8 + 9 9 + @misc{um2008launch, 10 10 + author={{University of Michigan News}}, 11 11 + title={Major library partners launch HathiTrust shared digital repository}, 12 12 + year={2008}, 13 13 + howpublished={\url{https://news.umich.edu/major-library-partners-launch-hathitrust-shared-digital-repository/}}, 14 14 + } 15 15 + 16 16 + @misc{wikipediahathi, 17 17 + author={{Wikipedia contributors}}, 18 18 + title={HathiTrust}, 19 19 + year={2026}, 20 20 + howpublished={\url{https://en.wikipedia.org/wiki/HathiTrust}}, 21 21 + note={Accessed 2026-05-02} 22 22 + } 23 23 + 24 24 + @misc{hathigovern, 25 25 + author={{HathiTrust}}, 26 26 + title={Governance}, 27 27 + year={2026}, 28 28 + howpublished={\url{https://www.hathitrust.org/about/governance/}}, 29 29 + note={Bylaws established 2012} 30 30 + } 31 31 + 32 32 + @misc{btaagovernance, 33 33 + author={{Big Ten Academic Alliance}}, 34 34 + title={Governance --- HathiTrust Digital Library}, 35 35 + year={2026}, 36 36 + howpublished={\url{https://btaa.org/library/programs-and-services/hathitrust-digital-library/governance}}, 37 37 + } 38 38 + 39 39 + @misc{hathicost, 40 40 + author={{HathiTrust}}, 41 41 + title={Cost Model and Annual Fees}, 42 42 + year={2026}, 43 43 + howpublished={\url{https://www.hathitrust.org/Cost}}, 44 44 + } 45 45 + 46 46 + @misc{hathipsc, 47 47 + author={{HathiTrust}}, 48 48 + title={Program Steering Committee}, 49 49 + year={2026}, 50 50 + howpublished={\url{https://www.hathitrust.org/about/governance/psc/}}, 51 51 + } 52 52 + 53 53 + @misc{hathiteam, 54 54 + author={{HathiTrust}}, 55 55 + title={Our Team}, 56 56 + year={2026}, 57 57 + howpublished={\url{https://www.hathitrust.org/about/our-team/}}, 58 58 + } 59 59 + 60 60 + @misc{wilkin2013illinois, 61 61 + author={{InfoDocket}}, 62 62 + title={John Wilkin Named Dean of Libraries and University Librarian at University of Illinois at Urbana-Champaign}, 63 63 + year={2013}, 64 64 + howpublished={\url{https://www.infodocket.com/2013/06/10/john-wilkin-named-dean-of-libraries-and-university-librarian-at-university-of-illinois-at-urbana-champaign/}}, 65 65 + } 66 66 + 67 67 + @misc{wilkin2024lyrasis, 68 68 + author={{Lyrasis}}, 69 69 + title={Executive Team --- John P.~Wilkin, CEO}, 70 70 + year={2024}, 71 71 + howpublished={\url{https://lyrasis.org/executive-team/}}, 72 72 + } 73 73 + 74 74 + @misc{courantfordschool, 75 75 + author={{Ford School of Public Policy}}, 76 76 + title={Paul Courant's powerful public service, the HathiTrust digital library}, 77 77 + year={2013}, 78 78 + howpublished={\url{https://fordschool.umich.edu/news/2013/powerful-public-service}}, 79 79 + } 80 80 + 81 81 + @misc{htrctransition, 82 82 + author={{HathiTrust}}, 83 83 + title={HTRC Transition FAQ}, 84 84 + year={2024}, 85 85 + howpublished={\url{https://www.hathitrust.org/about/research-center/htrc-transition-faq/}}, 86 86 + note={HathiTrust voted in 2024 to end HTRC funding at end of 2026} 87 87 + } 88 88 + 89 89 + @misc{iuhtrc2011, 90 90 + author={{Indiana University News Room}}, 91 91 + title={IU, University of Illinois launch HathiTrust Research Center for computational access to archives}, 92 92 + year={2011}, 93 93 + howpublished={\url{https://newsinfo.iu.edu/news/page/normal/18245.html}}, 94 94 + } 95 95 + 96 96 + @misc{hathicovid2020, 97 97 + author={{HathiTrust}}, 98 98 + title={HathiTrust Response to Covid-19, March 2020}, 99 99 + year={2020}, 100 100 + howpublished={\url{https://www.hathitrust.org/press-post/hathitrust-response-to-covid-19-march-2020/}}, 101 101 + } 102 102 + 103 103 + @misc{etasterms, 104 104 + author={{HathiTrust}}, 105 105 + title={ETAS: Terms of Service}, 106 106 + year={2020}, 107 107 + howpublished={\url{https://www.hathitrust.org/member-libraries/services-programs/etas/etas-terms-of-service/}}, 108 108 + } 109 109 + 110 110 + @misc{hathicrms, 111 111 + author={{HathiTrust}}, 112 112 + title={Copyright Review Management System (CRMS) Partner Institutions}, 113 113 + year={2026}, 114 114 + howpublished={\url{https://www.hathitrust.org/copyright-review-management-system-crms-partner-institutions}}, 115 115 + } 116 116 + 117 117 + @misc{hathimellon2023, 118 118 + author={{HathiTrust}}, 119 119 + title={HathiTrust Receives \$1 Million Mellon Grant to Enhance Core Operations}, 120 120 + year={2023}, 121 121 + howpublished={\url{https://www.hathitrust.org/hathitrust-receives-1-million-mellon-grant-to-enhance-core-operations}}, 122 122 + } 123 123 + 124 124 + @misc{iudata2011, 125 125 + author={{Indiana University News Room}}, 126 126 + title={IU Data To Insight Center to lead Sloan-funded investigation into non-consumptive research}, 127 127 + year={2011}, 128 128 + howpublished={\url{https://newsinfo.iu.edu/news/page/normal/19252.html}}, 129 129 + } 130 130 + 131 131 + @misc{hathi2026budget, 132 132 + author={{HathiTrust}}, 133 133 + title={Members Pass 2026 Budget, Elect New Board Members}, 134 134 + year={2025}, 135 135 + howpublished={\url{https://www.hathitrust.org/press-post/2026-budget-new-board-members/}}, 136 136 + } 137 137 + 138 138 + @misc{authorsguildwiki, 139 139 + author={{Wikipedia contributors}}, 140 140 + title={Authors Guild, Inc.~v.~HathiTrust}, 141 141 + year={2026}, 142 142 + howpublished={\url{https://en.wikipedia.org/wiki/Authors_Guild,_Inc._v._HathiTrust}}, 143 143 + note={Accessed 2026-05-02} 144 144 + } 145 145 + 146 146 + @misc{hathirulingdistrict, 147 147 + author={{United States District Court for the Southern District of New York}}, 148 148 + title={Authors Guild, Inc.~v.~HathiTrust, 902 F.~Supp.~2d 445}, 149 149 + year={2012}, 150 150 + howpublished={Decided October 10, 2012; Judge Harold Baer Jr.}, 151 151 + note={Summary judgment for HathiTrust on full-text-search and accessibility uses} 152 152 + } 153 153 + 154 154 + @misc{hathirulingappeal, 155 155 + author={{United States Court of Appeals for the Second Circuit}}, 156 156 + title={Authors Guild, Inc.~v.~HathiTrust, 755 F.3d 87, No. 12-4547}, 157 157 + year={2014}, 158 158 + howpublished={Decided June 10, 2014; \url{https://law.justia.com/cases/federal/appellate-courts/ca2/12-4547/12-4547-2014-06-10.html}}, 159 159 + note={Opinion by Barrington Daniels Parker Jr.} 160 160 + } 161 161 + 162 162 + @misc{arlblog2014, 163 163 + author={{Association of Research Libraries}}, 164 164 + title={Second Circuit Affirms Fair Use in Authors Guild v.~HathiTrust}, 165 165 + year={2014}, 166 166 + howpublished={\url{https://www.arl.org/blog/second-circuit-affirms-fair-use-in-authors-guild-v/}}, 167 167 + } 168 168 + 169 169 + @misc{hachettecourt2024, 170 170 + author={{United States Court of Appeals for the Second Circuit}}, 171 171 + title={Hachette Book Group, Inc.~v.~Internet Archive, No. 23-1260}, 172 172 + year={2024}, 173 173 + howpublished={Decided September 4, 2024; \url{https://law.justia.com/cases/federal/appellate-courts/ca2/23-1260/23-1260-2024-09-04.html}}, 174 174 + } 175 175 + 176 176 + @misc{york2010thisis, 177 177 + author={York, Jeremy}, 178 178 + title={This is HathiTrust: An Introduction to the HathiTrust Digital Library}, 179 179 + year={2010}, 180 180 + howpublished={HathiTrust early self-description} 181 181 + } 182 182 + 183 183 + @misc{christenson2011, 184 184 + author={Christenson, Heather}, 185 185 + title={HathiTrust: A Research Library at Web Scale}, 186 186 + year={2011}, 187 187 + howpublished={Library Resources \& Technical Services, vol.~55, no.~2} 188 188 + } 189 189 + 190 190 + @misc{plale2016educause, 191 191 + author={Plale, Beth and Downie, J.~Stephen}, 192 192 + title={The HathiTrust Research Center: Exploring the Full-Text Frontier}, 193 193 + year={2016}, 194 194 + howpublished={EDUCAUSE Review; \url{https://er.educause.edu/articles/2016/5/the-hathitrust-research-center-exploring-the-full-text-frontier}}, 195 195 + }

+105

papers/arxiv-heavy-manners-library/ac-paper-layout.sty

reviewed

··· 1 1 + % ac-paper-layout.sty — Aesthetic Computer paper layout master template 2 2 + % Usage: \usepackage{ac-paper-layout} in each arxiv-* paper 3 3 + % 4 4 + % This package provides the shared visual identity for all AC working drafts: 5 5 + % - AC color palette 6 6 + % - YWFT Processing font commands (\acbold, \aclight) 7 7 + % - Draft watermark in Processing Light font 8 8 + % - Pals logo watermark (top-left, rotated, semi-opaque) 9 9 + % - Section/subsection formatting 10 10 + % - Header/footer (draft notice + page numbers) 11 11 + % - List and paragraph settings 12 12 + % - \ac command for "Aesthetic Computer" small caps 13 13 + % 14 14 + % Papers still define their own: 15 15 + % - \hypersetup{pdftitle=...} 16 16 + % - \graphicspath{...} 17 17 + % - Additional \newcommand macros (e.g. \wg, \acos) 18 18 + % - Extra packages (listings, multicol, etc.) 19 19 + % - Extra font families (ComicRelief for KidLisp, etc.) 20 20 + 21 21 + \NeedsTeXFormat{LaTeX2e} 22 22 + \ProvidesPackage{ac-paper-layout}[2026/03/16 Aesthetic Computer paper layout] 23 23 + 24 24 + % === FONTS === 25 25 + % Requires fontspec (loaded by the document before this package) 26 26 + \newfontfamily\acbold{ywft-processing-bold}[ 27 27 + Path=../../system/public/type/webfonts/, 28 28 + Extension=.ttf 29 29 + ] 30 30 + \newfontfamily\aclight{ywft-processing-light}[ 31 31 + Path=../../system/public/type/webfonts/, 32 32 + Extension=.ttf 33 33 + ] 34 34 + 35 35 + % === COLORS (AC palette) === 36 36 + \definecolor{acpink}{RGB}{180,72,135} 37 37 + \definecolor{acpurple}{RGB}{120,80,180} 38 38 + \definecolor{acdark}{RGB}{64,56,74} 39 39 + \definecolor{acgray}{RGB}{119,119,119} 40 40 + \definecolor{draftcolor}{RGB}{180,72,135} 41 41 + 42 42 + % === DRAFT WATERMARK (Processing font + pals logo) === 43 43 + \RequirePackage{eso-pic} 44 44 + \RequirePackage{tikz} 45 45 + \AddToShipoutPictureBG{% 46 46 + \begin{tikzpicture}[remember picture, overlay] 47 47 + % --- Pals logo: large, top-left, rotated, semi-opaque, bleeding off edge --- 48 48 + \node[opacity=0.06, anchor=north west, rotate=-15] 49 49 + at ([xshift=-1.2cm, yshift=1.2cm]current page.north west) 50 50 + {\includegraphics[width=10cm]{pals}}; 51 51 + % --- "WORKING DRAFT" text in Processing Light font --- 52 52 + \node[opacity=0.12, rotate=45, anchor=center] 53 53 + at (current page.center) 54 54 + {{\aclight\fontsize{2.5cm}{3cm}\selectfont\color{acpink} WORKING DRAFT}}; 55 55 + \end{tikzpicture}% 56 56 + } 57 57 + 58 58 + % === SECTION FORMATTING === 59 59 + \RequirePackage{titlesec} 60 60 + \titleformat{\section} 61 61 + {\normalfont\bfseries\normalsize\uppercase} 62 62 + {\thesection.} 63 63 + {0.5em} 64 64 + {} 65 65 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 66 66 + 67 67 + \titleformat{\subsection} 68 68 + {\normalfont\bfseries\small} 69 69 + {\thesubsection} 70 70 + {0.5em} 71 71 + {} 72 72 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 73 73 + 74 74 + % === HEADER/FOOTER === 75 75 + \RequirePackage{fancyhdr} 76 76 + \pagestyle{fancy} 77 77 + \fancyhf{} 78 78 + \renewcommand{\headrulewidth}{0pt} 79 79 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 80 80 + \fancyfoot[C]{\footnotesize\thepage} 81 81 + 82 82 + % === LIST SETTINGS === 83 83 + \RequirePackage{enumitem} 84 84 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 85 85 + \setlist[enumerate]{nosep, leftmargin=1.2em} 86 86 + 87 87 + % === PARAGRAPH SETTINGS === 88 88 + \setlength{\columnsep}{1.8em} 89 89 + \setlength{\parindent}{1em} 90 90 + \setlength{\parskip}{0.3em} 91 91 + 92 92 + % === HYPERREF COLORS === 93 93 + \RequirePackage{hyperref} 94 94 + \hypersetup{ 95 95 + colorlinks=true, 96 96 + linkcolor=acpurple, 97 97 + urlcolor=acpurple, 98 98 + citecolor=acpurple, 99 99 + } 100 100 + 101 101 + % === COMMON COMMANDS === 102 102 + \newcommand{\ac}{\textsc{Aesthetic Computer}} 103 103 + \newcommand{\acdot}{{\color{acpink}.}} 104 104 + 105 105 + \endinput

+80

papers/arxiv-heavy-manners-library/data/README.md

reviewed

··· 1 1 + # arxiv-heavy-manners-library / data --- first-pass record pull 2 2 + 3 3 + First-pass dossier data on Heavy Manners Library (HML) assembled 2026-05-02. HML is a small artist-run library / gallery / bookstore at 1200 N Alvarado St Unit D in Echo Park, Los Angeles --- the same building that previously housed Machine Project (2003--2018) and Echo Park Film Center (2002--Jan 2022). HML is the smallest of the three orgs the AC papers project has dossiered so far (Rhizome >> SFPC > HML in publicly-disclosed institutional footprint). 4 4 + 5 5 + ## What "small" means here 6 6 + 7 7 + Public footprint is genuinely thin. HML does not publish any financial document. Legal status is not stated anywhere on its website, in interviews, or in third-party reporting. ProPublica's Nonprofit Explorer returns no entity for "Heavy Manners". The bulk of the public record is: 8 8 + 9 9 + - the org's own about page (heavymannerslibrary.com/about) listing seven staff names and a short prose mission; 10 10 + - the events listings on heavymannerslibrary.com/events and Eventbrite; 11 11 + - a 2023 profile in The Eastsider LA; 12 12 + - a 2024 inclusion in Hyperallergic's "Seven Indie Art Spaces to Check Out in Los Angeles"; 13 13 + - a 2024 podcast with Flipboard's Mia Quagliarello; 14 14 + - a 2025 dublab "Channels" episode recorded at HML; 15 15 + - the Instagram feed @heavymannerslibrary. 16 16 + 17 17 + This dossier surfaces what those sources disclose and stops there. Where the record is silent (legal entity, fiscal sponsor, revenue, named foundation grants), the dossier says so. 18 18 + 19 19 + ## Files 20 20 + 21 21 + - `financials.csv` --- there are no published financials. The file documents what is *not* disclosed and the few public revenue signals (membership tiers, Spring Fundraiser exhibition, shop sales, workshop fees). 22 22 + - `people.csv` --- founders, staff (per about page), recurring collaborators (EPFC Collective screening hosts, dublab "Channels" hosts). 23 23 + - `programs.csv` --- recurring program series (Risograph Printing 101 workshop, Heavy Manners Zine Fair, Heavy Manners Comics Fair, dublab Channels live broadcasts, EPFC Collective screenings, gallery exhibits). 24 24 + - `timeline.csv` --- 2003 (Machine Project opens at 1200 N Alvarado) through 2026, surfacing the building's tenancy chain and HML's launch and program rollout. 25 25 + - `funders.csv` --- nothing institutional has been disclosed publicly. The file documents the income channels visible on the website (memberships, donations, shop, workshop tuition, Spring Fundraiser). 26 26 + - `locations.csv` --- 1200 N Alvarado St Unit D, with explicit cross-reference to Machine Project (2003--2018) and Echo Park Film Center (2002--Jan 2022) prior occupancies. 27 27 + - `collection-notes.csv` --- what is documented about the holdings (artist books, zines, magazines, comics, audiobooks, essays per the catalog filters; Molly Soda's *Chick Magnet* publication; Tiny Splendor 10th anniversary acquisition window). 28 28 + 29 29 + ## What's solid 30 30 + 31 31 + - **Founding**: HML opened in 2021. Founder is Matthew James-Wilson; co-founder / co-curator is Molly Soda. James-Wilson previously self-published the 300-page art quarterly *FORGE* (2012--2018). The library's seed materials came from unsolicited book donations to a never-completed James-Wilson + Soda book project on "the impact of the internet on contemporary art for the last 30 years". 32 32 + - **Building lineage**: 1200 N Alvarado St housed Machine Project (2003--Jan 2018, founded by Mark Allen) and Echo Park Film Center (2002--Jan 2022, lease expired). The building is multi-tenant; HML is in Unit D. The Hyperallergic profile (2024) confirms that the Echo Park Film Center Collective (EPFC's successor org after the storefront closed) now hosts screenings in HML's basement. So the *programmatic* lineage between the building's two prior arts tenants and HML is documented, not inferred. 33 33 + - **Name**: "Heavy Manners" is from Prince Far I's 1976 album *Under Heavy Manners* (produced by Joe Gibbs and Errol Thompson at Joe Gibbs Recording Studio in Kingston). The album title refers to the Jamaican State of Emergency declared by PM Michael Manley in 1976. James-Wilson has said in podcast interviews that the name derives from "reggae and punk culture traditions". (Note: dossier original brief listed the album as 1977; correct year per Wikipedia is 1976.) 34 34 + - **Current staff (seven people, per the about page)**: 35 35 + - Matthew James-Wilson --- Founder 36 36 + - Molly Soda --- Co-Curator and Co-Founder 37 37 + - Yulia Cymbura --- Head Librarian 38 38 + - Jane Shin --- Programming Director 39 39 + - Saria Dang --- Librarian 40 40 + - Brock Stuessi --- Archiving Consultant 41 41 + - Maya Man --- Web Designer 42 42 + - Lucas Vocos --- Web Developer 43 43 + - **Membership model**: two tiers (Cyan, Magenta); 6-week checkout, 6-book limit; damage fee = 50% of replacement cost; loss/destruction = 100% of replacement cost. Borrowing geographically restricted to the LA area, with mail-order under consideration. Specific Cyan vs. Magenta pricing not exposed without entering the join flow. 44 44 + - **Programming pattern**: monthly-to-quarterly gallery exhibits (Kendra Yee, Jesse Moynihan, Tiny Splendor 10th Anniversary, etc.), recurring Risograph Printing 101 workshop, recurring Heavy Manners Zine Fair (annually in spring; 2026 edition is Apr 11--12), recurring Heavy Manners Comics Fair, dublab "Channels" live broadcasts, EPFC Collective screenings (incl. a Craig Baldwin benefit), Hollywood Entertainment "Overnight" series, comedy nights via The Comedy Bureau. 45 45 + - **First Spring Fundraiser**: held with opening Jun 5 (year not specified in the event title, but likely 2024 or 2025 based on event-page metadata) --- "two-week-long fundraiser for the space that featured art, prints, classes, and gatherings". 46 46 + 47 47 + ## What's known but not quantified 48 48 + 49 49 + - **Legal entity**: not disclosed. No 501(c)(3) language on the donate or join pages. No EIN visible. ProPublica returns no entity. The org may be a sole proprietorship, an LLC, a fiscally sponsored project, or an unincorporated association --- none of those is publicly confirmed. Membership fees and the shop suggest revenue generation; book donations are not advertised as tax-deductible. 50 50 + - **Revenue size**: no data. The Spring Fundraiser is the only acknowledged community-fundraising event. 51 51 + - **Collection size**: not disclosed. The catalog (heavymannerslibrary.com/catalog) supports filters --- visible filters include Magazine and what appears to be a multi-format taxonomy (audiobooks, magazines, essays) per third-party descriptions --- but no published item count. 52 52 + - **Foundation funding**: nothing named publicly. No NEA, NEH, Mellon, Warhol, or Knight grants have been disclosed in any source surfaced. 53 53 + - **Hours**: third-party sources list both (a) Sun--Sat 11am--7pm with Tue/Wed closed, Mon/Thu 1pm--7pm (per official about-page extraction); and (b) Fri--Sat 7--11pm, Sun 1--11pm (per Hyperallergic, Sept 2024). The Hyperallergic figures may reflect event-night hours. The official about-page hours are taken as authoritative for general operations. 54 54 + 55 55 + ## What's missing entirely 56 56 + 57 57 + - **Annual program count**: would require scraping the full Eventbrite history. 58 58 + - **Fiscal-sponsor or LLC paperwork**: not surfaced. 59 59 + - **Named donor / acquisitions list**: not published. The Molly Soda *Chick Magnet* book and Tiny Splendor's 10-year anthology are visible *as items in the shop / on view*, not as accessioned acquisitions in a catalog with provenance. 60 60 + - **Foot traffic / membership counts**: not published. 61 61 + - **Relationship to Maya Man** (web designer at HML, also named on SFPC's about page as one of three explicitly-named individual SFPC supporters): noted as a fact across the AC papers project; not inflated into a thesis. 62 62 + 63 63 + ## Source URLs 64 64 + 65 65 + - Site: https://heavymannerslibrary.com/ ; About: https://heavymannerslibrary.com/about ; Events: https://heavymannerslibrary.com/events ; Shop: https://shop.heavymannerslibrary.com/ ; Catalog: https://heavymannerslibrary.com/catalog ; Journal: https://heavymannerslibrary.com/journal ; Donate: https://heavymannerslibrary.com/donate ; Join: https://heavymannerslibrary.com/join 66 66 + - Linktree: https://linktr.ee/heavymannerslibrary 67 67 + - Instagram: https://www.instagram.com/heavymannerslibrary/ 68 68 + - Eventbrite organizer page: https://www.eventbrite.com/o/heavy-manners-library-35158850143 69 69 + - Hyperallergic, "Seven Indie Art Spaces to Check Out in Los Angeles": https://hyperallergic.com/772908/seven-indie-art-spaces-to-check-out-in-los-angeles/ 70 70 + - The Eastsider LA, "Heavy Manners Library amplifies Echo Park's creative community": https://www.theeastsiderla.com/neighborhoods/echo_park/heavy-manners-library-amplifies-echo-parks-creative-community/article_1a5e869e-0563-11ee-91ef-bf99ed99af46.html 71 71 + - SJSU iSchool SLA Student Chapter profile: https://ischoolgroups.sjsu.edu/slasc/heavy-manners-library/ 72 72 + - LA Municipal Art Gallery program partner page: https://lamag.org/heavy-manners-library/ 73 73 + - Flipboard / Storyboard podcast with founders: https://about.flipboard.com/inside-flipboard/curating-a-library-from-scratch-meet-the-founders-of-heavy-manners-library-podcast/ 74 74 + - dublab Channels archive (Heavy Manners episode 2025-05-10): https://www.dublab.com/archive/nia-michelle-jordan-collins-lewis-thompson-channels-heavy-manners-library-05-10-25 75 75 + - Building lineage: Hyperallergic on Machine Project closure (Jan 2018): https://hyperallergic.com/420736/after-15-years-las-machine-project-closes-with-a-farewell-event/ ; The Eastsider on EPFC closure (Jan 2022): https://www.theeastsiderla.com/eastsider_on_the_go/arts_and_culture/echo-park-film-center-closes-micro-cinema-and-starts-new-era/article_ae2e980e-69b1-11ec-b462-c769fa40b294.html ; Machine Project Wikipedia entry: https://en.wikipedia.org/wiki/Machine_Project 76 76 + - Name origin: Wikipedia, *Under Heavy Manners* (Prince Far I, 1976): https://en.wikipedia.org/wiki/Under_Heavy_Manners 77 77 + 78 78 + ## Relationship to the author 79 79 + 80 80 + Maya Man is listed on heavymannerslibrary.com/about as Web Designer for HML, and is named on sfpc.study/about as one of three explicitly-named SFPC individual supporters (alongside Galen MacDonald and Jeffrey Alan Scudder). The dossier records this as a fact across the AC papers project, not as positionality.

+10

papers/arxiv-heavy-manners-library/data/collection-notes.csv

reviewed

··· 1 1 + item_or_section,description,format,year_visible,notes,source 2 2 + overall focus,"self-published and independently published artists' books, zines, and small-press materials",mixed,2021--present,"core mission per about page; not a comprehensive art library; emphasis on overlooked / out-of-print / hard-to-find materials",heavymannerslibrary.com/about 3 3 + catalog filters (visible),"Magazine; with multi-format taxonomy described by SJSU as audiobooks, magazines, essays, books","mixed-media catalog with web-based filters",2024-- (visible),"the SJSU iSchool profile describes the catalog as 'comprehensive and user-friendly' but no item count is published",heavymannerslibrary.com/catalog + SJSU iSchool profile 4 4 + Molly Soda -- Chick Magnet,"book by co-founder Molly Soda available as pre-order in shop",printed book,2024-- visible,published by or carried by HML,shop.heavymannerslibrary.com 5 5 + Tiny Splendor 10th Anniversary materials,"materials connected to the Bay Area + LA risograph publishing collective Tiny Splendor's 10th anniversary",zines / prints / publications,Oct 2022,exhibited at HML in October 2022,heavymannerslibrary.com/events 6 6 + Patrick Kyle Recommended Reading,"comic-artist Patrick Kyle's reading recommendations published as Journal piece",editorial / Journal,Mar 16 2023,Journal piece linking out to specific titles in the catalog,heavymannerslibrary.com/journal 7 7 + Patrick Kyle materials,materials by Toronto comic artist Patrick Kyle visible in the catalog,comics / artist books,2022--,carried in the catalog,heavymannerslibrary.com/catalog 8 8 + Aidan Koch -- Spiral and Other Stories,"co-presented book by Aidan Koch with James-Wilson at Skylight Books",printed book,2025--,off-site Skylight Books co-presentation,Skylight Books event listing 9 9 + seed collection,"unsolicited donations gathered when James-Wilson + Soda were attempting to write a book about the impact of the internet on contemporary art for the last 30 years",mixed,2021,this stalled book project's incoming donation pile became the founding shelf,SJSU iSchool profile + Flipboard podcast 10 10 + named donor collections,(none disclosed),n/a,n/a,no named collection-of-X donations have been publicly attributed,(absence)

+2

papers/arxiv-heavy-manners-library/data/financials.csv

reviewed

··· 1 1 + period,scope,total_revenue,membership_revenue,shop_revenue,workshop_fees,grants,donations,notes,source 2 2 + 2021--present,annual,not_disclosed,not_disclosed,not_disclosed,not_disclosed,not_disclosed,not_disclosed,"HML publishes no financial documents. ProPublica's Nonprofit Explorer has no entity for 'Heavy Manners'. No 501(c)(3) language appears on the donate or join pages. No EIN is exposed. Income channels visible on the site: Cyan and Magenta membership tiers (heavymannerslibrary.com/join), e-commerce shop (shop.heavymannerslibrary.com), Eventbrite-ticketed workshops (Risograph Printing 101 etc.), Spring Fundraiser exhibition + classes + gatherings, comedy + music event ticketing, book donations (heavymannerslibrary.com/donate). No foundation grant has been disclosed publicly. No tax-deductibility language. Legal entity status unknown -- could be sole proprietorship / LLC / fiscally sponsored project / unincorporated association. No financial filings located.",heavymannerslibrary.com + ProPublica search (negative result)

+10

papers/arxiv-heavy-manners-library/data/funders.csv

reviewed

··· 1 1 + funder,type,year(s),amount,program_supported,source 2 2 + (none disclosed publicly),institutional / foundation,n/a,n/a,n/a,"HML has not disclosed any institutional or foundation funding on its website, in interviews, or in third-party reporting surfaced for this dossier. No NEA / NEH / Mellon / Warhol / Knight / California Arts Council / DCA-LA grant has been named publicly." 3 3 + LA Municipal Art Gallery,institutional partner,2024,(in-kind / venue partnership),Friday Art Nights guest programming (Sep 5/12/19/26 2024 at Barnsdall Park),lamag.org/heavy-manners-library 4 4 + EPFC Collective,programmatic partner,2022--present,(in-kind / co-presented),basement screenings (incl. Craig Baldwin benefit),Hyperallergic + EPFC Collective 5 5 + dublab,programmatic partner,2025--,(in-kind / co-presented),Channels series live broadcasts from HML,dublab archive 6 6 + Membership (Cyan + Magenta tiers),individual / membership revenue,2021--present,(undisclosed),general operations + borrowing privileges,heavymannerslibrary.com/join 7 7 + Spring Fundraiser community,individual / community,2024 or 2025--present,(undisclosed),"two-week opening exhibit + classes + gatherings; first edition's opening was Jun 5",heavymannerslibrary.com/events 8 8 + Book donations,individual / in-kind,2021--present,(undisclosed),"primarily art books, zines, comics, small press publications; the library's seed collection itself came from unsolicited donations to a never-completed James-Wilson + Soda book project",heavymannerslibrary.com/donate + SJSU iSchool profile + Flipboard podcast 9 9 + Shop sales,earned income,2021--present,(undisclosed),merchandise revenue including Molly Soda Chick Magnet pre-orders and other published-by-HML or carried titles,shop.heavymannerslibrary.com 10 10 + Workshop tuition,earned income,2021--present,(undisclosed),Risograph 101 + figure drawing + stitching + comics workshops via Eventbrite,Eventbrite

+5

papers/arxiv-heavy-manners-library/data/locations.csv

reviewed

··· 1 1 + period,address,unit,occupant,notes,source 2 2 + 2002--2022-01,1200 N Alvarado St,(EPFC unit),Echo Park Film Center,"founded 2002 by Paolo Davanzo + Lisa Marr; 55-seat microcinema; lease expired end of January 2022; org continues as itinerant EPFC Collective and continues to host screenings in HML's basement",The Eastsider LA + EPFC Collective + Hyperallergic 3 3 + 2003--2018-01,1200 N Alvarado St,(Machine Project unit; later HML),Machine Project,"founded 2003 by Mark Allen; closed with farewell event Jan 13 2018; the storefront unit Machine Project occupied is the unit Heavy Manners Library now occupies (Unit D)",Hyperallergic + Wikipedia (Machine Project) 4 4 + 2018--2021,1200 N Alvarado St Unit D,Unit D,(vacant; details not surfaced),"3-year gap between Machine Project's January 2018 closure and HML's 2021 opening; the unit's status during these years is not publicly documented",inferred from tenancy chain 5 5 + 2021--present,1200 N Alvarado St Unit D,Unit D,Heavy Manners Library,"founded 2021; same building as prior Machine Project / EPFC tenancies; multi-room layout: street-level shop and reading area + upstairs gallery + basement performance / screening space hosting EPFC Collective screenings",heavymannerslibrary.com + Hyperallergic

+20

papers/arxiv-heavy-manners-library/data/people.csv

reviewed

··· 1 1 + name,role,period,notes,source 2 2 + Matthew James-Wilson,Founder,2021--present,"founder; previously self-published the 300-page art quarterly FORGE 2012--2018; has curated art exhibits and written for Pitchfork and VICE",heavymannerslibrary.com/about + Hyperallergic + ICON11 bio 3 3 + Molly Soda,Co-Founder / Co-Curator,2021--present,"artist; the failed book project on internet-and-art the two co-developed seeded the library's first donations",heavymannerslibrary.com/about + Flipboard podcast 4 4 + Yulia Cymbura,Head Librarian,?--present,current per about page,heavymannerslibrary.com/about 5 5 + Jane Shin,Programming Director,?--present,current per about page,heavymannerslibrary.com/about 6 6 + Saria Dang,Librarian,?--present,current per about page,heavymannerslibrary.com/about 7 7 + Brock Stuessi,Archiving Consultant,?--present,current per about page,heavymannerslibrary.com/about 8 8 + Maya Man,Web Designer,?--present,"current per about page; also named on sfpc.study/about as one of three explicitly-named SFPC individual supporters",heavymannerslibrary.com/about + sfpc.study/about 9 9 + Lucas Vocos,Web Developer,?--present,current per about page,heavymannerslibrary.com/about 10 10 + Mark Allen,Prior tenant -- founder Machine Project,2003--2018,"founded Machine Project at 1200 N Alvarado in 2003; closed Jan 13 2018 farewell event; not affiliated with HML but provides building lineage",Hyperallergic + Wikipedia (Machine Project) 11 11 + Paolo Davanzo,Prior tenant -- co-founder Echo Park Film Center,2002--2022,"co-founded EPFC in 2002 next door to Machine Project; lease expired end of January 2022; EPFC Collective continues to host screenings in HML's basement",The Eastsider LA + EPFC Collective site 12 12 + Lisa Marr,Prior tenant -- co-founder Echo Park Film Center,2002--2022,"co-founder; same lineage as Davanzo",The Eastsider LA + EPFC Collective site 13 13 + Jordan Collins,Channels co-host (recurring collaborator),2025-- (visible),"co-host of dublab's Channels series; broadcast from HML 2025-05-10",dublab archive 14 14 + Lewis Thompson,Channels co-host (recurring collaborator),2025-- (visible),co-host of dublab's Channels series; broadcast from HML 2025-05-10,dublab archive 15 15 + Nia Michelle (Nia Harris),Channels co-host (recurring collaborator),2025-- (visible),co-host of dublab's Channels series; broadcast from HML 2025-05-10,dublab archive 16 16 + Kendra Yee,Exhibiting artist,May--Jun 2022,"'halfway between noon and midnight' exhibit, May 5 -- Jun 12 2022",heavymannerslibrary.com/events 17 17 + Jesse Moynihan,Exhibiting artist,Jun--Jul 2022,"'Major Arcana Tarot' exhibit, Jun 23 -- Jul 17 2022",heavymannerslibrary.com/events 18 18 + Tiny Splendor (collective),Exhibiting collective,Oct 2022,"'Tiny Splendor 10th Anniversary Exhibit', opened Oct 20 2022",heavymannerslibrary.com/events 19 19 + Patrick Kyle,Journal contributor,Mar 2023,"'Patrick Kyle's Recommended Reading' Journal piece (Mar 16 2023)",heavymannerslibrary.com/journal 20 20 + Aidan Koch,Visiting collaborator (off-site),2025--,"co-presented Spiral and Other Stories at Skylight Books with Matthew James-Wilson",Skylight Books event listing

+13

papers/arxiv-heavy-manners-library/data/programs.csv

reviewed

··· 1 1 + period,program,format,host_or_collaborator,frequency,fee_or_tuition,notes,source 2 2 + 2022--present,Gallery exhibits,monthly to quarterly visual-art exhibits in upstairs gallery,(rotating exhibiting artist),~6--10/year (visible),free to view,"early identified exhibits: Kendra Yee (May--Jun 2022), Jesse Moynihan (Jun--Jul 2022), 'Emerging' (Jul--Aug 2022), Tiny Splendor 10th Anniversary (Oct 2022)",heavymannerslibrary.com/events 3 3 + 2024--present,Risograph Printing 101,~3-hour workshop on the RZ390 risograph,(in-house staff),~monthly (visible),paid (Eventbrite ticketed),"intro workshop on machine basics and producing a small print; printer was acquired in roughly 2024",Eventbrite + Hyperallergic 4 4 + 2023--present,Heavy Manners Comics Fair,2-day comics fair,(self-presented),annual or semi-annual (Spring 2023; Fall 2025 visible),free to attend,independent comics tabling event,heavymannerslibrary.com/events 5 5 + 2024--present,Heavy Manners Zine Fair,2-day zine fair,(self-presented; open call),annual (2026 edition Apr 11--12),free to attend,"poetry / politics / music / comics / science range; open application Mar 2 deadline for 2026",heavymannerslibrary.com/events + Eventbrite 6 6 + 2024 or 2025--present,Heavy Manners Spring Fundraiser,2-week fundraiser exhibit,(self-presented),annual (first edition Jun 5),donations / paid art and prints,community fundraiser to support the space,heavymannerslibrary.com/events 7 7 + 2022--present,EPFC Collective screenings,16mm / Super-8 / experimental film screenings,Echo Park Film Center Collective,recurring,donation / ticketed,"basement microcinema; the Echo Park Film Center Collective hosts screenings here after EPFC's storefront closed in Jan 2022; documented program: 'The Films of Craig Baldwin: A Benefit Screening'",Hyperallergic + EPFC Collective + heavymannerslibrary.com/events 8 8 + 2025--present,Channels (dublab live broadcast),music + interview live broadcast,Jordan Collins / Lewis Thompson / Nia Michelle (dublab),at least one documented (2025-05-10),free,"eclectic music + interview series broadcast live from HML; partnership with dublab",dublab archive 9 9 + 2024--present,Comedy nights,stand-up / comedy showcase,(via The Comedy Bureau listings),recurring,ticketed,documented host listing in The Comedy Bureau,The Comedy Bureau 10 10 + 2024--present,Hollywood Entertainment 'Overnight @ Heavy Manners Library',late-night programming series,Hollywood Entertainment,recurring,ticketed,"event series listed on hollywood-entertainment.com",hollywood-entertainment.com 11 11 + 2024--present,Live music + poetry readings,performance evenings,(rotating),recurring,ticketed,bands and poets perform downstairs,Hyperallergic 12 12 + 2024--present,DIY workshops,figure-drawing / stitching / comics / etc.,(rotating instructors),recurring,paid (Eventbrite),"founder describes goal as 'empower people' so visitors are 'on equal footing with performing artists'",Hyperallergic + SJSU iSchool 13 13 + 2024,LAMAG Friday Art Nights guest programming,zine-vendor pop-ups + outdoor projections,LA Municipal Art Gallery (host),Sep 5/12/19/26 5--8pm,free,"4-week residency at LAMAG's Barnsdall Park pine grove",lamag.org/heavy-manners-library

+24

papers/arxiv-heavy-manners-library/data/timeline.csv

reviewed

··· 1 1 + date,event,source 2 2 + 2002,Echo Park Film Center founded by Paolo Davanzo and Lisa Marr at 1200 N Alvarado (storefront opens; 55-seat microcinema),EPFC Collective + The Eastsider LA 3 3 + 2003,Machine Project founded by Mark Allen at 1200 N Alvarado (separate unit in same building),Wikipedia (Machine Project) + Hyperallergic 4 4 + 2012,Matthew James-Wilson begins publishing FORGE art quarterly (continues 7 years until 2018),Hyperallergic + ICON11 bio 5 5 + 2018-01-13,Machine Project farewell event; storefront closes after 15 years at 1200 N Alvarado,Hyperallergic 6 6 + 2021-Fall,"James-Wilson + Molly Soda begin collecting materials for an internet-and-contemporary-art book; project stalls; donated books become the seed of a library",SJSU iSchool profile + Flipboard podcast 7 7 + 2021,Heavy Manners Library founded; opens at 1200 N Alvarado St Unit D (former Machine Project storefront),heavymannerslibrary.com/about + The Eastsider LA + multiple 8 8 + 2022-01,Echo Park Film Center storefront closes; lease expires end of January 2022; EPFC re-organizes as the itinerant EPFC Collective,The Eastsider LA 9 9 + 2022-02-18,Heavy Manners Journal launches with inaugural Matthew James-Wilson editorial,heavymannerslibrary.com/journal 10 10 + 2022-05-05,first dated gallery exhibit -- 'halfway between noon and midnight: An Exhibit by Kendra Yee' (through Jun 12),heavymannerslibrary.com/events 11 11 + 2022-06-23,'Major Arcana Tarot: An Exhibit by Jesse Moynihan' (through Jul 17),heavymannerslibrary.com/events 12 12 + 2022-07-28,'Emerging' exhibit (through Aug 21),heavymannerslibrary.com/events 13 13 + 2022-10-20,'Tiny Splendor 10th Anniversary Exhibit' opens,heavymannerslibrary.com/events 14 14 + 2023-03-16,Patrick Kyle's Recommended Reading published in Journal,heavymannerslibrary.com/journal 15 15 + 2023-Spring,Heavy Manners Comics Fair Spring 2023 (recurring fair),heavymannerslibrary.com/events 16 16 + 2023-06,Eastsider LA profile published 'Heavy Manners Library amplifies Echo Park's creative community',The Eastsider LA + Jessica Doherty LinkedIn 17 17 + 2024,Hyperallergic 'Seven Indie Art Spaces to Check Out in Los Angeles' includes HML,Hyperallergic 18 18 + 2024-09-16,Risograph Printing 101 workshop session (recurring; documented Eventbrite listing),Eventbrite 19 19 + 2024,LA Municipal Art Gallery 'Friday Art Nights' program features HML zine vendors at Barnsdall Park (Sep 5/12/19/26 5--8pm),lamag.org/heavy-manners-library 20 20 + 2024 or 2025,'Heavy Manners Spring Fundraiser' (first ever) -- two-week opening event with art prints classes gatherings,heavymannerslibrary.com/events 21 21 + 2025-Fall,Heavy Manners Comics Fair Fall 2025,heavymannerslibrary.com/events 22 22 + 2025-05-10,dublab Channels live broadcast from HML (Jordan Collins / Lewis Thompson / Nia Michelle hosts),dublab archive 23 23 + 2025-08-30,Risograph Printing 101 workshop session,Eventbrite 24 24 + 2026-04-11,Heavy Manners Zine Fair 2026 (Apr 11--12; 12--6pm PST; free; application deadline Mar 2),heavymannerslibrary.com/events + Eventbrite

+7

papers/arxiv-heavy-manners-library/figures/cover-prompt.txt

reviewed

··· 1 1 + A single 7-inch dub-reggae record sleeve floating dead-centre on the page, square 1:1, vignette composition, edges softly dissolving into pure cream paper. 2 2 + 3 3 + The sleeve is hand-stencilled rather than offset-printed --- a slightly smudged, slightly crooked silkscreen pulled at home. The record itself peeks half an inch out of the open top of the sleeve: matte black vinyl with the centre label barely showing, its colour a faded brick-red under a layer of dust. The sleeve's cardboard is age-yellowed at the corners with a single crease running diagonally from the upper right. 4 4 + 5 5 + Across the upper portion of the sleeve, in a hand-cut stencilled font, suggestion of letterforms reading like a band or album name --- but no readable text, just the gestalt of letterforms in a stencil idiom. A small library checkout pocket is glued to the lower left corner of the sleeve in slightly mismatched manila card, with a date-due slip half-tucked inside it. The slip carries the faded ghost of a rubber-stamped date but no readable digits. 6 6 + 7 7 + The whole object floats centred with maybe 25 percent breathing room on each side. Soft drop shadow under the bottom edge. No background scenery, no shelves, no hands, no neon, no person. Just the sleeve, the slip, the pocket, the cream.

papers/arxiv-heavy-manners-library/figures/cover.png

reviewed

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papers/arxiv-heavy-manners-library/figures/qr.png

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+323

papers/arxiv-heavy-manners-library/heavy-manners-library.tex

reviewed

··· 1 1 + % !TEX program = xelatex 2 2 + \documentclass[10pt,letterpaper,twocolumn]{article} 3 3 + 4 4 + \usepackage[top=0.75in, bottom=0.75in, left=0.75in, right=0.75in]{geometry} 5 5 + \usepackage{fontspec} 6 6 + \usepackage{unicode-math} 7 7 + % Latin Modern via OTF filenames so the same preamble renders identically under 8 8 + % macOS xelatex (Core Text, no fontconfig) and the oven's Linux xelatex (uses 9 9 + % fontconfig). kpathsea finds the OTFs in texmf-dist on both platforms. 10 10 + \setmainfont{lmroman10-regular.otf}[ 11 11 + BoldFont=lmroman10-bold.otf, 12 12 + ItalicFont=lmroman10-italic.otf, 13 13 + BoldItalicFont=lmroman10-bolditalic.otf, 14 14 + ] 15 15 + \setsansfont{lmsans10-regular.otf}[ 16 16 + BoldFont=lmsans10-bold.otf, 17 17 + ItalicFont=lmsans10-oblique.otf, 18 18 + BoldItalicFont=lmsans10-boldoblique.otf, 19 19 + ] 20 20 + \newfontfamily\acbold{ywft-processing-bold}[Path=../../system/public/type/webfonts/,Extension=.ttf] 21 21 + \newfontfamily\aclight{ywft-processing-light}[Path=../../system/public/type/webfonts/,Extension=.ttf] 22 22 + \setmonofont{lmmono10-regular.otf}[Scale=0.85, 23 23 + BoldFont=lmmonolt10-bold.otf, 24 24 + ItalicFont=lmmono10-italic.otf, 25 25 + ] 26 26 + 27 27 + \usepackage{xcolor} 28 28 + \usepackage{titlesec} 29 29 + \usepackage{enumitem} 30 30 + \usepackage{booktabs} 31 31 + \usepackage{tabularx} 32 32 + \usepackage{fancyhdr} 33 33 + \usepackage{hyperref} 34 34 + \usepackage{graphicx} 35 35 + \usepackage{tikz} 36 36 + \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 37 37 + \usepackage{ragged2e} 38 38 + \usepackage{microtype} 39 39 + \usepackage{natbib} 40 40 + \usepackage[colorspec=0.92]{draftwatermark} 41 41 + 42 42 + \definecolor{acpink}{RGB}{180,72,135} 43 43 + \definecolor{acpurple}{RGB}{120,80,180} 44 44 + \definecolor{acdark}{RGB}{64,56,74} 45 45 + \definecolor{acgray}{RGB}{119,119,119} 46 46 + \definecolor{draftcolor}{RGB}{180,72,135} 47 47 + 48 48 + \DraftwatermarkOptions{text=WORKING DRAFT,fontsize=3cm,color=draftcolor!18,angle=45} 49 49 + 50 50 + \hypersetup{colorlinks=true,linkcolor=acpurple,urlcolor=acpurple,citecolor=acpurple, 51 51 + pdftitle={Heavy Manners Library: A Dossier}} 52 52 + 53 53 + \titleformat{\section}{\normalfont\bfseries\normalsize\uppercase}{\thesection.}{0.5em}{} 54 54 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 55 55 + \titleformat{\subsection}{\normalfont\bfseries\small}{\thesubsection}{0.5em}{} 56 56 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 57 57 + 58 58 + \pagestyle{fancy}\fancyhf{} 59 59 + \renewcommand{\headrulewidth}{0pt} 60 60 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 61 61 + \fancyfoot[C]{\footnotesize\thepage} 62 62 + 63 63 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 64 64 + \setlist[description]{nosep, leftmargin=0pt, itemindent=0pt, labelsep=0.4em} 65 65 + \setlength{\columnsep}{1.8em} 66 66 + \setlength{\parindent}{1em} 67 67 + \setlength{\parskip}{0.3em} 68 68 + 69 69 + \tolerance=800 70 70 + \emergencystretch=1em 71 71 + \hyphenpenalty=50 72 72 + 73 73 + % --- paper metadata (created/revision shown on cover) --- 74 74 + \newcommand{\papercreated}{2026-05-02} 75 75 + \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{heavy-manners-library-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 78 78 + 79 79 + \begin{document} 80 80 + 81 81 + \twocolumn[{% 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 96 96 + \begin{center} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Heavy Manners Library}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 2018 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about Heavy Manners Library (HML) --- a small artist-run reading room, gallery, and bookstore at 1200 N Alvarado St Unit D in Echo Park, Los Angeles --- across origin, building lineage, programs, people, money, and footprint. HML's public footprint is genuinely thin; the bulk of the recoverable record is its own about page, an Eventbrite history, two podcast appearances, three print profiles, and an Instagram feed. Where the record is silent the dossier is silent. There is no thesis, no verdict, and no conclusion section. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + The library opened in 2021. Its founder, Matthew James-Wilson, had spent the previous seven years (2012--2018) self-publishing the 300-page art quarterly \emph{FORGE}~\citep{hyperallergic2024indie} and was a working writer (Pitchfork, VICE) and curator. Its co-founder and co-curator, the artist Molly Soda, had been collaborating with James-Wilson on a never-completed book about ``the impact of the internet on contemporary art for the last 30 years.''~\citep{sjsuischool, flipboardpodcast} The book stalled. The unsolicited donations they had received in support of it kept arriving. The two decided to keep them and to build a public reading room around them rather than return them. That stalled book project's incoming donation pile is the founding shelf of the library. 135 135 + 136 136 + The name is a 1976 quotation. \emph{Under Heavy Manners}~\citep{wikipediaprincefari} is a Prince Far I LP produced by Joe Gibbs and Errol Thompson (the Mighty Two) at Joe Gibbs Recording Studio in Kingston; the title refers to the State of Emergency declared by Prime Minister Michael Manley in Jamaica that year. James-Wilson has described the name in interviews as drawing on ``reggae and punk culture traditions''~\citep{flipboardpodcast} --- a posture rather than a thesis. 137 137 + 138 138 + \section{The Building} 139 139 + 140 140 + HML's address is the most distinctive fact in this file. \textbf{1200 N Alvarado Street} sits at the northeast corner of Sunset Boulevard and Alvarado in Echo Park, Los Angeles. Two of the city's most-cited artist-run organizations of the early 2000s operated out of this same address, in adjacent units, before HML's founder ever held a key: 141 141 + 142 142 + \begin{description} 143 143 + \item[Echo Park Film Center, 2002--January 2022.] Founded by Paolo Davanzo and Lisa Marr in 2002. A 55-seat microcinema and free or low-cost Super-8 / 16mm filmmaking school. Lease expired end of January 2022; the org dissolved its storefront and continued as the itinerant ``EPFC Collective.''~\citep{eastsiderepfc2022} 144 144 + \item[Machine Project, 2003--January 13, 2018.] Founded by Mark Allen in 2003. Fifteen years of art / technology / natural history / music programming in the storefront. Closed with a farewell event on January 13, 2018, with limited-edition posters from past events ``acquired by an institutional archive later this year.''~\citep{hyperallergicmachine2018, wikipediamachine} 145 145 + \end{description} 146 146 + 147 147 + \textbf{HML occupies the Machine Project unit} (Unit D). There is a roughly three-year gap between Machine Project's January 2018 closure and HML's 2021 opening; what happened to the unit during those years is not publicly documented. By the time HML opened its doors, EPFC was still operating in the adjacent unit; the two were neighbours for several months until EPFC's lease expired at the end of January 2022. The two prior tenancies remain in HML's basement: the \textbf{EPFC Collective hosts screenings in HML's basement microcinema}~\citep{hyperallergic2024indie}, including a documented benefit screening of Craig Baldwin's films in 2024. So the building's programmatic lineage between Machine Project, Echo Park Film Center, and Heavy Manners Library is documented, not inferred. 148 148 + 149 149 + The dossier records this lineage and stops. Whether HML is or is not ``the new Machine Project,'' or ``the heir to EPFC,'' is not a question this paper takes up. 150 150 + 151 151 + \section{The Space} 152 152 + 153 153 + The unit itself is a multi-room storefront on a busy commercial corner. Per the founder's interviews~\citep{eastsider2023, hyperallergic2024indie} and the about page~\citep{hmlsite}, the public spaces include: 154 154 + 155 155 + \begin{itemize} 156 156 + \item a street-level shop and reading area where the catalog can be browsed and members can check out books; 157 157 + \item an upstairs gallery used for the rotating exhibits; 158 158 + \item a basement performance / screening room used for live music, poetry readings, comedy nights, and the EPFC Collective's screenings; 159 159 + \item a small risograph print room (RZ390) acquired around 2024 for the Risograph Printing 101 workshop series~\citep{hyperallergic2024indie}. 160 160 + \end{itemize} 161 161 + 162 162 + The published hours on \texttt{heavymannerslibrary.com/about} are Sun--Sat 11am--7pm with Tue/Wed closed and Mon/Thu shifted to 1pm--7pm. Hyperallergic's 2024 reporting~\citep{hyperallergic2024indie} lists later evening hours (Fri--Sat 7--11pm, Sun 1--11pm) which appear to describe event-night activity rather than general operations. 163 163 + 164 164 + \section{The Collection} 165 165 + 166 166 + HML's mission, in its own words, is to ``provide a space for developing, sharing, and discussing artwork and creative practice''~\citep{hmlsite} with a particular focus on \textbf{self-published and independently published artists' books, zines, and small-press materials}. The catalog (\texttt{heavymannerslibrary.com/catalog}) supports filters across at least magazines, books, audiobooks, and essays~\citep{sjsuischool}. The collection size is not published. 167 167 + 168 168 + The shop carries a mixture of titles by HML-affiliated artists (e.g.\ Molly Soda's \emph{Chick Magnet}~\citep{hmlsite}) and by collaborators visible elsewhere in the program (Patrick Kyle's published comics, Tiny Splendor's tenth-anniversary risograph anthology, Aidan Koch's \emph{Spiral and Other Stories}). No \emph{named} donor collection has been publicly attributed --- the library's catalog does not appear to track provenance the way a museum-style accessions ledger would. Book donations are solicited via \texttt{heavymannerslibrary.com/donate}, ``primarily art books, zines, comics, and small press publications''~\citep{hmldonate}, with no language about tax-deductibility. 169 169 + 170 170 + \section{Programs} 171 171 + 172 172 + The recurring program shape, as visible from \texttt{heavymannerslibrary.com/events}, the Eventbrite organizer page, and third-party reporting: 173 173 + 174 174 + \begin{description} 175 175 + \item[Gallery exhibits.] Monthly-to-quarterly upstairs exhibits of work by single artists or collectives. Documented examples: Kendra Yee's \emph{halfway between noon and midnight} (May--Jun 2022), Jesse Moynihan's \emph{Major Arcana Tarot} (Jun--Jul 2022), the group exhibit \emph{Emerging} (Jul--Aug 2022), Tiny Splendor's 10th Anniversary (Oct 2022)~\citep{hmlsite}. 176 176 + \item[Heavy Manners Zine Fair (annual, spring).] Two-day fair; 2026 edition Apr 11--12, 12--6pm PST; free; open application with March 2 deadline~\citep{hmlzinefair2026}. 177 177 + \item[Heavy Manners Comics Fair.] Spring 2023 + Fall 2025 visible; recurrence at least semi-annual. 178 178 + \item[Heavy Manners Spring Fundraiser.] First edition opened June 5 of either 2024 or 2025; two-week-long fundraiser exhibit + classes + gatherings. 179 179 + \item[Risograph Printing 101.] Recurring intro workshop on the RZ390; ~monthly cadence visible on Eventbrite from 2024 forward. 180 180 + \item[EPFC Collective screenings.] Recurring 16mm / Super-8 / experimental film screenings in the basement, hosted by the Echo Park Film Center Collective. The Craig Baldwin benefit screening is documented~\citep{hyperallergic2024indie}. 181 181 + \item[dublab Channels live broadcasts.] Live music + interview broadcasts of the dublab series \emph{Channels}, hosted by Jordan Collins, Lewis Thompson, and Nia Michelle. At least one HML episode (May 10, 2025)~\citep{dublabchannels2025}. 182 182 + \item[Comedy nights.] Listed via The Comedy Bureau; cadence not surfaced. 183 183 + \item[``Overnight @ Heavy Manners Library.''] Late-night Hollywood Entertainment series listings. 184 184 + \item[DIY workshops.] Figure drawing, stitching, comics, and similar; rotating instructors; ticketed via Eventbrite. 185 185 + \item[LAMAG ``Friday Art Nights'' guest residency (2024).] Four-week zine-vendor pop-up at Barnsdall Park's pine grove, Sep 5/12/19/26 2024, 5--8pm~\citep{lamag2024} --- a documented institutional partnership. 186 186 + \end{description} 187 187 + 188 188 + The Journal, a slowly-updated editorial sub-site~\citep{hmljournal}, has published two visible posts: James-Wilson's launch editorial (2022-02-18) and Patrick Kyle's Recommended Reading (2023-03-16). It is not the library's primary public output. 189 189 + 190 190 + \section{People} 191 191 + 192 192 + \begin{table}[h] 193 193 + \footnotesize 194 194 + \centering 195 195 + \setlength{\tabcolsep}{3pt} 196 196 + \begin{tabularx}{\columnwidth}{lXX} 197 197 + \toprule 198 198 + \textbf{Tenure} & \textbf{Role} & \textbf{Name} \\ 199 199 + \midrule 200 200 + 2021-- & Founder & Matthew James-Wilson \\ 201 201 + 2021-- & Co-Founder, Co-Curator & Molly Soda \\ 202 202 + ?-- & Head Librarian & Yulia Cymbura \\ 203 203 + ?-- & Programming Director & Jane Shin \\ 204 204 + ?-- & Librarian & Saria Dang \\ 205 205 + ?-- & Archiving Consultant & Brock Stuessi \\ 206 206 + ?-- & Web Designer & Maya Man \\ 207 207 + ?-- & Web Developer & Lucas Vocos \\ 208 208 + \bottomrule 209 209 + \end{tabularx} 210 210 + \\[0.3em] 211 211 + \footnotesize Source: \texttt{heavymannerslibrary.com/about}, accessed 2026-05-02. Start dates for non-founder staff are not disclosed. 212 212 + \end{table} 213 213 + 214 214 + The eight publicly-listed staff are the entire visible operating team. The roles read more like a small magazine masthead than a museum org chart. There is no published board, no listed advisory committee, no fiscal-sponsor liaison, and no executive director title separate from ``Founder.'' 215 215 + 216 216 + Recurring outside collaborators visible in the data: the EPFC Collective screening series team (descended from EPFC co-founders Paolo Davanzo and Lisa Marr); the dublab \emph{Channels} hosts (Jordan Collins, Lewis Thompson, Nia Michelle); exhibiting artists across 2022 (Kendra Yee, Jesse Moynihan, Tiny Splendor); and Aidan Koch on the 2025 Skylight Books co-presentation of \emph{Spiral and Other Stories}. 217 217 + 218 218 + \section{Money} 219 219 + 220 220 + \textbf{HML publishes no financial document.} ProPublica's Nonprofit Explorer returns no entity for ``Heavy Manners.'' No 501(c)(3) language appears on the donate or join pages. No EIN is exposed. No fiscal-sponsor name is exposed. No tax-deductibility statement appears anywhere on the site. The legal entity behind HML is therefore \emph{not publicly disclosed}: it could be a sole proprietorship, an LLC (single- or multi-member), a fiscally-sponsored project, or an unincorporated association --- none of those is publicly confirmed and the dossier does not infer one. 221 221 + 222 222 + What is visible on the public site as \emph{income channels}: 223 223 + 224 224 + \begin{itemize} 225 225 + \item Two-tier paid membership: Cyan and Magenta~\citep{hmljoin}. Tier pricing is not exposed without entering the join flow. Membership grants borrowing privileges (6 books, 6 weeks, 50\% replacement-cost damage fee, 100\% loss/destruction fee). 226 226 + \item E-commerce shop (\texttt{shop.heavymannerslibrary.com}) selling books, zines, prints, merch. 227 227 + \item Eventbrite-ticketed workshops: Risograph Printing 101 (\$\,?) and the rotating DIY workshop slate. 228 228 + \item Ticketed live programming: comedy nights via The Comedy Bureau, ``Overnight'' series via Hollywood Entertainment, music + readings. 229 229 + \item Annual Heavy Manners Spring Fundraiser exhibition with sales of art + prints + class + gathering tickets. 230 230 + \item Book-donation in-kind support (\texttt{/donate})~\citep{hmldonate}. 231 231 + \end{itemize} 232 232 + 233 233 + What is \emph{not} visible: any institutional or foundation grant. No NEA, NEH, Mellon, Andy Warhol Foundation, Knight, California Arts Council, City of LA Department of Cultural Affairs, Hammer Museum, or LACMA grant has been disclosed in the surfaced record. The LAMAG ``Friday Art Nights'' 2024 residency is the only documented \emph{institutional} program partnership; it was a venue partnership rather than a grant. 234 234 + 235 235 + In comparison with the two adjacent dossiers in this series: 236 236 + 237 237 + \begin{table}[h] 238 238 + \footnotesize 239 239 + \centering 240 240 + \setlength{\tabcolsep}{3pt} 241 241 + \begin{tabularx}{\columnwidth}{Xll} 242 242 + \toprule 243 243 + \textbf{Org} & \textbf{Legal} & \textbf{Disclosure} \\ 244 244 + \midrule 245 245 + Rhizome.org & 501(c)(3) (1999) & 14+ years of Form 990s \\ 246 246 + SFPC & LLC + fiscal sponsor & 2013--2019 GitHub repo \\ 247 247 + Heavy Manners Library & not disclosed & none \\ 248 248 + \bottomrule 249 249 + \end{tabularx} 250 250 + \\[0.3em] 251 251 + \footnotesize Disclosure ladder of small artist-run orgs in the AC papers project. 252 252 + \end{table} 253 253 + 254 254 + This is a documentary observation, not a normative one. HML's scale is small enough that a one-person sole proprietorship plus collaborators is plausible; so is fiscal sponsorship under a larger LA arts host such as Fulcrum Arts or Community Partners; so is an unincorporated association running through the founder's existing entities. None of these is confirmed. 255 255 + 256 256 + \section{Footprint} 257 257 + 258 258 + HML's footprint is local and convivial rather than institutional. A non-exhaustive cross-section visible in the data: 259 259 + 260 260 + \begin{itemize} 261 261 + \item \textbf{The building.} HML's tenancy at 1200 N Alvarado --- alongside the EPFC Collective's continued screening presence in HML's basement --- means that the corner of Sunset and Alvarado has hosted continuous artist-run programming, across three named organizations, from 2002 to today. That continuity is itself the most legible footprint claim available. 262 262 + \item \textbf{The fairs.} The Heavy Manners Zine Fair and Comics Fair have become recurring open-call fixtures on LA's small-press calendar. 263 263 + \item \textbf{The library function as such.} A ~6-week / 6-book free-checkout rhythm makes HML one of a small handful of LA reading rooms where art-school-priced reference material can be borrowed by people without art-school enrollment. SFPC's tuition discussion (``California Institute of the Arts costs \$58,318 annually for undergraduates,'' per the SJSU iSchool profile~\citep{sjsuischool}) is the implicit framing the library operates against. 264 264 + \item \textbf{Cross-org appearances.} HML has appeared in the LAMAG ``Friday Art Nights'' Barnsdall Park residency (2024); has been broadcast via dublab's \emph{Channels} (2025); and has been included in Hyperallergic's 2024 indie-art-spaces feature. 265 265 + \end{itemize} 266 266 + 267 267 + \subsection{Author intersection} 268 268 + 269 269 + Maya Man, listed on \texttt{heavymannerslibrary.com/about} as Web Designer, is also one of three explicitly-named individual supporters on \texttt{sfpc.study/about} (alongside Galen MacDonald and Jeffrey Alan Scudder). Recorded across the AC papers project as a fact, not as positionality. 270 270 + 271 271 + \section{Reading List} 272 272 + 273 273 + \subsection{Primary sources} 274 274 + 275 275 + \begin{itemize} 276 276 + \item \textbf{The about page}~\citep{hmlsite} --- the only canonical institutional self-disclosure (founder + co-founder + six staff + mission). 277 277 + \item \textbf{The events page}~\citep{hmlsite} and the Eventbrite organizer history --- the most reliable record of the program shape. 278 278 + \item \textbf{The Heavy Manners Journal}~\citep{hmljournal} --- two posts, infrequent; founder voice + curated reading lists. 279 279 + \item \textbf{Donate} and \textbf{Join} pages~\citep{hmldonate, hmljoin} --- the only public surface where money / membership / governance language appears. 280 280 + \end{itemize} 281 281 + 282 282 + \subsection{Secondary} 283 283 + 284 284 + \begin{itemize} 285 285 + \item \textbf{The Eastsider LA, 2023}~\citep{eastsider2023} --- founder profile. 286 286 + \item \textbf{Hyperallergic, 2024}~\citep{hyperallergic2024indie} --- ``Seven Indie Art Spaces to Check Out in Los Angeles''; surfaces the basement-microcinema / EPFC handoff. 287 287 + \item \textbf{Flipboard / Storyboard podcast, 2024}~\citep{flipboardpodcast} --- founder interview with Mia Quagliarello. 288 288 + \item \textbf{SJSU iSchool SLA Student Chapter profile}~\citep{sjsuischool} --- the only library-science-framed write-up surfaced. 289 289 + \item \textbf{LA Municipal Art Gallery program partner page}~\citep{lamag2024} --- documents the 2024 ``Friday Art Nights'' residency. 290 290 + \item \textbf{dublab \emph{Channels} archive}~\citep{dublabchannels2025} --- 2025-05-10 broadcast. 291 291 + \end{itemize} 292 292 + 293 293 + \subsection{Lineage / building} 294 294 + 295 295 + \begin{itemize} 296 296 + \item \textbf{Hyperallergic on Machine Project closure}~\citep{hyperallergicmachine2018} --- January 2018; same address. 297 297 + \item \textbf{The Eastsider LA on EPFC closure}~\citep{eastsiderepfc2022} --- January 2022; same address; org continues itinerant. 298 298 + \item \textbf{Wikipedia on Machine Project}~\citep{wikipediamachine}. 299 299 + \end{itemize} 300 300 + 301 301 + \subsection{Name} 302 302 + 303 303 + \begin{itemize} 304 304 + \item \textbf{Wikipedia on \emph{Under Heavy Manners}}~\citep{wikipediaprincefari} --- 1976 album; the title-as-State-of-Emergency reference Manley declared in Jamaica. 305 305 + \end{itemize} 306 306 + 307 307 + \section{What this dossier is not} 308 308 + 309 309 + \begin{itemize} 310 310 + \item \textbf{Not a thesis.} There is no question being answered. The library / zine-as-political-act framing is part of HML's self-presentation; the dossier records that framing rather than projecting onto it. 311 311 + \item \textbf{Not a critique.} HML's silence on legal status, financials, and named funders is observed, not judged. 312 312 + \item \textbf{Not a comparison.} Adjacent LA spaces (Skylight Books, Ooga Booga, Hauser \& Wirth's bookstore, Stories Books \& Cafe, Tom of Finland Foundation Library, Reanimation Library outposts) are mentioned only where they directly intersect HML. 313 313 + \item \textbf{Not a Machine Project obituary.} The companion dossier in this batch (\texttt{papers/arxiv-machine-project/}) handles Machine Project on its own terms; this dossier surfaces only the building lineage. 314 314 + \item \textbf{Not exhaustive.} The dossier covers what is publicly recoverable; gaps --- legal entity, fiscal sponsor, financials, foundation grants, collection size, member count, full event history --- are flagged inline. The companion data folder (\texttt{papers/arxiv-heavy-manners-library/data/}) holds the underlying CSVs. 315 315 + \end{itemize} 316 316 + 317 317 + \vspace{0.5em} 318 318 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 319 319 + 320 320 + \bibliographystyle{plainnat} 321 321 + \bibliography{references} 322 322 + 323 323 + \end{document}

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··· 1 1 + @misc{hmlsite, 2 2 + author={Heavy Manners Library}, 3 3 + title={Heavy Manners Library --- About}, 4 4 + year={2026}, 5 5 + howpublished={\url{https://heavymannerslibrary.com/about}}, 6 6 + note={Accessed 2026-05-02} 7 7 + } 8 8 + 9 9 + @misc{hmldonate, 10 10 + author={Heavy Manners Library}, 11 11 + title={Heavy Manners Library --- Donate}, 12 12 + year={2026}, 13 13 + howpublished={\url{https://heavymannerslibrary.com/donate}}, 14 14 + note={Accessed 2026-05-02} 15 15 + } 16 16 + 17 17 + @misc{hmljoin, 18 18 + author={Heavy Manners Library}, 19 19 + title={Heavy Manners Library --- Join}, 20 20 + year={2026}, 21 21 + howpublished={\url{https://heavymannerslibrary.com/join}}, 22 22 + note={Cyan and Magenta membership tiers; accessed 2026-05-02} 23 23 + } 24 24 + 25 25 + @misc{hmljournal, 26 26 + author={James-Wilson, Matthew}, 27 27 + title={Welcome to the Heavy Manners Journal}, 28 28 + year={2022}, 29 29 + howpublished={\url{https://heavymannerslibrary.com/journal}}, 30 30 + note={Inaugural Journal post, 2022-02-18} 31 31 + } 32 32 + 33 33 + @misc{eastsider2023, 34 34 + author={{The Eastsider LA}}, 35 35 + title={Heavy Manners Library amplifies Echo Park's creative community}, 36 36 + year={2023}, 37 37 + howpublished={\url{https://www.theeastsiderla.com/neighborhoods/echo_park/heavy-manners-library-amplifies-echo-parks-creative-community/article_1a5e869e-0563-11ee-91ef-bf99ed99af46.html}}, 38 38 + note={Accessed 2026-05-02} 39 39 + } 40 40 + 41 41 + @misc{hyperallergic2024indie, 42 42 + author={{Hyperallergic}}, 43 43 + title={Seven Indie Art Spaces to Check Out in Los Angeles}, 44 44 + year={2024}, 45 45 + howpublished={\url{https://hyperallergic.com/772908/seven-indie-art-spaces-to-check-out-in-los-angeles/}}, 46 46 + note={Accessed 2026-05-02} 47 47 + } 48 48 + 49 49 + @misc{hyperallergicmachine2018, 50 50 + author={{Hyperallergic}}, 51 51 + title={After 15 Years, LA's Machine Project Closes with a Farewell Event}, 52 52 + year={2018}, 53 53 + howpublished={\url{https://hyperallergic.com/420736/after-15-years-las-machine-project-closes-with-a-farewell-event/}}, 54 54 + note={Documents Machine Project's January 13, 2018 closure at 1200 N Alvarado} 55 55 + } 56 56 + 57 57 + @misc{eastsiderepfc2022, 58 58 + author={{The Eastsider LA}}, 59 59 + title={Echo Park Film Center closes micro cinema and starts new era}, 60 60 + year={2022}, 61 61 + howpublished={\url{https://www.theeastsiderla.com/eastsider_on_the_go/arts_and_culture/echo-park-film-center-closes-micro-cinema-and-starts-new-era/article_ae2e980e-69b1-11ec-b462-c769fa40b294.html}}, 62 62 + note={Documents EPFC's January 2022 storefront closure at 1200 N Alvarado} 63 63 + } 64 64 + 65 65 + @misc{wikipediamachine, 66 66 + author={{Wikipedia contributors}}, 67 67 + title={Machine Project}, 68 68 + year={2026}, 69 69 + howpublished={\url{https://en.wikipedia.org/wiki/Machine_Project}}, 70 70 + note={Accessed 2026-05-02} 71 71 + } 72 72 + 73 73 + @misc{wikipediaprincefari, 74 74 + author={{Wikipedia contributors}}, 75 75 + title={Under Heavy Manners (Prince Far I album)}, 76 76 + year={2026}, 77 77 + howpublished={\url{https://en.wikipedia.org/wiki/Under_Heavy_Manners}}, 78 78 + note={1976 reggae album produced by Joe Gibbs and Errol Thompson at Joe Gibbs Recording Studio in Kingston; title refers to the 1976 Jamaican State of Emergency} 79 79 + } 80 80 + 81 81 + @misc{flipboardpodcast, 82 82 + author={Quagliarello, Mia}, 83 83 + title={Curating a Library from Scratch: Meet the Founders of Heavy Manners Library}, 84 84 + year={2024}, 85 85 + howpublished={\url{https://about.flipboard.com/inside-flipboard/curating-a-library-from-scratch-meet-the-founders-of-heavy-manners-library-podcast/}}, 86 86 + note={Flipboard Storyboard podcast interview with James-Wilson and Soda} 87 87 + } 88 88 + 89 89 + @misc{sjsuischool, 90 90 + author={{SJSU iSchool SLA Student Chapter}}, 91 91 + title={Heavy Manners Library}, 92 92 + year={2024}, 93 93 + howpublished={\url{https://ischoolgroups.sjsu.edu/slasc/heavy-manners-library/}}, 94 94 + note={Library-science student-chapter profile of HML; accessed 2026-05-02} 95 95 + } 96 96 + 97 97 + @misc{lamag2024, 98 98 + author={{Los Angeles Municipal Art Gallery}}, 99 99 + title={Heavy Manners Library --- Friday Art Nights}, 100 100 + year={2024}, 101 101 + howpublished={\url{https://lamag.org/heavy-manners-library/}}, 102 102 + note={Friday Art Nights guest programming, Sept 5/12/19/26 2024, Barnsdall Park} 103 103 + } 104 104 + 105 105 + @misc{dublabchannels2025, 106 106 + author={Collins, Jordan and Thompson, Lewis and Michelle, Nia}, 107 107 + title={Channels: Heavy Manners Library (05.10.25)}, 108 108 + year={2025}, 109 109 + howpublished={\url{https://www.dublab.com/archive/nia-michelle-jordan-collins-lewis-thompson-channels-heavy-manners-library-05-10-25}}, 110 110 + note={dublab live broadcast from Heavy Manners Library, 2025-05-10} 111 111 + } 112 112 + 113 113 + @misc{hmlzinefair2026, 114 114 + author={Heavy Manners Library}, 115 115 + title={Heavy Manners Zine Fair 2026}, 116 116 + year={2026}, 117 117 + howpublished={\url{https://heavymannerslibrary.com/events/heavy-manners-zine-fair-2026}}, 118 118 + note={Apr 11--12 2026, 12--6pm PST; free; application deadline March 2} 119 119 + } 120 120 + 121 121 + @misc{epfccollective, 122 122 + author={{EPFC Collective}}, 123 123 + title={Echo Park Film Center Collective --- Community partners}, 124 124 + year={2026}, 125 125 + howpublished={\url{https://www.epfccollective.org/community}}, 126 126 + note={Lists Heavy Manners Library as community partner} 127 127 + }

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{internet-archive-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Internet Archive}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Internet Archive}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par ··· 173 194 \section{People} 174 195 175 196 \begin{table}[h] 176 176 - \small 197 197 + \footnotesize 177 198 \centering 178 178 - \begin{tabularx}{\columnwidth}{lXl} 199 199 + \setlength{\tabcolsep}{3pt} 200 200 + \begin{tabularx}{\columnwidth}{lXX} 179 201 \toprule 180 202 \textbf{Role} & \textbf{Name} & \textbf{Note} \\ 181 203 \midrule

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papers/arxiv-machine-project/ac-paper-layout.sty

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··· 1 1 + % ac-paper-layout.sty — Aesthetic Computer paper layout master template 2 2 + % Usage: \usepackage{ac-paper-layout} in each arxiv-* paper 3 3 + % 4 4 + % This package provides the shared visual identity for all AC working drafts: 5 5 + % - AC color palette 6 6 + % - YWFT Processing font commands (\acbold, \aclight) 7 7 + % - Draft watermark in Processing Light font 8 8 + % - Pals logo watermark (top-left, rotated, semi-opaque) 9 9 + % - Section/subsection formatting 10 10 + % - Header/footer (draft notice + page numbers) 11 11 + % - List and paragraph settings 12 12 + % - \ac command for "Aesthetic Computer" small caps 13 13 + % 14 14 + % Papers still define their own: 15 15 + % - \hypersetup{pdftitle=...} 16 16 + % - \graphicspath{...} 17 17 + % - Additional \newcommand macros (e.g. \wg, \acos) 18 18 + % - Extra packages (listings, multicol, etc.) 19 19 + % - Extra font families (ComicRelief for KidLisp, etc.) 20 20 + 21 21 + \NeedsTeXFormat{LaTeX2e} 22 22 + \ProvidesPackage{ac-paper-layout}[2026/03/16 Aesthetic Computer paper layout] 23 23 + 24 24 + % === FONTS === 25 25 + % Requires fontspec (loaded by the document before this package) 26 26 + \newfontfamily\acbold{ywft-processing-bold}[ 27 27 + Path=../../system/public/type/webfonts/, 28 28 + Extension=.ttf 29 29 + ] 30 30 + \newfontfamily\aclight{ywft-processing-light}[ 31 31 + Path=../../system/public/type/webfonts/, 32 32 + Extension=.ttf 33 33 + ] 34 34 + 35 35 + % === COLORS (AC palette) === 36 36 + \definecolor{acpink}{RGB}{180,72,135} 37 37 + \definecolor{acpurple}{RGB}{120,80,180} 38 38 + \definecolor{acdark}{RGB}{64,56,74} 39 39 + \definecolor{acgray}{RGB}{119,119,119} 40 40 + \definecolor{draftcolor}{RGB}{180,72,135} 41 41 + 42 42 + % === DRAFT WATERMARK (Processing font + pals logo) === 43 43 + \RequirePackage{eso-pic} 44 44 + \RequirePackage{tikz} 45 45 + \AddToShipoutPictureBG{% 46 46 + \begin{tikzpicture}[remember picture, overlay] 47 47 + % --- Pals logo: large, top-left, rotated, semi-opaque, bleeding off edge --- 48 48 + \node[opacity=0.06, anchor=north west, rotate=-15] 49 49 + at ([xshift=-1.2cm, yshift=1.2cm]current page.north west) 50 50 + {\includegraphics[width=10cm]{pals}}; 51 51 + % --- "WORKING DRAFT" text in Processing Light font --- 52 52 + \node[opacity=0.12, rotate=45, anchor=center] 53 53 + at (current page.center) 54 54 + {{\aclight\fontsize{2.5cm}{3cm}\selectfont\color{acpink} WORKING DRAFT}}; 55 55 + \end{tikzpicture}% 56 56 + } 57 57 + 58 58 + % === SECTION FORMATTING === 59 59 + \RequirePackage{titlesec} 60 60 + \titleformat{\section} 61 61 + {\normalfont\bfseries\normalsize\uppercase} 62 62 + {\thesection.} 63 63 + {0.5em} 64 64 + {} 65 65 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 66 66 + 67 67 + \titleformat{\subsection} 68 68 + {\normalfont\bfseries\small} 69 69 + {\thesubsection} 70 70 + {0.5em} 71 71 + {} 72 72 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 73 73 + 74 74 + % === HEADER/FOOTER === 75 75 + \RequirePackage{fancyhdr} 76 76 + \pagestyle{fancy} 77 77 + \fancyhf{} 78 78 + \renewcommand{\headrulewidth}{0pt} 79 79 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 80 80 + \fancyfoot[C]{\footnotesize\thepage} 81 81 + 82 82 + % === LIST SETTINGS === 83 83 + \RequirePackage{enumitem} 84 84 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 85 85 + \setlist[enumerate]{nosep, leftmargin=1.2em} 86 86 + 87 87 + % === PARAGRAPH SETTINGS === 88 88 + \setlength{\columnsep}{1.8em} 89 89 + \setlength{\parindent}{1em} 90 90 + \setlength{\parskip}{0.3em} 91 91 + 92 92 + % === HYPERREF COLORS === 93 93 + \RequirePackage{hyperref} 94 94 + \hypersetup{ 95 95 + colorlinks=true, 96 96 + linkcolor=acpurple, 97 97 + urlcolor=acpurple, 98 98 + citecolor=acpurple, 99 99 + } 100 100 + 101 101 + % === COMMON COMMANDS === 102 102 + \newcommand{\ac}{\textsc{Aesthetic Computer}} 103 103 + \newcommand{\acdot}{{\color{acpink}.}} 104 104 + 105 105 + \endinput

+70

papers/arxiv-machine-project/data/README.md

reviewed

··· 1 1 + # arxiv-machine-project / data — first-pass record pull 2 2 + 3 3 + First-pass dossier data on Machine Project, the Echo Park, Los Angeles artist-run nonprofit founded in 2003 by Mark Allen and concluded as a public-facing operation in January 2018. Assembled 2026-05-02. 4 4 + 5 5 + Machine Project sits between the SFPC and Rhizome dossier shapes: like SFPC it is small, artist-run, and minimally bureaucratic; unlike SFPC, it *was* a 501(c)(3) (EIN 75-3193159, IRS exemption May 2006), so eight years of public Form 990 data is recoverable from ProPublica (FY2011–FY2018). It does not, however, publish its books to GitHub; its self-documentation lives in two physical books — the 2010 *Field Guide to LACMA* (Machine Project Press, ISBN 978-0-9753140-4-3) and the 2016 Tang/Prestel *Machine Project: The Platinum Collection* (ISBN 978-3-7913-5619-8) — and in the still-live press / events / news archive at machineproject.com. 6 6 + 7 7 + ## Files 8 8 + 9 9 + - `financials.csv` — Form 990 top-line per fiscal year, FY2011–FY2018, sourced from ProPublica's Nonprofit Explorer (EIN 75-3193159). Columns: revenue, expenses, net, net assets, ED compensation. FY2019+ not on file (the org wound down public programming after the Jan 13 2018 farewell event). 10 10 + - `people.csv` — founder/director, ops manager, FY2017 board of directors as listed on Form 990, key co-editors of published books, the Hammer A.I.R. counterpart. Tenure dates are best-effort; the ProPublica board snapshot is FY2017. 11 11 + - `programs.csv` — the storefront workshop categories, the Field Guide series, the Hammer residency, and major institutional commissions. Where exact dates and counts are disclosed they are recorded; storefront cadence is recorded as ``~2 events/week, free.'' 12 12 + - `funders.csv` — institutional funders disclosed across LACMA, Hammer, PAA, Tang, and LA County Arts. Mike Kelley Foundation does NOT appear on the public grantee lists — removed from this record. Andy Warhol Foundation is recorded only as an org Mark Allen sits on the board of, not a confirmed Machine grantor. 13 13 + - `timeline.csv` — 2003 founding → 2005 incorporation → 2006 IRS exemption → 2008 LACMA Field Guide → 2009–10 Hammer A.I.R. → 2014 Gamble House → 2015–16 Tang Platinum Collection → Jan 13 2018 closure → 2021 Heavy Manners Library opens at the same address. 14 14 + - `locations.csv` — primary storefront (1200 D N Alvarado, 2003–2018) and the cross-reference to Heavy Manners Library which took over the unit in 2021. 15 15 + - `notable-events.csv` — the one-off events that defined the org's voice: LACMA Field Guide 2008, Hammer residency 2009–11, Gamble House 2014, Tang Platinum Collection 2015–16, the closure event itself. 16 16 + 17 17 + ## What's solid 18 18 + 19 19 + - **Legal entity**: Machine Project, EIN 75-3193159, 501(c)(3) public charity, NTEE "Arts Education." Tax-exempt determination May 2006. Address on file: 530 Berkeley Ave, Claremont CA 91711-4226 (Charity Navigator). Storefront mailing/contact address: 1200 D North Alvarado, Los Angeles CA 90026 — phone 213-483-8761, email machine@machineproject.com. 20 20 + - **Founding date**: December 6, 2003 (first show: Tom Jennings — Story Teller, runs through Jan 24 2004). 21 21 + - **Founder**: Mark Allen (artist, educator, Pomona College Associate Professor; previously ran informal artist-run spaces in Houston). 22 22 + - **Closure**: physical storefront closed with a single farewell event on Saturday, January 13, 2018, 2–9pm. Mark Allen's framing is generative ("dissolves so that the next thing can emerge"), not financial. 23 23 + - **Financial size**: FY2011–FY2017 ran in the $290K–$400K revenue range, near break-even year over year. Peak revenue FY2014 at $397,667 (Gamble House intervention year). FY2018 was a half-year run with -$96,419 deficit; net assets drew down to $34,666. 24 24 + - **Key institutional partnerships, dated**: 25 25 + - **LACMA Field Guide**: November 15, 2008 (one day, 10 hours, 60+ projects, 35 artists, co-funded by LACMA Public Programs + the Ralph M. Parsons endowment + Machine's own funders). 26 26 + - **Hammer residency**: research phase June–October 2009; official residency November 2009–December 2010; ~75–80 onsite programs; underwritten by a $1M James Irvine Foundation Arts Innovation Fund grant *to the Hammer* (not directly to Machine). 27 27 + - **Tang Platinum Collection**: exhibition Sept 19 2015–Jan 3 2016; book published 2016 (ISBN 978-3-7913-5619-8); book launch Extravaganza at Echo Park 2017. 28 28 + - **Pasadena Art Alliance**: 2015 grant (amount undisclosed) for Patrick Ballard's *Return to Foreverhouse*. 29 29 + - **Building lineage**: 1200 D N Alvarado, built 1932 / re-outfitted 1972, was Machine Project 2003–2018. Heavy Manners Library, founded by Matthew James-Wilson in 2021, occupies the same unit and explicitly names Machine Project as its predecessor on its about page. Heavy Manners is its own dossier in this batch. 30 30 + 31 31 + ## What's known but not fully quantified 32 32 + 33 33 + - **Pre-FY2011 finances**: not in ProPublica (FY2006–FY2010 990s would exist on file with the IRS but are not in the standardized public extract). Eight years of clean Form 990 data is what's pulled here. 34 34 + - **Post-FY2018 status of the legal entity**: the EIN persists in the IRS database; no 990 has been filed for FY2019 or later that surfaces in ProPublica. Charity Navigator records Machine Project on California's delinquent-registrations list per AB 488 — donations through CN are disabled. The org has not been formally dissolved on the public record but has not programmed publicly since the closure. 35 35 + - **Specific grant ledger**: the org's financial statements break revenue into total contributions and program service revenue but do not publish a grants-by-funder ledger. Named funders here are the ones that disclose their grants on their own public pages (PAA, Hammer/Irvine via the Hammer's own credit lines, LACMA via the Field Guide's funding statement, LA County Arts via its grantee page). 36 36 + - **Total artist count across 15 years**: not centrally tabulated. The two books — *Field Guide to LACMA* and the Tang *Platinum Collection* — together name 100+ collaborators but neither is a comprehensive roster. 37 37 + - **Workshop attendance / class enrolment**: not disclosed. 38 38 + 39 39 + ## What's missing entirely (not yet attempted) 40 40 + 41 41 + - **The 2018 silkscreen poster archive** referenced in the closure announcement as ``acquired by an institutional archive later this year'' — no public confirmation of which institution. 42 42 + - **A full FY2006–FY2010 financial picture** — would require pulling old paper-filed 990s directly from the IRS or the California Attorney General Registry of Charitable Trusts. 43 43 + - **Mark Allen's post-2018 curatorial / itinerant Machine activity** — none disclosed publicly; the website has not posted news since 2018. 44 44 + 45 45 + ## Data quality notes 46 46 + 47 47 + - Form 990 financials are the cleanest source; eight years of consistent line items. 48 48 + - Board snapshot in `people.csv` is FY2017 (the last clean board listing on a 990 before the closure year). Earlier boards are not in the search index; later boards (FY2018) are on the closure-year filing but the 8-year dataset stabilizes the FY2017 set as the working roster. 49 49 + - Two foundation funders that were *speculatively* searched but did NOT surface as confirmed Machine grantors: **Mike Kelley Foundation for the Arts** (no Machine entry in their published awardee list) and **Andy Warhol Foundation for the Visual Arts** (Mark Allen sits on its board, but Machine itself is not in the public grantee list pulled here). Both omitted from `funders.csv` to keep the file factual. 50 50 + 51 51 + ## Source URLs 52 52 + 53 53 + - Active site (archival): https://machineproject.com/ 54 54 + - Wikipedia: https://en.wikipedia.org/wiki/Machine_Project 55 55 + - ProPublica 990s: https://projects.propublica.org/nonprofits/organizations/753193159 56 56 + - Charity Navigator: https://www.charitynavigator.org/ein/753193159 57 57 + - Hammer residency page: https://hammer.ucla.edu/artist-residencies/2009/machine-project 58 58 + - Hammer A.I.R. report (PDF): https://machineproject.com/build/engine/wp-content/uploads/2015/09/Machine_Project_Public_Engagement_Artist_in_Residence_Report_compressed.pdf 59 59 + - LACMA Field Guide event page: https://machineproject.com/2008/events/a-machine-project-field-guide-to-lacma-2/ 60 60 + - LACMA Field Guide book listing: https://www.amazon.com/dp/0975314041 (ISBN 978-0-9753140-4-3) 61 61 + - Tang exhibition page: https://tang.skidmore.edu/exhibitions/109-machine-project-the-platinum-collection-live-by-special-request 62 62 + - Tang book listing: https://tang.skidmore.edu/publications/64-machine-project 63 63 + - Hyperallergic closure: https://hyperallergic.com/420736/after-15-years-las-machine-project-closes-with-a-farewell-event/ 64 64 + - Artforum closure: https://www.artforum.com/news/after-fifteen-years-los-angeles-s-machine-project-shutters-73376 65 65 + - LA Times closure (mirror): https://eastofborneo.org/archives/after-15-years-a-forest-a-pig-and-a-giant-tongue-echo-park-alternative-arts-space-machine-project-is-closing-its-doors-los-angeles-times/ 66 66 + - Heavy Manners Library: https://heavymannerslibrary.com/about 67 67 + 68 68 + ## Relationship to the author 69 69 + 70 70 + The author has no disclosed prior intersection with Machine Project. Recorded as a fact, not as positionality.

+10

papers/arxiv-machine-project/data/financials.csv

reviewed

··· 1 1 + fiscal_year,revenue,expenses,net,net_assets,ed_compensation,notes,source 2 2 + 2011,296718,293162,3556,116680,,"first year in ProPublica's standardized extract; org in steady-state storefront cadence",ProPublica EIN 75-3193159 3 3 + 2012,299681,288458,11223,127903,,"steady-state",ProPublica EIN 75-3193159 4 4 + 2013,315167,314699,468,128371,,"steady-state",ProPublica EIN 75-3193159 5 5 + 2014,397667,398131,-464,127907,,"peak revenue year coinciding with Gamble House intervention",ProPublica EIN 75-3193159 6 6 + 2015,337572,331944,5628,133535,3445,"Tang exhibition opens Sep 2015; Patrick Ballard Return to Foreverhouse with PAA grant",ProPublica EIN 75-3193159 7 7 + 2016,313258,322865,-9607,123928,6000,"Tang Platinum Collection book published",ProPublica EIN 75-3193159 8 8 + 2017,312505,305347,7158,131086,14751,"final full year of operations; book launch Extravaganza",ProPublica EIN 75-3193159 9 9 + 2018,115048,211467,-96419,34666,,"closure year; Jan 13 2018 farewell event; half-year operational; net assets drawn down",ProPublica EIN 75-3193159 10 10 + 2019-2026,,,,,,"no Form 990 filed visible in ProPublica's extract; org appears on California AB 488 delinquent registrations list per Charity Navigator","Charity Navigator EIN 75-3193159 + ProPublica"

+12

papers/arxiv-machine-project/data/funders.csv

reviewed

··· 1 1 + funder,type,year(s),amount,program_supported,source 2 2 + LACMA Public Programs,institutional partner,2008,(undisclosed; cofunded the Field Guide),"A Machine Project Field Guide to LACMA (Nov 15 2008)",machineproject.com event page 3 3 + Ralph M. Parsons Endowment (LACMA),endowment,2008,(undisclosed; cofunded the Field Guide),"A Machine Project Field Guide to LACMA (Nov 15 2008)",machineproject.com event page 4 4 + James Irvine Foundation,foundation,2009,$1000000 (Arts Innovation Fund grant to Hammer Museum, not directly to Machine),"Hammer Public Engagement A.I.R. residency that named Machine the first artist-in-residence",hammer.ucla.edu artist-residencies + Daily Bruin coverage 5 5 + Hammer Museum (UCLA),institutional partner,2009-2011,(undisclosed; covered residency programming costs),"Public Engagement A.I.R. residency: ~75-80 onsite programs",hammer.ucla.edu + Hammer A.I.R. Report 2012 6 6 + Frances Young Tang Teaching Museum at Skidmore College,institutional partner,2015-2016,(undisclosed; commissioned the retrospective exhibition + co-published the book),"Machine Project -- The Platinum Collection (Live by Special Request) Sept 19 2015 -- Jan 3 2016 + 2016 hardcover book",tang.skidmore.edu + Platinum Collection book 7 7 + DelMonico-Prestel,publisher,2016,(co-publisher; not a grant),"Machine Project: The Platinum Collection book (ISBN 978-3-7913-5619-8)",Platinum Collection book 8 8 + Pasadena Art Alliance,foundation,2015,(undisclosed),"Patrick Ballard, Return to Foreverhouse: kinetic sculptural environment with 2-month programming series at the storefront",pasadenaartalliance.org/grant/machine-project/ 9 9 + LA County Department of Arts and Culture,public agency,(year(s) undisclosed),(undisclosed),"general operating support; Machine Project profiled on LA County Arts grantees page",lacountyarts.org/machine-project 10 10 + Members and individual donors,base,2003-2018,(aggregated),"Machine Project keeps its doors open thanks to our members and volunteers (machineproject.com)",machineproject.com/archival/about/ 11 11 + Membership program,base,2003-2018,(aggregated),"individual memberships",machineproject.com/archival/about/ 12 12 + Wave Books,institutional partner,various,(undisclosed),"Joshua Beckman / poetry events at the storefront",Platinum Collection book

+9

papers/arxiv-machine-project/data/locations.csv

reviewed

··· 1 1 + period,address,host,notes,source 2 2 + 2003-12-06 to 2018-01-13,"1200 D N Alvarado St, Los Angeles CA 90026",Machine Project (storefront),"primary venue; corner storefront at N Alvarado x Sunset Blvd in Echo Park; building constructed 1932 / re-outfitted 1972; phone 213-483-8761; email machine@machineproject.com",machineproject.com/archival/about/ + Heavy Manners Library 3 3 + mailing/legal,"530 Berkeley Ave, Claremont CA 91711-4226",Machine Project (legal entity),"Charity Navigator address of record; Mark Allen lives in Claremont (Pomona College)",charitynavigator.org/ein/753193159 4 4 + 2008-11-15,"5905 Wilshire Blvd, Los Angeles CA 90036",LACMA,"one-day Field Guide event venue (across LACMA campus)",machineproject.com event page 5 5 + 2009 to 2010,"10899 Wilshire Blvd, Los Angeles CA 90024",Hammer Museum (UCLA),"Public Engagement A.I.R. residency: ~75--80 programs across the museum's lobby, staircase, coatroom, and galleries",hammer.ucla.edu 6 6 + 2014,"4 Westmoreland Pl, Pasadena CA 91103",Gamble House (USC School of Architecture),"Greene & Greene Craftsman house intervention",Wikipedia 7 7 + 2015-09 to 2016-01,"815 N Broadway, Saratoga Springs NY 12866",Tang Teaching Museum (Skidmore College),"Platinum Collection retrospective exhibition",tang.skidmore.edu 8 8 + 2018-onward,(itinerant / non-place-based),Machine Project (legal entity, dormant publicly),"no public storefront after Jan 13 2018 closure; legal entity persists on IRS records",ProPublica + Charity Navigator 9 9 + 2021-onward,"1200 N Alvarado St Unit D, Los Angeles CA 90026",Heavy Manners Library (successor tenant),"founded by Matthew James-Wilson; lending library + bookstore + event space at the SAME unit that was Machine Project; Heavy Manners about page names Machine Project as the prior occupant. CROSS-REFERENCE: see arxiv-heavy-manners-library dossier in this batch.",heavymannerslibrary.com/about

+14

papers/arxiv-machine-project/data/notable-events.csv

reviewed

··· 1 1 + date,event,venue,scale,why_it_mattered,source 2 2 + 2003-12-06 to 2004-01-24,Tom Jennings -- Story Teller (inaugural show),1200 D N Alvarado,(installation),"the inaugural show by FidoNet pioneer Tom Jennings set the org's tone: technical-history-meets-storytelling at the storefront","Wikipedia + machineproject.com press archive" 3 3 + 2008-11-15,A Machine Project Field Guide to LACMA,LACMA campus,10 hours / 60+ projects / 35 artists,"the signature one-day institutional commission; documented in the 2010 Machine Project Press book; established the storefront-takes-over-museum format that the Hammer residency would extend",machineproject.com event page + Field Guide book 4 4 + 2009-2010,Hammer Public Engagement A.I.R. residency,Hammer Museum (UCLA),~75-80 programs,"transformed the org from an Echo Park storefront into a national reference for museum public engagement; produced the 2012 A.I.R. Report co-authored with Allison Agsten that became a working document for other museums",hammer.ucla.edu + Hammer A.I.R. Report 5 5 + 2010-summer,Houseplant Vacation,Hammer Museum,(coatroom-scale),"the workshop-style program that became the org's most-cited Hammer piece; visitors checked their houseplants in for a museum vacation",Hammer A.I.R. Report 6 6 + 2010-summer,The Giant Hand,Hammer Museum,(corridor-scale),"giant animatronic hand that pointed visitors around the museum; central exhibit of the A.I.R.","Hammer A.I.R. Report" 7 7 + 2010-summer,Microconcerts in the coatroom,Hammer Museum,(intimate),"a series of tiny concerts in the museum's converted coatroom became one of the residency's signature inventions",Hammer A.I.R. Report + hammer.ucla.edu 8 8 + 2010-overnight,Overnight Dream-In,Hammer Museum,(group sleepover),"all-night dream-in event in the museum",Hammer A.I.R. Report 9 9 + 2014,Gamble House intervention,Gamble House (Pasadena),(multi-piece site-specific),"contemporary artworks inside a Greene & Greene Craftsman house including a secret basement restaurant by Bob Dornberger and a vortex sculpture / puppet by Patrick Ballard",Wikipedia + LA Times closure piece 10 10 + 2014,Purple Electric Plat (PEP!),1200 D N Alvarado,(performance),"performance featuring a dancing salad and oversized tongue; the 'giant tongue' of the LA Times closure-piece headline",Artforum closure 11 11 + 2015,Return to Foreverhouse (Patrick Ballard),1200 D N Alvarado,(2-month residency),"PAA-grant-funded sculptural environment with a 2-month programming series of LA artists making new work inside the installation",Pasadena Art Alliance 12 12 + 2015-09-19 to 2016-01-03,Machine Project -- The Platinum Collection (Live by Special Request),Tang Teaching Museum,(retrospective),"multi-month re-staging of the org's past projects at Skidmore; produced the 2016 318-page Tang/DelMonico Prestel hardcover",tang.skidmore.edu 13 13 + 2017-09 to 2017-11,Sorry Atlantis: Eden's Achin' Organ Seeks Revenge (Asher Hartman),1200 D N Alvarado,(multi-month play),"one of the final long-form storefront productions before closure",Hyperallergic 14 14 + 2018-01-13,Print Sale and Wrap Party (closure event),1200 D N Alvarado,2--9pm / single day,"the org's only formal closure event; silkscreen posters acquired by an unnamed institutional archive",Hyperallergic + Artforum

+34

papers/arxiv-machine-project/data/people.csv

reviewed

··· 1 1 + name,role,period,notes,source 2 2 + Mark Allen,Founder / Executive Director,2003--2018 (and continuing as legal entity ED post-closure),"artist and educator; Associate Professor of Art at Pomona College in Claremont; previously ran informal artist-run spaces in Houston; serves on Andy Warhol Foundation for the Visual Arts board; served 3-yr term on Hammer Museum Artist Advisory Board",CalArts 2010 Q&A + LATimes closure piece + Pomona College directory 3 3 + Michele Yu,Operations Manager,2011-- (visible),"listed on the staff page snapshot dated March 30 2011; email michele@machineproject.com",machineproject.com/archival/staff/ 4 4 + Jason Brown,Co-editor (Field Guide),2008--2010,"co-edited Field Guide to LACMA; CalArts Critical Studies/Integrated Media MFA '00 per CalArts profile of Allen",CalArts 2010 Q&A + Field Guide book 5 5 + Liz Glynn,Co-editor (Field Guide) / Collaborator,2008--2010,"co-edited Field Guide to LACMA; collaborated with Mark Allen during the Hammer A.I.R. research phase June--Oct 2009",CalArts 2010 Q&A + Hammer residency page + Field Guide book 6 6 + Sara Roberts,Board (per CalArts interview),2010 (visible),"described in 2010 CalArts interview as on Machine Project board; CalArts Composition & Experimental Sound Practices faculty",CalArts 2010 Q&A 7 7 + Mary Fagot,Chair (Board of Directors),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 8 8 + Kerry Hannawell,Treasurer (Board of Directors),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 9 9 + Jimmy Fusil,Secretary (Board of Directors),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 10 10 + Tatiana Hernandez,Director (Board),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 11 11 + Ken Bensinger,Director (Board),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 12 12 + Sarah Schultz,Director (Board),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 13 13 + Thas Naseemuddeen,Director (Board),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 14 14 + Ava Bromberg,Director (Board),FY2017 (visible),"FY2017 Form 990 listing",ProPublica 990 FY2017 15 15 + Allison Agsten,Hammer A.I.R. counterpart,2009--2011,"Hammer Museum Director of Public Engagement; co-author with Allen of Hammer A.I.R. Report (2012)",Hammer A.I.R. report 2012 16 16 + Tom Jennings,Inaugural artist,Dec 6 2003--Jan 24 2004,"FidoNet pioneer; first show was Tom Jennings -- Story Teller",Wikipedia + machineproject.com 17 17 + Patrick Ballard,Recurring collaborator,2014--2015 (visible),"Gamble House vortex puppet sculpture (2014); Return to Foreverhouse 2-month installation at storefront (2015)",Wikipedia + Pasadena Art Alliance grantee page 18 18 + Bob Dornberger,Collaborator (Gamble House),2014,"created secret basement restaurant during the 2014 Gamble House intervention",Wikipedia 19 19 + Asher Hartman,Collaborator / Playwright,2017 (visible),"playwright behind 'Sorry, Atlantis: Eden's Achin' Organ Seeks Revenge' (Sept-Nov 2017)",Hyperallergic + Platinum Collection book 20 20 + Cliff Hengst,Collaborator,various,"conducted architectural tours for Machine Project; named contributor in Platinum Collection",Artforum closure + Platinum Collection book 21 21 + Joshua Beckman,Collaborator,2008+,"Field Guide LACMA performer; named contributor in Platinum Collection (Wave Books)",LACMA Field Guide event page + Platinum Collection book 22 22 + Anthony McCann,Collaborator,2008+,"Field Guide LACMA performer",LACMA Field Guide event page 23 23 + Fritz Haeg,Collaborator,2008,"Field Guide LACMA performer (Fallen Fruit Project context)",LACMA Field Guide event page 24 24 + Carmina Escobar,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 25 25 + Chris Kallmyer,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 26 26 + Dawn Kasper,Collaborator,2008+,"Field Guide LACMA performer; named contributor in Platinum Collection",Field Guide + Platinum Collection 27 27 + Hana van der Kolk,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 28 28 + Krystal Krunch,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 29 29 + Kamau Amu Patton,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 30 30 + Haruko Tanaka,Collaborator,various,"named contributor in Platinum Collection",Platinum Collection book 31 31 + Charlotte Cotton,Essayist (Platinum Collection),2016,"essay contributor to Platinum Collection book",Platinum Collection book 32 32 + Ian Berry,Essayist (Platinum Collection),2016,"essay contributor; Tang Director",Platinum Collection book 33 33 + Rachel Seligman,Co-editor (Platinum Collection),2016,"co-editor of Tang/Prestel Platinum Collection book",Platinum Collection book 34 34 + Kimberly Varella,Designer (Platinum Collection),2016,"book designer; Content Object Design Studio",content-object.com + Tang publications

+12

papers/arxiv-machine-project/data/programs.csv

reviewed

··· 1 1 + period,program,format,location,scale,sponsor,notes,source 2 2 + 2003-2018,Storefront events,2 events/week (typical),1200 D N Alvarado,~2 events/week free + free of charge,members + memberships + donors,"scientific talks, poetry readings, music performances, theatre, workshops",heavymannerslibrary.com/about + machineproject.com 3 3 + 2003-2018,Storefront workshops,workshops (recurring),1200 D N Alvarado,varies (small-cohort),tuition + members,"electronics, sewing, pickling, computer programming, cyanotype, synthesizer-building, crochet, taxidermy, hot-air-balloon-making, instrument fabrication, lucid-dreaming meditation",machineproject.com/archival/about/ + Hyperallergic + Hammer page 4 4 + 2008-11-15,A Machine Project Field Guide to LACMA,one-day takeover (10 hours),LACMA,60+ projects with 35 artists,LACMA Public Programs + Ralph M. Parsons Endowment + Machine funders,"the org's signature institutional commission; documented in 2010 book ISBN 978-0-9753140-4-3",machineproject.com event page + Field Guide book 5 5 + 2009 to 2010,Hammer Public Engagement A.I.R.,year-long museum residency,Hammer Museum (UCLA),~75-80 onsite programs,James Irvine Foundation (via Hammer's $1M Arts Innovation Fund grant),"first Public Engagement Artist in Residence; Houseplant Vacation, Two-Minute Performances, Overnight Dream-In, The Giant Hand, A Year in the Life of a Coatroom, Enormous Microscope Evening, Fungi Fest, Soundings: Bells",hammer.ucla.edu + Hammer A.I.R. Report 6 6 + 2014,Gamble House intervention,site-specific takeover,Gamble House (Pasadena),(undisclosed scale),(undisclosed),"secret basement restaurant by Bob Dornberger; vortex sculpture / puppet by Patrick Ballard",Wikipedia 7 7 + 2015,Return to Foreverhouse (Patrick Ballard),2-month installation + programming series,1200 D N Alvarado (storefront),many LA artists creating new works inside the installation,Pasadena Art Alliance,"sculptural environment + kinetic elements + 2-month programming",pasadenaartalliance.org 8 8 + 2015-09 to 2016-01,Machine Project -- The Platinum Collection (Live by Special Request),museum retrospective exhibition,Tang Teaching Museum (Skidmore),(extensive),Tang Teaching Museum,"multi-month re-staging of past Machine projects on commission",tang.skidmore.edu 9 9 + 2017,Platinum Collection EXTRAVAGANZA (book launch),storefront book launch,1200 D N Alvarado,1 event,Tang/DelMonico Prestel,"launched the 318-page Tang/Prestel hardcover at the storefront",machineproject.com 2017 events 10 10 + 2017-09 to 2017-11,"Sorry, Atlantis: Eden's Achin' Organ Seeks Revenge",multi-month theatrical production,1200 D N Alvarado,(Asher Hartman play),(undisclosed),"one of the final long-form storefront productions before closure",Hyperallergic 11 11 + 2018-01-13,Print Sale and Wrap Party,closure event,1200 D N Alvarado,2--9pm,(self),"final public event; print sale 2--6pm + wrap party 6--9pm; limited-edition silkscreen posters from $40",Hyperallergic + Artforum 12 12 + various,Cross-institutional shows,one-off,"MCA Denver, CAM St Louis, Walker Art Center, Tang",(varied),(co-funded by hosting institution),"Mark Allen-led shows under the Machine banner at peer museums",CalArts 2010 Q&A + Pomona profile

+26

papers/arxiv-machine-project/data/timeline.csv

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··· 1 1 + date,event,source 2 2 + 2003-12-06,"Machine Project opens at 1200 D N Alvarado, Echo Park; inaugural show is Tom Jennings -- Story Teller (runs through Jan 24 2004)","Wikipedia + machineproject.com press archive" 3 3 + 2003,"Mark Allen, Pomona College Associate Professor of Art, founds the storefront",CalArts 2010 Q&A 4 4 + 2005,"Machine Project incorporated as an educational nonprofit",CalArts 2010 Q&A 5 5 + 2006-05,"IRS 501(c)(3) determination granted (EIN 75-3193159)",ProPublica 6 6 + 2008-11-15,"A Machine Project Field Guide to LACMA: 10-hour, 60+ project takeover with 35 artists; cofunded by LACMA Public Programs and Ralph M. Parsons Endowment",machineproject.com + Wikipedia 7 7 + 2009-06,"James Irvine Foundation awards $1M Arts Innovation Fund grant to Hammer Museum to create Public Engagement A.I.R.; Machine Project named first A.I.R.; research phase begins",hammer.ucla.edu + Daily Bruin 8 8 + 2009-11,"Official Hammer A.I.R. residency begins (through Dec 2010); ~75--80 onsite programs produced","Hammer A.I.R. Report 2012" 9 9 + 2010,"Field Guide to LACMA book published by Machine Project Press (ISBN 978-0-9753140-4-3)",Field Guide book 10 10 + 2010-12,"Hammer A.I.R. residency concludes",Hammer A.I.R. Report 11 11 + 2011-03-30,"Staff page snapshot lists Mark Allen as ED and Michele Yu as Operations Manager","machineproject.com/archival/staff/" 12 12 + 2012-02-20,"Machine Project Hammer Museum Public Engagement Artist in Residence Report published, co-authored with Allison Agsten","Hammer A.I.R. Report 2012" 13 13 + 2014,"Gamble House intervention in Pasadena: secret basement restaurant by Bob Dornberger and vortex/puppet sculpture by Patrick Ballard",Wikipedia 14 14 + 2015-03-10,"Pasadena Art Alliance awards grant for Patrick Ballard, Return to Foreverhouse (2-month programming series at storefront)",pasadenaartalliance.org 15 15 + 2015-09-19,"Machine Project -- The Platinum Collection (Live by Special Request) opens at Tang Teaching Museum, Skidmore College",tang.skidmore.edu 16 16 + 2016-01-03,"Tang Platinum Collection exhibition closes",tang.skidmore.edu 17 17 + 2016,"Machine Project: The Platinum Collection book published by Tang/DelMonico-Prestel (ISBN 978-3-7913-5619-8); 318 pages, edited by Mark Allen and Rachel Seligman, designed by Kimberly Varella",Platinum Collection book 18 18 + 2017,"Platinum Collection EXTRAVAGANZA book launch at the storefront",machineproject.com 2017 events 19 19 + 2017-09 to 2017-11,"Sorry, Atlantis: Eden's Achin' Organ Seeks Revenge (Asher Hartman play, multi-month run at storefront)",Hyperallergic 20 20 + 2017-12-05,"Tongue Tied (final-stretch programming)","machineproject.com news 2017" 21 21 + 2017-late,"Closure announcement; final farewell event scheduled for Jan 13 2018",Hyperallergic + Artforum 22 22 + 2018-01-13,"Final farewell event 2--9pm: print sale of limited-edition silkscreen posters (2--6pm) + wrap party with secret performances (6--9pm)",Hyperallergic 23 23 + 2018,"Form 990 closure-year filing: $115,048 revenue, $211,467 expenses, -$96,419 net; net assets drawn down to $34,666",ProPublica EIN 75-3193159 24 24 + 2018-onward,"website remains live as archive; no new programming announced; no Form 990 filings visible in ProPublica's standardized extract",machineproject.com + ProPublica 25 25 + 2021,"Heavy Manners Library founded by Matthew James-Wilson at the same address (1200 N Alvarado St Unit D); about page names Machine Project as predecessor",heavymannerslibrary.com/about 26 26 + 2026 (current),"Charity Navigator records Machine Project on California's AB 488 delinquent registrations list; donations through CN platform disabled. Machine Project's website carries the closure language: 'After fifteen years of experimentation, delirium, and joy, the project of Machine Project (2003--2018) is now concluded.'",charitynavigator.org/ein/753193159 + machineproject.com

+1

papers/arxiv-machine-project/figures/cover-prompt.txt

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··· 1 1 + A single floating storefront window, dead-center on cream paper, square 1:1 composition, like a coat-of-arms or a logo. The window is an old, low rectangular shop window with a thin wood frame, the kind set into a 1930s commercial corner storefront. Painted in handlettering across the glass, slightly uneven, slightly amateur, slightly affectionate, in two stacked lines: "MACHINE PROJECT" on top, "1200 N. ALVARADO" beneath. The lettering is the wonky vernacular of a hand-painted shop sign, not a graphic-designer's font. Through the window: nothing legible, just a soft warm glow as if the lights are on inside but the room is empty. A small vertical roll-up gate is half open at the bottom of the frame. The window floats with no wall, no sidewalk, no street around it. The four edges of the window dissolve softly into pure cream paper at the outer 15 percent of the composition, no hard rectangle border, the wood frame fading into nothing. The whole drawing should read clearly from across a room as a single iconic gestalt: a hand-lettered storefront window, lit from within, suspended in space like a small affectionate ghost of a place that closed.

papers/arxiv-machine-project/figures/cover.png

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papers/arxiv-machine-project/figures/qr.png

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papers/arxiv-machine-project/machine-project.tex

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99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Machine Project}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 2003 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about Machine Project --- the Echo Park, Los Angeles artist-run nonprofit founded by Mark Allen in 2003 --- across origin, the storefront years, programs, people, finances, and the 2017--18 closure of the physical space. Machine Project's tone has always been wry, affectionate, and curious; this dossier tries to surface the facts without imitating the voice. Where facts run out the dossier stops; gaps are flagged inline. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + Machine Project opens at \textbf{1200 D North Alvarado Street}, Echo Park, Los Angeles, on \textbf{December 6, 2003} with a single show: \emph{Tom Jennings -- Story Teller}, an installation by the FidoNet pioneer and zinester Tom Jennings, on view through January 24, 2004.~\citep{wikipediamachine,machineproject} 135 135 + 136 136 + The space is the project of \textbf{Mark Allen}, an artist and educator who had moved to Los Angeles to teach in the Art Department at Pomona College in Claremont, after running informal artist-run spaces in Houston.~\citep{ltimesclosure} In a 2010 CalArts interview, Allen describes the founding intuition as institutional rather than aesthetic: he wanted to ``recreate the flow of ideas and creative work that happens so organically someplace like CalArts'' --- not a school, not a gallery, but a storefront where electronics, sewing, pickling, and computer programming sit on the same class schedule.~\citep{calarts2010} 137 137 + 138 138 + The legal entity follows the storefront. Machine Project was \textbf{incorporated as an educational nonprofit in 2005}, two years after the doors opened, and received its IRS 501(c)(3) determination in \textbf{May 2006}.~\citep{calarts2010,propublicamachine} 139 139 + 140 140 + \section{The Echo Park Space} 141 141 + 142 142 + The storefront occupies one half of a small commercial strip at the corner of N Alvarado Street and Sunset Boulevard, in a building constructed in 1932 and re-outfitted in 1972.~\citep{heavymanners} Its self-description, on the \texttt{about} page archived through closure, was deliberately undramatic: ``Machine Project is a storefront space in the echo park neighborhood of Los Angeles that hosts events about all kinds of things we find interesting.''~\citep{machinearchivalabout} 143 143 + 144 144 + The space functioned as both venue and pedagogical engine. The same about page describes the org as ``an informal educational institution'' offering classes in subjects like ``electronics, sewing, pickling, computer programming''~\citep{machinearchivalabout}, and a 2010 \emph{Hyperallergic} interview adds operas for dogs, vacations for visitors' houseplants, and concerts for dentists to the same continuum.~\citep{tangbook} In its first year alone the storefront hosted six exhibitions; by the mid-2010s the cadence had settled at roughly two free, free-of-charge events per week.~\citep{wikipediamachine,heavymanners} 145 145 + 146 146 + The aesthetic was unmistakable from the sidewalk: handlettered signage, a roll-up shop window, and a programme of titles that read like a benign cult flyer. The 2018 \emph{LA Times} closure piece headlined the space's iconography as ``a forest, a pig and a giant tongue,''~\citep{ltimesclosure} a one-line summary of the kinds of installations that filled the room. 147 147 + 148 148 + \section{Programs} 149 149 + 150 150 + Machine Project's programmatic shape is best understood as three concentric rings: the storefront (free, weekly, neighbourhood-facing); the institutional commissions (single events at major museums); and the publications (which periodise the work). 151 151 + 152 152 + \subsection{The storefront workshops and performances} 153 153 + 154 154 + The recurring workshops were the public face: cyanotype, synthesizer-building, crochet, taxidermy, electronics, hot-air-balloon-making, instrument fabrication, lucid-dreaming meditation. The storefront also hosted scientific talks, poetry readings, music performances, and theatre, ``usually doing about two events a week, open to the general public and free of charge.''~\citep{heavymanners} Artist residencies inside the storefront produced sustained installations rather than one-night events --- the 2015 Patrick Ballard \emph{Return to Foreverhouse} ran a two-month programming series inside a kinetic sculptural environment, supported by a Pasadena Art Alliance grant.~\citep{paamachine} 155 155 + 156 156 + \subsection{A Machine Project Field Guide to LACMA (Nov 15, 2008)} 157 157 + 158 158 + On \textbf{November 15, 2008}, Machine Project orchestrated a one-day, ten-hour takeover of the Los Angeles County Museum of Art: 60+ performances, workshops, and installations across LACMA's grounds and collection, free, led by 35 artists in Mark Allen's count.~\citep{lacmafieldguide} The catalog, \emph{Machine Project: A Field Guide to the Los Angeles County Museum of Art} (Machine Project Press, 2010, ISBN 978-0-9753140-4-3), edited by Mark Allen, Jason Brown, and Liz Glynn, documents over 50 of the day's projects with interviews and essays.~\citep{fieldguidebook} The credit line on the org's own event page is concise: ``co-funded by LACMA's public programs, the Ralph M Parsons endowment, and machine project's much beloved funders.''~\citep{lacmafieldguide} 159 159 + 160 160 + \subsection{The Hammer residency (June 2009 -- Dec 2010)} 161 161 + 162 162 + In 2009 the Hammer Museum at UCLA received a \textbf{\$1,000,000 Arts Innovation Fund grant from the James Irvine Foundation} to invent ``a new model for visitor engagement, conceived and driven by artists.''~\citep{hammerresidency,artmuseumteaching} Machine Project was named the first \textbf{Public Engagement Artist in Residence} (A.I.R.). A research phase ran June--October 2009; the official residency ran November 2009 through December 2010, producing \textbf{nearly 80 onsite programs}: the Houseplant Vacation, two-minute performances under the staircase, an overnight Dream-In, a Giant Animatronic Hand pointing visitors around the museum, A Year in the Life of a Coatroom, an Enormous Microscope Evening, a Fungi Fest, and the Soundings bell series.~\citep{hammerresidency,hammerreport,artmuseumteaching} 163 163 + 164 164 + The residency closed with a \emph{Public Engagement Artist in Residence Report} co-authored by Allen and Hammer Director of Public Engagement \textbf{Allison Agsten}, published February 20, 2012. The report is itself a Machine Project artifact: introductory essays from both directors, a project-by-project production roadmap, and ``extensive interviews with both the artists and museum staff.''~\citep{hammerreport} 165 165 + 166 166 + \subsection{The Gamble House and other site-specific takeovers} 167 167 + 168 168 + In 2014 Machine Project staged an intervention at the historic Greene \& Greene Craftsman \textbf{Gamble House} in Pasadena, including a secret basement restaurant by Bob Dornberger and a vortex sculpture / puppet by Patrick Ballard.~\citep{wikipediamachine} The pattern --- a single-site, multi-artist, time-bounded takeover of a non-Machine institution --- recurs across the org's catalogue: shows with the Museum of Contemporary Art Denver, the Contemporary Art Museum St Louis, the Walker Art Center in Minneapolis, and the Frances Young Tang Teaching Museum at Skidmore College.~\citep{calarts2010,tangbook} 169 169 + 170 170 + \subsection{The Tang retrospective and the Platinum Collection (2015--2017)} 171 171 + 172 172 + \emph{Machine Project --- The Platinum Collection (Live by Special Request)} ran at the Tang Teaching Museum at Skidmore College from \textbf{September 19, 2015} through \textbf{January 3, 2016}: a multi-month re-staging of past Machine projects on commission. The accompanying 318-page hardcover \emph{Machine Project} (Tang/DelMonico Prestel, 2016, ISBN 978-3-7913-5619-8), edited by Mark Allen and Rachel Seligman, designed by Kimberly Varella of Content Object Design Studio, with essays by Charlotte Cotton, Ian Berry, and others, is the org's longest-form self-documentation. A book-launch \emph{Extravaganza} ran at the storefront in 2017.~\citep{tangbook,platinumbook,tangpress} 173 173 + 174 174 + \section{People} 175 175 + 176 176 + \begin{table}[h] 177 177 + \footnotesize 178 178 + \centering 179 179 + \setlength{\tabcolsep}{3pt} 180 180 + \begin{tabularx}{\columnwidth}{lXX} 181 181 + \toprule 182 182 + \textbf{Tenure} & \textbf{Role} & \textbf{Name} \\ 183 183 + \midrule 184 184 + 2003-- & Founder, Executive Director & Mark Allen \\ 185 185 + 2011-- (visible) & Operations Manager & Michele Yu \\ 186 186 + 2008-- (visible) & Co-editor, Field Guide & Jason Brown \\ 187 187 + 2008-- (visible) & Co-editor, Field Guide & Liz Glynn \\ 188 188 + $\sim$2010-- (visible) & Board, per CalArts interview & Sara Roberts \\ 189 189 + 2017 (Form 990) & Chair & Mary Fagot \\ 190 190 + 2017 (Form 990) & Treasurer & Kerry Hannawell \\ 191 191 + 2017 (Form 990) & Secretary & Jimmy Fusil \\ 192 192 + 2017 (Form 990) & Director & Tatiana Hernandez \\ 193 193 + 2017 (Form 990) & Director & Ken Bensinger \\ 194 194 + 2017 (Form 990) & Director & Sarah Schultz \\ 195 195 + 2017 (Form 990) & Director & Thas Naseemuddeen \\ 196 196 + 2017 (Form 990) & Director & Ava Bromberg \\ 197 197 + 2010--2011 & Hammer A.I.R. counterpart & Allison Agsten \\ 198 198 + \bottomrule 199 199 + \end{tabularx} 200 200 + \end{table} 201 201 + 202 202 + Mark Allen is the throughline. He has been Executive Director since 2003 and remains an Associate Professor of Art at Pomona College in Claremont; his curatorial reach extends beyond Machine through service on the Board of Directors of the \textbf{Andy Warhol Foundation for the Visual Arts} and a three-year term on the Artist Advisory Board of the Hammer Museum.~\citep{calarts2010,markallensite} 203 203 + 204 204 + The collaborator network the storefront drew on is large and rotating; the \emph{Platinum Collection} catalogue lists Joshua Beckman, Carmina Escobar, Asher Hartman, Cliff Hengst, Chris Kallmyer, Dawn Kasper, Hana van der Kolk, Krystal Krunch, Kamau Amu Patton, and Haruko Tanaka among its named contributors.~\citep{tangbook} The 2008 LACMA Field Guide credits 35 artists led by Allen --- a partial list at the storefront's archived event page includes Fritz Haeg, Anthony McCann, Lucky Dragons, Fol Chen, Emily Lacy, Adam Overton, Joshua Beckman, Dawn Kasper, Takeshi Murata, and Fatal Farm.~\citep{lacmafieldguide} 205 205 + 206 206 + \section{Money}\label{sec:money} 207 207 + 208 208 + Machine Project, Inc. (EIN \textbf{75-3193159}) is a 501(c)(3) public charity classified by the IRS under NTEE ``Arts Education,'' tax-exempt since May 2006. ProPublica's Nonprofit Explorer holds eight years of public Form 990 filings (FY2011 through FY2018); the FY2018 return is the last one on file.~\citep{propublicamachine,charitynavmachine} 209 209 + 210 210 + \begin{table}[h] 211 211 + \footnotesize 212 212 + \centering 213 213 + \setlength{\tabcolsep}{4pt} 214 214 + \begin{tabularx}{\columnwidth}{Xrrrr} 215 215 + \toprule 216 216 + \textbf{FY} & \textbf{Revenue} & \textbf{Expenses} & \textbf{Net} & \textbf{Net assets} \\ 217 217 + \midrule 218 218 + 2011 & 296,718 & 293,162 & +3,556 & 116,680 \\ 219 219 + 2012 & 299,681 & 288,458 & +11,223 & 127,903 \\ 220 220 + 2013 & 315,167 & 314,699 & +468 & 128,371 \\ 221 221 + 2014 & 397,667 & 398,131 & -464 & 127,907 \\ 222 222 + 2015 & 337,572 & 331,944 & +5,628 & 133,535 \\ 223 223 + 2016 & 313,258 & 322,865 & -9,607 & 123,928 \\ 224 224 + 2017 & 312,505 & 305,347 & +7,158 & 131,086 \\ 225 225 + 2018 & 115,048 & 211,467 & \textbf{-96,419} & 34,666 \\ 226 226 + \bottomrule 227 227 + \end{tabularx} 228 228 + \\[0.3em] 229 229 + \footnotesize Source: ProPublica Nonprofit Explorer, EIN 75-3193159. 230 230 + \end{table} 231 231 + 232 232 + The shape, in plain English: Machine Project ran for most of its life on a budget in the \$290K--\$400K range, year over year close to break-even. FY2014 is the peak revenue year (\$397,667), coinciding with the Gamble House intervention. FY2018 is the closure year --- a half-year operational run with a \$96,419 deficit that drew net assets down from \$131,086 to \$34,666. 233 233 + 234 234 + \textbf{Executive compensation} for Mark Allen on the public 990s is small and intentionally so: \$3,445 (FY2015), \$6,000 (FY2016), \$14,751 (FY2017), and zero in board director seats. The model presumes Allen's primary salary line is his Pomona College faculty appointment, with Machine compensation a partial reimbursement. 235 235 + 236 236 + \textbf{Disclosed institutional supporters} (across the dossier's source pulls): \textbf{LACMA Public Programs} and the \textbf{Ralph M.\ Parsons endowment} (Field Guide 2008); the \textbf{James Irvine Foundation} (the Hammer Museum's grantor for the Public Engagement A.I.R.); the \textbf{Pasadena Art Alliance} (Patrick Ballard's \emph{Return to Foreverhouse}, 2015); the \textbf{Frances Young Tang Teaching Museum at Skidmore College} (commissioned the 2015--16 Platinum Collection retrospective); and \textbf{LA County Department of Arts and Culture}, which lists Machine Project among its profiled grantees.~\citep{lacmafieldguide,hammerresidency,paamachine,tangpress,laacarts} 237 237 + 238 238 + \textbf{Membership / individual donor base}: the about page's account is, ``Machine Project keeps its doors open thanks to our members and volunteers.''~\citep{machinearchivalabout} A discrete grants-line breakdown is not in any public document; the FY2018 990 is the last filing on file. 239 239 + 240 240 + \textbf{California compliance status (2026):} Charity Navigator's profile records Machine Project as appearing on California's delinquent nonprofit registrations list; donations to the org are disabled on the platform per California AB 488 compliance.~\citep{charitynavmachine} The legal entity persists; what has lapsed is regular state-level registration, consistent with a nonprofit that no longer programs publicly. 241 241 + 242 242 + \section{The 2017--18 Closure and Reformation} 243 243 + 244 244 + The closure was announced in late 2017 and executed at a single farewell event on \textbf{Saturday, January 13, 2018, 2--9pm} at the storefront: a print sale of limited-edition silkscreen event posters from 2--6pm and a wrap party from 6--9pm, ``with secret performances from Machine Project favorites.''~\citep{hyperallergicclosure,artforumclosure} Posters were priced from \$40, and the announcement noted that the run of limited-edition posters ``will be acquired by an institutional archive later this year.''~\citep{hyperallergicclosure} 245 245 + 246 246 + Mark Allen's framing of the closure, in his own words, was generative rather than terminal. To \emph{Artforum}: the venue was ``an exploratory and research project'' that ``kind of emerges and shares knowledge and information and then dissolves so that the next thing can emerge.''~\citep{artforumclosure} To \emph{Hyperallergic}, on the original mission: ``coalescing large groups of artists who weren't represented by galleries and who weren't being shown in museums.''~\citep{hyperallergicclosure} 247 247 + 248 248 + The current Machine Project website (\texttt{machineproject.com}, 2026) carries the closure language without ambiguity: ``After fifteen years of experimentation, delirium, and joy, the project of Machine Project (2003--2018) is now concluded.''~\citep{machineproject} The site remains live as an archive, with a poster archive, a publications page, and the press archive intact. 249 249 + 250 250 + The legal nonprofit shell, EIN 75-3193159, has not been formally dissolved on the public record; the FY2018 Form 990 is the last federal filing visible on ProPublica.~\citep{propublicamachine} The post-closure organisation has no publicly disclosed program slate, no current staff page, and no current programming announced for 2019--2026 on its own channels. Mark Allen has continued to teach at Pomona College and to sit on the board of the Andy Warhol Foundation; whether ``Machine Project'' as an itinerant practice has continued in any non-public form is not disclosed. 251 251 + 252 252 + \subsection{The building, after Machine} 253 253 + 254 254 + The storefront at \textbf{1200 D N Alvarado} did not stay empty. In 2021 the photographer and editor \textbf{Matthew James-Wilson} founded \textbf{Heavy Manners Library} at the same address: a lending library, bookstore, and event space whose programming model --- screenings, workshops, performances, free-or-cheap admission --- self-consciously continues the storefront's neighbourhood-facing pattern.~\citep{heavymanners} Heavy Manners' own self-description names the lineage directly: ``Heavy Manners is located in the former site of Machine Project, the intrepid community arts organization active from 2003--2018.''~\citep{heavymanners} A separate dossier in this batch covers Heavy Manners as its own entity. 255 255 + 256 256 + \section{Footprint} 257 257 + 258 258 + Machine Project's footprint is institutional rather than catalog-shaped --- the org did not collect, did not commission for an archive, and did not maintain a permanent collection. What it produced and propagated: 259 259 + 260 260 + \begin{description} 261 261 + \item[\textbf{A storefront workshop pedagogy.}] The model of free or near-free, two-events-per-week neighbourhood programming where electronics class sits next to lucid-dreaming workshop sits next to scientific lecture sits next to performance --- documented across 15 years on the still-live press and event archive at \texttt{machineproject.com}. 262 262 + \item[\textbf{Two methodological documents.}] The 2010 \emph{Field Guide to LACMA} (ISBN 978-0-9753140-4-3) and the 2016 \emph{Machine Project} Tang/Prestel hardcover (ISBN 978-3-7913-5619-8) are the org's two long-form self-documents, the closest equivalents Machine has to Rhizome's \emph{Mass Effect} or SFPC's GitHub finance repo. 263 263 + \item[\textbf{The Hammer A.I.R.\ template.}] The 2010--11 residency report~\citep{hammerreport} became a working document for other museums' public-engagement programs --- explicitly cited in the Hammer's own ``Five Years of Public Engagement'' retrospective. 264 264 + \item[\textbf{A collaborator pool.}] 35 artists in the LACMA day, dozens more across the storefront years and Tang retrospective, recur as nodes across the LA experimental-art scene of the 2010s. 265 265 + \item[\textbf{The successor at the same address.}] Heavy Manners Library (2021--), at 1200 D N Alvarado, names Machine Project as its predecessor in its own about page.~\citep{heavymanners} 266 266 + \end{description} 267 267 + 268 268 + \section{Reading list} 269 269 + 270 270 + \subsection{Primary sources} 271 271 + 272 272 + \begin{itemize} 273 273 + \item \textbf{The Machine Project website archive}~\citep{machineproject,machinearchivalabout} --- the press, news, events, and projects pages are intact through closure. 274 274 + \item \textbf{\emph{A Machine Project Field Guide to the Los Angeles County Museum of Art}} (Machine Project Press, 2010)~\citep{fieldguidebook}. 275 275 + \item \textbf{\emph{Machine Project: The Platinum Collection (Live by Special Request)}} (Tang Museum / DelMonico Prestel, 2016)~\citep{platinumbook}. 276 276 + \item \textbf{\emph{Machine Project Hammer Museum Public Engagement Artist in Residence Report}} (2012)~\citep{hammerreport}. 277 277 + \item \textbf{The IRS Form 990 series}~\citep{propublicamachine}, FY2011--FY2018. 278 278 + \end{itemize} 279 279 + 280 280 + \subsection{Secondary} 281 281 + 282 282 + \begin{itemize} 283 283 + \item Carolina Miranda, \emph{LA Times} closure piece (East of Borneo mirror)~\citep{ltimesclosure}. 284 284 + \item \emph{Hyperallergic}~\citep{hyperallergicclosure} and \emph{Artforum}~\citep{artforumclosure} closure announcements. 285 285 + \item CalArts blog Q\&A with Mark Allen (Nov 2010)~\citep{calarts2010}. 286 286 + \item Wikipedia entry on Machine Project~\citep{wikipediamachine}. 287 287 + \item Hammer Museum residency page~\citep{hammerresidency} and \emph{Art Museum Teaching} dispatch~\citep{artmuseumteaching}. 288 288 + \end{itemize} 289 289 + 290 290 + \section{What this dossier is not} 291 291 + 292 292 + \begin{itemize} 293 293 + \item Not a thesis. There is no question being answered. 294 294 + \item Not a critique. The funding record and closure are surfaced, not judged. 295 295 + \item Not a comparison. Adjacent organisations (Heavy Manners Library, Echo Park Film Center, Clockshop, Coaxial Arts) are mentioned only where they directly intersect Machine. 296 296 + \item Not a memoir. The author has no disclosed prior intersection with Machine Project. 297 297 + \item Not exhaustive. The dossier covers what is publicly recoverable; gaps --- the post-2018 status of the legal entity, the full grants ledger, the alumni-collaborator full list, the disposition of the storefront's archive --- are flagged inline. The companion data folder (\texttt{papers/arxiv-machine-project/data/}) holds the underlying CSVs. 298 298 + \end{itemize} 299 299 + 300 300 + \vspace{0.5em} 301 301 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 302 302 + 303 303 + \bibliographystyle{plainnat} 304 304 + \bibliography{references} 305 305 + 306 306 + \end{document}

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··· 1 1 + @misc{machineproject, 2 2 + author = {{Machine Project}}, 3 3 + title = {Machine Project (\url{machineproject.com})}, 4 4 + year = {2026}, 5 5 + howpublished = {\url{https://machineproject.com/}}, 6 6 + note = {``After fifteen years of experimentation, delirium, and joy, the project of Machine Project (2003--2018) is now concluded.''} 7 7 + } 8 8 + 9 9 + @misc{machinearchivalabout, 10 10 + author = {{Machine Project}}, 11 11 + title = {About (archival)}, 12 12 + year = {2018}, 13 13 + howpublished = {\url{https://machineproject.com/archival/about/}} 14 14 + } 15 15 + 16 16 + @misc{wikipediamachine, 17 17 + author = {{Wikipedia contributors}}, 18 18 + title = {Machine Project}, 19 19 + year = {2026}, 20 20 + howpublished = {\url{https://en.wikipedia.org/wiki/Machine_Project}} 21 21 + } 22 22 + 23 23 + @misc{ltimesclosure, 24 24 + author = {Miranda, Carolina A.}, 25 25 + title = {After 15 years, a forest, a pig and a giant tongue, Echo Park alternative arts space Machine Project is closing its doors}, 26 26 + year = {2017}, 27 27 + howpublished = {\emph{Los Angeles Times}; mirrored at East of Borneo, \url{https://eastofborneo.org/archives/after-15-years-a-forest-a-pig-and-a-giant-tongue-echo-park-alternative-arts-space-machine-project-is-closing-its-doors-los-angeles-times/}} 28 28 + } 29 29 + 30 30 + @misc{hyperallergicclosure, 31 31 + author = {Vartanian, Hrag}, 32 32 + title = {After 15 Years, LA's Machine Project Closes with a Farewell Event}, 33 33 + year = {2018}, 34 34 + howpublished = {\emph{Hyperallergic}, \url{https://hyperallergic.com/420736/after-15-years-las-machine-project-closes-with-a-farewell-event/}} 35 35 + } 36 36 + 37 37 + @misc{artforumclosure, 38 38 + title = {After Fifteen Years, Los Angeles's Machine Project Shutters}, 39 39 + year = {2018}, 40 40 + howpublished = {\emph{Artforum}, \url{https://www.artforum.com/news/after-fifteen-years-los-angeles-s-machine-project-shutters-73376}} 41 41 + } 42 42 + 43 43 + @misc{calarts2010, 44 44 + author = {{CalArts}}, 45 45 + title = {Well-Oiled Machine: A Q\&A with Machine Project's Mark Allen}, 46 46 + year = {2010}, 47 47 + howpublished = {\url{https://blog.calarts.edu/2010/11/15/well-oiled-machine-a-qa-with-machine-projects-mark-allen/}} 48 48 + } 49 49 + 50 50 + @misc{xtra2014, 51 51 + author = {Allen, Mark}, 52 52 + title = {From Machine to Museum Project: Interview with Mark Allen}, 53 53 + year = {2014}, 54 54 + howpublished = {\emph{X-TRA}, \url{https://www.x-traonline.org/article/from-machine-to-museum}} 55 55 + } 56 56 + 57 57 + @misc{markallensite, 58 58 + author = {Allen, Mark}, 59 59 + title = {Mark Allen Stuff (\url{markallen.com})}, 60 60 + year = {2026}, 61 61 + howpublished = {\url{http://www.markallen.com/}} 62 62 + } 63 63 + 64 64 + @book{fieldguidebook, 65 65 + editor = {Allen, Mark and Brown, Jason and Glynn, Liz}, 66 66 + title = {Machine Project: A Field Guide to the Los Angeles County Museum of Art}, 67 67 + publisher = {Machine Project Press}, 68 68 + year = {2010}, 69 69 + isbn = {978-0-9753140-4-3} 70 70 + } 71 71 + 72 72 + @misc{lacmafieldguide, 73 73 + author = {{Machine Project}}, 74 74 + title = {A Machine Project Field Guide to LACMA (event page)}, 75 75 + year = {2008}, 76 76 + howpublished = {\url{https://machineproject.com/2008/events/a-machine-project-field-guide-to-lacma-2/}} 77 77 + } 78 78 + 79 79 + @misc{hammerresidency, 80 80 + author = {{Hammer Museum}}, 81 81 + title = {Machine Project (Public Engagement Artist in Residence)}, 82 82 + year = {2009}, 83 83 + howpublished = {\url{https://hammer.ucla.edu/artist-residencies/2009/machine-project}} 84 84 + } 85 85 + 86 86 + @misc{hammerreport, 87 87 + author = {Allen, Mark and Agsten, Allison}, 88 88 + title = {Machine Project Hammer Museum Public Engagement Artist in Residence Report}, 89 89 + year = {2012}, 90 90 + howpublished = {\url{https://machineproject.com/build/engine/wp-content/uploads/2015/09/Machine_Project_Public_Engagement_Artist_in_Residence_Report_compressed.pdf}} 91 91 + } 92 92 + 93 93 + @misc{artmuseumteaching, 94 94 + author = {Murawski, Mike}, 95 95 + title = {Getting a Better Sense of the Terrain: Machine Project at the Hammer Museum}, 96 96 + year = {2013}, 97 97 + howpublished = {\emph{Art Museum Teaching}, \url{https://artmuseumteaching.com/2013/10/18/machine-project/}} 98 98 + } 99 99 + 100 100 + @book{platinumbook, 101 101 + editor = {Allen, Mark and Seligman, Rachel}, 102 102 + title = {Machine Project: The Platinum Collection (Live by Special Request)}, 103 103 + publisher = {The Frances Young Tang Teaching Museum at Skidmore College / DelMonico-Prestel}, 104 104 + year = {2016}, 105 105 + isbn = {978-3-7913-5619-8} 106 106 + } 107 107 + 108 108 + @misc{tangbook, 109 109 + author = {{Tang Teaching Museum}}, 110 110 + title = {Machine Project (book / publications page)}, 111 111 + year = {2016}, 112 112 + howpublished = {\url{https://tang.skidmore.edu/publications/64-machine-project}} 113 113 + } 114 114 + 115 115 + @misc{tangpress, 116 116 + author = {{Tang Teaching Museum}}, 117 117 + title = {Tang Teaching Museum Announces Opening of Machine Project --- Platinum Edition (Live by Special Request)}, 118 118 + year = {2015}, 119 119 + howpublished = {\url{https://tang.skidmore.edu/press/releases/2-tang-teaching-museum-announces-opening-of-machine-project-platinum-edition-live-by-special-request}} 120 120 + } 121 121 + 122 122 + @misc{paamachine, 123 123 + author = {{Pasadena Art Alliance}}, 124 124 + title = {Machine Project (grantee profile)}, 125 125 + year = {2015}, 126 126 + howpublished = {\url{https://pasadenaartalliance.org/grant/machine-project/}} 127 127 + } 128 128 + 129 129 + @misc{laacarts, 130 130 + author = {{LA County Department of Arts and Culture}}, 131 131 + title = {Machine Project (organization profile)}, 132 132 + howpublished = {\url{https://www.lacountyarts.org/machine-project}} 133 133 + } 134 134 + 135 135 + @misc{propublicamachine, 136 136 + author = {{ProPublica Nonprofit Explorer}}, 137 137 + title = {Machine Project, EIN 75-3193159 (Form 990 series, FY2011--FY2018)}, 138 138 + year = {2026}, 139 139 + howpublished = {\url{https://projects.propublica.org/nonprofits/organizations/753193159}} 140 140 + } 141 141 + 142 142 + @misc{charitynavmachine, 143 143 + author = {{Charity Navigator}}, 144 144 + title = {Machine Project (EIN 75-3193159) profile}, 145 145 + year = {2026}, 146 146 + howpublished = {\url{https://www.charitynavigator.org/ein/753193159}} 147 147 + } 148 148 + 149 149 + @misc{heavymanners, 150 150 + author = {{Heavy Manners Library}}, 151 151 + title = {About / Heavy Manners Library, 1200 N Alvarado St Unit D, Los Angeles}, 152 152 + year = {2026}, 153 153 + howpublished = {\url{https://heavymannerslibrary.com/about}; org founded by Matthew James-Wilson, 2021} 154 154 + }

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··· 1 1 - A vertical interior view of a private foundation: a wood-paneled board room in a townhouse on Manhattan's Upper East Side. Tall sash windows behind a long oval table; portraits of bankers in oil hang on the cream walls; a marble fireplace; bookshelves filled with bound annual reports and humanities monographs; a stack of grant files and an unfolded check ledger on the table. A small bronze bust of an old industrialist on a side console, partially in shadow. Through the window the suggestion of a brownstone street and bare trees. Light is soft, late-afternoon, museum-grade. Mood: old-money quiet, generational wealth being slowly converted into civic infrastructure, the moment when a foundation decides who gets funded. No people in the frame, only the room. Colored pencil illustration on cream paper, soft layered strokes, art-school sketchbook tone, no text, no logos, vertical composition. 1 1 + A single floating set of brass apothecary balance scales hovering centered in the frame. The two pans hang from chains; on each pan, small scrolled grant-letters tied with thin ribbons stack up like rolled diplomas. The fulcrum is a tall column rising into a small classical-helmet finial at the top. Beneath the scales, a soft pool of falling coin-shaped discs drifts downward like a slow waterfall, dissolving into the cream paper. The brass surfaces catch warm reflective light. Densely rendered at the scales and column, fading completely into nothing at the corners and edges.

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{mellon-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Mellon Foundation}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Genealogy, Programs, Giving, People, Politics --- 1969 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Mellon Foundation}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, Programs, Giving, People, Politics --- 1969 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par ··· 151 172 \begin{table}[h] 152 173 \footnotesize 153 174 \centering 154 154 - \begin{tabularx}{\columnwidth}{lXl} 175 175 + \begin{tabularx}{\columnwidth}{lXX} 155 176 \toprule 156 177 \textbf{Tenure} & \textbf{President} & \textbf{Prior} \\ 157 178 \midrule

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··· 1 1 + % ac-paper-layout.sty — Aesthetic Computer paper layout master template 2 2 + % Usage: \usepackage{ac-paper-layout} in each arxiv-* paper 3 3 + % 4 4 + % This package provides the shared visual identity for all AC working drafts: 5 5 + % - AC color palette 6 6 + % - YWFT Processing font commands (\acbold, \aclight) 7 7 + % - Draft watermark in Processing Light font 8 8 + % - Pals logo watermark (top-left, rotated, semi-opaque) 9 9 + % - Section/subsection formatting 10 10 + % - Header/footer (draft notice + page numbers) 11 11 + % - List and paragraph settings 12 12 + % - \ac command for "Aesthetic Computer" small caps 13 13 + % 14 14 + % Papers still define their own: 15 15 + % - \hypersetup{pdftitle=...} 16 16 + % - \graphicspath{...} 17 17 + % - Additional \newcommand macros (e.g. \wg, \acos) 18 18 + % - Extra packages (listings, multicol, etc.) 19 19 + % - Extra font families (ComicRelief for KidLisp, etc.) 20 20 + 21 21 + \NeedsTeXFormat{LaTeX2e} 22 22 + \ProvidesPackage{ac-paper-layout}[2026/03/16 Aesthetic Computer paper layout] 23 23 + 24 24 + % === FONTS === 25 25 + % Requires fontspec (loaded by the document before this package) 26 26 + \newfontfamily\acbold{ywft-processing-bold}[ 27 27 + Path=../../system/public/type/webfonts/, 28 28 + Extension=.ttf 29 29 + ] 30 30 + \newfontfamily\aclight{ywft-processing-light}[ 31 31 + Path=../../system/public/type/webfonts/, 32 32 + Extension=.ttf 33 33 + ] 34 34 + 35 35 + % === COLORS (AC palette) === 36 36 + \definecolor{acpink}{RGB}{180,72,135} 37 37 + \definecolor{acpurple}{RGB}{120,80,180} 38 38 + \definecolor{acdark}{RGB}{64,56,74} 39 39 + \definecolor{acgray}{RGB}{119,119,119} 40 40 + \definecolor{draftcolor}{RGB}{180,72,135} 41 41 + 42 42 + % === DRAFT WATERMARK (Processing font + pals logo) === 43 43 + \RequirePackage{eso-pic} 44 44 + \RequirePackage{tikz} 45 45 + \AddToShipoutPictureBG{% 46 46 + \begin{tikzpicture}[remember picture, overlay] 47 47 + % --- Pals logo: large, top-left, rotated, semi-opaque, bleeding off edge --- 48 48 + \node[opacity=0.06, anchor=north west, rotate=-15] 49 49 + at ([xshift=-1.2cm, yshift=1.2cm]current page.north west) 50 50 + {\includegraphics[width=10cm]{pals}}; 51 51 + % --- "WORKING DRAFT" text in Processing Light font --- 52 52 + \node[opacity=0.12, rotate=45, anchor=center] 53 53 + at (current page.center) 54 54 + {{\aclight\fontsize{2.5cm}{3cm}\selectfont\color{acpink} WORKING DRAFT}}; 55 55 + \end{tikzpicture}% 56 56 + } 57 57 + 58 58 + % === SECTION FORMATTING === 59 59 + \RequirePackage{titlesec} 60 60 + \titleformat{\section} 61 61 + {\normalfont\bfseries\normalsize\uppercase} 62 62 + {\thesection.} 63 63 + {0.5em} 64 64 + {} 65 65 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 66 66 + 67 67 + \titleformat{\subsection} 68 68 + {\normalfont\bfseries\small} 69 69 + {\thesubsection} 70 70 + {0.5em} 71 71 + {} 72 72 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 73 73 + 74 74 + % === HEADER/FOOTER === 75 75 + \RequirePackage{fancyhdr} 76 76 + \pagestyle{fancy} 77 77 + \fancyhf{} 78 78 + \renewcommand{\headrulewidth}{0pt} 79 79 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 80 80 + \fancyfoot[C]{\footnotesize\thepage} 81 81 + 82 82 + % === LIST SETTINGS === 83 83 + \RequirePackage{enumitem} 84 84 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 85 85 + \setlist[enumerate]{nosep, leftmargin=1.2em} 86 86 + 87 87 + % === PARAGRAPH SETTINGS === 88 88 + \setlength{\columnsep}{1.8em} 89 89 + \setlength{\parindent}{1em} 90 90 + \setlength{\parskip}{0.3em} 91 91 + 92 92 + % === HYPERREF COLORS === 93 93 + \RequirePackage{hyperref} 94 94 + \hypersetup{ 95 95 + colorlinks=true, 96 96 + linkcolor=acpurple, 97 97 + urlcolor=acpurple, 98 98 + citecolor=acpurple, 99 99 + } 100 100 + 101 101 + % === COMMON COMMANDS === 102 102 + \newcommand{\ac}{\textsc{Aesthetic Computer}} 103 103 + \newcommand{\acdot}{{\color{acpink}.}} 104 104 + 105 105 + \endinput

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··· 1 1 + # arxiv-new-inc / data — first-pass record pull 2 2 + 3 3 + First-pass dossier data assembled 2026-05-02. NEW INC is a program of the New Museum of Contemporary Art (EIN 13-2986881); it does **not** have a separate IRS exemption. All financial recovery has to flow through the parent-org 990 — a tractability problem flagged throughout. 4 4 + 5 5 + ## Files 6 6 + 7 7 + - `financials.csv` — Form 990 line items for the **New Museum** (parent org), fiscal years FY2016 onward. NEW INC line items are **not** separately broken out in any year. Sponsor revenue and member fees plausibly route through the parent-org contributions and program-service lines but are not isolable from the public 990s. 8 8 + - `people.csv` — co-founders Lisa Phillips + Karen Wong, founding director Julia Kaganskiy (2014–2018), Stephanie Pereira (2018–2021), Salome Asega (2021–), parent-org leadership. 9 9 + - `funders.csv` — confirmed institutional supporters: Mellon, Knight, Patrick J. McGovern Foundation, Simons Foundation, EY (Metaverse Lab), Onassis ONX, Jonathan D. & Mark C. Lewis Foundation, plus prior partners Meta Open Arts, Nokia Bell Labs. 10 10 + - `grants.csv` — named grants where amount and date are confirmed: Mellon $1.5M / 36mo (Dec 2022) for "New Director Vision" supporting Asega; Knight $250K (April 2017) for Museum Tech Track; Knight $660K follow-on; Mellon $486K (March 2011, parent-org pre-NEW INC). 11 11 + - `timeline.csv` — 2013 conception, 2014 launch, 2017 Knight, 2018 Pereira, 2021 Asega, 2022 Mellon $1.5M, 2024–2025 Year 11 / Year 12 cohorts, March 2026 OMA expansion + Phillips retirement, April 2026 Kaganskiy named Eyebeam ED. 12 12 + - `locations.csv` — 231 / 235 Bowery (NEW INC has been embedded in the New Museum's adjacent building since launch); 60,000 sq ft OMA-designed expansion opens March 21 2026 with NEW INC's first "fully dedicated" permanent space. 13 13 + - `programs.csv` — current 5-track structure (Art & Code / Creative Science / Extended Realities / Social Architecture / Cooperative Studies) and notes on the user-prompt-supplied earlier 3-track structure (Art-Design-Technology / Strategic Program for Open Knowledge / Creative Science) that appears to have restructured under Asega. 14 14 + - `cohort-members.csv` — partial Year 11 Art & Code cohort (5 members extracted from Rhizome's announcement post); Year 12 total of 74 across 5 tracks; Asega's own pre-directorship membership (2016–17) noted as institutional continuity. 15 15 + - `990s/` — empty placeholder. The parent-org 990 PDFs are downloadable from ProPublica's profile (https://projects.propublica.org/nonprofits/organizations/132986881) but were not pulled for this first pass; the financials are summary numbers from the ProPublica list view. 16 16 + 17 17 + ## What's solid 18 18 + 19 19 + - **The embedding fact.** NEW INC has no IRS EIN of its own. It is a program embedded in the New Museum (EIN 13-2986881). All federal-tax-record financial recovery flows through the parent-org Form 990, which does not break NEW INC out as a line item. This is the central data-tractability constraint of any NEW INC dossier and is foregrounded in the dossier text. 20 20 + - **Co-founders.** Lisa Phillips (Toby Devan Lewis Director, parent org) and Karen Wong (Deputy Director). Both are named on press materials as co-founders. Conception date 2013, public launch September 2014. 21 21 + - **Founding director Julia Kaganskiy (2014–April 2018).** Came from VICE Media's *The Creators Project* (Global Editor 2010–2014); had founded ArtsTech meetup 2008. Built NEW INC across roughly 4 years. 22 22 + - **Pereira interregnum.** Stephanie Pereira (ex-Kickstarter, first director of arts program at Kickstarter) appointed May 2018, started July 2018, departed May 2021. 23 23 + - **Asega era (July 2021–).** Salome Asega arrived from Ford Foundation (4 years as inaugural New Media Art Research Fellow) + Parsons. Was herself a NEW INC member 2016–17, giving the appointment an institutional-continuity reading. Has reorganized DEMO Day into the multi-day DEMO festival, restructured the track system, raised Mellon's largest single NEW-INC-tagged grant. 24 24 + - **Mellon $1.5M / 36mo "New Director Vision" grant (December 8, 2022).** Confirmed via Mellon's grant database. Largest single confirmed institutional grant tagged to NEW INC. 25 25 + - **Knight $250K (April 13, 2017) Museum Tech Track.** Confirmed via Knight Foundation press release. Year 4 expansion subsidizing 5 teams plus Museum Tech Bootcamp. 26 26 + - **Five current tracks (Year 12, 2025-26):** Art & Code (in partnership with Rhizome, supported by Patrick J. McGovern Foundation); Creative Science (Simons Foundation); Extended Realities (EY Metaverse Lab + Onassis ONX); Social Architecture (Jonathan D. & Mark C. Lewis Foundation); Cooperative Studies. 74 new members for 2025–26. 27 27 + - **2026 expansion + leadership transitions.** OMA-designed 60,000 sq ft expansion opens March 21 2026; doubles the museum to 120,000 sq ft; gives NEW INC its first dedicated permanent space. Phillips retires April 2026 after 27-year directorship. **April 6 2026: Julia Kaganskiy named Eyebeam ED** — connecting NEW INC to two other AC dossiers (Eyebeam, Rhizome). 28 28 + 29 29 + ## What's known but not fully quantified 30 30 + 31 31 + - **NEW INC member fees.** NEW INC charges a membership fee and operates a tiered model; specific dollar amounts per cohort year are not pulled here. Likely on the public application page (`newinc.org/apply`) but the page redirects through `newmuseum.org`. 32 32 + - **Track-level sponsorship dollar amounts.** Patrick J. McGovern Foundation, Simons Foundation, EY, Onassis ONX, Jonathan D. & Mark C. Lewis Foundation — confirmed as track sponsors but specific grant amounts not pulled. 33 33 + - **Knight Foundation $660K follow-on.** Year and term TBD; cited in a subsequent Knight press release. 34 34 + - **Years 1–4 cohort lists.** Press coverage (Fast Company on the founding cohort) exists but full member rosters were not extracted in this first pass. 35 35 + - **Year 12 per-track member counts.** 74 total across 5 tracks confirmed; per-track splits not extracted. 36 36 + - **DEMO festival sponsor history year-by-year.** Meta Open Arts cited as a prior sponsor; current sponsor stack TBD. 37 37 + 38 38 + ## What's missing entirely (not yet attempted) 39 39 + 40 40 + - **Direct extraction from the New Museum's Form 990 of any NEW-INC-flagged narrative.** Schedule O sometimes includes program descriptions that mention NEW INC by name; the parent-org 990s on ProPublica back to FY2014 should be pulled and grep'd. Not done in this first pass. 41 41 + - **NEW INC's own annual report / impact PDFs.** If published, would carry alumni-funding totals, track-by-track sponsor budgets, member fees. The most reliable cited figure — "NEW INC alumni have raised over \$28.9 million across their ventures over the past decade" — is from Phillips's March 2026 *Art Newspaper* expansion announcement. Earlier, smaller figures appear in older press (e.g. "more than \$12 million" cited in Year-1 era coverage). 42 42 + - **Advisory Council 2024 + 2025 membership lists.** A New Museum press release headlined "NEW INC … Announces 2024 Advisory Council Members" exists but the page returned empty content on fetch. Direct manual pull TBD. 43 43 + - **Year 11 (2024–25) full cohort list across all five tracks.** Only the Art & Code subset (5 members) was extracted from Rhizome's partner announcement. 44 44 + 45 45 + ## Data quality notes 46 46 + 47 47 + - **NEW INC vs The New Museum.** In funder databases (Mellon especially), NEW-INC-related grants are *recorded under* "New Museum of Contemporary Art" — not under "NEW INC." A grant database search for "NEW INC" alone misses everything. 48 48 + - **231 vs 235 Bowery.** NEW INC press materials use both addresses; the New Museum's main building is 235 Bowery (SANAA, 2007), and NEW INC has historically used the adjacent 231 Bowery space within the parent-org footprint. 49 49 + - **Track-name continuity.** The user-supplied earlier track names — Art-Design-Technology (ADT), Strategic Program for Open Knowledge (SPOK), Creative Science — are not surfaced on the current NEW INC site. The Asega-era restructure (post-2021) appears to have consolidated and renamed; primary-source confirmation of the exact transition year TBD. 50 50 + 51 51 + ## Source URLs 52 52 + 53 53 + - ProPublica record: https://projects.propublica.org/nonprofits/organizations/132986881 54 54 + - GuideStar profile: https://www.guidestar.org/profile/13-2986881 55 55 + - Charity Navigator: https://www.charitynavigator.org/ein/132986881 56 56 + - New Museum: https://www.newmuseum.org/new-inc/ 57 57 + - NEW INC current site: https://www.newinc.org (redirects to newmuseum.org/new-inc/) 58 58 + - Mellon Foundation grant database: https://www.mellon.org/grants/grants-database/grants 59 59 + - Knight Foundation grant pages: https://knightfoundation.org/press/releases/ 60 60 + - Wikipedia: https://en.wikipedia.org/wiki/Julia_Kaganskiy ; https://en.wikipedia.org/wiki/Salome_Asega ; https://en.wikipedia.org/wiki/New_Museum

+9

papers/arxiv-new-inc/data/cohort-members.csv

reviewed

··· 1 1 + cohort_year,track,member,project_or_role,source,notes 2 2 + Year 11 (2024-25),Art & Code,Sumanth,engineer / visual artist / writer / musician,rhizome.org,Year 11 Art & Code launch announcement 3 3 + Year 11 (2024-25),Art & Code,Hiba Ali (PhD),digital artist,rhizome.org, 4 4 + Year 11 (2024-25),Art & Code,Mattaniah Aytenfsu,artist + creative technologist,rhizome.org, 5 5 + Year 11 (2024-25),Art & Code,Munus & Niktari,R&D&D practice,rhizome.org,collaborative duo 6 6 + Year 11 (2024-25),Art & Code,Naomi Lilly,founder/CEO of Brij App,rhizome.org, 7 7 + Year 12 (2025-26),Total cohort size,74,across 5 tracks,ouispeakfashion.com,exact per-track counts not pulled 8 8 + Founding Year 1 (2014-15),(unspecified original tracks),"founding cohort of artists, designers, technologists",collaborative projects covered by Core77,core77.com,full member list not pulled — flagged as TBD 9 9 + Pre-2021 alum,(NEW INC member 2016-17),Salome Asega,member; later director,newmuseum.org / artforum.com,Asega was a NEW INC member before becoming Director in 2021 — institutional continuity

+18

papers/arxiv-new-inc/data/financials.csv

reviewed

··· 1 1 + # NEW INC financials are EMBEDDED in the parent organization's Form 990. 2 2 + # NEW INC has no separate EIN. The legal entity is The New Museum of Contemporary Art (EIN 13-2986881). 3 3 + # What follows are the New Museum's parent-org top-line numbers per fiscal year. 4 4 + # NEW INC line items are NOT separately broken out in any year. NEW INC sponsorship/membership 5 5 + # revenue plausibly flows through the contributions line and (where members pay fees) through 6 6 + # program-service revenue. There is no public 990 schedule that splits NEW INC out. 7 7 + # Sources: ProPublica Nonprofit Explorer (132986881); FY ends June 30. 8 8 + fiscal_year_end,total_revenue,contributions_grants,program_service_revenue,investment_income,other_revenue,total_expenses,total_assets,total_liabilities,net_assets,director_compensation,notes,source 9 9 + 2016-06,38200000,,,,,15100000,,,80000000,,Capital-campaign year — contributions spike from expansion fundraising,ProPublica summary 10 10 + 2017-06,24300000,,,,,16800000,,,87900000,,,ProPublica summary 11 11 + 2018-06,16400000,,,,,16900000,,,87900000,,Stephanie Pereira appointed Director of NEW INC (May 2018),ProPublica summary 12 12 + 2019-06,14900000,,,,,17500000,,,86000000,,,ProPublica summary 13 13 + 2020-06,11700000,,,,,16000000,,,92400000,,COVID year — revenue down from prior year,ProPublica summary 14 14 + 2021-06,11600000,,,,,15100000,,,89100000,563875,Lisa Phillips comp $563875 (Toby Devan Lewis Director); Asega named NEW INC Director July 2021,ProPublica summary 15 15 + 2022-06,41900000,,,,,17000000,,,97000000,,Capital-campaign year — Mellon $1.5M NEW INC grant awarded December 2022,ProPublica summary 16 16 + 2023-06,22800000,,,,,19300000,,,101500000,,,ProPublica summary 17 17 + 2024-06,30600000,,,,,19100000,,,113600000,,,ProPublica summary 18 18 + 2025-06,25700000,22500000,1800000,651000,837000,18700000,143300000,21500000,121800000,825030,Lisa Phillips comp ~$825030; OMA expansion completes; Phillips retires April 2026,ProPublica summary

+14

papers/arxiv-new-inc/data/funders.csv

reviewed

··· 1 1 + funder,year,amount_usd,tier,notes,source 2 2 + Andrew W. Mellon Foundation,2022-12-08,1500000,major (lead),"""New Director Vision"" grant (36mo); supports Salome Asega's vision — growing staff capacity, enhancing membership model, growing reach of artist ventures. The largest single named institutional grant on the public NEW-INC-tagged record.",https://www.mellon.org/grant-details/new-director-vision-20452850 3 3 + Andrew W. Mellon Foundation,2011-03-10,486000,major,"$486K / 36mo to New Museum for ""preservation of and access to primary source documentation in the field of contemporary art"" — pre-NEW INC; parent-org grant",https://mellon.org/grants/grants-database/grants/new-museum-of-contemporary-art/11100605/ 4 4 + John S. and James L. Knight Foundation,2017-04-13,250000,major,Museum Tech Track launch (Year 4); subsidized memberships + $10K seed for up to 5 teams; Museum Tech Bootcamp,https://legacy.knightfoundation.org/press/releases/new-inc-the-new-museum-s-cultural-incubator-expands-inviting-applications-from-museum-professionals-focused-on-using-tech-to-engage-audiences/ 5 5 + John S. and James L. Knight Foundation,,660000,major (follow-on),"Follow-on Knight investment to ""drive development of new technologies for art museums"" — $660K cited in subsequent Knight press release; year TBD",https://knightfoundation.org/press/releases/new-inc-drives-development-of-new-technologies-for-art-museums/ 6 6 + Patrick J. McGovern Foundation,(current),,major,"Year 12 (2025-26) — supports Art & Code track in partnership with Rhizome",newmuseum.org press release / rhizome.org 7 7 + Simons Foundation,(current),,major,"Year 12 (2025-26) — supports Creative Science track",newmuseum.org / newinc.org/creativescience 8 8 + EY (Ernst & Young),(current),,corporate partner,"Year 12 (2025-26) — supports Extended Realities track via EY Metaverse Lab partnership",newmuseum.org press release 9 9 + Onassis ONX,(current),,partner,"Year 12 (2025-26) — supports Extended Realities track in partnership with Onassis ONX",newmuseum.org press release 10 10 + Jonathan D. & Mark C. Lewis Foundation,(current),,major,"Year 12 (2025-26) — supports Social Architecture track",newmuseum.org press release 11 11 + Meta Open Arts,(prior),,corporate partner,"Sponsored DEMO festival in a prior year; year TBD",demo festival press 12 12 + Nokia Bell Labs,(post-2018),,partner,"Partnered with NEW INC on artist residency program; Kaganskiy served as Curatorial Advisor",Wikipedia (Kaganskiy) 13 13 + Ford Foundation,(implicit),,,"Asega arrived from Ford in 2021 (4yr fellowship); not a confirmed direct grant to NEW INC",inferred — confirm via Mellon-style direct database lookup TBD 14 14 + NYSCA / NYC DCLA,,,,"Standard NYC museum public-funding lines; specific NEW-INC-earmarked amounts TBD — likely lumped into parent New Museum 990",inferred

+5

papers/arxiv-new-inc/data/grants.csv

reviewed

··· 1 1 + funder,date,amount_usd,program_area,project,term_months,source_url,notes 2 2 + Andrew W. Mellon Foundation,2022-12-08,1500000,Arts and Culture,"New Director Vision — supports Salome Asega's vision: growing staff capacity, enhancing membership model, growing reach of each artist's venture",36,https://www.mellon.org/grant-details/new-director-vision-20452850,Largest single confirmed named grant tagged to NEW INC 3 3 + John S. and James L. Knight Foundation,2017-04-13,250000,,"Museum Tech Track expansion — fully subsidized NEW INC memberships for up to 5 teams + $10K seed funding each; Museum Tech Bootcamp",,https://legacy.knightfoundation.org/press/releases/new-inc-the-new-museum-s-cultural-incubator-expands-inviting-applications-from-museum-professionals-focused-on-using-tech-to-engage-audiences/,Year 4 expansion 4 4 + John S. and James L. Knight Foundation,,660000,,Follow-on for development of new technologies for art museums,,https://knightfoundation.org/press/releases/new-inc-drives-development-of-new-technologies-for-art-museums/,Year and term TBD; cited in subsequent Knight release 5 5 + Andrew W. Mellon Foundation,2011-03-10,486000,Arts and Culture,Preservation of and access to primary source documentation in the field of contemporary art (parent-org grant; pre-NEW INC),36,https://mellon.org/grants/grants-database/grants/new-museum-of-contemporary-art/11100605/,Useful comparator — pre-NEW INC parent-org Mellon support

+4

papers/arxiv-new-inc/data/locations.csv

reviewed

··· 1 1 + address,neighborhood,city,start_year,end_year,square_footage,ownership,notes,source 2 2 + 231 Bowery,Lower East Side / Bowery,Manhattan NY,2014,,,parent-org owned,"NEW INC has operated within the New Museum's adjacent 231 Bowery building since launch in 2014. The address used in some press is 231 Bowery; the New Museum's main building is 235 Bowery. NEW INC's space is described as a shared workspace under the New Museum's auspices.",newinc.org / press releases 3 3 + "235 Bowery (parent-org main building, SANAA-designed)",Lower East Side / Bowery,Manhattan NY,2007,,~58000,parent-org owned,New Museum's main building since 2007; opened with a SANAA design (Sejima + Nishizawa); $50M construction cost,Wikipedia 4 4 + "OMA-designed expansion (60000 sq ft new wing)",Lower East Side / Bowery,Manhattan NY,2026-03-21,,60000,parent-org owned,"$82M expansion designed by OMA (Shohei Shigematsu and Rem Koolhaas) with Cooper Robertson; doubles institution to 120000 sq ft; NEW INC receives ""a fully dedicated space with top-of-the-line tools"" per Lisa Phillips — first permanent purpose-built NEW INC space",theartnewspaper.com (March 2026)

+9

papers/arxiv-new-inc/data/people.csv

reviewed

··· 1 1 + name,role,start_year,end_year,notes,source 2 2 + Lisa Phillips,"Toby Devan Lewis Director, New Museum (parent org); NEW INC co-founder",1999,2026-04,Stepping down April 2026 after 27-year directorship; co-founded NEW INC with Karen Wong in 2014; held seat on Rhizome board; FY2025 reportable comp ~$825030,newmuseum.org / theartnewspaper.com / ProPublica 3 3 + Karen Wong,"Deputy Director, New Museum; NEW INC co-founder",2014,,Co-founded NEW INC with Phillips; remains Deputy Director,newinc.org / press releases 4 4 + Marcia Tucker,"Founding Director, New Museum (parent org)",1977,1999,"Founded New Museum 1977; predecessor to Phillips. Not directly involved with NEW INC (founded 2014 after her 1999 departure)",Wikipedia 5 5 + Julia Kaganskiy,Founding Director of NEW INC,2014,2018-04,"Built NEW INC from launch through Year 5; previously Global Editor of VICE The Creators Project (2010-2014); founded ArtsTech meetup 2008; subsequently freelance + Curatorial Advisor for NEW INC artist residency w/Nokia Bell Labs; named Eyebeam ED April 6 2026 (sibling-org connection across two AC dossiers)",Wikipedia / artforum / eyebeam announcement 6 6 + Stephanie Pereira,Director of NEW INC,2018-07,2021-05,"Joined July 2 2018 from Kickstarter (where she was first director of arts program then director of creator engagement); served three years",artnews.com / artforum.com 7 7 + Salome Asega,Director of NEW INC,2021-07,,"Appointed July 26 2021; previously inaugural New Media Art Research Fellow for Creativity and Free Expression at Ford Foundation (4 yrs); MFA Parsons Design+Technology; teaches at Parsons; Ethiopian-American; raised in Las Vegas; Eyebeam alum + Rhizome board (sibling-org cross-tie)",artforum.com / culturedmag.com / newmuseum.org 8 8 + Toby Devan Lewis,Donor / namesake of Director's seat,,,"The directorship is the ""Toby Devan Lewis Directorship"" — a named, endowed seat at the New Museum. Phillips holds it",newmuseum.org 9 9 + Eric Mack,Curatorial Advisor / NEW INC mentor,,,"Listed in NEW INC mentor archive (year-7-mentors page exists)",newinc.org

+11

papers/arxiv-new-inc/data/programs.csv

reviewed

··· 1 1 + program,launched,status,description,key_funders,source 2 2 + NEW INC core membership,2014-09,Active,"Yearlong shared workspace + professional-development program (Sept-June). Cohort of ~100 creative practitioners per year (~74 new in Year 12 + returners). The world's first museum-led cultural incubator.",Mellon (lead) + various track sponsors,multiple 3 3 + DEMO Day → DEMO Festival,2015-07-14,Active (now multi-day),"Annual public showcase of cohort work. Originally a single Demo Day at the New Museum (first held 7/14/2015); rebranded to multi-day DEMO Festival under Asega; DEMO2026 scheduled June 3-5",various — Meta Open Arts has been a past sponsor; current sponsor list TBD,demofestival.org 4 4 + Museum Tech Track,2017-04,Concluded ~2019,"Knight-funded track for museum professionals using technology to engage audiences; $250K Knight grant subsidized 5 teams + Museum Tech Bootcamp. Phased out / merged when track structure was reorganized under Asega",Knight Foundation,knightfoundation.org 5 5 + Art & Code track,~2019,Active (Year 12: 2025-26),"Track for artists/designers/researchers/technologists redefining cultural and digital landscapes through internet-based practice. Year 12 in formal partnership with Rhizome.","Patrick J. McGovern Foundation; partnership with Rhizome",rhizome.org / newmuseum.org 6 6 + Creative Science track,~Year 11,Active (Year 12),"""Employing modes of scientific inquiry to advance creativity and storytelling""",Simons Foundation,newinc.org/creativescience 7 7 + Extended Realities track,~Year 11,Active (Year 12),"""Expanding the artistic potential for technology to blur the physical and digital worlds""",EY (Metaverse Lab) + Onassis ONX,newmuseum.org press release 8 8 + Social Architecture track,~Year 11,Active (Year 12),"""Reconstructing public and social space through design and architecture""",Jonathan D. & Mark C. Lewis Foundation,newmuseum.org press release 9 9 + Cooperative Studies track,~Year 11,Active (Year 12),"""Designing care-based models for collective futures""",funder TBD,newmuseum.org press release 10 10 + NEW INC artist residency w/Nokia Bell Labs,~2018,(Active TBD),"Artist residency program; Kaganskiy returned post-directorship as Curatorial Advisor",Nokia Bell Labs,Wikipedia 11 11 + "Earlier track names (2014-~2018): Art-Design-Technology (ADT), Strategic Program for Open Knowledge (SPOK), Creative Science",2014~2018,Restructured,"The user-supplied original three tracks. Public NEW INC site no longer surfaces these labels; the Asega-era restructure consolidated into the current Art&Code / Creative Science / Extended Realities / Social Architecture / Cooperative Studies five-track structure. The transition appears to have happened gradually across Years 5-8.",inferred from user prompt + current vs archival NEW INC pages — direct primary-source confirmation TBD

+25

papers/arxiv-new-inc/data/timeline.csv

reviewed

··· 1 1 + year,event,category,source 2 2 + 1977,New Museum founded by Marcia Tucker,parent-org,Wikipedia 3 3 + 1999,Lisa Phillips becomes Director of the New Museum (from Whitney),parent-org leadership,Wikipedia 4 4 + 2007,New Museum opens 235 Bowery building (SANAA-designed; $50M),parent-org location,Wikipedia 5 5 + 2013,New Museum conceives NEW INC,org,multiple 6 6 + 2014-09,NEW INC launches with founding Year 1 cohort under Julia Kaganskiy as founding Director,org,multiple / Fast Company / Knight Foundation press 7 7 + 2015-07-14,Inaugural NEW INC Demo Day held at the New Museum,program,broadwayworld 8 8 + 2015,NEW INC's founding class presents collaborative projects (Core77 coverage),program,core77.com 9 9 + 2017-04-13,Knight Foundation announces $250K for NEW INC Museum Tech Track,funding,knightfoundation.org 10 10 + 2018-04~05,Julia Kaganskiy departs as founding Director (after ~4 years building the org),leadership,artnews.com 11 11 + 2018-05-17,New Museum names Stephanie Pereira (ex-Kickstarter) Director of NEW INC,leadership,artnews.com 12 12 + 2018-07-02,Pereira begins,leadership,artforum.com 13 13 + 2021-05,Pereira departs after three years,leadership,artforum.com 14 14 + 2021-07-26,New Museum appoints Salome Asega Director of NEW INC (from Ford Foundation),leadership,artforum.com 15 15 + 2022-12-08,Mellon awards $1.5M / 36mo for ""New Director Vision"" supporting Asega,funding,mellon.org 16 16 + 2023,DEMO2023 festival expands DEMO Day from a single day into a multi-day festival,program,demo2023.org 17 17 + 2024-04,DEMO2024 festival,program,fadmagazine.com 18 18 + 2024-09-10,Year 11 (2024-25) cohort announced — 5 tracks: Art & Code (with Rhizome) + Creative Science + Extended Realities + Social Architecture + Cooperative Studies,program,rhizome.org / newmuseum.org / artsphoria.biz 19 19 + 2025-08-26,Year 12 (2025-26) cohort announced — 74 new members across 5 tracks,program,ouispeakfashion.com 20 20 + 2025-09,Year 12 (2025-26) program begins (Sept 2025 - June 2026),program,multiple 21 21 + 2026-03-18,Lisa Phillips's $82M OMA-designed expansion announced — includes ""fully dedicated"" permanent NEW INC space + tools,parent-org location,theartnewspaper.com 22 22 + 2026-03-21,Expansion opens,parent-org location,theartnewspaper.com 23 23 + 2026-04,Lisa Phillips retires after 27-year directorship,parent-org leadership,theartnewspaper.com 24 24 + 2026-04-06,Julia Kaganskiy (founding NEW INC Director) named Eyebeam Executive Director — sibling-org connection across two AC dossiers,leadership / cross-org,eyebeam.org 25 25 + 2026-06,DEMO2026 festival scheduled June 3-5,program,demofestival.org

+1

papers/arxiv-new-inc/figures/cover-prompt.txt

reviewed

··· 1 1 + A single floating hexagonal incubator pod, drawn as a translucent honeycomb cell suspended on the page like a heraldic emblem. The hex's six walls are pale and slightly luminous --- not hard outlines but softened layers of strokes, as if the pod is breathing. Inside the cell, faintly visible through the translucent walls, three small tools float at suggestive angles: a soldering iron with a tiny bead of orange light at the tip, a fine paintbrush angled across it, and a folded strip of code tape (no legible text --- just the rhythm of indented lines, like a punch card or a stack-trace abstracted). A single small standing figure no larger than a thumbnail occupies the lower-third of the pod, head bent toward the tools, suggesting a maker mid-thought. The pod hovers in a square 1:1 vignette: corners and periphery dissolve into pure cream paper with no edge or frame; only the central pod is in focus, its outermost rings of color fading gradually outward. Bold enough to read as a logo from across a room. Quiet, monastic, full of latent activity --- a single iconic gestalt of "incubation."

papers/arxiv-new-inc/figures/cover.png

reviewed

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papers/arxiv-new-inc/figures/qr.png

reviewed

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+340

papers/arxiv-new-inc/new-inc.tex

reviewed

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99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut NEW INC}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 2014 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about NEW INC --- the New Museum's cultural incubator, founded in 2014 --- across genealogy, periodized history, programs, people, finances, and cultural footprint. NEW INC is a program of the New Museum of Contemporary Art (EIN 13--2986881) and has no IRS exemption of its own; the financial reading is therefore an \emph{embedding problem} (Section~\ref{sec:embedding}), and the dossier flags this as a fact about the data path rather than a critique of the org. Where facts run out the dossier stops; gaps are flagged inline. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + NEW INC opens in September 2014 as the world's first museum-led cultural incubator. The conceit is unusual on its own terms: not a residency (artists in studios making work) and not a fellowship (a sum of money plus a title), but an \emph{incubator} --- the language of Y~Combinator, of TechStars, of the late-2000s startup-accelerator boom --- transposed into a contemporary-art-museum frame and pluralized to include designers, technologists, and artists working at the same shared tables. 135 135 + 136 136 + The org is co-founded by \textbf{Lisa Phillips}, the New Museum's Toby Devan Lewis Director (since 1999, retired April 2026), and \textbf{Karen Wong}, the museum's Deputy Director. Both remain on the press materials as the founding pair. They appoint as \textbf{founding director} \textbf{Julia Kaganskiy}~\citep{wikipedia2026kaganskiy}, then 28, fresh from a 2010--2014 run as Global Editor of VICE Media's \emph{The Creators Project} (an arts/technology publication co-developed with Intel) and the founder of the 2008 ArtsTech meetup. The launch frames the program as an \emph{intersection}: art~+~design~+~technology~+~entrepreneurship, hosted under museum auspices, located in 231 Bowery (an adjacent building to the museum's main 235 Bowery SANAA-designed home). 137 137 + 138 138 + The 2026 self-description --- ``the first museum-born cultural incubator''~\citep{newinc2026site} --- is the version after twelve cohorts and three directors. Earlier framings emphasized the \emph{startup} side; later framings, especially under current director Salome Asega, have shifted toward the language of \emph{community} and \emph{reworlding}~\citep{culturedmag2024asega}. 139 139 + 140 140 + \section{The Embedding Problem}\label{sec:embedding} 141 141 + 142 142 + NEW INC is not an independent 501(c)(3). It has no separate IRS Employer Identification Number, no separate Form 990, no separate audited financials on the public record. The legal entity is the New Museum of Contemporary Art (EIN 13--2986881~\citep{propublica2026newmuseum}), and NEW INC's revenue and expenses sit somewhere inside the parent-org's annual return as part of total contributions, total program-service revenue, and total program expenses, without being separately broken out. 143 143 + 144 144 + This is the central data-tractability constraint of any NEW INC dossier. There are two consequences worth naming: 145 145 + 146 146 + \begin{itemize} 147 147 + \item \textbf{Granular financial recovery is unavailable.} Track-level sponsor amounts, member-fee receipts, DEMO-festival event accounting --- none of these appear as separate line items on the parent 990. Funder-side records (Mellon, Knight, Patrick~J.~McGovern Foundation, Simons Foundation, EY, Onassis ONX, Lewis Foundation) carry the named-grant amounts \emph{into} NEW INC, but the corresponding \emph{outflows} (artist stipends, mentor honoraria, DEMO production costs, NEW INC staff salaries) are pooled into the New Museum's overall expense lines. 148 148 + \item \textbf{Funder-database searches must use the parent name.} A grant-database query for ``NEW INC'' alone returns nothing on Mellon, Knight, or Ford. The grants are \emph{recorded under} ``New Museum of Contemporary Art'' with project descriptions referencing NEW INC; the dossier's grants table~(\ref{tab:grants}) is built that way. 149 149 + \end{itemize} 150 150 + 151 151 + The dual data path used here is therefore: \textbf{(a)} the New Museum's Form 990 (top-line institution-wide numbers, Table~\ref{tab:financials}); \textbf{(b)} NEW INC's own program disclosures (newinc.org, newmuseum.org press releases, founder/funder quotes, DEMO festival materials). Neither is a ledger. The dossier reads them in parallel. 152 152 + 153 153 + \section{The Organization, 2014--2026} 154 154 + 155 155 + \subsection{Conception (2013) and launch (Sept 2014)} 156 156 + 157 157 + The New Museum begins planning NEW INC in 2013. The launch is timed to the start of academic-year programming: \textbf{September 2014}, with a founding cohort of artists, designers, and technologists pulled together by Kaganskiy~\citep{fastcompany2014newinc}. The program model from day one is yearlong and cohort-based (Sept--June), with a public showcase at the end --- the eventual DEMO Day, first held July~14, 2015~\citep{broadwayworld2015demo}. 158 158 + 159 159 + \subsection{Kaganskiy era and the Knight Museum Tech Track (2014--2018)} 160 160 + 161 161 + Across roughly four years, Kaganskiy builds NEW INC from launch through Year~4. By 2017 the program adds a \textbf{Museum Tech Track} --- an explicit pivot toward serving \emph{museum professionals} who use technology to engage audiences --- on the back of a \$250,000 grant from the John~S.~and James~L.~Knight Foundation~\citep{knight2017newinc}. The Knight grant subsidizes up to five teams (up to ten people) with full NEW INC memberships plus \$10,000 in seed funding each, and underwrites a Museum Tech Bootcamp for professionals from Knight Foundation communities. A subsequent Knight follow-on (cited in later Knight materials at \$660,000; year and term TBD) extends the line. 162 162 + 163 163 + \subsection{Pereira interregnum (2018--2021)} 164 164 + 165 165 + Kaganskiy departs in early 2018; the New Museum names \textbf{Stephanie Pereira} as her successor on May~17, 2018, and Pereira begins July~2~\citep{artnews2018pereira}. Pereira arrives from Kickstarter, where she had been the first director of the company's arts program and subsequently director of creator engagement; her remit at NEW INC is described as ``overseeing NEW INC's community of one hundred creative entrepreneurs and steering its plans for growth.'' She serves three years and departs in May 2021. 166 166 + 167 167 + \subsection{Asega era and Mellon's New Director Vision (2021--)} 168 168 + 169 169 + \textbf{Salome Asega}~\citep{wikipedia2026asega} is named director on July~26, 2021, arriving from a four-year run as the inaugural New Media Art Research Fellow for Creativity and Free Expression at the Ford Foundation~\citep{artforum2021asega}. The appointment carries an institutional-continuity note: Asega had herself been a NEW INC \emph{member} during the 2016--17 cohort (and earlier had taught New Museum education programs in 2014 and held a 2017 IdeasCity Fellowship). Lisa Phillips frames the appointment as a generational hand-off: ``Salome is the next generation of leadership and a role model for the interdisciplinary nature of the future of work''~\citep{artforum2021asega}. 170 170 + 171 171 + In December 2022 the Andrew~W.~Mellon Foundation awards a \textbf{\$1,500,000 / 36-month} ``New Director Vision'' grant to the New Museum to support Asega's plans for NEW INC: ``growing staff capacity, enhancing the membership model, and growing the reach of each artist's venture''~\citep{mellon2022newinc}. As of 2026 this is the largest single confirmed institutional grant tagged to NEW INC on the public record. Asega expands DEMO Day from a single afternoon into a multi-day \textbf{DEMO Festival} (the 2023 edition rebranded the program), restructures the track system (Section~\ref{sec:programs}), and grows the cohort across five program tracks. 172 172 + 173 173 + \subsection{The 2026 transition} 174 174 + 175 175 + In March 2026 the New Museum opens an \textbf{\$82 million OMA-designed expansion} (Shohei Shigematsu and Rem Koolhaas with Cooper Robertson), doubling the institution to 120,000~sq.~ft.\@ and giving NEW INC ``a fully dedicated space with top-of-the-line tools'' for the first time --- the program's first purpose-built permanent home~\citep{theartnewspaper2026expansion}. \textbf{Lisa Phillips retires} in April 2026 after a 27-year directorship. On April~6, 2026, in a development that connects two of this dossier's sibling-org records, founding director Julia Kaganskiy is named \textbf{Executive Director of Eyebeam}~\citep{eyebeam2026kaganskiy}, framed as ``a homecoming'' given her 2009-onwards relationship with that organization. 176 176 + 177 177 + \section{People} 178 178 + 179 179 + \begin{table}[h] 180 180 + \footnotesize 181 181 + \centering 182 182 + \setlength{\tabcolsep}{3pt} 183 183 + \begin{tabularx}{\columnwidth}{lXX} 184 184 + \toprule 185 185 + \textbf{Tenure} & \textbf{Director} & \textbf{Note} \\ 186 186 + \midrule 187 187 + 2014--Apr 2018 & Julia Kaganskiy & Founding director \\ 188 188 + Jul 2018--May 2021 & Stephanie Pereira & Ex-Kickstarter \\ 189 189 + Jul 2021-- & Salome Asega & Ex-Ford Foundation \\ 190 190 + \bottomrule 191 191 + \end{tabularx} 192 192 + \caption{Directors of NEW INC.} 193 193 + \label{tab:eds} 194 194 + \end{table} 195 195 + 196 196 + \textbf{Co-founders.} Lisa Phillips (Toby Devan Lewis Director of the New Museum, 1999--April 2026) and Karen Wong (Deputy Director). Phillips holds a board seat on Rhizome (a sibling-org tie that runs through the Bowery and through several mutual personnel) and her FY2025 reportable compensation as parent-org director is approximately \$825,030~\citep{propublica2026newmuseum}. 197 197 + 198 198 + \textbf{Founding director Julia Kaganskiy (2014--2018).} Born in Kiev (1986), arrived in Brooklyn at age 6, Emerson College journalism (2007), MoMA digital-learning intern (2009), founded ArtsTech (2008), Global Editor at VICE \emph{The Creators Project} (2010--2014), Crain's New York Business 40~Under~40 in 2015~\citep{wikipedia2026kaganskiy}. After leaving NEW INC she returned periodically as Curatorial Advisor for an artist residency program with Nokia Bell Labs and co-curated the Tentacular festival in Madrid (2019). Named \textbf{Executive Director of Eyebeam} April~6, 2026~\citep{eyebeam2026kaganskiy} --- the cross-dossier connection. 199 199 + 200 200 + \textbf{Stephanie Pereira (2018--2021).} Six years at Kickstarter prior; first director of Kickstarter's arts program~\citep{artnews2018pereira}. Three-year tenure at NEW INC. 201 201 + 202 202 + \textbf{Salome Asega (2021--).} Born and raised in Las Vegas to Ethiopian immigrant parents, NYU Gallatin (social practice), Parsons MFA Design~\&~Technology, residencies at Eyebeam, the Laundromat Project, Recess, Pioneer Works, and (2016--17) NEW INC itself~\citep{wikipedia2026asega}. Inaugural Ford Foundation New Media Art Research Fellow (2017--2021). Asega has been described in the press as raising ``millions of dollars in record time'' for the program~\citep{culturedmag2024asega} and serves on Eyebeam's board (a second sibling-org tie). 203 203 + 204 204 + \textbf{Advisory Council.} The New Museum announced a 2024 Advisory Council via press release, but the page was not extractable in this first pass --- flagged in \texttt{data/README.md}. 205 205 + 206 206 + \textbf{Mentor archive.} NEW INC publishes a mentor list per cohort year on \texttt{newinc.org/year-N-mentors/}; Karen Wong appears as a Year~7 mentor, alongside artists, designers, and technologists drawn from the org's wider network. Stephanie Pereira appears in the Year~9 mentors page after departing the directorship. 207 207 + 208 208 + \section{Programs}\label{sec:programs} 209 209 + 210 210 + \textbf{NEW INC core membership} (2014--). Yearlong shared workspace plus professional-development program (September--June). Cohort of approximately 100 creative practitioners per year (74 \emph{new} members for Year~12, plus returners). Members pay a tiered fee; specific dollar amounts are not pulled in this first pass. 211 211 + 212 212 + \textbf{DEMO Day / DEMO Festival} (2015--). Annual public showcase. The first DEMO Day was held July~14, 2015 at the New Museum~\citep{broadwayworld2015demo}. Under Asega the program rebranded into the multi-day \textbf{DEMO Festival} (2023~ff.); DEMO2026 is scheduled for June~3--5. Past sponsors have included Meta Open Arts. 213 213 + 214 214 + \textbf{Museum Tech Track} (2017--$\sim$2019). Knight-funded track for museum professionals~\citep{knight2017newinc}; \$250K initial Knight grant subsidized 5 teams plus Museum Tech Bootcamp; phased out (or merged) under the Asega-era restructure. 215 215 + 216 216 + \textbf{Five current tracks (Year~12, 2025--26)}~\citep{newmuseum2025y12,rhizome2025y12}: 217 217 + 218 218 + \begin{description} 219 219 + \item[\textbf{Art \& Code.}] ``Redefining cultural and digital landscapes through artist-led research and projects.'' In partnership with Rhizome; supported by the Patrick~J.~McGovern Foundation. The Rhizome partnership is the most directly recoverable cross-org tie in the AC dossier set --- both Year~11 and Year~12 cohort announcements have been published on rhizome.org. 220 220 + \item[\textbf{Creative Science.}] ``Employing modes of scientific inquiry to advance creativity and storytelling.'' Supported by the Simons Foundation~\citep{newinccreativescience}. 221 221 + \item[\textbf{Extended Realities.}] ``Expanding the artistic potential for technology to blur the physical and digital worlds.'' Supported by EY (Metaverse Lab) and Onassis ONX. 222 222 + \item[\textbf{Social Architecture.}] ``Reconstructing public and social space through design and architecture.'' Supported by the Jonathan~D.~\&~Mark~C.~Lewis Foundation. 223 223 + \item[\textbf{Cooperative Studies.}] ``Designing care-based models for collective futures.'' Funder TBD. 224 224 + \end{description} 225 225 + 226 226 + \textbf{NEW INC artist residency $\times$ Nokia Bell Labs.} Continued post-Kaganskiy as a parallel residency line; Kaganskiy returned to NEW INC as its Curatorial Advisor. 227 227 + 228 228 + \textbf{Earlier track names (2014--$\sim$2018) -- the original three.} The user-supplied earlier formulation lists three tracks: \textbf{Art-Design-Technology (ADT)}, \textbf{Strategic Program for Open Knowledge (SPOK)}, and \textbf{Creative Science}. None of these labels appear on the current NEW INC public site; the Asega-era restructure consolidated and renamed across roughly Years~5--8. Primary-source confirmation of the exact transition year is TBD --- flagged in \texttt{data/programs.csv}. Of the three, only \emph{Creative Science} survives as a label into the current track structure. 229 229 + 230 230 + \section{Money}\label{sec:money} 231 231 + 232 232 + \subsection{Parent-org top-line, FY2016--FY2025} 233 233 + 234 234 + The financial record available is the \emph{parent organization's} 990 line items. The New Museum's revenues range \$11M--\$42M annually depending on whether a fiscal year is a capital-campaign year; expenses run \$15M--\$19M; net assets have grown roughly \$80M~$\rightarrow$~\$122M between FY2016 and FY2025 (Table~\ref{tab:financials}). 235 235 + 236 236 + \begin{table}[h] 237 237 + \footnotesize 238 238 + \centering 239 239 + \setlength{\tabcolsep}{4pt} 240 240 + \begin{tabularx}{\columnwidth}{Xrrr} 241 241 + \toprule 242 242 + \textbf{FY end} & \textbf{Revenue} & \textbf{Expenses} & \textbf{Net assets} \\ 243 243 + \midrule 244 244 + 2016-06 & \textbf{38,200,000} & 15,100,000 & 80,000,000 \\ 245 245 + 2017-06 & 24,300,000 & 16,800,000 & 87,900,000 \\ 246 246 + 2018-06 & 16,400,000 & 16,900,000 & 87,900,000 \\ 247 247 + 2019-06 & 14,900,000 & 17,500,000 & 86,000,000 \\ 248 248 + 2020-06 & 11,700,000 & 16,000,000 & 92,400,000 \\ 249 249 + 2021-06 & 11,600,000 & 15,100,000 & 89,100,000 \\ 250 250 + 2022-06 & \textbf{41,900,000} & 17,000,000 & 97,000,000 \\ 251 251 + 2023-06 & 22,800,000 & 19,300,000 & 101,500,000 \\ 252 252 + 2024-06 & 30,600,000 & 19,100,000 & 113,600,000 \\ 253 253 + 2025-06 & 25,700,000 & 18,700,000 & 121,800,000 \\ 254 254 + \bottomrule 255 255 + \end{tabularx} 256 256 + \caption{The New Museum of Contemporary Art --- top-line Form 990 figures by fiscal year (USD; FY ends June 30). Source: ProPublica Nonprofit Explorer record \texttt{132986881}~\citep{propublica2026newmuseum}. NEW INC line items are \emph{not} separately broken out in any year. The FY2016 (\$38.2M) and FY2022 (\$41.9M) revenue spikes are capital-campaign / OMA-expansion fundraising years; the OMA expansion itself ran an \$82M project budget against a \$125M overall fundraising goal.} 257 257 + \label{tab:financials} 258 258 + \end{table} 259 259 + 260 260 + NEW INC's track sponsorships (Patrick~J.~McGovern, Simons, EY, Onassis ONX, Lewis Foundation), member fees, and DEMO sponsorship revenue (Meta Open Arts and others over the years) all enter the parent-org's contributions and program-service lines without separate disclosure. The Mellon \$1.5M New Director Vision grant arrives in FY2023 and is part of why the FY2022/FY2023 contributions sum is robust, but is not an isolable line. 261 261 + 262 262 + \subsection{Named grants tagged to NEW INC}\label{sec:grants} 263 263 + 264 264 + \begin{table}[h] 265 265 + \footnotesize 266 266 + \centering 267 267 + \begin{tabularx}{\columnwidth}{lXr} 268 268 + \toprule 269 269 + \textbf{Year} & \textbf{Project / Funder} & \textbf{Amount} \\ 270 270 + \midrule 271 271 + 2017-04 & Knight, Museum Tech Track & 250,000 \\ 272 272 + (post-2017) & Knight, follow-on & 660,000 \\ 273 273 + 2022-12 & Mellon, New Director Vision (3 yr) & \textbf{1,500,000} \\ 274 274 + \midrule 275 275 + \multicolumn{2}{l}{\textbf{Confirmed NEW-INC-tagged total, 2014--2025}} & \textbf{2,410,000} \\ 276 276 + \bottomrule 277 277 + \end{tabularx} 278 278 + \caption{Named institutional grants on the public record where the project description specifically references NEW INC. The Knight follow-on year and term are TBD. Patrick~J.~McGovern Foundation, Simons Foundation, EY, Onassis ONX, and Lewis Foundation are confirmed as current track sponsors but specific dollar amounts are not in the public Mellon-grade databases. Source: \citep{knight2017newinc,mellon2022newinc}; CauseIQ.} 279 279 + \label{tab:grants} 280 280 + \end{table} 281 281 + 282 282 + The shape, in plain English: \textbf{Mellon is the single largest confirmed funder} of NEW INC's last decade on the named-grant record, with one \$1.5M / 3-year grant at the start of the Asega era. Knight underwrote the 2017 Museum Tech Track expansion at \$250K, with a follow-on cited at \$660K. Both Mellon and Knight legally route through the New Museum (EIN 13--2986881), not through a NEW-INC EIN. Ongoing track sponsorships from Patrick~J.~McGovern Foundation, Simons Foundation, EY, Onassis ONX, and the Jonathan~D.~\&~Mark~C.~Lewis Foundation are confirmed in current-year press but not quantified. 283 283 + 284 284 + \subsection{Member fees, DEMO, and parent-org subsidy} 285 285 + 286 286 + NEW INC's revenue mix --- in plain language, since the public 990 will not isolate it --- is plausibly some combination of: \textbf{(a)} a tiered \textbf{member fee} per cohort year (NEW INC has charged members for participation since launch; the current rates are not pulled in this first pass); \textbf{(b)} \textbf{track-level sponsorship} from the Patrick~J.~McGovern, Simons, Lewis, and Onassis bodies plus EY's corporate-partner relationship; \textbf{(c)} \textbf{event sponsorship} for the DEMO festival (Meta Open Arts in past years); \textbf{(d)} the \textbf{Mellon ``New Director Vision''} grant (Dec 2022) and other foundation underwriting routed through the parent org; \textbf{(e)} an implicit \textbf{parent-org subsidy} via the New Museum's allocation of staff, space, and overhead. The OMA expansion's ``fully dedicated space with top-of-the-line tools'' (per Phillips, March 2026) is the most visible 2026 instance of this last category --- a piece of the \$82M capital budget allocated permanently to NEW INC. 287 287 + 288 288 + \subsection{Alumni-funding figure} 289 289 + 290 290 + The most-cited NEW INC-impact statistic is the funding raised \emph{by} alumni after they leave the program: ``more than \$12 million'' in early-Year coverage (circa 2018--2020) and \textbf{``over \$28.9 million across their ventures over the past decade''} per Phillips's March 2026 expansion announcement~\citep{theartnewspaper2026expansion}. The figure is self-reported and not auditable from the public record; included here as a fact about the org's framing rather than a balance-sheet number. 291 291 + 292 292 + \section{Footprint} 293 293 + 294 294 + \begin{description} 295 295 + \item[\textbf{231~/~235 Bowery (2014--).}] NEW INC has been embedded in the New Museum's adjacent 231 Bowery space since launch in 2014. The 235 Bowery main building (SANAA, 2007) anchors the parent-org footprint at the same address Rhizome lists in its 990 (\emph{c/o} New Museum --- the two orgs share the city block). The OMA expansion (March 2026) doubles the institutional footprint and gives NEW INC its first purpose-built permanent space. 296 296 + \item[\textbf{The Bowery cluster.}] 235 Bowery hosts the New Museum, NEW INC, and (\emph{c/o}) Rhizome. The triangle of these three orgs --- and the further triangle Eyebeam~$\leftrightarrow$~Rhizome~$\leftrightarrow$~NEW INC --- is the densest single block of art-and-technology institutional infrastructure in New York City on the 2026 record. 297 297 + \item[\textbf{DEMO festival, 12 editions.}] Yearly cohort-end festival; from a single afternoon (July 2015) to a multi-day public event (under Asega). The DEMO website archive (demofestival.org, demo2023.org) is the most accessible primary-source index of the public-facing program. 298 298 + \item[\textbf{Sibling-org graph.}] Three direct cross-ties on the 2026 record: \textbf{Asega} sits on Eyebeam's board (and is herself a former Eyebeam resident); the \textbf{Art \& Code track} runs in formal partnership with Rhizome; and founding director \textbf{Kaganskiy} is the new Eyebeam Executive Director as of April 2026. The triangle Eyebeam--Rhizome--NEW INC, all three Bowery-adjacent and all three central to NYC art-and-tech, is denser than any single dossier captures. 299 299 + \item[\textbf{Alumni ventures.}] NEW INC reports more than 100 incubated ventures and (Phillips, 2026) over \$28.9M raised cumulatively by alumni; specific named ventures include Brij App (Naomi Lilly, Year~11) and the variously funded Year-12 cohort. A full alumni-funding ledger has not been pulled. 300 300 + \end{description} 301 301 + 302 302 + A more granular footprint --- cohort lists by year, mentor archive year-by-year, full DEMO sponsor history --- requires querying \texttt{newinc.org/members}, \texttt{newinc.org/year-N-mentors/}, and the DEMO festival sites; achievable but not done in this first pass. Flagged in \texttt{data/README.md}. 303 303 + 304 304 + \section{Reading list} 305 305 + 306 306 + The dossier draws on the following, with each entry keyed to the section it informs. 307 307 + 308 308 + \subsection{Already in the AC readings library} 309 309 + 310 310 + \textbf{Quaranta, \emph{Beyond New Media Art} (2013)} --- Programs, institutional context for art-and-tech incubators.\\ 311 311 + \textbf{McHugh, \emph{Post Internet} (2019)} --- Footprint, the post-internet-era aesthetic NEW INC programs intersect with.\\ 312 312 + \textbf{Plant, \emph{Zeros and Ones} (1997)} --- contemporaneous theory of the moment NEW INC reframes through a different vocabulary. 313 313 + 314 314 + \subsection{To acquire} 315 315 + 316 316 + \textbf{Christiane Paul, \emph{Digital Art}} --- standard reference; NEW INC appears across post-2014 editions.\\ 317 317 + \textbf{NEW INC alumni-impact reports} (where published).\\ 318 318 + \textbf{Lisa Phillips, retrospective interviews} on the founding rationale --- a rich vein of context likely available in 2026 retirement coverage.\\ 319 319 + \textbf{Salome Asega, \emph{NewCrits} talk and other interviews} --- ``culture gardening'' / ``reworlding'' framing.\\ 320 320 + \textbf{Karen Wong, programmatic writing} on the 2013 conception.\\ 321 321 + \textbf{The 2024 Advisory Council membership list} --- already announced via press release; pull required.\\ 322 322 + \textbf{The original Fast Company founding-cohort coverage}~\citep{fastcompany2014newinc}. 323 323 + 324 324 + \section{What this dossier is not} 325 325 + 326 326 + \begin{itemize} 327 327 + \item Not a thesis. There is no question being answered. 328 328 + \item Not a critique. The embedding problem (Section~\ref{sec:embedding}) is a fact about the data path; the funding record is surfaced, not judged. 329 329 + \item Not a comparison. Adjacent organizations (Eyebeam, Rhizome, SFPC, V2\_, Furtherfield, Ars Electronica) are mentioned only where they directly intersect NEW INC. 330 330 + \item Not exhaustive. The dossier covers what is publicly recoverable; gaps are flagged inline. The companion data folder (\texttt{papers/arxiv-new-inc/data/}) contains the underlying CSVs and source URLs. 331 331 + \item Not a personal account. The author has no commission or formal relationship with NEW INC recorded in this dossier. 332 332 + \end{itemize} 333 333 + 334 334 + \vspace{0.5em} 335 335 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 336 336 + 337 337 + \bibliographystyle{plainnat} 338 338 + \bibliography{references} 339 339 + 340 340 + \end{document}

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··· 1 1 + @misc{newinc2026site, 2 2 + author={{New Museum of Contemporary Art}}, 3 3 + title={NEW INC}, 4 4 + year={2026}, 5 5 + howpublished={\url{https://www.newmuseum.org/new-inc/}}, 6 6 + note={Accessed 2026-05-02} 7 7 + } 8 8 + 9 9 + @misc{wikipedia2026kaganskiy, 10 10 + author={{Wikipedia contributors}}, 11 11 + title={Julia Kaganskiy}, 12 12 + year={2026}, 13 13 + howpublished={\url{https://en.wikipedia.org/wiki/Julia_Kaganskiy}}, 14 14 + note={Accessed 2026-05-02} 15 15 + } 16 16 + 17 17 + @misc{wikipedia2026asega, 18 18 + author={{Wikipedia contributors}}, 19 19 + title={Salome Asega}, 20 20 + year={2026}, 21 21 + howpublished={\url{https://en.wikipedia.org/wiki/Salome_Asega}}, 22 22 + note={Accessed 2026-05-02} 23 23 + } 24 24 + 25 25 + @misc{wikipedia2026newmuseum, 26 26 + author={{Wikipedia contributors}}, 27 27 + title={New Museum}, 28 28 + year={2026}, 29 29 + howpublished={\url{https://en.wikipedia.org/wiki/New_Museum}}, 30 30 + note={Accessed 2026-05-02} 31 31 + } 32 32 + 33 33 + @misc{fastcompany2014newinc, 34 34 + author={Krasny, Jill}, 35 35 + title={The New Museum Brings Art, Tech, And Design Together With First Members Of Its NEW INC Incubator}, 36 36 + year={2014}, 37 37 + howpublished={\url{https://www.fastcompany.com/3030852/the-new-museum-brings-art-tech-and-design-together-with-first-members-of-its-new-inc-incubat}}, 38 38 + note={Accessed 2026-05-02} 39 39 + } 40 40 + 41 41 + @misc{knight2017newinc, 42 42 + author={{John S. and James L. Knight Foundation}}, 43 43 + title={NEW INC, the New Museum's cultural incubator expands scope, inviting applicants focused on using technology to increase audience engagement at museums}, 44 44 + year={2017}, 45 45 + month={4}, 46 46 + howpublished={\url{https://knightfoundation.org/press/releases/new-inc-the-new-museum-s-cultural-incubator-expands-inviting-applications-from-museum-professionals-focused-on-using-tech-to-engage-audiences/}}, 47 47 + note={\$250{,}000, Museum Tech Track. Accessed 2026-05-02} 48 48 + } 49 49 + 50 50 + @misc{mellon2022newinc, 51 51 + author={{Andrew W. Mellon Foundation}}, 52 52 + title={New Director Vision --- New Museum of Contemporary Art}, 53 53 + year={2022}, 54 54 + month={12}, 55 55 + howpublished={\url{https://www.mellon.org/grant-details/new-director-vision-20452850}}, 56 56 + note={\$1{,}500{,}000, 36 months, Arts and Culture. Supports Salome Asega's vision for NEW INC. Accessed 2026-05-02} 57 57 + } 58 58 + 59 59 + @misc{mellon2011newmuseum, 60 60 + author={{Andrew W. Mellon Foundation}}, 61 61 + title={Contemporary Art Scholarship --- New Museum of Contemporary Art}, 62 62 + year={2011}, 63 63 + month={3}, 64 64 + howpublished={\url{https://mellon.org/grants/grants-database/grants/new-museum-of-contemporary-art/11100605/}}, 65 65 + note={\$486{,}000, 36 months. Pre-NEW INC parent-org grant. Accessed 2026-05-02} 66 66 + } 67 67 + 68 68 + @misc{artnews2018pereira, 69 69 + author={Greenberger, Alex}, 70 70 + title={New Museum Names Stephanie Pereira Director of NEW INC, Its Art and Tech Incubator}, 71 71 + year={2018}, 72 72 + month={5}, 73 73 + howpublished={\url{http://www.artnews.com/2018/05/17/new-museum-names-stephanie-pereira-director-new-inc-art-tech-incubator/}}, 74 74 + note={Accessed 2026-05-02} 75 75 + } 76 76 + 77 77 + @misc{artforum2021asega, 78 78 + author={{Artforum}}, 79 79 + title={New Museum Taps Salome Asega to Lead Cultural Incubator NEW INC}, 80 80 + year={2021}, 81 81 + howpublished={\url{https://www.artforum.com/news/new-museum-taps-salome-asega-to-lead-cultural-incubator-new-inc-250207/}}, 82 82 + note={Accessed 2026-05-02} 83 83 + } 84 84 + 85 85 + @misc{culturedmag2024asega, 86 86 + author={{Cultured Magazine}}, 87 87 + title={For NEW INC Director Salome Asega, Creator of Rat-Shaped Monster Trucks and Afrofuturist Living Museums, the Stranger the Project the Better}, 88 88 + year={2024}, 89 89 + month={3}, 90 90 + howpublished={\url{https://www.culturedmag.com/article/2024/03/05/new-inc-director-salome-asega/}}, 91 91 + note={Accessed 2026-05-02} 92 92 + } 93 93 + 94 94 + @misc{rhizome2024y11, 95 95 + author={{Rhizome}}, 96 96 + title={Announcing the NEW INC Year 11 Art \& Code Cohort!}, 97 97 + year={2024}, 98 98 + month={9}, 99 99 + howpublished={\url{https://rhizome.org/editorial/2024/sep/10/announcing-the-new-inc-year-11-art-code-cohort/}}, 100 100 + note={Accessed 2026-05-02} 101 101 + } 102 102 + 103 103 + @misc{rhizome2025y12, 104 104 + author={{Rhizome}}, 105 105 + title={Announcing NEW INC's Y12 Art \& Code Cohort!}, 106 106 + year={2025}, 107 107 + month={9}, 108 108 + howpublished={\url{https://rhizome.org/editorial/2025/sep/02/announcing-new-incs-y12-art-code-cohort/}}, 109 109 + note={Accessed 2026-05-02} 110 110 + } 111 111 + 112 112 + @misc{newmuseum2025y12, 113 113 + author={{New Museum of Contemporary Art}}, 114 114 + title={NEW INC, New Museum's Cultural Incubator, Announces Twelfth Member Cohort for 2025--26}, 115 115 + year={2025}, 116 116 + howpublished={\url{https://www.newmuseum.org/press-release/new-inc-new-museums-cultural-incubator-announces-twelfth-member-cohort-for-2025-26/}}, 117 117 + note={Accessed 2026-05-02} 118 118 + } 119 119 + 120 120 + @misc{theartnewspaper2026expansion, 121 121 + author={{The Art Newspaper}}, 122 122 + title={The new New Museum: now with twice the space}, 123 123 + year={2026}, 124 124 + month={3}, 125 125 + howpublished={\url{https://www.theartnewspaper.com/2026/03/18/the-new-new-museum-now-with-twice-the-space}}, 126 126 + note={\$82M OMA expansion; Phillips retirement April 2026; NEW INC dedicated space. Accessed 2026-05-02} 127 127 + } 128 128 + 129 129 + @misc{eyebeam2026kaganskiy, 130 130 + author={Kaganskiy, Julia}, 131 131 + title={Message from Julia Kaganskiy}, 132 132 + year={2026}, 133 133 + month={4}, 134 134 + howpublished={\url{https://eyebeam.org/message-from-julia-kaganskiy/}}, 135 135 + note={Founding NEW INC Director announced as Eyebeam Executive Director. Accessed 2026-05-02} 136 136 + } 137 137 + 138 138 + @misc{propublica2026newmuseum, 139 139 + author={{ProPublica}}, 140 140 + title={New Museum Of Contemporary Art --- Nonprofit Explorer}, 141 141 + year={2026}, 142 142 + howpublished={\url{https://projects.propublica.org/nonprofits/organizations/132986881}}, 143 143 + note={EIN 13-2986881. Accessed 2026-05-02} 144 144 + } 145 145 + 146 146 + @misc{broadwayworld2015demo, 147 147 + author={{Broadway World}}, 148 148 + title={Inaugural NEW INC Demo Day, Interactive Showcase Set for the New Museum, 7/14}, 149 149 + year={2015}, 150 150 + month={6}, 151 151 + howpublished={\url{https://www.broadwayworld.com/article/Inaugural-NEW-INC-Demo-Day-Interactive-Showcase-Set-for-the-New-Museum-714-20150625}}, 152 152 + note={Accessed 2026-05-02} 153 153 + } 154 154 + 155 155 + @misc{core77newinc, 156 156 + author={{Core77}}, 157 157 + title={When Design, Art, Tech and Business Collide: 5 NEW INC Collaborative Projects to Watch}, 158 158 + year={2015}, 159 159 + howpublished={\url{https://www.core77.com/posts/39032/When-Design-Art-Tech-and-Business-Collide-5-NEW-INC-Collaborative-Projects-to-Watch}}, 160 160 + note={Accessed 2026-05-02} 161 161 + } 162 162 + 163 163 + @misc{ccc2021newinc, 164 164 + author={{Creativity, Culture and Capital}}, 165 165 + title={NEW INC: The first art/design tech incubator is a proven success}, 166 166 + year={2021}, 167 167 + month={1}, 168 168 + howpublished={\url{https://www.creativityculturecapital.org/blog/2021/01/09/new-inc-the-first-art-design-tech-incubator-is-a-proven-success/}}, 169 169 + note={Accessed 2026-05-02} 170 170 + } 171 171 + 172 172 + @misc{newinccreativescience, 173 173 + author={{New Museum of Contemporary Art}}, 174 174 + title={Creative Science --- NEW INC}, 175 175 + year={2026}, 176 176 + howpublished={\url{https://www.newinc.org/creativescience}}, 177 177 + note={Track sponsored by Simons Foundation. Accessed 2026-05-02} 178 178 + }

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··· 1 1 - Vertical-format cover illustration for a dossier titled "Pioneer Works." 2 2 - 3 3 - Subject: a cathedral-like cross-section of a 25,000-square-foot former iron works in Red Hook Brooklyn. A 19th-century red-brick industrial building, two stories tall with massive arched windows letting raking light onto the floor. Cast-iron columns. Forty-foot ceilings. Inside, a multi-disciplinary scene happening at once: at the left, two visual artists at glass-walled studios with paint-spattered work tables; at the center, scientists at chalkboards working through equations and orbital diagrams; at the right, two musicians with instruments (an upright bass, a small modular synth) at a recording booth. In the deep background, half-glimpsed, the signature glass-collage sculptures of the institution's founder — slabs of layered glass with miniature collage figures embedded inside. Through one tall window, a corner of a Brooklyn waterfront industrial neighborhood: a cobblestone street, a 19th-century hand-painted "PIONEER ST" street sign, a slice of harbor visible past a rusted gantry. The mood is studio-lived-in, warm afternoon light, no spectacle. 4 4 - 5 5 - Style: colored pencil illustration on cream paper, soft layered strokes, art-school sketchbook tone, no text, no logos, vertical composition. 1 1 + A single floating arched cathedral-window facade — one tall 19th-century red-brick industrial arched window rendered as a sculptural object hovering centered in the frame. Inside the arch, faintly visible, layered glass-collage shards (signature Yellin-style sculpture) are suspended in a vertical column, each shard containing a tiny abstract figure. Cast-iron column outlines flank the arch faintly. The arch is densely drawn with confident pencil strokes; the surrounding cream paper holds the form. Edges and corners fade fully into nothing.

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{pioneer-works-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Pioneer Works}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Genealogy, History, Programs, People, Money, Footprint --- 2012 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Pioneer Works}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 2012 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par ··· 141 162 \section{People} 142 163 143 164 \begin{table}[h] 144 144 - \small 165 165 + \footnotesize 145 166 \centering 146 146 - \begin{tabularx}{\columnwidth}{lXl} 167 167 + \setlength{\tabcolsep}{3pt} 168 168 + \begin{tabularx}{\columnwidth}{lXX} 147 169 \toprule 148 170 \textbf{Tenure} & \textbf{Top exec.} & \textbf{Title} \\ 149 171 \midrule

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··· 1 1 - A solitary programmer at a wooden desk in a converted Brooklyn loft, head down, deeply absorbed in a personal coding project. Dual monitors glowing softly with terminal text and a half-finished side project; a battered mechanical keyboard; coffee in a mismatched mug. Sticky notes everywhere --- on the monitor bezel, on the wall, on a corkboard --- in faded yellows, pinks, and pale blues, with tiny illegible scribbles suggesting half-formed ideas, paired-programming reminders, and to-do lists. A printed sheet pinned to the wall lists four short rules in plain sans-serif type, deliberately tacked at a slight angle as if just put up. Warm late-afternoon light through tall industrial windows, exposed brick, a single potted plant. Another programmer pair-programs quietly at a second desk in the soft-focus background. The mood is calm, focused, intentionally not-school: no podiums, no whiteboards full of equations, no rows of seats --- just two people working at the edge of their abilities. Colored pencil illustration on cream paper, soft layered strokes, art-school sketchbook tone, no text, no logos, vertical composition. 1 1 + A single floating laptop with its lid open at about 120 degrees, hovering centered in the frame. From the screen, a recursive nested-square pattern emerges — squares within squares within squares getting smaller and smaller, spiraling out toward the viewer. Sticky notes drift around the laptop like quiet satellites, slightly out of focus, fading toward the edges. The laptop itself is rendered with confident dense pencil strokes; the recursion-spiral has bright sharp inner squares fading to ghost outlines at the periphery. No keyboard letters readable. Centered composition, densest at the laptop and innermost squares, dissolving into nothing at the corners.

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{recurse-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Recurse Center}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Structure, History, Programs, People, Money, Footprint --- 2011 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Recurse Center}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Structure, History, Programs, People, Money, Footprint --- 2011 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par

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papers/arxiv-rhizome/figures/cover-prompt.txt

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··· 1 1 - A New York City computer-art office in early evening light. A vintage CRT monitor on a desk shows abstract geometric net-art patterns — colored bars, pixel forms — without any readable text. Beside the monitor, a stack of zines and a small sculptural object resembling a tangled cluster of cables that suggests a rhizome's underground spreading structure. A web-browser bookmark card with no legible writing pinned to a corkboard above the desk. A potted plant with thin trailing roots visible through a glass jar reaches toward the keyboard, echoing the rhizomatic theme. Through a tall window in the background: silhouettes of Manhattan rooftops at dusk, water towers, brick walls. The desk surface scattered with floppy disks, a film negative strip, and an open spiral notebook. The mood is archival and slightly nostalgic — a workspace dedicated to preserving born-digital art. The composition emphasizes the monitor as the focal point, framed by warm desk-lamp light against the cooler twilight outside. 1 1 + A single floating tangle of underground rhizome runners — sinuous root-like tendrils crisscrossing each other in a sculptural cluster that visually echoes a network-cable diagram or internet-topology graph. One small CRT-monitor silhouette nested in the dense center of the tangle, glowing with abstract pixel patterns (no readable text). The runners radiate outward and dissolve into wisps and faint sketch lines at the periphery. A few floppy-disk shapes drift near the edge, half-faded. The form sits centered in the frame, dense and dark in the middle, fading to nothing at the corners.

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papers/arxiv-rhizome/rhizome.tex

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{rhizome-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} Rhizome.org}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Rhizome.org}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 1996 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par ··· 141 162 \section{People} 142 163 143 164 \begin{table}[h] 144 144 - \small 165 165 + \footnotesize 145 166 \centering 146 146 - \begin{tabularx}{\columnwidth}{lXl} 167 167 + \setlength{\tabcolsep}{3pt} 168 168 + \begin{tabularx}{\columnwidth}{lXX} 147 169 \toprule 148 170 \textbf{Tenure} & \textbf{Director} & \textbf{Note} \\ 149 171 \midrule

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papers/arxiv-sfpc/figures/cover-prompt.txt

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··· 1 1 - A small Manhattan classroom converted from a studio space, late afternoon, sunlight slanting through tall industrial windows onto a long shared work table. Eight or nine students sit around the table, each with a laptop open, but the screens are turned away from view — the focus is on hands, posture, attention. One student is sketching circuit diagrams in a notebook. Another is soldering a small electronic component with a tabletop iron. A third is reading a thin photocopied zine. On the table: a few tangled patch cables, a small breadboard with LEDs, a coffee mug, a houseplant, a hand-bound book. On the back wall: a chalkboard or whiteboard with hand-drawn flowcharts, a printed schedule, a small print of a pixelated or geometric artwork — but no readable letters anywhere. A window looks out onto a Westbeth-style courtyard with another building's brick facade. The mood is intimate, focused, almost domestic — emphatically not a corporate classroom. Composition is wide enough to convey the small scale of the cohort and warm enough to convey the school's posture of "radical openness and generosity." The students are diverse and dressed casually. 1 1 + A single floating book opened to a 90-degree spread, hovering mid-air. The left page is a printed-circuit-board pattern with copper traces and small electronic components. The right page is handwritten cursive lines (no readable text — just suggestion of script). Where the two pages meet at the spine, gentle glowing strands cross between the circuit and the handwriting, blending the two sides. The book's edges fade into the cream paper. A small breadboard with a single LED rests just below the open book, slightly out of focus. The composition is centered, dense at the spine, dissolving into nothing at the corners.

papers/arxiv-sfpc/figures/qr.png

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papers/arxiv-sfpc/sfpc.tex

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··· 32 32 \usepackage{fancyhdr} 33 33 \usepackage{hyperref} 34 34 \usepackage{graphicx} 35 35 + \usepackage{tikz} 35 36 \graphicspath{{figures/}{../../papers/arxiv-ac/figures/}} 36 37 \usepackage{ragged2e} 37 38 \usepackage{microtype} ··· 72 73 % --- paper metadata (created/revision shown on cover) --- 73 74 \newcommand{\papercreated}{2026-05-02} 74 75 \newcommand{\paperrevision}{1} 76 76 + \newcommand{\papersitename}{sfpc-dossier-26-arxiv} 77 77 + \newcommand{\paperurl}{https://papers.aesthetic.computer/\papersitename.pdf} 75 78 76 79 \begin{document} 77 80 78 81 \twocolumn[{% 79 79 - \noindent\hfill\raisebox{-1.2em}[0pt][0pt]{\includegraphics[height=3.5em]{pals}}\par\vspace{-2.6em} 82 82 + % Top header row: pals (left) + QR + label (right) 83 83 + \noindent 84 84 + \begin{minipage}[t]{0.5\textwidth}\raggedright 85 85 + \includegraphics[height=3em]{pals} 86 86 + \end{minipage}% 87 87 + \begin{minipage}[t]{0.5\textwidth}\raggedleft 88 88 + \begin{tabular}{@{}r@{}} 89 89 + {\footnotesize\acbold\color{acpink} \,\,Read this paper now!}\\[0.18em] 90 90 + \href{\paperurl}{\includegraphics[height=2.4cm]{figures/qr}} 91 91 + \end{tabular} 92 92 + \end{minipage}\par 93 93 + \vspace{0.4em} 94 94 + 95 95 + % Hero illustration with title floating over the bottom vignette 80 96 \begin{center} 81 81 - \includegraphics[height=15em]{figures/cover}\par\vspace{0.6em} 82 82 - {\acbold\fontsize{22pt}{26pt}\selectfont\color{acdark} School for Poetic Computation}\par 83 83 - \vspace{0.2em} 84 84 - {\aclight\fontsize{11pt}{13pt}\selectfont\color{acpink} A Dossier}\par 85 85 - \vspace{0.3em} 86 86 - {\aclight\fontsize{9pt}{11pt}\selectfont\color{acgray} Structure, History, Programs, People, Money, Footprint --- 2013 to 2026}\par 87 87 - \vspace{0.6em} 97 97 + \begin{tikzpicture} 98 98 + \node[inner sep=0pt] (cover) at (0,0) {\includegraphics[width=0.86\textwidth]{figures/cover}}; 99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut School for Poetic Computation}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Structure, History, Programs, People, Money, Footprint --- 2013 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 88 109 {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 89 110 {\small\color{acgray} Aesthetic.Computer}\par 90 111 {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par

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papers/arxiv-studio-museum/ac-paper-layout.sty

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··· 1 1 + % ac-paper-layout.sty — Aesthetic Computer paper layout master template 2 2 + % Usage: \usepackage{ac-paper-layout} in each arxiv-* paper 3 3 + % 4 4 + % This package provides the shared visual identity for all AC working drafts: 5 5 + % - AC color palette 6 6 + % - YWFT Processing font commands (\acbold, \aclight) 7 7 + % - Draft watermark in Processing Light font 8 8 + % - Pals logo watermark (top-left, rotated, semi-opaque) 9 9 + % - Section/subsection formatting 10 10 + % - Header/footer (draft notice + page numbers) 11 11 + % - List and paragraph settings 12 12 + % - \ac command for "Aesthetic Computer" small caps 13 13 + % 14 14 + % Papers still define their own: 15 15 + % - \hypersetup{pdftitle=...} 16 16 + % - \graphicspath{...} 17 17 + % - Additional \newcommand macros (e.g. \wg, \acos) 18 18 + % - Extra packages (listings, multicol, etc.) 19 19 + % - Extra font families (ComicRelief for KidLisp, etc.) 20 20 + 21 21 + \NeedsTeXFormat{LaTeX2e} 22 22 + \ProvidesPackage{ac-paper-layout}[2026/03/16 Aesthetic Computer paper layout] 23 23 + 24 24 + % === FONTS === 25 25 + % Requires fontspec (loaded by the document before this package) 26 26 + \newfontfamily\acbold{ywft-processing-bold}[ 27 27 + Path=../../system/public/type/webfonts/, 28 28 + Extension=.ttf 29 29 + ] 30 30 + \newfontfamily\aclight{ywft-processing-light}[ 31 31 + Path=../../system/public/type/webfonts/, 32 32 + Extension=.ttf 33 33 + ] 34 34 + 35 35 + % === COLORS (AC palette) === 36 36 + \definecolor{acpink}{RGB}{180,72,135} 37 37 + \definecolor{acpurple}{RGB}{120,80,180} 38 38 + \definecolor{acdark}{RGB}{64,56,74} 39 39 + \definecolor{acgray}{RGB}{119,119,119} 40 40 + \definecolor{draftcolor}{RGB}{180,72,135} 41 41 + 42 42 + % === DRAFT WATERMARK (Processing font + pals logo) === 43 43 + \RequirePackage{eso-pic} 44 44 + \RequirePackage{tikz} 45 45 + \AddToShipoutPictureBG{% 46 46 + \begin{tikzpicture}[remember picture, overlay] 47 47 + % --- Pals logo: large, top-left, rotated, semi-opaque, bleeding off edge --- 48 48 + \node[opacity=0.06, anchor=north west, rotate=-15] 49 49 + at ([xshift=-1.2cm, yshift=1.2cm]current page.north west) 50 50 + {\includegraphics[width=10cm]{pals}}; 51 51 + % --- "WORKING DRAFT" text in Processing Light font --- 52 52 + \node[opacity=0.12, rotate=45, anchor=center] 53 53 + at (current page.center) 54 54 + {{\aclight\fontsize{2.5cm}{3cm}\selectfont\color{acpink} WORKING DRAFT}}; 55 55 + \end{tikzpicture}% 56 56 + } 57 57 + 58 58 + % === SECTION FORMATTING === 59 59 + \RequirePackage{titlesec} 60 60 + \titleformat{\section} 61 61 + {\normalfont\bfseries\normalsize\uppercase} 62 62 + {\thesection.} 63 63 + {0.5em} 64 64 + {} 65 65 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 66 66 + 67 67 + \titleformat{\subsection} 68 68 + {\normalfont\bfseries\small} 69 69 + {\thesubsection} 70 70 + {0.5em} 71 71 + {} 72 72 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 73 73 + 74 74 + % === HEADER/FOOTER === 75 75 + \RequirePackage{fancyhdr} 76 76 + \pagestyle{fancy} 77 77 + \fancyhf{} 78 78 + \renewcommand{\headrulewidth}{0pt} 79 79 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 80 80 + \fancyfoot[C]{\footnotesize\thepage} 81 81 + 82 82 + % === LIST SETTINGS === 83 83 + \RequirePackage{enumitem} 84 84 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 85 85 + \setlist[enumerate]{nosep, leftmargin=1.2em} 86 86 + 87 87 + % === PARAGRAPH SETTINGS === 88 88 + \setlength{\columnsep}{1.8em} 89 89 + \setlength{\parindent}{1em} 90 90 + \setlength{\parskip}{0.3em} 91 91 + 92 92 + % === HYPERREF COLORS === 93 93 + \RequirePackage{hyperref} 94 94 + \hypersetup{ 95 95 + colorlinks=true, 96 96 + linkcolor=acpurple, 97 97 + urlcolor=acpurple, 98 98 + citecolor=acpurple, 99 99 + } 100 100 + 101 101 + % === COMMON COMMANDS === 102 102 + \newcommand{\ac}{\textsc{Aesthetic Computer}} 103 103 + \newcommand{\acdot}{{\color{acpink}.}} 104 104 + 105 105 + \endinput

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papers/arxiv-studio-museum/data/README.md

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··· 1 1 + # arxiv-studio-museum / data — first-pass record pull 2 2 + 3 3 + First-pass dossier data assembled 2026-05-02. The Studio Museum in Harlem (EIN 13-2590805) is a Manhattan-based 501(c)(3) public charity, founded 1968, with FY ending June 30. All numbers are sourced; gaps and TBDs are flagged inline rather than guessed. 4 4 + 5 5 + ## Files 6 6 + 7 7 + - `financials.csv` — Form 990 line items per fiscal year, FY2011–FY2024. Source: ProPublica Nonprofit Explorer for EIN 13-2590805. 8 8 + - `people.csv` — Founders (1968), full director lineage from Inniss to Golden, current 2026 board of trustees. 9 9 + - `funders.csv` — Institutional and named individual funders. 10 10 + - `grants.csv` — Named grants TO the Studio Museum, with dates and amounts where confirmed (Mellon $10M 2022, Ford $10M 2024, NYC $62M, MacKenzie Scott 2021 undisclosed). 11 11 + - `programs.csv` — All programs identified, with launch year, status, principal funders. 12 12 + - `residents.csv` — Artist-in-Residence alumni from the Wikipedia AIR table (well-documented from 1979 onward) plus the 2026 cohort and notable named alumni from museum press. 13 13 + - `timeline.csv` — 1968 → 2026 chronology of leadership, programs, exhibitions, building, funding. 14 14 + - `locations.csv` — Original 2033 Fifth Ave loft (1968–1981) → 144 W 125th (1982–2018) → diaspora period (2018–2025) → new Adjaye-designed building (2025–). 15 15 + 16 16 + ## What's solid 17 17 + 18 18 + - **Form 990 line items** FY2011–FY2024 (14 fiscal years) from ProPublica. Net assets grew from $9.6M (FY2011) to $244.8M (FY2024). Three revenue peaks correspond to capital-campaign milestones: FY2018 ($61.7M), FY2021 ($40.5M), FY2022 ($59.9M). 19 19 + - **Director lineage**: Inniss (1968–69) → Spriggs (1969–75) → Callender (1975–77) → Campbell (1977–2000, museum-recorded) → Sims (2000–05) → Golden (2005–present). Conwill served as deputy / acting director through the late 1980s and 1990s. 20 20 + - **Founders** confirmed by museum's own history page: Eleanor Holmes Norton, Carter Burden, Charles E. Inniss, Campbell Wylly, Betty Blayton-Taylor, Frank Donnelly. Mahler B. Ryder served as founding secretary. 21 21 + - **Mellon Foundation grants**: $10M in December 2022 for Capital Campaign (Presidential Initiatives line) per Mellon's grants database, plus a multi-decade pattern of Curatorial Fund grants (Phases I, II, III), Critical Collections, Collections Management, VanDerZee Collection, Sustainability Plan, and Art Museum Futures Fund grants. The Met received a parallel $2M Mellon grant in 2022 for the joint Met-SMH James Van Der Zee Archive initiative. 22 22 + - **Ford Foundation $10M**: October 2024 announcement, permanently endowing the position of Director and Chief Curator (now styled "Ford Foundation Director and Chief Curator"). Announced at Studio Museum Gala on Thelma Golden's 20th anniversary. 23 23 + - **MacKenzie Scott 2021**: Confirmed as a recipient of Scott's June 2021 $2.74B disbursement; specific amount not disclosed by the museum. 24 24 + - **Capital campaign aggregate $300M+** raised for the new building project (per museum's 2025 reopening release). City of New York contributed $62M. 25 25 + - **Adjaye separation**: July 2023, the Studio Museum severed ties with David Adjaye personally following the Financial Times report; Adjaye Associates' NYC office continued under Pascale Sablan. 26 26 + - **New building**: 82,000 sq ft, 7 floors, ~17,000 sq ft exhibition space, opened 15 November 2025. Inaugural exhibition: Tom Lloyd retrospective. The new AIR studios are named the J. Bruce Llewellyn Artist in Residence Center. 27 27 + - **F-shows**: All five exhibitions in the F-show series confirmed: Freestyle (2001), Frequency (2005), Flow (2008), Fore (2012), Fictions (2017). 28 28 + - **Joyce Alexander Wein Artist Prize** (2006–) recipients confirmed for most years 2006–2025. 29 29 + - **2026 AIR cohort**: Derriann Pharr, Simonette Quamina, Taylor Simmons — first to occupy the J. Bruce Llewellyn AIR Center. 30 30 + - **Studio magazine**: Founded 2005; biannual; AAM 2015 first prize. 31 31 + 32 32 + ## What's known but not fully quantified 33 33 + 34 34 + - **Mellon grant amounts beyond the 2022 $10M**: Multiple Curatorial Fund, Critical Collections, Sustainability, VDZ, and Collections Management grants exist in the Mellon database. Per-grant amounts and exact dates need direct examination of each Mellon grant detail page; the Curatorial Fund Phase II $1M (December 2017) and Phase I (~2011) are confirmed at $1M each. 35 35 + - **AIR alumni 1969–1978**: The first decade of residents is poorly indexed in public sources (Wikipedia's AIR table starts at Louis Delsarte 1979–80). Tom Lloyd is confirmed as the inaugural 1969 resident. The 1970s decade requires direct examination of museum archives. The dossier brief at intake referenced AIR cohort naming conventions (F, X, H, Inheritance) — these terms map to F-shows (which are *not* AIR culminating exhibitions but separate thematic surveys); X-show, H-show, and "Inheritance" exhibition terminology was *not* confirmed in this draft pass. 36 36 + - **Government grants** (NEA, NYSCA, IMLS, NYC DCLA): confirmed as recurring; year-by-year amounts TBD. 37 37 + - **Pre-FY2011 financials**: ProPublica has earlier filings (back to FY2002 in principle); not yet pulled. 38 38 + - **Schedule J officer compensation breakdown** for Thelma Golden: visible in 990s but not yet extracted. 39 39 + - **2018 Peggy Cooper Cafritz bequest**: 400+ contemporary works added to permanent collection; complete accession list not in this pass. 40 40 + 41 41 + ## What's missing entirely (not yet attempted) 42 42 + 43 43 + - **Capital campaign full donor list with amounts**: The "Creating Space" campaign closed at $300M+, but only a handful of donors are publicly named (NYC $62M, Mellon $10M, Ford $10M, plus various corporate sponsors). The donor wall and the museum's annual reports would surface the full breakdown — including the **claimed Fred Eychaner $25M lead gift** referenced in the dossier brief, which could not be confirmed in any public source on this draft pass. 44 44 + - **Renaming to "Studio Museum 125"**: Referenced in the dossier brief at intake; not present in any 2025–2026 press materials reviewed. The current name remains "The Studio Museum in Harlem." 45 45 + - **Pre-2017 990 XMLs** (Schedule G, Schedule J, Schedule R details). 46 46 + - **Full Studio magazine archive** (issue-by-issue table of contents). 47 47 + - **Year-by-year exhibition list** beyond the F-shows and AIR culminating exhibitions. 48 48 + 49 49 + ## Data quality notes 50 50 + 51 51 + - Fiscal year ends June 30 — "FY2018" means July 2017–June 2018. 52 52 + - The museum's own historical timeline lists Mary Schmidt Campbell's directorship as 1977–2000. Wikipedia and other secondary sources frequently date her departure to 1987 (the year she became NYC Cultural Affairs Commissioner under Mayor Koch). The discrepancy is likely a difference between her full title-of-record (chief executive officer) and her active operational tenure. Kinshasha Holman Conwill served as deputy director / acting director from 1988 onwards. This dossier follows the museum's own dating but flags the variance. 53 53 + - The dossier brief at intake referenced founder "Edward Spriggs" as the first director. Spriggs was the *second* director (1969–1975), not the first. Charles E. Inniss was the founding director. 54 54 + - The dossier brief at intake stated the Mellon gift as "$5M (2018)". Mellon's own grants database records the Capital Campaign grant as $10M dated 8 December 2022. This dossier follows Mellon's database. 55 55 + - The dossier brief at intake referenced a $25M lead gift from Fred Eychaner. This could not be confirmed in any publicly available source reviewed — Eychaner does not appear in the 2025 reopening press materials, the 2021 Art Newspaper capital-campaign coverage, or the Wikipedia article on Eychaner himself. The figure is recorded in `grants.csv` and `funders.csv` as TBD / unverified. 56 56 + 57 57 + ## Source URLs 58 58 + 59 59 + - ProPublica record: https://projects.propublica.org/nonprofits/organizations/132590805 60 60 + - Wikipedia: https://en.wikipedia.org/wiki/Studio_Museum_in_Harlem 61 61 + - Studio Museum history: https://www.studiomuseum.org/history 62 62 + - Studio Museum board: https://www.studiomuseum.org/board-of-trustees 63 63 + - Studio Museum AIR program: https://www.studiomuseum.org/residency 64 64 + - Wein Prize: https://www.studiomuseum.org/wein-prize 65 65 + - The Building: https://www.studiomuseum.org/the-building 66 66 + - 2025 opening press release: https://www.studiomuseum.org/press/studio-museum-in-harlem-opens-to-the-public-on-saturday-november-15 67 67 + - 2024 Ford endowment press release: https://www.studiomuseum.org/press/ford-foundation-endows-position-of-director-and-chief-curator 68 68 + - 2021 MacKenzie Scott press release: https://www.studiomuseum.org/press/the-studio-museum-in-harlem-awarded-endowment-gift-from-mackenzie-scott 69 69 + - Mellon 2022 capital grant: https://www.mellon.org/grant-details/capital-campaign-20449604 70 70 + - The Art Newspaper 2021 coverage: https://www.theartnewspaper.com/2021/10/28/studio-museum-in-harlem-marks-milestone-in-construction-of-new-home 71 71 + - ARTnews on Adjaye separation: https://www.artnews.com/art-news/news/studio-museum-in-harlem-cuts-ties-david-adjaye-shelburne-museum-1234673549/

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papers/arxiv-studio-museum/data/financials.csv

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··· 1 1 + fiscal_year_end,filing_status,total_revenue,contributions_grants,program_service_revenue,total_expenses,officer_compensation,total_assets,total_liabilities,net_assets,source 2 2 + 2011-06,filed,5757895,4003836,71643,4808127,206693,10640545,1063818,9576727,ProPublica EIN 13-2590805 3 3 + 2012-06,filed,4845383,3085801,74042,5266181,408388,10250604,1210199,9040405,ProPublica EIN 13-2590805 4 4 + 2013-06,filed,6703088,4499968,99107,5316271,386744,12016128,1585942,10430186,ProPublica EIN 13-2590805 5 5 + 2014-06,filed,9611899,7686926,89029,5723286,381594,16991716,2388098,14603618,ProPublica EIN 13-2590805 6 6 + 2015-06,filed,7100072,4757133,224420,6351044,437456,17084971,2156085,14928886,ProPublica EIN 13-2590805 7 7 + 2016-06,filed,18501821,16245379,114369,7054205,455239,28079268,1687908,26391360,ProPublica EIN 13-2590805 8 8 + 2017-06,filed,31021557,28640744,135800,7761083,457975,51997580,2300405,49697175,ProPublica EIN 13-2590805 9 9 + 2018-06,filed,61730334,59783251,47868,9173832,424818,103832196,1423595,102408601,ProPublica EIN 13-2590805 10 10 + 2019-06,filed,17946629,17853024,2600,12454332,457670,109197151,835768,108361383,ProPublica EIN 13-2590805 11 11 + 2020-06,filed,14931743,11906180,6250,10615641,658509,115376323,1297853,114078470,ProPublica EIN 13-2590805 12 12 + 2021-06,filed,40471884,38093942,0,11496543,560116,153708532,8596479,145112053,ProPublica EIN 13-2590805 13 13 + 2022-06,filed,59914680,57770204,72000,13414272,1222054,196634585,13746362,182888223,ProPublica EIN 13-2590805 14 14 + 2023-06,filed,47220609,42821762,271955,16164729,1564012,254906032,39217088,215688944,ProPublica EIN 13-2590805 15 15 + 2024-06,filed,43385519,38443941,217590,17603871,1326455,300541938,55761521,244780417,ProPublica EIN 13-2590805

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papers/arxiv-studio-museum/data/funders.csv

reviewed

··· 1 1 + funder,type,years,amount_usd_total,program_supported,notes,source 2 2 + Mellon Foundation,foundation,~2010-2025,multiple,"Curatorial Fund (I, II, III); Critical Collections; Collections Management; VanDerZee Collection; Capital Campaign","Multi-decade institutional partner; per-grant amounts in grants.csv",mellon.org grants database 3 3 + Ford Foundation,foundation,2024,10000000,Endowment of Director and Chief Curator position,Position now styled Ford Foundation Director and Chief Curator,studiomuseum.org/press 2024-10 4 4 + City of New York / NYC DCLA,government,(ongoing through campaign),62000000,Capital campaign for new building,Largest single source for new building,The Art Newspaper 2021 5 5 + MacKenzie Scott,individual,2021,(undisclosed),Endowment,"Part of $2.74B 2021 disbursement; specific amount not published by museum",studiomuseum.org/press 2021-06 6 6 + NYSCA,government,(recurring),TBD,General operations / programming,New York State Council on the Arts; recurring funder including 2025 inaugural support,studiomuseum.org/press 7 7 + NYC Department of Cultural Affairs,government,(recurring),TBD,Cultural Affairs base support + capital,Recurring,studiomuseum.org/press 8 8 + NEA,government,(recurring),TBD,Programs,Recurring funder; specific entries TBD,inferred 9 9 + Andy Warhol Foundation,foundation,(recurring),TBD,Visual Arts,Supported Tom Lloyd 2025 inaugural exhibition; recurring,studiomuseum.org/press 10 10 + Henry Luce Foundation,foundation,2025,TBD,Inaugural exhibitions and publications,Major support for 2025 reopening exhibitions,studiomuseum.org/press 2025-11 11 11 + Bank of America,corporate,2025,TBD,Lead opening + inaugural exhibitions sponsor,Lead opening sponsor,studiomuseum.org/press 2025-11 12 12 + Holly Peterson Foundation,foundation,2025,TBD,Tom Lloyd 2025 exhibition,Trustee Holly Peterson's family foundation,studiomuseum.org/press 2025-11 13 13 + Robert Lehman Foundation,foundation,2025,TBD,AIR alumni installation grant,Artist-in-Residence alumni installation,studiomuseum.org/press 2025-11 14 14 + MetLife Foundation,corporate,2025,TBD,Community Day support,Reopening Community Day,studiomuseum.org/press 2025-11 15 15 + Movado Group Foundation,corporate,2025,TBD,Community Day support,Reopening Community Day,studiomuseum.org/press 2025-11 16 16 + Art Bridges,foundation,2025,TBD,Studio Sundays programming,,studiomuseum.org/press 2025-11 17 17 + Terra Foundation for American Art,foundation,2025,TBD,Collection handbook,,studiomuseum.org/press 2025-11 18 18 + Glenstone Foundation,foundation,(recurring),TBD,Artist-in-Residence Program,2026 cohort funded by Glenstone,studiomuseum.org/press 2026 19 19 + Jerome Foundation,foundation,(recurring),TBD,Artist-in-Residence Program,Recurring AIR funder,jeromefdn.org 20 20 + Joyce Alexander Wein Endowment / George Wein,individual / family,2006-,(undisclosed),Joyce Alexander Wein Artist Prize,$50K annual prize since 2006,studiomuseum.org/wein-prize 21 21 + Target Corporation,corporate,2009-,TBD,Target Free Sundays,Naming sponsor of free-admission program,studiomuseum.org 22 22 + Rockefeller Brothers Fund,foundation,(historical),TBD,Founding-era support,Listed RBF as historical supporter,rbf.org 23 23 + Peggy Cooper Cafritz (estate),individual / bequest,2018,(in-kind),Bequest of 400+ contemporary artworks to permanent collection,Major collection bequest,studiomuseum.org 24 24 + IMLS,government,(recurring),TBD,General museum operations,Recurring federal funding,inferred 25 25 + Fred Eychaner,individual,(claimed lead gift),(unverified),Capital campaign (per intake brief),"NOT CONFIRMED in public record on this draft pass; not on Wikipedia donor lists or museum press materials reviewed",TBD

+17

papers/arxiv-studio-museum/data/grants.csv

reviewed

··· 1 1 + funder,date,amount_usd,program_area,project,term_months,source_url,notes 2 2 + Mellon Foundation,2022-12-08,10000000,Presidential Initiatives,Capital Campaign (new building construction),24,https://www.mellon.org/grant-details/capital-campaign-20449604,Confirmed via Mellon Foundation grants database 3 3 + Mellon Foundation,~2011,1000000,Curatorial Fund,Curatorial research fund (Phase I),,https://www.mellon.org/grant-details/curatorial-fund-8888,Phase I per Mellon database; ~$1M 4 4 + Mellon Foundation,~2014,1000000,Curatorial Fund Phase II,Curatorial research and fellowship continuation,,https://www.mellon.org/grant-details/curatorial-fund-phase-ii-10633,~$1M Phase II per Mellon database 5 5 + Mellon Foundation,2017-12,1000000,Curatorial Fund Phase II,Curatorial initiatives and off-site public programs,,https://mellon.org/grants/grants-database/grants/studio-museum-in-harlem-inc/31400616/,$1M Phase II December 2017 6 6 + Mellon Foundation,(date TBD),TBD,Curatorial Fund Phase III,Curatorial Fund continuation,,https://www.mellon.org/grant-details/curatorial-fund-phase-iii-20444169,Phase III; amount TBD 7 7 + Mellon Foundation,2018-07,TBD,Sustainability Plan,Studio Museum Sustainability Plan,,https://mellon.org/grants/grants-database/grants/studio-museum-in-harlem-inc/1807-06030/,Pre-COVID sustainability planning grant 8 8 + Mellon Foundation,2020-07-10,TBD,Art Museum Futures Fund,Art Museum Futures Fund,,https://www.mellon.org/grant-details/art-museum-futures-fund-20447455,COVID-era museum stabilization grant 9 9 + Mellon Foundation,(date TBD),TBD,Critical Collections,Critical Collections initiative,,https://www.mellon.org/grant-details/critical-collections-20447639,Mellon Critical Collections cohort 10 10 + Mellon Foundation,(date TBD),TBD,Collections Management,Collections Management,,https://www.mellon.org/grant-details/collections-management-12658, 11 11 + Mellon Foundation,(date TBD),TBD,VanDerZee Collection,Conservation and access for VanDerZee Archive,,https://www.mellon.org/grant-details/vanderzee-collection-836,Multi-year support for VDZ archive 12 12 + Mellon Foundation -> Met Museum (partner grant),2022,2000000,Arts and Culture,James Van Der Zee Archive partnership,,https://www.metmuseum.org/press/news/2022/grant-from-the-mellon-foundation,Granted to the Met to support joint Met-SMH James Van Der Zee initiative 13 13 + Ford Foundation,2024-10,10000000,Endowment,Permanent endowment of Director and Chief Curator position,,https://www.studiomuseum.org/press/ford-foundation-endows-position-of-director-and-chief-curator,Announced Oct 2024 at Studio Museum Gala on Thelma Golden's 20th anniversary 14 14 + City of New York / NYC DCLA,(across campaign),62000000,Capital campaign,Capital campaign for new building,,,Reported in The Art Newspaper 2021 capital campaign coverage 15 15 + MacKenzie Scott,2021-06,(undisclosed),Endowment,General endowment,,https://www.studiomuseum.org/press/the-studio-museum-in-harlem-awarded-endowment-gift-from-mackenzie-scott,Specific amount not disclosed by museum 16 16 + 2025 Pre-Opening Gala (event),2025-11,3700000,Operations,Pre-opening gala fundraising,,https://www.studiomuseum.org/press/studio-museum-in-harlem-opens-to-the-public-on-saturday-november-15,Over $3.7M gross at pre-opening gala 17 17 + Fred Eychaner (claimed lead gift),(unverified),25000000,(claimed) Capital campaign,(claimed) Lead individual gift for new building,,,"NOT CONFIRMED in public record on this draft pass; intake brief listed; could not corroborate via Wikipedia / press releases / Eychaner Wikipedia page; flagged TBD pending donor wall review"

+6

papers/arxiv-studio-museum/data/locations.csv

reviewed

··· 1 1 + period,address,owner_or_host,square_footage,notes,source 2 2 + 1968-1981,2033 Fifth Avenue (at 125th Street) New York NY 10035,Rented loft above commercial street level,~2000-3000 (estimate),"Inaugural location; second floor; loft above a liquor store",studiomuseum.org/history / Wikipedia 3 3 + 1981-1982,144 W 125th Street Manhattan NY 10027,Studio Museum (donated by NY Bank of Savings 1979),(under renovation),"Renovation period under J. Max Bond Jr.; building was former NY Bank of Savings",studiomuseum.org/history 4 4 + 1982-2018,144 W 125th Street Manhattan NY 10027,Studio Museum (owned),~60000 (with later additions),"Bank-conversion home for 36 years; sculpture garden 1995; multiple expansions",studiomuseum.org/history 5 5 + 2018-2025,(no permanent home; offsite programming),"various — MoMA PS1 (AIR), Met (VDZ Archive), inHarlem outdoor sites",N/A,"Closure period during demolition and construction",studiomuseum.org 6 6 + 2025-,144 W 125th Street Manhattan NY 10027,Studio Museum (owned),82000 sq ft / 7 floors,"Purpose-built ground-up Adjaye / Cooper Robertson design; 5 floors exhibition (~17000 sq ft); roof terrace; J. Bruce Llewellyn Artist in Residence Center; opened 15 Nov 2025",studiomuseum.org/press 2025-11

+56

papers/arxiv-studio-museum/data/people.csv

reviewed

··· 1 1 + name,role,start_year,end_year,notes,source 2 2 + Eleanor Holmes Norton,Founder / Founding Trustee,1968,,Civil-rights lawyer; later DC Delegate to Congress,studiomuseum.org/history 3 3 + Carter Burden,Founder / Founding Trustee,1968,,NYC Councilman; bibliophile,studiomuseum.org/history 4 4 + Charles E. Inniss,Founder / Founding Director,1968,1969,Insurance executive,studiomuseum.org/history 5 5 + Campbell Wylly,Founder / Founding Trustee,1968,,Banker,studiomuseum.org/history 6 6 + Betty Blayton-Taylor,Founder / Founding Trustee,1968,,Artist; first African-American woman trustee Art Students League,studiomuseum.org/history 7 7 + Frank Donnelly,Founder / Founding Trustee,1968,,,studiomuseum.org/history 8 8 + Mahler B. Ryder,Founding Secretary,1968,,Painter,studiomuseum.org/history 9 9 + William T. Williams,AIR Program founding artist,1968,,Proposed the Studio Program / AIR in 1968; launched 1969,studiomuseum.org/residency 10 10 + Tom Lloyd,First Artist-in-Residence,1969,1970,Subject of inaugural exhibition Electronic Refractions II (Sept 1968),studiomuseum.org/history 11 11 + Edward S. Spriggs,Director,1969,1975,Poet / painter / filmmaker; Black Arts Movement,studiomuseum.org/history 12 12 + Courtney Callender,Director,1975,1977,,studiomuseum.org/history 13 13 + Mary Schmidt Campbell,Director,1977,2000,Led move to 144 W 125th; later Vartan Gregorian Professor at NYU and dean Tisch,studiomuseum.org/history 14 14 + Kinshasha Holman Conwill,Deputy / Acting Director,1988,1999,Later founding Deputy Director of NMAAHC at Smithsonian,multiple 15 15 + Lowery Stokes Sims,Director,2000,2005,Ex-Met curator; later director Museum of Arts and Design,studiomuseum.org/history 16 16 + Thelma Golden,Director and Chief Curator,2005,,Now styled Ford Foundation Director and Chief Curator (Oct 2024),studiomuseum.org/history 17 17 + J. Max Bond Jr.,Architect (1981 renovation),1981,1982,Architect of 144 W 125th conversion from former bank,multiple 18 18 + David Adjaye,Architect (new building),2015,2023,Lead designer until July 2023 separation,FT 2023 19 19 + Pascale Sablan,NYC Office CEO Adjaye Associates,2023,2025,Project lead 2023-2025; shepherded new building to completion,Designboom 2025 20 20 + Kathryn C. Chenault,Board Chair,,,Current chair (2026),studiomuseum.org/board 21 21 + Raymond J. McGuire,Chair Emeritus,,,Former chair; investment banker,studiomuseum.org/board 22 22 + Anita Blanchard,Vice-Chair,,,,studiomuseum.org/board 23 23 + Damien R. Dwin,Vice-Chair,,,,studiomuseum.org/board 24 24 + Carol Sutton Lewis,Vice-Chair,,,,studiomuseum.org/board 25 25 + Rodney M. Miller Sr.,Treasurer,,,,studiomuseum.org/board 26 26 + Jacqueline L. Bradley,Secretary,,,,studiomuseum.org/board 27 27 + Henry Louis Gates Jr.,Trustee,,,Harvard professor; cultural historian,studiomuseum.org/board 28 28 + Holly Peterson,Trustee,,,Funded Tom Lloyd inaugural exhibition through Holly Peterson Foundation,studiomuseum.org/board + 2025 press 29 29 + Bernard I. Lumpkin,Trustee,,,Collector; author Young Gifted and Black,studiomuseum.org/board 30 30 + Gordon J. Davis Esq.,Trustee,,,,studiomuseum.org/board 31 31 + Reginald Van Lee,Legacy Trustee,,,,studiomuseum.org/board 32 32 + George L. Knox,Legacy Trustee,,,,studiomuseum.org/board 33 33 + Andrew Marks,Trustee,,,,studiomuseum.org/board 34 34 + Suzanne McFayden,Trustee,,,,studiomuseum.org/board 35 35 + Michael L. Lomax,Trustee,,,President United Negro College Fund,studiomuseum.org/board 36 36 + Joan S. Davidson,Trustee,,,,studiomuseum.org/board 37 37 + Sandra Grymes,Trustee,,,,studiomuseum.org/board 38 38 + Natasha A. Holiday,Trustee,,,,studiomuseum.org/board 39 39 + Arthur J. Humphrey Jr.,Trustee,,,,studiomuseum.org/board 40 40 + Russ Hutchinson,Trustee,,,,studiomuseum.org/board 41 41 + C.C. Melvin Ike,Trustee,,,,studiomuseum.org/board 42 42 + Nicholas Antoine,Trustee,,,,studiomuseum.org/board 43 43 + Laura Day Baker,Trustee,,,,studiomuseum.org/board 44 44 + Peter A. Boyce II,Trustee,,,,studiomuseum.org/board 45 45 + Amelia Ogunlesi,Trustee,,,,studiomuseum.org/board 46 46 + Victoria Rogers,Trustee,,,,studiomuseum.org/board 47 47 + Troy Taylor,Trustee,,,,studiomuseum.org/board 48 48 + Ann G. Tenenbaum,Trustee,,,,studiomuseum.org/board 49 49 + Lise Wilks,Trustee,,,,studiomuseum.org/board 50 50 + Danielle Cooper Williams,Trustee,,,,studiomuseum.org/board 51 51 + Nancy L. Lane,Trustee Emerita (in memoriam),,,,studiomuseum.org/board 52 52 + Zohran K. Mamdani,Ex-Officio Trustee,2026,,Mayor of NYC (ex officio),studiomuseum.org/board 53 53 + Diya Vij,Ex-Officio Trustee,,,NYC Cultural Affairs Commissioner (ex officio),studiomuseum.org/board 54 54 + Joyce Alexander Wein,Late Trustee (memorialized via Wein Prize),1928,2005,Trustee through 2005; namesake of $50K annual artist prize est. 2006,studiomuseum.org/wein-prize 55 55 + George Wein,Donor (Wein Prize),,,Jazz impresario; established prize in 2006 to honor late wife,studiomuseum.org/wein-prize 56 56 + J. Bruce Llewellyn,Donor (named AIR Center),,,Namesake of J. Bruce Llewellyn Artist in Residence Center (2025 building),studiomuseum.org/press

+29

papers/arxiv-studio-museum/data/programs.csv

reviewed

··· 1 1 + program,launched,status,description,key_funders,source 2 2 + Studio Program / Artist-in-Residence Program,1969,Active,"11-month residency for three artists; museum's longest-running founding initiative; 150+ alumni",Glenstone / Jerome / Wein endowment,studiomuseum.org/residency 3 3 + Film Unit,~1969,Discontinued,Programming arm under Spriggs directorship,(operational),studiomuseum.org/history 4 4 + Black Masters series,1974,Discontinued,Series rectifying historic absence of Black artists,(operational),studiomuseum.org/history 5 5 + Fine Art of Collecting seminar,1976,Active,Collector education seminar,(operational),studiomuseum.org/history 6 6 + James Van Der Zee Archive,1979,Active,World's largest collection of Van Der Zee work; Met partnership 2021,Mellon (VDZ grants),studiomuseum.org 7 7 + Hale Woodruff Memorial Exhibition,1986,Recurring,Memorial exhibition series,(varies),studiomuseum.org/history 8 8 + Sculpture Garden,1995,Active,Outdoor sculpture program (legacy site),(operational),studiomuseum.org/history 9 9 + Expanding the Walls,2000,Active,High-school photography program inspired by VanDerZee Archive,(operational),studiomuseum.org/history 10 10 + Uptown Fridays,2000,Discontinued,Late-evening programming,(operational),studiomuseum.org/history 11 11 + Freestyle (F-show #1),2001,One-time,Inaugural F-show curated by Thelma Golden; introduces 'post-Black' framing,(museum + foundation),Wikipedia 12 12 + Harlem Postcards,2002,Active,Quarterly photographic commission of Harlem street life,(museum operations),studiomuseum.org 13 13 + StudioSound,2004,Active,Music commissioning series,(operational),studiomuseum.org/history 14 14 + Studio magazine,2005,Active (biannual),Print biannual; AAM 2015 first prize Magazines/Scholarly Journals,(operational),store.studiomuseum.org 15 15 + Frequency (F-show #2),2005,One-time,Second F-show; 35 emerging Black artists; Golden + Christine Y. Kim,(museum + foundation),Wikipedia 16 16 + Joyce Alexander Wein Artist Prize,2006,Active,$50K annual prize for African-American artist,George Wein endowment,studiomuseum.org/wein-prize 17 17 + Flow (F-show #3),2008,One-time,Third F-show,(museum + foundation),Wikipedia 18 18 + Target Free Sundays,2009,Active,Free public-admission program,Target Corporation,studiomuseum.org/history 19 19 + Studio Lab,2011,Active,Education / experimental program,(operational),studiomuseum.org/history 20 20 + The Bearden Project,2011,One-time,100 artists responding to Romare Bearden,(museum + foundation),studiomuseum.org/history 21 21 + Fore (F-show #4),2012,One-time,Fourth F-show; Naima Keith / Lauren Haynes / Thomas J. Lax,(museum + foundation),Wikipedia 22 22 + MoMA-Studio Museum Curatorial Fellowship,2015,Active,Joint training fellowship with MoMA,(MoMA + SMH),studiomuseum.org 23 23 + inHarlem,2016,Active,Outdoor sculpture installations across Harlem,(varies),studiomuseum.org/history 24 24 + Fictions (F-show #5),2017,One-time,Fifth F-show; 19 emerging artists of African descent,(museum + foundation),Wikipedia / Artsy 25 25 + Capital campaign / Creating Space,2015~,Concluded 2025,$300M+ campaign for new building + endowment + operations,Mellon $10M / Ford $10M / NYC $62M / Scott / corporate / many,The Art Newspaper / studiomuseum.org 26 26 + Annual Gala,(annual),Active,Fall gala; presents Wein Prize and major announcements,(self-funded + sponsorship),studiomuseum.org 27 27 + Studio Sundays (post-reopening),2025,Active,Programming under Art Bridges support,Art Bridges,studiomuseum.org/press 28 28 + Community Day,2025,Active,Free reopening Community Day with workshops + DJs,MetLife Foundation / Movado Group Foundation,studiomuseum.org/press 29 29 + J. Bruce Llewellyn Artist in Residence Center,2025,Active,Named AIR studios in new building (first occupied 2026 cohort),named for J. Bruce Llewellyn,studiomuseum.org/press

+57

papers/arxiv-studio-museum/data/residents.csv

reviewed

··· 1 1 + name,year,cohort,notes,source 2 2 + Tom Lloyd,1969,Inaugural,First artist-in-residence; subject of inaugural exhibition Electronic Refractions II (1968),studiomuseum.org/history 3 3 + David Hammons,1980-1981,(early),"Major figure of post-war American art; AIR per studiomuseum.org/residency",studiomuseum.org/residency 4 4 + Maren Hassinger,(early years),(unspecified),"Listed among early AIR alumni",studiomuseum.org 5 5 + Kerry James Marshall,(unspecified),(unspecified),"Listed among notable AIR alumni",studiomuseum.org 6 6 + Julie Mehretu,(unspecified),(unspecified),"Listed among notable AIR alumni",studiomuseum.org 7 7 + Mickalene Thomas,(unspecified),(unspecified),"Listed among notable AIR alumni",studiomuseum.org 8 8 + Wangechi Mutu,2003-2004,(unspecified),"Per studiomuseum.org/residency",studiomuseum.org/residency 9 9 + Louis Delsarte,1979-1980,(early documented),Wikipedia AIR table,Wikipedia 10 10 + Sana Musasama,1983-1984,(early documented),Wikipedia AIR table,Wikipedia 11 11 + Chakaia Booker,1995-1996,,Wikipedia AIR table,Wikipedia 12 12 + June Clark,1996-1997,,Wikipedia AIR table,Wikipedia 13 13 + Gregory Coates,1996-1997,,Wikipedia AIR table,Wikipedia 14 14 + Sanford Biggers,1999-2000,,Wikipedia AIR table,Wikipedia 15 15 + Kehinde Wiley,2001-2002,Freestyle-era,Wikipedia AIR table,Wikipedia 16 16 + William Cordova,2004-2005,,Wikipedia AIR table,Wikipedia 17 17 + Tanea Richardson,2007-2008,,Wikipedia AIR table,Wikipedia 18 18 + Mequitta Ahuja,2009-2010,,Wikipedia AIR table,Wikipedia 19 19 + Lauren Kelley,2009-2010,,Wikipedia AIR table,Wikipedia 20 20 + Valerie Piraino,2009-2010,,Wikipedia AIR table,Wikipedia 21 21 + Kamau Amu Patton,2010-2011,,Wikipedia AIR table,Wikipedia 22 22 + Paul Mpagi Sepuya,2010-2011,,Wikipedia AIR table,Wikipedia 23 23 + Simone Leigh,2010-2011,,Wikipedia AIR table,Wikipedia 24 24 + Meleko Mokgosi,2011-2012,,Wikipedia AIR table,Wikipedia 25 25 + Njideka Akunyili Crosby,2011-2012,,Wikipedia AIR table,Wikipedia 26 26 + Xaviera Simmons,2011-2012,,Wikipedia AIR table,Wikipedia 27 27 + Steffani Jemison,2012-2013,,Wikipedia AIR table,Wikipedia 28 28 + Jennifer Packer,2012-2013,,Wikipedia AIR table,Wikipedia 29 29 + "Cullen Washington Jr.",2012-2013,,Wikipedia AIR table,Wikipedia 30 30 + Kevin Beasley,2013-2014,,Wikipedia AIR table,Wikipedia 31 31 + Bethany Collins,2013-2014,,Wikipedia AIR table,Wikipedia 32 32 + Abigail DeVille,2013-2014,,Wikipedia AIR table,Wikipedia 33 33 + Eric N. Mack,2014-2015,,Wikipedia AIR table,Wikipedia 34 34 + Lauren Halsey,2014-2015,,Wikipedia AIR table,Wikipedia 35 35 + Sadie Barnette,2014-2015,,Wikipedia AIR table,Wikipedia 36 36 + Jordan Casteel,2015-2016,,Wikipedia AIR table,Wikipedia 37 37 + EJ Hill,2015-2016,,Wikipedia AIR table,Wikipedia 38 38 + Jibade-Khalil Huffman,2015-2016,,Wikipedia AIR table,Wikipedia 39 39 + Andy Robert,2016-2017,,Wikipedia AIR table,Wikipedia 40 40 + Julia Phillips,2016-2017,,Wikipedia AIR table,Wikipedia 41 41 + Autumn Knight,2016-2017,,Wikipedia AIR table,Wikipedia 42 42 + Allison Janae Hamilton,2018-2019,,Wikipedia AIR table,Wikipedia 43 43 + Tschabalala Self,2018-2019,,Wikipedia AIR table,Wikipedia 44 44 + Sable Elyse Smith,2018-2019,,Wikipedia AIR table,Wikipedia 45 45 + Elliot Reed,2019-2020,,Wikipedia AIR table,Wikipedia 46 46 + Texas Isaiah,2020-2021,,Wikipedia AIR table,Wikipedia 47 47 + Jacolby Satterwhite,2020-2021,,Wikipedia AIR table,Wikipedia 48 48 + Jeffrey Meris,2022-2023,(culminating: And ever an edge),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 49 49 + Devin N. Morris,2022-2023,(culminating: And ever an edge),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 50 50 + Charisse Perlina Weston,2022-2023,(culminating: And ever an edge),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 51 51 + Sonia Louise Davis,2023-2024,(culminating: Pass Carry Hold),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 52 52 + Malcolm Peacock,2023-2024,(culminating: Pass Carry Hold),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 53 53 + Zoe Pulley,2023-2024,(culminating: Pass Carry Hold),Wikipedia AIR table + studiomuseum.org/press,Wikipedia 54 54 + Derriann Pharr,2026,(first cohort in J. Bruce Llewellyn AIR Center),studiomuseum.org/press 2026,studiomuseum.org/press 55 55 + Simonette Quamina,2026,(first cohort in J. Bruce Llewellyn AIR Center),studiomuseum.org/press 2026,studiomuseum.org/press 56 56 + Taylor Simmons,2026,(first cohort in J. Bruce Llewellyn AIR Center),studiomuseum.org/press 2026,studiomuseum.org/press 57 57 + Titus Kaphar,(unspecified),(unspecified),"Listed among notable AIR alumni; specific year TBD",studiomuseum.org

+51

papers/arxiv-studio-museum/data/timeline.csv

reviewed

··· 1 1 + year,event,category,source 2 2 + 1968,"Studio Museum founded by Eleanor Holmes Norton, Carter Burden, Charles E. Inniss, Campbell Wylly, Betty Blayton-Taylor, Frank Donnelly",org,studiomuseum.org/history 3 3 + 1968,"Inaugural exhibition: Tom Lloyd, Electronic Refractions II (24 Sept)",program,studiomuseum.org/history 4 4 + 1968,Studio Program proposed by William T. Williams,program,studiomuseum.org/residency 5 5 + 1969,Studio Program / Artist-in-Residence Program launched,program,studiomuseum.org/residency 6 6 + 1969,Charles E. Inniss departs; Edward S. Spriggs becomes director,leadership,studiomuseum.org/history 7 7 + 1974,Black Masters series begins,program,studiomuseum.org/history 8 8 + 1975,Spriggs departs; Courtney Callender becomes director,leadership,studiomuseum.org/history 9 9 + 1976,Fine Art of Collecting seminar launches,program,studiomuseum.org/history 10 10 + 1977,Callender departs; Mary Schmidt Campbell becomes director,leadership,studiomuseum.org/history 11 11 + 1979,New York Bank of Savings donates 144 W 125th St building to museum,org,multiple 12 12 + 1979,James Van Der Zee Archive acquired,program,studiomuseum.org 13 13 + 1981,Groundbreaking on 144 W 125th renovation (J. Max Bond Jr. architect),org,studiomuseum.org/history 14 14 + 1982,Reopens at 144 W 125th with Ritual and Myth: A Survey of African American Art,org,studiomuseum.org/history 15 15 + 1985,Tradition and Conflict exhibition (150 works / 55 artists),program,studiomuseum.org/history 16 16 + 1986,Hale Woodruff Memorial Exhibition series debuts,program,studiomuseum.org/history 17 17 + 1990,Contemporary African Artists: Changing Tradition exhibits at Venice Biennale,program,studiomuseum.org/history 18 18 + 1990,The Decade Show collaboration opens,program,studiomuseum.org/history 19 19 + 1995,Sculpture Garden opens with The Listening Sky,org,studiomuseum.org/history 20 20 + 2000,Mary Schmidt Campbell departs (museum-recorded end of directorship 2000); Lowery Stokes Sims becomes director,leadership,studiomuseum.org/history 21 21 + 2000,Expanding the Walls high-school photography program launches,program,studiomuseum.org/history 22 22 + 2000,Uptown Fridays begins,program,studiomuseum.org/history 23 23 + 2001,Freestyle exhibition (curated by Thelma Golden); first F-show; introduces 'post-Black' framing,program,studiomuseum.org / Wikipedia 24 24 + 2002,Harlem Postcards project launches,program,studiomuseum.org/history 25 25 + 2004,StudioSound music commissioning series begins,program,studiomuseum.org/history 26 26 + 2005,Sims departs; Thelma Golden becomes director and chief curator,leadership,studiomuseum.org/history 27 27 + 2005,Studio magazine launched,program,store.studiomuseum.org 28 28 + 2005,Frequency exhibition (second F-show; 35 emerging Black artists),program,Wikipedia 29 29 + 2006,Joyce Alexander Wein Artist Prize established (George Wein endowment),program,studiomuseum.org/wein-prize 30 30 + 2008,Flow exhibition (third F-show),program,Wikipedia 31 31 + 2009,Target Free Sundays launched,program,studiomuseum.org/history 32 32 + 2011,The Bearden Project (100 artists responding to Romare Bearden); Studio Lab launched,program,studiomuseum.org/history 33 33 + 2012,Fore exhibition (fourth F-show; Naima Keith / Lauren Haynes / Thomas J. Lax),program,Wikipedia 34 34 + 2015,Joint MoMA-Studio Museum curatorial fellowship established,program,studiomuseum.org 35 35 + 2015,Studio magazine wins AAM Museum Publications Design Competition first prize,program,store.studiomuseum.org 36 36 + 2015,Adjaye Associates commissioned to design new building,org,Adjaye Associates 37 37 + 2016,inHarlem initiative announces outdoor sculpture installations,program,studiomuseum.org/history 38 38 + 2017,Fictions exhibition (fifth F-show; 19 emerging artists of African descent),program,Wikipedia / Artsy 39 39 + 2018,Peggy Cooper Cafritz bequest delivers 400+ contemporary artworks,program,studiomuseum.org/history 40 40 + 2018,Closure of 144 W 125th building for demolition and rebuild,org,studiomuseum.org 41 41 + 2018,Capital campaign (Creating Space) reported above $175M target,funding,The Art Newspaper 42 42 + 2018,Groundbreaking on Adjaye-designed new building,org,studiomuseum.org 43 43 + 2019,MoMA PS1 partnership hosts AIR culminating exhibitions during construction,program,studiomuseum.org 44 44 + 2021,James Van Der Zee Archive partnership with Metropolitan Museum announced,program,studiomuseum.org 45 45 + 2021-06,MacKenzie Scott endowment gift announced,funding,studiomuseum.org/press 46 46 + 2021-10,Capital campaign reaches $210M (per The Art Newspaper),funding,The Art Newspaper 47 47 + 2022-12,Mellon $10M Capital Campaign grant,funding,mellon.org 48 48 + 2023-07,"Studio Museum severs ties with David Adjaye personally after FT report on misconduct allegations; Adjaye Associates' NYC team continues under Pascale Sablan",org,Financial Times / ARTnews 49 49 + 2024-10,Ford Foundation $10M endowment grant for Director and Chief Curator position; on Thelma Golden's 20th anniversary,funding,studiomuseum.org/press 50 50 + 2025-11-15,New 82000 sq ft Adjaye-designed building opens to the public; Tom Lloyd retrospective inaugural,org,studiomuseum.org/press 51 51 + 2026-03,2026 Artist-in-Residence cohort (Pharr / Quamina / Simmons) is first to occupy J. Bruce Llewellyn AIR Center,program,studiomuseum.org/press

+1

papers/arxiv-studio-museum/figures/cover-prompt.txt

reviewed

··· 1 1 + A single floating iconic form, square 1:1 composition, vignette: the silhouette of a Harlem brownstone stoop reimagined as a sculptural object — the front three steps and a slim wrought-iron railing — but inverted, the steps reading downward into the page like an invitation rather than upward like a barrier. This is the architectural motif David Adjaye and Pascale Sablan named the "inverted stoop" at the heart of the new building: the stoop turned inside out, opening toward the street. Render the form as if it were an isolated bronze maquette: warm reddish-brown stone for the steps, blackened iron for the rail, no surrounding building, no figure, no street. A single warm light source from upper left throws a soft long shadow across one tread. The form floats centered in the square, occupying roughly two thirds of the vertical, surrounded by generous breathing room. Edges of the form dissolve softly at the corners and periphery so the object reads like a memory rather than a photograph — bottom-most step fades into the cream of the page, the railing's farthest edge softens into mist. No text, no logo, no people, no architectural context. Just one quiet floating gesture: the threshold of a Harlem house, repeated as a museum's first welcome.

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papers/arxiv-studio-museum/references.bib

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··· 1 1 + @misc{smh2026history, 2 2 + author={{Studio Museum in Harlem}}, 3 3 + title={The Studio Museum in Harlem: History}, 4 4 + year={2026}, 5 5 + howpublished={\url{https://www.studiomuseum.org/history}}, 6 6 + note={Accessed 2026-05-02} 7 7 + } 8 8 + 9 9 + @misc{wikipedia2026smh, 10 10 + author={{Wikipedia contributors}}, 11 11 + title={Studio Museum in Harlem}, 12 12 + year={2026}, 13 13 + howpublished={\url{https://en.wikipedia.org/wiki/Studio_Museum_in_Harlem}}, 14 14 + note={Accessed 2026-05-02} 15 15 + } 16 16 + 17 17 + @misc{smh2026board, 18 18 + author={{Studio Museum in Harlem}}, 19 19 + title={Board of Trustees}, 20 20 + year={2026}, 21 21 + howpublished={\url{https://www.studiomuseum.org/board-of-trustees}}, 22 22 + note={Accessed 2026-05-02} 23 23 + } 24 24 + 25 25 + @misc{smh2026air, 26 26 + author={{Studio Museum in Harlem}}, 27 27 + title={Studio Museum in Harlem Announces 2026 Artist-in-Residence Cohort}, 28 28 + year={2026}, 29 29 + howpublished={\url{https://www.studiomuseum.org/press/studio-museum-in-harlem-announces-2026-artist-in-residence-cohort}}, 30 30 + note={Accessed 2026-05-02} 31 31 + } 32 32 + 33 33 + @misc{smh2025opening, 34 34 + author={{Studio Museum in Harlem}}, 35 35 + title={Studio Museum in Harlem Opens to the Public on Saturday, November 15}, 36 36 + year={2025}, 37 37 + howpublished={\url{https://www.studiomuseum.org/press/studio-museum-in-harlem-opens-to-the-public-on-saturday-november-15}}, 38 38 + note={Accessed 2026-05-02} 39 39 + } 40 40 + 41 41 + @misc{smh2024ford, 42 42 + author={{Studio Museum in Harlem}}, 43 43 + title={The Ford Foundation Announces \$10 Million Dollar Grant to the Studio Museum in Harlem, Permanently Endowing the Position of Director and Chief Curator}, 44 44 + year={2024}, 45 45 + howpublished={\url{https://www.studiomuseum.org/press/ford-foundation-endows-position-of-director-and-chief-curator}}, 46 46 + note={Accessed 2026-05-02} 47 47 + } 48 48 + 49 49 + @misc{smh2021scott, 50 50 + author={{Studio Museum in Harlem}}, 51 51 + title={The Studio Museum in Harlem Awarded Endowment Gift from MacKenzie Scott}, 52 52 + year={2021}, 53 53 + howpublished={\url{https://www.studiomuseum.org/press/the-studio-museum-in-harlem-awarded-endowment-gift-from-mackenzie-scott}}, 54 54 + note={Accessed 2026-05-02} 55 55 + } 56 56 + 57 57 + @misc{mellon2022capital, 58 58 + author={{Mellon Foundation}}, 59 59 + title={Capital Campaign Grant to The Studio Museum in Harlem}, 60 60 + year={2022}, 61 61 + howpublished={\url{https://www.mellon.org/grant-details/capital-campaign-20449604}}, 62 62 + note={Accessed 2026-05-02; \$10{,}000{,}000 awarded 8 December 2022} 63 63 + } 64 64 + 65 65 + @misc{tan2021studiomuseum, 66 66 + author={{The Art Newspaper}}, 67 67 + title={Studio Museum in Harlem raises \$210m for new David Adjaye building}, 68 68 + year={2021}, 69 69 + howpublished={\url{https://www.theartnewspaper.com/2021/10/28/studio-museum-in-harlem-marks-milestone-in-construction-of-new-home}}, 70 70 + note={Accessed 2026-05-02} 71 71 + } 72 72 + 73 73 + @misc{archpaper2025smh, 74 74 + author={{The Architect's Newspaper}}, 75 75 + title={Studio Museum pays tribute to Harlem with its first purpose-built home}, 76 76 + year={2025}, 77 77 + howpublished={\url{https://www.archpaper.com/2025/12/studio-museum-harlem/}}, 78 78 + note={Accessed 2026-05-02} 79 79 + } 80 80 + 81 81 + @misc{ft2023adjaye, 82 82 + author={{Financial Times}}, 83 83 + title={Star architect Sir David Adjaye accused of sexual assault, harassment and misconduct}, 84 84 + year={2023}, 85 85 + howpublished={Financial Times, 4 July 2023}, 86 86 + note={Accessed via secondary coverage 2026-05-02} 87 87 + } 88 88 + 89 89 + @misc{artnews2023adjaye, 90 90 + author={{ARTnews}}, 91 91 + title={Studio Museum in Harlem Cuts Ties with Architect David Adjaye}, 92 92 + year={2023}, 93 93 + howpublished={\url{https://www.artnews.com/art-news/news/studio-museum-in-harlem-cuts-ties-david-adjaye-shelburne-museum-1234673549/}}, 94 94 + note={Accessed 2026-05-02} 95 95 + } 96 96 + 97 97 + @misc{artsy2017fictions, 98 98 + author={{Artsy}}, 99 99 + title={The Latest in the Studio Museum's Landmark ``F'' Series Is a Timely Exploration of Truth and Fiction}, 100 100 + year={2017}, 101 101 + howpublished={\url{https://www.artsy.net/article/artsy-editorial-new-chapter-exhibition-series-launched-famous-artists-color}}, 102 102 + note={Accessed 2026-05-02} 103 103 + } 104 104 + 105 105 + @incollection{golden2001freestyle, 106 106 + author={Golden, Thelma}, 107 107 + title={Post\dots}, 108 108 + booktitle={Freestyle}, 109 109 + year={2001}, 110 110 + publisher={The Studio Museum in Harlem}, 111 111 + note={Catalog essay introducing the term ``post-Black''} 112 112 + } 113 113 + 114 114 + @misc{propublica2026smh, 115 115 + author={{ProPublica Nonprofit Explorer}}, 116 116 + title={The Studio Museum in Harlem (EIN 13-2590805)}, 117 117 + year={2026}, 118 118 + howpublished={\url{https://projects.propublica.org/nonprofits/organizations/132590805}}, 119 119 + note={Accessed 2026-05-02} 120 120 + }

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papers/arxiv-studio-museum/studio-museum.tex

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99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut Studio Museum in Harlem}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 1968 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about the Studio Museum in Harlem --- the New York-based contemporary-art museum founded in 1968 as the first museum in the United States dedicated to artists of African descent --- across genealogy, periodized history, programs, people, finances, and cultural footprint. There is no thesis, no verdict, and no conclusion section. The capital campaign for the new building (closed 2018, opened 2025) attracted politically charged coverage; this dossier surfaces named donors and dollar amounts without editorializing. Where facts run out the dossier stops; gaps are flagged inline. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + The Studio Museum opens in September 1968 on the second floor of 2033 Fifth Avenue, at the corner of 125th Street, in a rented loft above a liquor store. It is the first museum in the United States chartered to collect, exhibit and contextualize the work of artists of African descent. Six founders are named in the museum's own founding record~\citep{smh2026history}: \textbf{Eleanor Holmes Norton} (lawyer, civil-rights organizer, later D.C.~delegate to Congress); \textbf{Carter Burden} (New York City councilman and bibliophile); \textbf{Charles E. Inniss} (insurance executive, founding director); \textbf{Campbell Wylly} (banker); \textbf{Betty Blayton-Taylor} (artist; the first African-American woman trustee of the Art Students League); and \textbf{Frank Donnelly}. The painter Mahler B.~Ryder serves as founding secretary. 135 135 + 136 136 + The museum's name is intentional and load-bearing. The founding initiative is not a gallery or a kunsthalle but a \emph{studio} --- a working space for artists --- coupled with public exhibition. The Studio Program (later renamed the Artist-in-Residence Program) is proposed by the artist William T.~Williams in 1968 and launched in 1969 with Tom Lloyd as the first artist in residence. Lloyd's exhibition \emph{Electronic Refractions II}, a body of programmable light sculpture, opens the museum on 24 September 1968~\citep{smh2026history,wikipedia2026smh}. 137 137 + 138 138 + \section{The Organization, 1968--2026} 139 139 + 140 140 + \subsection{Loft years (1968--1981)} 141 141 + 142 142 + Inniss serves as founding director through 1969. Edward S.~Spriggs --- poet, painter and filmmaker --- becomes director in 1969 and leads the institution through the heart of the Black Arts Movement, instituting the Film Unit and the Studio Program. Courtney Callender follows (1975--1977). The museum operates throughout this period in rented loft space. 143 143 + 144 144 + \subsection{144 West 125th (1981--2018)} 145 145 + 146 146 + In 1979 the New York Bank of Savings donates a former bank building at 144 West 125th Street to the museum. Mary Schmidt Campbell becomes director in 1977 and leads the move; the architect J.~Max Bond Jr.~--- a leading figure in the second generation of African-American modernist architects --- designs the renovation. The new home opens in 1982 with \emph{Ritual and Myth: A Survey of African American Art}. Campbell's twenty-year tenure (1977--1987 as director, then continuing organizational role; recorded by the museum as 1977--2000~\citep{smh2026history}) institutionalizes the AIR culminating-exhibition format and grows the permanent collection. 147 147 + 148 148 + Kinshasha Holman Conwill becomes deputy director under Campbell and is widely associated with the directorship of the late 1980s and 1990s. Lowery Stokes Sims, formerly a curator of modern and contemporary art at the Metropolitan Museum, takes the directorship in 2000. 149 149 + 150 150 + \subsection{Golden directorship (2005--present)} 151 151 + 152 152 + \textbf{Thelma Golden} succeeds Sims in 2005. Golden, a former Whitney curator who had organized the controversial \emph{Black Male} exhibition there in 1994, reframes the museum's curatorial program around what her catalog essay for \emph{Freestyle} (2001, organized at the Studio Museum while Golden was a deputy director under Sims) names ``post-Black''~\citep{golden2001freestyle}: a generation of artists who refuse the demand to make work primarily \emph{about} race even as their practices remain entangled with it. Under Golden the F-show series (\emph{Freestyle} 2001, \emph{Frequency} 2005, \emph{Flow} 2008, \emph{Fore} 2012, \emph{Fictions} 2017) becomes the museum's central periodizing curatorial gesture~\citep{artsy2017fictions}. 153 153 + 154 154 + \subsection{Closure and rebuild (2018--2025)} 155 155 + 156 156 + The museum closes its 144 West 125th Street home in 2018 to demolish the bank-conversion building and erect a purpose-built museum on the same lot. The Adjaye Associates design --- the first ground-up museum building of its scale designed for a Black-art institution --- breaks ground in 2018 with Cooper Robertson as executive architect. During the seven-year construction period the museum operates without a permanent home, programming offsite with MoMA PS1 (Artist-in-Residence culminating exhibitions), the Metropolitan Museum (the James Van Der Zee Archive partnership announced 2021), and the \emph{inHarlem} initiative (outdoor sculpture installations across Harlem, 2016--). 157 157 + 158 158 + In July 2023, after three former Adjaye Associates employees publicly accuse David Adjaye of sexual misconduct in a \emph{Financial Times} investigation~\citep{ft2023adjaye}, the Studio Museum's Board of Trustees severs ties with Adjaye personally while keeping Adjaye Associates' New York office on the project~\citep{artnews2023adjaye}. Pascale Sablan, CEO of Adjaye Associates' New York office, leads the project to completion. The new 82{,}000 sq.~ft, seven-story building opens to the public on 15 November 2025~\citep{smh2025opening}. 159 159 + 160 160 + \section{People} 161 161 + 162 162 + \begin{table}[h] 163 163 + \footnotesize 164 164 + \centering 165 165 + \setlength{\tabcolsep}{3pt} 166 166 + \begin{tabularx}{\columnwidth}{lXX} 167 167 + \toprule 168 168 + \textbf{Tenure} & \textbf{Director} & \textbf{Note} \\ 169 169 + \midrule 170 170 + 1968--1969 & Charles E. Inniss & Founding director \\ 171 171 + 1969--1975 & Edward S. Spriggs & Black Arts Movement \\ 172 172 + 1975--1977 & Courtney Callender & \\ 173 173 + 1977--2000 & Mary Schmidt Campbell & 144 W 125th move \\ 174 174 + 1988--1999 & Kinshasha Holman Conwill & Deputy director / acting \\ 175 175 + 2000--2005 & Lowery Stokes Sims & Ex-Met curator \\ 176 176 + 2005--present & Thelma Golden & Ford Foundation Director and Chief Curator \\ 177 177 + \bottomrule 178 178 + \end{tabularx} 179 179 + \caption{Directors of record. The Conwill (1988--1999) tenure overlaps the Campbell tenure on the museum's own historical narration; Conwill is consistently identified as deputy director / acting director rather than as a formally appointed director. Campbell's directorship is recorded by the museum as 1977--2000~\citep{smh2026history}; this dossier follows that record.} 180 180 + \label{tab:directors} 181 181 + \end{table} 182 182 + 183 183 + The Board of Trustees, in 2026, is chaired by \textbf{Kathryn C.~Chenault}, with Raymond J.~McGuire (former Chair, now Chair Emeritus). Vice-chairs: Dr.~Anita Blanchard, Damien R.~Dwin, Carol Sutton Lewis. Treasurer: Rodney M.~Miller, Sr. Secretary: Jacqueline L.~Bradley. Trustees include Henry Louis Gates Jr., Holly Peterson, Bernard I.~Lumpkin, Gordon J.~Davis, Reginald Van Lee, Andrew Marks, Suzanne McFayden, and Dr.~Michael L.~Lomax. Ex-officio: the Mayor of New York (Hon.~Zohran K.~Mamdani in 2026), the NYC Cultural Affairs Commissioner (Diya Vij), and Thelma Golden as Ford Foundation Director and Chief Curator. Trustee Emerita: Nancy L.~Lane (in memoriam). Legacy Trustees: George L.~Knox, Reginald Van Lee~\citep{smh2026board}. 184 184 + 185 185 + \section{Programs} 186 186 + 187 187 + \textbf{Artist-in-Residence Program} (1969--). The museum's longest-running founding initiative. Three artists annually receive an eleven-month studio residency, a stipend, and a culminating exhibition. Over 150 artists have completed the program. Notable alumni include David Hammons (1980--81), Maren Hassinger, Kerry James Marshall, Kehinde Wiley (2001--02), Wangechi Mutu (2003--04), Mickalene Thomas, Julie Mehretu, Njideka Akunyili Crosby (2011--12), Jordan Casteel (2015--16), Lauren Halsey, Simone Leigh, Tschabalala Self, Titus Kaphar, Sanford Biggers, and many others. Funded since at least the 2010s by the Glenstone Foundation, the Jerome Foundation, and the Joyce Alexander Wein Endowment. The 2026 cohort --- the first to occupy the J.~Bruce Llewellyn Artist in Residence Center in the new building --- comprises Derriann Pharr, Simonette Quamina, and Taylor Simmons~\citep{smh2026air}. 188 188 + 189 189 + \textbf{The ``F'' Shows} (2001--2018). A series of five thematic surveys of emerging artists of African descent, organized at five-year-or-so intervals: \emph{Freestyle} (2001, curated by Thelma Golden with Christine Y.~Kim) --- the show that introduced the term ``post-Black''; \emph{Frequency} (2005--06, Golden + Kim, 35 emerging artists); \emph{Flow} (2008); \emph{Fore} (2012--13, co-curated by Naima Keith, Lauren Haynes, Thomas J.~Lax); \emph{Fictions} (2017--18). The five F-shows together are widely treated as the canonical inventory of two decades of emerging Black contemporary art in the United States~\citep{artsy2017fictions}. 190 190 + 191 191 + \textbf{Expanding the Walls} (2000--). High-school photography program inspired by the James Van Der Zee Archive; pairs Harlem teenagers with the museum's collection and exhibits the resulting work annually. 192 192 + 193 193 + \textbf{Joyce Alexander Wein Artist Prize} (2006--). \$50{,}000 annual prize established by jazz impresario George Wein in honor of his late wife Joyce Alexander Wein, a longtime trustee. Recipients include Lorna Simpson (2006), Trenton Doyle Hancock (2007), Nadine Robinson (2008), Glenn Ligon (2009), Leslie Hewitt (2010), Leonardo Drew (2011), Jennie C.~Jones (2012), Gary Simmons (2013), Samuel Levi Jones (2014), Njideka Akunyili Crosby (2015), Derrick Adams (2016), Simone Leigh (2017), Diedrick Brackens (2018), Torkwase Dyson (2019), Cy Gavin (2023), Toyin Ojih Odutola (2024), Kenturah Davis (2025). 194 194 + 195 195 + \textbf{\emph{Studio} Magazine} (2005--). Biannual print publication. Won the AAM Museum Publications Design Competition first prize in 2015 (Magazines / Scholarly Journals). 196 196 + 197 197 + \textbf{Target Free Sundays} (2009--). Free public-admission program; corporate-named after Target's underwriting. 198 198 + 199 199 + \textbf{inHarlem} (2016--). Citywide installation initiative siting outdoor sculpture and performance throughout Harlem, primarily during the construction-period diaspora. 200 200 + 201 201 + \textbf{StudioSound} (2004--). Music-commissioning series. 202 202 + 203 203 + \textbf{Harlem Postcards} (2002--). Quarterly photographic commission of Harlem street life. 204 204 + 205 205 + \textbf{Black Masters / Hale Woodruff Memorial / The Bearden Project} (1974, 1986, 2011 respectively). Recurring named-artist tribute series. 206 206 + 207 207 + \textbf{James Van Der Zee Archive} (1979 acquisition; 2021 partnership with the Metropolitan Museum to research, conserve, and publicly access). The museum holds the world's largest collection of work by the Harlem Renaissance photographer. 208 208 + 209 209 + \textbf{MoMA / Studio Museum Curatorial Fellowship} (2015--). Joint training fellowship with the Museum of Modern Art. 210 210 + 211 211 + \section{Money}\label{sec:money} 212 212 + 213 213 + \begin{table*}[t] 214 214 + \footnotesize 215 215 + \centering 216 216 + \setlength{\tabcolsep}{4pt} 217 217 + \begin{tabularx}{\textwidth}{Xrrrrrr} 218 218 + \toprule 219 219 + \textbf{FY end} & \textbf{Revenue} & \textbf{Contri.\,/\,grants} & \textbf{Prog.\,svc.} & \textbf{Expenses} & \textbf{Officer comp.} & \textbf{Net assets} \\ 220 220 + \midrule 221 221 + 2011-06 & 5,757,895 & 4,003,836 & 71,643 & 4,808,127 & 206,693 & 9,576,727 \\ 222 222 + 2012-06 & 4,845,383 & 3,085,801 & 74,042 & 5,266,181 & 408,388 & 9,040,405 \\ 223 223 + 2013-06 & 6,703,088 & 4,499,968 & 99,107 & 5,316,271 & 386,744 & 10,430,186 \\ 224 224 + 2014-06 & 9,611,899 & 7,686,926 & 89,029 & 5,723,286 & 381,594 & 14,603,618 \\ 225 225 + 2015-06 & 7,100,072 & 4,757,133 & 224,420 & 6,351,044 & 437,456 & 14,928,886 \\ 226 226 + 2016-06 & 18,501,821 & 16,245,379 & 114,369 & 7,054,205 & 455,239 & 26,391,360 \\ 227 227 + 2017-06 & 31,021,557 & 28,640,744 & 135,800 & 7,761,083 & 457,975 & 49,697,175 \\ 228 228 + 2018-06 & \textbf{61,730,334} & 59,783,251 & 47,868 & 9,173,832 & 424,818 & 102,408,601 \\ 229 229 + 2019-06 & 17,946,629 & 17,853,024 & 2,600 & 12,454,332 & 457,670 & 108,361,383 \\ 230 230 + 2020-06 & 14,931,743 & 11,906,180 & 6,250 & 10,615,641 & 658,509 & 114,078,470 \\ 231 231 + 2021-06 & 40,471,884 & 38,093,942 & 0 & 11,496,543 & 560,116 & 145,112,053 \\ 232 232 + 2022-06 & \textbf{59,914,680} & 57,770,204 & 72,000 & 13,414,272 & 1,222,054 & 182,888,223 \\ 233 233 + 2023-06 & 47,220,609 & 42,821,762 & 271,955 & 16,164,729 & 1,564,012 & 215,688,944 \\ 234 234 + 2024-06 & 43,385,519 & 38,443,941 & 217,590 & 17,603,871 & 1,326,455 & 244,780,417 \\ 235 235 + \bottomrule 236 236 + \end{tabularx} 237 237 + \caption{The Studio Museum in Harlem, EIN 13-2590805 --- top-line Form 990 figures by fiscal year (USD; FY ends June 30). Source: ProPublica Nonprofit Explorer. The shape: pre-campaign baseline (FY2011--FY2015) at \$5--10M/yr revenue; capital-campaign era (FY2016--FY2024) regularly above \$15M, with three peaks --- FY2018 (\$61.7M), FY2021 (\$40.5M), FY2022 (\$59.9M) --- corresponding to large concentrated capital-campaign and endowment gifts. Net assets grow from \$9.6M (FY2011) to \$244.8M (FY2024).} 238 238 + \label{tab:financials} 239 239 + \end{table*} 240 240 + 241 241 + The capital campaign for the new building --- branded \emph{Creating Space} --- closed at over \$300 million, exceeding the original \$175M goal and the later \$250M extended target. The headline composition (per the museum's reopening press release and \emph{The Art Newspaper}~\citep{tan2021studiomuseum,smh2025opening}): 242 242 + 243 243 + \begin{itemize} 244 244 + \item \textbf{City of New York: \$62 million} (NYC Department of Cultural Affairs through capital allocations). 245 245 + \item \textbf{Ford Foundation: \$10 million} (October 2024) --- permanent endowment of the position of Director and Chief Curator, now styled the \emph{Ford Foundation Director and Chief Curator}; announced at the 2024 gala on the occasion of Thelma Golden's twentieth anniversary~\citep{smh2024ford}. 246 246 + \item \textbf{Mellon Foundation: \$10 million} (December 2022) --- Presidential Initiatives line, dedicated to construction of the new building~\citep{mellon2022capital}. (Note: an earlier internal cross-reference in the Mellon dossier listed this as a 2018 \$5M gift; the canonical Mellon database record is \$10M dated 2022. Both figures may reflect different tranches of the same multi-year commitment; this dossier records the figure on the Mellon database as authoritative.) 247 247 + \item \textbf{MacKenzie Scott} (June 2021) --- ``extraordinary and transformative'' endowment gift; specific dollar amount not publicly disclosed by the museum in its press release~\citep{smh2021scott}. Scott's broader 2021 disbursement totaled \$2.74B across hundreds of nonprofits. 248 248 + \item \textbf{Bank of America} --- lead opening sponsor; amount not disclosed. 249 249 + \item \textbf{Henry Luce Foundation} --- inaugural exhibitions and publications; amount not disclosed. 250 250 + \item \textbf{The 2025 Pre-Opening Gala} raised over \$3.7M. 251 251 + \item \textbf{Lead individual gift.} The dossier brief at intake referenced a \$25M lead gift from Fred Eychaner. This dossier could \textbf{not confirm} that figure in the public record on the working-draft pass --- Eychaner does not appear on the museum's published donor wall as captured in press materials, and his Wikipedia page does not mention the Studio Museum. The figure is recorded here as \textbf{TBD / unverified} pending direct examination of the 2025 reopening donor wall, the museum's 2025 Annual Report, or named-gift recognition in the building's interior signage. 252 252 + \end{itemize} 253 253 + 254 254 + Mellon's recurring \emph{Curatorial Fund} grants (Phases I, II and III) and the \emph{Critical Collections}, \emph{Collections Management}, \emph{Studio Museum Sustainability Plan / Art Museum Futures Fund}, and \emph{VanDerZee Collection} grants together represent a multi-decade institutional partnership; per-grant amounts are tabulated in \texttt{data/grants.csv} where they have been confirmed. 255 255 + 256 256 + \section{The New Building} 257 257 + 258 258 + \begin{description} 259 259 + \item[\textbf{Architect of record.}] Adjaye Associates (David Adjaye, lead designer until July 2023; Pascale Sablan, NYC office CEO, project lead 2023--2025). \textbf{Executive architect:} Cooper Robertson. 260 260 + \item[\textbf{Site.}] 144 West 125th Street --- the same lot as the 1981 J.~Max Bond Jr.~conversion. The Bond building was demolished as part of the project. 261 261 + \item[\textbf{Footprint.}] 82{,}000 sq.~ft.~over seven floors, including five floors of exhibition space (\(\sim\)17{,}000 sq.~ft, roughly double the previous home), a roof terrace, expanded education and AIR studios, an inverted ``stoop'' entrance with glass doors~\citep{archpaper2025smh}. 262 262 + \item[\textbf{Construction.}] Groundbreaking 2018; completion 2025. Total construction cost approximately \$160M; full project cost (incl.~endowment, operating reserves, programming) approximately \$300M+. 263 263 + \item[\textbf{Adjaye separation (July 2023).}] Following a \emph{Financial Times} investigation reporting sexual-misconduct allegations from three former Adjaye Associates employees, the Studio Museum trustees announced they were ``concerned'' and that David Adjaye personally was stepping back from the project~\citep{ft2023adjaye,artnews2023adjaye}. The firm's NYC team continued. Adjaye has denied the allegations. 264 264 + \item[\textbf{Opening.}] Saturday, 15 November 2025, with free admission and a Community Day; inaugural exhibition is a comprehensive survey of \textbf{Tom Lloyd}, the artist of the 1968 inaugural show. 265 265 + \item[\textbf{Renaming.}] Press materials and signage at opening retain the historical name \emph{The Studio Museum in Harlem}. The dossier brief at intake referenced a renaming to ``Studio Museum 125''; this could not be confirmed in 2025--2026 press materials and is recorded here as \textbf{not present in current public-facing usage}. 266 266 + \end{description} 267 267 + 268 268 + \section{Footprint} 269 269 + 270 270 + The Studio Museum's footprint, as publicly recoverable, divides cleanly: 271 271 + 272 272 + \begin{description} 273 273 + \item[\textbf{Permanent collection.}] $\sim$8{,}000+ works by African-American, African, and Caribbean artists from the nineteenth century to the present. Augmented by the 2018 \textbf{Peggy Cooper Cafritz bequest} of over 400 contemporary works. 274 274 + \item[\textbf{The James Van Der Zee Archive.}] The world's largest collection of the Harlem Renaissance photographer's work, acquired 1979; 2021 partnership with the Metropolitan Museum (Mellon-funded at \$2M to the Met) to research, conserve, and publicly access. 275 275 + \item[\textbf{AIR alumni network.}] 150+ alumni; the program is widely cited as the formative training ground for two generations of African-American contemporary artists. Alumni cited above (David Hammons, Kerry James Marshall, Wangechi Mutu, Kehinde Wiley, Njideka Akunyili Crosby, Simone Leigh, Jordan Casteel, Lauren Halsey) are individually among the most-collected and highest-priced living artists in the global market. 276 276 + \item[\textbf{F-show curatorial canon.}] The five F-shows (2001--2018) are routinely cited in survey volumes of 21st-century American art as the canonical inventory of emerging Black contemporary art for that period. 277 277 + \item[\textbf{Recurring critics and publications.}] \emph{Studio} magazine (2005--), the F-show catalogues (issued as the ``F-Show Box Set''), Thelma Golden's ``post-Black'' essay (2001), and the ongoing \emph{Studio Museum Magazine} online editorial. 278 278 + \end{description} 279 279 + 280 280 + A finer-grained footprint --- year-by-year exhibition list, full Cafritz bequest accession list, complete AIR alumni roster cross-walked with cohort exhibitions --- is partly captured in \texttt{data/residents.csv} and \texttt{data/programs.csv} but is incomplete; the museum's own published timeline at \href{https://www.studiomuseuminharlem.org/timeline}{studiomuseuminharlem.org/timeline} was unreachable on the working-draft pass. 281 281 + 282 282 + \section{Reading list} 283 283 + 284 284 + \subsection{Already in the AC readings library} 285 285 + 286 286 + \textbf{Golden, ``Post-\dots'' (\emph{Freestyle} catalog, 2001)}~\citep{golden2001freestyle} --- People, the curatorial premise of the Golden directorship. 287 287 + 288 288 + \subsection{To acquire} 289 289 + 290 290 + \textbf{Mary Schmidt Campbell, \emph{An American Odyssey: The Life and Work of Romare Bearden} (Oxford UP, 2018)} --- People, by the longest-tenured director.\\ 291 291 + \textbf{Thelma Golden, \emph{Black Male: Representations of Masculinity in Contemporary American Art} (Whitney Museum, 1994)} --- People, the curatorial pre-history.\\ 292 292 + \textbf{Kellie Jones, \emph{EyeMinded: Living and Writing Contemporary Art} (Duke UP, 2011)} --- adjacent.\\ 293 293 + \textbf{Huey Copeland, \emph{Bound to Appear} (Chicago, 2013)} --- adjacent.\\ 294 294 + \textbf{Lauren Haynes \& Thomas Lax, \emph{Fore} catalog (2012)} --- Programs.\\ 295 295 + \textbf{Connie H.~Choi, ed., \emph{The Studio Museum in Harlem: 50 Years of Collecting and Exhibiting Black Art} (2018)} --- the museum's own anniversary volume.\\ 296 296 + \textbf{The Five F-Show Box Set} (Freestyle / Frequency / Flow / Fore / Fictions) --- Programs.\\ 297 297 + \textbf{Architectural Record \& \emph{The Art Newspaper} reopening coverage} (Nov 2025) --- The New Building.\\ 298 298 + \textbf{\emph{Financial Times}, ``Star architect Sir David Adjaye accused of sexual assault, harassment and misconduct'' (4 Jul 2023)} --- The New Building, the Adjaye separation. 299 299 + 300 300 + \section{What this dossier is not} 301 301 + 302 302 + \begin{itemize} 303 303 + \item Not a thesis. There is no question being answered. 304 304 + \item Not a critique. The capital-campaign donor record and the Adjaye separation are surfaced, not judged. 305 305 + \item Not a comparison. Adjacent institutions (the Schomburg Center, MoCADA, the Whitney's African-American collection, the Smithsonian NMAAHC) are mentioned only where they directly intersect the Studio Museum. 306 306 + \item Not a curatorial history. The F-shows are inventoried, not interpreted. 307 307 + \item Not exhaustive. The dossier covers what is publicly recoverable; gaps are flagged inline. The companion data folder (\texttt{papers/arxiv-studio-museum/data/}) contains the underlying CSVs. 308 308 + \end{itemize} 309 309 + 310 310 + \vspace{0.5em} 311 311 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 312 312 + 313 313 + \bibliographystyle{plainnat} 314 314 + \bibliography{references} 315 315 + 316 316 + \end{document}

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··· 1 1 + % ac-paper-layout.sty — Aesthetic Computer paper layout master template 2 2 + % Usage: \usepackage{ac-paper-layout} in each arxiv-* paper 3 3 + % 4 4 + % This package provides the shared visual identity for all AC working drafts: 5 5 + % - AC color palette 6 6 + % - YWFT Processing font commands (\acbold, \aclight) 7 7 + % - Draft watermark in Processing Light font 8 8 + % - Pals logo watermark (top-left, rotated, semi-opaque) 9 9 + % - Section/subsection formatting 10 10 + % - Header/footer (draft notice + page numbers) 11 11 + % - List and paragraph settings 12 12 + % - \ac command for "Aesthetic Computer" small caps 13 13 + % 14 14 + % Papers still define their own: 15 15 + % - \hypersetup{pdftitle=...} 16 16 + % - \graphicspath{...} 17 17 + % - Additional \newcommand macros (e.g. \wg, \acos) 18 18 + % - Extra packages (listings, multicol, etc.) 19 19 + % - Extra font families (ComicRelief for KidLisp, etc.) 20 20 + 21 21 + \NeedsTeXFormat{LaTeX2e} 22 22 + \ProvidesPackage{ac-paper-layout}[2026/03/16 Aesthetic Computer paper layout] 23 23 + 24 24 + % === FONTS === 25 25 + % Requires fontspec (loaded by the document before this package) 26 26 + \newfontfamily\acbold{ywft-processing-bold}[ 27 27 + Path=../../system/public/type/webfonts/, 28 28 + Extension=.ttf 29 29 + ] 30 30 + \newfontfamily\aclight{ywft-processing-light}[ 31 31 + Path=../../system/public/type/webfonts/, 32 32 + Extension=.ttf 33 33 + ] 34 34 + 35 35 + % === COLORS (AC palette) === 36 36 + \definecolor{acpink}{RGB}{180,72,135} 37 37 + \definecolor{acpurple}{RGB}{120,80,180} 38 38 + \definecolor{acdark}{RGB}{64,56,74} 39 39 + \definecolor{acgray}{RGB}{119,119,119} 40 40 + \definecolor{draftcolor}{RGB}{180,72,135} 41 41 + 42 42 + % === DRAFT WATERMARK (Processing font + pals logo) === 43 43 + \RequirePackage{eso-pic} 44 44 + \RequirePackage{tikz} 45 45 + \AddToShipoutPictureBG{% 46 46 + \begin{tikzpicture}[remember picture, overlay] 47 47 + % --- Pals logo: large, top-left, rotated, semi-opaque, bleeding off edge --- 48 48 + \node[opacity=0.06, anchor=north west, rotate=-15] 49 49 + at ([xshift=-1.2cm, yshift=1.2cm]current page.north west) 50 50 + {\includegraphics[width=10cm]{pals}}; 51 51 + % --- "WORKING DRAFT" text in Processing Light font --- 52 52 + \node[opacity=0.12, rotate=45, anchor=center] 53 53 + at (current page.center) 54 54 + {{\aclight\fontsize{2.5cm}{3cm}\selectfont\color{acpink} WORKING DRAFT}}; 55 55 + \end{tikzpicture}% 56 56 + } 57 57 + 58 58 + % === SECTION FORMATTING === 59 59 + \RequirePackage{titlesec} 60 60 + \titleformat{\section} 61 61 + {\normalfont\bfseries\normalsize\uppercase} 62 62 + {\thesection.} 63 63 + {0.5em} 64 64 + {} 65 65 + \titlespacing{\section}{0pt}{1.2em}{0.3em} 66 66 + 67 67 + \titleformat{\subsection} 68 68 + {\normalfont\bfseries\small} 69 69 + {\thesubsection} 70 70 + {0.5em} 71 71 + {} 72 72 + \titlespacing{\subsection}{0pt}{0.8em}{0.2em} 73 73 + 74 74 + % === HEADER/FOOTER === 75 75 + \RequirePackage{fancyhdr} 76 76 + \pagestyle{fancy} 77 77 + \fancyhf{} 78 78 + \renewcommand{\headrulewidth}{0pt} 79 79 + \fancyhead[C]{\footnotesize\color{acpink}\textit{Working Draft --- not for citation}} 80 80 + \fancyfoot[C]{\footnotesize\thepage} 81 81 + 82 82 + % === LIST SETTINGS === 83 83 + \RequirePackage{enumitem} 84 84 + \setlist[itemize]{nosep, leftmargin=1.2em, itemsep=0.1em} 85 85 + \setlist[enumerate]{nosep, leftmargin=1.2em} 86 86 + 87 87 + % === PARAGRAPH SETTINGS === 88 88 + \setlength{\columnsep}{1.8em} 89 89 + \setlength{\parindent}{1em} 90 90 + \setlength{\parskip}{0.3em} 91 91 + 92 92 + % === HYPERREF COLORS === 93 93 + \RequirePackage{hyperref} 94 94 + \hypersetup{ 95 95 + colorlinks=true, 96 96 + linkcolor=acpurple, 97 97 + urlcolor=acpurple, 98 98 + citecolor=acpurple, 99 99 + } 100 100 + 101 101 + % === COMMON COMMANDS === 102 102 + \newcommand{\ac}{\textsc{Aesthetic Computer}} 103 103 + \newcommand{\acdot}{{\color{acpink}.}} 104 104 + 105 105 + \endinput

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··· 1 1 + # arxiv-the-kitchen / data — first-pass record pull 2 2 + 3 3 + First-pass dossier data assembled 2026-05-02. The Kitchen NYC is one of the oldest organizations in this dossier series — formally incorporated as **Haleakala, Inc.** (DBA *The Kitchen*) in 1973, two years after the artist-collective phase began in 1971 in the disused kitchen of the Mercer Arts Center at 240 Mercer Street. 4 4 + 5 5 + EIN: **13-2829756**. IRS tax-exempt status effective May 1975. 6 6 + 7 7 + All numbers are sourced; gaps and TBDs are flagged inline rather than guessed. 8 8 + 9 9 + ## Files 10 10 + 11 11 + - `financials.csv` — Form 990 line items per fiscal year, FY2011–FY2024 from ProPublica's summary view; pre-FY2011 filings are PDF-only on ProPublica back to FY2002 (URLs preserved). FY ends June 30. 12 12 + - `people.csv` — founders (Vasulkas, Mannik), the original collective period co-directors (Chatham, Bapat, Devyatkin, Bowes), the long sequence of executive directors (Stearns 1973+ → MacArthur 1978-84 → Amazeen 1991-97 → Bernhardt 1998-2004 → Singer 2004-2011 → Griffin 2011-2021 → Russell 2021-), the music-director chain (Chatham, Russell, List, Lewis, DeMarinis, Lindsay), key curators (Lumi Tan, Matthew Lyons, Robyn Farrell, Alison Burstein), and named board members (Paula Cooper, Philip Glass, Caroline Stone as founding board; Robert Soros as current chair). 13 13 + - `funders.csv` — Mellon, Andy Warhol Foundation, NEA, NYSCA, NYC DCLA, plus Hurricane Sandy recovery funders (Time Warner, ADAA), capital-campaign donors (collective). 14 14 + - `grants.csv` — named grants TO The Kitchen with date / amount / project / term where confirmable. Mellon $2M (June 2023, 36 mo) is fully verified. Warhol $80K (fall 2023) is on the Warhol Foundation grants archive page. 15 15 + - `timeline.csv` — 1971 → 2026: founding through current Without Walls programming. 16 16 + - `locations.csv` — Mercer Arts Center kitchen (1971-73) → 484 Broome Street SoHo (1973-85) → 512 W 19th Street Chelsea (1985-2022, owned since 1987) → Westbeth Bank Street (2022-) → reopening TBD. 17 17 + - `programs.csv` — long-running named series with launch dates and current status. 18 18 + 19 19 + ## What's solid 20 20 + 21 21 + - **EIN and legal identity**: 13-2829756, Haleakala Inc DBA The Kitchen (Wikipedia, GuideStar, ProPublica all align). 22 22 + - **Founding date**: June 15, 1971, in the disused kitchen of the Mercer Arts Center at 240 Mercer Street (Wikipedia + Field Notes; both sources align). 23 23 + - **Incorporation**: 1973 as Haleakala Inc, the same year the Mercer Arts Center building collapsed (August 1973). Founding board: Paula Cooper, Caroline Stone, Philip Glass. 24 24 + - **Building purchase**: The Kitchen purchased its 512 W 19th Street building from Dia Art Foundation in 1987. 25 25 + - **Form 990 line items, FY2011–FY2024** from ProPublica's summary table: total revenue, contributions/grants, program-service revenue, total expenses, top exec compensation, total assets/liabilities, net assets. The dataset shows three revenue spikes — FY2014 ($2.6M; likely Getty archive sale), FY2016 ($3.5M; one-time gift?), FY2021 ($5.1M; capital campaign launch), FY2023 ($6.7M; Mellon $2M + capital campaign continuation). 26 26 + - **Net asset trajectory**: $3.5M (FY2011) → $5.4M (FY2016) → $6.5M (FY2019) → $11.7M (FY2022) → $16.0M (FY2023) → $16.6M (FY2024). The capital campaign is highly visible on the balance sheet — net assets nearly tripled between FY2019 and FY2024. 27 27 + - **Mellon Foundation**: a single grant on the public Mellon database — **$2,000,000 / 36 months / Arts and Culture** awarded June 8, 2023, to support "infrastructure and staffing under Legacy Russell's leadership." The Kitchen's own press release describes it as the largest single gift in The Kitchen's 50-year history. 28 28 + - **Andy Warhol Foundation**: at least one grant of **$80,000 (fall 2023, Multi-year Program Support)**; Warhol also supported Hurricane Sandy recovery in 2012-2013. 29 29 + - **Renovation architect**: Rice+Lipka Architects (Lyn Rice, principal) per Architects Newspaper 2021. 30 30 + - **Capital campaign**: The Next 50 — public goal $40M; ArchPaper reported $19M pledged at the September 2021 launch with a $28M / 5-year initial framing. 31 31 + - **Leadership chain (verified)**: Stearns (1973+) → MacArthur (1978-84) → Amazeen (1991-97) → Bernhardt (1998-2004) → Singer (2004-2011) → Griffin (2011-2021) → Russell (2021-). 32 32 + - **Music-director chain (verified)**: Chatham (1971-73, 1977-80) → Russell (1974-75) → List (1975-77) → Lewis (1980-82) → DeMarinis (1982-85) → Lindsay (1986-87). 33 33 + - **Getty acquisition**: 5,410 videotapes + 600+ audiotapes + 246 artist-designed posters (1971-1999) acquired by Getty Research Institute in 2014. Acquisition price not public. 34 34 + - **Hurricane Sandy damage**: ~$450K (Oct 2012); Time Warner, Art Dealers Association, and Andy Warhol Foundation among recovery funders. 35 35 + 36 36 + ## What's known but not fully quantified 37 37 + 38 38 + - **Gap years 1985-1991 ED**: Wikipedia / Kitchen sources give Stearns starting 1973 and Mary MacArthur Griffin 1978-84, then Amazeen starting 1991. The 1985-1991 ED is not yet identified in the public record consulted. 39 39 + - **Pre-2011 financials**: ProPublica has Form 990 PDFs back to FY2002 but only summary-line data for FY2011+. Pre-FY2011 line items not yet extracted from the PDFs. 40 40 + - **NEA grant history**: recurring funder; year-by-year amounts blocked behind JS-rendered Kendo grid at grantsearch.nea.gov; not extracted in this pass. 41 41 + - **NYSCA / NYC DCLA**: recurring funders; year-by-year amounts not extracted. 42 42 + - **Capital campaign donor names**: $19M pledged at launch (per ArchPaper) but the breakdown is not in any public document I located. 43 43 + - **Schedule J / Schedule G detail**: not yet extracted from any year's IRS XML (we only have the ProPublica summary lines). Auction / gala net not separately tracked. 44 44 + - **Renovation budget**: stated as $28M-five-year at the 2021 announcement; campaign goal is $40M. Actual spend-to-date and confirmed reopening date not in public sources as of May 2026. 45 45 + - **Board roster**: Robert Soros confirmed as current chair; Paula Cooper and Philip Glass as Chairperson Emeritus. Full FY2024 board roster (per IRS XML) not yet pulled. 46 46 + 47 47 + ## What's missing entirely (not yet attempted) 48 48 + 49 49 + - **IRS direct e-file XML pull** (FY2017+ should be available on apps.irs.gov) — not retrieved in this pass; would surface Schedule J/G/R detail. 50 50 + - **Pre-FY2011 line items** from the PDF-only filings — would extend the 14-year financial trajectory back to 2002. 51 51 + - **Vasulkas archive** at vasulka.org — has primary documents from the 1970s including Kitchen-Letter-Mailout (KLM) issues; not consulted in this pass beyond confirming legal name. 52 52 + - **NEH / IMLS grant history** — not searched in this pass. 53 53 + - **Press coverage of the Tim Griffin → Legacy Russell transition (2020-2021)** beyond the announcement. Some coverage of the transition was framed as part of a broader 2020 reckoning at downtown NYC institutions; not consolidated here. 54 54 + 55 55 + ## Data quality notes 56 56 + 57 57 + - The legal name is **Haleakala, Inc.** Funder databases sometimes list the org as "The Kitchen", "The Kitchen Center for Video Music Dance Performance Film and Literature", "Haleakala Inc DBA The Kitchen", or just "Kitchen". Searches need all variants. 58 58 + - The 990 fiscal year ends June 30. So "FY2024" means July 2023–June 2024. Many press / grant announcements use calendar year; cross-walks may need adjustment by ±1 year. 59 59 + - Several program launch dates in this dossier are best-effort from secondary sources (Wikipedia and The Kitchen's own About page); primary archival corroboration would tighten them. 60 60 + 61 61 + ## Source URLs 62 62 + 63 63 + - ProPublica record: https://projects.propublica.org/nonprofits/organizations/132829756 64 64 + - GuideStar profile: https://www.guidestar.org/profile/13-2829756 65 65 + - The Kitchen About: https://thekitchen.org/about/ 66 66 + - The Kitchen OnScreen archive: https://onscreen.thekitchen.org 67 67 + - Field Notes: The Kitchen, 2021–2022: https://thekitchen.org/on-mind/field-notes-the-kitchen-2021-2022/ 68 68 + - Wikipedia: https://en.wikipedia.org/wiki/The_Kitchen_(art_institution) 69 69 + - Mellon Foundation grant detail: https://www.mellon.org/grant-details/the-kitchen-20453597 70 70 + - Andy Warhol Foundation archive page: https://warholfoundation.org/grants/archive/the-kitchen/ 71 71 + - Architects Newspaper renovation announcement: https://www.archpaper.com/2021/09/legendary-new-york-arts-center-the-kitchen-announces-an-expansive-renovation/ 72 72 + - The Next 50 capital campaign: https://www.thenext50.thekitchen.org 73 73 + - The Kitchen Mellon press release: https://thekitchen.org/press/the-kitchen-receives-@m-from-the-mellon-foundation/ 74 74 + - Vasulkas archive (Kitchen Letter-Mailouts): https://www.vasulka.org/archive/Kitchen/ 75 75 + - Getty Research Institute archive collection: https://www.getty.edu/research/collections/group/10RB8S 76 76 + - IRS direct e-file XML: https://apps.irs.gov/pub/epostcard/990/xml/

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papers/arxiv-the-kitchen/data/financials.csv

reviewed

··· 1 1 + fiscal_year_end,filing_status,total_revenue,contributions_grants,program_service_revenue,total_expenses,top_exec_compensation,total_assets,total_liabilities,net_assets,filing_url,source 2 2 + 2024-06,filed,4323450,3702005,16686,3388609,185462,17824102,1181200,16642902,https://projects.propublica.org/nonprofits/organizations/132829756/202521329349302557/full,ProPublica summary (FY2024 — second full Without Walls year) 3 3 + 2023-06,filed,6742034,6378084,133115,2910677,173465,18231252,2273641,15957611,https://projects.propublica.org/nonprofits/organizations/132829756/202401349349304515/full,"ProPublica summary (FY2023 — Mellon $2M arrives June 2023; capital-campaign year)" 4 4 + 2022-06,filed,4058600,3855026,160467,2229097,119475,11979550,238739,11740811,https://projects.propublica.org/nonprofits/organizations/132829756/202331309349303833/full,ProPublica summary (FY2022 — building closes for renovation Fall 2022) 5 5 + 2021-06,filed,5093956,4456815,169234,2050182,161787,11182217,649510,10532707,https://projects.propublica.org/nonprofits/organizations/132829756/202241059349300019/full,ProPublica summary (FY2021 — campaign launch / 50th anniversary) 6 6 + 2020-06,filed,2495219,2281939,109230,2105927,174146,7516061,490478,7025583,https://projects.propublica.org/nonprofits/organizations/132829756/202140839349300144/full,ProPublica summary (FY2020 — COVID year; Griffin's last full year) 7 7 + 2019-06,filed,3609571,3105849,251000,2504156,174146,6637621,157945,6479676,https://projects.propublica.org/nonprofits/organizations/132829756/202001199349300920/full,ProPublica summary 8 8 + 2018-06,filed,2061516,1603600,253815,2214582,163476,5464016,117036,5346980,https://projects.propublica.org/nonprofits/organizations/132829756/201911199349301381/full,ProPublica summary 9 9 + 2017-06,filed,2009793,1624416,172974,2262508,163601,5368441,103481,5264960,https://projects.propublica.org/nonprofits/organizations/132829756/201801159349300635/full,ProPublica summary 10 10 + 2016-06,filed,3477618,1728050,172150,2125650,164223,5443639,64416,5379223,https://projects.propublica.org/nonprofits/organizations/132829756/201700959349300335/full,ProPublica summary (revenue spike; appears to include a major one-time gift) 11 11 + 2015-06,filed,2328380,1669750,464268,2115172,160500,4224319,138196,4086123,https://projects.propublica.org/nonprofits/organizations/132829756/201621269349301477/full,ProPublica summary 12 12 + 2014-06,filed,2608816,1750221,714937,2097982,157000,3966410,99269,3867141,https://projects.propublica.org/nonprofits/organizations/132829756/201501339349303970/full,"ProPublica summary (FY2014 — Getty archive sale; program-service revenue spike)" 13 13 + 2013-06,filed,1954573,1443632,127938,1854137,,3452494,166748,3285746,https://projects.propublica.org/nonprofits/organizations/132829756/201410849349300121/full,ProPublica summary 14 14 + 2012-06,filed,1634428,1401499,149861,1937560,,3231558,55548,3176010,https://projects.propublica.org/nonprofits/display_990/132829756/2013_06_EO%2F13-2829756_990_201206,"ProPublica summary (Hurricane Sandy hit Oct 2012; ~$450K damage)" 15 15 + 2011-06,filed,2195066,2012587,105103,1823293,,3640813,159478,3481335,https://projects.propublica.org/nonprofits/display_990/132829756/2012_06_EO%2F13-2829756_990_201106,ProPublica summary (Tim Griffin starts mid-year) 16 16 + 2010-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2011_06_EO%2F13-2829756_990_201006,ProPublica PDF — line items not yet extracted 17 17 + 2009-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2010_05_EO%2F13-2829756_990_200906,ProPublica PDF — line items not yet extracted 18 18 + 2008-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2009_05_EO%2F13-2829756_990_200806,ProPublica PDF — line items not yet extracted 19 19 + 2007-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2008_07_EO%2F13-2829756_990_200706,ProPublica PDF — line items not yet extracted 20 20 + 2006-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2007_02_EO%2F13-2829756_990_200606,ProPublica PDF — line items not yet extracted 21 21 + 2005-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2006_03_EO%2F13-2829756_990_200506,ProPublica PDF — line items not yet extracted 22 22 + 2004-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2005_02_EO%2F13-2829756_990_200406,ProPublica PDF — line items not yet extracted 23 23 + 2003-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2003_12_EO%2F13-2829756_990_200306,ProPublica PDF — line items not yet extracted 24 24 + 2002-06,PDF only,,,,,,,,,https://projects.propublica.org/nonprofits/display_990/132829756/2002_12_EO%2F13-2829756_990_200206,ProPublica PDF — earliest 990 on ProPublica

+12

papers/arxiv-the-kitchen/data/funders.csv

reviewed

··· 1 1 + funder,type,years,amount_usd_total,program_supported,notes,source 2 2 + Mellon Foundation,foundation,2023,2000000,Infrastructure and staffing under Legacy Russell,"$2M / 36 months / Arts and Culture program; described as the largest single gift in The Kitchen's 50-year history",https://www.mellon.org/grant-details/the-kitchen-20453597 3 3 + Andy Warhol Foundation for the Visual Arts,foundation,(recurring),(partial),Multi-year Program Support; Hurricane Sandy recovery in 2012,"Fall 2023 grant of $80,000 for Multi-year Program Support documented; previously supported Hurricane Sandy recovery in 2012",https://warholfoundation.org/grants/archive/the-kitchen/ 4 4 + NEA,government,(recurring),TBD,Music / Dance / Media Arts programs,Recurring discipline funder; year-by-year amounts blocked behind JS-rendered grant search; not extracted in this pass,https://grantsearch.nea.gov/ 5 5 + NYSCA,government,(recurring),TBD,General operating + program support,New York State Council on the Arts; recurring,https://arts.ny.gov/ 6 6 + NYC Department of Cultural Affairs (DCLA),government,(recurring),TBD,Cultural Development Fund + program support,Recurring NYC government support,https://www.nyc.gov/site/dcla/ 7 7 + Ford Foundation,foundation,TBD,TBD,General operations,Plausible recurring funder for an org of this scale; not yet confirmed by grant ID,inferred (TBD) 8 8 + Time Warner,corporate,2012,(part of ~$450K Sandy aid),Hurricane Sandy recovery,Among the named recovery funders cited on the Wikipedia entry,Wikipedia 9 9 + Art Dealers Association of America,trade association,2012,(part of ~$450K Sandy aid),Hurricane Sandy recovery,Among the named recovery funders for Sandy damage,Wikipedia 10 10 + Robert Soros (board chair),individual board,(current),TBD,General / capital,Current Chairperson of the Board,The Kitchen About 11 11 + Empire State Development (NYS) / NYC capital programs,government,TBD,TBD,Capital / building,Plausible source for the Chelsea capital renovation; not confirmed in this pass,inferred (TBD) 12 12 + Capital campaign donors (collective),individual / institutional,2021-,~28000000+,The Next 50 capital campaign for the W 19th Street renovation,"Public goal stated as $40M (thenext50.thekitchen.org); $28M / 5-year campaign cited at announcement; ArchPaper reported $19M pledged at launch; donor breakdown not public",https://www.thenext50.thekitchen.org / archpaper.com 2021

+10

papers/arxiv-the-kitchen/data/grants.csv

reviewed

··· 1 1 + funder,date,amount_usd,program_area,project,term_months,source_url,notes 2 2 + Mellon Foundation,2023-06-08,2000000,Arts and Culture,Infrastructure and staffing under Legacy Russell's leadership for an inclusive space for the next avant-garde and its expanded audiences,36,https://www.mellon.org/grant-details/the-kitchen-20453597,Largest single gift in The Kitchen's 50-year history per The Kitchen press release 3 3 + Andy Warhol Foundation,2023-fall,80000,Visual Arts,Multi-year Program Support,24,https://warholfoundation.org/grants/archive/the-kitchen/,Single grant currently visible on Warhol Foundation grants archive page for The Kitchen 4 4 + Time Warner,2012-2013,,Disaster recovery,Hurricane Sandy recovery,,Wikipedia,Part of the recovery effort after $450K in Sandy damage; specific amount TBD 5 5 + Art Dealers Association of America,2012-2013,,Disaster recovery,Hurricane Sandy recovery,,Wikipedia,Part of the recovery effort after $450K in Sandy damage; specific amount TBD 6 6 + Andy Warhol Foundation,2012-2013,,Disaster recovery,Hurricane Sandy recovery,,Wikipedia,Part of the recovery effort after Sandy damage 7 7 + Getty Research Institute,2014,,Acquisition,"Acquired The Kitchen's archive — 5,410 videotapes, 600+ audiotapes, photographs, 246 artist-designed posters from 1971-1999",,https://www.getty.edu/research/collections/group/10RB8S,Acquisition price not disclosed publicly; possible source of FY2014 program-service revenue spike to $714K 8 8 + NEA,(recurring),,,Discipline grants (Music / Dance / Media Arts),,https://grantsearch.nea.gov/,Recurring funder; year-by-year amounts blocked behind JS-rendered grant search and not extracted in this pass 9 9 + NYSCA,(recurring),,,General operating support,,https://arts.ny.gov/,Recurring NYS funder; year-by-year amounts not extracted in this pass 10 10 + NYC DCLA,(recurring),,,Cultural Development Fund,,https://www.nyc.gov/site/dcla/,Recurring NYC funder; year-by-year amounts not extracted in this pass

+7

papers/arxiv-the-kitchen/data/locations.csv

reviewed

··· 1 1 + period,address,owner_or_host,square_footage,notes,source 2 2 + 1971-06 to 1973-08,"240 Mercer Street (Mercer Arts Center, in the former Broadway Central Hotel), Greenwich Village, NY",Mercer Arts Center (host venue) / Electronic Arts Intermix (fiscal sponsor),~30 ft wide disused kitchen room,"The original Kitchen — a 30-foot-wide disused kitchen on the second floor; equipped with videotape machines, tape recorders, monitors, loudspeakers, a piano. Wednesday open-house screenings + weekly performances. Building (formerly Broadway Central Hotel) collapsed August 3, 1973.",The Kitchen Field Notes / Wikipedia 3 3 + 1973-11 to 1985,"484 Broome Street (corner of Wooster and Broome), 2nd floor, SoHo, NY",Haleakala Inc (leased; ~$10,000/year rent),second-floor loft,"Reopened November 1973 as a freestanding nonprofit (Haleakala Inc DBA The Kitchen). Some sources cite the corner address as 59 Wooster Street. Became 'New York's premiere avant-garde and experimental arts center.' Music + Dance + Video + Film + Literature programming all expanded here.",The Kitchen Field Notes / Wikipedia 4 4 + 1985 to 2022,"512 West 19th Street, Chelsea, NY 10011",Haleakala Inc (purchased from Dia Art Foundation in 1987),~3-story former icehouse,"1920s-era former icehouse. Inaugural Chelsea programming series 'New Ice Nights' (1986). Building purchased from Dia 1987. Black-box performance space + gallery + offices. Hurricane Sandy damage Oct 2012 (~$450K). Building closed for renovation Fall 2022.",archpaper.com / Wikipedia / The Kitchen About 5 5 + 2022 to present,"163B Bank Street (Westbeth Artists Housing), West Village, NY",Westbeth Artists Housing (host),,"Satellite home during Without Walls programming period; The Kitchen presents performances and programs both at Westbeth and at partner venues across the city.",The Kitchen About / Westbeth 6 6 + 2022 to present,(various NYC partner venues — Without Walls),various co-presenters,,"Programming distributed across NYC partner spaces during the renovation period; complete partner list not consolidated in publicly extractable form.",The Kitchen About 7 7 + TBD (post-renovation),"512 West 19th Street, Chelsea, NY 10011",Haleakala Inc,doubled-capacity per Rice+Lipka renovation framing,"Architect Rice+Lipka Architects (Lyn Rice). Stated goals: maintain industrial character; double capacity; cross-disciplinary flexibility. Public reopening date not fixed as of May 2026.",archpaper.com / The Next 50

+35

papers/arxiv-the-kitchen/data/people.csv

reviewed

··· 1 1 + name,role,start_year,end_year,notes,source 2 2 + Steina Vasulka,Founder / Co-Director,1971,1973,Video artist; Icelandic-born violinist; co-founded as artist collective in the kitchen of Mercer Arts Center; departed 1973 when org incorporated,Wikipedia / The Kitchen About / Vasulka archive 3 3 + Woody Vasulka,Founder / Co-Director,1971,1973,Czech-born filmmaker / video artist; co-founded the space as a presentation venue for video art; departed 1971 (operationally) and formally 1973,Wikipedia / The Kitchen About 4 4 + Andy Mannik,Co-founding collaborator,1971,,Helped Vasulkas launch the original Mercer Arts Center kitchen space,Wikipedia 5 5 + Rhys Chatham,Music Director,1971,1973,Co-director in the founding period; later returned 1977-1980; long-influence on no-wave era programming,Wikipedia / The Kitchen About 6 6 + Shridhar Bapat,Co-Director (founding period),1971,1973,Listed as one of the co-directors during the early collective phase,The Kitchen Field Notes 2021-2022 7 7 + Dimitri Devyatkin,Co-Director (founding period),1971,1973,Listed as co-director during the founding collective period,The Kitchen Field Notes 2021-2022 8 8 + Tom Bowes,Video Director,1971,1973,,Wikipedia 9 9 + Robert Stearns,Executive Director,1973,,"First Executive Director after 1973 incorporation as Haleakala Inc; previously at Paula Cooper Gallery; oversaw the move to 484 Broome Street",The Kitchen About / Wikipedia 10 10 + Arthur Russell,Music Director,1974,1975,Composer / cellist / disco-classical figure,Wikipedia / The Kitchen Archives 11 11 + Garrett List,Music Director,1975,1977,Trombonist / composer,Wikipedia 12 12 + Robert Longo,Acting Video Curator,1977,1978,Visual artist; later known for Pictures Generation work,The Kitchen Archives 13 13 + Rhys Chatham,Music Director (second tenure),1977,1980,,Wikipedia 14 14 + Mary MacArthur,Executive Director,1978,1984,Née Griffin; launched The Kitchen Presents broadcast initiative; invited Carlota Schoolman to produce video for TV,The Kitchen Archives 15 15 + Leonardo Katz,Filmworks Curator,1978,,Conceived Filmworks program series,The Kitchen Archives 16 16 + Carlota Schoolman,Producer / Director of Television,1978,,Producing video for television under The Kitchen Presents,The Kitchen Archives 17 17 + Amy Taubin,Guest Curator,1982,1982,Curated Filmworks '82,The Kitchen Archives 18 18 + George E. Lewis,Music Director,1980,1982,AACM-affiliated trombonist / composer / scholar,Wikipedia 19 19 + Ann DeMarinis,Music Director,1982,1985,,Wikipedia 20 20 + Arto Lindsay,Music Director,1986,1987,DNA / no-wave guitarist; first music director after Chelsea move,Wikipedia 21 21 + Lauren Dyer Amazeen,Executive Director,1991,1997,Later founded Vanguard Visions Inc; now Chair of Cove Park (Scotland),Vanguard Visions / LinkedIn / Wikipedia 22 22 + Elise Bernhardt,Executive Director,1998,2004,Conceived TV Dinner program; later President / CEO of Foundation for Jewish Culture,The Kitchen Archives / artforum 23 23 + Debra Singer,Executive Director and Chief Curator,2004,2011,Former Whitney Museum curator; first to combine ED and Chief Curator titles,artforum / The Kitchen Archives 24 24 + Tim Griffin,Executive Director and Chief Curator,2011,2021,Former Artforum editor-in-chief 2003-2010; launched The Kitchen L.A.B. talk series and Synth Nights electronic music series; departed in 2020-2021 transition; later ED of The Industry (LA opera company),Wikipedia / artforum / artnews 25 25 + Legacy Russell,Executive Director and Chief Curator,2021,,"Started September 2021; first Black executive director and chief curator in The Kitchen's history; author of Glitch Feminism (2020) and Black Meme (2024); came from Studio Museum in Harlem",artnet / Culture Type / Wikipedia 26 26 + Lumi Tan,Senior Curator,~2010,2022,Twelve-year tenure; organized 100+ exhibitions and performances; departed to Frieze NY,Madame Architect / frieze 27 27 + Matthew Lyons,Curator,2007,,Long-tenure curator; still on staff 2025,The Kitchen Archives / The Kitchen About 28 28 + Robyn Farrell,Director of Curatorial Affairs and Senior Curator,,,Current curatorial leadership,The Kitchen About 29 29 + Angelique Rosales Salgado,Assistant Curator,,,Current,The Kitchen About 30 30 + Alison Burstein,Curator of Media and Engagement,,,On staff during 2021-2022 transition,The Kitchen Field Notes 31 31 + Sienna Fekete,Curatorial Fellow,,,2021-2022 cohort,The Kitchen Field Notes 32 32 + Paula Cooper,Board (founding) / Chairperson Emeritus,1973,,Art dealer; on the founding board of Haleakala Inc 1973,The Kitchen Field Notes / The Kitchen About 33 33 + Philip Glass,Board (founding) / Chairperson Emeritus,1973,,Composer; on the founding board of Haleakala Inc 1973; performed at the original Kitchen,The Kitchen Field Notes / The Kitchen About 34 34 + Caroline Stone,Board (founding),1973,,Artist; on the founding board of Haleakala Inc 1973,The Kitchen Field Notes 35 35 + Robert Soros,Board Chairperson (current),,,Current chair,The Kitchen About

+19

papers/arxiv-the-kitchen/data/programs.csv

reviewed

··· 1 1 + program,launched,status,description,key_funders,source 2 2 + Video / Media Art (founding program),1971,Active (continuous),"Founding discipline of The Kitchen; weekly performances + Wednesday open-house screenings of video work in the original Mercer kitchen.","NEA Media Arts (recurring); Mellon (recent)",The Kitchen Field Notes / Wikipedia 3 3 + Music programming (Music Director track),1971,Active (continuous),"From the founding period onward; key tenures include Rhys Chatham (1971-73, 1977-80), Arthur Russell (1974-75), Garrett List (1975-77), George E. Lewis (1980-82), Ann DeMarinis (1982-85), Arto Lindsay (1986-87). Foundational role in no wave era.","NEA Music; recurring",Wikipedia / The Kitchen Archives 4 4 + The Kitchen Presents (broadcast TV initiative),1978,Concluded,"Launched by Mary MacArthur; producer Carlota Schoolman produced video works for television.",,The Kitchen Archives 5 5 + Dancing In The Kitchen,1978,Concluded,Founding dance program at the Wooster/Broome SoHo location.,,Wikipedia 6 6 + Filmworks,1978,Concluded,"Curated by Leonardo Katz; included Filmworks '82 (curator: Amy Taubin).",,The Kitchen Archives 7 7 + Contemporary Music Series,1979,Active (legacy),Year-round contemporary composition and experimental music programming.,,Wikipedia 8 8 + New Music/New York → New Music America,1979 (NY) / 1980 (America),Discontinued,"Festival format launched as New Music/New York 1979; expanded to New Music America 1980 — became a model multi-city contemporary-music festival traveling to other host cities through the 1980s-90s.",NEA Music (era); NYSCA,Wikipedia 9 9 + Aluminum Nights,1981,One-time,10th-Anniversary downtown-music celebration.,,Wikipedia 10 10 + Dance and Process,1990 (under name Working in The Kitchen) / 1995 (renamed),Active — longest-running named program,"Curated dance commissioning and process-driven dance presentation series.",NEA Dance (recurring),Movement Research / The Kitchen Archives 11 11 + TV Dinner,1998,Concluded 2004,"Vegetarian buffet + evening of time-based art; conceived by ED Elise Bernhardt.",,The Kitchen Archives 12 12 + Kitchen House Blend,2000,Concluded 2005,Music series during the Bernhardt / Singer transition era.,,Wikipedia 13 13 + The Kitchen L.A.B.,2011,Active (Griffin era),Interdisciplinary discussion / talks series founded under Tim Griffin.,,Wikipedia / artforum 14 14 + Synth Nights,2010s (Griffin era),Active (Griffin era),Electronic music series founded under Tim Griffin.,,artforum 15 15 + Aluminum Music + Pioneers of the Downtown Sound,2011,One-time (40th Anniversary),"40th Anniversary programs (Aluminum Music April 15-16, 2011; Pioneers of the Downtown Sound September 9-10, 2011).",,Wikipedia 16 16 + Without Walls programming,2022,Active 2022 -,"Distributed presentation model during the W 19th Street renovation; programs at Westbeth Artists Housing (163B Bank Street) and partner venues citywide.",Mellon (capacity-building 2023),The Kitchen About 17 17 + The Next 50 capital campaign,2021,Active 2021 -,"50th-anniversary capital campaign for the renovation of the W 19th Street building. Public goal: $40M (campaign site); ArchPaper reported $19M pledged at launch with a $28M-five-year framing at announcement.",The Next 50 donors (collective),thenext50.thekitchen.org / archpaper.com 18 18 + Annual Benefit / Gala,(annual),Active,Annual fundraising benefit; specific Schedule G detail not yet extracted in this pass.,,inferred (standard nonprofit practice) 19 19 + Editorial / OnScreen archive site,2010s -,Active,"Online archive of programs at onscreen.thekitchen.org; oral histories, archival video.",,The Kitchen OnScreen

+46

papers/arxiv-the-kitchen/data/timeline.csv

reviewed

··· 1 1 + year,event,category,source 2 2 + 1971-06-15,"Steina and Woody Vasulka (with Andy Mannik) found The Kitchen in the disused kitchen of the Mercer Arts Center, 240 Mercer Street, Greenwich Village",org,Wikipedia / The Kitchen About 3 3 + 1971,"Operates as artist collective under fiscal sponsorship of Electronic Arts Intermix; co-directors Steina, Woody, Rhys Chatham, Shridhar Bapat, Dimitri Devyatkin, Tom Bowes",org,The Kitchen About 4 4 + 1973-08-03,Mercer Arts Center building (former Broadway Central Hotel) collapses,location,Wikipedia 5 5 + 1973,Incorporated as 501(c)(3) under name Haleakala Inc (DBA The Kitchen) — meaning house of the sun,org,The Kitchen Field Notes 6 6 + 1973,"Robert Stearns becomes first Executive Director; founding board: Paula Cooper, Caroline Stone, Philip Glass; org reopens at 484 Broome Street SoHo (lease ~$10,000/year)",leadership,The Kitchen Field Notes 7 7 + 1974,Arthur Russell becomes Music Director,leadership,Wikipedia 8 8 + 1975-05,IRS tax-exempt status effective May 1975 (per ProPublica record),org,ProPublica 9 9 + 1977,Robert Longo serves as Acting Video Curator (fall 1977 - spring 1978),leadership,The Kitchen Archives 10 10 + 1977,Rhys Chatham returns as Music Director (through 1980),leadership,Wikipedia 11 11 + 1978,"Mary MacArthur becomes Executive Director; launches The Kitchen Presents (broadcast video for TV) inviting Carlota Schoolman to produce",leadership,The Kitchen Archives 12 12 + 1978,Dancing In The Kitchen series launched,program,Wikipedia 13 13 + 1978,Filmworks program series launched (Leonardo Katz),program,The Kitchen Archives 14 14 + 1979,Contemporary Music Series launched; New Music/New York festival founded,program,Wikipedia 15 15 + 1980,New Music America festival established (renamed and expanded from 1979 New Music/New York),program,Wikipedia 16 16 + 1980,George E Lewis (AACM) becomes Music Director,leadership,Wikipedia 17 17 + 1981,10th Anniversary; Aluminum Nights celebration,program,Wikipedia 18 18 + 1983,Beastie Boys play one of their early shows at The Kitchen,program,Wikipedia 19 19 + 1985,Move from SoHo to 512 West 19th Street Chelsea (former 1920s ice house),location,Wikipedia 20 20 + 1986,Inaugural Chelsea programming begins; New Ice Nights,program,Wikipedia 21 21 + 1986,Arto Lindsay (DNA / no-wave) is first Music Director after Chelsea move,leadership,Wikipedia 22 22 + 1987,The Kitchen purchases its W 19th Street building from Dia Art Foundation,location,The Kitchen About 23 23 + 1990,Dance and Process series launched (initially under name Working in The Kitchen) — longest-running named program,program,Movement Research / The Kitchen Archives 24 24 + 1991,Lauren Dyer Amazeen becomes Executive Director,leadership,Vanguard Visions / LinkedIn 25 25 + 1991,20th Anniversary celebration: The Kitchen Turns Twenty,program,Wikipedia 26 26 + 1995,Dance and Process series formally renamed,program,Wikipedia 27 27 + 1998,Elise Bernhardt becomes Executive Director,leadership,The Kitchen Archives 28 28 + 1998,TV Dinner series launched (vegetarian buffet + time-based art evening) — runs through 2004,program,The Kitchen Archives 29 29 + 2000,Kitchen House Blend music series begins (runs through 2005),program,Wikipedia 30 30 + 2004,Debra Singer becomes Executive Director and Chief Curator (first to combine titles),leadership,artforum / The Kitchen Archives 31 31 + 2010,Tim Griffin announced as next ED and Chief Curator,leadership,artforum 32 32 + 2011,"Tim Griffin formally begins as ED & Chief Curator (40th anniversary year); 40th-anniversary programs include Aluminum Music (Apr 15-16) and Pioneers of the Downtown Sound (Sept 9-10)",leadership,Wikipedia 33 33 + 2012-10-29,"Hurricane Sandy hits Chelsea; The Kitchen suffers approximately $450,000 in damages; recovery support arrives from Time Warner, Art Dealers Association, and Andy Warhol Foundation",org,Wikipedia 34 34 + 2014,"Getty Research Institute acquires The Kitchen's archive — 5,410 videotapes, 600+ audiotapes, photographs, 246 artist-designed posters covering 1971-1999",program,Getty Research Collections 35 35 + 2014,FY2014 990 shows program-service revenue spike to $714K (likely the Getty archive accession),funding,IRS 990 36 36 + 2020-09,Tim Griffin announces departure from The Kitchen,leadership,The Art Newspaper 37 37 + 2021-06,Legacy Russell announced as next Executive Director and Chief Curator,leadership,Culture Type / artnews 38 38 + 2021-09,"Legacy Russell formally begins as ED & Chief Curator; 50th anniversary year; first Black ED in The Kitchen's history",leadership,Culture Type / Wikipedia 39 39 + 2021-09,The Next 50 capital campaign announced — public goal $40M / $28M-five-year initial framing — for renovation of W 19th Street building (architect: Rice+Lipka),org,Architects Newspaper / thenext50.thekitchen.org 40 40 + 2022,"Building closes for renovation; Without Walls programming period begins at Westbeth Artists Housing (163B Bank Street, West Village) and partner venues citywide",org,The Kitchen About 41 41 + 2022,FY2022 990 shows revenue at $4.06M; net assets jump to $11.7M (capital campaign on the books),funding,IRS 990 42 42 + 2023-06-08,Mellon Foundation awards $2M / 36 mo for infrastructure and staffing under Legacy Russell — described as the largest single gift in The Kitchen's history,funding,mellon.org 43 43 + 2023,FY2023 990 shows revenue at $6.74M; net assets at $15.96M (capital campaign continuing),funding,IRS 990 44 44 + 2024,"FY2024 990 shows revenue at $4.32M; net assets $16.64M; second full Without Walls year",funding,IRS 990 45 45 + 2024-fall,"Andy Warhol Foundation Multi-year Program Support of $80,000 awarded",funding,warholfoundation.org 46 46 + 2025-2026,"Building renovation continues; reopening date not publicly fixed as of this dossier (May 2026); Without Walls programming continues at Westbeth and partners",org,The Kitchen About

+1

papers/arxiv-the-kitchen/figures/cover-prompt.txt

reviewed

··· 1 1 + A single, floating, vintage Sony Portapak video camera --- the half-inch reel-to-reel tape deck and the boxy hand-held camera-head, connected by a coiled umbilical cable that loops gently downward like a written signature. The portapak is rendered in three-quarter view, slightly tilted, lit as if from a single warm bulb. Its shoulder-strap dangles. The recorder housing carries a tiny visible reel of magnetic tape spinning behind a small clear window. From the camera's lens emerges, faintly, a single thin curl of cable that braids itself into a microphone cord and a piano cord, suggesting a kitchen drawer's worth of utensils crossed with a downtown loft's signal chain --- but the gesture stays small, secondary to the camera body. The whole assemblage hovers as a vignette, with the bottom edges of the recorder and the trailing cables dissolving softly into pure cream paper, no horizon, no ground, no shadow on a surface. A few faint pencil marks suggest a wisp of off-screen smoke or a curtain of stage light, barely there. The form reads instantly from across a room as a portable video rig from the early 1970s --- the original tool of the original Kitchen.

papers/arxiv-the-kitchen/figures/cover.png

reviewed

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papers/arxiv-the-kitchen/figures/qr.png

reviewed

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papers/arxiv-the-kitchen/pals.pdf

reviewed

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+114

papers/arxiv-the-kitchen/references.bib

reviewed

··· 1 1 + @misc{thekitchen_about, 2 2 + title={About}, 3 3 + author={{The Kitchen}}, 4 4 + year={2026}, 5 5 + howpublished={\url{https://thekitchen.org/about/}}, 6 6 + note={Accessed 2026-05-02} 7 7 + } 8 8 + 9 9 + @misc{thekitchen_fieldnotes, 10 10 + title={Field Notes: The Kitchen, 2021--2022}, 11 11 + author={{The Kitchen}}, 12 12 + year={2022}, 13 13 + howpublished={\url{https://thekitchen.org/on-mind/field-notes-the-kitchen-2021-2022/}}, 14 14 + note={Accessed 2026-05-02} 15 15 + } 16 16 + 17 17 + @misc{wikipedia_kitchen, 18 18 + title={The Kitchen (art institution)}, 19 19 + author={{Wikipedia contributors}}, 20 20 + year={2026}, 21 21 + howpublished={\url{https://en.wikipedia.org/wiki/The_Kitchen_(art_institution)}}, 22 22 + note={Accessed 2026-05-02} 23 23 + } 24 24 + 25 25 + @misc{archpaper2021, 26 26 + author={Hilburg, Jonathan}, 27 27 + title={Legendary New York arts center The Kitchen announces an expansive renovation}, 28 28 + year={2021}, 29 29 + howpublished={\emph{The Architects Newspaper}, September 2021. \url{https://www.archpaper.com/2021/09/legendary-new-york-arts-center-the-kitchen-announces-an-expansive-renovation/}}, 30 30 + note={Accessed 2026-05-02} 31 31 + } 32 32 + 33 33 + @misc{thenext50, 34 34 + title={The Campaign for The Kitchen}, 35 35 + author={{The Kitchen}}, 36 36 + year={2021}, 37 37 + howpublished={\url{https://www.thenext50.thekitchen.org}}, 38 38 + note={Accessed 2026-05-02} 39 39 + } 40 40 + 41 41 + @misc{mellon_kitchen2023, 42 42 + title={Haleakala, Inc.~--- June 8, 2023}, 43 43 + author={{Mellon Foundation}}, 44 44 + year={2023}, 45 45 + howpublished={\url{https://www.mellon.org/grant-details/the-kitchen-20453597}}, 46 46 + note={Accessed 2026-05-02; \$2{,}000{,}000 / 36 months / Arts and Culture} 47 47 + } 48 48 + 49 49 + @misc{kitchen_mellon_press2023, 50 50 + author={{The Kitchen}}, 51 51 + title={The Kitchen Receives \$2 Million from the Mellon Foundation}, 52 52 + year={2023}, 53 53 + howpublished={\url{https://thekitchen.org/press/the-kitchen-receives-@m-from-the-mellon-foundation/}}, 54 54 + note={Press release, July 25, 2023; accessed 2026-05-02} 55 55 + } 56 56 + 57 57 + @misc{warhol_kitchen, 58 58 + title={The Kitchen --- Grants Archive}, 59 59 + author={{Andy Warhol Foundation for the Visual Arts}}, 60 60 + howpublished={\url{https://warholfoundation.org/grants/archive/the-kitchen/}}, 61 61 + note={Accessed 2026-05-02} 62 62 + } 63 63 + 64 64 + @misc{getty_kitchen_archive, 65 65 + title={Kitchen Center for Video, Music, Dance, Performance, Film, and Literature (New York, N.Y.) Records}, 66 66 + author={{Getty Research Institute}}, 67 67 + year={2014}, 68 68 + howpublished={\url{https://www.getty.edu/research/collections/group/10RB8S}}, 69 69 + note={Accessed 2026-05-02} 70 70 + } 71 71 + 72 72 + @misc{vasulka_archive, 73 73 + title={The Kitchen --- Letter-Mailouts and other archival material}, 74 74 + author={{Vasulka Archive}}, 75 75 + howpublished={\url{https://www.vasulka.org/archive/Kitchen/}}, 76 76 + note={Accessed 2026-05-02} 77 77 + } 78 78 + 79 79 + @misc{culturetype_russell, 80 80 + author={{Culture Type}}, 81 81 + title={Legacy Russell Appointed Executive Director and Chief Curator at The Kitchen}, 82 82 + year={2021}, 83 83 + howpublished={\url{https://www.culturetype.com/2021/06/25/legacy-russell-appointed-executive-director-and-chief-curator-at-the-kitchen-an-experimental-interdiscipinary-art-space-in-new-york/}}, 84 84 + note={Accessed 2026-05-02} 85 85 + } 86 86 + 87 87 + @misc{artforum_griffin_depart, 88 88 + author={{Artforum}}, 89 89 + title={Tim Griffin to Depart The Kitchen After Nine Years as Director}, 90 90 + year={2020}, 91 91 + howpublished={\url{https://www.artforum.com/news/tim-griffin-to-depart-the-kitchen-after-nine-years-as-director-248588/}}, 92 92 + note={Accessed 2026-05-02} 93 93 + } 94 94 + 95 95 + @book{russell2020glitch, 96 96 + title={Glitch Feminism: A Manifesto}, 97 97 + author={Russell, Legacy}, 98 98 + year={2020}, 99 99 + publisher={Verso Books} 100 100 + } 101 101 + 102 102 + @book{russell2024blackmeme, 103 103 + title={Black Meme: A History of the Images that Make Us}, 104 104 + author={Russell, Legacy}, 105 105 + year={2024}, 106 106 + publisher={Verso Books} 107 107 + } 108 108 + 109 109 + @misc{propublica_kitchen, 110 110 + title={Haleakala Inc --- Form 990 Filings}, 111 111 + author={{ProPublica Nonprofit Explorer}}, 112 112 + howpublished={\url{https://projects.propublica.org/nonprofits/organizations/132829756}}, 113 113 + note={EIN 13-2829756; accessed 2026-05-02} 114 114 + }

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papers/arxiv-the-kitchen/the-kitchen.tex

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99 99 + \node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {% 100 100 + \begin{tabular}{c} 101 101 + {\acbold\fontsize{30pt}{34pt}\selectfont\color{acdark}\strut The Kitchen}\\[0.05em] 102 102 + {\aclight\fontsize{13pt}{15pt}\selectfont\color{acpink}\strut A Dossier}\\[0.2em] 103 103 + {\aclight\fontsize{9.5pt}{11pt}\selectfont\color{acgray}\strut Genealogy, History, Programs, People, Money, Footprint --- 1971 to 2026}\\ 104 104 + \end{tabular} 105 105 + }; 106 106 + \end{tikzpicture} 107 107 + \par\vspace{0.4em} 108 108 + 109 109 + {\normalsize\href{https://prompt.ac/@jeffrey}{@jeffrey}}\par 110 110 + {\small\color{acgray} Aesthetic.Computer}\par 111 111 + {\small\color{acgray} ORCID: \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\par 112 112 + \vspace{0.2em} 113 113 + {\small\color{acpurple} \url{https://aesthetic.computer}}\par 114 114 + \vspace{0.4em} 115 115 + {\footnotesize\color{acgray}Created \papercreated{} \,\textbullet\, Revision \paperrevision}\par 116 116 + \vspace{0.6em} 117 117 + \rule{\textwidth}{1.5pt} 118 118 + \vspace{0.5em} 119 119 + \end{center} 120 120 + 121 121 + \begin{center} 122 122 + {\small\color{acpink}\textbf{[ working draft --- not for citation ]}} 123 123 + \end{center} 124 124 + \vspace{0.3em} 125 125 + 126 126 + \begin{quote} 127 127 + \small\noindent\textbf{Note.} This is a dossier, not an argument. It assembles, in one place, what is publicly recoverable about The Kitchen --- the New York-based experimental-arts institution founded by Steina and Woody Vasulka in 1971 in the literal kitchen of the Mercer Arts Center --- across genealogy, periodized history, programs, people, finances, and cultural footprint. There is no thesis, no verdict, and no conclusion section. Where facts run out the dossier stops; gaps are flagged inline. The Kitchen is the oldest organization in the AC dossier series at fifty-five years, and the only one that takes its name literally from a former room. 128 128 + \end{quote} 129 129 + \vspace{0.5em} 130 130 + }] 131 131 + 132 132 + \section{Origin} 133 133 + 134 134 + The Kitchen begins on June 15, 1971, when Steina Vasulka and Woody Vasulka --- an Icelandic-born violinist and a Czech-born filmmaker, married, video artists, frustrated by the lack of presentation outlets for the new medium --- rent the disused thirty-foot-wide kitchen of the Mercer Arts Center, on the second floor of the former Broadway Central Hotel at 240 Mercer Street in Greenwich Village~\citep{thekitchen_about,wikipedia_kitchen}. The room has running water and a tile floor and that is the joke and the name. They equip it with reel-to-reel videotape machines, tape recorders, television monitors, loudspeakers, a piano, and the working signal chain of an early-1970s downtown video studio~\citep{thekitchen_fieldnotes}. The space hosts weekly performances and Wednesday open-house screenings. 135 135 + 136 136 + The Vasulkas operate the original Kitchen as an artist collective under the fiscal sponsorship of Electronic Arts Intermix, alongside co-directors Rhys Chatham (music), Shridhar Bapat, Dimitri Devyatkin, and Tom Bowes (video)~\citep{thekitchen_about,thekitchen_fieldnotes}. There is no permanent staff. Performances split admissions with the artists; the rest is charitable donation. 137 137 + 138 138 + On August 3, 1973 the Mercer Arts Center building --- the former Broadway Central Hotel --- collapses. The Vasulkas, by then operationally departed, hand the project off. In November 1973 the project re-opens as a freestanding 501(c)(3) under the name \textbf{Haleakala, Inc.}~(``house of the sun'' in Hawaiian; an early-collective coinage) doing business as The Kitchen. Robert Stearns, previously of Paula Cooper Gallery, is the first Executive Director. The founding board lists Paula Cooper, Caroline Stone, and Philip Glass~\citep{thekitchen_fieldnotes}. The new home is a second-floor loft at 484 Broome Street in SoHo, leased for approximately ten thousand dollars a year. 139 139 + 140 140 + \section{The Long Arc, 1971--2026} 141 141 + 142 142 + \subsection{Video-art era (1971--1979)} 143 143 + 144 144 + The first decade is dominated by the founding discipline. Music programming is interleaved with the video work --- Rhys Chatham steers a music director seat, Arthur Russell takes it from 1974, Garrett List from 1975 --- and the music director sequence becomes the most legible chain of authorship in the institution's first fifteen years. Mary MacArthur (n\'ee Griffin) becomes Executive Director in 1978 and launches \emph{The Kitchen Presents}, a broadcast-television initiative for which producer Carlota Schoolman makes video for TV. The same year Leonardo Katz starts \emph{Filmworks}; \emph{Dancing In The Kitchen} adds a dance line. The \emph{Contemporary Music Series} starts in 1979. 145 145 + 146 146 + \subsection{No-wave and downtown-music years (1979--1985)} 147 147 + 148 148 + \emph{New Music/New York}, founded 1979, expands into \emph{New Music America} in 1980 and travels --- a model multi-city contemporary-music festival that ran through the 1980s and into the early 1990s. Music directors George E. Lewis (AACM-affiliated, 1980--1982) and Ann DeMarinis (1982--1985) overlap with the no-wave era. The 1981 tenth-anniversary celebration is \emph{Aluminum Nights}. Programs documented across the period feature Glenn Branca, Lydia Lunch, James Chance, Brian Eno, Meredith Monk, Steve Reich, David Byrne / Talking Heads, Laurie Anderson, Philip Glass, Cindy Sherman, and a 1983 early-Beastie-Boys show~\citep{wikipedia_kitchen}. 149 149 + 150 150 + \subsection{Chelsea / 1920s ice house (1985--1991)} 151 151 + 152 152 + In 1985 the org moves from SoHo to 512 West 19th Street --- a three-story 1920s former ice house in Chelsea --- and inaugurates the Chelsea programming run as \emph{New Ice Nights} in 1986. Arto Lindsay (DNA / no wave) is the first music director after the move. In 1987 the org buys the building from the Dia Art Foundation, becoming an owner-occupant. The 1991 twentieth-anniversary celebration is \emph{The Kitchen Turns Twenty}. 153 153 + 154 154 + \subsection{Choreography and the long-running dance line (1990--2004)} 155 155 + 156 156 + \emph{Dance and Process} begins in 1990 under the name \emph{Working in The Kitchen} and is renamed in 1995. It is the institution's longest-running named program. Lauren Dyer Amazeen takes the executive directorship in 1991 and runs through 1997. Elise Bernhardt arrives in 1998 and runs through 2004; her programs include the long-running \emph{TV Dinner} (1998--2004; vegetarian buffet plus an evening of time-based art) and \emph{Kitchen House Blend} (2000--2005). 157 157 + 158 158 + \subsection{Multidisciplinary consolidation (2004--2011)} 159 159 + 160 160 + In 2004 Debra Singer arrives from the Whitney Museum and is the first to combine the titles \emph{Executive Director and Chief Curator} --- a structural shift that gives the lead role both fiscal and artistic authority and that has stayed in place ever since. The fortieth-anniversary 2011 programs include \emph{Aluminum Music} and \emph{Pioneers of the Downtown Sound}. Singer departs in 2011. 161 161 + 162 162 + \subsection{Griffin era and digital posture (2011--2021)} 163 163 + 164 164 + Tim Griffin --- formerly editor-in-chief of \emph{Artforum} 2003--2010 --- arrives as Executive Director and Chief Curator and runs the institution for a full decade. Griffin's signature initiatives are the interdisciplinary talk series \emph{The Kitchen L.A.B.} and the electronic-music series \emph{Synth Nights}~\citep{wikipedia_kitchen}. Griffin's tenure includes the Hurricane Sandy disaster of October 2012 (approximately \$450{,}000 in damage; recovery support arrives from Time Warner, the Art Dealers Association, and the Andy Warhol Foundation), and the 2014 sale of the institutional archive to the Getty Research Institute --- 5{,}410 videotapes, 600+ audiotapes, photographs, and 246 artist-designed posters covering 1971--1999~\citep{getty_kitchen_archive}. Griffin announces his departure in September 2020~\citep{artforum_griffin_depart}. 165 165 + 166 166 + \subsection{Russell era and the renovation (2021--present)} 167 167 + 168 168 + Legacy Russell --- author of \emph{Glitch Feminism}~\citep{russell2020glitch} (2020) and later \emph{Black Meme}~\citep{russell2024blackmeme} (2024), most recently Associate Curator at the Studio Museum in Harlem --- is named ED \& Chief Curator in June 2021 and starts in September~\citep{culturetype_russell}. She is the first Black executive director and chief curator in The Kitchen's history. Coincident with her arrival the institution announces \emph{The Next 50}, a capital campaign for the renovation of the W 19th Street building (architect: Rice+Lipka Architects, principal Lyn Rice). Public goal: \$40 million~\citep{thenext50}. \emph{Architects Newspaper} reports a \$28 million / five-year initial framing with \$19 million pledged at the September 2021 launch~\citep{archpaper2021}. The building closes for renovation in fall 2022; programming relocates to Westbeth Artists Housing at 163B Bank Street and to a network of NYC partner venues under the banner \emph{Without Walls}. 169 169 + 170 170 + \section{People} 171 171 + 172 172 + \begin{table}[h] 173 173 + \footnotesize 174 174 + \centering 175 175 + \setlength{\tabcolsep}{3pt} 176 176 + \begin{tabularx}{\columnwidth}{lXX} 177 177 + \toprule 178 178 + \textbf{Tenure} & \textbf{Director} & \textbf{Note} \\ 179 179 + \midrule 180 180 + 1971--1973 & Steina + Woody Vasulka & Founders, collective \\ 181 181 + 1973-- & Robert Stearns & 1st ED, Haleakala Inc \\ 182 182 + 1978--1984 & Mary MacArthur & ED, n\'ee Griffin \\ 183 183 + 1985--1991 & (gap in record) & ED unidentified here \\ 184 184 + 1991--1997 & Lauren Dyer Amazeen & ED \\ 185 185 + 1998--2004 & Elise Bernhardt & ED \\ 186 186 + 2004--2011 & Debra Singer & ED + Chief Curator (1st) \\ 187 187 + 2011--2021 & Tim Griffin & ED + Chief Curator \\ 188 188 + 2021-- & Legacy Russell & ED + Chief Curator \\ 189 189 + \bottomrule 190 190 + \end{tabularx} 191 191 + \caption{Executive directors of record. The 1985--1991 ED is not identified in the public record consulted for this dossier; cross-reference with \texttt{data/people.csv}.} 192 192 + \label{tab:eds} 193 193 + \end{table} 194 194 + 195 195 + The music-director chain is its own institutional history: Rhys Chatham (1971--1973, 1977--1980), Arthur Russell (1974--1975), Garrett List (1975--1977), George E. Lewis (1980--1982), Ann DeMarinis (1982--1985), Arto Lindsay (1986--1987). After 1987 the music programming role is folded into the broader curatorial structure rather than carried by a single named music director. 196 196 + 197 197 + The current curatorial team (per The Kitchen's About page) is Robyn Farrell (Director of Curatorial Affairs and Senior Curator), Matthew Lyons (Curator; on staff since 2007), and Angelique Rosales Salgado (Assistant Curator). The most consequential recent staff departure was Lumi Tan, twelve-year senior curator, who organized over a hundred exhibitions and performances at The Kitchen and left in 2022 to take the Focus curatorship at Frieze New York. 198 198 + 199 199 + The current Board Chair is \textbf{Robert Soros}. The Kitchen's About page lists \textbf{Paula Cooper} and \textbf{Philip Glass} --- both on the 1973 founding board --- as Chairperson Emeritus. The full FY2024 board roster (per IRS XML) is not extracted in this pass. 200 200 + 201 201 + \section{Programs} 202 202 + 203 203 + \textbf{Video / Media Art (1971--).} Founding discipline. Continuous from the original Mercer kitchen. 204 204 + 205 205 + \textbf{Music programming (1971--).} A continuous line that runs through six named music directors before being subsumed into general curation in the late 1980s. Foundational role in the no-wave / downtown-music history. 206 206 + 207 207 + \textbf{The Kitchen Presents (1978--).} Mary MacArthur's broadcast-television initiative; producer Carlota Schoolman. 208 208 + 209 209 + \textbf{Filmworks (1978--).} Curated by Leonardo Katz; Amy Taubin curates \emph{Filmworks '82}. 210 210 + 211 211 + \textbf{Contemporary Music Series (1979--).} Year-round programming of contemporary composition and experimental music. 212 212 + 213 213 + \textbf{New Music/New York $\to$ New Music America (1979/1980).} Festival format launched as \emph{New Music/New York} 1979; expanded into \emph{New Music America} in 1980 as a multi-city contemporary-music festival. 214 214 + 215 215 + \textbf{Dance and Process (1990--).} Originally \emph{Working in The Kitchen}; renamed 1995. \emph{The longest-running named program} at The Kitchen. 216 216 + 217 217 + \textbf{TV Dinner (1998--2004).} Bernhardt's vegetarian-buffet-plus-evening-of-time-based-art program. 218 218 + 219 219 + \textbf{Kitchen House Blend (2000--2005).} Music series during the Bernhardt / Singer transition. 220 220 + 221 221 + \textbf{The Kitchen L.A.B.\ ($\sim$2011--).} Tim Griffin's interdisciplinary talks series. 222 222 + 223 223 + \textbf{Synth Nights ($\sim$2010s--).} Tim Griffin's electronic-music series. 224 224 + 225 225 + \textbf{Without Walls (2022--).} Distributed presentation model during the W 19th Street renovation; programs are split between Westbeth at 163B Bank Street and a rotating set of NYC partner venues. 226 226 + 227 227 + \textbf{The Next 50 (2021--).} The fiftieth-anniversary capital campaign for the renovation of the W 19th Street building (see Section~\ref{sec:reno}). 228 228 + 229 229 + \textbf{OnScreen archive (\url{onscreen.thekitchen.org}).} Online-archive site of program history including oral histories with Carlota Schoolman, Cynthia Hedstrom, and others. 230 230 + 231 231 + \section{Money}\label{sec:money} 232 232 + 233 233 + The Kitchen files Form 990 as \textbf{Haleakala, Inc.}~(EIN 13-2829756). IRS tax-exempt status is effective May 1975. Filings are public on ProPublica's Nonprofit Explorer back to FY2002~\citep{propublica_kitchen}. The line items below are taken from ProPublica's summary view for FY2011--FY2024; pre-FY2011 filings are PDF-only and not extracted in this pass. 234 234 + 235 235 + \subsection{Top-line, FY2011--FY2024} 236 236 + 237 237 + \begin{table*}[t] 238 238 + \footnotesize 239 239 + \centering 240 240 + \setlength{\tabcolsep}{4pt} 241 241 + \begin{tabularx}{\textwidth}{Xrrrrrrr} 242 242 + \toprule 243 243 + \textbf{FY end} & \textbf{Revenue} & \textbf{Contri.} & \textbf{Prog.\,svc.} & \textbf{Expenses} & \textbf{Top exec.~comp} & \textbf{Net assets} & \textbf{Total assets} \\ 244 244 + \midrule 245 245 + 2011-06 & 2,195,066 & 2,012,587 & 105,103 & 1,823,293 & --- & 3,481,335 & 3,640,813 \\ 246 246 + 2012-06 & 1,634,428 & 1,401,499 & 149,861 & 1,937,560 & --- & 3,176,010 & 3,231,558 \\ 247 247 + 2013-06 & 1,954,573 & 1,443,632 & 127,938 & 1,854,137 & --- & 3,285,746 & 3,452,494 \\ 248 248 + 2014-06 & 2,608,816 & 1,750,221 & \textbf{714,937} & 2,097,982 & 157,000 & 3,867,141 & 3,966,410 \\ 249 249 + 2015-06 & 2,328,380 & 1,669,750 & 464,268 & 2,115,172 & 160,500 & 4,086,123 & 4,224,319 \\ 250 250 + 2016-06 & \textbf{3,477,618} & 1,728,050 & 172,150 & 2,125,650 & 164,223 & 5,379,223 & 5,443,639 \\ 251 251 + 2017-06 & 2,009,793 & 1,624,416 & 172,974 & 2,262,508 & 163,601 & 5,264,960 & 5,368,441 \\ 252 252 + 2018-06 & 2,061,516 & 1,603,600 & 253,815 & 2,214,582 & 163,476 & 5,346,980 & 5,464,016 \\ 253 253 + 2019-06 & 3,609,571 & 3,105,849 & 251,000 & 2,504,156 & 174,146 & 6,479,676 & 6,637,621 \\ 254 254 + 2020-06 & 2,495,219 & 2,281,939 & 109,230 & 2,105,927 & 174,146 & 7,025,583 & 7,516,061 \\ 255 255 + 2021-06 & \textbf{5,093,956} & 4,456,815 & 169,234 & 2,050,182 & 161,787 & 10,532,707 & 11,182,217 \\ 256 256 + 2022-06 & 4,058,600 & 3,855,026 & 160,467 & 2,229,097 & 119,475 & 11,740,811 & 11,979,550 \\ 257 257 + 2023-06 & \textbf{6,742,034} & 6,378,084 & 133,115 & 2,910,677 & 173,465 & 15,957,611 & 18,231,252 \\ 258 258 + 2024-06 & 4,323,450 & 3,702,005 & 16,686 & 3,388,609 & 185,462 & 16,642,902 & 17,824,102 \\ 259 259 + \bottomrule 260 260 + \end{tabularx} 261 261 + \caption{Haleakala Inc.~(DBA The Kitchen) --- top-line Form 990 figures by fiscal year (USD; FY ends June 30). Source: ProPublica Nonprofit Explorer summary table~\citep{propublica_kitchen}. Top exec.~compensation is the highest-paid officer reported on Part VII; missing entries indicate the field was not separately surfaced in the ProPublica summary for that year.} 262 262 + \label{tab:financials} 263 263 + \end{table*} 264 264 + 265 265 + The shape, in plain English: revenue is contribution-driven (typically 80--95\% in any given year); program-service revenue is small and uneven, with two-year visible-spike at FY2014 (\$715K) and FY2015 (\$464K) most plausibly tied to the Getty archive accession of 2014. Three other revenue spikes are visible: FY2016 (\$3.48M --- possibly a one-time gift), FY2021 (\$5.09M --- the capital-campaign launch year), and FY2023 (\$6.74M --- the Mellon \$2M plus continued capital-campaign inflow). Top-exec compensation has run \$157K--\$185K through the Singer / Griffin / Russell era. Total expenses have grown from \$1.8M in FY2011 to \$3.4M in FY2024, almost doubling. 266 266 + 267 267 + The most striking line is \textbf{net assets}: \$3.5M in FY2011, \$5.4M by FY2016, \$11.7M after FY2022, and \$16.6M after FY2024 --- a near-five-times growth across the dataset, almost entirely attributable to the capital campaign. The Kitchen has shifted in this period from being an operating-budget-driven org to being a balance-sheet org, with most of the new value concentrated in the capital-renovation reserve. 268 268 + 269 269 + \subsection{Mellon} 270 270 + 271 271 + The Mellon Foundation's grants database lists exactly one grant to Haleakala Inc.: \textbf{\$2{,}000{,}000 / 36 months / Arts and Culture}, dated June 8, 2023, supporting ``infrastructure and staffing under Legacy Russell's leadership for an inclusive space for the next avant-garde and its expanded audiences''~\citep{mellon_kitchen2023}. The Kitchen's own July 25, 2023 press release describes this as the largest single gift in the institution's fifty-year history~\citep{kitchen_mellon_press2023}. This is unusual for the AC dossier series --- in contrast to Rhizome (\$4.0M in seven Mellon grants 2015--2025) and Pioneer Works (no Mellon grants visible), The Kitchen has only entered the Mellon orbit once, late, and at the largest scale of any AC-tracked institution. 272 272 + 273 273 + \subsection{Other named grants} 274 274 + 275 275 + \begin{table}[h] 276 276 + \footnotesize 277 277 + \centering 278 278 + \begin{tabularx}{\columnwidth}{Xlr} 279 279 + \toprule 280 280 + \textbf{Funder} & \textbf{Year} & \textbf{Amount} \\ 281 281 + \midrule 282 282 + Mellon Foundation & 2023 & 2,000,000 \\ 283 283 + Andy Warhol Foundation & 2023 & 80,000 \\ 284 284 + Time Warner (Sandy recovery) & 2012--13 & TBD \\ 285 285 + Art Dealers Association of America & 2012--13 & TBD \\ 286 286 + Andy Warhol Foundation (Sandy) & 2012--13 & TBD \\ 287 287 + NEA (recurring) & multi & TBD \\ 288 288 + NYSCA (recurring) & multi & TBD \\ 289 289 + NYC DCLA (recurring) & multi & TBD \\ 290 290 + \bottomrule 291 291 + \end{tabularx} 292 292 + \caption{Named funders. Year-by-year amounts for NEA / NYSCA / NYC DCLA and the Sandy recovery breakdown are not extracted in this pass --- the NEA's grant search interface is JS-blocked; NYSCA and NYC DCLA published-records searches were not run. See \texttt{data/grants.csv}.} 293 293 + \label{tab:grants} 294 294 + \end{table} 295 295 + 296 296 + \subsection{The 2014 archive sale} 297 297 + 298 298 + In 2014 the Getty Research Institute acquired The Kitchen's institutional archive --- 5{,}410 videotapes, more than 600 audiotapes, photographs, ephemera, and 246 artist-designed posters spanning 1971--1999~\citep{getty_kitchen_archive}. The acquisition price has not been publicly disclosed. The FY2014 program-service revenue line jumped to \$714{,}937 (from \$127{,}938 the year before), and FY2015 program-service revenue stayed elevated at \$464{,}268 before reverting in FY2016. The most plausible explanation for the line-item move is the Getty accession recognized over those two years; primary documentation would be needed to confirm. 299 299 + 300 300 + \subsection{Hurricane Sandy (2012)} 301 301 + 302 302 + Hurricane Sandy hit Chelsea on October 29, 2012; the W 19th Street building suffered approximately \$450{,}000 in damages~\citep{wikipedia_kitchen}. Recovery support arrived from Time Warner, the Art Dealers Association of America, and the Andy Warhol Foundation. Specific amounts are not consolidated in the public record consulted. 303 303 + 304 304 + \section{The Renovation}\label{sec:reno} 305 305 + 306 306 + In September 2021, coincident with both the fiftieth anniversary and Legacy Russell's announcement, The Kitchen launched \textbf{The Next 50} --- a capital campaign for the renovation of the 512 West 19th Street building. The architect of record is \textbf{Rice+Lipka Architects} (Lyn Rice, principal). At the public launch \emph{Architects Newspaper} characterized it as a \$28 million, five-year campaign with \$19 million pledged~\citep{archpaper2021}; the campaign website at \url{thenext50.thekitchen.org} states a public goal of \$40 million~\citep{thenext50}. 307 307 + 308 308 + The building is a three-story 1920s former ice house that The Kitchen has occupied since 1985 and owned (after a purchase from Dia Art Foundation) since 1987. Lyn Rice's stated design intentions, per the announcement: maintain the industrial character of the icehouse; double the program capacity; allow more cross-disciplinary flexibility; create a sustainable foundation for the next fifty years. The building closed for construction in fall 2022. 309 309 + 310 310 + The closure has not been frictionless. The early-phase \emph{Without Walls} programming at Westbeth and partner venues has been read in some critical coverage as a productive distributed model, in others as a long stretch of exile from the home space. As of this dossier (May 2026), no public reopening date has been fixed. Programming continues at Westbeth and at NYC partner venues. The capital-campaign drawdown is visible on the balance sheet: net assets jumped from \$10.5M (FY2021) to \$11.7M (FY2022) to \$16.0M (FY2023) to \$16.6M (FY2024) --- the renovation budget appears to be sitting in restricted assets. 311 311 + 312 312 + \section{Footprint} 313 313 + 314 314 + The Kitchen's cultural footprint over fifty-five years is wider than this dossier covers. What is publicly recoverable from this pass: 315 315 + 316 316 + \begin{description} 317 317 + \item[\textbf{Founding artist generation.}] Steina and Woody Vasulka are themselves video-art canon, with extensive holdings at the Vasulka Archive~\citep{vasulka_archive}. 318 318 + \item[\textbf{Music history.}] The institution is a primary site of the no-wave / downtown-music canon: Glenn Branca, Lydia Lunch, James Chance, Arto Lindsay, Brian Eno, Meredith Monk, Steve Reich, David Byrne, Talking Heads, Laurie Anderson, Philip Glass, AACM-affiliated work via George E.~Lewis. The 1979/1980 \emph{New Music/New York} $\to$ \emph{New Music America} festival was a national-scale model for contemporary-music presenting. 319 319 + \item[\textbf{Visual-art canon.}] Cindy Sherman, Robert Longo (later Pictures Generation), and many others passed through. The Beastie Boys played an early show in 1983. 320 320 + \item[\textbf{Dance.}] The \emph{Dance and Process} program (1990--, longest-running named series) has commissioned and presented decades of choreography in a research-process-forward frame. 321 321 + \item[\textbf{Archive at the Getty.}] The 2014 acquisition put The Kitchen's first three decades of records into the Getty Research Institute's collections, where they are now consultable as scholarly material rather than as the institution's own internal record. 322 322 + \item[\textbf{Editorial / OnScreen.}] The institution maintains an online archive at \url{onscreen.thekitchen.org} including oral histories with longtime staff and artists. 323 323 + \item[\textbf{Russell's writing.}] \emph{Glitch Feminism}~\citep{russell2020glitch} and \emph{Black Meme}~\citep{russell2024blackmeme} both arrived during her ED tenure; they are read alongside The Kitchen's curatorial direction in this period. 324 324 + \end{description} 325 325 + 326 326 + A more granular footprint --- accession-by-year, commissioned-artists-by-year, exhibition partners with dates --- would require a primary archival sweep at the Getty, where the 1971--1999 records are now lodged. 327 327 + 328 328 + \section{Reading list} 329 329 + 330 330 + \subsection{Primary sources} 331 331 + 332 332 + \textbf{The Kitchen, About}~\citep{thekitchen_about} --- official organizational history.\\ 333 333 + \textbf{The Kitchen, \emph{Field Notes 2021--2022}}~\citep{thekitchen_fieldnotes} --- transition-period reflection with primary-source detail on founding board and original lease.\\ 334 334 + \textbf{Vasulka Archive}~\citep{vasulka_archive} --- the Kitchen Letter-Mailouts and other primary documents.\\ 335 335 + \textbf{Getty Research Institute, Kitchen Records}~\citep{getty_kitchen_archive} --- the 1971--1999 archive. 336 336 + 337 337 + \subsection{Secondary} 338 338 + 339 339 + \textbf{Wikipedia, The Kitchen (art institution)}~\citep{wikipedia_kitchen} --- structural overview; artist + director chronology.\\ 340 340 + \textbf{ProPublica Nonprofit Explorer (Haleakala Inc.)}~\citep{propublica_kitchen} --- Form 990 line items.\\ 341 341 + \textbf{\emph{Architects Newspaper}, ``Legendary New York arts center The Kitchen announces an expansive renovation''}~\citep{archpaper2021} --- the campaign-launch reporting.\\ 342 342 + \textbf{Mellon Foundation grant detail page}~\citep{mellon_kitchen2023} --- 2023 \$2M grant.\\ 343 343 + \textbf{Russell, \emph{Glitch Feminism}}~\citep{russell2020glitch} and \emph{Black Meme}~\citep{russell2024blackmeme} --- the current ED's books. 344 344 + 345 345 + \subsection{To acquire} 346 346 + 347 347 + \textbf{Carlota Schoolman / Cynthia Hedstrom oral histories} (on OnScreen).\\ 348 348 + \textbf{Tim Griffin --- L.A.B.~programming notes}.\\ 349 349 + \textbf{The Kitchen Letter-Mailouts (KLM)} (Vasulka archive) --- primary documents from the 1970s.\\ 350 350 + \textbf{Pre-FY2011 Form 990 PDFs} for FY2002--FY2010 line items. 351 351 + 352 352 + \section{What this dossier is not} 353 353 + 354 354 + \begin{itemize} 355 355 + \item Not a thesis. There is no question being answered. 356 356 + \item Not a critique. The funding record and the renovation timeline are surfaced, not judged. 357 357 + \item Not a comparison. Adjacent organizations (Rhizome, Eyebeam, Pioneer Works, MoMA PS1, Performance Space New York) are mentioned only where they directly intersect The Kitchen. 358 358 + \item Not exhaustive. The dossier covers what is publicly recoverable in a first pass; gaps are flagged inline. The companion data folder (\texttt{papers/arxiv-the-kitchen/data/}) contains the underlying CSVs. 359 359 + \item Not a Getty-archive dive. The 1971--1999 institutional record is now at the Getty Research Institute and was not consulted directly here. 360 360 + \end{itemize} 361 361 + 362 362 + \vspace{0.5em} 363 363 + \noindent\textbf{ORCID:} \href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913} 364 364 + 365 365 + \bibliographystyle{plainnat} 366 366 + \bibliography{references} 367 367 + 368 368 + \end{document}

+99

papers/bin/build-dossier.mjs

reviewed

··· 1 1 + #!/usr/bin/env node 2 2 + // build-dossier.mjs — multi-pass xelatex + bibtex build for an AC dossier. 3 3 + // 4 4 + // Each dossier uses \bibliography{references}, so resolved citations require: 5 5 + // pass 1: xelatex (writes .aux with \citation{} entries) 6 6 + // bib : bibtex (resolves citations, writes .bbl) 7 7 + // pass 2: xelatex (incorporates .bbl into bibliography) 8 8 + // pass 3: xelatex (resolves cross-refs to bibliography numbers) 9 9 + // 10 10 + // Usage: 11 11 + // node papers/bin/build-dossier.mjs arxiv-rhizome 12 12 + // node papers/bin/build-dossier.mjs --all 13 13 + 14 14 + import { execFileSync } from "node:child_process"; 15 15 + import { existsSync, readdirSync, readFileSync } from "node:fs"; 16 16 + import { resolve, dirname, join } from "node:path"; 17 17 + import { fileURLToPath } from "node:url"; 18 18 + 19 19 + const HERE = dirname(fileURLToPath(import.meta.url)); 20 20 + const PAPERS_DIR = resolve(HERE, ".."); 21 21 + 22 22 + const argv = process.argv.slice(2); 23 23 + const flags = {}; 24 24 + const positional = []; 25 25 + for (const a of argv) { 26 26 + if (a.startsWith("--")) flags[a.slice(2)] = true; 27 27 + else positional.push(a); 28 28 + } 29 29 + 30 30 + function findBase(dir) { 31 31 + // Pick the primary .tex (skip -cards.tex variants and translation files). 32 32 + const tex = readdirSync(join(PAPERS_DIR, dir)).filter((f) => f.endsWith(".tex")); 33 33 + if (!tex.length) throw new Error(`no .tex in ${dir}`); 34 34 + const main = tex.find((f) => !/-(cards|da|es|zh|ja)\.tex$/.test(f)); 35 35 + return (main || tex[0]).replace(/\.tex$/, ""); 36 36 + } 37 37 + 38 38 + const DOSSIER_SLUGS = new Set([ 39 39 + "arxiv-rhizome", "arxiv-sfpc", "arxiv-eyebeam", "arxiv-recurse", 40 40 + "arxiv-internet-archive", "arxiv-mellon", "arxiv-pioneer-works", 41 41 + "arxiv-new-inc", "arxiv-studio-museum", "arxiv-hathitrust", 42 42 + "arxiv-the-kitchen", "arxiv-machine-project", "arxiv-heavy-manners-library", 43 43 + ]); 44 44 + 45 45 + function run(cmd, args, cwd) { 46 46 + return execFileSync(cmd, args, { cwd, stdio: "pipe", encoding: "utf8" }); 47 47 + } 48 48 + 49 49 + function buildOne(dir) { 50 50 + const cwd = join(PAPERS_DIR, dir); 51 51 + const base = findBase(dir); 52 52 + const t0 = Date.now(); 53 53 + try { 54 54 + run("xelatex", ["-interaction=nonstopmode", `${base}.tex`], cwd); 55 55 + run("bibtex", [base], cwd); 56 56 + run("xelatex", ["-interaction=nonstopmode", `${base}.tex`], cwd); 57 57 + run("xelatex", ["-interaction=nonstopmode", `${base}.tex`], cwd); 58 58 + } catch (e) { 59 59 + // Suppress noisy output unless build truly fails to produce a PDF 60 60 + if (!existsSync(join(cwd, `${base}.pdf`))) throw e; 61 61 + } 62 62 + const log = readFileSync(join(cwd, `${base}.log`), "utf8"); 63 63 + const undef = (log.match(/Citation `([^']+)' on page \d+ undefined/g) || []) 64 64 + .map((m) => m.match(/`([^']+)'/)[1]); 65 65 + const unique = [...new Set(undef)]; 66 66 + const pages = (log.match(/Output written on .+?\((\d+) pages?\)/) || [])[1]; 67 67 + const dur = ((Date.now() - t0) / 1000).toFixed(1); 68 68 + return { dir, base, pages: pages || "?", undefinedCites: unique, durSec: dur }; 69 69 + } 70 70 + 71 71 + let targets = []; 72 72 + if (flags.all) { 73 73 + // --all means all known dossiers (not every arxiv-* dir). 74 74 + for (const d of DOSSIER_SLUGS) { 75 75 + if (readdirSync(PAPERS_DIR).includes(d)) targets.push(d); 76 76 + } 77 77 + } else if (positional.length) { 78 78 + targets = positional; 79 79 + } else { 80 80 + console.error("usage: build-dossier.mjs <arxiv-slug> | --all"); 81 81 + process.exit(1); 82 82 + } 83 83 + 84 84 + console.log(`▸ building ${targets.length} dossier(s)`); 85 85 + let totalUndef = 0; 86 86 + for (const t of targets) { 87 87 + try { 88 88 + const r = buildOne(t); 89 89 + const undefStr = r.undefinedCites.length 90 90 + ? ` ⚠ ${r.undefinedCites.length} undefined: ${r.undefinedCites.slice(0, 4).join(", ")}${r.undefinedCites.length > 4 ? "…" : ""}` 91 91 + : ""; 92 92 + console.log(` ✓ ${r.dir} (${r.base}.pdf, ${r.pages}pp, ${r.durSec}s)${undefStr}`); 93 93 + totalUndef += r.undefinedCites.length; 94 94 + } catch (e) { 95 95 + console.error(` ✗ ${t}: ${e.message.split("\n")[0]}`); 96 96 + process.exitCode = 2; 97 97 + } 98 98 + } 99 99 + if (totalUndef) console.log(`\n total undefined citations: ${totalUndef}`);

+48

papers/bin/fix-people-tables.mjs

reviewed

··· 1 1 + #!/usr/bin/env node 2 2 + // fix-people-tables.mjs — convert all lXl people tables to lXX vignette 3 3 + // (works around tabularx natural-width overflow when both `l` columns 4 4 + // contain long strings). 5 5 + 6 6 + import { readdirSync, readFileSync, writeFileSync } from "node:fs"; 7 7 + import { resolve, dirname, join } from "node:path"; 8 8 + import { fileURLToPath } from "node:url"; 9 9 + 10 10 + const HERE = dirname(fileURLToPath(import.meta.url)); 11 11 + const PAPERS_DIR = resolve(HERE, ".."); 12 12 + 13 13 + const SLUGS = [ 14 14 + "arxiv-rhizome", "arxiv-sfpc", "arxiv-eyebeam", "arxiv-recurse", 15 15 + "arxiv-internet-archive", "arxiv-mellon", "arxiv-pioneer-works", 16 16 + "arxiv-new-inc", "arxiv-studio-museum", "arxiv-hathitrust", 17 17 + "arxiv-the-kitchen", "arxiv-machine-project", "arxiv-heavy-manners-library", 18 18 + ]; 19 19 + 20 20 + let fixed = 0; 21 21 + for (const slug of SLUGS) { 22 22 + const dir = join(PAPERS_DIR, slug); 23 23 + const tex = readdirSync(dir).filter((f) => f.endsWith(".tex")); 24 24 + for (const f of tex) { 25 25 + if (/-(cards|da|es|zh|ja)\.tex$/.test(f)) continue; 26 26 + const path = join(dir, f); 27 27 + let src = readFileSync(path, "utf8"); 28 28 + 29 29 + // Convert: \small\n\centering\n\begin{tabularx}{\columnwidth}{lXl} 30 30 + // to: \footnotesize\n\centering\n\setlength{\tabcolsep}{3pt}\n\begin{tabularx}{\columnwidth}{lXX} 31 31 + const before = src; 32 32 + src = src.replace( 33 33 + /\\small\n\\centering\n\\begin\{tabularx\}\{\\columnwidth\}\{lXl\}/g, 34 34 + "\\footnotesize\n\\centering\n\\setlength{\\tabcolsep}{3pt}\n\\begin{tabularx}{\\columnwidth}{lXX}", 35 35 + ); 36 36 + // Also handle case where it's just \small without \centering 37 37 + src = src.replace( 38 38 + /\\begin\{tabularx\}\{\\columnwidth\}\{lXl\}/g, 39 39 + "\\begin{tabularx}{\\columnwidth}{lXX}", 40 40 + ); 41 41 + if (src !== before) { 42 42 + writeFileSync(path, src, "utf8"); 43 43 + console.log(` ✓ ${slug}/${f}`); 44 44 + fixed++; 45 45 + } 46 46 + } 47 47 + } 48 48 + console.log(`fixed ${fixed} file(s)`);

+15 -15

papers/bin/gen-cover.mjs

reviewed

··· 31 31 } 32 32 33 33 const STYLE_PREFIX = 34 34 - "Colored pencil illustration on warm cream-colored paper, soft layered " + 35 35 - "strokes with visible pencil texture, art-school sketchbook aesthetic, " + 36 36 - "muted natural color palette (terracotta, sage, ochre, dusty pink, slate " + 37 37 - "blue, warm grey), gentle hand-drawn linework, no text, no logos, no " + 38 38 - "lettering, no signage, vertical composition that fills the frame edge to " + 39 39 - "edge, balanced negative space, intimate and contemplative tone. " + 40 40 - "The subject: "; 34 34 + "Colored pencil illustration on warm cream-colored paper. Single iconic " + 35 35 + "subject as a centered VIGNETTE with very softly faded edges that DISSOLVE " + 36 36 + "INTO PURE CREAM PAPER on all four sides — the corners and edges of the " + 37 37 + "image must be the same warm cream as the paper itself, with NO hard " + 38 38 + "frame, NO border, NO background scene, NO environmental context. The " + 39 39 + "subject must be a single floating object, form, or symbolic shape — " + 40 40 + "bold and simple enough to be READ FROM ACROSS A ROOM. Use thick, " + 41 41 + "confident pencil strokes and high tonal contrast where the subject " + 42 42 + "is densest, gradually softening to nothing at the periphery. Muted " + 43 43 + "natural palette (terracotta, sage, ochre, dusty pink, slate blue, warm " + 44 44 + "grey), gentle hand-drawn linework, no text, no logos, no lettering, no " + 45 45 + "signage. Square 1:1 composition. The vignette should look like a single " + 46 46 + "iconic motif floating on the page, intimate and contemplative, more " + 47 47 + "like a logo-illustration than a scene. The subject: "; 41 48 42 49 function loadOpenAIKey() { 43 50 if (process.env.OPENAI_API_KEY) return process.env.OPENAI_API_KEY; ··· 69 76 const subject = readFileSync(promptPath, "utf8").trim(); 70 77 const fullPrompt = STYLE_PREFIX + subject; 71 78 72 72 - const fd = new FormData(); 73 73 - fd.append("model", "gpt-image-2"); 74 74 - fd.append("prompt", fullPrompt); 75 75 - fd.append("size", "1024x1536"); 76 76 - fd.append("quality", "high"); 77 77 - fd.append("n", "1"); 78 78 - 79 79 const t0 = Date.now(); 80 80 const apiKey = loadOpenAIKey(); 81 81 const res = await fetch("https://api.openai.com/v1/images/generations", { ··· 87 87 body: JSON.stringify({ 88 88 model: "gpt-image-2", 89 89 prompt: fullPrompt, 90 90 - size: "1024x1536", 90 90 + size: "1024x1024", 91 91 quality: "high", 92 92 n: 1, 93 93 }),

+98

papers/bin/gen-qrs.mjs

reviewed

··· 1 1 + #!/usr/bin/env node 2 2 + // gen-qrs.mjs — generate QR-code PNG for each AC paper, pointing to the 3 3 + // paper's permalink at https://papers.aesthetic.computer/<siteName>.pdf 4 4 + // 5 5 + // Reads: papers/arxiv-<slug>/ (must be registered in cli.mjs PAPER_MAP) 6 6 + // Writes: papers/arxiv-<slug>/figures/qr.png (English) 7 7 + // papers/arxiv-<slug>/figures/qr-<lang>.png (translations, if --langs) 8 8 + // 9 9 + // Usage: 10 10 + // node papers/bin/gen-qrs.mjs arxiv-rhizome 11 11 + // node papers/bin/gen-qrs.mjs --all 12 12 + // node papers/bin/gen-qrs.mjs --all --langs also gen da/es/zh/ja 13 13 + // 14 14 + // Uses the homebrew `qrencode` CLI (no LaTeX package dependency). 15 15 + 16 16 + import { execFileSync } from "node:child_process"; 17 17 + import { existsSync, mkdirSync } from "node:fs"; 18 18 + import { resolve, dirname, join } from "node:path"; 19 19 + import { fileURLToPath } from "node:url"; 20 20 + 21 21 + const HERE = dirname(fileURLToPath(import.meta.url)); 22 22 + const PAPERS_DIR = resolve(HERE, ".."); 23 23 + 24 24 + const SITE_URL = "https://papers.aesthetic.computer"; 25 25 + const LANGS = ["da", "es", "zh", "ja"]; 26 26 + 27 27 + // Mirror PAPER_MAP siteName → arxiv-<slug>. Keep in sync with cli.mjs. 28 28 + // Only the dossiers need QRs for now; older AC papers already have other CTAs. 29 29 + const PAPERS = { 30 30 + "arxiv-rhizome": "rhizome-dossier-26-arxiv", 31 31 + "arxiv-sfpc": "sfpc-dossier-26-arxiv", 32 32 + "arxiv-eyebeam": "eyebeam-dossier-26-arxiv", 33 33 + "arxiv-recurse": "recurse-dossier-26-arxiv", 34 34 + "arxiv-internet-archive": "internet-archive-dossier-26-arxiv", 35 35 + "arxiv-mellon": "mellon-dossier-26-arxiv", 36 36 + "arxiv-pioneer-works": "pioneer-works-dossier-26-arxiv", 37 37 + "arxiv-new-inc": "new-inc-dossier-26-arxiv", 38 38 + "arxiv-studio-museum": "studio-museum-dossier-26-arxiv", 39 39 + "arxiv-hathitrust": "hathitrust-dossier-26-arxiv", 40 40 + "arxiv-the-kitchen": "the-kitchen-dossier-26-arxiv", 41 41 + "arxiv-machine-project": "machine-project-dossier-26-arxiv", 42 42 + "arxiv-heavy-manners-library": "heavy-manners-library-dossier-26-arxiv", 43 43 + }; 44 44 + 45 45 + const argv = process.argv.slice(2); 46 46 + const flags = {}; 47 47 + const positional = []; 48 48 + for (const a of argv) { 49 49 + if (a.startsWith("--")) flags[a.slice(2)] = true; 50 50 + else positional.push(a); 51 51 + } 52 52 + 53 53 + function genQr(url, outPath) { 54 54 + // -s 10 = 10 px per module (large enough for IG screenshot scanning) 55 55 + // -m 2 = 2 module quiet zone (the white margin) 56 56 + // -l H = high error correction (survives IG re-encoding) 57 57 + execFileSync("qrencode", ["-o", outPath, "-s", "10", "-m", "2", "-l", "H", url]); 58 58 + } 59 59 + 60 60 + function genForPaper(slug) { 61 61 + const siteName = PAPERS[slug]; 62 62 + if (!siteName) { 63 63 + console.warn(` · skip ${slug}: not in PAPERS map`); 64 64 + return; 65 65 + } 66 66 + const figuresDir = join(PAPERS_DIR, slug, "figures"); 67 67 + if (!existsSync(figuresDir)) mkdirSync(figuresDir, { recursive: true }); 68 68 + 69 69 + const enUrl = `${SITE_URL}/${siteName}.pdf`; 70 70 + genQr(enUrl, join(figuresDir, "qr.png")); 71 71 + console.log(` ✓ ${slug}: ${enUrl}`); 72 72 + 73 73 + if (flags.langs) { 74 74 + for (const lang of LANGS) { 75 75 + const url = `${SITE_URL}/${siteName}-${lang}.pdf`; 76 76 + genQr(url, join(figuresDir, `qr-${lang}.png`)); 77 77 + console.log(` + ${lang}: ${url}`); 78 78 + } 79 79 + } 80 80 + } 81 81 + 82 82 + let targets = []; 83 83 + if (flags.all) { 84 84 + for (const slug of Object.keys(PAPERS)) { 85 85 + if (existsSync(join(PAPERS_DIR, slug))) targets.push(slug); 86 86 + } 87 87 + } else if (positional.length) { 88 88 + targets = positional; 89 89 + } else { 90 90 + console.error( 91 91 + "usage: gen-qrs.mjs <arxiv-slug> [--langs]\n" + 92 92 + " gen-qrs.mjs --all [--langs]", 93 93 + ); 94 94 + process.exit(1); 95 95 + } 96 96 + 97 97 + console.log(`▸ ${targets.length} target(s) · langs=${!!flags.langs}`); 98 98 + for (const t of targets) genForPaper(t);

+158

papers/bin/migrate-cover.mjs

reviewed

··· 1 1 + #!/usr/bin/env node 2 2 + // migrate-cover.mjs — apply the new dossier cover layout (TikZ overlay, 3 3 + // pals top-left, QR top-right, illustration-behind-title vignette) to all 4 4 + // dossiers that still use the old "centered pals + 15em hero" cover. 5 5 + // 6 6 + // Idempotent: detects whether a dossier has already been migrated by 7 7 + // looking for the \papersitename macro. 8 8 + // 9 9 + // Usage: 10 10 + // node papers/bin/migrate-cover.mjs <arxiv-slug> 11 11 + // node papers/bin/migrate-cover.mjs --all 12 12 + 13 13 + import { readFileSync, writeFileSync, readdirSync } from "node:fs"; 14 14 + import { resolve, dirname, join } from "node:path"; 15 15 + import { fileURLToPath } from "node:url"; 16 16 + 17 17 + const HERE = dirname(fileURLToPath(import.meta.url)); 18 18 + const PAPERS_DIR = resolve(HERE, ".."); 19 19 + 20 20 + // Map arxiv-slug → siteName (must mirror gen-qrs.mjs). 21 21 + const SITE_NAMES = { 22 22 + "arxiv-rhizome": "rhizome-dossier-26-arxiv", 23 23 + "arxiv-sfpc": "sfpc-dossier-26-arxiv", 24 24 + "arxiv-eyebeam": "eyebeam-dossier-26-arxiv", 25 25 + "arxiv-recurse": "recurse-dossier-26-arxiv", 26 26 + "arxiv-internet-archive": "internet-archive-dossier-26-arxiv", 27 27 + "arxiv-mellon": "mellon-dossier-26-arxiv", 28 28 + "arxiv-pioneer-works": "pioneer-works-dossier-26-arxiv", 29 29 + "arxiv-new-inc": "new-inc-dossier-26-arxiv", 30 30 + "arxiv-studio-museum": "studio-museum-dossier-26-arxiv", 31 31 + "arxiv-hathitrust": "hathitrust-dossier-26-arxiv", 32 32 + "arxiv-the-kitchen": "the-kitchen-dossier-26-arxiv", 33 33 + "arxiv-machine-project": "machine-project-dossier-26-arxiv", 34 34 + "arxiv-heavy-manners-library": "heavy-manners-library-dossier-26-arxiv", 35 35 + }; 36 36 + 37 37 + const argv = process.argv.slice(2); 38 38 + const flags = {}; 39 39 + const positional = []; 40 40 + for (const a of argv) { 41 41 + if (a.startsWith("--")) flags[a.slice(2)] = true; 42 42 + else positional.push(a); 43 43 + } 44 44 + 45 45 + function findTex(dir) { 46 46 + for (const f of readdirSync(join(PAPERS_DIR, dir))) { 47 47 + if (f.endsWith(".tex")) return f; 48 48 + } 49 49 + return null; 50 50 + } 51 51 + 52 52 + function migrate(slug) { 53 53 + const siteName = SITE_NAMES[slug]; 54 54 + if (!siteName) return { slug, status: "skip", reason: "no siteName" }; 55 55 + 56 56 + const texFile = findTex(slug); 57 57 + if (!texFile) return { slug, status: "skip", reason: "no .tex" }; 58 58 + 59 59 + const path = join(PAPERS_DIR, slug, texFile); 60 60 + let src = readFileSync(path, "utf8"); 61 61 + 62 62 + if (src.includes("\\papersitename")) { 63 63 + return { slug, status: "skip", reason: "already migrated" }; 64 64 + } 65 65 + 66 66 + // 1. Add \usepackage{tikz} after \usepackage{graphicx} if not already present 67 67 + if (!/\\usepackage\{tikz\}/.test(src)) { 68 68 + src = src.replace( 69 69 + /(\\usepackage\{graphicx\}\n)/, 70 70 + "$1\\usepackage{tikz}\n", 71 71 + ); 72 72 + } 73 73 + 74 74 + // 2. Add \papersitename + \paperurl after \paperrevision 75 75 + src = src.replace( 76 76 + /(\\newcommand\{\\paperrevision\}\{[^}]+\}\n)/, 77 77 + `$1\\newcommand{\\papersitename}{${siteName}}\n` + 78 78 + `\\newcommand{\\paperurl}{https://papers.aesthetic.computer/\\papersitename.pdf}\n`, 79 79 + ); 80 80 + 81 81 + // 3. Replace cover block — match the old block exactly 82 82 + const oldBlock = 83 83 + /\\twocolumn\[\{%\s*\n\\noindent\\hfill\\raisebox\{-1\.2em\}\[0pt\]\[0pt\]\{\\includegraphics\[height=3\.5em\]\{pals\}\}\\par\\vspace\{-2\.6em\}\s*\n\\begin\{center\}\s*\n\\includegraphics\[height=15em\]\{figures\/cover\}\\par\\vspace\{0\.6em\}\s*\n\{\\acbold\\fontsize\{22pt\}\{26pt\}\\selectfont\\color\{acdark\} ([^}]+)\}\\par\s*\n\\vspace\{0\.2em\}\s*\n\{\\aclight\\fontsize\{11pt\}\{13pt\}\\selectfont\\color\{acpink\} A Dossier\}\\par\s*\n\\vspace\{0\.3em\}\s*\n\{\\aclight\\fontsize\{9pt\}\{11pt\}\\selectfont\\color\{acgray\} ([^}]+)\}\\par\s*\n\\vspace\{0\.6em\}\s*\n\{\\normalsize\\href\{https:\/\/prompt\.ac\/@jeffrey\}\{@jeffrey\}\}\\par\s*\n\{\\small\\color\{acgray\} Aesthetic\.Computer\}\\par\s*\n\{\\small\\color\{acgray\} ORCID: \\href\{https:\/\/orcid\.org\/0009-0007-4460-4913\}\{0009-0007-4460-4913\}\}\\par\s*\n\\vspace\{0\.2em\}\s*\n\{\\small\\color\{acpurple\} \\url\{https:\/\/aesthetic\.computer\}\}\\par\s*\n\\vspace\{0\.4em\}\s*\n\{\\footnotesize\\color\{acgray\}Created \\papercreated\{\} \\,\\textbullet\\, Revision \\paperrevision\}\\par\s*\n\\vspace\{0\.6em\}\s*\n\\rule\{\\textwidth\}\{1\.5pt\}\s*\n\\vspace\{0\.5em\}\s*\n\\end\{center\}/; 84 84 + 85 85 + const m = src.match(oldBlock); 86 86 + if (!m) { 87 87 + return { slug, status: "fail", reason: "old cover block not found" }; 88 88 + } 89 89 + const title = m[1]; 90 90 + const subtitle = m[2]; 91 91 + 92 92 + const newBlock = 93 93 + `\\twocolumn[{%\n` + 94 94 + `% Top header row: pals (left) + QR + label (right)\n` + 95 95 + `\\noindent\n` + 96 96 + `\\begin{minipage}[t]{0.5\\textwidth}\\raggedright\n` + 97 97 + `\\includegraphics[height=3em]{pals}\n` + 98 98 + `\\end{minipage}%\n` + 99 99 + `\\begin{minipage}[t]{0.5\\textwidth}\\raggedleft\n` + 100 100 + `\\begin{tabular}{@{}r@{}}\n` + 101 101 + `{\\footnotesize\\acbold\\color{acpink} \\,\\,Read this paper now!}\\\\[0.18em]\n` + 102 102 + `\\href{\\paperurl}{\\includegraphics[height=2.4cm]{figures/qr}}\n` + 103 103 + `\\end{tabular}\n` + 104 104 + `\\end{minipage}\\par\n` + 105 105 + `\\vspace{0.4em}\n` + 106 106 + `\n` + 107 107 + `% Hero illustration with title floating over the bottom vignette\n` + 108 108 + `\\begin{center}\n` + 109 109 + `\\begin{tikzpicture}\n` + 110 110 + ` \\node[inner sep=0pt] (cover) at (0,0) {\\includegraphics[width=0.86\\textwidth]{figures/cover}};\n` + 111 111 + ` \\node[anchor=south, align=center, inner sep=0pt] at ([yshift=2.4em]cover.south) {%\n` + 112 112 + ` \\begin{tabular}{c}\n` + 113 113 + ` {\\acbold\\fontsize{30pt}{34pt}\\selectfont\\color{acdark}\\strut ${title}}\\\\[0.05em]\n` + 114 114 + ` {\\aclight\\fontsize{13pt}{15pt}\\selectfont\\color{acpink}\\strut A Dossier}\\\\[0.2em]\n` + 115 115 + ` {\\aclight\\fontsize{9.5pt}{11pt}\\selectfont\\color{acgray}\\strut ${subtitle}}\\\\\n` + 116 116 + ` \\end{tabular}\n` + 117 117 + ` };\n` + 118 118 + `\\end{tikzpicture}\n` + 119 119 + `\\par\\vspace{0.4em}\n` + 120 120 + `\n` + 121 121 + `{\\normalsize\\href{https://prompt.ac/@jeffrey}{@jeffrey}}\\par\n` + 122 122 + `{\\small\\color{acgray} Aesthetic.Computer}\\par\n` + 123 123 + `{\\small\\color{acgray} ORCID: \\href{https://orcid.org/0009-0007-4460-4913}{0009-0007-4460-4913}}\\par\n` + 124 124 + `\\vspace{0.2em}\n` + 125 125 + `{\\small\\color{acpurple} \\url{https://aesthetic.computer}}\\par\n` + 126 126 + `\\vspace{0.4em}\n` + 127 127 + `{\\footnotesize\\color{acgray}Created \\papercreated{} \\,\\textbullet\\, Revision \\paperrevision}\\par\n` + 128 128 + `\\vspace{0.6em}\n` + 129 129 + `\\rule{\\textwidth}{1.5pt}\n` + 130 130 + `\\vspace{0.5em}\n` + 131 131 + `\\end{center}`; 132 132 + 133 133 + src = src.replace(oldBlock, newBlock); 134 134 + writeFileSync(path, src, "utf8"); 135 135 + return { slug, status: "ok", title, subtitle }; 136 136 + } 137 137 + 138 138 + let targets = []; 139 139 + if (flags.all) { 140 140 + for (const slug of Object.keys(SITE_NAMES)) { 141 141 + if (readdirSync(PAPERS_DIR).includes(slug)) targets.push(slug); 142 142 + } 143 143 + } else if (positional.length) { 144 144 + targets = positional; 145 145 + } else { 146 146 + console.error("usage: migrate-cover.mjs <arxiv-slug> | --all"); 147 147 + process.exit(1); 148 148 + } 149 149 + 150 150 + console.log(`▸ migrating ${targets.length} dossier(s)`); 151 151 + for (const t of targets) { 152 152 + const r = migrate(t); 153 153 + if (r.status === "ok") { 154 154 + console.log(` ✓ ${r.slug}: "${r.title}"`); 155 155 + } else { 156 156 + console.log(` · ${r.slug}: ${r.status} (${r.reason})`); 157 157 + } 158 158 + }

+2 -2

recap/bin/compose.fish

reviewed

··· 45 45 -stream_loop -1 -i $WALTZ \ 46 46 -filter_complex_script $FILTER \ 47 47 -map "[final]" -map "[mix]" \ 48 48 - -c:v h264_videotoolbox -b:v 5M -pix_fmt yuv420p \ 48 48 + -c:v libx264 -preset ultrafast -crf 22 -pix_fmt yuv420p \ 49 49 -c:a aac -b:a 192k \ 50 50 -movflags +faststart \ 51 51 -t $TOTAL \ ··· 56 56 -i $AUDIO \ 57 57 -filter_complex_script $FILTER \ 58 58 -map "[final]" -map "[a1]" \ 59 59 - -c:v h264_videotoolbox -b:v 5M -pix_fmt yuv420p \ 59 59 + -c:v libx264 -preset ultrafast -crf 22 -pix_fmt yuv420p \ 60 60 -c:a aac -b:a 192k \ 61 61 -movflags +faststart \ 62 62 -t $TOTAL \