Authenticity and Accessibility
Art Reproduction Today
Join panelists Hannah Goodwin of the Museum of Fine Arts, Boston; Steve Gyurina of Artopia Giclée; and Jim Olson of the Peabody Essex Museum for a discussion about the contemporary methods and ramifications of art reproduction. Discussion topics will range from the use of reproductions of artworks as points of access for museum visitors who are blind or have other disabilities, to use of 3D-printed reproductions in a museum exhibition setting, to the creation of faithful reproductions of artists’ works for sale. Our panelists will explore issues of methodology, pedagogy, access, and ethics in their presentations before a moderated discussion led by Elisabeth Nevins.
Hannah Goodwin is the Manager of Accessibility at the Museum of Fine Arts, Boston. In addition to serving as the museum’s ADA/504 coordinator, Hannah oversees Access to Art and Feeling For Form, two visitor-centered programs emphasizing multi-sensory experience and interactive engagement. She has presented widely on a variety of access-related topics. The MFA uses reproductions of artwork as points of access to visitors who are blind or have other disabilities for and whom tactile engagement is important. Some of the works are miniature reproductions, others have been converted into a raised line or other format. Hannah has a BFA from SMFA/Tufts University, an MFA from Mass College of Art, and she spent a semester at Instituto Superior de Arte in Havana, Cuba. Immediately prior to working at the MFA she taught art in a middle/high school for students with disabilities.
Steve Gyurina is the owner of Artopia Giclée, a digital fine art reproduction and photography studio located in Melrose, MA. A partial list of his clients includes the USS Constitution Museum, MIT, Boston College, the Peabody Essex Museum, the Houston MFA, The John Singer Sargent House, and the Paul Mellon Centre for Studies in British Art. He has also photographed art of every kind for more than 500 individual artists. In January of 2016, Steve began working with artists Chris Volpe and Ann Birch, creating more than 450 reproduction prints of Chris's paintings for the historic Wentworth Hotel in Portsmouth, New Hampshire. Over the past decade Steve has developed a unique system for digitally reproducing large paintings on fine art paper and canvas. His method employs enormous digital capture files and special lighting. This results in prints with amazing detail and a must-touch trompe l’oeil realism. Steve will bring several large examples to the talk, and share his thoughts on the future uses of digital technology in the arts, and their possible implications.
Jim Olson is the director of Integrated Media at the Peabody Essex Museum where he leads the team that conceptualizes and produces all in-gallery interactives, web pages, and video and audio productions. He taught a course called “Museums and New Media” from 2007-2011 in the Tufts University Museum Studies Program and worked at the Davis Museum at Wellesley College for 12 years before joining PEM. He has a master’s degree in art history from the University of Massachusetts, Amherst.
Elisabeth Nevins is principal of Seed Education Consulting, a firm that advises on and creates educational experiences and interpretive content for museums and historic sites. She holds a B.A. in history from Yale University and an M.S.Ed. in museum education and early adolescent education from Bank Street Graduate School of Education. Nevins has consulted with the Leventhal Map Center at Boston Public Library and Newport Art Museum, among numerous others. She serves as co-chair of the New England Museum Association's education professional affinity group, on the board of the Museum Education Roundtable, and as a peer-reviewer for the Journal of Museum Education.
This panel discussion is the second of two events investigating the historical and contemporary means, purposes, and consequences of art reproduction.
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