ARLIS/NA Collection Development SIG Blog

For ARLIS/NA members interested in collection development issues.


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Announcement of interesting Croatian Publication

Suzana Marjanić: Kronotop hrvatskoga performansa: od Travelera do danas. Zagreb: Udruga Bijeli val, Institut za etnologiju i folkloristiku, Školska knjiga, 2014. (In Croatian)
$215.00
Web-page: http://www.ief.hr/Izdava%C5%A1tvo/tabid/67/agentType/View/ID/195/Default.aspx

The Chronotope of Croatian Performance Art: from Traveleri to the Present Day (Kronotop hrvatskoga performansa: od Travelera do danas) covers the life of performance art in Croatia from two standpoints: the avant-garde from the early 1920s (e.g. the group of high-school students Traveleri, who, among other things, performed street actions by subversively greeting horses, and not coach drivers or noble passengers) and the conceptual groups from the 1960s and 1970s when performance art in was initiated by its originators, Tomislav Gotovac, Sanja Iveković, Vlasta Delimar etc. Art historian Ješa Denegri wrote in the catalogue of the exhibition New Art Practice 1966–1978 that activities within the former Yugoslavia were so intensive at the time that they were even then difficult to register and catalog. With their performing concepts they were highly influential (Gotovac’s work greatly inspired Marina Abramović as she has repeatedly emphasized).

Presented according to the performance centers (Zagreb, Split, Dubrovnik, Pula – Labin, Rijeka, Osijek, Varaždin…) the author decided not to use the possible subtitle “history of Croatian performance art”, but the (Bakhtinian) collocation “chronotope of Croatian performance art”. In its temporal narrative, social and political changes which follow through the book [monarchist – The Kingdom of Serbs, Croats and Slovenes/ The Kingdom of Yugoslavia (1918-1939); socialist – Socialist Federal Republic of Yugoslavia (1945-1991); democratic – Republic of Croatia (1991- ), and entering the European Union in 2013] created unique context for development of performance arts and their themed repertoire; from turning upside-down the norms of aristocratic class in its decline, rebellion against communist regime oppression, fights for the feminist movement, sexual rights battles and finally activism and a harsh critique of neo-liberal consumerist society.

Each chapter of the book begins with a theoretical background followed by interviews with individual performance artists as well as actors, musicians, theoreticians, and art historians. This part of the book keeps up with the chronology through the living words of its protagonists. The book consists of 15 chapters, 3 forewords, a timeline, 149 interviews, 1860 photographs… 2096 pages!

Beautifully designed and conceptually crafted as the book-altar for artists whose art clashed with all ideologies.

Available from: ALGORITAM/ BOOKS TRADE SERVICES LTD/ HARAMBASICEVA 19/10000/ ZAGREB/ CROATIA. Please contact: BRANKO VUKOVIC: email: branko.vukovic@algoritam.hr


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The Newly Available Online Core List of Architecture Resources (AASL)

The Newly Available Online Core List of Architecture Resources / by Barbara Opar

Want to check your library collection for core reference works? Not familiar with the discipline and need to quickly see what resources are considered basic to the field? The Association of Architecture School Librarians has made freely available in an online format such a list of core architecture resources. The list can be accessed at http://woodbury.libguides.com/content.php?pid=576715&sid=4754619

AASL members previously compiled a core list of architecture periodicals and will be revising it soon. This new list provides an additional aid to librarians, especially those less familiar with architectural librarianship.

Several years ago, Kathy Edwards (Clemson University), Janine Henri (University of California, Los Angeles), Barbara Opar (Syracuse University), and Amy Trendler (Ball State University) took the initiative to begin developing a core reference list for architecture based on discussion which took place at the AASL annual meeting. The AASL Executive Board then made this an official AASL Task Force and charged the group to:

  1. Identify the categories of core reference resources needed in libraries supporting accredited architecture degrees in North America
  2. Develop a list of core resources needed for each category
  3. Recommend appropriate updating cycle and format
  4. Advocate with NAAB and other appropriate groups for endorsement of the core reference works list
  5. Disseminate information about the list to allied organizations

Task force members first identified the most essential categories and then began developing a list of corresponding resources for each category to assist researchers from beginner to advanced. The list includes categories on architecture schools; bibliographies and guides to research; biographical resources; dictionaries and encyclopedias; surveys and histories of architecture; special collections; guides to architectural styles; indexes and databases and finally visual resources. Because architecture is also heavily reliant on technical resources, other categories include building codes and regulations; cost estimating; professional practice; specifications and trade literature; and technical handbooks/standards. AASL hopes in the future to have this list used in the National Architectural Accrediting Board review process, so a section listing publications relevant to each of the NAAB Student Performance Criteria and related subcategories was added.

The authors collaborated using Springshare’s online LibGuides platform via the Clemson site. This platform enabled authors to enter their specific selections as well as review those of other team members. Overall editing of the online tool was completed by Barret Havens (Woodbury University, Burbank) and moved to that institution’s Campus Guides.

AASL encourages you to use this list, share it with others and send any comments to one of the committee members listed in the blog.


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How do you use social media for acquisitions? / contributed by Ross Day

Lately I have been intrigued by the idea of mining social media sites to enrich my acquisitions activities. I’m specifically looking in non-traditional notification streams for under-publicized, quirky or alternative titles, or to hear in advance of forthcoming publications. Much art publication turns on the exhibition calendar, and social media sites—whether official or unofficial—are often the timeliest source for new titles and web sites. By now museums and galleries are very much in the game.

There are countless other sites on the visual arts, and sifting through them can be time-consuming and frustrating. If fashion or design is your thing, there are entire subgenres of sites devoted to those topics alone.

These days most social media destinations cross-post: it hardly matters (for the most part) whether you follow on Twitter, Facebook, Pinterest, Tumblr or Instagram, to name only the most popular. I use Facebook and Instagram most frequently, so my examples come from there. You no doubt have your own favorite platforms. Bear in mind that they have their favorites too: activity may vary from site to site.

I want to share a few of my favorites and urge you to offer favorites of your own. I mention them merely as examples and not as epitomes. It’s important for each of us to explore our own favorite sources. Frankly much of the fun is in discovering and sharing.

[Links below are to their web presence, where you can select your favorite social media platform.]

Two news and information sources I find useful are Colossal and Hyperallergic. Colossal is a Chicago-based blog showcasing “photography, design, animation, painting, installation art, architecture, drawing, and street art.” It was through Colossal that I heard about the newly published limited-edition “Banksy in New York” by Ray Mock—and ordered a copy for the library the same day.

Brooklyn-based Hyperallegic, which styles itself as “a forum for serious, playful and radical thinking about art in the world today,” is less targeted to publications but is still valuable for catching the fleetingly topical art Zeitgeist. It’s also good for identifying (in hindsight) those artists who might be underrepresented in or downright absent from our collections.

There are a number of art book publishers, sellers and book enthusiasts appearing in social media. One of the most active and useful for me has been Artbook at MOMA PS1, particularly via Instagram as artbookps1. They are especially strong on small run, cutting-edge and (alas) all too ephemeral art and culture magazines. I’m also partial to zeropluspublishing in Los Angeles. Also on Instragram I enjoy following harpersbooks, a Long Island gallery and book store; as well as the personal postings of fashionbookshelves (out of Turkey) and the Instagram link: dustjackets … well, because.

In a more traditional vein, Michael Shamansky Art Books (Facebook) frequently posts new titles of interest on Facebook. If the eighteenth century is your game, you can always follow Enfilade (Pinterest).

In a somewhat lighter vein, don’t overlook the efforts of your colleagues. I tip my hat to fellow librarian Holly Hatheway for her frequent “New Art Book of the Day” posts. And in a ‘turnabout fair play’ I have often posted a “Weird Art Book of the Day” to Facebook based on titles I’ve spotted in my explorations.

Who else is posting their favorite art titles, and where? Share!

Ross Day
Watson Library
Metropolitan Museum of Art, New York


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Online Scholarly Catalogue Initiative (OCSI) in WorldCat / announcement by Julie H. Butash

The Getty Foundation is pleased to share that nearly all of the digital publications supported through the Online Scholarly Catalogue Initiative (OSCI) have been catalogued in WorldCat and are ready for inclusion in your own library’s catalogue: https://www.worldcat.org/search?q=au%3AOnline+Scholarly+Catalogue+Initiative.&qt=hot_author

OSCI aims to transform museum publishing by reinventing the scholarly collection catalogue for the digital age. Online catalogues can reach virtually unlimited scholarly audiences around the globe. They allow for frequent updates and changes, and permit direct links to a limitless array of primary and secondary resources, from archival documentation and conservation information to audio and video interviews with artists and curators. By using new tools and technologies, museums are able to offer deeper, richer content, tailored to the needs of varied audiences.

Online catalogues are now available from the following OSCI museums:

  • Art Institute of Chicago
  • Los Angeles County Museum of Art
  • National Gallery of Art in Washington, DC
  • San Francisco Museum of Modern Art
  • Seattle Art Museum
  • Tate
  • Walker Art Center

Stay tuned for the forthcoming catalogue from the Freer Gallery of Art and the Arthur M. Sackler Gallery.

We are pleased to be able to share these innovative catalogues with you!

If you have any questions, please feel free to email me. Thank you.

 

Julie H. Butash
Program Assistant
The Getty Foundation
1200 Getty Center Drive, Suite 800
Los Angeles, CA 90049-1685
T: 310-440-7288
JButash@getty.edu


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Finding the O.P. Art Book to Purchase/by Susan Craig

One of the biggest changes in the 40 years that I’ve been an art librarian is in the ease of locating out-of-print books to purchase for the library’s collection. In the old days (pre-Internet), librarians needed phenomenal memories and endless amounts of time. We would identify titles that we wanted to buy and then try to match them with offerings from favored dealers through scanning the printed catalogs or slips sent to us by dealers. Many were the hours that I perused dealers’ catalogs looking for specific titles—usually without success.

The reason I needed the o.p. work would vary. Sometimes it was an item that had been checked out and not returned—or possibly returned damaged—and I needed to replace it in the collection. Sometimes it was to support a newly hired faculty member whose specialty was new to our institution. Occasionally, it was simply a title that I missed buying when it was first published in a short print run.

My current process for finding an o.p. book is to look through one of the booksearch engines like addall.com, biblio.com, or bookfinder.com. These meta-searches will often include not only individual dealers but also sources such as Amazon, Abebooks, Alibris, and European resources like ZVAB, Antiqbooks, Livre-Rare-Book. When searching, you can usually indicate your binding choice, price range, and even condition restrictions. The resulting list of offerings will usually be arranged by price and you need to have some criteria in mind when making a selection. My institution wants the condition to be Very Good or above and needs to have the vendor accept a credit card payment. I prefer not to have other library’s markings in the books that I buy and I definitely don’t want underlining and highlighting. Having a book jacket in pristine condition will usually raise the price but is irrelevant to a library that routinely discards the jacket during processing. I also look at the shipping cost since a cheaper book may have a high shipping rate. When prices and conditions are similar, I will select a vendor who specializes in art books—especially those whom I’ve met at ARLIS/NA conferences.

Very occasionally, I will not be able to find a copy at a price or condition that I want to buy. At that point, I would consider contacting a specialist art book dealer and asking them to “search” for a copy using my criteria and alert me if they find one. This process can be lengthy so I only do this when the title will have lasting value for the collection.

Finding o.p. art books is so-o-o much easier now that it used to be and my library’s collection is the better for it.

Susan Craig, University of Kansas. August 2014.


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Report: JSTOR E-Book Event at the Metropolitan Museum of Art

On July 31, Watson Library at the Metropolitan Museum of Art hosted a day-long event in which administrators from JSTOR spoke of their new e-book initiatives, librarians described their e-book programs, and publishers described their e-book plans.
Pat Moriarty (JSTOR: Director, Institutional Participation & Strategic Partnerships) described their current e-book collection as being 27 thousand titles from 62 publishers.   Most use is in history followed by literature.
John Lenahan (JSTOR: Associate Vice President, Institutional Participation & Strategic Partnerships) pointed out that one could have integrated searching between JSTOR’s periodical content, and their e-book collections. They are partnering with OCLC to provide MARC records, and they have negotiated with publishers to allow chapter length ILL.
Jeff Carroll and Melissa Goertzen (Columbia University Libraries) described Columbia’s growing e-book collection, now representing over 25% of the libraries’ overall books budget.
Denise Hibay and Rebecca Federman (New York Public Library) noted that they are focusing their e-book purchases on front lists, not retrospective, and on humanities and social sciences rather than sciences. They have now formed an e-workflow committee within the libraries to iron out workflow issues. They added that they are very concerned that they maintain their role, in the research collections, as a print repository within a national context.
John Lenahan (JSTOR) returned to describe their offering of 13 subject collections in the humanities and social sciences. The DDA (Demand Driven Acquisitions) model is offered, whereby a library can limit by price and/or publisher and/or subject area(s), and purchase is triggered by six chapter views OR by four chapter downloads. All use below these triggers is free.
Jennifer Carroll (University of New Hampshire) spoke of their participation in the Boston Library Consortium’s DDA program through YBP and e-brary.
Ross Day (Watson Library, Metropolitan Museum of Art) described the unusual situation of museum libraries. How is FTE configured? They have 500 curatorial staff, so is that 500 FTE?   They tend to purchase electronic or print based upon which format is published first.   So far, he has found no serious objection by his user community to e-books.
Frank Smith (JSTOR: Director, Books at JSTOR) introduced representatives from two academic publishers:
Brad Hebel (Columbia University Press) pointed out that CUP has been publishing electronic titles for a long time, e.g. Granger’s Online. They produce around 160 new titles per year, and e-book represents 20% of their revenue.
Fred Nachbaur (Fordham University Press) explained that FUP imprints are distributed by Oxford University Press, and he emphasized that the costs of producing ebooks are NOT considerably less than print. Their titles are available in Project Muse and will be available in JSTOR.

Q/A to the publishers:
Open Access for e-books? The publishers said that it is difficult to come up with an Open Access model that works for e-books, because publishers still need to cover costs. Business models for e-journals and e-books are different: one pre-pays to subscribe to journals so publishers collect money up front, then they can e-publish the content, but with eBooks, publisher spends money up front to produce content then must recover as much as possible with sales.
E-books for classes? Presses do monitor use of packages and titles where there is unlimited access. They generally try not to, but if a book is suddenly needed for a class and 60 students are accessing it instead of buying the title, that negatively affects revenue, so presses have been known to pull the title from e-book collections.


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QUERY: Josef Albers. Interaction of Color (2013) Yale University Press

Have any of you purchased the Yale University Press I-Pad publication:
Interaction of Color / Josef Albers (2013)
which won the 2013 George Wittenborn Award?

Have you loaded it on a single I-Pad, and how do you make it accessible?  Have you cataloged it? At Columbia University Libraries, we are grappling with how to handle this title, particularly with the long term access and preservation of its unique content in mind.

I would be most pleased if those who have considered acquiring or who have already purchased this title, or others like it (tablet only accessible titles, or titles that are basically apps) would share their thoughts and experiences.

Thanks so much,
Paula Gabbard

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