Art Archives Research Articles

Konstnären säger hon är konstnär. Om monologdialogen i Tracey Roses performance The Cunt Show

This article focuses on the South African artist Tracey Rose’s performance The Cunt Show (2007). The c-word in the title makes me feel linguistically embarrassed (Reily 2005), but cannot be avoided as it opens up a both material and immaterial feminist art archive central to the discussion. The Cunt Show was presented during the inaugural weekend of the Elizabeth A. Sackler Center For Feminist Art at the Brooklyn Museum, New York in March 2007. The inauguration included the parallel opening of two exhibitions. One of these was the temporary, contemporary, transnational all women show Global Feminisms. The other was the permanent display of Judy Chicago’s monumental installation The Dinner Party from 1979. As an invited artist of Global Feminisms Tracey Rose had been asked to present her art. However, instead of doing this she performed The Cunt Show and by way of what I call a monologuedialogue, she critically addressed Global Feminisms and The Dinner Party. She delivered a critique of North American art feminism and its invitation politics. This article aims to investigate this critique. What is being criticized? How is it criticized? What do the words do? How does colour come into play? My investigation ends with Tracey Rose’s solo exhibition Waiting for God at Bildmuseet in Umeå, Sweden 2011. In this exhibition, The Cunt Show led me to Rose’s video work Ciao Bella (2001) and to the invitation politics that this work presents.

Two Poems

40 WLT NOVEMBER / DECEMBER 2015 Two Poems by Hedy Habra How Much of Yourself Remains Within the Walls of a Home? after Jeremy Miranda’s Salt Marsh (2014) I wanted to dive into the troubled waters of forgotten memories, haunt the house of early emotions but found it empty. I wanted to find the lingering scent of jasmine where jasmine never grew, even if it wasn’t spring. Unspoken words fall heavily on the kitchen tiles: a cascade of rough-edged syllables flood the floor. My chair is glued to the table, I’m trapped within clouds preventing me from seeing how the marsh grows wider, how walls collapse, spikes and bluish-green leaves crested with plumes line the edge of the water where glasswort blushes against sea lavender. I’d run my fingers over the red round stems, crush the purple petals under my teeth to release its essential oils. I can still see the russet tree’s wavering reflections, its roots, that seemed to come down from the sky. Your body awakens each night under my fingertips, shortening the distance between my lips and your skin, until your body remembers, until the sky sinks into water, mist so thick, a hummingbird floats in minute droplets in suspension. I feel the current of the first kiss in my curls, our knees shaking. Jeremy Miranda, Salt Marsh, 2014, acrylic on panel. Courtesy of the artist. cover feature art poetry WORLDLITERATURETODAY.ORG 41© 2015 artists rights society ( ARS ), new york / vegap , madrid photo credit : gianni dagli orti / the art archive at art resource , ny left Remedios Varo, Creation of the Birds (La creación de las aves), 1957, oil on masonite, © by the artist, dacs/vegap. For a biographical sketch of Remedios Varo, turn to page 39. Hedy Habra (HedyHabra.com) is the author of two poetry collections, Tea in Heliopolis (2013), winner of the USA Best Book Award and finalist for the International Poetry Book Award, and Under Brushstrokes (2015), inspired by visual art. Recipient of the Nazim Hikmet Poetry Award, she is also the author of a story collection, Flying Carpets (2013), winner of the Arab American National Book Award’s Honorable Mention. Jeremy Miranda is a contemporary artist, born in Newport, Rhode Island. He creates complex environments that are a hybridization of both interior and exterior spaces. He is interested in the landscape and how people control, fetishize, and dwell within it. A Bird’s Song, Unraveled after Remedios Varo’s Creation of the Birds (1957) All artists are night owls, she thinks, as circles grow wider around her eyes. Eyelids lowered, her brush, an extension of her violin-shaped heart, adds the last touches of blush to the feathers’ tips. She tries to remember the right words thrown pell-mell in the folds of memory . . . memory adds layers to meaning . . . wants to retrieve numbers and signs from slumber, relive the initial moment, imagines how wingless molecules rub against each other in the copper alembic. All it takes is a double binding broken loose to find the right combination: Only verbs are allowed. Aren’t they the heart of a sentence? What of a wordless message as those from the heart strung from the right chord? She holds iridium glasses to gather light from stardust . . . hoopoes, hummingbirds, kingfishers, finches, sparrows, swallows, warblers, orioles . . . she has lost track of how many species flew in search of an answer, each bird carrying its own song, from all corners of the earth. Her wings aren’t strong enough to cross the seven valleys. She needs to send an emissary to partake in the colloquy of birds. Barefoot, she steps over shades of silver dust strewn by shooting stars, conjures up their broken light night after night. The original formula . . . lost since time immemorial . . . led to confusing myths such as people drowning in their own reflection or making love to their own creation. She knows the secret of the bird’s song, its loops and roundness, but chooses silence, lets its wings flutter through the open window. She will try again. ...

Intangible Memories: Creating the New York University (NYU) Tisch Asia School of the Arts Archive. Possible Models for Future Research and Collaboration between Film Schools

Tisch Asia, based in Singapore is a graduate film program with the same curriculum as NYU Film School in New York City. Founded in 2007 it includes programs in Film, Animation, Dramatic Writing and International Media Producing and its students’ films have achieved success at major film festivals including Sundance, the Academy Awards, Toronto, Cannes and others. Although the program had archived some student works from its inception, closure of the school after seven years’ existence provided the impetus to archive student films in a more comprehensive way in order to preserve the intangible memory of the film school. Selected student films are being archived from the Tisch Asia Graduate Film Program, reflecting the best practices of preservation, promotion and education, and in order to record the unique nature of the program where students from all over the world shot their films throughout Asia and beyond. In formulating the best system for this Archive, questions arose as to how other film schools handle issues of copyright, financing, preservation and curation of student works and their ultimate use and purpose, as well as ways in which collaboration could lead to better Archive management and deployment for all interested film schools. More research into current practices by film schools could inspire more schools to start Archives and to benefit from shared experience. Better education in film schools about how works should be archived will help filmmakers preserve their own work ; currently there is little attention paid to this subject with subsequent loss of some potentially important works. As rich sources of content for many reasons, including as documentation of a particular time and place, promotion of student and film school and creation of content which may be repurposed at some later time, archives of students’ films present challenges and inspiration to future students, scholars and media professionals.

Disrupters, This is Disrupter X: Mashing up the archive

Abstract This article reflects on the conceptual and aesthetic practices engaged in the development of a performance work by Thenjiwe Niki Nkosi and Pamela Phatsimo Sunstrum titled DISRUPTERS, THIS IS DISRUPTER X. Nkosi/Sunstrum liberally describe this multimedia performance work as an ‘anti-opera’. In 2014, the Iwalewahaus African Art Archive at the University of Bayreuth invited Nkosi and Sunstrum to make further developments to an anti-opera they had been conceiving since 2013. The invitation formed part of ‘Mashup The Archive’, an artist residency encouraging contemporary artists from Africa to engage with the Iwalewahaus Archive. The resulting performance was presented at the Schokofabrik, Bayreuth and was a tour through a ‘maquette’ of the anti-opera. It was a ‘living maquette’ in which audiences (termed ‘Safarists’) travelled through stations illustrating sketches of scenes, histories of characters, and other fragments of narrative exposition. The artists illustrated these stations using both ‘relics’ from the Iwalewahaus Archive, and newly generated digital and analogue content. Using a common tactic found in electronic music known as ‘sampling’, Nkosi/Sunstrum recontextualized and reinvented these artefacts to form part of the anti-opera narrative. The world of the anti-opera was created by video projections, sound streamed live to Bayreuth from Johannesburg, handmade replicas of archival objects, original music created from archival instruments, live performers and a professional opera singer. South African literary theorists Delphi Carstens and Mer Roberts suggest that the sci-fi genre ‘offers a potential vehicle for expressing the African oral mythical mode and a (re)writing of the continent’s marginalized oral histories in the mythopoeic mode’.1 Nkosi/Sunstrum are interested in the radical implications of this view and are using sci-fi as a tactic for imagining and ‘occupying’ new African futures.

Introduction. Socialist Culture and Modernity

From October 6 th to 11 th , 2013, the MS Gretha van Holland brought twenty-four conference participants from Berlin to Beeskow, Eisenhuttenstadt, Frankfurt/Oder and back to Berlin. The aim of this on-board boat conference, organised by Art Archive Beeskow and Utrecht University in collaboration with Marlene Heidel, Claudia Jansen and Ursula Lucke, was to cross borders – national and disciplinary – by connecting parallel and divergent European histories of the Cold War period, both on a conceptual and on a practical level. A selected group of historians, art historians, architectural historians, cultural anthropologists and visual artists discussed the various ways in which socialist cultural history has been presented over the past decades and put new perspectives to the test. This conference has resulted in the present issue of HCM .

Princes, Dukes, and Counts

In 2010 the Samuel H. Kress Foundation supported a grant for centralized provenance research on the Kress collection of Old Master paintings donated by the Foundation to repositories across the United States. The grant supports museum best practices in the field of provenance research and transparency in museum collection information—as promoted by the American Alliance of Museums and the Association of Art Museum Directors—and also advances the Samuel H. Kress Foundation's mission to serve the field of art history as practiced in American art museums. The project is based at the National Gallery of Art, which has taken a leadership role in the field of provenance research, facilitated by its location in Washington in close proximity to the United States National Archives, the Archives of American Art, and its own outstanding art historical research resources. The project is centered on a systematic approach to research that provides methodological efficiencies, economies of scale and a consistency in research standards that would not be capitalized upon if conducted independently by Kress repositories or on a case by case basis. The current article is a preliminary report on the project.

The sound of a sound art archive

Abstract The foundation for this text is my 10xCD opus The Sounds of Ideas Forming (2008–2012), an archive of 318 sound files featuring content from art students, children and practitioners such as Yoko Ono, David Bowie, Chris Watson, Douglas Gordon, Lydia Lunch, Brian Eno and George Brecht. The Sound of a Sound Art Archive considers this particular sound archive, examining formats, narrative and the relationship between recording sound and recorded sound. I draw upon first person experiences and examples from curating, pedagogy and sound art to arrive at a series of frameworks for a sound art archive, one that is finite, educational and able to interject into everyday contexts.

Rotten Prettiness? The Forensic Aesthetic and Crime as Art

This article explores the forensic aesthetic of four contemporary artists who draw on the legal archive. The growing cultural engagement with law's archive demonstrates that artists and curators are no longer simply exhibiting archival police photographs. Artists are engaging in diverse translations of crime and highlighting abstract uses of forensic material. Consequently, contemporary artists who engage with the subjects and objects of crime demonstrate different levels of archival access, alternate versions of the ‘legal archive’, and entail varied responses to the extra-legal use of legal evidence. These developments mean that judgment about the use of archival products needs to be equally nuanced. This article explores the growing complexity of the relationship between art and law's archive that is not reducible to questions of either evidence or aesthetic style. It argues that we need to unpack the unique demands we make for evidence as spectators of crime, and the difficult mediation offered by aesthetic representations that converge in any forensic aesthetic.

Performance Map: A digital mapping of the global performance art network from 1975-present and beyond

In 2012, EXIST initiated the Live Art National Network Development project (supported by the Australian Council for the Arts), an online resource launching March 2013 <a href="http://www.performancemap.org/">www.performancemap.org</a> This website currently maps the Australian network of practitioners, venues and curators, enabling artists and curators to better connect and work together. In 2013 and beyond in collaboration with software engineer Kerstin Haustein, Performance Map will grow to be a digital mapping of the global performance art, action art live art network from 1975 – present, cataloguing existing archives and online sources. Although multiple sources will eventually be part of this map, the current primary source of archival data is <em>Die Schwartz</em> Larde or <em>The Black Kit</em> <a href="http://www.asa.de/">www.asa.de</a>, the largest known performance art archive in the world with access provided by Boris Nieslony. The archive element brings into the 3D global map and historical element, a time scaling slide will allow users to look back in time and uncover the evolution of the network from 1975 to present. The archival element is currently still in progress. Performance Map will also function as a live streaming state for performance art, that allows video streaming from Smartphone via the purpose built application. Future events are automatically incorporated into the map utilizing predictive network modelling and various coding techniques. The website will also collect and collate existing performance archives of artists, festivals, email lists, facebook pages etc. This website seeks not to replicate existing materials or databases such as the National Review of Live Art Archive at Bristol University [<a href="http://www.bristol.ac.uk/nrla">www.bristol.ac.uk/nrla</a>], The European Live Art Archive [<a href="http://www.liveartarchive.eu">http://www.liveartarchive.eu</a>] or UbuWeb [<a href="http://www.ubu.com/">http://www.ubu.com/</a>], but rather aims to collate, visualise the data as an accessible and user friendly resource. This paper demonstrates the current operational scale and scope of the Performance Map Live Action Art International Network and discusses future development stages.

Cripping the Museum

In November 2010, there was a conference on “Health, Embodiment, and Visual Culture” at McMaster University and an exhibition called “Scrapes: Unruly Embodiments in Video Art” at the McMaster Museum of Art. This article pursues the idea and implications of “scrapes” and “to scrape”: as a framework of disturbance and rupture; for knowing differently from a crip perspective; and for cripping museological praxis. Engaging closely with the visual and aural poetics, and critical activist rhetorics of the video works, the argument is that their unruly embodiments generate a mutually informing unsettlement of ableist, heteronormative, and neocolonial relations. The article also reflects critically on the potential to crip the museum when the exhibition’s video art archive rubs up against the regulatory mechanisms and the neoliberal model of diversity in the un-cripped university.

Asia Art Archive

Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.

Public Art Archive

Public Art Archive

The Building of a Career in Dutch Art: Egbert Haverkamp-Begemann in Conversation with Eijk van Otterloo

Willem Buytwech, Merry Company in the Open Air, drawing, pen and brown ink, 172 x 266 mm, Amsterdam, Rijksprentenkabinet, Rijksmuseum In a taped conversation on December 12, 2012, Egbert Haverkamp-Begemann spoke with art patron Eijk van Otterloo about his life and career as an art historian in the Netherlands and the United States. Following are excerpts from that conversation that describe Egbert’s experiences as a beginning art historian and the formation his legendary library of books on Netherlandish art. A recording of the complete interview will be placed on deposit at the Archives of American Art at the Smithsonian Institution. DOI: 10.5092/jhna.2013.5.2.18

Hard to Swallow: Do Foods Containing “Genetically Modified Organisms” (GMOs) Need Warning Labels?

American trade card for Rice's seeds, featuring The Mikado or Turner Hybrid Tomato, 1887; chromolithographed advertisement. Photo credit: Amoret Tanner Collection/The Art Archive at Art Resource, New York, NY. Modern wheat was domesticated ~14,000 years ago. The free-threshing phenotype, which made domestication possible, is a result of a mutation in a transcription factor called Q2 (1). This mutation was introduced into hexaploid Triticum aestivum, the basis of all contemporary bread, by conventional breeding. Why not, then, label all bread as GMOs? All potatoes? All tomatoes— such as the “Turner Hybrid Tomato”? All foods that have been genetically modified by conventional breeding? The target of the labeling frenzy is foodstuff that was created by the precise insertion of one or more genes using recombinant DNA technology, a methodology that in contrast to conventional breeding, results in a plant or animal containing a known number of new genes with known products. Why focus on the method by which the organism was created rather than the properties of the organism itself? A National Research Council study addressed this question more than 20 years ago in the context of concern about field-testing plants containing recombinant DNA.3 That study recommended strongly that the properties of the plant, rather than the method used to create it, were the key to constructing a useful policy (2). California seems to become a focus of attention by groups whose political interests exceed their scientific understanding. Some years ago, these enthusiasts destroyed quite good experiments in which strawberry plants containing a gene expressing an antifreeze protein were being tested to determine if that protein might provide some protection against frost damage. They tore up the experimental plots, bringing that work to an end. That level of “concern” for the environment became manifest in the discussions about a California initiative to require labeling of foods that contain genetically engineered ingredients. The political component of this initiative becomes evident as soon as one realizes that any and all food contains genetically engineered ingredients. The derogatory “GMO” term stems from ignorance—a failure to recognize that transgenic plants, for example, have been created by procedures that are more precise and controlled than conventional breeding. The political nature of this concern can be illustrated by the history of animal feed use in Europe, particularly in France. Thanks to extremely noisy advocates, it became impossible for French producers of beef and pork to import soybean meal from the United States. (Soybeans in the United States are largely engineered to be resistant to herbicides that kill weeds.) Instead, the French animals were fed animal parts from England. Then came the scare of Scrapie-related disease that could be communicated, in principle, by infected animal parts from England. Lo, one door swung shut, and another opened. Overnight, U.S. meal from genetically engineered soybeans was permitted to be imported and used to feed animals. Guess what? No French animals have suffered to date, and that is a grand experiment going on for years. And the imported soybean meal is not labeled GMO. The current labeling dustup, metastasizing from California, has reached into the peaceful confines of the respected Academy of Nutrition and Dietetics, whose major business is the certification of dieticians as well as providing useful advice on diet and nutrition to hospitals and other clients. Before weighing in on the label controversy by supporting or objecting to the California-labeling initiative, the academy wisely appointed a committee to review the scientific facts and engaged a distinguished professor from the University of California at Davis to write a report, which is expected to be widely quoted and influential. However, one member of the review committee, objected because of the presence on the committee of two persons who had a “conflict of interest.” One had received an award from Monsanto, and the other is a vice president of the International Food Information Council, which is financed, in part, by agri-businesses (3). There is no need to label foods thought to contain GMOs, whatever the labelers mean by GMO. Better to tell the prospective purchaser how much salt that food contains. Salt presents a clear and present danger; GMOs do not.

공연예술기록의 저작권 문제 연구

이 글은 공연예술단체나 공연예술아카이브가 공연예술기록을 수집하는 과정에서 직면하게 되는 저작권 문제를 검토하기 위한 것이다. 이를 위해 공연예술 현장에서 수집할 수 있는 기록물의 종류를 구분하고, 기록물의 종류별로 저작권 문제를 법리적으로 분석하였다. 연구의 결과로 공연예술은 음악 무대 의상 등 다양한 영역이 어우러져 하나의 작품으로 재탄생하는 종합예술로서의 성격을 지니고 있어 그 자체로 상당히 복잡한 저작권 체계를 구성하고, 그 기록물은 공연 자체의 저작권과는 구별되는 또 다른 저작권을 발생시킬 수 있으며, 저작권은 기록의 종류와 실질적인 생산주체에 따라 다양한 양상으로 구성될 수 있음을 밝혔다. This paper investigates the copyright problems faced in the process of collecting Performing Arts Records by the Performing Arts Institutions and the Performing Arts Archives. For this, first, the collected records at the scene of performing arts were classified. Secondly, the copyright problems were judicially analyzed based on the classification drawn. As a result, first, the copyright itself constitutes very complicated copyright systems since performing arts are thought to have characteristics of comprehensive arts, reborn with an artistic work from various fields such as music, stage and costumes. Secondly, the documentaries produced in the theater scene subsequently leads to another copyright problem which are different from one the copyright of the concert itself. Thirdly and lastly, this paper revealed that the copyright issues can be variously constituted according to record type and the substantial production body.

A Study on the Issues on the Right of Portrait for Performing Arts Archives

A Study on the Issues on the Right of Portrait for Performing Arts Archives

Artist Statement: Correlation

Artist Statement:Correlation Leah L. Wong (bio) All the world is a stage. —Shakespeare My work reflects the influences of the history of Western art, Chinese folk art, and traditional Chinese painting. I intend to create free-formed imagery patterns and incorporate them into my artwork to evoke diverse personalities. My goal is to achieve an open-ended conceptual narration, fusing personal expression with shared social and cultural spaces, while leaving room for viewers to bring their own experiences and imaginations to the images. In my recent work I create spaces taken from the world in which we live. In the process of making art, I explore visual elements across time and space. The challenge for me is to build an abstract narrative structure that has different levels of trigger points in association with our lives, thoughts, memories, and imaginations. After a long process of thinking and sketching, I found that fragmented body images are richer and more stimulating than full figures. I decided to reduce images of human bodies to dancing and otherwise moving legs. The suggested upper-body interplay with abstract gestures opens a space for viewers to fill in their own thoughts and imaginations. Legs are not only beautiful in themselves but also represent life and energy. They are organic transportation tools as well. The fragmented representational and abstract details intertwine with other iconic images, creating a new narrative in seen and unseen space. My goal is to leave a mental space for viewers to fill in. I want my work to provide a chance to see things from different perspectives, rather than to offer a predictable reading. View more of Leah Wong's work at www.leahwong.com. [End Page 1] Leah L. Wong Leah L. Wong was born in Qingdao (Tsingtao), China. She studied oil painting at the China Academy of Arts in Hangzhou, where she was the only female student in her department. After earning her BFA degree, she taught painting and drawing at Donghua University and then the Shanghai Theater Academy, both in Shanghai. She came to the United States in 1993 and earned an MFA in painting from Ohio University in Athens in 2004. Her award-winning paintings have been exhibited in group and solo shows nationally and internationally. Her paintings are found in numerous private and corporate collections. She is represented by Sherrie Gallerie in Columbus, Ohio. In 2011 she was interviewed by Hong Kong's Asian Art Archive about her involvement in China's contemporary art movement of the late 1980s and early 1990s. View the interview online at http://www.china1980s.org/en/interview_detail.aspx?interview_id=103. Copyright © 2013 Frontiers Editorial Collective, Inc.

Collecting collections: The Research Centre for Artists’ Publications

Established in 1999 within the Weserburg Museum of Modern Art, in Bremen, the Studienzentrum für Künstlerpublikationen (Research Centre for Artists’ Publications) is today one of the most significant institutions worldwide in the field of artists’ publications, with holdings of more than 200,000 items, and important programmes of exhibitions and publications. The Research Centre traces its roots to the Archive for Small Press &amp; Communication (ASPC), founded in 1974 by Anne Marsily and Guy Schraenen, and incorporates more than 40 individual archives and special collections, including the PLG Friesländer’s Mail Art Archive, the Klaus Groh Collection and the Kunstradio Archive.

Getting Art and Life Together

as Form: Socially Engaged Art from 1991-2011 Edited by Nato Thompson MIT Press/Creative Time Books, 2012 280 pp./$39.95 (hb) In tin: summer of 2011, Manhattan public commissioning organization Creative Time launched a new initiative to document and present engaged art made since the 1990s. project, dubbed Living as Form, was curated by Nato Thompson, best known for his 2004 exhibition The Interventionists: Art in the Sphere at the Massachusetts Museum of Contemporary Art, and more recently, as chief curator at Creative Time. Living as Form includes an online archive, lecture series, exhibition, traveling exhibition, and book. Including such a vast network of components has been a feature of many of Thompson's curatorial endeavors, from Paul Chan's staging of Waiting for Godot in New Orleans after Hurricane Katrina, to the 2008 election season Democracy In America: The. National Campaign projects. [ILLUSTRATION OMITTED] Thompson's book, as Form: Socially Engaged Art From 1991 2011 is representative of the overall project and will have the most implications for our understanding of history. first text, by Creative Tune president and artistic director Anne Pasternak, contextualizes the project within the organization's long history of commissioning work like Gran Fury's series of AIDS activist advertisements Kissing Doesn't. Kill: Greed and Indifference Do, which ran on public buses in the 1980s. In the following text, Thompson introduces his curatorial vision of focusing on strategic and deeply invested more than on the temporary disruptions of his past work on interventionist art. Next is a series of essays that complicate and complement this curatorial vision by Carol Becker, Claire Bishop, Teddy Cruz, Brian Holmes, Shannon Jackson, and Maria Lind--all significant contributors to recent discourse around public, social, and political art. final 150 pages of this beautifully designed full-color book are dedicated to project profiles of groups, individuals, actions, campaigns, and events. featured 107 projects in the book were selected by Thompson and a curatorial advisory hoard made up of twenty-seven groups and individuals (several of whom are either catalog authors or participating artists). are complemented by an online Social Practice Archive of over 350 projects, and the nomadic version of as Form--a self-contained hard drive of allows each host venue to show selections and add their own local to the archive. This open-ended archive of art, project descriptions, and documents signifies both a pragmatic: acknowledgement of the limitations of the conventional curatorial process to be inclusive and a reticence to commit to the exclusion that can make exhibits coherent. Eschewing coherency, this effort attempts, in Thompson's words, to make the category of socially engaged bigger (26). This includes curious additions such as WikiLeaks, Tahrir Square, the. …

Preserving the Audio Arts Archive

In this paper Allison Foster (Rootstein Hopkins Foundation Archive Cataloguer) and Jack Maynard (Rootstein Hopkins Foundation Conservator) discuss the processes and challenges faced by them when cataloguing, digitising and preserving the Audio Arts Archive held at Tate Archive and the future plans and legacy of the project.