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Digital pragmata ben fino radin12/31/2023 ![]() ![]() Clients have included The Rosenkranz Collection, The Kramlich Collection, Phillips, The Whitney Museum of American Art, The DIA Art Foundation, Cooper Hewitt Smithsonian Design Museum, Glenstone, the Art Gallery of Ontario, The Walker Art Center, The Australian Center for the Moving Image, The Art Institute of Chicago, The Cleveland Museum of Art, MFA Boston, The Hood Museum, Hessel Museum of Art, the Museum of Modern Art, the Museum of the Moving Image, Carnegie Mellon University Libraries and Archives, and the studios of Cory Arcangel, Clifford Ross, and Sondra Perry. Paddy Johnson reported an overall success, with insight on digital archiving from Christiane Paul, Ben Fino-Radin, and Doug Reside. They work with institutions, artists, galleries and collectors both to build their own capacity to effectively exhibit and care for born-digital and technologically complex works of art, as well as providing ongoing services for clients that do not wish to build in-house capacity. Concert Twitter blew up last night with live coverage of ArtsTech, which sounded like the most comprehensive art talk ever endeavored. Small Data Industries is a conservation studio and consultancy providing services and support for the collection, exhibition, preservation, and storage of time-based media art. They are the founder and lead conservator, Small Data Industries January 2017 – Present. ![]() The 20th century in particular has witnessed the greatest explosion of new materials for artistic experimentation. By Ben Fino-Radin Artists have always reached for the tools, materials, and technologies of their time. This project is made possible with funds from the NYSCA in Partnership with Wave Farm: MAAF Forward Fund, with the support of the Office of the Governor and the New York State Legislature. NovemUncategorized Image: View from the Window at Le Gras, 1826 or 1827, the earliest surviving camera photograph. The lecture will cover how to attain achievable goals and a vision for safeguarding, preserving, and conservation of time-based media art. On Wednesday October 26th Ben Fido Radin will deliver a public lecture for students, faculty and staff on time-based media conservation. Ben’s consultation will help IEA determine what to invest in for the next system that will safeguard our materials while allowing proper access as we prepare to launch historical research projects. Even though we have been archiving throughout our 25-year history. ![]() Our archives reached a critical juncture where we need to plan an enduring and fluid system for preservation and access aligned with best practices in the field. ![]() Ben Fido-Radin, a leading expert in the field of digital/electronic art archiving, will be helping IEA to establish an archiving strategy sustainable into the future to steward its legacy. Listen to the full episode to hear more on this topic, and why Dragan’s first album was titled Maxi German Rave Blast Hits 3.NYSCA Electronic Media/Film in partnership with Wave Farm, awarded the Institute for Electronic Arts a grant to bring SoAD alum Ben Fido-Radin as a consultant. I think that can benefit the field as a whole.” What’s most needed, he argues, may be less in-depth case studies than meta-level, cross-cutting analyses. Panelists are Ben Fino-Radin, digital conservator for Rhizome at the New Museum and manager of the Museum of Modern Art Digital Repository Francesca Fiorani, associate professor in the history of art and architecture at the University of Virginia and director. “If you think about this whole field as a community where different folks are focusing on different things and building out different specializations and you're all friends with each other and you're exchanging information and you are helping each other out and you're making projects together. Crafting Content: Creation, Scholarship and Organization, April 25, 1 to 4 p.m. This approach coincides nicely with Rhizome's needs, with thousands of works in the ArtBase archive, and the tools and approaches that Dragan has nurtured in this context have had important field-wide impact: the ArtBase’s use of Linked Open Data Emulation as a Service and the Webrecorder system (now an independent project).ĭuring the episode, Dragan also applies this systems-level framework to the preservation field itself, and observes that there is not enough field-wide dialogue. This has deeply informed his work at Rhizome, where he has taken a systems-level approach to digital preservation, eschewing as much as possible the in-depth focus on “heroic” great works that is more typical of museums. From his early exposure to the demo scene, his work with Rephlex Records, and his collaboration with Olia Lialina on the Digital Folklore book and more, Dragan’s story speaks to the importance of community and material culture in shaping creative practice. Rhizome’s Digital Preservation Director Dragan Espenschied recently sat down with Ben Fino-Radin of Small Data Industries, host of the Art and Obsolescence Podcast, to discuss the ways in which his work as an artist, musician, and developer informed his approach to preserving digital art. ![]()
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