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Risqué Business: Risks & Realities    of Digitizing Artists’ Papers
The Archives of American Artcollects, preserves and makesavailable primary sourcematerial documenting thehistory of the vi...
www.aaa.si.edu
What are the risks?• Copyright infringement – published,  unpublished, licensed.• Privacy Issues – medical records, social...
AAA Approach– Selection based on research value and use– Archival approach, not item approach– Do not seek copyright holde...
What we won’t risk – sort of...• Photographs stamped with a statement indicating the  photograph can not be reproduced wit...
...“oh curse thisdamned abortion –I can’t [can’t] begood & they say I’vegot to. EileenI am shaved & Ikeep wanting yourhand...
Moses Soyer letter to grandson Daniel Soyer, circa 1964.Barbara AikensArchives of AmericanArt, Smithsonian Institutionaike...
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
BAikens_Risque Business:  Risks and Realities of Digitizing Artists' Papers
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BAikens_Risque Business: Risks and Realities of Digitizing Artists' Papers

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Case Study of the large scale digitization of archival digitzation, including risk assessment and considerations. (Presentation of Barbara Aikens for SAA 2011 annual conference. Archives of American Art, Smithsonian Institution.)

Published in: Education, News & Politics
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BAikens_Risque Business: Risks and Realities of Digitizing Artists' Papers

  1. 1. Risqué Business: Risks & Realities of Digitizing Artists’ Papers
  2. 2. The Archives of American Artcollects, preserves and makesavailable primary sourcematerial documenting thehistory of the visual arts in theUnited States
  3. 3. www.aaa.si.edu
  4. 4. 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.
  5. 5. 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
  6. 6. 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
  7. 7. ...“oh curse thisdamned abortion –I can’t [can’t] begood & they say I’vegot to. EileenI am shaved & Ikeep wanting yourhand on me there -
  8. 8. Moses Soyer letter to grandson Daniel Soyer, circa 1964.Barbara AikensArchives of AmericanArt, Smithsonian Institutionaikensb@si.eduSAA Annual Conference, 2011.

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