Survey: Three Walls

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
combination of exhibition space and multipurpose space.
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
Three Walls is an artist-run gallery that creates a venue for artists where they feel free to take risks with their work. The gallery encourages artists to expand on and stretch the current ideas they are working with, and is devoted to supporting both emerging artists from San Antonio, and national/international emerging artists. Three Walls held its inaugural exhibition in June 1999 with San Antonio artist Veronica Fernandez, and mounts 9-10 exhibitions annually. Three Walls will continue to show artists who are exploring, thinking, and dreaming, and who are fearless in their ability to take risks and push the envelope
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
The following projects are just a sampling of the pieces made by some of the artists who have shown at Three Walls during the past six years: Randy Wallace’s Gyromancer, a hybrid of sculpture, installation, sound, and performance, was as intense as it was gorgeously put together. Leigh Anne Lester’s Century marked the turn of the century by constructing a large-scale agave, or century plant, out of clear plastic. The artist hand sews all of her pieces, and this one was of particular note, as it was both extremely large, yet "invisible". Chris Musgrave, an artist from San Francisco, made a sound and vision piece entitled Interstice, where he mounted a tiny camera in the gallery, and had random people move, talk, sing, or just stand there in front of a blue velvet background. The piece was simulcast on the internet in real time. Miami artist Gavin Perry’s interest in low-rider culture was the inspiration for his exhibition Scenario. He made meticulous and vibrant prints of pin-striped designs, and coupled those prints with a video of a homemade "bed" that jumped up and down on a hydraulic system, mimicking the funk of the real low-rider. Copenhagen artist Morten Hebsgaard converted imagery of mundane objects into graphic interperetations made of flat vinyl. Alex Lopez’s In Search Of was a poignant and somewhat haunting installation incorporating sculpture and video that propelled his career forward into other exhibitions. Rae Culbert’s Silly Bastards was political, controversial, and extremely powerful on a number of levels, and stirred an uproar the night of his opening.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
Three Walls June 1999-present Veronica Fernandez New Work June 1999 Regis Shephard Open July 1999 Shaka McGlotten New Work August 1999 Jayne Lawrence Sunday Morning in Mid-America Sept. 1999 Kate Terrell New Work Oct. 1999 Leigh Anne Lester Century Nov. 1999 Nate Cassie Miami Texas Jan. 2000 Callida Borgnino Drawings March 2000 Hills Snyder Tea for One April 2000 Chris Sauter/Michele Monseau Greetings From New York July 2000 Ethel Shipton Photographs Sept. 2000 Mike Adkison My Robot Has the Soul of a Butterfly Oct. 2000 John Navarro IO NO Nov/Dec 2000 Mat Wolff Electrasol Glamor Girl Feb. 2001 Margaret Craig Gunk March 2001 Karen Mahaffy Wallflower April 2001 Kim Squaglia Paintings May 2001 Alex Lopez In Search Of June 2001 Gavin Perry Scenario July 2001 John Navarro, Tucker Allen, Steve Johnson Aircone 2 Sept. 2001 Chris Musgrave Interstice Oct. 2001 Chris Biasiolli Nereocystis Luetkeana Nov. 2001 Giovanni Garcia-Fenech Four Paintings at Three Walls Dec. 2001 Chris Sauter I’m Just an Old Lump of Coal Jan. 2002 Tom Walsh Wavemen Feb. 2002 Michele Monseau Pets April 2002 Donna Pardue The Ears of Sundry Gods May 2002 Lawrence Jennings Alien Feedback July 2002 Trish Lewandowsky Pixx x 6 Sept. 2002 Phillip Avila Nublado Oct. 2002 Randy Wallace Gyromancer Nov. 2002 Charlie Morris New Work Dec. 2002 Rae Culbert Silly Bastards, Part 1 March 2003 Rae Culbert Silly Bastards, Part 2 April 2003 Guy Hundere Mass July 2003 Ansen Seale Flux & Flow Sept. 2003 Michael Velliquette Get Into the, Who? Oct. 2003 Katie Pell Stations Nov. 2003 Mira Hnatyshyn White Minutiae Dec. 2003 Aaron Kamelhaar Wasteland Feb. 2004 Ludwig Schwarz Chronologic (Carry On) March 2004 Jessica DeCuir You Spin Me… April 2004 Georgia Tambasis Disturbances in the Field May 2004 Yolanda McKay Gastronomical Confections July 2004 Nate Cassie, Leigh Anne Lester, Karen Mahaffy, Hills Snyder Drawings Oct. 2004 Nick Brown, Yunhee Min, Alex DeLeon Drawing Approach Nov. 2004 (Guest Curator: Jennifer Davy) Morten Hebsgaard Tape Drawings Jan. 2005 (Guest Curator: Riley Robinson) Kate Terrell Waterline Feb. 2005 Judith Cottrell Mostly Bic Mar. 2005 Jason Stout Burial Ground April 2005 Laura Ricci Transient May 2005 Buttercup Audience of One June 2005 Andy Coolquitt Y’all’s Lubys is Way Better Than Our Lubys July 2005 Max Kazemzadeh Formatting Identity Oct. 2005 John Mata Nov. 2005 Guest Curator Kimberly Aubuchon Dec. 2005
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Michele Monseau
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
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?: 
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Lack of Staff
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
missed/unknown press
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
11b. Artwork and Documentation: 
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
File Cabinets
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
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: 
1 - 10
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
I don’t know
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
this is a one person organization. The founder/director does everything.
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
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?: 
continue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
lack of funding
20c. What goals are in place for the historical materials for the next three to five years?: 
More professionally archived in order to apply for grants
20d. What are the biggest challenges to reaching these long term goals?: 
lack of funding
20e. Are there any additional goals for the organizations historic materials?: 
improve the quality of thousands of digital images already in the collection by using photoshop
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
Part 23.
23e. Not Applicable: 
Not Applicable
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
24e. Not Applicable: 
Not Applicable
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
Michele Monseau
Who executed this survey.: 
Michele Monseau
Is this survey complete and all appropriate questions answered?: