Showing posts with label archives. Show all posts
Showing posts with label archives. Show all posts

Wednesday, June 6, 2012

An LC Alum Reflects on the Senior Art Images Project

Untitled (Thoughts), Hannah Berry, 2012, oil on canvas, 40”x 60”
The Senior Art Project is a capstone for Lewis & Clark College Art majors and a point of pride and celebration for all members of the graduating class. These bodies of work are saved for posterity and are now easily accessible in Lewis & Clark’s very own, homegrown Senior Studio Art Archive!  In the beginning of every studio art major’s senior year, they are set to the task of composing a body of work that culminates on display at the end-of-year Senior Art Exhibition in the Ronna and Eric Hoffman Gallery of Contemporary Art on campus. Every Senior Art Exhibition has a different flavor because it is the sum total of each artist’s thoughts and ideas and physical work, poured into one project over two semesters. Just as everyone senses and reacts to the world in a different way, so every Senior Art Project is a beautifully unique visual (and sometimes video and audio and tactile) culmination of the art major’s entire Lewis & Clark career.


As a member of the 2012 graduating class, it is a privilege to witness how my peers’ projects have transformed from sketches to experiments to masterfully created final projects. In most ways it is entirely similar to capstone and thesis projects in other departments, differing only in spatial accessibility. The studio artist is an architect and her final work is a physical object that exists apart from her. It may be seen and viewed and felt by any viewer, without the artist as mediator (except in the case of performance art, where this concept is entirely reversed). Ideas take shape in paint and paper and ink and plaster and wood and plastic and linen and thread and metal and so on. It is therefore crucial that senior studio art projects be preserved in a medium that has the capacity for high image quality, large image format and easy accessibility.



In the years from 1993 - 2005, senior art projects were documented and archived in the form of 35mm slides, and from 2005-2008 on CD. The slides document exhibits in the old Peebles Art Building, which was torn down in 1995. Images were virtually inaccessible to those who were not able to physically visit the archive. From 2008 until recently, all senior art images were transferred to and stored on an online image database called MDID. It was an improvement in accessibility and damage control, as it is much easier to safely store a digital file than to do so for a delicate slide, yet the convoluted process of uploading images remained an unfortunate hindrance to the archival system. Now the html laden "middle man" has been eliminated and the legacy of the Art Department can grow with ease through Lewis & Clark’s archive, created by the Visual Resources Collection team at Aubrey R. Watzek Library!

Untitled from “Age Old” series, Will Steinhardt, 2012, ink on paper. 9” x 12”

Available through Lewis & Clark's Visual Resources Center, anyone with an LC username and password can navigate the multitude of senior projects by class year (1993-2012 and ongoing), creator, or medium (ceramics, sculpture, painting, drawing, multimedia, performance). Projects from the most recent graduating classes are accessible to the general public as the archive’s Featured Collections. All images are viewable in a large format that showcases an impressive level of detail, approaching the quality of preeminent art databases such as ArtStor. The Lewis & Clark Senior Art Archive presents a unique space where every studio art major’s culminating body of work is displayed in honest detail, stored for posterity and is easily accessible to anyone within the Lewis & Clark community.

With the graduation of the class of 2012 just recently behind us, it is fantastic timing for the beginning of this excellent archive. It was inspirational to witness the long awaited, hard-earned completion of my friends’ and peers’ projects, and it made me proud to see their finished work on the white and tall walls of the Hoffman Gallery. Now we are fortunate to be able to return to previous years and witness anew the beautiful and varied senior projects, each one a self-portrait in its own way, a fragment of that person at the time they were creating that work. The
Archive is an invaluable asset to the portfolios of graduating artists and it presents a new, enduring, and incredibly significant resource for the community at Lewis & Clark College.

[The Visual Resources team that created this archive was composed of these smart and wonderful people: Stephanie Beene, Natalie Saing and Hanna White, Visual Resources Center Student Assistants, Anneliese Dehner and Jeremy McWilliams of the Digital Initiatives Dept. @ Watzek Library and the folks at the Lewis & Clark Art Department!]


---Penelope Cottrell-Crawford, Visual Resources Intern and Assistant, 2011-2012 (Lewis & Clark College, 2011, walked with the 2012 graduating class)

Thursday, May 31, 2012

Controversial St. Louis Museum of Art decision: Groundbreaking or unethical?


Should American institutions hold onto dubiously acquired artifacts, even when their countries of origin ask for them back? 
Ka Nefer-Nefer mask, St. Louis Art Museum, courtesy of The Atlantic

According to an article written in yesterday's Atlantic, the Ka Nefer-Nefer at the St. Louis Art Museum has now become a controversial centerpiece in the long-standing debate about rightful ownership and provenance of antiquities. As Malcolm Gay, Atlantic correspondent writes: 

"In certain respects, the tale of the Ka-Nefer-Nefer follows a familiar script: like many disputed antiquities, the Egyptian funerary mask was unearthed last century and quickly vanished, spending nearly 50 years in obscurity before resurfacing on the European art market in the late 1990s. The St. Louis Art Museum soon bought the mask -- an elaborately tooled cartonnage of blended gold, glass and linen. It has since become the centerpiece in a bitter ownership dispute between the museum, which claims clear title, and Egypt, which charges the mask was plundered from a government storeroom.

But this story went decidedly off-script last year after U.S. officials, acting on Egypt's behalf, entered the fray. The feds informed museum leaders that they believed the mask was stolen, and they intended to use the courts to seize the artifact and return it to Egypt. But where some museums might have simply handed over the goods, St. Louis went on the attack, filing its own a pre-emptive lawsuit that claimed the statute of limitations had expired -- an aggressive challenge from an institution that has repeatedly defied calls to release its grip on this pricey piece of loot."

The story becomes more complicated when we reach its conclusion: "Now comes U.S. District Judge Henry E. Autrey, who on March 31 handed museum leaders a legal victory, and a moral challenge, when he dismissed the government's forfeiture claim, finding it "devoid of any facts showing that the Mask was 'missing' because it was stolen and then smuggled out of the country." (Underline and bold in the original)."

And thus the ethical controversy. Because, as Gay points out, like so many of antiquities, "Viewed in another light, this is a market whose emphasis on the hard-to-find means that plunder is often whitewashed, making it all but indistinguishable from the legitimate market.... Of course, with their legal victory in hand, museum leaders have little incentive to wrestle with this more delicate question. And that's a shame, because to persevere in this litigious and outmoded view of antiquities collecting throws the St. Louis museum out of step not only with its fellow institutions, many of which have negotiated beneficial settlements for similar claims, but also with the American Association of Museums -- which counts the St. Louis institution as a member, and whose updated acquisition guidelines direct members to scrutinize their ancient art collections when "provenance is incomplete or uncertain."
Given the dueling narratives now in the public realm, the Ka-Nefer-Nefer's provenance has never been more uncertain."

Find the full article here. Read the American Association of Museum's stance on antiquities here and catch what the FBI says about stolen art and antiquities here.

Saturday, May 19, 2012

PNCA 2012 Gala: "Transformation"

Stephanie White: Sit Down!, 2010. Image courtesy of PNCA.

The Pacific Northwest College of Art is hosting its 2012 gala on Saturday, June 2nd. The gala will celebrate student thesis work and the "remarkable transformation that PNCA will undertake in the coming years," while raising "essential funds that directly impact students and community." This year the gala will take place on the PNCA campus at 1241 NW Johnson Street. For more information, click here. To purchase tickets, click here.

Thursday, May 3, 2012

LC Senior Art recognized in the Wall Street Journal

Finishing its 19th straight year (15 of which have been held at the Ronna and Eric Hoffman Gallery), the Lewis & Clark Senior Art Majors have just wrapped up another stellar exhibition. 


The promotional postcard for this year's Senior Art Show




This year was especially significant, in the Senior Art Show's recognition among the Portland Art Scene in this article in the Wall Street Journal, published today.

Note the image of 2009 Lewis & Clark Studio Art seniors (Zoe Clark, Caitlin Ducey, and Kyle Thompson), pictured below, along with this excerpt:
"...Lewis & Clark College (where 12128's owner, Kyle Thompson, teaches chemistry, and where the strongest undergraduate exhibition I've seen in a long time was being held)..." (see image below). Placing the Senior Artists among the rising Art Scene in Portland leaves all of us toiling hard at this tiny liberal arts college feeling, well, *recognized*! 



Care to see what the students pictured here have produced this year and in years' past? Check out their work in the BRAND NEW Senior Art Collection & Archive Online! The Collection allows you to contact seniors directly, if they have provided their email addresses, and if not, get in touch with me and we can get in touch with them. Browse by tagcloud, year and name of artist, recent images, or do a search.


The Dept. of Art, the Hoffman Gallery, and the Senior Art Majors at Lewis & Clark are truly world class, and I, for one, am proud to work with all three. Huzzah! Visit the Ronna and Eric Hoffman Gallery's page to view some of the highlights of this year's show.


--Stephanie Beene, Lewis & Clark, Visual Resources Coordinator, Watzek Library


From left, LC 2009 Alums, Zoƫ Clark, Caitlin Ducey and Kyle Thompson outside 12128, a decommissioned crabber, profiled in today's Wall Street Journal.


Saturday, March 3, 2012

New York Times' online photo morgue

Dummies. Image courtesy of the New York Times.

The NY Times has started an online "photo morgue," archiving images (front and back!) from their very own picture agency Wide World Photos. Several images from this treasure trove will be published every week, some with contextualizing stories and others that will be available to purchase. As to how many images were archived, the "morgue" had this to say:

"Our best guess is five million to six million prints and contact sheets (each sheet, of course, representing many discrete images) and 300,000 sacks of negatives, ranging in format size from 35 millimeter to 5 by 7 inches — at least 10 million frames in all. The picture archive also includes 13,500 DVDs, each storing about 4.7 gigabytes worth of imagery. When the Museum of Modern Art set out to exhibit the highlights of the Times archive in 1996, it dispatched four curators. They spent nine months poring over 3,000 subjects, working with two Times editors, one of whom spent a year on the project. In the end, they estimated that they’d seen only one-quarter of the total."

 Sorting news pictures. Image courtesy of the New York Times.

For more photos, check out "The Lively Morgue" here. For more information about their mission, click here.

Wednesday, November 9, 2011

Feminism, Mapping, and Downtown Eastside Vancouver, BC: a new exhibit brings it all together

nov8_audain.jpg
Audain Gallery
Simon Fraser University

Mapping the Everyday:
Neighborhood Claims for the Future

November 17, 2011–February 25, 2012 
Opening:Wednesday, November 16, 7:00 pm
Audain Gallery SFU Woodward's
Goldcorp Centre for the Arts
149 West Hastings Street
Vancouver BC
info@audaingallery.ca
Hours:
Tuesday–Saturday, 12:00–6:00 pm


www.audaingallery.ca
Share this: Facebook | Twitter
This process-oriented exhibition is a collaborative project between the Downtown Eastside Women's Centre (DEWC), visiting artist Elke Krasny, the art collective desmedia, playwright and performer Marie Clements, the collective Coupe, students from the School for the Contemporary Arts at Simon Fraser University, and the Audain Gallery.


The DEWC is a self-initiated and self-organized space. Emerging out of what is now known as second wave feminism, women in the neighbourhood founded the centre in 1978. In many ways, it is an example of bottom-up feminist urbanism. In its day-to-day operation, the centre primarily represents Indigenous and older Chinese women, as well as other women of the Downtown Eastside community. What the women of the centre have claimed—and are still claiming—addresses and embodies all of the larger social, political, and economic transformations that have challenged the Downtown Eastside of Vancouver. These claims in fact constitute a vivid and vital historical mapping of the neighborhood. Cecily Nicholson, a coordinator of the centre, significantly enabled the involvement of the DEWC in this collaboration.


Elke Krasny is a project-based artist and curator concerned with counter-hegemonic and feminist strategies of intervening in historical narratives, and with creating new constellations in the exchange of different forms of knowledge. The collaboration between the DEWC, Krasny, and the Audain Gallery centers on a research-based mapping that draws from the archival materials from the DEWC. Presented as a text-based "horizon line" spanning the walls of the gallery, the exhibition offers a visual map of the demands and aspirations of the DEWC community. These demands, both current and historical, address issues of poverty, violence and insecurity, social exclusion, the deferral of rights, and the legacy of colonialism. Although describing specific challenges, these claims are also expressions of conviviality and solidarity. These expressions exist between women, between women and their neighbourhoods, and between the women of the centre and their global context.


Beginning their practice in the early 2000s, desmedia provided access to the tools and training necessary for members of the Downtown Eastside community of Vancouver to self-produce their own media representations. As part of this practice, desmedia collected a large archive of interviews on digital video and other kinds of artwork. On the occasion of this exhibition, Krasny and the Audain Gallery have invited members of desmedia to reassemble their archive and to publicly debate its future.


Playwright and performer Marie Clements has a history of collaboration with the DEWC. Based on a series of workshops with the women of the DEWC, she will produce a new performance work for the exhibition that explores the potential of fiction to express critical truth. Like Krasny, Clements explores writing as both a collective process and a process of collectivization formed by way of an expressive multitude of subjectivities.


By initiating this collaboration, Sabine Bitter, the curator of the Audain Gallery, is expanding and changing the institutional parameters of the position, function, and mode of operation of a contemporary art gallery. This important, necessary form of "self-challenging of the institution" (and perhaps also "institutional self-challenging") reacts to a setting defined by rapid urbanization, gentrification, and the all-inclusive yet reductive scope of neo-liberal economics, a setting in which the Audain Gallery is ultimately situated.


During the exhibition, the gallery will function as a platform and meeting ground for the production and exchange of different forms of knowledge. The "horizon line" will be a framing device and backdrop for a series of events, performances, and projects that aim to build neighbourhood constellations that go beyond familiar exchanges. They also provide opportunities for direct community participation and the fostering of critical dialogue, while also challenging the conventional expectation of what constitutes a gallery exhibition. As part of the events, women from the DEWC will teach a series of hands-on workshops, including instruction on cedar weaving and the sewing of button-blankets, to share their knowledge of traditional artistic practices.


For a full schedule of the events, performances, and projects, please go to www.audaingallery.ca.


Working closely with the women of the DEWC, Elke Krasny, and our other collaborators, Mapping the Everyday examines the possibilities for and consequences of community-based political activity as articulated in relationship with contemporary artistic and institutional practices.


Mapping the Everyday: Neighbourhood Claims for the Future is realised in partnership with the Downtown Eastside Women's Centre with support from the City of Vancouver's 125th Anniversary Grants Program; the Austrian Federal Ministry for Education, Arts, and Culture; the Vancity Office of Community Engagement as part of Simon Fraser University Woodward's Cultural Unit; and the English Department of Simon Fraser University.


About the Audain Gallery
The Audain Gallery serves as a vital aspect of the Visual Arts program at Simon Fraser University's School for the Contemporary Arts. The gallery's mission is to advance the aesthetic and discursive production and presentation of contemporary visual art through a responsive program of exhibitions and to support engaged pedagogy. The gallery encourages conceptual and experimental projects that explore the dialogue between the social and the cultural in contemporary artistic practices.


The Audain Gallery is curated by Sabine Bitter, working with gallery assistant Brady Cranfield.

Friday, October 28, 2011

Wikimedia Teams Up with the Smithsonian to Host Photos



A life class for adults at the Brooklyn Museum, under the auspice of the New York City WPA Art ProjectCourtesy Archives of American Art, Wilkimedia


Earlier this month, the Wikimedia Foundation (the umbrella organization for both of these wiki projects, as well as several others) began a landmark collaboration with the Smithsonian Institution when the Archives of American Art donated a trove of 285 WPA-era photographs to the Commons database.

 http://bit.ly/tslygU

Source: http://blogs.smithsonianmag.com/aroundthemall/2011/10/archives-of-american-art-releases-photo-collection-to-wikimedia-commons/

Wednesday, October 12, 2011

Redesigned Europeana launched today!



Take a look at the redesigned Europeana: it's new, it's exciting, it's fun!
Redesigned Europeana
See what Europeana items your friends like or share on Facebook, check out our latest blog posts, and discover some of the most interesting content on the new Europeana portal.

Based on users' feedback we've been receiving since our launch in November 2008, Europeana underwent a significant makeover. The redesigned Europeana that went live today is now more visual and easier to use. You can quickly navigate through our diverse collections, learn more with our featured and curated content, and interact with others through various channels.

"The portal redesign is part of a long process, in which we have tried to incorporate the most important points, that were consistently made by our users, into our design principles for Europeana", said Harry Verwayen, Europeana's Business Development Director.

Here are some of the new things you can do on Europeana:

  • You can easily find our latest virtual exhibitions, content highlights and Europeana initiatives on theimage carousel, the "Featured item" section or in the top navigation link "Explore".
  • You can translate information about an item into your language with the translate function.
  • You can copy your favourite item to your site with the embed function.
  • You can quickly find ways to interact with other users through our blog, Facebook page, or Europeana Remix.


Visit Europeana and experience for youself!

Tuesday, October 11, 2011

The Frick's new online image archive




The Frick Art Reference Library is pleased to announce that images for 15,000 works of art and research documentation for 125,000 works of art cataloged in the library’s photoarchive are now available online (http://www.frick.org/assets/PDFs/Press_2011/photoarchive.pdf).

The 15,000 images can be accessed in the new Frick Digital Image Archive (http://images.frick.org). They record works of art photographed between 1922 and 1967 by staff photographers in private homes and small public collections throughout the United States and in New York City galleries and auction houses. The negatives from these photography expeditions were digitized and made available online through generous funding from the National Endowment for the Humanities and the Henry Luce Foundation. The NEH designated the project as part of its “We the People” initiative to encourage and strengthen the teaching, study, and understanding of American history and culture.

Tuesday, September 27, 2011

Digital Dead Sea Scrolls now online!

The image viewer available on the new Digital Dead Sea Scrolls Project online. This is The Great Isaiah Scroll




A new project, the Digital Dead Sea Scrolls, is making the Dead Sea Scrolls, so ancient and fragile that direct light cannot shine on them, available to search and read online in a project launched by the Israel Museum and Google Inc. (GOOG)
“Google’s mission is to organize the world’s information and make it accessible and useful,” said Yossi Matias, managing director of Google’s R&D Center in Israel. 


Read more about the project, view the Scrolls in detail, and watch video interviews from project curators and preservationists here.

Monday, April 18, 2011

Multimedia from the Art Institute of Chicago!


Have you checked this out? The Art Institute of Chicago has been adding more and more to their Multimedia site, which includes 227 podcasts of lectures, interviews, and readings from prominent artists and art historians, 94 videos of art installations and interviews of famous artists (check out a new addition with Chuck Close!), and multiple ways to search for content (tags, facets, keywords, etc.)


For the enthusiast, the student, the researcher, or the erudite scholar - this valuable resource contains audio and video files related to the Art Institute and its collections, which can be played from your browser window. The recordings cover a wide variety of topics including art installations, current events, ancient history, scientific examinations, and artists' techniques, among others. There are also interpretive resources directly related to those videos and audio files.  


You can search all of their online resources by using the Interpretive Resources Advanced Search, or find more specialized groups of these resources via the Multimedia and Educator Resource Finder advanced searches. 


You can save resources to My Collections, a feature that allows you to create online collections of resources and/or artworks, annotate them, and email them to friends, family, or colleagues. If you've already set up a My Collections account, you can add resources to any existing collection or start a new one; if you haven't yet registered, get started today.


They are adding new resources to the website every week, so check back frequently!

Wednesday, April 6, 2011

The Historian's Eye: Professor's Photo Project invites you to capture this moment



Yale Professor of American Studies, African Studies, and History Matthew Frye Jacobsen has created a contemporary archive and history of photographs, interviews, and videos, open to all for commenting and sharing. Initially a project for the classroom to discuss the historic moment of the United States' first black president, it has since expanded to include documentation of and reaction to the recession, the foreclosure crisis, censorship at the Smithsonian, Wall Street Reform, and healthcare reform. Still encouraged for use as a pedagogical tool, it has grown perhaps more widely as a tool for sharing and relecting on the current moment of "now" -- expanding to well over 1000 photographs and a growing audio archive. Jacobsen writes of the Historian's Eye:

"Adopting its title from a passage in Obama’s inaugural address, the project seeks to trace the fate of 'our better history,' as the nation faces unprecedented challenges with a president at the helm who is fully inspirational to some, palpably unnerving to others.  In addition to catching this moment... the project seeks to encourage a new relationship to history itself—a mental habit of apprehending the past in the present and history-in-the-making... Historian’s Eye asks you to slow down; to look and to listen; to pay close attention and to notice; to entertain a variety of perspectives; to ask varied questions; to think about the current moment as possessing a deep history, and also to think of it as itself historical—futurity’s history.  Above all, Historian’s Eye asks you to pitch in and to talk back."

Read more about the project here.

Thursday, January 20, 2011

Events Tonight!




rmillerRobert Miller
Untitled from Leaving Home series
2008
Chromira print
24 x 30 inches




animaltheory
Cara Tomlinson
Animal Theory

2010
Oil on linen
60 x 72 inches






Don't forget, tonight is the Opening reception at the Ronna and Eric Hoffman Gallery of Contemporary Art  for Robert Miller and Cara Tomlinson faculty show: Thursday, January 20, from 5:00 to 7:00 pm. on Lewis & Clark campus!


Also TONIGHT:
2010-2011 Graduate Visiting Artist Lecture Series

Presented by ZGF Architects LLP

Supported by PNCA+FIVE (Ford Institute for Visual Education)
 
 

Alejandro Cesarco, Everness (detail), 
2008, 16mm film transferred to video, b/w with sound, 12 min. Image courtesy the artist. 

Alejandro Cesarco 

Uruguay-born Alejandro Cesarco gives an MFA Visual Studies lecture on January 20 at 6:30 pm in the Swigert Commons. Cesarco's work utilizes the processes and strategies of conceptual art in a self-conscious exploration of narrative, influence, translation and reception.  Read more here.

Detail

s




PNCA Main Campus
Swigert Commons
1241 NW Johnson St.
Portland, OR, 97209   [map]
503-226-4391
Free and open to the public.  


Print Portfolio

Hoffman Gallery
OCAC Print Portfolio 20th Anniversary Exhibition
January 20-February 23, 2011
Opening reception on Thursday, January 20 from 4:00-7:00pm

OCAC celebrates the twentieth anniversary of its Print Portfolio with a special premiere of the 2010 OCAC Print Portfolio and the previous nineteen years of portfolios. Exhibited as a group for the first time, the show includes 28 new prints by OCAC students, faculty, staff, alumni and artists-in-residence, and over three hundred prints from the College's archives. Images: OCAC student artwork

Thursday, December 16, 2010

Charles Phoenix, American Kitsch Historian, on Conan O'Brien TONIGHT!


Hawaiian Punch Christmas, Somewhere, USA, 1961. Image courtesy CharlesPhoenix.com

Charles Phoenix, author of books such as Americana the Beautiful: Mid-Century Culture in Kodachrome, considers himself a historian, though not in the classical sense. He traces his interest in kitsch to when he was a kid and his dad was a used-car dealer in Ontario, Calif. Champion of the Kodachrome Slide and retro-slide show comedian extraordinaire, he will demonstrate how to make an "Astro-Wienie Christmas Tree" on Conan O'Brien tonight! Catch this interview on NPR's All Things Considered, or catch the full line-up of tv-radio-print appearances he's made over the years! Don't miss him on Conen O'Brien tonight!



Poolside, Encino, CA - 1963. Part of the Charles Phoenix Archive. Prints available from Michael Dawson Gallery. Image courtesy CharlesPhoenix.com
The Wall Street Journal published “The Art World Goes Local”, an article by Kelly Crow, mentioned the Michael Dawson Gallery in Los Angeles, dealer of prints from the Charles Phoenix ArchiveView the Charles Phoenix Archive prints and more at the Michael Dawson Gallery & Bookshop.