Ephemera – A Revaluation of Archivism by Lily Tucker

Lily Tucker undertook a Schaeffer Fine Arts Library Internship working on the Sherman Gallery Archives. Tucker is studying a Bachelor of Visual Arts with a major in Anthropology.

I’m a Bachelor of Visual Arts student majoring in Anthropology with a passion for community engagement in Sydney’s arts and cultural sector. Despite nearly three years of study, I had many questions about careers within GLAM institutions beyond artist or curator roles.

Lily Tucker, Research and Metadata at Schaeffer Fine Arts Library, University of Sydney

Through the FASS300 Internship Program, I interned as a Library Research and Metadata Intern at the Schaeffer Fine Arts Library, where I discovered the vital yet often overlooked work of archivists in supporting Australia’s arts and cultural heritage.

During my placement, I focused on cataloguing the Sherman Galleries collection. Founded in 1986 by Dr Gene and Brian Sherman, Sherman Galleries hosted up to 20 exhibitions annually at its Paddington locations, showcasing local and international artists and engaging the public in artistic, social, and political movements. After closing in 2006, the gallery’s collection—137 folders containing exhibition catalogues, invitations, newspaper clippings, flyers, articles, and photographs for each artist—was donated by Dr Gene Sherman to the Power Institute.

Through cataloguing the Sherman Galleries collection, I learned about archival representation while using the Schaeffer Library’s in-house cataloguing software, Hypatia, designed to capture metadata for ephemeral materials. Metadata stores descriptive information as searchable data points, and it was rewarding to know that my work would become part of the University’s global library system for future students. By the end of my placement, I completed 8 artist folders, creating over 500 records. This experience not only developed my skills in metadata creation and cataloguing software but also deepened my understanding of how individual labour shapes the way cultural artefacts are valued and represented.

With guidance from my supervisor but the independence to manage my own progress, I engaged deeply with materials on artists like Ah Xian and Marion Borgelt. I became aware of the often-overlooked role of archival labour in shaping art historical knowledge—work that typically lacks public recognition compared to that of artists, curators, and academics. To highlight this hidden contribution, I incorporated strategies in my cataloguing to recognise archivists and preservation staff, such as researching and capturing metadata for authors and key personnel mentioned in unsigned materials. This approach aimed to ensure that the labour of these individuals, who act as custodians of cultural artefacts, is also reflected and valued in the archival record. Most materials in the Sherman Galleries collection were exhibition reviews and curatorial texts, reflecting how gallery appraisal policies often prioritise front-facing roles. However, I also encountered ephemeral primary sources—such as invitations, room sheets, and staff correspondence—that revealed the behind-the-scenes work essential to artistic production. These items document the infrastructure of lesser-known events, institutional communications, and public programming that collectively shape an exhibition’s public presence.

Some materials even bore direct traces of archival personnel, including correspondence from gallery administrators and annotations by Schaeffer librarians. Similarly, my own contribution to the preservation of these materials is evident in the item descriptions I created and the call numbers I handwrote on each document. These reflections on invisible labour and biases in knowledge production inspired me to develop an exhibition that revalue the hidden work of archivists by presenting ephemeral materials as a site of public engagement. Because audiences in the GLAM sector usually encounter only artworks, cultural artefacts, or rare ephemera, archival work often remains unseen. My placement at Schaeffer Library offered a unique opportunity to curate unconventional materials from the Sherman Galleries collection, helping to highlight the vital yet under-recognised contributions of administrators, registrars, and archivists. 

Exhibition in the Schaeffer Fine Arts Library.

With the incredible guidance from Schaeffer Library and Power Institute team, I have felt supported in my learning in every moment during this internship. The knowledge I’ve gained about how GLAM institutions collect, research, and preserve archival materials, has given me the tangible experience necessary to ground my coursework in its real-world applications. 

Being part of the Schaeffer Library team, this semester has ultimately strengthened my desire to not only pursue a career in the GLAM sector, but to consider what I want my participation in it to look like—engaging in conversations and uplifting practices which are grounded in radical empathy, solidarity, and a recognition of care-based labour.

Research Seminar and Exhibition: Ephemera – A Revaluation of Archivism

Highlights: 30–45 items from Ataman, Atkins, Ah Xian, Berkowitz, and Borgelt folders displayed in the Schaeffer vitrines; suggested public programming includes an opening night talk and panel discussion with archivists and curators.

Date & Venue: Thursday, 7^th August 2025 at 3.00 PM, at Schaeffer Library Seminar Room, RC Mills Building (A26), Camperdown, University of Sydney. 

Links to Internship Video and Schaeffer Library Page:

https://powerinstitute.org.au/schaeffer-fine-arts-library-internship-program-2025