From stop-motion animation to a mad scientist, uncover our Collective Licensing Executive's favourites from the archive
1. What is your role at Bridgeman? As Bridgeman’s Collective Licensing Executive, most of my time is spent recouping money for Artists, Museums and Private Collections from Secondary licenses raised by various RRO’s (Reproduction Rights Organisations). Think Robin Hood but without the cute outfit and a LOT more spreadsheets. Whenever I can, I also help out with the transparency and digital archive. For as long as I can remember I’ve been collecting, ordering and documenting various things from cone shells to tropical plants and seeds. So I actually started archiving before I really knew what an archive was. I love seeing new collections arrive, both for the new content as well as seeing how things have been ordered.
2. What do you love most about the job? Every day I see a new image that takes me by surprise. It could be because of its beauty, it may make me laugh, challenge me in some way or spark an idea. I’ve got an insatiable appetite when it comes to images so to discover new works, collections and artists on a daily basis, after 15 years of working at Bridgeman Images, is remarkable.
3. What misconceptions do clients most commonly have about the archive? We represent many of the biggest Museums and Galleries in the world, so it’s easy to only associate us with the more famous works. What a lot of people don’t realise, is that we also have an ever growing number of really interesting private collections. The content is often not available anywhere else, so clients have the opportunity to choose something truly unique. We also have a constant flow of photography coming into the archive which I find hugely exciting, so much so that apart from an artwork by the lovely Rachel Pedder-Smith, I’ve decided to focus on some of Bridgeman’s wonderful photographic content. |
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