tag:blogger.com,1999:blog-13426559326824181722024-02-20T04:07:26.918-08:00Archiving the Artsa symposium addressing preservation in the creative process.Kathryn Gronsbellhttp://www.blogger.com/profile/10782630931993128193noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-1342655932682418172.post-36741039677943990382012-08-21T07:34:00.000-07:002013-01-30T07:56:50.353-08:00AtA 2012<br />
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<span style="color: #595959; font-family: Calibri;">Proceedings and future plans for Archiving the Arts will be addressed at the <a href="http://www.amiaconference.com/2012/Program.htm" target="_blank">2012 AMIA Conference</a> in Seattle on December 7th:</span><br />
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<span style="color: red; font-family: Calibri;"><b>Slides & notes available <a href="http://www.scribd.com/doc/122974369/Artists-and-Archivists-Preservation-and-the-Creative-Process-Archiving-the-Arts-out-of-the-basement-into-the-studio-w-notes" target="_blank">here</a></b></span><br />
<span style="color: red; font-family: Calibri;"><b>Slides only <a href="http://www.scribd.com/doc/122971474/Artists-and-Archivists-Preservation-and-the-Creative-Process-Archiving-the-Arts-out-of-the-basement-into-the-studio" target="_blank">here</a></b></span><br />
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<b>Artists and Archivists: Preservation and the Creative Process</b></div>
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Chair Lauren Sorensen, Bay Area Video Coalition<br />
Speakers Mark Toscano, Academy Film Archive <br />
Marilyn Brakhage, Brakhage Estate<br />
Kathryn Gronsbell, New York University<br />
Tom Colley, Video Data Bank</div>
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This panel will explore how artists and archivists work together and separately, and how these relationships and distinctions can foster more enriching and more complicated preservation projects and practices. What kinds of decisions are made when an artist and archivist collaborate? How can artists and archivists work together to think about the many issues around preservation of digital work, or when faced with extinct film stock? Film and video archivists know all too well the risks media artworks face. At the same time, artists face the same concerns that are essential to their ongoing creative process, but often these two groups lack a common language and a way for their communities to interact and develop tools that serve all intentions: creative and heritage-based. Topics include: old and new models for how these collaborations can benefit the field broadly; the process of preserving hand-painted works, hand-manipulated film, and rare reversal stocks. Sponsored by AMIA’s Independent Media Committee.</div>
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Follow #AMIA12 on Twitter for updates from the conference.<br />
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<span style="color: #595959; font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-hansi-theme-font: major-latin; mso-themecolor: text1; mso-themetint: 166;">Harnessing the enthusiasm of
members of the Association of Moving Image Archivists Student Chapter at NYU
(AMIA @ NYU) and Independent Media Arts Preservation (IMAP), </span><span style="color: #660066; font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-hansi-theme-font: major-latin;">Archiving the Arts</span><span style="color: #595959; font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-hansi-theme-font: major-latin; mso-themecolor: text1; mso-themetint: 166;"> unlocks dialog concerning preventive preservation, the creative
process, and where the two concepts intersect. </span></div>
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<br />Kathryn Gronsbellhttp://www.blogger.com/profile/10782630931993128193noreply@blogger.com