Burning Questions

A few more to prepare you for tomorrow’s conversation in the Park Science Center, in which a group of unparalleled professionals will take apart art, archives, and digital stewardship apart and put them back together again.

  • When did artists realize that they wanted to document their art? Is this a new phenomenon?
  • Documentation gives non-artists contact with artist process. Is this challenging if the artist wants their process to remain opaque?
  • How does the ability to preserve art that was intended to be ephemeral affect the way the art is interacted with? Or the art itself?
  • Making art more accessible, conserving it for the long term. The primary considerations The Song Exploder podcast recently interviewed  Phil Evrum of the Microphones, who told a story about baking some of his decade-old tape in order to preserve it just long enough to digitize it. Any cool stories along those lines you can share?
  • Understanding of documentation in both the art and archives context. Is there a difference between art documentation and archiving priorities? How do we navigate between the two?
  • Can sensitivity and the affective nature of some art come through the digital wall?
  • Who gets to decide what is documented and what is not? Where does this documentation live? What issues have you had with access?
  • How do we create relationships between artists and archivists so that there is an open dialogue?
  • Let’s take some time to actually flesh out practical concerns vs. theoretical concerns
  • Cool idea: dynamic citations and attributions. Artists often pay homage to their influences when they’re describing a body of work. Link artists, works, and create relationships that weren’t as visible before? This has been done with text-based work, but technology that can capture visual attributes could be used to create new, unexpected parallels between works.How do you think a digital media approach could animate this concept? Link artists, works, and create relationships that weren’t as visible before?
  • Transmedia presentations of information: How can artists take advantage of these expanding, iterative, mutable ways of displaying and sharing their work (/enhancing it?)? Art education: Engaging different kinds of understanding (and types of intelligences) through a wider range of pedagogical approaches, styles of classroom engagement, in-class exercises, assignments, grading rubrics, etc.
  • Respond to: “Digital, polyvocal expression can support a genuine multiverse in which so single point of view can claim center.”
  • Rebecca Schneider “to what degree can performance interrogate archival thinking?”

Food For Thought

Fodder for brainstorming. Weigh in and let us know if you have any suggestions for more. This is only installment 1, so check back for more in the days leading up to the panel…

  • Let’s start with the question of digital stewardship. What are the major concerns for:
    • visual art
    • music
    • performance art
    • film
    • textile art
    • jewelry making

The divergence is fairly clear, but worth enumerating for a general audience. Where is the intersection?

  • How do digital humanities projects that combine transmedia approaches to presenting information factor into this discussion?
  • How does the artist see their art, how do they want it seen, and how does technology affect how that is negotiated?
  • One of things we discuss a great deal in the world of LIS is the digital life cycle, which is what format works live in and what methods of preservation should be employed to ensure their preservation. How does technology affect the negotiation of the ephemerality of works? What sort of plan do you have, if any, for the digital lifecycle of your works, or how you manage others works? How many iterations (tech wise) do you think about works going through / do you care and if so what sort of education does or should support that?
  • Where exactly do art and archives/art and librarianship converge?
  • Peggy Phelan says that the “…attempt to write about the undocumentable event of performance, is to invoke the rules of the written document and thereby alter the event itself.  Just as quantum physics discovered that macro-instruments cannot measure microscopic particles without transforming those particles, so too must performance critics realize that the labor to write about performance (and thus to “preserve” it) is also a labor that fundamentally alters the event.”
  • That said: Do you feel like artists are exploring aspects of archival/ preservation theory? What sort of crossovers are there? Do you feel it is extended from exploring narratives / histories in different mediums and disciplines?

What’s Up With Art Librarianship? Webinar


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The Art Libraries Society of North America (ARLIS/NA), New England Chapter invites you to join us for a virtual tour of the art library/visual resources profession on Monday, November 9, 7:30 pm – 8:45 pm EST.

Whether you’re an art library veteran, art library-curious, or somewhere in between this will be an illuminating look at some of the exciting work happening in the field. ARLIS/NA or regional chapter membership is not required for attendance.

To register for this free event, please visit: http://bit.ly/1RFtEnH. Note that the webinar meeting space will open at 7 pm, and the official event start time is7:30 pm.

Speakers and topics include:

Jesi Buell, Instructional Design and Web Librarian, Colgate University

Information and Visual Literacy Instruction Tools

Digital Learning Objects (DLOs) are examples of a successful Blended Learning tool at Colgate University. These interactive, digital tutorials allow for student learning outside the classroom which increases time in Library sessions, put lessons in context, and encourages autodidactism. This presentation will show examples, give advice on best practices, and explain how the Instructional Design Librarian plans on putting together a visual literacy DLO.

Jasmine Burns, Image Technologies and Visual Literacy Librarian, Indiana University Bloomington

Visual Resource Collection Management

During this presentation, I will discuss my plans for a large data migration from a homegrown institutional image repository (created by my predecessor in the mid-1990s) into ARTstor’s SharedShelf. I will give a background of the structure and uses of current system, map out my overall migration plan, and share my projected timeline for the process.

Sarah Carter, Director, Bridwell Art Library at the University of Louisville

Creative Outreach and Programming

The Bridwell Art Library connected the artistic practice of self portraits to a wider audience by designing and implementing a social media campaign highlighting “Shelfies in Art History.” This presentation will focus on the collaborative exhibit design and promotion that made the exhibit and social media campaign a success with not only our patrons, but within the wider community of Louisville.

Lareese Hall, Architecture + Art Librarian, Massachusetts Institute of Technology 

Artists’ Book Collections

If you had to use just six books in your artists’ book collection to explain your collection philosophy what would you choose? This is the premise for a video series that looks at artists’ books in academic environments and at what it means to “collect”.

The presentations will be followed by some Q&A time.

Friday May 8 — ARLIS NA/NE Spring Meeting

A great professional development opportunity is coming up soon! The New England chapter of the Art Libraries Society of North America is having their spring meeting Friday May 8 in Lowell, MA. The meeting will include a tour of the Pollard Memorial Library and the American Textile History Museum. See full details on the ARLIS NA/NE website. Not a member yet? Sign up here to take advantage of everything the society has to offer.

Study with a Movie Break Spring 15′ — Help pick the movie

We had such a good time during our study & movie event in the fall, we’re hosting one again for the spring semester. Except this time we want your help choosing the movie! Please check out the form below and choose two of the options we came up with, or add your own.

Where: P206
When: 12-5 | Movie starts at 1

If you have trouble viewing or submitting this form, you can fill it out in Google Forms.