The Bigger Picture: Visual Archives and the Smithsonian
Posts tagged with: Artist
Last week I caught an interesting and moving documentary on HBO, Remembering the Artist: Robert De Niro, Sr. By coincidence, just a few days earlier I was looking through our finding aid to the Joseph H. Hirshhorn Papers in the Smithsonian Archives collection. Hirshhorn had gained his fortune in the mining and oil industries, and also amassed a large art collection - the core of which became the Hirshhorn Museum and Sculpture Garden that opened in 1974 as part of the Smithsonian Institution. The finding aid to Hirshhorn's papers listed a folder containing correspondence with Robert De Niro, and I wondered at the time, why would actor Robert De Niro be writing Joseph Hirshhorn?
As I started watching the documentary, it finally clicked that Hirshhorn's relationship was with Robert De Niro, Sr., part of the New York School of artists who had success in the 1940s and 1950s, but whose fortunes would soon fade in the 1960s and 1970s when Pop Art and Abstract Expressionism began to take center stage, and De Niro refused to change his artistic style and point of view.
The documentary is a son's tribute to his father and his father's art.
The De Niro/Hirshhorn correspondence echoes themes in the documentary and sheds additional light on De Niro Senior's financial struggles and his sometimes tumultuous relationship with art dealers and patrons.
- Record Unit 7449, Joseph H. Hirshhorn Papers, c. 1926-1982 and undated, Smithsonian Institution Archives
- Robert De Niro, Sr., artwork at the Hirshhorn Museum and Sculpture Garden
- Using a combination of clever sculpting and well-timed strobes, artist, Takeshi Murata created what appears to be a perpetually melting sculpture. [via PetaPixel]
- Think you have a lot of data on your computer, tablet, or phone . . . the federal government has real big data that it needs to manage. [via The Signal: Digital Preservation, LOC]
- Librarians make lasting impacts on people and their respective organizations everyday, take library analyst Eilene Galloway, who helped launch the National Aeronautics and Space Administration [via The Library of Congress blog]
- When we think of the internet we tend to think of its invisibility and ever present nature around us, but it takes a real and substantial presence to make all that cloud computing and connectivity work. Timo Arnall, a designer and artist from London, takes a look at the machinery of the internet. [via Wired]
- In 1863, at the age of 48, Julia Margaret Cameron, received a camera as a gift. Her subsequent photographs are awesome! [via PetaPixel]
- This week saw the passing of two important and influential people: Author and poet, Maya Angelou, and designer, Massimo Vignelli. [via InfoDocket and Core77]
Time-based media art: artwork containing audiovisual components that rely on playback mechanisms or systems for decoding, and that are typically engaged with other elements as an installed, interactive and/or performed experience
In September 2013 I arrived at the Archives to commence the inaugural 9-month National Digital Stewardship Residency designed by the Library of Congress and funded by the Institute of Museum and Library Services (IMLS). Directed at the curatorial and conservation obstacles time-based media art imposes on museum workflows, I was tasked with developing strategies for handling the digital assets that make up these kinds of works, with particular focus on how they might best be placed in a trustworthy digital repository environment.
Jenny Holzer’s For SAAM (Smithsonian American Art Museum), and Siebren Versteeg’s Neither There nor There (Hirshhorn Museum and Sculpture Garden) are just two examples of time-based media art that rely on digital assets to operate and that can be found in collections across the Smithsonian.
Through acquisition, installation, storage, and later re-installation, these works require technical evaluations and monitoring generally laid out in digital preservation strategies, which have not typically been cemented in museum procedures. At the same time, the variable, iterative, and subjective nature of these works necessitates the use of granular, yet scalable policies for describing, representing, and preserving their essential elements, behaviors, and variability. For these reasons, the standard assumptions surrounding documentation, authenticity, and custodial roles in the realm of digital preservation fall short of meeting the needs of time-based media art.
As part of my residency I am in conversation with curators, conservators, registrars, and gallery staff across the Smithsonian who have been participating in the Time-Based Media Art Working Group efforts. They have been looking internally and externally for resources and expertise in handling these types of works in order to fit the needs of their own collections. From these discussions I am developing higher-level procedures based upon preservation practices and current museum approaches.
It is important to note that the Smithsonian is particularly unique in this conversation, in that it represents a number of designated communities (units) with disparate collections, missions, and infrastructures.
With all of these things in mind, my ultimate goal is to produce baseline ingest, storage, and access policies for specific classes of time-based media artworks (web, video game, generative, etc.) with supplemental suggestions for the more granular, yet flexible guidelines based off variability and intended behaviors (installed, networked, performed, etc.). Through my deliverables I hope to add to the resources to be considered not only within the Smithsonian, but in other institutions collecting digital time-based media art as well.
Finally, since artists have and will continue to produce works using an assortment of both obsolete and emerging software, processes, and tools (whether intentional or not), it is necessary to remain flexible with regard to digital preservation approaches across museums. Priority should be placed on strategies that are adaptable, with the understanding that continued learning and collaboration will be essential in maintaining authenticity in the future re-creations of these works.
- Happy Valentine's Day with a flurry of related blog posts about love tokens, bouquets, and matchmaking for endangered species. [via O Say Can You See? blog, NMAH and Unbound blog, SIL]
- Not so easy to put up on the frig . . . the challenges of saving creations in virtual worlds (particularly relevant to those parents whose children play Minecraft). [via The Signal: Digital Preservation, LOC]
- With the snow the Washington, D.C. region received this week, it is hard to imagine choosing to sleep outside in the snow in a three-sided building, but that is just what artist Abbott Handerson Thayer and his family did. [via Archives of American Art blog]
- Check it out - The Digital Public Library of America and the Brooklyn Public Library launched new Tumblr blogs. [via InfoDocket]
- Taking a serious look at what it means to be "cool" at the National Portrait Gallery's new exhibition, American Cool. [via Face to Face blog, NPG]
- That is just super awesome - Marvel Comics opens up their metadata for non-commercial use. [via InfoDocket]
- One cool cat - an interview with Craig Saffoe, Curator of Great Cats at the National Zoological Park. [via Smithsonian Science]
A protégé of Secretary Spencer Fullerton Baird (scientist and second Secretary of the Smithsonian), Robert Ridgway was Curator of Birds at the United States National Museum (USNM) from 1869 to 1929. The eldest of ten children, Ridgway had a fondness for the natural world that was nurtured at an early date by his parents. Ridgway's interest in birds began at an early age. When the problem of not being able to determine the name of a paticular bird arrose, it was the mother of a boyhood friend, Lucien Turner, who suggested that Ridgway write to the Commissioner of Patents in Washington, DC. The letter along with a drawing of the bird found its way to Baird, then the Assistant Secretary of the Smithsonian, who identified the bird as a purple finch. The letter was dated June 23, 1864, and in subsequent correspondence, Baird encouraged the young Ridgway to draw birds and mammals, to record his observations, and to prepare specimens.
Showing such fervor and skill, Baird appointed the then sixteen year old Ridgway as zoologist under Clarence King at the Geological Survey of the Fortieth Parallel. After a brief two weeks at the Smithsonian, Ridgway joined the party that he was to accompany for the next two years in New York. Starting his field work in Sacramento, California, Ridgway would continue on to Salt Lake City and the Uinta Mountains.
Upon the completion of his field experience, Ridgway began work under Baird to prepare the description and do some of the drawings for Baird and Dr. Thomas M. Brewer's A History of North American Birds. Ridgway's work primarily focused on American birds, and he would go on to publish eight volumes on the Birds of North and Middle America as Bulletin 50 of the USNM between 1901 and 1919.
The Archives holds some of the personal papers of Ridgway, as well as some of his drawings and field books. On Thursday, Kira, will talk about the rapid capture method used to digitize some of the Ridgway material in our collections.
- Record Unit 7167 - Robert Ridgway Papers, circa 1850s-1919, Smithsonian Institution Archives
- Accession 12-048 - Robert Ridgway Field Books, 1864-1908, Smithsonian Institution Archives
- Ridgway Family Papers, 1864-1950, Utah State University, Special Collections and Archives Manuscript Collection
- Biographical Memoir of Robert Ridgway, 1850-1929, by Alexander Wetmore, National Academy of Sciences
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