 Um, so, uh, Peter, Peter, Emily and Sriba, uh, Sriba, we cannot see you, but if you want to turn on your video. Um, well, I wanted to take some time with the three of you and really look at the, the topic of, of acquiring these works and get all your guys expertise sort of together and on a table and, and I'm also encouraging the audience if you want to ask questions around acquisition now is a good time. Um, but so before just sort of opening up that that the floor. So this this architectural model that that Emily also showed in her presentation and that we spoke about in the in the beginning. I remember that for me this was a really pivotal moment like this was some sort of epiphany where, you know, what I could feel there were parts shifting in my brain and opening up new new sections. Did did you guys have a similar experience working with 3D printed artworks. I don't know maybe Emily you want to start. I can, I can share my recollection of that, of that process so. So I remember, you know, we had been talking about this a bit in the museum and had visited some other print studios but I remember this, this was the first time we actually had a print made and when I went to the place that was going to print it. It was fascinating because it was the first time I was a client and as soon as I walked in the door I had to sign a non disclosure agreement. And I had asked for a tour and they had agreed but you know, weren't terribly interested, I think in what we were doing and as they were showing me around like everything was covered, you know, I had signed an idea but there's honestly nothing I could disclose because of the proprietary nature of all of this, and that was a real eye opening moment for me of, you know, going to other studios like more in an educational context or, you know with artists or makers. I love talking about it and this was just that remind or like, Oh yeah, this is a multi billion dollar industry, where a lot of the knowledge is proprietary and that that really changed my perception around approaching work and all the legal issues related to it. Should I go next. Yeah, I guess from like my and there is the hour back case study I think was the real, you know, little moment for myself and I think make it random as well I can still remember the conservation staff meeting where she was talking about it and I was like oh you know I'd be interested in getting involved with that knowing that you know print objects and things like that nature. And it was interesting because it was it was a unique example where I mean just talking about Emily experiences with the proprietary proprietary nature like this huge industry is Talba. It was the first time she had ever used the process and so and she's a very like open and very lovely person so she was a really great collaborator with us to kind of help us figure out things with this piece as we had questions coming up. And it really I think informed our practice and really made us aware of how it can enrich the collection. And I guess I'm speaking specifically about, you know, how I mentioned we had acquired works prior to this. There were three printed that I just basically ignored I was like these are objects. You know, that's the domain of the objects conservators, but now going through this whole hour back process or case study really revealed how we need to all be collaborating and you know get these, you know, printing files and how they what utility they can serve in document the kind of just sort of bring us together and working more collaboratively and more sort of like how we can all sort of team up in the care of these objects I think is really what is one of my biggest things that I came out of this specific instance this this case study. I mean, Riva, did you have a moment where you felt like, I don't know, some things was falling into place or something. Well, I, I would say that in my role I primarily work with a lot of objects and artworks that are two dimensional. So, well, there are two dimensional images or renderings of what could be three dimensional objects, but I am learning more about the use of 3D printed material. In artists objects and their artwork, and also in regards to the stewardship of museums and caring for these objects and really understanding, you know what the process will be into the future of how we can maintain or conserve these objects in the collection and, and sometimes it's really interesting to hear about the artist's well, it is very interesting to hear about the artist's process to because I think having conversations between museum and artists and creators it can really create more questions and just creating a new, new ideas around how we collect and how we conserve and how we preserve artwork objects so being a part of that process and a part of those conversations to really understand what it is what it means, what it looks like into the future, and possibly being being able to foresee into the future, of course we don't know, perhaps all the things that could come up, as far as technology goes into the next 30, 30, 40 years from now. But it is always very interesting conversation, always an ever great conversation. So, thank you. Meredith, Shraibh Nooyth asked in a text in the chat, how, what are, what are conservation considerations when acquiring, when we acquire works that deteriorate like how can we sort of reconcile with that. Maybe I want to sort of piggyback on that question, or as a follow or as a follow up question is, is reprinting even a viable conservation strategy. Who wants to go first on the easy question. We'll be talking and we'll see where that goes. So, I would say, I think of reprinting as just one tool in the toolkit. It's not, you know, it's certainly not the end all be all it's a rare thing for in in moving forward I think it'll be a rare thing but I think where it can be interesting is with these more iterative works, like for the architectural model that I did talk about it was designed to be made a different scales and that's a really interesting potential within the work where I think I would find it very sad for works like that if a museum just said no, the work has to exist only as these kind of sad little yellow bits of plastic and that's it. Like it's it's an expansive work in its conception. So I think it can be interesting in those cases that said it's a tool but it's not the only tool. I think we can have some great other tools that would be really helpful for caring for these works, including the basic stuff like working with an art shipping company to prevent the shipping damage that you know prompts some of this discussion, preventive care. You know those, those are great places to begin. I also had some interesting conversations where people asked about reprinting for things that kind of like fall in the normal domain of what a conservator does like some little parts have fallen off and someone thought maybe like oh does this need to be reprinted and we can, we can handle that kind of thing like we can put broken parts back on something. So, some of it's just interesting to see where people sense of what's possible with objects. So what do we do. I want to read actually this question again now that I've, now that I've talked a little while. So it's, it's, what should we do with things that are maybe more in the ephemeral range or realm that aren't expected to have infinite lifetimes. I would say this is not new territory, I think in, in contemporary art, or, yeah, in cultural heritage. And there are so many benefits to still acquiring works by, you know, for things that aren't expected to last one being like support of an artist, name recognition also funding, especially like in an artist emerging period of the career and just like a vote of confidence like a support for what the artist is doing. And I think that it's, I don't know, the classic example being Eva Hesse like you just needed to make the work that you needed to make and yes it didn't last or didn't last in the same way that it was when it was first made. But wouldn't change anything about a practice. And certainly wouldn't. Yeah, that's, that's a whole other other conversation but my point being like, there are real benefits for these works still being in a collection. They can still be accessed by researchers or scholars, even if not exhibited. And again the support of the artist is really important. So, that's where my mind is, what do what other folks think. So I think Emily, I mean, Emily is the object conservator so the better person to talk about sort of the preventative measures and protecting the objects themselves. But I guess just this whole idea of, you know, something that's going to have a finite lifetime. I just go back to things in terms of the pre acquisition conversation you know it's just being very upfront and just having these very frank conversations with the artist or creator and being like this thing's going to go away at some point, you know, especially this material that deteriorates so rapidly, or some of it does. And really just discussing that and just getting their thoughts on how they feel about, you know, should we reprint, you know, is this just the object sort of having those conversations, both the artists but also within your institution to see how everybody else, knows about that, while also taking the measures to sort of hedge against that and I'm looking at Mark Heller's question about, you know, Mary Oxman who prints and like acting and like how are we going to reprint that and it's going to be pretty hard. So I think we hedge where we get the files we try to document as much as we can about the process, knowing that it's going to be pretty impractical in this present moment for us to reprint but maybe you know in the future. It's going to be very common, you know, who knows what's going to happen in 20 or 30 years. So we just sort of hedge our bets in a way by trying to gather as much documentation as much sort of ancillary material around the object. You know through these conversations through like this is all like documentation but sort of metadata in a form to just help describe and sort of contextualize and then give you know our successors. I think there's a lot of tools to deal with it down the line with the technologies that we don't even know about that could potentially extend the life of these works. You know, just looking at, you know, if there is an agreement or some kind of agreement between the artist the artist estate and in the collecting body, you know, we can put language into our agreements that can speak directly to that process of conservation and in the event that materials start to deteriorate. This is how the museum can make reproductions of that material or be able to preserve the material or in some cases artists are like part of my work and I think Mary Oxman is a great example of this is that my work is supposed to deteriorate over time and we do not want to see it being kind of a reproducer or manufactured in a way to conserve it back to its original state so it really does, you know, depend on, of course the artists and what their intentions are with the work, but also getting with the artists living really having those that dialogue to understand how do you see the work into the future 100 years from now like how would you want this work to be preserved. Or maybe 10. Yes, or maybe 10 exactly because as we know technology is is a fast moving target. Yeah. Three but can I give you a follow up question does since so when the museum goes, you know, or is planning on reprinting an object that has been degraded and now the institution is planning to recreate the objects. And if there's if there hasn't been any sort of wording in in a contract. Do you advise, not officially, do you advise to, to put that in writing that that the museum is now undergoing a reprinting effort ahead of time. I mean it is always, you know, in my word as much as possible creating language around what we can see what what is foreseeable into the that we can can possibly draft an agreement around so these are the issues that we see. So how can we include language in an agreement that would cover any foreseeable issues around the preservation of this work so. And in some cases, in many cases, there is no agreement or, or the museum hasn't had an opportunity to talk directly to the artist because our artists has passed or for whatever reason is unavailable. And I think in those cases it's really. It's a dialogue that needs to happen internally and I know that many, many museums as a moment included we have, you know, a team media group of colleagues from throughout the different departments of the museum, of course curatorial exhibition covering technical media, we come together and we talk specifically about these matters, particularly where an artist may be unavailable to speak on their behalf. Hopefully there's a representative that we can work with to have more conversations about how how the museum can steward the work but I think it's a very it's a very interesting question. It comes up and and and how do we how do we work. How do we work these details out when we don't. Yeah, the information so yes as much as we can from a legal point of view we definitely try to include as much language agreement that can cover these bases. Thank you, I have. I'm just going to make one brief little plug regarding Mark's question about the nary oxman piece with the biodegradable materials just little plug for the exhibition in the spring there's very interesting update on how they're handling those things so this is a moment in the spring to see that And we're at the end of our time and I see an extremely interesting question in the Q&A from Tatiana Cole about looking at the reprinting of contemporary photographs, and maybe we can pick up that question later. Maybe, Peter, you've been asked the question in the Q&A can you give me a 30 second answer on how to catalog these objects when they come in with that on the digital, if you have digital files coming in if you have objects come in. If you reprint the object, how do you, how do you sort of bring that into a cataloging system. Yeah, to really quit make this super fast but the answer Tatiana's quickly. Yes 100% we look to other mediums so reprinting photographs film prints. I think just looking at sort of practice based decision making, I think really trying to inform looking to other disciplines about how they've handled it in the past to form this particular case study so yeah 100% looking to other disciplines and what they've done but in terms of the cataloging we went to it's alongside it so I gave the example of we have MoMA have these X components where there's one component for the object, another component that would be an X2 for the digital file and then if we were to reprint. It would be an X3 so it would sit alongside it and then what we would do is just tie the relationship together within our collection management database to be like this came from this, this is why we printed this and sort of just make those relationships within collection management software, basically utilizing whatever metadata fields are there to make those relationships, put all that context around it put in, you know, free text of just, you know, I Peter did this at this date with this vendor at you know, and just really build it out that way but it would get the catalog right alongside everything else. And then we would just, it would be evolving and its statuses would change just as the work, you know, sort of lives its life in the collection. Great, I would also add in media conservation or with media artworks in general we often have more than one master. So, this is not to go into more details but this is a place I think people can look on how these were solved for other artworks where there's more than one master. I went that way over time with this panel and we could have gone much longer. Thank you, all of you. Thank you, Sreba. Thank you, Peter. Thank you, Emily. This has been a pleasure seeing you all and speaking with you.