Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

24
Risqué Business: Risks & Realities of Digitizing Artists’ Papers

Transcript of Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

Page 1: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

Risqué Business: Risks & Realities of Digitizing Artists’ Papers

Page 2: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

The Archives of American Art collects, preserves and makes available primary source material documenting the history of the visual arts in the United States

Page 3: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

www.aaa.si.edu

Page 5: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 6: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 7: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 8: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

What are the risks?

• Copyright infringement – published, unpublished, licensed.

• Privacy Issues – medical records, social security records, banking records, tax records, 2nd or 3rd person concerns.

• Appropriateness, Moral & Ethical Issues - nudity, lewd, lascivious, pornographic.

Page 9: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

AAA Approach – Selection based on research value and use– Archival approach, not item approach– Do not seek copyright holder’s permission – not

reasonable or feasible– Assume that almost everything falls under a broad

concept of “fair use” – Display thumbnails as initial point of access– Avoid only the riskiest materials – Rely on existing archival appraisal skill set – No item-level cataloging for fully digitized

collections

Page 10: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

What we won’t risk – sort of... • Photographs stamped with a statement indicating the

photograph can not be reproduced without permission.

• Tax records (usually)• Social Security numbers and records • Medical records (usually)• Personnel and payroll records • Lewd, lascivious, and pornographic materials• Nude photographs – especially those not of donor• Nude photographs of children • Published books/catalogs • Photographs of works of art

Page 11: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 12: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 13: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 14: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 15: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 16: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 17: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 18: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 20: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

...“oh curse this damned abortion – I can’t [can’t] be good & they say I’ve got to. Eileen

I am shaved & I keep wanting your hand on me there -

Page 21: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

XXX

Page 22: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 23: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.
Page 24: Risqué Business: Risks & Realities of Digitizing Artists’ Papers.

Barbara AikensArchives of American Art, Smithsonian Institution

[email protected]

Moses Soyer letter to grandson Daniel Soyer, circa 1964.