In 2015, Erin Dickey, Kelsey Moen and I all presented on the Learning from Artists’ Archives initiative for the ARLIS/SE regional conference in Atlanta, GA.
Embedded below is a copy of our slides. To see the accompanying text, click the gear symbol and select Open Speaker Notes
[Original post dated 19 April 2016]
Now that our first Archiving for Artists workshop is six months gone, we’ve begun planning our next workshop in earnest, scheduled for 8 October at the Mint Museum. To help us improve upon the successes and weaknesses of the 2015 workshop, I checked in with some of our previous attendees to see how they’re processing through and applying their workshop experience. Alberto Ortega Rodas, Keanna Artis and Eric Serritellagenerously responded to my questions with thoughtful and revelatory answers.
I asked the artists six questions:
- Which skills or tools from the workshop have you found most useful to your studio’s organization, artistic practice or personal archive?
- How did the workshop change your attitudes towards maintaining a studio archive?
- What are you struggling with most in terms of your studio archive?
- What do you see as the primary benefit of maintaining your studio archive?
- How have you maintained contact with other artists, archivists or art historians in attendance at the workshop? Has that contact impacted the way you continue to think of your studio archive?
- Are there skills or topics you wish the workshop covered more deeply?
[for the full post, click: artiststudioarchives.org]
[Original post dated 28 September 2015]
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 post, click: artiststudioarchives.org]