The first weekend in October looms just over the horizon. The Archiving for Artists signs are being printed, the worksheets edited, and the workbook compiled. Our final preparation is to refamiliarize ourselves with our upcoming audience. To do so, we examined the applications of those who will be attending the workshop.
The group is diverse in their mediums, backgrounds and archival needs. They have various expectations for what they will learn, from how to archive without a computer to how to archive their Web presence.
Alberto Ortega Rodas, for example, is a mid-career painter particularly interested in the documentation of artistic process. While his finished work is painting, a large part of his process involves multiple media: photography, digital image processing and digital sketching. These media allow him to “explore lighting situations and to envision paintings and to spark ideas.” The resulting digital images form an archive of their own, separate from the paintings, to which he refers frequently. The difficulty Alberto Ortega Rodas finds in researching other artists’ inspirations and holistic practices inspires his interest in ensuring documentation of his own to assist other artists or researchers.
Beyond his interest in documenting process, Alberto Ortega Rodas also hopes to learn more about image, storage and sale inventories for his paintings, as well as appraisal and disposition of his documentation and materials…[For the rest of the article, please visit the original post published on the Learning from Artists’ Archives blog.]
N.B. Image of slide taken from the workshop’s welcome presentation given by Heather Gendron, formerly UNC’s art library and PI on Learning from Artists’ Archives and now art librarian for Yale University.