Carlson Fabrication in Los Angeles produced Ellsworth Kelly’s sculptures beginning in 1977 and also handled conservation and restoration of works fabricated by both Carlson and Lippincott. After the studio closed in 2023, its sculpture files were transferred to the Ellsworth Kelly Studio. These records will support future conservators in understanding fabrication methods and past treatments. Summer interns are digitizing each Carlson Sculpture File and applying established Digital File Naming Conventions to ensure long-term remote access and research use.
Overview
From June–August 2025, I worked as an Archives and Library Intern at the Ellsworth Kelly Studio in Spencertown, New York, a Hudson Valley institution that stewards the artist’s archive and a collection of more than 10,000 works. The Studio and the Ellsworth Kelly Foundation maintain Kelly’s artistic and philanthropic legacy, supporting work in the arts, historic preservation, environmental conservation, and education.
My project supported two major initiatives: the development of the Studio’s new artist monograph library and the long-term preservation of Carlson Fabrication sculpture files. Working with Studio archivists and librarians, I processed, cataloged, and shelved collected artist monographs and exhibition catalogues, creating metadata records in TinyCat and implementing Library of Congress classification to make the library discoverable and accessible.
In partnership with Studio staff, I also contributed to the digitization of the Carlson Fabrication Files. Records were transferred to the Studio after Peter Carlson’s Los Angeles fabrication and conservation studio closed in 2023. These files document the fabrication, cleaning, and restoration histories of sculptures made by both Carlson and Lippincott, and they will support future conservation research. My role included preparing and digitizing each Sculpture File according to established Digital File Naming Conventions to ensure accurate, long-term remote access for researchers and conservators.
Research & Preparation
Before beginning digitization, I conducted a preliminary assessment of the Carlson Fabrication sculpture files—reviewing their physical condition, existing organization, and the metadata needs required for long-term digital access. I met with Studio archivists, the project supervisor, and fellow interns to clarify goals, establish benchmarks, and refine a weekly production target of 25 files per week, or approximately 8–9 files per intern, to ensure full project completion within the internship period.
Our planning process drew on archival standards such as DACS for description and AIC conservation guidelines for handling and imaging condition-sensitive materials. We also reviewed the Studio’s established Digital File Naming Conventions, created by previous interns, to maintain consistency and support future researcher usability.
To prepare the files, I used flatbed scanning equipment, gloves, book cradles, and other preservation-oriented supports depending on the materials housed in each folder. Workflows included pre-scan review, arrangement verification, metadata capture, high-resolution imaging, quality control, and systematic upload into the Studio’s digital storage environment.
Challenges included variable file sizes, mixed media formats, and documentation created across multiple decades by both Carlson and Lippincott fabrication teams. I addressed these constraints by coordinating with archivists on handling protocols, adjusting scanning strategies for oversized or fragile materials, and documenting any deviations from standard workflow for future reference. Continuous communication among interns and staff ensured that the digitization pace remained steady while upholding accuracy, preservation practices, and long-term accessibility goals.
Execution & Process
For the Carlson Fabrication Files digitization, I followed a consistent workflow developed with Studio archivists and fellow interns. Each file was retrieved from storage, checked for fragile or oversized materials, and stabilized before imaging. I verified the internal order of documents—such as correspondence, fabrication drawings, treatment reports, and photographs—and flagged any condition issues for staff review.
Digitization included scanning all materials at preservation-appropriate resolutions and applying the Studio’s established Digital File Naming Conventions so each digital surrogate clearly reflected the sculpture ID, file type, and sequence. I recorded descriptive metadata for each file, including artist, fabricator, sculpture ID or title, date range, and document types. Any missing records, unusual treatments, or links to Lippincott-fabricated works were noted to support future conservation research.
After scanning, I completed quality control checks for clarity, completeness, and correct orientation, re-scanning items as needed. Approved files were saved into the Studio’s digital storage system following established folder hierarchies to maintain the original intellectual order.
To meet project goals, the internship team maintained a production target of 25 files per week, or approximately 8–9 files per intern, ensuring all Carlson Fabrication Files were digitized by the end of the program.
In parallel, I contributed to building the Studio’s Artist Monograph Library. This included creating and updating catalog records in TinyCat, applying consistent metadata fields (author, title, publisher, year, subjects), and implementing Library of Congress classification to assign call numbers. I labeled and shelved materials alphabetically by artist, improving accessibility and browseability for staff and researchers.
Measurable outcomes include: steady digitization of 25 sculpture files weekly; complete metadata capture for each digitized file; and the establishment of a searchable, systematically organized monograph library with LOC call numbers, TinyCat records, and improved physical arrangement.
Impact & Reflection
This project significantly enhanced long-term access to the Ellsworth Kelly Studio’s archival holdings while strengthening the preservation of key historical documentation. The digitization of the Carlson Fabrication Files ensures that future conservators, scholars, and Studio staff can remotely consult detailed fabrication and treatment records—resources that are essential for responsible preservation, exhibition planning, and ongoing research into Kelly’s sculptural practice. By completing digitization at a steady rate of 25 files per week, the internship cohort transformed a previously inaccessible body of material into a usable, well-organized digital archive.
The development of the Artist Monograph Library further improved access by establishing a discoverable, systematically cataloged reference collection. Implementing Library of Congress classification and creating consistent TinyCat metadata made the library a functional research tool that will continue to grow and support curatorial, archival, and scholarly work at the Studio.
Through this experience, I gained a deeper understanding of the relationship between physical preservation and digital access, especially the importance of clear workflows, quality control, and consistent metadata in large-scale digitization projects. I also learned how fabrication records can directly shape conservation decision-making and how access improvements can support institutional memory and interdisciplinary research.
For future recommendations, I suggest establishing a periodic review of file naming conventions and metadata fields to ensure they evolve with researcher needs. Additionally, implementing a standardized intake process for new monographs and archival materials would maintain consistency as the library and digital archive continue to expand.
