CALL Legacy Specialists Lael Marshall
Can you share what you and your Legacy Artist were able to accomplish through the CALL program?
There is a now digital image for every piece of artwork in the studio, along with information such as size, date, medium on a master list, as well as in the database. Each piece has an inventory number on it, and can be located by classification, size, or year, depending. We were able to move and reorganize the studio, not only better serving to find existing work, but also creating space for future work.
We made a website, and that (daunting) transition from paper and slides, to all digital means of photographing, sending and receiving images and applications a possibility.
Can you give us a sense of how the CALL experience may have influenced you and your work as an artist?
I have adopted the same inventory process in my studio. I have also learned to be more disciplined about documenting, wrapping, and storing my own work.
What has been the most rewarding aspect of this work?
The friendship we built while getting so much done at the same time.
What has been most difficult?
Juggling between 2 computers.
What recommendations might you make to a Legacy Specialist in training on how to prepare for the overall CALL experience?
Spend plenty of time at the start to determine the best way to classify the work for the database, and also how best to physically organize it in the studio (by media,
dates, size etc…)
Busy Body, 2011, oil, acrylic, thread on various materials, 130 x 107 in.
Quilted Painting (LMP2013.22), 2013, oil, acrylic, thread on various materials, 110 1/2 x 83 in.
Dishtowel Painting (LMP2012.28), 2012, oil, rabbit skin glue, cotton dishtowel, on wood, 5 5/8 x 10 1/8 x 1 1/4 in.
Virgule 2, 2013, cotton, latex, wood, staples, 14 x 11 in.
Pourquois Pas..., Why Not...
Biennale d'art non objective de la Ville de Pont de Claix, France, 2013
All works are copyright of the artist or artist’s estate.