Subject: CX4 - Context & Culture 4

Course: Diploma of Visual Art (21885VIC)

 

Unit of Competency: VPAU014 - Manage creative and professional self
School of IT & Creative Industries, Faculty of Workforce Development, Victoria University

Teacher Name: Lisa Cianci | email: lisa.cianci@vu.edu.au
Course Coordinator & Education Manager: Alan Morgans | email: alan.morgans@vu.edu.au

Class Website - http://lisacianci.vucreativeindustries.com/2012/CX4

 

Class 13 - Managing creative content - Inventory


Class Discussion

Artists and the Archive.

Discuss excerpts handed out last week:

Ilya Kabokov, "The Man Who Never Threw Anything Away" & "16 Ropes".

Are there elements from these texts that you can relate to? can your think of other artists that use the archive in interesting ways?

 

Future-proofing for Artists

Class Activity

Inventory Description / Cataloguing-

Document your artworks and support content for the semester in the manner of an art catalogue. Some of this content can then be used by students participating in the end of year exhibition. It will be a useful exercise for exhibition, funding/exhibition applications and as part of the archival documentation of your work. List the following information with a minimum of 1 image per piece:

  • Title of the work,
  • Medium/Media,
  • Size/Dimensions,
  • $Price (if applicable),
  • Installation instructions (if applicable - for complex works / if not described in the Series Description).

The Inventory will include finished works, but may also include preparatory works, documentations, plans, instructions and other support materials.

 

Document Formats and Layout

You can save your work as Word docs or OpenOffice files - whatever format will allow you to keep working on the assessment task.

See this sample Word Doc for an example of using image and text together:

InventorySample.docx

Often a Word doc or similar is sufficient when putting together a text/image-based document, but the problem with Word is that when someone opens your document on their computer, the pagination may change, they may not have the font you used, and other formatting or layout elements may differ.

The most common way around this is to convert your doc file to a PDF (Portable Document Format) file. PDF is the current standard for documents, and although it has it's own deficiencies, it will ensure that your document is not editable, and has the layout/style that you intended as it saves the formatting is a way that is cross platform and generally always looks the same.

If you don't have Adobe Acrobat to convert your docs to PDF, there are many free PDF converters online - including a service on the Adobe website. They generally work by allowing you to submit a Word or Open Office doc (and some other types of document), and then they ask for your email address and email you the converted PDF file, or email you a link to download the PDF file.

I have generally found these to be pretty good at conversion. Occasionally you may have problems with image quality, but trial and error is recommended.

Some Online PDF converters:

http://www.freepdfconvert.com/

http://www.pdfonline.com/

http://online.smartpdfcreator.com/

http://www.zamzar.com/

 

Other Stuff

I will continue working my way around the class to make sure everyone is getting all the assesment tasks complete, and can complete by the end of the last class on November 15. The tasks to be completed are the Blog (and all it's deliverables), and the document you will produce for Managing Creative Content.

 

Homework / Readings /Other

If you're interested, the Experimenta "Speak to me" media art bienale is finishing this Saturday - http://www.experimenta.org/

Keep adding content to you blog - next week is the last class so you need the following:

  • minimum 30 posts;
  • one Art Forum review;
  • review of Pat Brassington exhibition at ACCA;
  • review of another exhibition of your choice.

Work on the third assessment task - managing your creative content - you should have your Artist Statement, Collection Description and Series Descriptions complete by next week's class, and a large portion of your inventory complete so that you are just finishing things off next week.

 

 

References

 

As this is my special area of interest, you might like to peruse my online exegesis titled, "The Blackaeonium Project: Workspace/Keeping-Place - An Archival Continuum of Creative Practice": http://exegesis.blackaeonium.net

 

for some more direct links...

 

websites

http://www.gerhard-richter.com/

Rhizome.org Artbase

Variable Media Network / Forging the Future

DOCAM Research Alliance

Digital Lives Research Project

Archive2020

Artnodes #10

Dublin Core Metadata Standard

Archival description - ISAD(G)

Archives/Records Continuum

 

texts

Dekker, Annet (ed) 2010, Archive2020: Sustainable Archiving of Born–Digital Cultural Content, Virtueel Platform, May 2010

Derrida, Jacques 1996, Archive Fever: A Freudian Impression, University of Chicago Press, USA

Dietz, Steve 2005, “Collecting New Media Art: Just Like Anything Else, Only Different”, in Bruce Altshuler, ed. Collecting the New, Princeton University Press: Princeton and Oxford

Eden, Xandra (curator) et al 2008, The Lining of Forgetting: Internal and External Memory in Art, Weatherspoon Art Museum, The University of North Carolina at Greensboro

Enwezor, Okwui 2008, Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography, New York, USA and Steidl Publishers, Göttingen, Germany

Fino-Radin, Ben 2011, Digital Preservation Practices and the Rhizome Artbase, Rhizome at the New Museum, Rh

Harding, Anna (ed) 2002, Potential: Ongoing Archive, p.51, published by Artimo, Anna Harding & the John Hansard Gallery, UKizome.org viewed 12/01/2012, <http://media.rhizome.org/blog/8332/rhizome-digital-preservation-practices.pdf>

Manoff, Marlene 2004, Theories of the Archive from Across the Disciplines”, Project Muse portal: Libraries and the Academy, Vol. 4, No. 1 (2004), pp. 9–25. The Johns Hopkins University Press, Baltimore

MCA 2012, MCA Contemporary Art Archive, Museum of Contemporary Art, viewed 03/01/2012, <http://www.mca.com.au/artists-and-works/mca-collection/about-mca-collection/contemporary-art-archive/>

Merewether, C. (ed) 2006, The Archive: Documents of Contemporary Art, Whitechapel Gallery, London, UK and The MIT Press, Cambridge, Massachusetts, USA

Morris, Frances 1998, “Art Now: Sophie Calle”, Tate Online, Tate Britain, viewed 10/10/2010, <http://www.tate.org.uk/britain/exhibitions/artnow/sophiecalle/default.shtm>

Pederson, Ann 2001, “Basic concepts and principles of archives and records management”, Understanding Society Through its Records, John Curtain University, viewed 12/03/2007, <http://john.curtin.edu.au/society/archives/management.html>

SAA (Society of American Archivists), 2004, Glossary of Archival and Records Terminology, Society of American Archivists, last viewed 17/9/2004, <http://www.archivists.org/glossary>

Spieker, Sven. (2008). The Big Archive: art from bureaucracy, Cambridge, Massachusetts, USA, The MIT Press (Copyright, Massachusetts Institute of Technology)

Warnke, Martin & Wedemeyer, Carmen 2010, “Documenting Artistic Networks: Anna Oppermann’s Ensembles Are Complex Networks!”, Leonardo, Vol. 44, No. 3, pp. 258–259, 2011