![]() The library’s New Yorker archive, on the other hand, is stored in more than two thousand containers.Īfter the finding aid is finished, complete with curatorial and biographical notes, each collection is driven by a special vehicle to the library’s main branch, the Stephen A. This inventorying can be time-consuming, depending on the scale of the collection, which can vary widely-the Eye archive arrived in fewer than twenty containers, which is relatively small. The library’s staff begins to make the finding aid, essentially an index of the collection. Once they’ve been cleared, the collection moves into the archival-processing queue and the items are rehoused in acid-free folders and boxes. When necessary, materials are isolated and treated in the Disaster Recovery room. ![]() Golia explained to us what would happen next: when the library acquires a collection, it is inspected for pests and water damage. There, the staff quickly counted the boxes they’d conduct a full inventory once we’d gone. Everyone was jubilant, celebratory, complimenting Abrams, who was complimenting Fournier, calling him a “trouper.” Abrams, Fournier, and library staffers loaded the boxes onto a two-level dolly, and we walked with them down a long hallway, past a door ominously labelled “Disaster Recovery” and into a meeting room. When we arrived at a processing center of the New York Public Library, we were met by Julie Golia, the curator who had accessioned the collection. He had an inconspicuous cool befitting the former editor of Cookie Mueller, Gary Indiana, David Wojnarowicz, and other icons of the nineteen-eighties. Abrams, twenty years Fournier’s senior, was wearing a leather jacket, and driving with one hand on the steering wheel and the other in his lap. When Abrams told me that the thirty-pound newsprint on which the early editions of the Eye were printed “crumbles eventually,” Fournier emphatically denied it. They were a comical duo: Fournier, earnest and enthused, wore a cardigan, a scarf, and sunglasses. When the full inventory was accounted for, the two men loaded the boxes onto a dolly, and then into Abrams’s cherry-red minivan.įournier and Abrams had spent eight years trying to place the Eye archives. Abrams’s archival broker, Arthur Fournier, held a clipboard, checking off each of the nineteen official boxes and accordion folders as Abrams located them in the piles stacked taller than any of us. He unearthed a menorah, a ceramic peach, a dress coat he’d meant to wear to a recent wedding, and an old address book, in which he showed me the entry for the famed drag queen Ethyl Eichelberger. I watched as Abrams made his way through each of the cardboard boxes: one was a wine box, one was from Amazon, some were ripping along the folds. ![]() This was the day he would finally part with its physical remnants, having sold his archive to the New York Public Library. The newspaper, which Abrams published and edited from 1979 to 1987, covered the era’s monumental art scene, the gentrification of downtown Manhattan, and the swelling AIDS crisis in real time. In the other half were seventy-two yellowing issues of the East Village Eye. Many of these locations will overlap, and you will find that some of these locations will be more useful for you than others, depending on the focus of your research.In November, Leonard Abrams opened every box in his storage locker in Ridgewood, Queens, and inspected its contents. Where images are collected - repositories such as archives, libraries, websites, museums, and other repositories ![]() Where images are reproduced - publications and publishers such as journals, newspapers, booksģ. Where images are produced - image creators such as architects, artists, photographers, other creatorsĢ. There are three general categories of places where you will find images.ġ. Once you have a sense of what you are looking for, you will have a better sense of where to look for images. When searching for images, it is important to consider your search terms and objectives in a similar manner as you would when searching for textual material. Interrogate the images you look for and find, and carefully consider what each image communicates and the information that the image provides. Images contain unique information that cannot be adequately communicated through other means, particularly in this area of study. In the study of the built environment, it is important to shift your thinking from regarding images as illustrations to considering them as objects for active investigation.
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