THERE’S AN ARCHIVIST FOR THAT! INTERVIEW WITH JENN PARENT, REFERENCE ARCHIVIST, THE MUSEUM OF FLIGHT

This is the latest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect. In this entry, Committee on Public Awareness (COPA) member Anna Trammell brings you an interview with Jenn Parent, Reference Archivist at the Museum of Flight. 

[Reference archivist Jenn Parent in front of mural by Henry at T

Jenn Parent, Reference Archivist at the Museum of Flight in Seattle, WA

How did you get your job?

I came to archives and The Museum of Flight as my second profession, having spent well over a decade working as a bookstore manager. I loved helping people find books but at the same time I always felt limited in how I could help people. So, I went back to school to get my Masters in Library and Information Science with the goal of becoming a special collections librarian or an archivist. I did two internships at The Museum of Flight during grad school (one in the library, one in the archives), and due to the positive internship experiences I had, I added the organization to my “watch list” for jobs. About a month or so before graduation I saw an opening for a part-time Processing Archivist and applied. I got that job and started in July 2017. Then, in late December 2017, I was promoted to Reference Archivist, and I’ve been doing that since.

[Group portrait of Pan Am flight attendants]

Group portrait of Pan Am flight attendants, circa 1960s-1970s || The Denise (Babcock) Schmidt Pan Am Flight Attendant Collection/The Museum of Flight

Tell us about your organization.

The Museum of Flight is the largest private non-profit air and space museum in the world. Contrary to popular thought, we are not part of Boeing and never have been (although we enjoy a good relationship with Boeing!). With over 150 air and spacecraft, dozens of exhibits and experiences, and all kinds of programming and educational offerings The Museum of Flight (TMOF) is devoted to the preservation and sharing of aviation and aerospace history and technology. 

I work as part of the Collections team, which includes the Harl V. Brackin Library, The Museum of Flight Archives, and our small object collection. As the Reference Archivist, my main job is (you probably guessed it!) to answer reference inquiries, which are mostly related to photo requests and general research/reference. If an inquiry requires in-depth curatorial knowledge, it gets assigned to our Curators. On average, I personally handle 30 to 40 reference inquiries per month. We get requests from all over the world and our researchers vary, from students of all ages to authors to model makers to aircraft restorers and more. 

When I have time, I also still process and catalog archival collections because I love processing. It adds to my knowledge of the collection so I can better assist researchers, but also I just love making collections accessible for folks to use! In addition, I contribute to outreach efforts, such as participating in our monthly “Coffee with the Curator” (a themed presentation with materials on display from the library, archives, and objects), writing articles, leading Library & Archives tours and/or giving presentations about the Archives, and contributing to our team’s Instagram (shameless plug for @tmofcollections)! And of course, I help with “other duties, as assigned.”

[African-American Rosies with Boeing B-29 Superfortress]

African-American “Rosies” with Boeing B-29 Superfortress || Credit: The Museum of Flight Collection

Describe your collections.

The Museum’s collection contains over 25,000 small objects (classified as anything smaller than an aircraft), over 90,000 books and periodicals, over 18,000 aircraft manuals and technical reports, and nearly 5,000 cubic feet of archival materials. 

Our archival collections contain materials that document the entire evolution of manned flight, from the Wright Brothers to modern jet travel to space exploration. We have an estimated four million images, including photographic prints, film and glass plate negatives, slides, and transparencies. Our paper-based materials include maps, charts, drawings, blueprints, log books and diaries, manuscripts, research and technical documentation, correspondence and philately, and airline ephemera such as tickets, timetables, brochures, and luggage tags. 

What’s really awesome is that we’re becoming more publicly accessible, which is fantastic! We’re always open to the public via the Dahlberg Research Center. You do not need to be a Museum member or pay admission to visit us but we do recommend/prefer an appointment! But we can also be accessed via our Digital Collections, which went live December 2017 and currently has over 6,500 digital images and 100+ oral histories with more content being added on a regular basis. And in April of this year (2019), we also launched our public research portal, where folks can browse finding aids from our collection. We add to it weekly, and it currently has just shy of 300 collections, which is about 10% of our collection. We also encourage folks to reach out and ask if they don’t see something online, as these are just fragments of our collection!

[Convair (Theodore P. Hall) 118 Convaircar]

Convair (Theodore P. Hall) 118 Convaircar || Credit: The Peter M. Bowers Collection/The Museum of Flight

What are some challenges unique to your collections?

I don’t have an aviation or aerospace background so describing the technical aspect of many of the aircraft collections can be a bit daunting. Luckily, our Curators are great at helping me understand things so I can correctly explain it in a finding aid or to a researcher.

I’d also say our building is a bit wonky. It was originally meant to be a hazmat storage facility but was never used in that manner that we know of (at least I haven’t grown a tail yet). The building has very thick concrete walls and floor and a very thin aluminum roof, so in the event of an explosion, the roof would be forced up and (in theory) the walls and floor would withstand the blast, leaving only the roof to replace. Additionally the floors are very slick and slightly sloped (in case spills needed to be hosed into the also-present drains that happen to have gaps the exact width of a library cart wheel). This makes adding shelving quite a chore, as you can imagine. 

JennStacks

Jenn Parent at work at the Museum of Flight

What is your favorite part of your job?

 That’s a tough call. I really like continuously learning and encountering material that sparks an interest or moment of “Wow!” (so many rabbit holes to go down – like did you know Goodyear made a plane out of rubber? Look it up – the Inflatoplane!). I also enjoy that my days can be quite varied based on what I’m up to that day. From answering a photo request about the Aero Spacelines Super Guppy to giving a tour to students or from making “frankenfolders” to house oversize materials to helping relocate a missile in our storage area, it’s never dull. 

But I think my real favorite is simple – being able to successfully guide a researcher and help fulfill their information need, especially when they reach out to me with what they may think is a long shot. I recently had a researcher ask me if it was fun being both useful and magical. A resounding yes!

 

There’s An Archivist For That! Interview with Brad San Martin, Digital Archivist, Apollo Theater

This is the latest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect. In this entry, Committee on Public Awareness (COPA) member Rachel Seale brings you an interview with Brad San Martin, Digital Archivist for Harlem’s Apollo Theater.

Brad San Martin

Brad San Martin. Photo credit Amber Duntley (www.flickr.com/adunt).

Prior to entering the archives field in 2015, Brad San Martin worked in the music and travel industries as a copywriter, content developer, and product manager, among other roles. He has also produced and/or annotated a number of acclaimed historical CD reissue projects, including Kevin Dunn’s No Great Lost: Songs 1979-1985 and Harlan County USA: Songs of the Coal Miner’s Struggle.

How did you get your gig?

I arrived at the Apollo after spending most of my professional life working in the music industry in a few different — including publicity, radio promotion, project management, copywriting, and artist relations — capacities. While in that world I had overseen several archival releases, compiling new CD collections from old tapes, researching the best available sources, clearing the rights, annotating them, and so on. Putting projects like those together inspired me to explore archives as a full-time pursuit. So, eighteen years or so after I finished undergrad, I went back to grad school to get my master’s degree in Library Science with a concentration in Archives. Throughout grad school I worked processing audiovisual materials at the Southern Folklife Collection, which was an incredible opportunity to learn about the nitty gritty of archiving and about the variety of media formats that are out there. I thought I knew them all…

When this position came across my radar, I was thrilled: What fan of popular music hasn’t been affected by an artist, a song, or a movement that was forged onstage at the Apollo? Being here feels like the culmination of everything I’ve been doing before — and it draws from all areas of my experience.

Tell us about your organization

The Apollo Theater takes inspiration from the rich legacy of the theater’s past in order to enrich the future. Through its education department, the theater introduces young people to the incredible contributions that have emerged from Harlem and the Apollo, while also offering students opportunities to learn about what goes on behind the scenes: production and tech, publicity, programming, and more. The Apollo is also positioning itself as a catalyst for a new canon of works, producing and presenting provocative, powerful new pieces of theater, dance, and music.

I always like to stress that while the Apollo has a remarkable backstory, what our programming team is doing now is every bit as vital. And being the archivist means that I get the best of both worlds: I get to help document the new programs we develop while also watching over the materials that allow us to tell the story of the theater’s history.

Describe your collections

The Apollo Theater Archives is a new initiative. I have been here for just about a year and a half now. The fact that I am here at all is a testament to the long-term vision of the Apollo’s past and present leadership — people like Laura Greer and Mikki Shepard, who kept the torch for the archives burning for years before I arrived. Over the past fifteen years, whenever funding was available, portions of the collection were inventoried and preserved. So when I got here, there were a mix of processed and unprocessed collections, in various stages of preservation. 

Apollo_Smithsonian_16

Photo by Megan Rossman. Working with Smith Fund intern Samantha Scott to arrange A/V materials in the Apollo’s collection.

The Apollo collection spans pretty much every conceivable audiovisual format, in addition to photographs, posters, program booklets, three-dimensional artifacts, ticket stubs and passes, and business records. In the mid-1980s, the Apollo had full broadcast and audio recording studio facilities, and as a result we have a lot of ¾” and open-reel video from both the theater and recorded for production clients. One of the most informative and illustrative areas of the collection is a set of more than 2000 hand-tinted photographs of artists who performed at the Apollo from the 1950s through the 1970s. Taken as a set, they tell us so much about who worked here — and not just the big stars, who are certainly represented, but the ventriloquists, the dancers, the MCs, the animal acts, and others who may have otherwise been forgotten. 

What are some challenges unique to your collections?

We face the same challenges that other largely audiovisual collections contend with: obsolete formats, unclear rights provenance, storage and preservation issues, et cetera. The Apollo is a working theater in Manhattan, so on-site storage space is at a premium. One of the biggest issues we face is that there is no way the collection can match the formidable legacy of the Apollo. People imagine a goldmine of photos, video, handbills, and posters documenting every one of the thousands of shows that happened here. But the Apollo was a working, for-profit theater for most of its life — people were too busy getting paying customers into the seats to prioritize creating a historical record. 

With that in mind, the collection is also not continuous: We have elements from all eras of the theater’s 85-year existence, but not all eras are represented evenly. A number of materials related to the theater were donated to the Smithsonian by the theater’s former owners. But thanks to the growing capacity of digital tools, we’re able to partner with other institutions and share certain items digitally, enriching our holdings and what we will eventually be able to offer potential users.  

Speaking of users, the Apollo Theater Archives are not yet open to the public — so it’s also a challenge for me to ask interested people to wait while we catalog, digitize, and preserve the materials in the collection in preparation for them to be accessed.

What is the favorite part of your job?

I’m incredibly fortunate to be able to discover new objects related to the theater’s history and performances on a very regular basis…but even more exciting is seeing the elements of the collection utilized on behalf of the Apollo Theater’s missions. We preserve these things for a reason, and that’s to share them. So watching them become a part of an educational or community program, or referenced by a visiting artist who is working to create a new work, is incredibly fulfilling.

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Photo by Lisa Mullins. Presenting materials with WNET’s Jenna Flanagan from the Apollo Theater Archives on stage at the Apollo’s annual Open House event, February 2, 2019.

That said, the best part of my job is continuing to discover just how much the Apollo means to people — especially those with roots in Harlem. The theater has been more than a performance venue: It’s a pillar of an incredibly vibrant, dynamic community. I see the theater’s role in people’s lives most vividly through our community events, which engage a largely local audience in conversations about history, culture, and politics. The delight and appreciation they express when they discover that we’re working hard to preserve and extend the legacy of a place they love so much is overwhelming. 

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!

There’s an Archivist for That! Interview with Joel Thoreson, Archives of the Evangelical Lutheran Church in America

This is the latest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect.  In this entry, COPA member Anna Trammell brings you an interview with Joel Thoreson, Archivist for Management, Reference, and Technology at the Archives of the Evangelical Lutheran Church in America in Elk Grove Village, Illinois. 

Joel Thoreson 2019

Joel Thoreson, Archivist for Management, Reference, and Technology, Archives of the Evangelical Lutheran Church in America

AT: How did you get your job?

JT: I was just finishing up a grant project at the Nebraska State Historical Society scanning glass plate negatives when I was hired here as assistant archivist for reference. We reorganized in 2005 and I took on additional management duties with the title Archivist for Management, Reference Services, and Technology. My M.A. was from the University of Nebraska-Lincoln, with a double major in history and museum studies. My original intention was to work in museum collections, as I had worked in that department of the Minnesota Historical Society for nearly five years prior to grad school. We had some coursework in archives in the museum studies program, but I’d spent much more time in the archives while working on my history degree. I also had a Lutheran church background, growing up as a pastor’s kid, and attending Augsburg College in Minneapolis, where I’d done some work in church history. I also had library experience and worked with microforms and digital imaging.

TALC_1961_MLK_Q&A

Dr. Martin Luther King, Jr. answering questions at The American Lutheran Church Luther League convention, Miami Beach, Florida, 1961.

AT: Tell us about your organization.

JT: The Evangelical Lutheran Church in America was formed by a merger of three predecessor church bodies in 1987, with two of those bodies formed by mergers in the early 1960s of four church bodies each, several of which had even earlier mergers. Our archives collects materials from the headquarters (aka churchwide) level of the church, with the main building about eight miles away from the archives. The ELCA is divided into 65 synods, essentially districts, most of which have grouped together into nine regions with an archives serving each region. Those regional archives collect materials from the synodical offices as well as records from dissolving congregations. Each of the more than 9,000 active congregations are also charged with maintaining their own archives. We provide guidelines and advice to the congregations regarding both archives and records management, as well as to the synods and regional archives. The ELCA also has a long tradition of global mission work, so we work with international partner churches regarding their archival records, as well as with the Lutheran World Federation Archives in Geneva, Switzerland.

ELCA Archives indulgence

Papal indulgence, 1516. Presented to Lutheran Church Productions, producers of the Martin Luther film by German Lutherfilm, GmBH, in 1954.

AT:Describe your collections.

JT: When the ELCA was formed in 1987, the archives was also formed by merger of three predecessor archives, all with their own organizational systems. We now have nearly 16,000 linear feet of records, including a large amount of audiovisual materials, including photographs, audio records, video recordings, and motion picture film. The oldest material dates back to 1812 and the migration of Pennsylvania German Lutherans into Ohio. Older material resides at ELCA regional archives at seminaries in Philadelphia and Gettysburg, Pa.

Our reference inquires tend to be divided evenly between genealogical, historical, and administrative, receiving roughly 2,000 inquiries per year. We are open to the general public and try and make our records as accessible as possible. Our main genealogical resource is a set of microfilmed congregational records that were filmed from the mid-1950s to the mid-1980s. We have recently worked with Ancestry to digitize, index, and host the pre-1945 material. These records only cover congregations from certain ancestor branches of the ELCA, so quite a lot of work is also helping researchers find the right congregation to contact to locate records.

ALC Chaplain Conrad Walker - Communion Service in Viet Nam, 1967

American Lutheran Church Chaplain Conrad Walker conducts Communion service in Viet Nam, 1967

AT: What are some challenges unique to your collections?

JT: Since many of our predecessor church bodies were formed around ethnic identities, many of the records we have up to the 1930s are in various languages, including German, Norwegian, Swedish, Danish, Spanish, Finnish, Slovak, and Icelandic, with global mission records in an even wider variety of languages.

With the dispersed archives system in the ELCA of regional and congregational archives, much of our work at the churchwide level is to direct traffic, helping people find the right repository to find the information they are seeking.

Being isolated away from any educational institution, we also are limited in our supply of volunteers and students. We do have some on-site researchers, but we provide quite a lot of resources to remote users, as well. Since we are separate from our main churchwide offices, we also struggle with being visible to staff there and have to work at making our services and collections known.

Also, with declining membership numbers of many religious organizations, we’ve faced budget cuts, declining from a high of eight staff members here in the archives, including a couple of grant positions, down to the current three staff members. We also have taken on additional responsibilities for managing the records management of the ELCA churchwide organization, as well as managing the art collection.

BMD ULCA 61.5.5 b2 f9 deaconesses with biplane

Lutheran deaconesses from the Baltimore Motherhouse of Deaconesses pose with a biplane, 1920s

AT: What is your favorite part of your job?

JT: Handling the reference questions, I always say that my job is like detective work, finding the right answer or the right document for the patron. Every day there is some new inquiry with a new direction to explore. Perhaps there are fewer fist fights or car chases than on Mannix, but in some ways my childhood aspirations have been achieved.


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!

There’s an Archivist for That! Interview with Lilly Carrel, Archivist, The Menil Collection

This is the latest post in our There’s an Archivist for That! series, which features examples of archivists working in places you might not expect.  In this post, COPA member Vince Lee brings you an interview with Lilly Carrel, Archivist at the Menil Archives, part of the Menil Collection in Houston, Texas.

Archivist Lilly Carrel outside of the Menil Archives. Courtesy of The Menil Collection, Houston. Photo: Anthony Flores.

VL: How did you get your gig?

LC: I joined the Menil Archives in July 2018. Previously I worked as a project archivist at the Bentley Historical Library at the University of Michigan. I earned my Master of Science in Information Studies from the University of Texas at Austin and since graduating my goal has always been to return to Texas. After two project positions, I applied to the archivist job opening at the Menil. I was particularly drawn to the position because of the diversity of job responsibilities including records management, digital preservation, and all aspects of the archival enterprise. I also felt a deep connection to the institutional mission to make art accessible and a commitment to social responsibility and justice. I have no background in art, but I love that as an archivist I am able to apply my expertise in records theory and practice to different content and promote this extraordinarily rich collection of art-related records.

VL: Tell us about your organization.

LC: The Menil Collection is an art museum located in Houston, Texas in a 30-acre neighborhood of art, and houses the art collection of founders John and Dominique de Menil. The Menil Collection includes the main building, designed by architect Renzo Piano and opened in 1987, the Cy Twombly Gallery, the Dan Flavin Installation at Richmond Hall, the Byzantine Fresco Chapel, and the Menil Drawing Institute, designed by Los Angeles-based architects Sharon Johnston and Mark Lee (Johnston Marklee) and opened in November 2018.

The Menil Collection and its diverse neighborhood of art is governed by the Menil Foundation, established in 1954 by the de Menils. Prior to the opening of the Menil Collection, the de Menils had active partnerships with the University of St. Thomas and Rice University and organized many important and influential art exhibitions. The Menil Archives is the institutional repository for the Foundation and is responsible for acquisition, organization, preservation, and access to museum records and special collections.

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VL: Describe your collections.

LC: The Menil Archives was founded in 2000 and its primary function is to identify, collect, organize, preserve, and make accessible records of informational and evidential value to the institution. The Archives primarily document the functions and activities of the Foundation including records of the board of trustees, exhibition history files, building projects, and museum departments such as Curatorial, Collection Development, and the Business Office. The Menil Archives also holds a number of special collections including the papers of art critic and collector Rosalind Constable, curator Jermayne MacAgy, and artists Jim Love and Roy Fridge; family papers of John and Dominique de Menil; and research papers from Menil-funded publications including the René Magritte and Jasper Johns catalogue raisonnés.

The Archives total approximately 2,500 linear feet and includes records in all formats—textual, audiovisual, born-digital, photographs, film, architectural drawings, ephemera, and some objects. The Menil Archives has a limited number of inventories available on its website and in 2019 will begin contributing finding aids to Texas Archival Resources Online (TARO), a state-wide consortium of archives, libraries, and museums.

VL: What are some challenges unique to your collections?

LC: Museum archives are an interesting type of archives. Often departments need to maintain physical and intellectual ownership of their records because, in a sense, they are always active. Example include conservation records which may document treatments of artworks, or artwork object files frequently referenced by curators and registrars. This can lead to confusion as to what records “belong in the archives,” but also offers opportunities to collaborate and facilitate a post-custodial approach to recordkeeping. Since joining the Menil, I’ve been exploring ways to improve records management practices with a particular focus on electronic records and digital preservation. I think digital preservation offers creative ways to enhance the post-custodial approach and ensure important records are preserved.

VL: What is your favorite part of your job?

LC: The Menil Archives is an exciting place to work! Every day is different and I love the dynamic nature of working in a two-person shop. I am fortunate to collaborate with excellent colleagues including Lisa Barkley, Archival Associate, who has been with the Menil since 2008. Every day presents new opportunities, projects, reference inquiries, and I am always learning. I also feel fortunate to work for an institution with a keen sense of its own history, that values and seeks out the rich archival resources available to staff and the public.


Original captions for the photographs included in the slideshow had to be shortened in order to fit into the slideshow window.  The full original captions are provided below:

  • The Menil Collection. Photo: Kevin Keim.

  • Dominique de Menil and artist Jim Love, Rice University, 1972. Courtesy of Menil Archives, The Menil Collection, Houston. Photo: Hickey-Robertson, Houston.

  • The De Lux Theater, Houston, 1971. Courtesy of Menil Archives, The Menil Collection, Houston. Photo: Hickey-Robertson, Houston.

  • Peter Bradley (center) and others installing art for “The De Lux Show” De Lux Theater, Houston, 1971. Bradley, an artist, curated the exhibition. Courtesy of Menil Archives, The Menil Collection, Houston. Photo: Hickey-Robertson, Houston.

  • Installation photography of “The De Lux Show” De Lux Theater, Houston, 1971. Courtesy of Menil Archives, The Menil Collection, Houston. Photo: Hickey-Robertson, Houston.

  • Exhibition history records, Menil Archives. Courtesy of The Menil Collection, Houston. Photo: Anthony Flores.

  • Creating an inventory for a recent accession. Courtesy of The Menil Collection, Houston. Photo: Anthony Flores.

There’s an Archivist for That! Interview with Rich Schmidt, Director of Archives and Resource Sharing, Nicholson Library/Oregon Wine History Archive

This is the latest 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, University Archivist and Special Collections Librarian at Pacific Lutheran University, brings you an interview with Rich Schmidt, Director of Archives and Resource Sharing at the Nicholson Library/Oregon Wine History Archive at Linfield College.

Rich Schmidt, Director of Archives and Resource Sharing

Rich Schmidt, Linfield College director of archives and resource sharing, poses with a photograph of Frances Ross Linfield. Mrs. Linfield’s donation in 1922 helped secure the school’s future and gave McMinnville College its new name.

AT: How did you get your job?

RS: I was hired at Linfield in the summer of 2011 as the Director of Resource Sharing, essentially running Interlibrary Loan. I have a background in digitization – and had worked closely with the archives in a previous position – but never had officially worked in the archives. Just after I started, Linfield hired Rachael Woody as the school’s first-ever full-time archivist and officially launched the Oregon Wine History Archive (OWHA). After about a year, she and I both had our legs under us – we’d hired and trained students in our departments and implemented new software and workflows. Rachael needed help growing the archives from that point, and I had time available to help.

The timing just worked out well. I had no background in wine, either, so the first couple years were like climbing a waterfall. So much information, so many people and dates and terms. But I loved it. Rachael was a great teacher and she and I worked really well together. We spent the next few years figuring out what exactly we wanted the archives to be, adding collections and making connections in the community. When Rachael moved on in 2017, the school entrusted me to keep the archives going, and so far so good. It’s busy, exhausting, fun and pretty exhilarating. I should mention that in addition to the OWHA, I’m also in charge of Linfield’s school archives, as well. So a lot of materials from wildly disparate places.

Rich Schmidt (left) interviews Paul van der Veldt at Shallon Winery in Astoria, Oregon, on March 30, 2017.

AT: Tell us about your organization.

RS: The Oregon Wine History Archive is dedicated to preserving and sharing the Oregon wine story. Wine in Oregon goes all the back to the Oregon Trail days, as there are stories of pioneers bringing vines across the country. There were farmers making table wine through all those years, often just enough for themselves and their neighbors, occasionally enough to sell a little. Never anything that you would consider an industry.

Prohibition – Oregon’s was the second-longest in the country, behind only Utah – wiped out most of the state’s winemaking, and the 30 years after Prohibition saw a few wineries spring to life across the state, mostly making table wine or fruit wine. In the mid-1960s, a group of young winemakers saw potential similarities between Oregon’s Willamette Valley and Burgundy, and set out to see if they could grow cool-climate grapes akin to the famous French region. From this handful of farmers, the industry very slowly grew. The well-known Burgundian varietals Pinot noir and chardonnay were the grapes of choice. Small snippets of international recognition came in the late 1970s and early 1980s, but the industry still numbered fewer than 50 wineries and none of them were wildly successful.

A number of factors – including technological and educational advances, joint marketing efforts, success at national and international competitions, dogged determination, and just making really good wine – led to the industry finding solid footing in the 1990s, and then exploding in the 2000s. Thirty years ago there were around 50 wineries in the state; 15 years ago there were about 250. Now there are nearly 800, and more are coming seemingly every week.

We were founded in the midst of that, so we’re documenting an industry that is seeing amazing growth and establishing itself on the international market. Oregon has become known for Pinot noir, enough so that the International Pinot Noir Celebration is held every July right here on Linfield’s campus. Many of the industry’s founders are still around and living in the area, so we’ve been able work directly with them and their collections. This is such a huge benefit for our students, who are all undergraduates doing graduate-type work with our collections.

studentsontour_2015

Linfield students Maia Patten (’16), Anna Vanderschaegen (’18) and Camille Weber (’16) join Rich Schmidt and Rachael Woody on a tour of Chateau Bianca Winery in Dallas, Oregon on July 20, 2015. Winemaker Andreas Wetzel (far left) gives the tour.

AT: Describe your collections.

RS: We were founded with the idea of being a traditional archive – that is, a brick and mortar space to collect materials. So that’s part of what we do. We house approximately 35 collections containing photographs, tasting notes, harvest records, grape sales documentation, awards, correspondence, journals and everything else you might expect to find. Wine is especially interesting because, while the end product is glamorous, all the processes that go into it are not. In most ways it’s just like farming any other crop, except you have to wait for your crop to turn into wine. So we have records that focus on the farming, records that focus on the winemaking, records that focus on the sales and marketing. Not to mention wine labels and statistical surveys and angry letters from consumers.

We also have a good collection of wine books and journals, some pertinent to Oregon and some with an international focus. For a young archive about a fairly young industry, we have a nice, diverse group of collections that show a nice cross-section of Oregon wine history. Due to the fact that the industry is still young and growing rapidly, and the fact that many wineries are family businesses passed from generation to generation, we realized early on that we couldn’t count on regularly receiving physical collections from the industry. If we were going to make an bigger impact, we’d have to archive in a different way, which led us to oral history interviews.

Rich Schmidt (right) interviews Remy Drabkin at Remy Wines in McMinnville, Oregon, on May 9. 2017.

There are so many people involved in the industry – some for 50 years, some for two years, some in farming, winemaking, sales, marketing, consulting, not to mention sommeliers and restaurateurs – that we realized we could let people tell their stories and really have an impact. This allowed us to make connections and gather stories from throughout the state and throughout the industry. The grape-growing geography of Oregon is spread from Portland all the way down to Ashland, and all the way over to Baker City. A huge amount of land spread out over a large state. Gathering oral history interviews from as many people as we can, in as many locations and roles as we can, has allowed us to maximize our resources and tell the biggest story we can.

We’ve conducted or gathered more than 250 oral history interviews already, and we’ve barely scratched the surface. But it’s been an amazing way to learn about the industry, its people, places, history, stories, past, and future. Our students research our interviewees’ backgrounds and come up with questions, then handle the cameras, microphones and post-production. Some even conduct all or part of the interviews. It’s an amazing experience for them.

From left: Rich Schmidt, Rachael Woody, Andrew Beckham and Annedria Beckham. Andrew and Annedria Beckham own Beckham Estate Vineyard in Sherwood, Oregon. Rich Schmidt and Rachael Woody interviewed them about their Oregon wine story on March 24, 2015.

AT: What are some challenges unique to your collections?

RS: We like to say that our archive is full of stories, not facts. Industry data from before the past 20 years is difficult to find, so questions about who was the first/biggest/best/most expensive almost always need to be hedged. Again, we’re looking at an industry that’s roughly 55 years old, so you’d think we’d be in better shape! But the early winemakers and grape-growers were concerned about a lot of things, very few of which dealt with keeping detailed statistics about every move they made. And much of the early numbers that were kept, of course, didn’t survive to make it into our archive. So we have a lot of stories, a lot of guesses, a lot of assumptions, and not a lot of hard truths. And honestly, that’s usually ok. Why let facts get in the way of a good story?

As the industry has grown, though, there’s a lot of interest in what the early grapegrowers tried, and whether it might work again with modern technology and practices. A side effect of the rapid growth of the industry is that competition has never been tighter. There are 500+ wineries in the Willamette Valley, mostly making really good Pinot noir. Many make between 5,000 and 20,000 cases of wine per year. What differentiates you from your neighbor, then? Many young winemakers are looking to the past to see if there’s a different clone, different varietal, different method that might make them stand out, and so there’s more of a push for facts now. We’re working with the early grapegrowers on gathering the data we can and making it available for the next generation of the industry.

For our physical collections, our challenges usually have to do with condition of materials. Many have been housed in barns, trailers and other unsuitable places, so we deal with vermin, bugs, water damage and all the other glamourous problems that archivists talk about over drinks. My students get a crash course in archival cleaning and processing less-than-pristine materials. At least they have great stories to tell their families and friends. Right now, it’s only me and five undergraduate students working in our archive, so each of them have to take on a much bigger role than you might expect. They are truly amazing. The archive couldn’t function without dedicated students, some of whom have an interest in archives work and some who have an interest in working in the wine industry. Work in the OWHA for a few years and you will meet a huge number of people in the industry and see many of the sites and potential jobs. How cool is that?

Linfield student Mitra Haeri (’14) uses a laptop and a portable scanner to digitize images in the back of a van at the Doerner family home in Douglas County, Oregon. The Oregon Wine Board funded this trip through a grant, allowing Linfield to spend a week in the Rogue Valley and a week in the Umpqua Valley, the two main grape-growing areas in southern Oregon.

AT: What is your favorite part of your job?

RS: I’m lucky because I really like what I do. I love working with students who are so eager to learn and improve what we’re doing. Our website (https://oregonwinehistoryarchive.org/) is student-created and much of the content has been added by students. All the physical processing is done by students, as is a large part of the oral history interview process. So I love that part of my job – training, coaching, mentoring, and then watching what they can do. I think a lot of schools are hesitant to give students that much responsibility and freedom. And there are times when it’s a challenge. But with the right training, oversight and motivation, I think people would be surprised what students – even undergraduates who can’t legally drink wine yet – can do. They take a real ownership of our space, our collections and our image. They conduct themselves professionally and take great pride in their work. And the experiences they’re having, the skills they’re learning, the people they’re meeting… it’s truly priceless experience. And a big part of that is another favorite part of my job – the people in the industry itself. The Oregon wine industry has a reputation as a friendly, collaborative, welcoming industry, and in our case it has certainly been true. I have to imagine trying to do what we’re doing for certain industries would be like pulling teeth. But we’ve been welcomed with open arms. People in the industry are busy – incredibly busy – and yet willing to make time for us, whether it’s to answer questions or sit for an interview. They love working with our students and talking about the past, present and future of the industry to students who may be a part of that future. I can’t overstate how wonderful the industry is to work with. And they recognize the importance of what we’re trying to do, and they’re thankful for it. It’s incredibly rewarding. Meeting people in the industry, hearing their stories, tasting their wine… it’s an amazing way to learn about Oregon wine.

From left: Don Hagge, Rachael Woody, Rich Schmidt and Shelby Cook. Don Hagge, a former NASA engineer who now owns and operates Vidon Vineyard in Newberg, Oregon, answers questions during an oral history interview with Rich Schmidt on August 3, 2016.

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!

There’s an Archivist for That! Interview with Meredith Torre, Archivist, Atlanta Housing

This is the seventh post in our There’s an Archivist for That! series, which will feature examples of archivists working in places you might not expect.  To continue this new series, COPA member Rachel Seale, Outreach Archivist at Iowa State University, brings you an interview with Meredith Torre, Archivist for Atlanta Housing Archives (AH).

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Photograph of Meredith Torre. Courtesy of Meredith Torre.

Meredith Torre is the Archivist for Atlanta Housing Archives. Torre earned her MLS with specializations in archives, rare books, and conservation at the University of Wisconsin, Madison. She has been a member of both the Society of American Archivists, Society of Georgia Archivists, and also the Heritage Emergency Response Alliance.  In August 2017, Torre received the Employee of the Month from Atlanta Housing Authority and has also won the CEO Award for Preserving Our Past from the Atlanta Housing Authority in 2015.

Be sure to also check out the profile of the Atlanta Housing Archives Torre wrote for the SAA Business Archives Section.

RS: How did you get your gig?

MT: In 2014, I saw that Atlanta Housing was hiring an archivist. Then Director of Records and Information Management, David Carmichael, had been Director of the Georgia Archives where I first worked as an archives intern. I did a little bit of investigating into the position and learned that the hiring would be Atlanta Housing’s first archivist, which intrigued me. I also liked that the lone ranger position would provide the opportunity to engage in all aspects of archival work. The archivist position started out as a temporary one. However, the agency began to see the archives as a valuable program within Records and Information Management and in 2015 invested in making the position a permanent one.

Girl scouts

“Girl Scouts.” AHA 2013.00258, 1950. Courtesy of the Atlanta Housing Archives.

RS: Tell us about your organization.

MT: For eight decades, Atlanta Housing (AH) has been at the forefront of providing affordable housing for many low-income families. The Housing Authority of the City of Atlanta formed May 18, 1938. AH’s founding Chairman Charles Forrest Palmer with Dr. John Hope, first black president of Morehouse College envisioned public housing that would eliminate Atlanta of its festering slums and provide decent, safe and sanitary housing at rent affordable to low income families. Under President Roosevelt’s New Deal these men formed an alliance to create the first federally subsidized public housing in the United States: Techwood and University Homes, serving as a national model for public housing. During the war AH again became a national model when President Roosevelt appointed AH’s founder as the Defense Housing Coordinator and AH lead national efforts for the construction of defense housing and housing for migrant war-workers and their families. Public housing nationally in the United States is still relatively young. AH recently reached its 80th anniversary (May 2018). During these years, public housing has undergone many changes and implemented new programs with Atlanta Housing continuing to play a key role in public housing policy. It’s a very exciting time to be an archivist for this type of organization!

MLK

Martin Luther King, Jr. at Ebenezer Baptist Church signing an agreement with Edwin L. Sterne, AHA board chairman to develop a low and moderate income housing complex in the Rawson-Washington Urban Renewal Area. AHA 2013.01115, 1967. Courtesy of the Atlanta Housing Archives.

RS: Describe your collections.

SH: Atlanta Housing (“AH”) collects and preserves records of permanent and historical value dating back to the 1930’s. These records document the history of AH’s work and support its mission. Materials preserved in AH’s Archives have significant relevance to AH and document the evolution and history of AH, its achievements, administrative policy, programs, and projects. Records of enduring research value document the early history of public housing in Atlanta or in which AH played a pivotal and innovative role in shaping public housing policy and/or history. In particular, collecting areas include:

  • The United States first federally funded housing developments Techwood and University Homes.
  • AH during the period of war housing.
  • Housing project and real estate development/redevelopment records.
  • Urban Renewal records.
  • Official policies, reports, and agreements.
  • Programmatic records.
  • Papers and correspondence of executive directors, deputy executive directors, senior vice-presidents, and the President/CEO.
  • Photographs, audiovisual materials, and artifacts.
  • Oral histories.
  • Community life.
  • Marketing, media, and publications created by AH.
  • Materials published outside AH that describe AH, its programs, projects, and history (such as newspaper and magazine articles).
Tenant planning

“Tenant Planning” AHA 2013.00252, 1955. Courtesy of the Atlanta Housing Archives.

RS: What are some challenges unique to your collections?

MT: Up until 2014, AH’s records were poorly housed in cardboard boxes, exposed to pests and profusely lined the floors and racks of the agency’s headquarters attic and basement prone to floods. A historian compiling a history for AH rearranged all records according to subjects in her book. Loss of original order, poor labeling, no indexing, duplications, separation of signatures from original agreements to create “a signature file of important persons”, and poor storage lead to issues in record retrieval, authenticity, loss of information, and damage to valuable historical records.

Part of the unique challenge I faced when first coming to AH was to build an archives from the ground up. I was tasked with creating an archival environment for the records and to restore original order to the records. Because the loss of original order and the necessity of its restoration, the processing of record collections is ongoing. Records are now arranged and described following best practices and standards including MPLP, DACs, and assigning Library of Congress and the ATT authorized subject and name authorities. Preliminary finding aids for AH’s collections are now available. Processed records are reboxed using archival materials and in 2016, the archives moved to a secure, climate-monitored space.

Techwood Clark

Techwood-Clark Howell Homes Carnival, community life. AHA 2013.00298, circa 1940-1949. Courtesy of the Atlanta Housing Archives.

RS: What is the favorite part of your job?

MT: I have worked in many different types of archival environments (government, academic, theological) and one of the most favorite aspects of my job for me is working within its unique environment. Atlanta Housing is a quasi-governmental entity. It functions as a business. It’s also a service oriented nonprofit institution. The business environment at AH requires flexibility in setting processing priorities and providing quick turnaround while realistically managing expectations. This environment offers its challenges. It also offers me the opportunity to tell people what it is archivists do frequently and to experience that moment of discovery from different people throughout the agency when they realize archives can work for them, has meaning, and is practically useful and magical. I also really enjoy working with our researchers. AH has hosted researchers and students locally and from all over the country interested in public housing history.

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!

There’s an Archivist for That! Interview with May Haduong, Public Access Manager, Academy Film Archive

This is the sixth 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, University Archivist and Special Collections Librarian at Pacific Lutheran University, brings you an interview with May Haduong, Public Access Manager of the Academy Film Archive. 

May Haduong

Courtesy of Nate Christenson / ©A.M.P.A.S.

May Haduong is the Public Access Manager at the Academy Film Archive, where she oversees access to the Archive’s collection. Prior to serving at the Academy Film Archive, she was the Project Manager for the Outfest UCLA Legacy Project for LGBT Moving Image Preservation, a collaboration between the UCLA Film & Television Archive and Outfest, which produces the Los Angeles LGBT Film Festival. She currently serves on the Legacy Project Advisory Committee and is the chair for the Elections Committee for the Association of Moving Image Archivists.

AT: How did you get your job?

MH: As a UCLA graduate student, I interned with the Academy in 2005 and 2006 to help process home movies and a collection of Asian American cinema. After receiving my master’s degree, I served as the Legacy Project Manager for the Outfest/UCLA Legacy Project for LGBT Moving Image Preservation. When a job at the Academy Film Archive opened up in 2008, I jumped at the opportunity to return to the Academy and applied for the position. I firmly believe that my internship experiences at the Academy and the support that I received during that time helped me get hired.

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Courtesy of Nate Christenson / ©A.M.P.A.S.

AT: Tell us about your organization.

MH: While many people know of the Academy for the Oscars, they don’t know that the viewership of the awards show helps fund the Academy’s philanthropic work, including grants, scholarships, an internship program aimed at bringing more diversity to the field, a world-class library, and the archiving and preservation work conducted at the Academy Film Archive. As a queer woman of color, it’s important to me that my professional work aligns with my own personal beliefs. I’m proud to work for an organization that focuses on all aspects of filmmaking, from supporting underserved communities to preserving rarely seen films.

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Courtesy of Nate Christenson / ©A.M.P.A.S.

AT: Describe your collections.

MH: The Academy Film Archive is home to one of the most diverse and extensive motion picture collections in the world. With over 200,000 moving image items in our collection, the Archive’s collection includes moving images from the advent of cinema to the present day, with significant holdings related to the history of the Academy and the Oscars, experimental cinema, studio titles, independent film, documentaries, early cinema, the history of the motion picture industry, home movies and amateur documentation, theatrical advertising and short films. Since its establishment in 1991, the Archive has completed over a thousand film preservation and restoration projects.

 

 

AT: What are some challenges unique to your collections?

MH: While the Oscars help fund the great work that we do, it also becomes a focal point for some months of the year before the live broadcast. Because of the unique nature of the organization, some staff in the Archive – including myself and those in the access department – shift from traditional projects and workflow to working with show producers and the press to deliver archival content from our collections. This shift and the expectations implicit with the Academy’s work and reputation set a very high bar for service, speed, and quality. While “Oscar season” can certainly be stressful and busy, it also helps shine a light on the Academy’s work to preserve moving image history. As a film archive, we have technological considerations that are continually shifting. While we work to preserve moving images in the format in which they were originally seen, we also make choices to help provide as much access as possible through available mediums. The digital transition, while challenging both fiscally and logistically, has helped push the Archive and the Academy towards a more forward-thinking approach towards conservation and preservation.

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Courtesy of Nate Christenson / ©A.M.P.A.S.

AT: What is your favorite part of your job?

MH: I love finding unique items in our collection and providing access to them. As I’ve mentioned, we hold a wide range of material and thus we often come across films that have rarely been seen. Recently, a colleague and I located a family member of a home movie collection that was filmed by a queer interracial couple in the 1970s. We were able to show the films, with the family’s permission, at a conference, discussing concerns around privacy, cultural competency, and archival ethics. The access department also works with film programmers and scholars from around the world, providing access to the collection online, on-site in Hollywood, and through loans of 16mm and 35mm prints to repertory venues. I became fascinated with film archiving as a queer film programmer some many years ago and I see the work that archives do, including the Academy, as important in helping ensure that films are conserved, preserved, and seen.

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Courtesy of Nate Christenson / ©A.M.P.A.S.

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!