AS-AP

Survey: SUPERFANTASTIC ART ENGINE

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1996
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Artist Group / Collective
Part 2.
2a. Mission Statement: 
Our mission was always to provide collective exhibition opportunities for emerging artists: providing an alternative outside of the flash of commercial galleries, the politics of art school spaces, and the decorum of museums. To escape the hierarchies of the art establishment not only for artmakers, but to allow the audience as well the intimate opportunity to see something unfiltered, unpretentious and unpredictable.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
In 1996, following intense discussions with my colleagues and professors, I decided to dedicate my university stipends to establishing a transient? alternative venue for visual art in my hometown of Baltimore. In May of 1997 I rented and partially renovated a 3500sq.’ upper floor of a disused warehouse , and after culling works from students attending the Maryland Art Institute, my home school UMBC, the Cooper Union, SMFA, and the School of the Art Institute of Chicago, our first 2 shows were mounted. Consisting of over 50 visual artists, contemporary sound and installations from students and professors alike, it was the most rewarding experience in art I had yet felt. There was an innate sense of community in our creations, apart from any aesthetic or formal charges, there was a potent equalifier to be found in the fresh ideas expressed in the work and the casual mode of presentation. My sophomore year of university was spent in Florence, Italy, studying contemporary art theory,fresco restoration and planning a small showing of my own works. By the end of spring term, however, I was again itching to make larger survey exhibitions. With the assistance of Candice Soave, we began a cross country tour with artworks from the "family" of artists we had began working with the year prior. The selection of art was/is based on the artists´own desires/availability and the shows are notably unthematic. This tour to Austin and Los Angeles further encouraged us as we found how excitedly people responded to art presented in this direct and personal manner. Shows followed in Miami(2x), Chicago, Montreal, Kansas City, Baltimore (+2x), Amsterdam, Berlin, Florence and most recently Lisboa. Despite my relocation to Portugal, and the many stops in between, to this day I am fortunate enough to be still in close contact with many of the young (and not so young anymore) artists with whom we began this effort and our exhibtions continue to feature new works from many of our original contributors...
2c. Exhibition / Programming / Publishing History.: 
As stated, our exhibtions were designed as a an alternative to the more static opportunities found within commercial and educational outlets. Exhibitions primarily ran for one weekend, with viewing times during the days leading up to and following and a grand opening. SOUK, Lisboa, Portugal, Miradouro de S. Catarina october 2003 COOP, Boulder , Colorado, Boulder Co. Armory may 2002 PANGAEA. Amsterdam, Netherlands, Kuipersstraat Anti-squat Aula Berlin, Germany, Blumen september 2001 DEAR ART HISTORY STUDENT, Miami, Florida, C-Roc february 2001 LA QUALITA MISTERIOSA, Firenze, Italia, Via de Ginori & Louisa Via Roma november 2000 B-More: THESIS: GETAWAY, Baltimore, Maryland, Charles St., abandoned drug store (rite-aid) may 2000 NO GOLD CHAINS, Chicago, Illinois, Allied Cabinets, Logan Square march 1999 HOT STUFF ’99, Kansas City, Missouri, The Dirt Gallery july 1999 STARSCAPE, Fort Armistead, Maryland, outdoors on the water may 1999 PONYRUN, Amsterdam, Netherlands, Happy Town w/ Graag Gedaan february 1998 SEEING AMERICA, Baltimore, Maryland, Workhorse Studios december 1998 NEW ART LA, N. Hollywood, California, The Smell SUPERFANTASTIC!, Austin, Texas, the Punk Rock Rootbeer Festival may 1998 BIKINI CITY/ Drawing the lines, Miami, Florida, Ambrosino Gallery july 1997 FRANK (pt. I) THE $3.99 ALL YOU CAN SEE AND HEAR BUFFET(pt. II), Baltimore, Maryland, Oliver St.Warehouse may 1997 LIST OF PARTICIPATING ARTISTS: John Parot Corinne May Botz Hernan Bas Jacin Giordano Naomi Fisher Jorge Elbrecht John Roche Samuelle Green Elizabeth Hoeckel Isaac Outley Chris Francis Daniel Heimbinder Alan Rutberg Andrew Wells Andy Hall Andy Summers Jake Feige Ivan Golinko Michael Vahrenwald Alejandro Cardenas Matthew Thurber Zach Poff Lucas Shuman Natalie Conn Megan Hays Francesco Fiori Candice Soave Michelle Miller Julie Ho Laura Germida Rose Heineman Conrad Freiburg Brian Pusey Chris Peregoy John Howlett Charles Beale Ethan Ayer Hajra Waheed Kati Torvanen Doug Fogelson Ryan Schneider Zachary Taylor Joe Durickas Dept. of Aesthetic Services Yves Schaum Leanne Swanson Alexandra Leykauf Frederico NS Benn Sena da Silva Dana Lomaccio Eenis Carr Erick Gibson Jean Paul Flick Peregrine Honig Kevin Ley Noah Pfeffer Hillary Bullock Mertz Kitty Reals Carlos Velasquez James Azelvandre Justin Sirois Justin Seig Gilles Alliume and myself, Randolph Albright This list has been compiled from exhibition lists and memory and may not include all participants.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Candice Lee Soave CSoave99@aol.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Hernan Bas teamwaif@hotmail.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Benn Sena da Silva
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
Yes
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Collective / Unincorporated Association
5b. Type of organization currently, or at the termination of activities.: 
Collective / Unincorporated Association
Part 6.
6a. Does the organization have an archive?: 
Yes
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
Yes
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Technical Support / Expertise
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Unknown
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
No
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Any one willing to look. With clean hands...
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Exhibition or Production Files
11b. Artwork and Documentation: 
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Other:: 
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Mock-Ups / Models / Prototypes
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1990-1999
Part 13.
13a. How is the material stored?: 
Flat Files
13b. Are some or all of these storage units “archival”?: 
Some
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
21 - 30
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
1 - 10
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
No
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
No
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
No
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
noone
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Not Applicable
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
All of the above
20b. What are the biggest challenges to reaching these short-term goals?: 
I am all alone on this...so all pose distince challenges.
20c. What goals are in place for the historical materials for the next three to five years?: 
I would like to see this preserved, and would like to particapte in a collective archive system
20d. What are the biggest challenges to reaching these long term goals?: 
Money
20e. Are there any additional goals for the organizations historic materials?: 
1.
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$1,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$200,001 - $250,000
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
No
Part 26.
26. Additional information, comments, observations, and questions.: 
Thanks for doing this. I love making art shows but I’m finding myself swamped in my materials, and if and when I got them into place, who would ever get access to them, without myself attempting to put it all online. I hope this comes to something grand for all independent arts organizers.
Finish
Who executed this survey.: 
Randy Albright
survey_field_149: 
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: 
Yes