Collaborative Preservation Strategies: A Look into XFR STN
Duration: 01:05:34; Aspect Ratio: 1.818:1; Hue: 42.182; Saturation: 0.129; Lightness: 0.220; Volume: 0.163; Cuts per Minute: 0.198
Summary: Institutions, organizations, and artists have grappled with the need to
preserve and provide access to audiovisual materials stored in aging and
obsolete audiovisual and digital formats for decades; however, issues
related to the cost of storage, equipment and time required for digital
reformatting have presented challenges for those with limited resources.
Recently, projects such as XFR STN at the New Museum in New York, have
worked with multiple practitioners to provide common access to at-risk
video materials and make media preservation services available at a
In this session, various participants in XFR STN reflect on the
outcome of the project and discuss radical possibilities that can be
brought about through collaboration amongst institutions, communities,
and individuals with various disciplinary vantage points.
The program included a screening of select videos digitized during
the course of the project from the New Museum Archives and
Monday/Wednesday/Friday Video Club, and ended with a moderated
Leeroy Kun Young Kang is a visual artist, film curator, and a MLS candidate at Queens College whose research focuses on digital preservation, artist archives, and audiovisual collections. Kang is a past XFR STN A/V Technician and Digital Archives Fellow at the New Museum and is currently a Digitization Technician at the New-York Historical Society. He holds a BA in Studio Art from the University of California, Santa Barbara.
Tara Hart is a Digital Archivist at the New Museum where she oversees the Museum’s Institutional Archives. Recently, Hart co-organized “Occupied Territory: A New Museum Trilogy,” (January 22—April 13, 2014) presentation of archival material and artworks that chart the development of three New Museum exhibitions that responded to the increasingly global art world of the early 1990s. Prior to joining the New Museum, Hart worked as an archivist at the Public Art Fund and subsequently the Fales Library and Special Collections, where she processed the Group Material Archive. She holds a BA in Visual Art-Media from the University of California, San Diego and an MLS from Pratt Institute in New York.
Johanna Burton is Director and Curator of Education at the New Museum. Prior to holding this position, she was the Director of The Center for Curatorial Studies at Bard College Masters program, and Associate Director and Senior Faculty Member at the Whitney Museum of American Art’s Independent Study Program. Her writing has appeared in publications including Artforum, October, and Texte Zur Kunst.
Tara Hart on her role in navigating three very distinct collections in the New Museum Archives.
Coleen Fitzgibbon and Andrea Callard are both artists and filmmakers based in New York City. Between 1978 and 1980, as officers of Colab, they co-created a 501(c)(3) nonprofit organizational structure so the group could receive public funding, laying the groundwork for the first Colab live TV shows All Color News and Potato Wolf. In addition, Callard is a founding member of XFR Collective; a newly formed collective body of artists and preservation practitioners that provide acces;=sible media preservation services in NYC.
Alan W. Moore is an art historian and activist whose work addresses cultural economies and groups and the politics of collectivity. From 1986-2000, Moore directed the Monday/Wednesday/Friday Video Club distribution project, a co-op “store” of the artists group Colab (Collaborative Projects, Inc.), which showed and sold artists’ and independent films and videos on VHS at consumer prices.