ARCHIVING THE ARTS
Saturday
| October 13, 2012
| BIOGRAPHIES - Presenters
Paul Bryan owns
and runs a gallery with his wife, Ashley. He has over 10 years
experience as a photographer, videographer and creative manager, both in the
private sector and for academic institutions. Applying the skills and
knowledge from the commercial world he had developed a unique style of short
video documentary that communicates the intention of the artist through their
own words. Both he and co-presenter Jason Flowers are back in school
pursuing MFAs.
Aliee
Chan (wears many hats, but prefers head scarves. As an actor, she was recently
in Claire Went to France (Real Girl) at Under St. Marks and the
short film Immi (Elle). She is performing in Mallory/Valerie
(Mallory, Valerie), which is also set to premiere in The New York International
Fringe Festival. She has been a co-producer and performer with V-Day for 3
years during her time at Montclair State University, where she received an
advanced learning degree in acting with a concentration in abreevs. Aliee is a
technical collaborator with the New York Neo-Futurists (TMLMTBGB, Locker
#4173b) and always has beach hair, even when she isn’t at the beach. This
is both a blessing and a curse. She writes sassy things in < 140 characters
on Twitter: @alieechan.
Peter
d'Agostino is
Professor of Film and Media Arts, Temple University, Philadelphia. Working in
video and new media for over four decades, his pioneering projects have been
exhibited internationally in the form of installations, performances,
telecommunications events, and broadcast productions. He is the recipient of a
Leonardo Art & Climate Change project award, 2010-11; and fellowships from
: the National Endowment for the Arts, Pew Trusts, Fulbright, Onassis, and
Japan foundations, and the Center for Advanced Visual Studies, MIT. Surveys of
his work include: World- Wide-Walks / 1973- 2012, UPV, Bilbao, Spain;
Interactivity and Intervention, 1978-99, Lehman College Art Gallery, New York.
Major group exhibitions include: The Whitney Museum of American Art (Biennial,
and The American Century - Film and Video in America 1950-2000), the Sao Paulo
Bienal, Brazil, and the Kwangju Biennial, Korea. His works are in the
collections of The Museum of Modern Art, New York, Kunsthaus, Zurich,
Foundation La Caixa, Barcelona, Spain. His books include: Transmission: toward
a post-television culture, and TeleGuide-including a Proposal for QUBE. He is
also a contributor to Illuminating Video, and Theories and Documents of Contemporary
Art. Recent publications featuring his work include: Art & Electronic
Media, Video Art, Digital Art, and New Media in Art.
Yvonne Desmond is a
librarian by profession with a background in both public and university
libraries, and is currently the manager of the Central Services Unit of the DIT
Library Services. This unit while providing all the back- up services required
for 6 third level libraries, also manages the institutional repository
Arrow@dit . A long term advocate of open access and the promotion of oral
history she is engaged in a number of such projects one of which is ArtLog,
based at the Tyrone Guthrie Residential Centre for Artists in Monaghan,
Ireland.
Matthew Epler is an
artist and creative coder at NYU's Interactive Telecommunications Program. A
graduate of USC's School of Cinematic Arts, he quickly fled Los Angeles and
proceeded to live abroad for many years teaching film history and theory. Now
he makes machines, visualizes data, and generally pokes around in stuff related
to computers.
Ben Fino-Radin is a New York-based archivist,
researcher, media archeologist. As Digital Conservator for Rhizome at the New
Museum, he leads the preservation and curation of the ArtBase, one of the
oldest and most comprehensive collections of born-digital works of art. In
addition to his role at Rhizome, Fino-Radin recently led a digital preservation
effort at the Whitney Museum of American Art, and has served in an advisory
capacity to the Museum of Modern Art, and the Museum of the Moving Image. His
writing has appeared on The Creators Project, the forthcoming volume of
Electronic Media Review, as well as a forthcoming Digital Art reader edited by
Christiane Paul.
Jason Flowers is a professional photographer, videographer and sound artist in
addition to having worked in theater. Both he and co-presenter Paul Bryan
are back in school pursuing MFAs.
Jonathan
Furmanski holds
a Bachelor’s Degree from Reed College in Portland, OR, and a Master of Fine
Arts Degree from Art Center College in Pasadena, CA. He currently
is the Associate Conservator for audiovisual materials at the Getty Research
Institute where he oversees the preservation and transfer of audiovisual
materials in the Institute’s Special Collections and Institutional
Archives. He has been doing this, in one capacity or another, for
the last ten years or so. The
Getty Research Institute is dedicated to furthering knowledge and
advancing understanding of the visual arts. Its Research Library with special
collections of rare materials and digital resources serves an international
community of scholars and the interested public. GRI creates and disseminates
new knowledge through its expertise, its active collecting program, public
programs, institutional collaborations, exhibitions, publications, digital
services and residential scholars program. The activities and scholarly
resources of the Institute guide and sustain each other and, together, provide
a unique environment for research, critical inquiry, and debate. The work of
the Research Institute takes its place within the collaborative context of the
Getty Center as a whole, which includes the collections of the J. Paul Getty
Museum, the international projects and research of the Conservation Institute,
and the philanthropic outreach of the Getty Foundation.
Desiree
Leary (MLIS,
Rutgers), is the Media Art Collection Manager at Electronic
Arts Intermix where
she manages the master tape collection and special preservation
projects. She started her career in 2002 working
in video preservation digitizing every Coca-Cola commercial ever made.
Since then she has managed She various digital collections including StoryCorps' digital born audio archive and the
digital photo archive for the retouching studio Box. Her personal art practice
in digital photography is informed by her professional practice in digital
information and preservation, and vice versa. Electronic Arts Intermix
( eai.org) is a nonprofit arts organization founded in 1971 and a leading
international resource for video and media art. A pioneering advocate for media
art and artists, EAI's core program is the distribution and preservation of a
major collection of over 3,500 new and historical video works by artists. For 40
years, EAI has fostered the creation, exhibition, distribution and preservation
of video art, and more recently, digital art projects.
Megan McShea has been working as the Audiovisual
Archivist at the Archives of American Art since 2007. She is currently
working as the project archivist on a “Hidden Collections” grant project funded
by the Council on Library and Information Services entitled Uncovering
Hidden Audiovisual Media Documenting Postmodern Art. This project
aims to bring to light media documentation of ephemeral art forms that emerged
in the last half of the 20th century held by the archives, which
tend to be rich with audiovisual documentation. In the process, she is
working on benchmarks and guidelines for processing media-rich archival
collections, guidelines that are currently absent and underdeveloped in
traditional archival practices.
Holly Stevens teaches art history online at the University of Michigan-Flint, 'live'
at Texas A&M Commerce and moonlights as an archivist at Texas Scottish Rite
Hospital.
Kara Van Malssen focuses on
helping clients develop effective lifecycle management practices for
audiovisual material, from production to preservation, and works to implement
the policies and tools that will enable those practices to be realized. She
specializes in digital asset management, metadata modeling and standards
implementation, and digital repository planning and development. Her past and
continuing consultancies include the Museum of Modern Art, Facing
History and Ourselves, and UN Women. Never one to sit still, Kara is
active internationally as a trainer with ICCROM’s Safeguarding Sound and
Image Collections (SOIMA) initiative, for which she has taught in Brazil
(2007), India (2009), and Lithuania (2011), and NYU’s Audiovisual Preservation
Exchange (APEX) program, which has taken her on numerous visits to Ghana to
conduct workshops. She is also co-chair of the Association of Moving Image
Archivists’ International Outreach Committee. Kara is Adjunct Professor at
New York University, where she teaches Digital Preservation for the Moving
Image Archiving and Preservation Program, and for Pratt Institute, where she teaches
Metadata: Description and Access for the School of Library and Information
Science. Kara holds an MA in Moving Image Archiving and Preservation from New
York University.
Bettina Katie Warshaw received her
BA in Theater Studies from Emerson College in 2011. Bettina likes to play with
words and people. She spends a lot of time getting overly excited about the
little things, telling the same stories over and over and engaging in one-lady
dance parties. Oh, and writing, managing and creating. Various recent credits
include: You are in an open field (General Manager, New York
Neo-Futurists), Smoke the New Cigarette (Stage Manager, part of
FringeNYC 2011), and The Vagina Monologues (Director). Tweet:
@bettinakatie
Kate Watson is a curator, designer and
digital content strategist. She is passionate about connecting people around
art and technology. She holds an MPS from NYU's ITP (Interactive
Telecommunications Program), as well as a BA in art and art history from Sarah
Lawrence College.
Michele L. Wozny is a media artist and former
archivist at the Library and Archives of Canada (LAC), who currently operates
her own business, PEAR Writing Studios.
Her research has covered the history of audiovisual preservation practices,
the activism that created the Independent Media Arts Alliance in Canada, policy
development and the emergence of the National Film, Television and Sound
Archives at LAC, and the establishment of the Media Art Sector within the
Canada Council for the Arts. Michele has worked with the federal Department of
Canadian Heritage to research international best practices, producing scalable
evaluation guidelines related to long-term care and access to audiovisual works
held within small – large cultural organizations. She recently presented the
results of a national survey on collection and preservation practices in
Canadian artist-run centres at an international summit at the Banff Centre for
the Arts, focusing on partnership potential related to the development of best
practices for the preservation of independent media artworks. Michele holds an
MA in Film Studies from Carleton University and is recognized across Canada’s
cultural community as an activist on behalf of audiovisual preservation best
practices and conjoint access issues. She has written and been published on
these topics.
2012/08/23
