[ANPPOM-Lista] symposium | Archiving the Arts: addressing preservation in the creative process

Carlos Palombini cpalombini em gmail.com
Ter Ago 28 11:57:15 BRT 2012


*Archiving the Arts:
addressing preservation in the creative process*

* *

*Saturday, October 13, 2012*

*9:00 AM–5:00 PM*

* *

*Michelson Theater*

*NYU Tisch School of the Arts*

*Department of Cinema Studies*

*721 Broadway, 6th Floor*

*New York, NY 10003*

* *

*Presented by:*

*Association of Moving Image Archivists Student Chapter at New York
University*

*and Independent Media Arts Preservation (IMAP)*

* *

Archiving the Arts unlocks dialogue concerning preventive preservation, the
creative process, and where the two concepts intersect.

* *

Unlike corporate or policy-based content, independent media art evolves and
is often born from fleeting processes, creative approaches, and
undocumented methods. Its unique development deserves to be addressed by
both its makers and those who fight for its welfare after creation.

* *

Our primary goal is to straddle an antiquated divide. Instead of finite
responsibilities dictated by title, archivists and artists must learn to
work collaboratively in the complex independent media environment. Join us
on October 13 as we bridge the gap!

* *

Registration Fee: $15.00

Students with valid ID: $9.00

*Seating is extremely limited*



Register at:



*http://www.imappreserve.org/join/membership.html*



Questions:

Kathryn Gronsbell via NYU.AMIA em gmail.com

Jeff Martin via imap em imappreserve.org

* *

Archiving the Arts is part of New York Archives Week, which is organized by
the Archivists Round Table of Metropolitan New York. www.nycarchivists.org.





*9:00 AM        Registration Opens/Breakfast Reception*



*9:45 AM        Welcome*

*Jeff Martin* - Executive Director, IMAP

*Kathryn Gronsbell* - Moving Image Archiving & Preservation, NYU and
President, AMIA @ NYU



*10:00 AM      Preventive Preservation *

*Moderated by Seth Anderson - *Digital Preservation Consultant, AudioVisual
Preservation Solutions



*Collaborative Curation: Designing for Preservation*

*Ben Fino-Radin* - Digital Conservator, Rhizome at the New Museum

In the collection and preservation of born digital works, often the most
effective methods of preservation are enabled by decisions made by the
artist during the creative process. This presentation will explore cases of
born-digital works from the collection of the Rhizome ArtBase, that were
designed in a manner that affords effective and unobtrusive collection and
preservation, as well as new modes of institutional collaboration with the
creators of web platforms employed by artists.

* *

*Partnering to Promote Best Practices to Preserve Independent Media Art*

*Michele L. Wozny* - PEAR Writing Studios

Media artists and artist-run centres across Canada are actively
strategizing how best to develop partnerships between funders and
stakeholders, including archives, distributors and collectors, in order to
promote long-term access and thereby stimulate the preservation of
independent media artworks. This presentation will explore recommendations
for such a life-cycle model that involve AMAAS (Alberta Media Art Alliance
Society), AFA (Alberta Foundation for the Arts) and the Provincial Archives
of Alberta.



*ArtLog: an online participative archive facilitating artists to self
document their artistic process***

*Yvonne Desmond* - Dublin Institute for Technology

The presentation will discuss the elements of artistic process and the
possibilities for documentation. The development of the archive is also a
means of averting the threat to the loss of trace evidence of artistic
process inherent in the mass adoption of technology in the 21st century.





*11:00 AM Technically Speaking: The Archivist, the Artist, and the Digital
Realm *

*Architecting the World's First Fine Art Digital Conservation Repository at
the Museum of Modern Art*

*Kara Van Malssen*, Senior Consultant, AudioVisual Preservation Solutions

Digital artworks are uniquely complex, often having multiple dependencies,
such as operating systems, software, libraries, programming languages, and
various types of hardware.  Artists write custom software, create custom
hardware, and use ephemeral online data sources.  Even seemingly simple
works, such as single channel video, depend on specific video and audio
codecs for playback.  Recognizing the requirements associated with the
long-term conservation of these works, the Museum of Modern Art is
developing a flexible, dedicated environment for digital collections
management, the first of its kind in the world.  This presentation will
discuss work to date on the repository, next steps, and future plans.

* *

*Intangible Interactivity: Tracing the History of an Art/Tech Program
1979-Present ** ***

*Matt Epler *and* Kate Watson* - Interactive Telecommunications Program
(ITP), Tisch School of the Arts, NYU

A summary of the genesis and ongoing efforts to archive thesis projects at
the nation's pioneering program in technology and media art. Housing almost
every imaginable format of media, the collection represents a unique look
at how technology has developed alongside culture and economy in the past
3+ decades, with an emphasis on experimentation and alternative use.



*11:45 AM      Lunch *



*1:15 PM        Discussion Forum - Selections from the Studio to the
Archive *

This session will serve as the basis for an upcoming IMAP workshop on
issues raised at *Archiving the Arts*. We invite you to an informal,
open-format discussion addressing preservation in the creative process.
Presenters and attendees will tackle issues encountered by professionals
and amateurs on both sides of the content divide. *Special guests to be
announced.*





*2:30 PM        Audiovisual Documentation of Transitory Works*

*Moderated by Erica* *Titkemeyer* - Moving Image Archiving & Preservation,
NYU



*Archives and the afterlife of ephemeral works of art*

*Megan McShea* - Smithsonian Institution, Archives of American Art

Traces of ephemeral arts sometimes surface in surprising ways in the
archival repository.  McShea will share a few examples of archival
audiovisual media and other documentation of ephemeral art forms from the
pre-digital era, and use those examples as a jumping-off point for a
discussion of the variety and qualities of art documentation that may exist
for artworks that no longer exist, at least in the form in which they were
initially presented by the artist.  How can the creators and keepers of
these records, including artists and other documentarians, ensure that it
will persist into the future?



*Creating Something Out of Nothing - documenting the short-lived on a
shoestring***

*Paul Bryan* - photographer/videographer/
artist, art studio owner

*Jason Flowers *- photographer/videographer/sound artist

*Holly Stevens* - art historian/archivist



What are the best practices for documenting transitory or ephemeral works
of art?  This discussion will focus on practical solutions to identifying
and preserving transitory, interactive, ephemeral or site-specific works of
art.



*Capturing a New York Minute*

*Aliee Chan/Bettina Katie Warshaw-*Writers/Performers

The cast and creative partners of the FringeNYC 2012 show *Aliee &
Bettina’s (sort of) Grown-Up Sleepover* discuss the climate of off-off
Broadway theatrical community members in relation to self-preservation and
the idea of ‘the archive’ in the performance community.





*4:00 PM        Create / Restore / Migrate / Preserve - Media Arts Theories
and Practices*



*Before I Got My Eye Put Out: The Cynthia Maughan Archive***

*Jonathan Furmanski*, Associate Conservator for audiovisual materials at
the Getty Research Institute

Between 1973 and 1980 the artist Cynthia Maughan (b. 1949) created upwards
of three hundred discrete video works, most no longer than a few minutes
each.  While she was included in several high profile exhibitions of the
1970s, only a few of these works exist outside of her personal archive now
housed at the Getty Research Institute.  An examination of this remarkable
and quirky artist will introduce topics ranging from tape degradation,
transfer techniques, cataloging and metadata protocols for digital access
to file based video storage, the mourning rituals of small twigs,
explaining incarceration to cats and the probability of miniature skeletons
made from toothpicks. **



*Practicing Preservation For and With Video Artists*

*Desiree Leary* , Media Art Collection Manager at Electronic Arts
Intermix<http://www.eai.org/index.htm>
 **

For the past four decades Electronic Arts Intermix has fostered the
creation, exhibition, distribution and preservation of media art. Over the
years EAI has has preserved several key works of media art including the
works of Carolee Schneemann, Lawrence Weiner, Vito Acconci, Bruce Nauman,
and Joan Jonas. This presentation will discuss EAI’s current preservation
practices and projects, which include restoring the work of Tony Ramos,
revising EAI’s Media Art Resource Guide and efforts to help artists become
more aware of best practices in preserving their work.



*An Artist’s Perspective** *

*Peter d’Agostino* - Professor of Film and Media Arts, Temple University,
Philadelphia

This presentation explores the process of creating new work and reviews
exhibition, distribution, and archival preservation methodologies.
D’Agostino will review projects from the 1970s to 2010s including: *The
Walk Series (*1973-74) video ’documentation / performances’ of walks in San
Francisco*; CHUNG: Still Another Meaning* (1977) a photo / text / video
installation; *coming & going:* *PARIS [Metro], *a film / video / text
installation (1978); and, video / web projects (1973- 2012) on *
www.peterdagostino.com* <http://www.peterdagostino.com/>*. ** *





*5:00 PM        Farewell and adjourn*


-- 
carlos palombini
www.researcherid.com/rid/F-7345-2011
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