AHNCA/NCAW Virtual Salon: “The Evolving Archive, part 2,” on Friday, December 5 at 11 am ET

Please join us on Friday, December 5 at 11am Eastern Time for the Virtual Salon, “The Evolving Archive, part 2.” This online event is organized by Nineteenth-Century Art Worldwide and is part of a series of online events cosponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. It is free and open to the public, but registration is required: https://tinyurl.com/The-Evolving-Archive.

The nineteenth century is particularly rich in primary texts, such as books, periodicals, letters, and other records that form the basis for original and innovative scholarship. This second installment of a two-part series will bring together four distinguished colleagues whose institutions maintain and preserve different types of archives. They will share with us the kind of archives their institutions hold/collect; how they make these resources accessible to scholars; what guidelines or ethical practices determine what is digitized; and what types of resources have proven difficult to digitize and why. The panel will be moderated by Isabel L. Taube, Co-Managing Editor, and Kimberly Orcutt, Executive Editor, Nineteenth-Century Art Worldwide.

Ute Dercks has held the position of Deputy Director of the Photothek at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut since 2004. She studied art history, philosophy, and media studies at the University of Düsseldorf, from which she received her MA in 1997 and PhD in 2002. Prior to her appointment in Florence, she worked as an assistant curator in several museums and galleries in Germany. Her research is concerned with medieval Italian sculpture and the history of photography from the nineteenth and early twentieth centuries. Current projects and publications focus on photo-objects in archives and on processes of technological transfer in visual media.

Bryce Dwyer is Senior Project Manager in the Special Collections Management Department of the Getty Research Institute where he works with a team of archivists, conservators, imaging technicians, rights coordinators, and metadata specialists to plan and execute digitization projects. As part of Special Collections’ Digital Stewardship and Metadata Optimization section, he works on special projects to enhance metadata and improve access to digitized special collections material. His interests include Creative Commons licensing and improving processes and workflows to bring more and better described digital material to Getty audiences.

Elizabeth Gorayeb is Executive Director of the Wildenstein Plattner Institute, Inc. For over two decades, she has specialized in research on the provenance and attribution of nineteenth- and twentieth-century artworks. As senior vice president in the Impressionist and Modern Art department at Sotheby’s, she led high-profile research efforts in matters of restitution, valuation, and authentication. In 2016, Ms. Gorayeb was appointed as the founding Executive Director of the WPI, which is dedicated to the accessibility of art historical information. She is frequently an invited speaker at international conferences and lectures on artists’ legacy preservation and provenance research. In addition to being an AAA Certified Member of the Appraisers Association of America, she holds a BA from Wellesley College and an MA from New York University's Institute of Fine Arts.

Erin Kinhart is the Head of Collections Processing and Digitization at the Archives of American Art, Smithsonian Institution, where she manages the arrangement, preservation, description, and digitization of archival collections. Prior to becoming department head in 2017, she was an archivist at the Archives, processing newly acquired collections and providing reference services. She also served as a project archivist for the Archives’ Terra Foundation Center for Digital Collections. Erin studied Art History and Historic Preservation at Mary Washington College and has an MLS with an archival studies concentration from the University of Maryland, College Park.