Anna Martinez
I run operations for arts organizations — budgets, schedules, loan logistics — and I draw in charcoal before dawn. The two are not separate. Both are curating: deciding what to keep, at what cost, under what conditions. My work here circles one question — what does it take for a thing to last? — answered in the languages I trust: catalogues, lux budgets, and the quiet record of species and objects held in care.
A species record of the Negros fruit dove — critically endangered, unseen since 1953 — told as a museum catalogue sheet.
4ort.mov channel
The grounded facts behind the film: IUCN status, endemism, and why a documented memory is a conservation act.
Archival preservation: light limits at 50 lux, climate at 55% RH, and the conservator's patient craft.
4ort.mov channel
A lux-hour dose calculator for loaned objects — the arithmetic of restraint, given a ledger.
An administrator's guide to environmental monitoring — standards, templates, and the steady climate that keeps objects alive.
Built in Nashville, on the uplink. Everything I make is a record of something I'd rather not lose.