Uncovering Hidden Audiovisual Media Documenting Postmodern Art
A project funded by the Council on Library and Information Resources “Hidden Collections” grant program
About the Project
The Archives of American Art was awarded $222,700 from the Council on Library and Information Resources “Hidden Collections” grant program for “Uncovering Hidden Audiovisual Media Documenting Postmodern Art.” For this three-year project, beginning in January 2012, staff will process twelve archival collections that are rich in audiovisual material and produce web-accessible EAD (Encoded Archival Description) finding aids. Funds will support an audiovisual archivist, graduate interns and a symposium.
The media in these collections document a period of contemporary American art when ephemeral and dynamic new visual art forms were emerging in studios, art communities, galleries, and art spaces across the country. The collections contain films, video and sound recordings created as a record of art, artists, exhibitions, and events; and those that are works of art in and of themselves–sound art, video art, outtakes, or elements of multimedia productions. In some instances, performance, documentation, and video art are intertwined in one recording. In many instances, this archival documentation may be the only remaining evidence of the artwork.
The Jan Butterfield papers contain nearly 200 audio interviews and lectures by such seminal 20th century artists as Robert Irwin, Chris Burden, Bruce Nauman, Sam Francis, Philip Guston, David Hockney, and Judy Chicago, as well as performance and video art from the late 1980s and early 1990s. The Paul Ryan papers contain rare documentation of the 1969 exhibition “TV as a Creative Medium” at the Howard Wise Gallery, the first exhibition in the United States devoted to video art with notable participants Nam June Paik, Charlotte Moorman, Frank Gillette and Ira Schneider.
Among the papers of Eleanor Dickenson are video interviews with artists, models, art historians, and art critics. The records of the Finch College Museum of Art include a video of artist Lynda Benglis installing her works, and interviews of artists Mel Bochner and Hans Richter, and art dealers Leo Castelli and Betty Parsons, among others. As primary sources, these collections offer unique opportunities for discovery and revelation. They enrich our understanding of art world events and the lives of key participants providing firsthand accounts of seminal moments in American art history. They help us to see aspects of contemporary art in new and different ways.
These audiovisual materials represent truly rare archival resources that uniquely document the recent history of contemporary art in America, but few details of this rich content are reflected in the accession-level records currently available to Archives users. Lack of adequate and consistent description of archival media is a chronic problem for mixed-media manuscript collections due to gaps in current archival standards and best practices. Another goal of the project therefore is to develop benchmarks and guidelines for an archival approach to processing and describing archival collections with audiovisual content.
Watch this web page for announcements and progress reports, and for technical documentation, such as guidelines, procedures and tools created during the project. A symposium is planned for Year 3 and opportunities are available for graduate archival media studies interns to assist with the project.
For further information about this project, contact:
Collections prioritized for archival processing
- Paul Ryan papers, 1943-2008 (mixed media; 25.5 linear feet)
- Robert Wiegand papers and video art, 1953-1994 (mixed media; 7.5 linear feet)
- Fletcher Benton papers, 1965-2003 (mixed media; 6.8 linear feet)
- Gene Davis papers, 1925-1992 (mixed media; 20.3 linear feet)
- Eleanor Dickinson papers, 1951-2003 (mixed media; 22.5 linear feet)
- Esta Nesbitt papers, 1942-1979 (mixed media; 7 linear feet)
- Jan Butterfield papers, 1959-1999 (mixed media; 15.3 linear feet)
- Burt Chernow papers, circa 1930-1977 (mixed media; 21.3 linear feet)
- Fidel Danieli papers, circa 1940s-1996 (mixed media; 5.6 linear feet)
- KPFK "Art Scene" interviews by Marion Gore, 1962-1964 (sound tape reels; 1.4 linear feet)
- State of the Arts videotape collection, Lawrence P. Fraiberg Productions,
1970-1980 (video cassettes; 2 linear feet)
- Exhibition Records of the Contemporary Wing of the Finch College Museum of Art, 1964-1975 (mixed media; 19.2 linear feet)