The phenomenon of artists drawing on their own and other archives is not a new one, but over the past few years there has undoubtedly been a significant increase in attention, among both artist and art historians, given to the archive as part of the creative process, as well as to archive practice. Archives have also become contested territory, caught up in discourses about the nature of museums and individual anxieties about the significance and preservation of documentation. From an archivist's point of view, archives have a positive and fertile role as both a resonant collective memory resource and a site of creative regeneration through revisiting the traces of earlier ideas and actions. Archive theory also emphasizes the importance of context in the assessment of the meaning of a document within a body of archive material. Consideration of the archives of Prunella Clough and Helen Chadwick within this wider context of archival theory and practice reveals in both cases a distinctly archival attitude to the documentation of the creative process, one which provides a rewarding insight into their work
A set of papers becomes an archive when its life as a series of active documents is finished and they are deemed worthy of permanent preservation. Archives are not, however, an ending but rather a beginning. Although one of the major functions of a repository is to store and preserve, one of the other challenges for archivists is how to activate their collections and exploit the latent potential of the silent memory that is stored in the boxes. This article outlines how the archive at the Henry Moore Institute is attempting to do this.
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