THERE’S AN ARCHIVIST FOR THAT! INTERVIEW WITH LAURA LAPLACA, THE DIRECTOR OF ARCHIVES OF THE NATIONAL COMEDY CENTER

Laura LaPlaca, Director of Archives. Photo courtesy of Laura LaPlaca.

Laura LaPlaca, Director of Archives. Photo courtesy of Laura LaPlaca.

This is the newest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect. COPA member Rachael Woody, owner of Rachael Cristine Consulting LLC, brings you an interview with Laura LaPlaca, the Director of Archives of the National Comedy Center.

Before her tenure as Director of Archives for the National Comedy Center in Jamestown, NY, Laura earned a PhD in Screen Cultures in the Department of Radio/TV/Film at Northwestern University. Her work focused on the early history of broadcasting in the United States, and particularly the development of the sitcom genre from the late 1920s to early 1960s. She also holds a master’s degree from Northwestern University’s Dept. of Radio/TV/Film, and bachelor’s degrees in Art History and English Literature from Pepperdine University. During her 10+ years as an archivist of popular culture and media, Laura has led or contributed to processing and preservation efforts at institutions including the Library of Congress, USC-Warner Brothers Archives, and Paley Center for Media. She founded the Northwestern University Radio Archive Project [NURAP] and has served on the boards of the Library of Congress Radio Preservation Task Force and Society for Cinema and Media Studies’ Television Studies Scholarly Interest Group. Her co-authored manuscript on the history of American comedy is forthcoming from Smithsonian Press.

RW: How did you get your gig at the National Comedy Center Archives?

I first visited Jamestown, NY – a beautiful historic community on the shore of Lake Chautauqua in Southwestern NY – on a grant-funded archival research trip while completing my doctoral dissertation on the history of the sitcom. Jamestown is the birthplace of the ground-breaking TV pioneer Lucille Ball, whose archives are housed by the Lucille Ball Desi Arnaz Museum, which tells the story of Ball and Arnaz’s influential Desilu Studios and celebrates their enduring cultural legacies. During my visit, I met Journey Gunderson, the Executive Director of the museum, who told me about her team’s ambitious efforts to execute Lucille Ball’s vision to build the first national-scale, non-profit educational institution devoted to comedy in her hometown. I knew moments after meeting Journey, and hearing about the remarkable energy, optimism, and goodwill that all of Jamestown was pouring into the National Comedy Center project, that I had to be involved. It turned out that the Comedy Center had yet to hire a Director of Archives & Research, and my particular background in the history of entertainment media and popular culture archives was a good match. I joined the team about 18 months before the 37,000-square-foot, $50-million-dollar National Comedy Center opened its doors in August 2018. Since opening, we’ve educated more than 100,000 guests from around the world about the history and art of comedy. We’ve been named one of Time’s “World’s Greatest Places,” voted “Best New Museum” by USA Today, and were designated by the United States Congress as our country’s official cultural institution devoted to preserving and presenting the vital story of comedy. But I am most proud of the fact that we have been so thoroughly embraced by the comedy community itself; knowing that the artists and creators we are celebrating find our work important is really the best metric of our success so far, and the thing that energizes me every day.

Q: Please tell us about the National Comedy Center Archives.

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From the American sitcom Seinfeld, the Seinfeld puffy shirt on exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

The National Comedy Center Archives collects materials that illuminate the comedic process, demonstrate the sociopolitical import of comedy history, and elevate comedy as an artform. We are committed, first and foremost, to providing access to collections. We always acquire, process, and preserve artifacts with exhibition and educational goals top of mind. To that end, the archives team works hand-in-hand everyday with staff in Guest Experiences, Education, Programming, and Technology to activate our collections for the public. The Comedy Center is comprised of more than 50 immersive exhibits that marshal cutting-edge technology and novel forms of interactive storytelling to communicate the story of comedy – very often via primary source archival materials. One of my primary roles as

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From the movie Ghostbusters, the Ghostbuster suit on display at the National Comedy Center. Photo courtesy of the National Comedy Center.

Director of Archives is curatorial: Where and how can archival materials illuminate history for our visitors? That sometimes takes the form of traditional artifact displays inside glass cases (the “Puffy Shirt” from Seinfeld, Harold Ramis’ Ghostbusters suit, Charlie Chaplin’s cane, or Joan Rivers’ joke notes). But, more often, involves activating digital surrogates of archival originals as part of interactive exhibits that involve touch screens, video walls, projections, or other technologically enhanced presentations. To share just one example, our visitors can take a seat at a Virtual Writer’s Desk and “page through” annotated script drafts from comedies like The Muppets, The Mary Tyler Moore Show, or A Funny Thing Happened on the Way to the Forum while the final-draft on-screen versions of the scenes play out beside them. In the past six weeks, due to the COVID-19 closures, we have moved a selection of our exhibit content to a digital platform that brings the museum direct to fans, students, and families around the world. You may enjoy exploring National Comedy Center Anywhere at anywhere.comedycenter.org.

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The Virtual Writer’s Desk on exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

Q: Please describe the collections or one of your favorite collections.

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The George Carlin Collection on exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

Our collections range across the history of comedy, from I Love Lucy to Saturday Night Live, from vaudeville to Internet humor, and across all comedy genres. I have three “favorite” collections: First, the 27,000-piece George Carlin Collection, which we have digitized and made available to visitors via an interactive interface in our galleries. The collection chronicles Carlin’s five-decade evolution as an artist, via his copious handwritten notes, day planners, audiovisual recordings, wardrobe, and more than 40 boxes of creative ephemera. The interactive exhibit showcases his meticulous process in detail, and allows our visitors an up-close look at the creative mind of one of the most influential artists of the 20th century. Second, the Rusty Warren Collection, and accompanying exhibit, honors the contributions of an important feminist comedic artist who levied her talents and brilliant wit to become a leading voice in the sexual revolution of the 1960s. Rusty Warren’s work was so progressive – and so feared – that she was banned from performing on television. Nevertheless, she toured cabarets and nightclubs for over thirty years and made 11 hugely popular comedy albums – 7 of which “went Gold.” Third, the Carl Reiner Collection – which is currently being processed – includes digitized

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From the American sitcom I Love Lucy, Lucille Ball’s polka dot dress on display at the National Comedy Center. Photo courtesy of the National Comedy Center.

copies of every annotated draft page of the scripts for the seminal sitcom The Dick Van Dyke Show, which Reiner created and wrote. This series was an important pivot point in the history of American television, and set a high watermark that endures to this day. The chance to peer into Reiner’s process via these scripts is like taking a masterclass in the art of comedy writing. In addition to overseeing the processing and preservation of our rapidly-growing permanent collections, I also work closely with artists, estates, and industry partners to curate rotating exhibits of documents, props, and costumes that represent landmark moments in the history of comedy: Lenny Bruce’s trenchcoat, Harpo Marx’s wig, Lucille Ball’s polka dot dress, a “Dundie” from The Office, Carol Burnett’s charwoman costume, The Smothers Brothers’ guitar and bass, Andy Kaufman’s wrestling belt, Eddie Murphy’s Nutty Professor costume, the wedding dress from Bridesmaids, Weird Al Yankovic’s accordion, and so many more.

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The Smothers Brothers pose with the Smothers Brothers Collection on exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

Q: What are some challenges unique to the collections?

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John Mulaney views whe Rodney Dangerfield Exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

The primary challenge that we contend with is the vastness and variability of comedy as a subject area. The Comedy Center celebrates comedy in all its forms – and across all eras. That approach requires safely housing, preserving, and conserving a broad range of multimedia artifacts, most of which were designed for one-time use on stage – not for decades of stable storage and exhibition. Our team routinely handles manuscripts, photographs, scrapbooks, and documents of all sorts…but also cares for 100-year-old fake mustaches, vaudeville broadsides, cartoonist’s palettes, Grammy Awards, a toupee, acetate discs, costume jewelry, a piano, several motor vehicles, a papier-mâché frog costume, paintings, undergarments, nitrate films, a miniature bicycle, a trick cello, a sledgehammer, and all manner of fragile, irregular, and – oftentimes – very funny objects.

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Dan Aykroyd donates his motorcycle to the National Comedy Center. Photo courtesy of the National Comedy Center.

Q: What is your favorite part of the job?

Part of my responsibility as the National Comedy Center’s Director of Archives is to work directly with artists and their estates to devise the best ways to engage, inspire, and entertain our visitors while educating them about the vital role that comedy has played in shaping our shared cultural heritage. I enjoy every opportunity I have to interact with artists: to discuss their work, to internalize their stories, to strategize together about how to preserve and celebrate their craft for generations to come.

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The Joan Rivers Collection on exhibit at the National Comedy Center. Photo courtesy of the National Comedy Center.

There’s an Archivist for That! Interview with Ilana Short

Courtesy of Ilana Short.

This is the newest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect.  COPA member Rachel Seale, Outreach Archivist at Iowa State University, brings you an interview with Ilana Short, the Vault Manager for Invenium.

Ilana Short, MA has an undergraduate degree in Anthropology from the University of Tennessee, Knoxville and a master’s degree in Museum Studies from Johns Hopkins University. Ilana is currently the Vault Manager for Inveniem, a technology and archival company in Los Angeles, California. Ilana has previously held positions as the Manager of Visitor Services and Education with Bellagio Gallery of Fine Arts and the Photography Collections Manager for the Nevada State Museum, Las Vegas.

How did you get your gig?

I honestly sort of fell into it, which is of course not what people want to hear, as I know how hard it is to get a position working in archives. But, it really is the truth in this case!

I had spent most of my career working in museums, and I had done everything from education and visitor services to working with collections. Collections was really my favorite and where I focused my career, and I had been working at the Nevada State Museum, Las Vegas managing the photography collections and archive. I then became more involved with the Curator of Manuscripts, and worked with her on cataloging and developing taxonomies for the photo collections, in addition to developing and curating exhibits. I discovered I had a knack for cataloging, and really enjoyed the work as well! I had been working closely with the archivist for a sister organization, the Las Vegas News Bureau, when she came across the job posting for Vault Manager at Inveniem on the SAA message board. She forwarded it to me with a note that said “this sounds like you!”

I have a personal passion for music, and many things I enjoyed doing in my free time revolved around music and concerts, and the job posting mentioned working in the music industry. I really went back and forth on applying for a little while, since the job was in Los Angeles, and I live in Las Vegas, but I did apply a couple days later.

From there, things moved fairly quickly, at least for a job in the museum and archives world. I applied in late summer, had a few rounds of interviews, and started in November of 2018. I had expected that my husband, kids, and I would all move to Los Angeles, but it hasn’t actually worked out that way. I am still commuting weekly, but now I am working from home more with the pandemic.

Tell us about your organization.

Inveniem is a small, private technology and archival company and we work primarily with living musicians and the estates of former musicians. Our client list, with rare exceptions, is completely confidential. What we specialize in, though, is helping our clients archive their personal memorabilia and possessions, as well as helping them monetize those assets if they choose to do so. We employ a staff of professional archivists, most of whom have MLIS degrees, and have developed our own schema and taxonomic structures for cataloging our client’s assets. We also choose the best long term storage and preservation options for our client’s assets as well. As Vault Manager, my job is to oversee the archivists, as well as developing strategic methods for cataloging assets and monetization plans, and creating work flow procedures for each of our clients.

Describe your collections.

The collections that we work with vary from client to client, but because our clients are musicians, they tend to contain a lot of the same types of objects. The assets that we work with typically include photographic materials (photos, slides, negatives, and transparencies), tour books, merchandise from tours, stage and video costumes, awards (like gold records and Grammy Awards), instruments, posters, and personal memorabilia. Being a photo archivist by trade, the photographic collections are always my favorites to work with!

One client that we are allowed to talk about is Wiz Khalifa, and most of the objects we worked with in his collection were clothing and shoes. We really excel at receiving a lot of disparate objects and turning them into cohesive collections – we categorize the objects, assign barcodes, photograph or scan each object, create metadata, and ingest the metadata into our database.

What are some challenges unique to your collections?

One of the biggest challenges is our confidentiality. It’s absolutely essential to our business but it does make it more difficult to participate in things that archivists normally would for professional development, like presenting at conferences. It’s also hard on a personal level because you might be a tremendous fan of an artist you are working with and you can’t tell anyone what you are doing! Aside from that, we face the challenges anyone in other archives face, especially how to organize information so that our clients can interact with it in a way that makes sense to them, as they aren’t archivists.

What is your favorite part of your job?

Where do I begin? In a lot of ways I have really found my “dream job.” Yes, I get to meet rock stars from time to time, but honestly my favorite thing is working with objects that I know no one else has ever seen. Some of our clients are artists that I really enjoy listening to, so getting to see lyrics in their handwriting, or photos from their travels are fascinating to me. I also love that the job constantly brings new challenges to solve and that I have to continuously be creative in many ways to bring new initiatives to our clients.

Stay tuned for future posts in the “There’s an Archivist for That!” series, featuring stories on archivists working in places you might not expect. If you know of an archivist who fits this description or are yourself an archivist who fits this description, the editors would love to hear from you—share in the comments below or contact archivesaware@archivists.org to be interviewed for ArchivesAWARE!

Responses and Retrospectives: Sarah Meidl on The Colorado State University Archives & Special Collections Covid-19 Archive

Sarah MeidlThis is the latest post in our series Responses and Retrospectives, which features archivists’ personal responses and perspectives concerning current or historical events/subjects with significant implications for the archives profession. Interested in contributing to Responses and Retrospectives?  Please email the editor at archivesaware@archivists.org with your ideas!

MLIS candidate at the University of Washington and SAA student chapter member Sarah Meidl brings you an interview with Mark Shelstad, Coordinator for Digital and Archives Services at Colorado State University.

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Mark Shelstad manages the Covid-19 Archive at Colorado State University, a new project that seeks to document the impact of the Covid-19 pandemic on the community of students, faculty, and staff at CSU.

Please see the Society of American Archivists’ press release (drafted by COPA) for more information on organizations documenting COVID-19 in their communities.

Q. When did the Covid-19 Archive project start and what gave you the idea for the project?

A. Our official start date for working at home was March 23rd. And like many colleges and universities out there we were anticipating how the virus might affect the university community. In doing so, we surveyed what other institutions’ documentation efforts, and we took to heart the option for digital acquisitions through web harvesting, and a digital submission form to document the virus’ impact on the University’s community. Submitters can also fill out a questionnaire to share their personal stories about the virus’ impact on their studies, work, and other challenges.

Q. What types of submissions have you received so far?

A. So far, it’s been a little bit on the low side. We’ve received a couple of student video projects which have been great talking about their experiences. One is really well done with two students sharing their experience prior to being sent home interspaced with text messages that they were receiving from the University emergency response team and the county health office. We’ve had a couple submissions of folks who were sent home, the impact of doing remote work and remote learning, and then a lot of images from around campus, and where people self-quarantining.

Q. Are you open to all kinds of digital formats?

A. We wanted to set a low bar for submissions So far they have been the standard JPEGs, PDFs and MP4s. But we’ll do our best to accept the formats as they come in and convert them as needed.

Q. Are you actively processing things or are you waiting until things go back to normal to start the processing project?

A. We will begin making the items available in our digital repository, Mountain Scholar. When a corpus of material has been submitted, a Story map or another online exhibit platform will interpret the materials.

Q. How many people are working on the project right now?

A. Four members of Digital and Archive Services have been involved over the course of the project in developing the digital submission form, metadata creation, and web harvesting.

Q. Are the users creating any metadata for what they are uploading?

A. Yes, users are providing information about themselves, creation of the items, location, and topics. People have been very willing to share this information and self-document. s.

Q. And is this project just for the Colorado State University community or is it open to anyone?

A. As the University Archives, our project is focused on the CSU community. We have talked collecting scope with other archives in the area, and the University Museum of Design and Merchandising, which is collecting masks and clothing. The campus GIS center, the Geospatial Centroid, is running a survey on people’s locations after the semester moved online. We’ve managed to identify portions of this documentation project in a collaborative way.

Q. Will you experience any challenges when you start processing materials? Do you have access to needed software?

A. Submitted items are captured in the cloud, and our digital repository platform is DSpace, so we’ve been able to work in this new environment without many challenges.

Q. Have you had any challenges working from home?

A. Personally speaking, the main challenge has been getting bumped off the VPN depending upon user volume, and making the transition to Microsoft Teams for communication and collaboration.

Q. In addition to this project, are you also working on your regular projects?

A. Yes, we have other projects developed for remote work since we aren’t able to work on physical collections. Namely they involve metadata creation and cleanup, updating finding aids and Wikipedia entries. We also have two crowdsourcing projects underway, one for CSU President Charles Lory, and for interstate water compact attorney Delph Carpenter

Q. Have you managed a similar project in the past where you’re trying to have members of the community upload materials, or is this new ground for the Archives?

A. This is the first round for us, and I’m interested to see what kind of response we get over time. We’re planning to keep the project open, well after the return to work order has been lifted so folks can keep contributing. My sense is that individuals will have an opportunity down the road to reflect on their experiences.

Q. You mentioned having a collection in your digital repository. What is your plan on arranging materials in the repository?

A. We will load them into a Covid-19 collection within our University Archives Community in the repository, with Dublin core metadata supporting their discovery.

Q. Do you see this project as fulfilling the mission of Archives and Special Collections for CSU?

A. Absolutely. These are unprecedented times, and we need to document our individual and shared experiences, ranging from safety protocols, faculty moving their instruction online, staff working remotely, and students who had to leave campus on short notice and transition to online learning. At CSU, it harkens back to a devastating flood in 1997, and I would want to draw upon the oral histories with our emergency response team for comparison.

Q. Do you have any advice for other cultural heritage institutions that may be working on similar projects? Or, lessons learned from your experience so far?

A. I would say jump in. It’s an opportunity for setting collecting priorities and methods, and outreach with potential donors and users. Publicity is also very important, and this project’s selling point is the organic submissions, and getting to tell your story.

Q. How have you been publicizing the event so far?

A. We have used various outlets, such as our campus newsletter and social media outlets, and directly with targeted constituents. A schedule has been developed as periodic reminders for the fall semester.

Q. What do you see as the impact of this Covid-19 pandemic on the profession and on archival institutions?

A. I think there’s a great opportunity for a profession-wide case study to see what efforts were successful, what kind of materials have been acquired, how access and interpretation are being provided, and the impact this documentation efforts has with public policymakers.

Q. Anything to add?

A. In the fall we’d really like to do that oral history with our senior leadership to capture the lessons learned from the pandemic. For students, to have a story-both project for them to drop in and share their experiences, and a digital acquisitions day when they return. We would want to engage with them in physical and digital spaces.

This post was written by Sarah Meidl based on an interview conducted with Mark Shelstad The opinions and assertions stated within this piece are the interviewee’s alone, and do not represent the official stance of the Society of American Archivists. COPA publishes response posts with the sole aim of providing additional perspectives, context, and information on current events and subjects that directly impact archives and archivists.

 

Deriving Value from Collections in the Time of Corona (COVID-19)

Deriving Value from Collections in the Time of Corona (COVID-19) was delivered on April 7, 2020 by Margot Note (founder and principal of Margot Note Consulting), Chris Cummings (Founder and CEO of Pass it Down), and Rachael Cristine Woody (owner of Rachael Cristine Consulting).

The webinar was sponsored by the Society of American Archivists’ Committee on Public Awareness (COPA) and is recorded on SAA’s Resources & Toolkits page.

Abstract

Join Margot Note, Chris Cummings, and Rachael Cristine Woody in “Deriving Value from Collections in a Time of Corona,” a webinar brought to you by SAA’s Committee on Public Awareness. The webinar is a call to action for enhancing museum and archives collection programs online through adaption and repurposing of content, reviewing digital usership and digital collection best practices, and capturing the value of your online collections work to broadcast to administrative stakeholders. By combining traditional archival administration with innovative uses of digital collections, archivists can advocate for their collections, enriching their value in a period of uncertainty. The aim of the webinar is to help archivists and museum professionals cultivate their skills to become better promoters of themselves, their repositories, and their profession.

Q&A Section

So much great content and resources were shared during the Q&A that we decided to capture it here for easy reference. Thank you for asking thoughtful questions and for helping us find resources to point people to for some of the questions we couldn’t address fully.

Q. Do you know about 508 accessibility for Pinterest? I’m sure I can look this up too and you might get to it anyway but I want to emphasize to anyone and everyone the importance of accessibility for disabled users.

A. From Bureau of Internet Accessibility: https://www.boia.org/blog/how-to-utilize-and-create-accessible-pinterest-content.

Q. What tools do you recommend to crowdsource or capture COVID-19 materials?

Submitted by the group:

COPA has also just put out a press release documenting some of these efforts.

Q. Do you have any webinars or archives webinar platforms that you would recommend [specific to collection content adaptation and advocating for the value of our collection work]?

A. Rachael Woody just provided an expansion of her topic in her webinar Strategies for How to Capture and Communicate the Value of Collection Work (discussed more below). Additionally, there are a lot of good webinars being offered by peer organizations and companies, such as: Cuseum, CultureConnect, and The National Preservation Leadership Forum. Please let us know in the comments if there are webinars we can add to this list for easy reference.

Q. Who (which organization) created the puzzle? 

A. The Cooper Gallery.

Q. How do you strike a balance between wanting to lift people’s spirits with light-hearted content and coming off as too silly and inappropriate during such a scary time?

A. Evaluate what your current tone and mission is for your organization’s social media presence as consistency in messaging is important. Even if your social tone is on the lighter side, it is important to still be aware of current events and sensitive the hardships people are facing. Be intentional with what item, story, or exhibit you’re sharing and provide context–offer an explanation on why you’re sharing what you’re sharing. Evaluate your tone to ensure it’s in keeping with your intent. Additionally, with the heaviness of current events, people are going to social media for relief and it’s OK to be a provide of relief and enjoyment during this time. In fact, it’s a very valuable thing to offer people. And it’s OK to experiment during this time to find what’s valuable to your audience.

Q. Some people have expressed an understandable sensitivity to posting archival images that don’t display proper social distancing during this time, instead of posting on events (now cancelled) from the past that show crowds of people. Any thoughts on this?

A. Context is key. It’s OK to post these images as long as you provide a thoughtful comment as to why you’re sharing it. For example, a historical photo of a annual parade with a note that says something like: “We’ll sure miss seeing you at the annual parade this year, but we look forward to seeing everyone next year–happy and healthy!”

Comment: Thank you for offering this very useful and informative webinar. Our whole staff in the NMSU Archives & Special Collections is viewing this. Useful to us, as we have just started a blog. https://openstacks.nmsu.edu/

Q. I love all of the fun ideas for engagement with the public! As an academic institution, we also need to emphasize our academic value to our students and our impact on teaching and learning. Any suggestions in this area? Thank you!

A. Yes! Knowing the stress that students and faculty have been under to move everything online–and the access disparities that have been present–think of ways you can help supplement, support, or help adapt collection teaching content for online. Suggestions from the panelists:

  • Proactively reach out with resources that are ready to go.
  • Offer office hours for students and faculty to receive help around using collections for the teaching and learning work.
  • Look at digital content that’s already available that could be repurposed or repackaged into something to help support students and faculty.
  • Take the opportunity to craft lessons plans that can accompany online collections. Consider including lesson plan creation as part of your workflow to coincide with new exhibits and newly online collections.

Q. How are you adapting to the online environment with your online classes with special collections. Can you give examples?

The Rockefeller Archive Center offers resources for crafting primary source-based education. Check out their resource page for primary source unites, workshops, ad projects. The American Alliance of Museums also offers programs and resources in their Repository of Distance Learning.

Submitted by the group:

Q. What are your opinions on posts about working from home? Is there a sensitive way to share about archivists commitment to their work while being cognizant that many people are not able to work right now? Side note, thank you! This has so far been fabulous.

A. Similar to some of the questions fielded already, we encourage you to be honest, provide context as to why you’re sharing, and acknowledge that the current situation has left many unemployed, furloughed, or in precarious work positions; and offer a note of support. Also, keep in mind that for many in our audience the work that we do is often mysterious and interesting, and they’ll appreciate you offering a peek behind the curtain.

Q. How do you recommend getting past internal roadblocks to posting content?

A. Approach it as an experiment and track your efforts to demonstrate the engagement that occurs. As discussed in the webinar, it’s so important to track engagement numbers in order to show the value of the work happening. Also, consider how this might tie into supporting the organization’s income stream and mission. It may also be helpful to point to peers in the field who are on social media as competition among peers is often helpful in inspiring a “Yes” so that your organization isn’t left out. And sometimes it’s easier to seek forgiveness than ask permission. As long as one person in power is supportive, take the opportunity to explore how you can serve your audience in this new way or even add a new audience members.

Q. What advice would you give institutions on how to technically preserve social media posts?

It’s tricky to find a tool that helps to consistent and legally capture digital content and has the technical wherewithal to follow digital preservation best practices. Some digital preservationists still recommend to print it out, taking a screenshot, or converting to a PDF for easier preservation and digital migration. While it seems archaic, paper is still the preferred medium for saving information of value as the digital media landscape is still evolving and therefore very volatile for future duration. Rachael Woody wrote a post on this in 2019: Responses & Retrospectives: Rachael Woody on Myspace and the Precarity of User Content on Social Media Platforms.

Submitted by the group:

Q. I am a lone arranger at a local county archive. During this time many people are taking the opportunity to cleaning out closets, attics, basements and garages. How do we get the message out that our archives is still taking records donations but can’t receive them until after this “Great Pause”!

A. Put out a call to action with instructions. Acknowledge that this is a great time for people to clean out their closets and provide guidelines for what you’re looking for per your collection policy. Then give them a direction. Maybe it’s a form to fill out, a box with a label to send, etc.

Q. What advice do you have for use of images and content that might be otherwise be copyrighted by others?

A. It’s very important to discern if the archives have a Deed of Gift for collections that grant rights and permissions to the organization. There are cases where past practices of archives mean there isn’t a Deed of Gift. To the best of your ability attempt to determine if materials are created by others and seek their permission before you use it. Many archives offer a mechanism for people to contact them if there are items online that they believe they own copyright of.

Q. You mentioned reaching out to engaged community members on platforms like Facebook groups. Can you go into more detail about how you do that? I sometimes struggle with knowing where or when to join in when I see our collections show up on those platforms.

A. Sure. In almost every community, there will be groups set up that showcase historic photos and stories from that community. The best way to begin would be to do an audit of both Facebook and Instagram for any groups that would be relevant to your community. Next, become an active participant and start to chime in with helpful comments and content. We would also recommend that you reach out to the administrator of the group to introduce yourself and your institution and ways you might collaborate.

Margot Note shares: I usually first start out as a “lurker.” I see what interests the group, what they’re talking about, and who are the frequent posters. When you’re comfortable and feel like you have something to share, you can write a short post about your collection, how to access it, and how you think you might help them. Then see what the reaction is. As long as you’re sharing information that would generally help people and not overly promoting something, the responses are almost always positive.

Q. I find posting historic images and videos onto Instagram painfully difficult. Am I just not downloading some key “extra” app that would make it way less frustrating? Maybe even easy?

A. The trick is sending photos, videos, and captions in an email, and accessing them on your phone. You then can post images and cut and paste text. To learn more, check out this chapter written by Margot Note, “#CulturalHeritage: Connecting to Audiences through Instagram” in Engagement and Access: Innovative Approaches for Museums, edited by Juilee Decker, New York: Rowman & Littlefield, 2015. Although Instagram has changed a lot since the book was published, the chapter still offers valuable information on how to curate an account with archival images.

Chris Cummings shares: Anyone that’s done social media for long has felt the frustration of having to post to instagram directly from a mobile device. There are a few great tools that will let you schedule and post to instagram directly from the web. Check out Grum.co or Later for tools that should make your social media life a lot easier!

Q. What platform do you think would be best to start off with, if our institution doesn’t have much of an online presence?

A. Start out with the one you believe would best fit your needs and that you are technically comfortable with. The better suited the platform is to your purposes the more you will use it, and the more effective it will be. That said, we recommend you start by reviewing what the purpose of each social platform is. Instagram is for visual presentation, YouTube is for videos, and Facebook is a hybrid of both, etc. You can also get insight into what a good platform match would be by reviewing what your peer organizations are using and how they are using it.

Connect with the Presenters

Connect with the webinar presenters (and sign up for their newsletters so you don’t miss their content and resource drops!):

Margot Note, Founder and Principal of Margot Note Consulting. Photo courtesy of Margot Note Consulting.

Margot Note, Founder and Principal of Margot Note Consulting. Photo courtesy of Margot Note Consulting.

Margot Note Website: https://www.margotnote.com/
Twitter: https://twitter.com/margotnote
Linkedin: https://www.linkedin.com/in/margotnote/
Newsletter: https://www.margotnote.com/newsletter

Margot Note, CA, CRM, IGP, PMP. Note is the principal and founder of Margot Note Consulting, LLC, an archives and records management consulting business in New York. She’s a professor in the graduate Women’s History program at Sarah Lawrence College and an Adjunct Assistant Professor in the Library and Information Science program at St. John’s University. She’s the author of five books, including her newest Creating Family Archives: A Step‐by‐Step Guide for Saving Your Memories for Future Generations published by the Society of American Archivists.

Chris Cummings, Founder & CEO of Pass it Down. Photo courtesy of Pass it Down.

Chris Cummings, Founder & CEO of Pass it Down. Photo courtesy of Pass it Down.

Chris Cummings Website: https://passitdown.com/
Twitter: https://twitter.com/passitdown
Linkedin: https://www.linkedin.com/in/christopheracummings/
Newsletter: https://passitdown.typeform.com/to/A5vBoV

Chris is the founder and CEO of Pass It Down Inc., a digital exhibit builder platform that’s been recognized globally for transforming how cultural institutions and brands engage their visitors. From Cairo to San Francisco, Chris has been invited to speak around the world on the Future of Museums and archives, and is a global pioneer in the field of digital storytelling.  Pass It Down’s been recognized as a leader in experiential marketing and digital exhibits by Coca-Cola, the Consumer Technology Association and Established, Techstars, and is the winner of the 2019 BREW Pitch Contest and $100,000 prize.

Chris is a 3-time CEO, two-time founder, and attorney and a former Collegiate National Champion in Public Speaking. Chris received his JD from the Paul M. Hebert LSU Law Center and has clerked for numerous judges, including the honorable Chief Justice Johnson of the Louisiana Supreme Court. He received a double BA In Political Science and International Relations from Louisiana State University.

Rachael Cristine Woody, Owner of Rachael Cristine Consulting. Photo courtesy of Rachael Cristine Consulting.

Rachael Cristine Woody, Owner of Rachael Cristine Consulting. Photo courtesy of Rachael Cristine Consulting.

Rachael Cristine Woody Website: https://rachaelcristine.com/
Twitter: https://twitter.com/rachaelcristine
Linkedin: https://www.linkedin.com/in/rachaelcristinewoody/
Newsletter: https://rachaelcristine.mykajabi.com/signup

Rachael Woody is the owner of Rachael Cristine Consulting LLC. After a successful tenure at the Smithsonian Institution and the Oregon Wine History Archive, Woody established her consultancy to teach archives, museums, and cultural heritage organizations how to take care of their collections and advocate for their value. Woody has experienced precariously funded positions first-hand and has proven tactical strategies to demonstrate the value of collection work. As a result of her experience, Woody has dedicated herself to advocating for the value of collection work. She serves on SAA’s Committee on Public Awareness, established the Archivist-in-Residence (paid internship) program at Northwest Archivists, and serves on several salary advocacy committees.

Rachael Woody developed a companion piece to this webinar: Strategies for How to Capture and Communicate the Value of Collection Work. Please see her blog post for more information, a link to download the slide deck, links to resources, and a summary of the Q&A. The webinar is also provided below for ease of access.

Abstract

Archives, museums, and cultural heritage organizations across the world are struggling with the impact of COVID-19.  As public spaces remain closed, archives and museums are challenged with fulfilling their mission while seeking economic relief. Many archives and museum professionals are facing precarious employment as they struggle to prove the value of their work. This webinar is a follow up to the Society of American Archivists’ “Deriving Value from Collections in the Time of Corona (COVID-19)” (view: https://youtu.be/vhK2ww1_ZR8).  Please join me for a deeper dive into strategies for how to capture and communicate the value of collection work. The webinar will offer a framework to define the value of your work, discuss mechanisms for capturing value, and offer strategies for communicating the value of your work to your boss, your board, your fellow staff, and your community stakeholders.

Responses and Retrospectives: But I thought I was an Archivist?

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Photo provided by Rachel Thomas.

This is the latest post in our series Responses and Retrospectives, which features archivists’ personal responses and perspectives concerning current or historical events/subjects with significant implications for the archives profession. Interested in contributing to Responses and Retrospectives?  Please email the editor at archivesaware@archivists.org with your ideas!

Rachel Thomas, MA, is the University Archivist at George Fox University in Newberg, Oregon. She is passionate about the archival profession and opening the field to new professionals from all walks. Thomas is a member of Society of American Archivists and Northwest Archivists and recently served on the inaugural Northwest Archivists Archivist-in-Residence committee which is dedicated to working on the problem of unpaid internships in the archival profession. Linkedin profile: https://www.linkedin.com/in/rachel-thomas-5b21b38a

Six year ago I walked into my first professional gathering of archivists. As a lone arranger, I was excited to meet some of my colleagues. It was an unconference, inviting members of our profession to gather and discuss some of the issues surrounding our work. As the evening began, talk quickly turned to archives certification and qualifications. What makes an archivist and archivist? We gathered into groups to discuss this. I was excited to share my background and how I came to the field and hear how others entered this field I love.

However, as soon as we sat down, one of the members of my group said, “If you don’t have an MLIS, you are not an archivist. We have to have some standards!”

I was floored. I didn’t have an MLIS. I had just been hired by a university I respected, I had completed a MA in Early American and United States History, I had apprenticed in a large, well known, respected archive under a leader in the profession, I had worked for four years as an archive assistant at another university. I knew DACS, processing, other archival ethics and standards. I was a member of SAA and my regional association. I didn’t have my MLIS, but I was an archivist, wasn’t I?

As the discussion continued I found my voice. I expressed that I believed that being an archivist is about following the ethics and practices of the profession, not based on a certain set of letters behind a name. I shared examples of devoted archivists who had come to the field with no professional training. Some agreed with me, others held the position that the MLIS should always be required. The original speaker did not back down, she told me that she was sorry, but I didn’t belong in the field. According to her there were too many “non-professionals” calling themselves archivists and taking jobs from real archivists.

Eventually the night moved onto other topics. I learned a lot from colleagues in the room. I was able to network and build some contacts, learn about opportunities to serve in my regional professional organization. It was a successful evening by all accounts, however, I left doubting myself, hit hard with imposter syndrome.

A few years later and a few years wiser, I know that I am an archivist. I know I belong to the profession, and I know I bring value to my work. I have learned to appreciate my ability to think outside of the box, and largely credit it to the alternate route I took into the field. However, I still generally advise interns and students desiring to enter the field to pursue an MLIS. I know that it will prepare them well for the workplace, and I know that it has become a requirement for most positions in the field. I want them to be able to find work.

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Photograph provided by Rachel Thomas.

At the same time, I want to challenge our profession to broaden their understanding of how one can become an archivist. I think we need to lean into the value of divergent perspectives brought by alternate education and career paths. We need to come to an understanding that the MLIS is not the only way to enter into our field. Other education and career paths can help us approach problems differently, they can help us develop new solutions, creative ideas, and the ability to diversify our collections and practices to fit a broader cross section of society. Employers must reconsider whether or not requiring the MLIS is unnecessarily limiting their applicant panel, disqualifying candidates who could bring new strengths and experience to the position. Archivists must check their assumptions about their colleagues. We must seek to be inclusive, not only in our collections, but among our colleagues.

This story does have a happy ending. At a recent conference I had a chance to have a heart to heart with one of the archival leaders in our region. He had been working as an archivist for decades and had received recognition at regional and national levels for his contributions. Everyone knew his name. I mentioned that sometimes I thought we were too focused on degrees in our field. That much of the work could be learned in other ways. That I had struggles with imposter syndrome because of my MA. He laughed, and said, “Guess I don’t belong in the field then! I only have a bachelor’s degree!”

This post was written by Rachel Thomas, MA. The opinions and assertions stated within this piece are the author’s alone, and do not represent the official stance of the Society of American Archivists. COPA publishes response posts with the sole aim of providing additional perspectives, context, and information on current events and subjects that directly impact archives and archivists.

There’s An Archivist for That! Interview with Kat Siddle, Librarian for lululemon athletica

Portrait of Kat Siddle.

Courtesy of Kat Siddle.

This is the newest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect.  COPA member Rachel Seale, Outreach Archivist at Iowa State University, brings you an interview with Kat Siddle, the Sample  Librarian for the Historical Garment Archive at lululemon athletica.

As a self-described “clothes librarian”, Kat Siddle manages the historical garment archive at lululemon athletica’s headquarters in Vancouver, BC. During her 12 year career, Kat has worked in public, academic, and special libraries, with a short stint in copywriting.

How did you get your gig?

It’s a long story!

I’m technically a librarian, not an archivist. And I got this job because I left libraries for copywriting.

After I graduated, my first full-time position was at a public law library. I liked my job, but after a few years, I started feeling like it was time to move on. I didn’t quite know what to do next. Library jobs were scarce and public law libraries are pretty unusual institutions. I didn’t have an obvious next step. I went back to the drawing board and started applying for non-library jobs. I got a job as a junior a copywriter at lululemon athletica, the company that invented yoga pants. I didn’t have any experience, but I was interested in the apparel industry and I was a good writer. I didn’t know if I would ever end up in libraries again. I did copywriting and content management at lululemon for 2.5 years – and then a role in the archives opened up.

Now I’m librarian running an archive. And instead of books or documents, my archive is filled with clothes. It’s a hybrid library-archive space, because employees can check items in and out, and they’re able to self-serve if I’m not available.

Tell us about your organization.

lululemon is company that makes yoga and fitness clothing, plus accessories and clothes for everyday. It’s known for having an intense culture. It’s very outgoing, sporty and goal-driven—which was a big change for me!

View o f hoodies in pastel and gray shades hanging on a rack.

Garment racks are absolutely essential. They’re my bookcarts. They’re the best way to organize and transport clothing in a workspace. Courtesy of Kat Siddle.

lululemon is a vertical company, which means that we create everything in-house. We develop our own special fabrics and design our own garments, and sell them in our own stores. This means there’s lots of opportunities for information professionals. Right now, there are three librarians/archivists working here.

Describe your collections.

Right now, my collections all contain clothing and accessories. I have a few other products, like bottles of skincare and cans of lululemon-branded beer that we created for our annual half-marathon.  We keep the lululemon products that come out globally every season, plus products made by our Lab line and our little-sister company, Ivivva. Ivivva made clothing for girls. The Ivivva brand will be closing soon, so right now I’m working on transitioning that collection from a “working collection” that needs to be referenced by merchants and designers to a historical collection. I want to capture the aesthetic character of the brand and really honor all the hard work that went into it.

Some day, I would love to keep designer’s sketches and other artifacts from the design process, because I find that fascinating.

What are some challenges unique to your collections?

One challenge is that our accessions are driven by the company’s productivity. The company has been growing, so the amount of archival garments that I’m keeping is increases every quarter—but my space remains the same. So I’m always on the verge of a space crisis.

Another challenge is defining what makes up a meaningful or useful collection. I don’t always know how or why people are using my collections, which can make planning and weeding a challenge.

View of women's mannequins in storage.

Behind the scenes at a clothing company. Piles of mannequins are pretty common, and I almost don’t find them creepy anymore. Courtesy of Kat Siddle.

What is your favorite part of your job?

I love that I have the chance to apply my skills in a design-driven environment. I always wanted to be a special librarian, but many of those positions deal with dry subject matter that doesn’t inspire me the way clothing does. I love working with colours and fabrics. It’s just inherently interesting to me. And I’m always learning — there’s so much I still want to learn from the fields of archives and museum sciences.

9 scrunchies on display, various colors, w/ exhibit tags.

I keep collections of all kinds of clothing and accessories. For some reason, the scrunchie collection is one of my favourites. Courtesy of Kat Siddle.

Stay tuned for future posts in the “There’s an Archivist for That!” series, featuring stories on archivists working in places you might not expect. If you know of an archivist who fits this description or are yourself an archivist who fits this description, the editors would love to hear from you—share in the comments below or contact archivesaware@archivists.org to be interviewed for ArchivesAWARE!

Archives + Audiences: Andretta Schellinger, Historian and Author

 

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Andretta Schellinger of Schellinger Research. Photograph courtesy of Schellinger Research.

This is the latest entry in our Archives + Audiences series, which features the perspectives of archival audiences – scholars, journalists, filmmakers, artists, activists, and more – for whom archives have been an important part of their life and work.  In this post, we feature COPA member Rachael Woody’s conversation with Andretta Schellinger and her experiences using historical materials to write her books.

 

Andretta Schellinger graduated from Pacific University with a Bachelor’s in History and Sociology before attending Hawaii Pacific and receiving a Master’s in Military and Diplomatic studies. While in Graduate school, she received an ORISE Fellowship to work in the records room at the Joint POW/MIA Accounting Command on Hickam Airforce Base, now known as the Defense POW/MIA Accounting Agency (DPAA). After leaving JPAC, she used her experience to start Schellinger Research, a company based on the belief that history should be shared through the digital and physical world and actively works to build the bridge between them.

RW: First, tell us a little more about From Knights to Skulls and The Men Beyond the Stones.

AS: “From Knights to Skulls” is a look at how culture, both military and civilian, affected the artwork, or nose art, that was placed on planes from World War I through Vietnam. It digs deeper than what was painted into the why’s and who of the artwork. While the book is out of publication, McFarland & Co have republished it as “Military Nose Artwork”. The new book is slightly different and updated, as it has a chapter on current conflicts and what the future holds for nose artwork.

“The Men Beyond the Stones” came about due to my never-ending search for information, particularly the who and why of something. I wanted to know who the men were, how they died, and why they were memorialized. It goes deeper than just a snapshot into their lives, as it looks at the creator of the structure, and the one individual who was from the county and died, but was not included.

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Books written by Andretta Schellinger, author and historian. Photograph courtesy of Schellinger Research.

RW: What inspired you to write these books and use historical materials?

AS: “From Knights to Skulls” was my graduate thesis and what inspired me for it was History of Aviation and Airpower, a graduate class I took. I didn’t know what to do my final paper on, and while talking to the professor he suggested Aircraft Nose Art. I was instantly hooked, and during my Artist, Imagery and War I continued with the progression of Aircraft Nose Art. While sadly the professor who introduced me to the topic left the university before I started working on my Thesis, I pushed through and really began to appreciate culture and the way that culture and history are intertwined. Historical documents for that book kind of fell into my lap, especially nose art imagery.

As for “Men Beyond the Stones,” when I first moved to Oregon after living in Hawaii for graduate school, I travelled to Maryhill’s Stonehenge, a fully built representation of what the English Stonehenge may have looked like centuries ago. On the inner circle’s pillars are bronze plaques representing the men who died from Klickitat County during World War I. I wanted to know more about the men other than their name, birth date and death date. Using my knowledge gained in part at JPAC, I started to research. I relied on the military records to give me a good view of what their life was like during service, but for their child and young adulthood I used newspaper articles.

RW: You’ve written several books and articles, can you tell us more about your process and what goes into creating these written works?

AS: When I narrow my focus to a specific topic that I want to research, I make sure to always look for information that was already published. For both of my books, there was not a lot of information published that looked at the things the way I looked at them. For example, there are many books on military nose art, but those that do look at the culture side, tend to skim over that, and focus mainly on the pictures of the planes and the art. Those are great for the general audience, but not what I had questions about.

Or there could be information out there, but not in one location. Like with “Men Beyond the Stones”. There are many websites that briefly touch on the memorial aspect of the stones, but they’re not comprehensive, because the writers were not looking at those specifically, but more as an addendum to their intended focus.

After that I gain the documents I need, be it newspaper articles, military records, or other primary documentation to assist me with my research, I start writing. I am not one of those authors who outlines a book down to specifics and then essentially fills in the outline. Some authors use that method and it works great for them. I am the type that starts typing out what I want to say, with my source material near so I can grab it when I need an answer for something. While it works for me, I do not recommend this technique for everyone.

RW: How do you choose which materials to inform your books?

AS: That really depends on what I am writing about. For information concerning individuals like my current project, or “Men Beyond the Stones” I seek out information about the individual. For projects that are broader or that I haven’t narrowed the focus on, I tend to go broad with the materials and them slim down as I get narrower on my focus. I cannot even begin to count how many resources I started with for “From Knights to Skulls” because I had no idea where it was going to land. As I narrowed down both the culture and art side, I was able to remove sources that were not pertinent.

I believe in including everything that I use, no matter how seemingly unimportant it is, because, especially with “From Knights to Skulls,” it was intended as higher level reading material, and I wanted to give future researchers all of the tools that I had when I wrote it. I do not believe in hiding or leaving things out because ‘I found them’, I am a firm believer in source sharing whenever possible.

RW: Please share a story of one of your great archival finds or a fond memory of an archives visit.

 

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Portable scanning station setup with overhead scanner. Photograph courtesy of Schellinger Research.

AS: When I worked for JPAC, I spent a lot of time at NARA scanning military documents for use to help identify remains brought back by our teams. I remember the first time I walked in, bright eyed and bushy tailed thinking I was going to solve all the problems with my laptop and scanner. Only to be told by the archivist, who I later learned had been there for 15 years and became well acquainted with, that I could not bring in my laptop or scanner until I had taken a test. There I was, about to take on the 1500 files that I had requested of them not a month earlier, having to leave the room to take a test. The archivist personally handed me the test with a look, that I could only describe as pity. Awhile later, she handed me my archive license and told me to be careful with the documents. Off I skipped back to my laptop to start processing and scanning the documents.

 

RW: How have archives helped to inform your work?

AS: In some cases, the archival documents have inspired my work, in that I have found something while searching for something else that has taken me down a rabbit hole. That rabbit hole is usually deep and consists of me having books and documents everywhere in my office. For example, while working on “Men Beyond the Stones” I learned about a unit that I hadn’t heard about before. That has since led me to start researching, and I have a book in process.

Most times, what the archives do for me is to help broaden my subject matter. Sometimes I get hyper focused on one thing, and while reading the documents, I find small branches that can help to not only fill in gaps in my knowledge, and the knowledge I wish to impart in my work, but also to fill out the work itself. One good example is that I hadn’t looked at the use of propaganda as much as I should have when I was working on “Knights to Skulls”, but when I started looking into culture, one thing that kept coming back around was the use of propaganda to manipulate.

RW: Is there something you’re still searching for and haven’t found it in the archives yet? (We know people ;))

AS: I still have some soldiers that I can’t find images for from “Men Beyond The Stones” and while the book is published, I still look to hopefully find that long lost photo. It’s the little voice in the back of my head saying, “you should have looked harder.”

I am currently working on a book about the Lane County Spanish American War deceased, so I am starting to search for those individuals. I doubt there will be many images, but you never know until you look.

RW: Were there any barriers to using or accessing the collections? If so, please tell us about it.

 

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A CZUR overhead scanner used to safely scan materials. Photograph courtesy of Schellinger Research.

AS: One of the biggest barriers that I have discovered is the lack of digitization, which is one of the reasons I started Schellinger Research. It is often impractical to fly around the US or even the World to find that one piece of paper that may make or break your writing. Jobs, families, financial constraints all play a part in creating a barrier for some researchers.

 

For this reason, I’m a big proponent of digitizing and, at the very least, documenting what a collection contains. That way researchers can view the collections from their home, or a local library. I feel this will vastly broaden the collective knowledge available and it will give a voice to those who may under other circumstances be unable to share their resource with the world.

RW: What’s one thing you wish the general public knew about archives?

AS: It’s not just large nondescript buildings that have workers wearing glasses with chains. It’s small archives in the back of museums, it’s cubbies at libraries that are full of documents you can’t check out, it’s in your grandmother’s’ attic (we all have that grandmother who has collected everything about something). Archives can be everywhere and of every size.

Also, archivists don’t just love the material they are processing, but they love sharing it with others. I have had archivists who were giddy with excitement to show me something they found while digging for something I asked for. And in some cases, digging is exactly what happens, because there are not enough days, man hours, or people to process all the archival material that’s being made on a daily basis. Be kind to the archivists in your life, they are the keepers of the materials you may need.

RW: What are some of the reactions you’ve received by writing and publishing these written works?

AS: The reaction from “Knights to Skulls”, and its new incarnation “Aircraft Nose Art” has been quite mixed. Some people love how I got into the culture behind the art, others hate that I didn’t add more images of the planes themselves. Some thought that I did a great job connecting culture to the aircraft art, others felt they could have done it better themselves.

For “Men Beyond the Stones”, the response has been almost universally positive. From people not knowing about the reason Stonehenge is there, to others really appreciating that I looked at it from the service members point of view.

While not all reviews, both positive or negative, are helpful, the ones that are help me to become a better writer, historian, and overall more aware of those around me and how my work affects them.

THERE’S AN ARCHIVIST FOR THAT! INTERVIEW WITH MATHEW BROCK, LIBRARY AND HISTORICAL COLLECTIONS MANAGER, MAZAMA LIBRARY

Mathew Brock, Mazama Library & Historical Collections Manager

This is the newest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect. COPA member Anna Trammell brings you an interview with Mathew Brock, Library and Historical Collections Manager for the Mazama Library.

AT: How did you get your job?

MB: When the position was posted I was volunteering at the Oregon Historical Society in the research library. The then assistant director called me into her office and said, “You NEED to get this job!” At the time I was just out of library school having graduated in the spring of 2014 from the University of Washington’s iSchool. The application deadline was still a few weeks away, so with the help of my wife, I worked and reworked the application questions and did several mock interviews to practice my answers. I submitted my application and held my breath. A few days later I was called for an interview. The first interview was with a member of the staff and a few longtime library volunteers. I was called back later that day for a follow-up interview with the Executive Director. That interview went very well and the next day they offered me the position. In February of 2015, I was hired, part-time, as the first Mazama Library and Historical Collections Manager. I’ve since moved up to a full-time salaried position. 

Vault room containing archives, photographs, and rare book collections

AT: Tell us about your organization.

MB: Founded on the summit of Mount Hood in 1894, the Mazamas is a non-profit mountaineering organization with a legacy of promoting the Northwest culture of exploration and stewardship of its mountain environments. The Mazamas leads over 700 hikes, and 350 climbs annually. It offers a variety of classes and activities for every skill and fitness level, all of which are open to both members and non-members. 

Mazama patches exhibit

Capturing the history of this mountaineering legacy and providing a variety of contemporary resources for Mazamas members and the public is the aim of the Mazama Library and Historical Collections (LHC). In addition to a circulating library, established in 1915, the LHC contains a collection of climbing artifacts and an archival collection. It serves to make available a wide range of records that chronicle the history of the Mazamas and the organization’s place in Pacific Northwest outdoor recreation. Additionally, the LHC serves to document and preserve the actions and activities of the Mazamas committees, and past and current members. 

Mazama Annuals

AT: Describe your collections.

The Mazama Library, one-third of the Mazama Library and Historical Collections is one of the few standalone mountaineering libraries operating in the United States today. Early photographs of the Mazama Clubrooms, as they were known then, reveal a small glass-fronted bookcase that showcased the first books in the Mazama Library. Over the next 105 years, the library acquired guidebooks, technical how-to titles, and rare books on mountaineering. Today, the library is significantly more extensive and strives to meet the varied needs of members, researchers, and the interested public. 

Mountaineering boots

Currently, the circulating collection contains over 7,500 volumes on mountaineering, climbing, bouldering, hiking, canyoneering, trekking, and other outdoor activities. Also, the library’s reference collection maintains full runs of all the major alpine journals and periodicals including the (British) Alpine Journal, the American Alpine Journal, Rock and Ice, Outside, and Backpacker, to name just a few. The library’s extensive biography section holds works by many prominent mountaineers including Sir Edmond Hillary, Lynn Hill, and Reinhold Messner. Rounding out the circulating collection is a small DVD library of mountaineering and climbing films, and a selection of oversized works highlighting climbs, climbers, and mountains from around the world. The collection development policy strives to add books that respond to three questions: How to do it? (technical guides), Where to do it? (guidebooks), and Who did it? (histories, biographies, and expedition accounts). To a lesser extent, the library strives to collect fiction and poetry works related to mountaineering and climbing. The Mazama Library’s non-circulating Special Collection contains rare mountaineering titles from around the world. Several notable books in the collection include a unique, turn-of-the-century copy of Scenes from the Snowfield by Edmund T. Coleman, a first edition of Search for the Apex of America by Anna Smith Peck, and To the Top of the Continent by Dr. Frederick Cook. 

Scrapbook #7, William G. Steel Scrapbook Collections, showing articles from 1894 reporting on the founding of the Mazamas atop Mt Hood.

The archives contain not only Mazamas institutional records, but also preserved manuscripts, photographs, and other documents related to the Pacific Northwest’s history of mountaineering and climbing. A few of the more historically-important photograph collections include those of Mazamas founder William Gladstone Steel, early member Rodney L. Glisan, and the photographer Edward Curtis. William Steel, in addition to founding the Mazamas, was also the driving force behind the creation of Crater Lake National Park. His twenty-volume scrapbook collection, compiled from the late 1880s through the 1920s, details early mountaineering history of the Pacific Northwest, as well as his role in establishing first the Oregon Alpine Club and, after its demise, the Mazamas.  

Small objects collection

The Glisan Photographs Collection spans the 1910s through the late 1930s and documents a wide range of outdoor activities such as skiing, snowshoeing, and hiking, in addition to alpine mountaineering. Edward Curtis, known for his photographic and ethnographic work among American Indians, was also an early mountaineer and Mazamas member. The Mazamas own nearly fifty original Curtis prints that illustrate the Mazamas annual outings to Mount Rainier and Mount St. Helens in 1897 and 1898 respectively. In addition to capturing two early Mazama outings and climbs, the St. Helens collection contains what several specialists consider one of Curtis’ earliest photographs of Native Americans. Rounding out the important photograph collections is the C.E. Rusk Lantern Slide collection. Comprised of over four dozen slides, the collection recounts Rusk’s trip to Alaska and Mount McKinley to verify the first ascent claim of Dr. Fredrik Cook in 1912. 

Wood handled ice axes

The two most used collections in the Mazama archives are the summit register and glacier research collections. For almost eighty years, the Mazamas managed the registers on the summits of all the principal peaks in the Northwest. The logs, many in custom made aluminum boxes designed and manufactured by the Mazamas, record the names of climbers and the date they reached the summit. Also, the registers encompass a wealth of observational data on the climate, geology, and glaciology of the mountains on which they resided. Beginning in 1895, the Mazamas undertook scientific research and observations of glaciers around the Northwest. The Mazamas were early pioneers of using aircraft to document glaciers and their movement. Covering roughly thirty years, this collection offers climate researchers a snapshot in time of the glaciers around the northwest.

Alpenstocks

Begun in the early 1970s, the Mazama realia collection contains historic mountaineering gear from around the Northwest and the world. The collection was started by a longtime Mazama volunteer who noticed that material objects of historical value were being discarded and lost and thus took it upon herself to collect and save them. Over the last four decades, the collection has grown significantly, having amassed more than 8,000 objects. 

Since the organization’s formation, Mazama members have made hundreds of first ascents on peaks and rock formations regionally and around the world. The realia collections include objects from those first ascents, including early hand-forged pitons, Army surplus carabiners, and the first set of crampons made in Oregon. The collection features not only items used on climbs but also unused gear in pristine condition, such as a Goldline climbing rope and a set of climbing shoes from the 1970s. With a primary focus on Mazama history, the collection contains the 125-year-old alpenstock used by founding member Frank Branch Riley on the Mazamas inaugural climb in 1894 and again during the 100th-anniversary climb in 1994. The collection also holds an ice ax once owned by Argentinian dictator Juan Peron, later given as a gift to Mazama member William Hackett. Objects from the collection are frequently on display at the Mazama Mountaineering Center and loaned out to other institutions for exhibits and shows.

Mountaineering clothing

AT: What are some challenges unique to your collections?

MB: Awareness and accessibility are the two main challenges to our collections. When I was hired back in 2015 I think it was safe to say not many of our members knew about the library and historical collections, to say nothing of the public at large. Through a lot of outreach and awareness building that is slowly changing. More and more researchers, authors, and climbers are finding the collections and making use of the. 

Climbing ropes

Access is another ongoing struggle. Putting the library catalog online in 2017 improved awareness and access to the library’s circulating and non-circulating collections. Access to the archives and realia collections is limited by missing or incomplete catalog records with spotty metadata. The largest request is for easy access to our extensive photograph collection, however, less than 10% of the collection has digital access copies. 

Mazama Library

AT: What is your favorite part of your job?

MB: Every day I am amazed at the scope and depth of the collections.  While not a high alpine mountaineer myself, I enjoy hiking and rock climbing. I am astounded by the deep roots that Mazamas have in the history of Portland and the Pacific Northwest. From William Steel’s advocacy for Crater Lake National Park to Henry Pittock’s zeal for climbing, the Mazamas profound influence on our regional history is tangible. Each time I wander the stacks helping patrons, I encounter wonderfully obscure titles, many out of print or unique to this collection. I enjoy the opportunities I have to work with some of our earliest photograph collections. The images of women climbing in petticoats and men in suit jackets amaze me in their formality and inspire me to delve deeper to understand their motivations. Mostly, however, I am driven to come to work every day to help tell the story of this fantastic organization, its history, and its inspiring members. 

Stay tuned for future posts in the “There’s an Archivist for That!” series, featuring stories on archivists working in places you might not expect. If you know of an archivist who fits this description or are yourself an archivist who fits this description, the editors would love to hear from you—share in the comments below or contact archivesaware@archivists.org to be interviewed for ArchivesAWARE!

Archival Identity and Popular Culture: An Interview with Samantha Cross, Creator of the POP Archives Blog

Samantha Cross

Archival representations in popular culture can go a long way in informing and impacting our work to raise public awareness about archives and archivists, which is why we knew we had to talk to Samantha “Sam” Cross, creator of the POP Archives blog!  COPA member Nick Pavlik recently spoke with Sam on representations of archives and archivists in popular media, and what archivists can do to address the cringe-inducing and wildly inaccurate stereotypes we often see.  Sam also writes about archives and popular culture on the American Archivist Reviews Portal.

NP: What was your inspiration for starting the POP Archives blog?

SC: Primarily, there wasn’t a lot in the way of archival literature or online resources about archives and archivists in popular culture. Even as a profession we’ve only scratched the surface of examining archival identity as seen through a pop cultural lens. I like pop culture. I live in a world where the Venn Diagram of pop culture and nostalgia is a circle. I also spend a lot of time explaining what exactly it is I do because a lot of movies and television shows don’t understand my profession and treat it as synonymous with librarians.

I think the most direct inspiration was Leith Johnson’s “Archives in the Movies” at the annual SAA meeting. We spend an hour watching clips, some new, many of them repeats, and laugh at how poorly our profession is depicted, but then I started wondering about the sum total of all those middling to cringe-worthy stereotypes. From there I started making a very long list of movies, tv shows, cartoons, comic books, video games, etc., and a website was born of my ramblings.

NP: Overall, how would you “grade” the popular entertainment industry on its portrayals of archivists and archives?

SC: Not great. Based on the articles I’ve written so far, I’d go C- at best. Some creators put the effort in, but there are a lot that don’t.

NP: What are some of the best portrayals of archivists and/or archives you’ve seen in popular culture?  What are some of the worst?

SC: As a caveat, I haven’t read or seen every and all things featuring archives and archivists. There’s a surprising amount to go through, but some of it takes a lot of time and energy that I need to parse out between work and what resembles a personal life. So, your mileage may vary on this answer.

The best depiction of an archivist, for me, is in the book Record of a Spaceborn Few by Becky Chambers. The head archivist, Isabel, is the oldest living archivist for a fleet of ships that acts as a hub for humanity amid a cosmos of alien life. There’s a lot of philosophy and slice of life vignettes that have stuck with me and I highly recommend it if only for the cute interactions between Isabel and her wife, Tamsin.

Personally, I really enjoyed the Ben Stiller adaptation of The Secret Life of Walter Mitty. Walter is a photograph archivist, but he doesn’t do a lot of archiving so much as he goes on a journey of self-discovery. It’s not a great representation of an archivist, but I enjoyed it, nonetheless.

Worst portrayal? I mean, the archivist of Minas Tirith lets Gandalf drink and smoke all over the Gondorian documents! And that place was such a mess before Gandalf arrived! No wonder it took him ages to figure out Frodo had the One Ring!

NP: How, if at all, do you think representations of archivists and archives in popular culture have changed over time?

SC: Unfortunately, I don’t think it’s changed as much as any of us would like and it depends entirely on the piece of media being consumed. The go-to depiction of an archivist is often white, male, and middle aged, if not older. I’d throw in cis het, but that would mean the archivist gets any character development beyond “that weird guy who inhabits the dimly lit, dusty basement of our university/company.”

Equally as worrisome is the lack of archivists featured in a piece of media where they should absolutely be present. If you watch any urban fantasy television show, Supernatural, Grimm, Sleepy Hollow, Buffy, etc., they always need to do research to legitimize the threat and justify killing the monster. And wouldn’t you know it, they find what they’re looking for without help or aid from someone with – I don’t know – a background in records management and/or archival science. How did the documents get there, Sam and Dean? How did they get there?

NP: What do you think are some of the real-world impacts on archivists of the ways in which we are generally portrayed in popular culture?

SC: The major real-world impact is the same as it ever was, no one outside of the archival community knows what we do.

Whenever I tell someone I’m an archivist, the first response I get, 9 times out of 10, is “Oh, like Indiana Jones!” It says something when the earliest reference most people have for your job is three decades old and it isn’t even the right profession! And when people don’t know what you do, or conflate it with libraries and museums, then you end up with a profession perpetually stuck between a dated/incorrect reference and a thin media landscape offering little to no alternatives capable of penetrating the pop culture bubble.

It doesn’t help when journalists cover stories about the archives like they’re the first to explore forbidden territory. Historians always “discover” something in the archives regardless of the time and effort put into processing collections and help provided by archival staff. We’re invisible at the best of times and at the worst of times we’re spotlighted for blurring images and perpetuating imperialist practices regarding the records of marginalized communities (which we should absolutely be called out for).

It adds up. No one knows what you do, pop culture paints a confusing picture, and the real-world counterpart is either invisible or nefarious. We have severe trust issues internally and externally, is what I’m saying.

NP: Have you thought about how archivists could be more proactive in attempting to influence (or correct) the ways in which we are represented in popular culture?  If so, what are some of the ways in which you think we could do that?

SC: I think the only way to be proactive is to acknowledge the portrayals and course correct. The last presentation I gave at work, I showed an image from Raiders of the Lost Ark (you know the one) as an example of what is “Not an Archives” and then I showed an image from Captain Marvel as an example of “An Archives”! It was entertaining, they were engaged, but I can’t tell you if any of those people who came to the presentation kept it in their brains after the pizza ran out and they left the room.

Repeatedly engaging with the public, maybe some aggressive outreach, is really the only way to change perceptions of archivists and archives. Movie nights are great for that. If your institution or company is up for it, doing an #AskAnArchivist day at work gives you the opportunity to squash those poorly conceived depictions. Even if they don’t ask you a direct question about archives in film, just getting to know you is the bigger win. And maybe they learn that you were a horse girl in high school.

NP: Have you considered authoring a novel, screenplay, etc. of your own that portrays archives and archivists in a more accurate and revealing light?  Or perhaps a blockbuster movie series all about the adventures of archivists (please)?  When can we expect to see that?

SC: Believe me when I say that the thought has crossed my mind, but there aren’t enough hours in the day! I did write a short script for a writing contest that featured three archival staff members describing boxes that contained actual odd items submitted by donors. I didn’t win, but it happened!

I will say that I’m a big advocate for SAA putting an anthology together of short stories, poems, etc. created by archivists. The fiction contests SAA ran the last few years were a rare opportunity for archivists to center ourselves as the protagonist, if not the hero, of a piece of fiction. Identity is and always will be an important factor to any professional and archivists are no different. Every archivist has a story. Every archivist has a perspective uniquely their own. Every archivist experiences the world differently and we need to let that aspect of our profession thrive. The more art produced by archivists, in whatever the format, the better our community is for it.


Samantha “Sam” Cross (She/Her) is from Seattle, WA where she works as an archivist at CallisonRTKL, Inc. A self-proclaimed sponge for information, when Sam isn’t being an archivist she’s typically immersed in comic books, movies, music, and television, never shying away from talking about or analyzing pop culture minutiae. As a means of combining the two things she loves, POP Archives (https://www.pop-archives.com/) was born, a place for Sam to analyze the depictions of archives and archivists. You can also follow her on Twitter @darling_sammy for even more hilarity and inane ramblings.

There’s An Archivist for That! Interview with Susan Malsbury, the Director of the Estée Lauder Companies Archives

 

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Photograph courtesy of Susan Malsbury

This is the newest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect.  COPA member Rachael Woody, owner of Rachael Cristine Consulting LLC, brings you an interview with Susan Malsbury, the Director of the Estée Lauder Companies Archives.

 

Susan Malsbury graduated from Earlham College with a Bachelor’s Degree in English and continued her graduate work at Pratt University, obtaining a Master’s in Library and Information Science and Archives with an Advanced Certificate in Archives in 2009.

Susan’s first archival work was volunteering at the Maine Historical Society in Portland, Maine, where she cataloged glass plate negatives from the Portland Press Herald and mariner maps. In 2007, Susan interned at the Guggenheim Museum and in the Manuscripts and Archives Division at the New York Public Library. Upon the completion of her internships, Susan was offered a project position at NYPL to be assistant archivist on a project to process the 1939/1940 New York World’s Fair records. Susan remained at NYPL for 12 years, becoming a Manuscripts Specialist in 2010, and the Library’s Digital Archivist in 2014. While at NYPL, Susan worked on complex audiovisual collections, such as the Gay Men’s Health Crisis records, and a wide variety of hybrid collections, from publishing house records to artist papers. In 2018, Susan began working at the Estee Lauder Companies Archives as the first ever Manager of Digital Collections and became the Director in 2019.

Susan has lectured extensively on digital archives and is currently the Chair of the Society of American Archivists Electronic Records section.

RW: How did you get your gig at the Estée Lauder Companies (ELC) Archives?

I began working at the ELC Archives in 2018. I had not been actively looking for a new job, but a friend sent the job listing to me and I was intrigued. It was a Manager of Digital Collections position and the role was to build a digital archives program, support the development of a collection management system, and oversee all digitization. I had been at the New York Public Library for twelve years, most recently as Digital Archivist, where I helped build the digital archives program from a project-based approach to a programmatic model. The idea of building a program from the ground up was intriguing and I also thought it would be good to get experience at another institution, as I had spent my entire professional career at NYPL. After a year at ELC, the Director of the Archives left and, after a brief acting period, I assumed the role. It was an unexpected career move but has been an incredible experience to lead a busy corporate archive through what has been a very transformative time!

RW: Please tell us about the Estée Lauder Companies.

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Ronald Lauder, Estée Lauder, and Leonard Lauder in 1972 at the GM Building, the Company’s global headquarters since 1969. Photograph courtesy of the Estée Lauder Companies Corporate Archives.

The Estée Lauder Companies is one of the world’s leading manufacturers and marketers of prestige cosmetics. The Company was founded in 1946 by Estée Lauder and Joseph Lauder. Estée handled all product development and marketing, while Joseph oversaw finance and operations. The Estée Lauder brand launched with four main products that she sold at beauty salons around New York. The brand grew rapidly and both the Lauders’ sons eventually joined the Company, Leonard Lauder in 1958 and Ronald Lauder in 1964. The family is still very involved with the Company today, including now fourth generation family members.

 

The Company began creating additional brands in-house on the premise that it was better to make its own competition through separate brands that had distinct brand positioning. Aramis, a men’s fragrance and treatment brand, was launched in 1963. Clinique, the first dermatologist-created, allergy-tested and fragrance-free brand, came soon after in 1968. In 1979, Prescriptives launched as a color authority and was one of the first brands to offer custom blended foundation to match a wide variety of skin tones. The last in-house brand was Origins, founded in 1990 as the first prestige wellness brand that fused natural ingredients with science. After Origins, the Company shifted to fragrance licensing and acquiring already established companies; the first fragrance licensee was Tommy Hilfiger in 1993 and the first brand acquired was MAC Cosmetics in 1994. The Company currently owns 29 brands, including Aveda, Jo Malone London, Bobbi Brown, and Tom Ford Beauty, and is truly a global company with products sold in 150 countries and 48,000 employees worldwide.

Additionally, the Company has had a longtime focus on philanthropy through its Citizenship and Sustainability initiatives. The Breast Cancer Campaign was founded by Evelyn Lauder in 1992 to increase awareness and fund global research, education, and medical services. A little-known fact is that Evelyn Lauder co-created the iconic pink ribbon which has been adopted by breast cancer initiatives worldwide! The MAC AIDS fund was established in 1994 and has raised over $500 million dollars for AIDS organizations through the sale of the Viva Glam lipsticks.

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A portion of the Archives’ heritage exhibit. Courtesy of the Estée Lauder Companies Corporate Archives.

The Archives was founded in 1991 by Leonard Lauder with the mission to collect, preserve, and make available the rich heritage of the Company and its diverse portfolio of brands. The goal of the Archives is to be the center of research and inspiration for the Company, to drive creativity and innovation, and to foster an appreciation and understanding of the Company’s heritage and development. While the Archives started off as a packaging library from the four core brands, it has expanded to include products from all brands as well as any public facing material or material that informs the consumer experience. We also hold select corporate records and the personal papers of Estée and Joseph Lauder.

The Archives has grown significantly from its initial home – like many archives, a closet in the basement of the corporate headquarters – to a full-floor facility in midtown Manhattan. We also recently opened a second archival processing hub in Long Island City. Our main office in Manhattan contains storage for a quarter of our collection, workspace for product processing, a heritage exhibit, and an on-site digitization lab. The heritage exhibit highlights the founding of the company and four core brands by the Lauders, and showcases key products and marketing innovations. Archivists give heritage tours regularly to new employees or by special request, providing over 100 tours a year.

RW: Please describe the collections.

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Estée Lauder Crème Base Face Powder, circa 1960. Examples of product photography. Courtesy of the Estée Lauder Companies Corporate Archives.

Each brand has its own collection, and there are three additional collections for corporate records, the Lauder Family, and the Breast Cancer Company. The collections are broken into two main categories: packaged goods (products and packaging) and archival material (everything else). Currently, the Archives contain 75,000 products, 8,000 linear feet of archival material, 20,000 audiovisual items, and over 60 terabytes of born-digital files.

Products and packaging consist of fragrances, color cosmetics, skincare, home goods like room sprays and candles, and even ingestibles (Aveda’s Comforting Tea and Origins’ Peace of Mind gumballs). Our earliest products are from the 1950s and our latest products are ones that have not yet hit the markets. As the Archives receives two copies of each new product from every brand, we’re expanding by two to five boxes of products each week, depending on the season. We currently have an in-house digitization lab where products are photographed according to museum standards; a color chart is used to ensure 100% color accuracy of packaging and makeup shade.

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Clinique Supplementary Lashes, 1971. Examples of product photography. Courtesy of the Estée Lauder Companies Corporate Archives.

The archival material consists of creative material, collateral, advertisements, education and marketing material, and files related to the Company’s many philanthropic endeavors, much of this increasingly arriving in born-digital form. Additionally, the Archives contains a good deal of special formats like garments, awards, and counter displays. One of my favorite recent acquisitions is the corset that RuPaul wore in the iconic Viva Glam ad! The vast audiovisual assets consist of commercials, tutorials, fashion shows, and media appearances.  We have historically received transfers of material when an office moves or is redesigned or an employee retires. In the future, we plan to develop regular transfer schedules so that we are assured we are getting all material identified as having archival value.

The Archives also runs an Oral History Program, overseen by Marion Jaye, the Company’s first archivist. Marion has conducted 48 interviews with longtime employees, collecting valuable institutional knowledge and stories that truly bring the Company’s heritage to life.

RW: What were some challenges unique to the collections?

One of the biggest challenges is the sheer variety of material types which require separate processes for accessioning, description, conservation, digitization, and access. Two factors that have helped manage these complex collectives are the development of a new collection management system and moving towards a staffing model that encourages expertise by material type.

The Archives uses customized versions of Collective Access for our CMS and our front-end archival portal, allowing users to access our catalog and select digital assets through a beautiful internal website. It was a true team effort to develop cataloging schemas that worked for all the material types in our collection while at the same time ensuring that our controlled vocabulary would be understandable to our user base. The former Director, Adrianna Slaughter, wrote a wonderfully thorough article about this process that everyone should go read! Having a customized system allows us to catalog fields specific to products and packaging, audiovisual, physical archival items, and born-digital files in separate modules that work synergistically in the same system. Collection management fields allow us to track an object’s provenance, and – for physical material – the condition, collection use, and availability and quality of digital derivatives.

We also have a large amount of legacy data in spreadsheets and files from past digitization projects on hard drives. Over the last year and a half, I have been vetting the quality of the metadata and standardizing legacy metadata so that it can be imported into the CMS. The audiovisual spreadsheets were an excellent candidate for this treatment; following my audit and remediation, we now have over 6,500 catalog records that can now be reconciled with a physical audiovisual object and/or a digital derivative, and then pushed to our front-end website for viewing by our users.

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Audiovisual catalog record with media player on the front-end website. Courtesy of the Estée Lauder Companies Corporate Archives.

Another challenge is that, as a corporate archive, we can never close a collection for research. Processing projects require an additional level of strategic planning to ensure that material remains accessible to our users. Sometimes this can create unexpected opportunities to advocate for the Archives. Archivist Laura Donovan recently finished processing the MAC Cosmetics collection and has hosted research appointments at our Long Island City processing hub. These users have loved seeing a processing project in action, and a visit really drove home the scope of our archival work. It is one thing to describe the size of a collection, and quite another to walk into a room where all record cartons are on full display, neatly labeled and arranged on shelves.

RW: What is your favorite part of the job?

I have a few favorites, but the biggest is that I work for a Company that truly values its heritage and thus the Archives. You can see this firsthand in this fun video when the Estée Lauder brand had their spokesmodel, Karlie Kloss, intern at the Archives for a day. There’s often a challenging tendency in archives to have to constantly justify your existence; but at ELC, we are given the resources we need to focus on archival processing, provide reference services, host tours, and support special initiatives. These special initiatives include supporting media opportunities, creating educational programming for employees, and co-curating pop-up and permanent exhibits. No two days are ever the same and that makes the work tremendously exciting. It’s also exciting to see brands use the Archives for product development. Archivist Chelsea Payne, who oversees most reference requests, has seen an increase in brands requesting to see examples of refillable cosmetics as the Company seeks to make more sustainable packaging.

Personally, building out the front-end archival website has been an incredible project to work on and one of my proudest professional accomplishments thus far. The site will launch to ELC employees in June after a two-year development project that began last fall. I have learned a tremendous amount, from application development to designing an archives system for users who may be new to archival research. We decided to forgo the traditional bio/history note and instead created a chronology feature where chronology events were categorized by the following fields: Business, Events, People, Products, Regions, Events, and Philanthropy. Users will be able to select multiple categories and export those results to a PDF or an Excel file which provides more value to our users than a narrative history. I was also able to harness what I learned at NYPL to build out functionality to provide access to born-digital material directly through our site, including automatically capturing original files names as a metadata field.

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An example of a collection’s page. Courtesy of the Estée Lauder Companies Corporate Archives.

This past winter, I ran two user testing phases and have been meeting with stakeholders across the company to demo the site and highlight points of collaboration. Unexpectedly, these meetings have provided wonderful opportunities to build visibility and highlight the Archives work. I previously mentioned that the Archives is in a transformative time. When our site goes live, it will provide all our employees worldwide with access to the Archives, previously only available to New York City-based employees. It is an exciting time to make a truly global archive for a global company.