Registration Required - $129. More information.

Organized by AIC Electronic Media Group, this workshop is a full-day course introducing the topics of videotape, audio recording, and optical media conservation. As an introductory course, participants will learn about the history, technology, and deterioration of a variety of media formats. In addition, participants will handle example formats and will learn the basics of proper care of these materials. Current media reformatting practice will also be discussed. Participants will be provided with a full lecture outline and multiple handouts. This will be a highly useful course for conservators working with media archives of any size, for conservators with A/V and time-based media art collections, and for students in conservation programs.

Instructors: Christine Frohnert, Cranmer Art Conservation; Hannah Frost, Stanford University Libraries; Sarah Stauderman, Smithsonian Institution Archives.

For more information contact Gwynne Ryan, Museum of Fine Arts, Boston

Business meeting minutes.

Location: EMG Morning Sessions Lecture Room

Introductory Remarks
Gwynne Ryan, Objects Conservator - Museum of Fine Arts, Boston

Obsolete and Beyond the Pale: the Politics of Restoring Underground
Film
Leah Churner, Moving Image Archiving and Preservation Program, New
York University/Media Art Collection Manager, Electronic Arts Intermix

Characterizing Optical Disc Longevity
Christopher S. Coughlin, Research Chemist - Library of Congress

Forging the Future using Web 2.0 Cataloging Techniques
Michael Katchen, Senior Archivist - Franklin Furnace Archive, Inc

Sustaining Digital System Environments by Virtualization:
Considerations on the Preservation of Computer and Internet-based Artworks
Tabea Lurk, M.A., BUA - Bern University of the Arts, AktiveArchive

Question and Answer Session for Morning Panelists

Introductory Remarks
Gwynne Ryan, Objects Conservator - Museum of Fine Arts, Boston

Archival Video Files: When is Compression Acceptable?
Angelo Sacerdote, Preservation Program Manager, Bay Area Video Coalition (BAVC)

From Singularity to Multiplicity: An Ethnographic Research into Versions, Variations, and Editions in Museum Practices
Vivian van Saaze, PhD Candidate, Maastricht University/Netherlands Institute for Cultural Heritage

The Conservation of Time-Based Art: Practical Applications in a Museum Setting
Jeff Martin, Conservation Research Fellow, The Hirshhorn Museum and Sculpture Garden

Time-Based Media Conservation Program at MoMA
Glenn Wharton, Time-Based Media Conservator - Museum of Modern Art

Developing a Digital Collections Conservation Repository at MoMA
Barbra Mack, Portfolio Manager, Information Technology Services - New York University

Preservation of Interactive Installations from the Late 1960s - At the Instance of the Artist/Engineer Collaboration E.A.T. (Experiments in Art and Technology)
Christine Frohnert, Conservator for Contemporary Art, Modern Materials and Media - Cranmer Art Conservation

Development and Execution of the European Project “Inside Installations: Preservation and Presentation of Installation Art”
Vivian van Saaze, PhD candidate - Maastricht University / Netherlands Institute for Cultural Heritage (ICN)
[presenting on behalf of Tatja Scholte, Scientist /Program Manager - Netherlands Institute for Cultural Heritage (ICN), Conservation Research Department]

Fabrizio Plessi’s “Liquid Time II” at ZKM Center for Art and Media: Preservation and Presentation of a Large-Scale Kinetic Video Sculpture (Part I)
Thomas Zirlewagen, Master Conservation - Zurich, Switzerland

Fabrizio Plessi’s “Liquid Time II” at ZKM Center for Art and Media: Preservation and Presentation of a Large-Scale Kinetic Video Sculpture (Part II)
Fenna Yola Tykwer, Master Conservation - ZKM Center for Art and Media Karlsruhe, Germany

To Emulate or Not: Case Study “Revolution, a Monument for the Television Revolution” by Jeffrey Shaw, 1990
Gaby Wijers, Collectie - Nederlands Instituut voor Mediakunst, Montevideo/Time Based Arts, Amsterdam