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.