Creating a Living Legacy (CALL) is an initiative of the Joan Mitchell Foundation designed to provide support to older artists in the areas of studio organization, archiving, inventory management, and through this work create a comprehensive and usable documentation of their artworks and careers.
This site is a publicly available resource to assist an artist, artist’s assistant, Legacy Specialist, family member, or friend of an artist in the process of career documentation.
How to use this website: This website is organized into topics related to creating an archive, as listed above in the navigation bar. In the drop-down menu for each topic, you can see the sub-topics. You can read this site as a manual, beginning with “Getting Started” and moving sequentially through the topics, using the links at the end of each page. Alternatively, you can jump around as you wish, learning more about the topics that are relevant to your needs, using the navigational bar above, or using the “Search” function in the header.
In this video recording, Legacy Specialist Rose Candela Moore gives a behind-the-scenes look at preparing for Mel Chin: ReMatch, a major retrospective of conceptual and multidisciplinary artist Mel Chin at the New Orleans Museum of Art in Spring 2014.
Rose Candela Moore and Mel Chin and Amanda Wiles by Ben Premeaux.
In this series of entries, readers will be introduced to ways of using the career documentation process to prepare for a retrospective, solo exhibition and/or catalogue, through reflections by Legacy Specialist Rose Candela Moore on her work with conceptual and multidisciplinary artist Mel Chin.
Beginning Steps for Planning a Retrospective
By Rose Candela Moore, Legacy Specialist to artist Mel Chin
Planning for a retrospective is no easy task. But the end result is very rewarding—for the Artist and all those involved in the preparations.
Mel Chin’s retrospective, opening February 2014 at the New Orleans Museum of Art, has been my main focus for the past few years as I work to develop a comprehensive and usable archive through the CALL program.
The overall planning of the retrospective takes the support and effort of numerous people. The collective effort to sort, organize and inventory the artwork now serves as the central location for research and information on Mel Chin’s life’s work. In this entry my intention is to present the infrastructure my team and I developed for preparing for the retrospective. These areas of focus may help you build a framework for preparing for a big exhibit and/or catalog.