CALL Legacy Apprentices Megan Pasko

Megan Pasko

Legacy Apprentive with CALL Artists Joe Overstreet and Tara Sabharwal

Can you share what you and your CALL Artist were able to accomplish through the CALL program?
When working in Joe Overstreet’s studio, I was able to create an Excel chart that allowed him and the other artist to set up a system in sorting the digital files of his work. In the Excel chart, not only did we categorize artwork by series but added additional information of location and history of the work if it traveled.

When working for Tara Sabharwal, I was able to create a physical organization system with her prints and watercolor/ ink works. Here I created archival folders by decade and sub-categorized them by year. We worked with a database system created by the CALL legacy specialist, in which she would be able to have easy access to these pieces and be able to quickly see and find them.

Can you give us a sense of how the CALL experience may have influenced you and your work as an artist?
I have learned the importance of documenting your work as you move in your career. There is also a transition in art in the making of the work between series, ideas, and/or the expansion of the two. There is always a chance for work getting lost, damaged, or mistreated by galleries, friends, and other artists when work is being shown or borrowed. I also learned the importance of signing and dating your work. Though it should be seen as second nature, there have been plenty of times I have forgotten. Working with this artist has kept me more aware about signing and documenting work as I complete it.

What has been the most rewarding aspect of this work?
When you have a body of work that is all organized physically and digitally, that is the most rewarding part of this work. Having the ability to look for a series of work with ease amongst decades of work knowing it will benefit the artist as he/she moves on in their careers is quite satisfying.

What has been most difficult?
Saying no is the most difficult part of the program. All you want to do is help and give the artist all that you can. However, there are time limits and so much to get done that only certain tasks can be tackled. It is important to do a few things well and almost completed than leave many projects half finished.

What do you recommend to anyone assisting an artist in the career documentation process?
I would recommend you listen and ask questions of the artist you are working with. Every artist sees art and their work differently. Through conversations you can identify how they will want to categorize, sort, and store their work.

All works are copyright of the artist or artist’s estate.