Cedric

“Victoria Lane: What hints or tips would you give for other artists who are starting a negotiation with an institution for their archive?

Barbara Stevini: I would tell them they need to work out what would they like their archive to do and for whom. It's actually the same questions I would ask when going into any institution or doing a placement - what is the context? What is the motivation I have for a placement there? What is the motivation of that hosting organisation to receive it? Is there any fusion of appropriately motivated endeavor from which something can happen from the placement of an archive here, for both parties concerned? I think those questions to be asked about doing anything at all, otherwise you're contaminating the planet aren't you?”
― Victoria Lane, All this Stuff: Archiving the Artist

“We pissed each other off, royally and frequently in those early days. But we were getting better, bit by bit. I stopped thinking he was going to cage me and he stopped thinking I was trying flee. The poetry was not lost on us. He had abandonment issues and I had commitment issues. Go figure. Also, the sex which had been fumbling and awkward at the beginning of the relationship got really hot, we figured that was a promising sign general relationship progress.

Mostly though we realized it was about leaving the doors and windows of the relationship wide open. That way he could see in, and I could see out.”
― Amanda Palmer

“Patti Smith wrote to me in Amsterdam in 1971, and she said, 'I always loved you because you could find the laughter loophole in any tragedy.' If you're going to be up close with life, the one perk you get from experiencing pain is that you also get to experience what is hysterically funny about it. There's something just so absurd about life that is quirky and weird.
For instance, there is something completely funny - a laughter loophole - in most of the rapes that happened to me. In Bad Reputation! I tell the story of this guy who tied my legs together, and I thought, 'Well, how's he going to rape me if he ties my legs together?' I guess everybody has those experiences. It's a way to maintain sanity. The reason why I chose realism was because I was just so stunned by how crazy real life is. I suppose because my early experiences were with camp - with Vaccaro, for example- everything has been a sideshow carnival. I wanted to show the ridiculousness of reality. (from an Interview with Dominic Johnson)”
― Penny Arcade

“In the aforementioned Intellectual Birdhouse, which focuses on artistic practice as research, Michael Schwab examines the role of the artists' artist and, in doing so, extends Foster's reflections when discussing 'love value' over exchange value. Drawing on the work of Bourdieu among others, Schwab describes what values the new archival context suggests for institutions that are looking to recoup their losses:

"the 'artists' artist' is too epistemologically demanding on the market, which fails to capitalize (often during the lifetime of the artist) on the symbolic value that is produced while he or she delivers epistemological gain to his or her peers, who appear to be the only ones who are able to perceive such value in advance of the market."

Schwab is arguing that the role of the artist in the production of knowledge through artistic research extends and can be differentiated from symbolic value. It is not the market that distinguishes the value of an artist to the artist, it is their epistemic value. In other words, it is what we can learn from that artist, not just their artworks. This produces a dilemma for the established institution that struggles to identifY the cultural significance and value of the 'artists' artist' until late, sometimes too late, in the lifetime of the subject. It is not necessarily just a lack of vision on the part of museum staff, archivists and curators, but the values these institutions are increasingly forced to place on spectacular exhibitions in order to survive through corporate and media driven sponsored relations. Archivists themselves acknowledge this limitation of working within institutions that have little room to speculate on cultural value except through established forms, such as the emerging contemporary markets. Many seek out and must work in new emerging archives, such as Flat Time House. However, I would also argue that it is the artist's understanding of the potential value of' 'becomingness' through cultural capital that applies to the present moment too. As has been stated by Derrida, the 'vision' to see what needs to be archived is now the work of the artist/s: to anticipate the archive itself.

(excerpt from Experiments and Archives in the Expanded Field written by Neal White)”
― Victoria Lane