This is the latest post in our new series Archival Innovators, which aims to raise awareness of the individuals, institutions, and collaborations that are helping to boldly chart the future of the the archives profession and set new precedents for the role of the archivist in society.

Rachael Cristine Woody is the owner of Rachael Cristine Consulting LLC, a firm that provides services to archives, museums, and cultural heritage organizations. She specializes in establishing collection programs, teaching grant acquisition strategy, and implementing digital collection management platforms. During her 15 year career she’s successfully revived the archives at the Freer|Sackler Museum of the Smithsonian Institution and launched the Oregon Wine History Archive at Linfield College. Woody is active in Northwest Archivists and the Society of American Archivists’ Committee on Public Awareness, the Ad-Hoc Salary Transparency Working Group, and the Independent Archivists group; and is an alumna of the Archives Leadership Institute.

Q: What is the Archivist-in-Residence program?

RCW: The Archivist-in-Residence program offers $5,000 stipend for one graduate student (or recent graduate within two years) to receive an Archivist-in-Residence opportunity. The purpose of this residency is three-fold: 1. To offer upcoming and new professionals with paid career development opportunities to apply knowledge in archives, libraries, museums, or a related field; 2. To teach new archivists how to accurately calculate the value of their education, experience, and overall value as an archivist; and 3. To provide an opportunity for archival organizations to work toward the long term goal of eliminating unpaid work within the field. This is a unique experience for a new professional to develop a project based on their career goals and work directly with an organization to determine the project’s scope and outcomes.

The Archivist-in-Residence application is now open with a deadline of March 1, 2021. You can read more and find instructions for application here.

Q: What was the impetus for the creation of the program?

RCW: For several years now I’ve researched and written on the value of archivists. Our profession is chronically underpaid and the numbers show (when accounting for inflation) that the salaries for archivists are going down, not going up, not even staying the same. The standard entry job position descriptions we see out there are requiring a masters degree, sometimes two, in addition to 1-3 years of experience. And the degree most commonly sought and “required” (according to most job positions) has a minimum 5-figure dollar amount attached–leading to even more crippling student loan debt. Due to two recessions in 12-years and other market factors, there are more entry-level archivists than there are jobs. All of these issues are contributing to a profession on the brink of collapse. So, how does this relate to why I created the Archivist-in-Residence program? Partly it’s because we have to start somewhere when it comes to untangling this problem. Unpaid internships are unethical. They take advantage of people by forcing new professionals into the untenable position of uncompensated labor that takes time away from their paying jobs. And on top of that, many of these unpaid interns are paying for the “opportunity” of unpaid work because school credit costs money.

What it comes down to is this: If we as professional archivists aren’t paying new archivists to do professional-level work, then we are not just perpetuating an unethical system, we are actively facilitating the devaluation of our work.

Additionally, unpaid internships serve to contradict and undermine any Diversity, Equity, and Inclusion initiatives the organization may claim to be committed to. Unpaid internships are a gatekeeping mechanism–only those who can afford to complete unpaid work will pass through to become an archivist. And at this point we should all be aware that the socioeconomics at play here have racial oppression corollaries.

Q: What challenges did you face in starting the program and how did you navigate them?

RCW: The most pervasive challenge I ran into were people on the NWA board who couldn’t conceive of how the program could work. I had to attend several NWA board meetings, write several explanative emails, and address multiple rounds of Q&A before I received the green light to start the pilot program. I’ve found the overall nature of archivists tends to be overcautious, and to be fair this type of program had never been done at a regional organization before. It was uncomfortable for them and they needed a lot of information (sometimes repetitively) to feel confident in saying: Yes. What it came down to for me was persistence and constant communication.

Q: Why do you think there aren’t more programs like this one available?

RCW: I think what I experienced (mentioned in the previous answer) is commonly found in many organizations. Also, this is a complicated problem. I know many archivists want to pay interns but the organization either doesn’t have money period, or chooses not to prioritize funds to appropriately fund internships. For example, a colleague shared with me that their historical society was offering an internship stipend below minimum wage. This caused them great concern and they took this concern to the director. The director was shocked. They simply hadn’t done the math and they increased the stipend the following year. What’s needed at many organizations is education on living wages and professional-level pay, advocacy from staff to force changes at the organization, and fundraising when more funds are needed. And that’s all going to take time.

To read more about reprioritizing the budget, please see Rachael’s post on Lucidea’s Think Clearly Blog: Unpaid Internships: A Reason to DEAI the Museum Budget.

Q. What is the ideal outcome you hope to achieve with this program?

RCW: My ideal outcomes are two-fold: 1. Teach archivists how to calculate their value and reenforce that value with an increase in appropriately paid opportunities; and 2. Show organizations that we can be part of the solution. And overall, I want new professionals to have a better experience than I’ve had in this profession. Recognizing and paying each other our worth is the ultimate sign of respect and I want more of that in our profession.

Q: What barriers or challenges did/do you face?

RCW: In addition to the above, the most frustrating opposition I receive is the old line of: “But these students need to have an internship in order to graduate and get a job. Do I just not hire them (as an unpaid intern)?” Look, it’s not all or nothing here. This is a complicated problem that requires multiple angles of attack and it’s going to take time to create permanent change. When I say unpaid internships are unethical, I’m not saying stop everything immediately. I know that’s unrealistic. But what I am doing is challenging *you* to make steps towards change. Prioritize finding funds to pay students and stop capitulating to the superficial resistance of the “But we’ve always done it this way.” crew.

The other challenge that we will continue to face is lack of available funding at our organizations. This has always been a problem, and will remain a problem as we watch COVID-19 continue to wreak havoc economically. Some of this is reprioritizing budget lines to prioritize staff and intern compensation (a direct DEI support mechanism), and fundraising funds from donors or grants–both of which LOVE to pay for student labor. Knowing that organizational funding can be such a challenge is part of why I chose to found and sponsor the Archivist-in-Residence opportunity.

Q: What worked? What didn’t work? Were there any surprises in the process of developing your work, or lessons learned that you can share with us?

RCW: Fundraising took work, but was ultimately a smooth process. It helped that my company funded 50% ($2,500) for the first residency, because that meant we had a solid foundation to move the residency forward as a possibility. The other pleasant surprise was the team I’ve had the pleasure of serving with. This residency model is common in the arts, but there was no model for us in the archives field at a regional organization. We had to figure out application, financial, and other logistics from scratch. After working with them closely on this program for going on 2-years, I can say this has been the best committee I have ever served on. They have each worked hard and have been incredibly dedicated to all aspects of the creation of this pilot program. They are:

Erin Stoddart, University of Oregon (Oregon)
Kathryn Kramer, C.M. Russell Museum (Montana)
Laura Cray, Oregon Historical Society (Oregon)
Rachel Thomas, George Fox University (Oregon)
Sara Piasecki, National Park Service (Alaska)

Q: Where would you like to see the work continue?

RCW: For the Archivist-in-Residence program at NWA, I would like to see our program moved from pilot to permanent and to increase fundraising so that we can fund more residency positions. More broadly, I would like to see other regional and national organizations adopt this type of program, in addition to doing their part to advocate for and protect the value of our collective labor.

Q: What tips do you have for budding innovators?

RCW: Creating something new is challenging and risky. A lot of people are going to say no, because that’s what they’re comfortable with. Failing is a possibility. However, trying new things, challenging the status quo, and creating new opportunities are the only way we’ll be able to move forward.

We have to be our own heroes here and save ourselves.

Q: What is your favorite part of this program?

RCW: Once our first resident got started and again when they completed their residency, I felt such pride. It took a lot of work to make the residency a possibility, especially during COVID-19, and I am so so proud of myself, my team, and Abbey for the incredible work we’ve done.

You can read more about Abbey (the first Archivist-in-Resident) and her project here and here.

Q: What’s next for you?

RCW: I have been pondering this myself. I would like to see the Archivist-in-Residence transition into a permanent program, and I think I will spend more time this next year on performing larger advocacy work for archives and museums as COVID-19 has had a devastating financial impact. To read more of my thoughts on this issue, please see the post I wrote for the Northwest Archivists’ blog: 5 Actions to Take Right Now to Combat COVID-19 Economic Fallout.

Q: How can people connect with you to learn more about your work?

RCW: They can reach me or learn about me on the following accounts:

Email: consulting@rachaelcristine.com
Website
Linkedin
Twitter
YouTube
Newsletter

Q. Is there anything else you’d like to share with us?

RCW: Yes, I’d like to take a moment and thank our co-sponsors for this project. We just signed on a second group of sponsors who I am particularly grateful to as I know COVID-19 has impacted everyone. Many of these sponsors are doing so for the second year in a row and their involvement in supporting this program signals to me that they are companies who have a great respect for our work as archivists. Those Gold-level sponsors are: Schellinger Research, Lucidea, Emporia State University School of Library and Information Management, Hollinger Metal Edge, and Permanent.org. With Gaylord Archival and the Northeast Document Conservation Center supporting this program at the Bronze-level.

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Do you know an Archival Innovator who should be featured on ArchivesAWARE?  Send us your suggestions at archivesaware@archivists.org!

This is the latest post in our new series Archival Innovators, which aims to raise awareness of the individuals, institutions, and collaborations that are helping to boldly chart the future of the the archives profession and set new precedents for the role of the archivist in society.

In this installation of Archival Innovators, SAA Committee on Public Awareness (COPA) member Rachael Woody interviews Ariane Moser on Artive, a U.S. non-profit for the protection of cultural property through the use of technology.

Ariane Moser is COO of Artive Inc. and has gained a wealth of art world experience including risk management, research and due diligence while working for galleries in Switzerland and companies like the Art Recovery Group and ArtBanc International in London. Ariane is also Chief Art Officer at ArtRatio, where she further explores her interest in the relationship between the art world and technological innovations. She studied Art History and Sinology at Zurich University and holds an MA in Art Business from Sotheby’s Institute of Art.

Q: Please describe Artive’s innovation on the traditional database and how it works to identify, return, protect, and preserve cultural heritage items.

From the very beginning, Artive’s vision had been to build a database that would be highly scalable, flexible and adaptable to future technological advancements. The database has also incorporated a number of technological features that help identify claimed works of art and maintain the independence of the data held on behalf of registrants. In addition to your regular field searches and free text/keyword field searches, the Artive database also operates with integrated image recognition technology and blockchain anchored timestamps of data that has been provided for searches against the database.

Q: Where did the idea to create Artive come from? What inspired it?

Initially, the database was created to address the current modern-day risks that could impact the safe transaction and movement of works of art and cultural property. It was important to have a platform that independently collected and reported on claims that go beyond theft, plunder and missing object – legal disputes, unauthorized reproductions, loan agreements, illegal exports, financial liens are some examples of other risks that could go undetected if not checked prior to a transaction.

With time, we felt that our mandate grew beyond advising and providing tools for risk management. This was also about telling the stories that travel with the objects. So, it quickly also became about raising awareness of objects and their history and so much of our work is inspired by connecting and telling those stories.

Q. What barriers or challenges did you face?

As is a challenge for every non-profit, securing funding has always and will always be a challenge that comes with this “trade”. Other barriers that we faced were much subtler. A side effect of our main work – collecting and registering claimed works of art and cultural property – is a potentially more transparent marketplace. And perhaps that is where it may clash with the mentality and the dynamic of current art market procedures. Finding collaborations within the art market, which is also where the very objects that we are recording are circulating, has therefore not been easy at times. This is ultimately a challenge because we need those alliances to make a difference.

Using technology as a tool to do our work may also sometimes bear its own challenges in a market that has been known to be rather on the slower side of keeping up with technological developments. It is in our nature to be hopeful, though, so perhaps this year’s pandemic will have shown that there is great potential in utilizing technology, resulting in sensitizing users to the advantages of working with digital tools.

Q. Please share an example of how Artive has been used to identify, return, protect, and preserve cultural heritage.

This year, Artive received a request for a search of an object against the database prior to a sale. The buyer had requested a due diligence report be run on the object of interest. In the process, a match with an already claimed work of art was identified.

Not one case is the same as another and so how we proceed from a point of location and identification will always depend on who is involved, if the object is still part of an active investigation, in what countries the different parties are etc.

What happened in this case, was that Artive was able to bring the theft victim, the current holder and a trusted, independent recovery expert (Art Recovery International) to a round table, so that – through mediation – the object could be returned to its rightful owner.

Of course, the same scenario can apply to cultural artefacts being sold on the private and public market, where a nation or community has a claim on an object…if we manage to locate, identify and flag objects that shouldn’t be circulating and that shouldn’t be sold, then that ultimately contributes to their protection.

Q. How does Artive use archives and archival records to aid in Artive’s work?

In single instances, Artive uses archives and archival records as part of any in-depth provenance research projects. Artive is, in a way, like an archive in digital format itself. Artive’s goal is to seek partnerships and relationships with as many archives as possible in an effort to either link or digitize the archival material. The broader the audience and the access to relevant information, the higher the chances of locating and identifying objects become.

Q. In your own words, how would you describe the importance of archival records?

To me personally, archival records are like witnesses, giving testimony beyond the lifetime of what they’re recording. There is no research without archival records. Without this documentation, there is no understanding of our past and therefore, there is no conscious knowledge of our present and future. Archival records are gatekeepers to the different realities and truths that have existed before us and the evidence they hold is invaluable and irreplaceable.

Q. What tips do you have for budding innovators?

If you’re fortunate, you will have assembled a team that is diverse but that shares the same DNA. A strong team will make it possible to drive your mission forward and inspire other people to join you. It may feel like you’re sprinting the length of a marathon at times, but so long as you’re open to change course without losing sight of your vision then you will find it easier to keep going. And you don’t have to do it alone, either. Build networks and partnerships with like-minded peers, share resources etc. As much as we like to be independent and shake off our competitors, we are all interconnected and there is great value in collaboration.

Q: What’s next for Artive?

We are still focused on our two initiatives, the Open Access initiative and the Digital Outreach initiative. The vision really is to diversify both, the types of claims and the types of objects that are registered on the database and make it all accessible to the public. We would like to build as many bridges to other custodians of digital data so that the world can become a more connected world.  

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Do you know an Archival Innovator who should be featured on ArchivesAWARE?  Send us your suggestions at archivesaware@archivists.org!