The author provides ideas for combining active learning principles with artists’ books instruction in libraries by defining specific and measurable learning outcomes using the ABCD method. This results in active pedagogy by fostering the creation of activities that teach students a deeper understanding of artists’ books. The article describes three activities used at the University of Oregon, with the goal of bringing artists’ books pedagogy in line with learner-focused library instruction and starting a conversation with other librarians who teach with artists’ books.
{"title":"Using Learning Outcomes to Create Activities for Artists’ Books Instruction","authors":"Sara DeWaay","doi":"10.1086/697274","DOIUrl":"https://doi.org/10.1086/697274","url":null,"abstract":"The author provides ideas for combining active learning principles with artists’ books instruction in libraries by defining specific and measurable learning outcomes using the ABCD method. This results in active pedagogy by fostering the creation of activities that teach students a deeper understanding of artists’ books. The article describes three activities used at the University of Oregon, with the goal of bringing artists’ books pedagogy in line with learner-focused library instruction and starting a conversation with other librarians who teach with artists’ books.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"42 1","pages":"90 - 103"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90759865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Art fairs and biennials have become an essential part of the story of contemporary art and architecture. Ephemeral handouts, pamphlets, and posters—a hallmark of these gatherings—have the potential to help students and researchers understand these events if preserved for future use. However, libraries and archives that want to collect ephemeral material from biennials face several challenges, including the difficulty of collecting these materials remotely, developing appropriate methods to best organize this type of material, and determining the best way to present these materials to students and scholars. This article describes a case study at the University of Colorado Boulder of creating an archival collection of ephemera from biennials.
{"title":"Collecting, Organizing, and Teaching the Ephemera of Art Biennials","authors":"Alex Watkins, Jane Thaler","doi":"10.1086/697279","DOIUrl":"https://doi.org/10.1086/697279","url":null,"abstract":"Art fairs and biennials have become an essential part of the story of contemporary art and architecture. Ephemeral handouts, pamphlets, and posters—a hallmark of these gatherings—have the potential to help students and researchers understand these events if preserved for future use. However, libraries and archives that want to collect ephemeral material from biennials face several challenges, including the difficulty of collecting these materials remotely, developing appropriate methods to best organize this type of material, and determining the best way to present these materials to students and scholars. This article describes a case study at the University of Colorado Boulder of creating an archival collection of ephemera from biennials.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"302 1","pages":"71 - 81"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89043499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L. Klic, J. Nelson, M. Cristina Pattuelli, A. Provo
The Drawings of the Florentine Painters by Bernard Berenson has been an essential source for art historians since it first appeared in 1903 and remains so today. Though many catalogs of drawings exist for individual collections and artists, Berenson’s study is the only resource that includes examples from across the Western world by nearly seventy Florentine painters, from Taddeo Gaddi in the fourteenth century through Bronzino in the sixteenth. The Florentine Renaissance Drawings project makes Berenson’s invaluable catalog information available in a machinereadable format. As with most projects that transform textual art documentation into digital editions, the authors faced challenges in maintaining a balance between making data scalable and preserving the nuances of the original text. This study demonstrates how Linked Open Data (LOD) technology allows one to maintain the complexity of source data while allowing for standardization of terms and concepts.
{"title":"Florentine Renaissance Drawings: A Linked Catalog for the Semantic Web","authors":"L. Klic, J. Nelson, M. Cristina Pattuelli, A. Provo","doi":"10.1086/697276","DOIUrl":"https://doi.org/10.1086/697276","url":null,"abstract":"The Drawings of the Florentine Painters by Bernard Berenson has been an essential source for art historians since it first appeared in 1903 and remains so today. Though many catalogs of drawings exist for individual collections and artists, Berenson’s study is the only resource that includes examples from across the Western world by nearly seventy Florentine painters, from Taddeo Gaddi in the fourteenth century through Bronzino in the sixteenth. The Florentine Renaissance Drawings project makes Berenson’s invaluable catalog information available in a machinereadable format. As with most projects that transform textual art documentation into digital editions, the authors faced challenges in maintaining a balance between making data scalable and preserving the nuances of the original text. This study demonstrates how Linked Open Data (LOD) technology allows one to maintain the complexity of source data while allowing for standardization of terms and concepts.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"10 1","pages":"33 - 43"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86051457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Provenance research in rare book and cultural heritage collections has pedagogical value that should encourage information professionals to incorporate it into their research and teaching practice. Its value extends to building deeper connections with faculty and students and enriching the body of knowledge surrounding the collection. This article reviews the literature addressing the value of provenance research in rare book collections and discusses a case study of provenance research at the Frick Fine Arts Library at the University of Pittsburgh. Evidence of value is provided through the resulting curriculum collaboration and knowledge development.
{"title":"The Pedagogical Value of Provenance Research in Rare Book and Cultural Heritage Collections","authors":"Kiana Jones","doi":"10.1086/697275","DOIUrl":"https://doi.org/10.1086/697275","url":null,"abstract":"Provenance research in rare book and cultural heritage collections has pedagogical value that should encourage information professionals to incorporate it into their research and teaching practice. Its value extends to building deeper connections with faculty and students and enriching the body of knowledge surrounding the collection. This article reviews the literature addressing the value of provenance research in rare book collections and discusses a case study of provenance research at the Frick Fine Arts Library at the University of Pittsburgh. Evidence of value is provided through the resulting curriculum collaboration and knowledge development.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"75 1","pages":"82 - 89"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79234053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reporting on the results of a survey conducted in spring 2017, the author offers insight into the contemporary trends and challenges of collecting US, Canadian, and European print and digital art exhibition catalogs by academic art librarians in the United States and Canada. Findings demonstrate that for academic institutions with programs in art history, fine arts, or design, exhibition catalogs are a collection priority. Due to the variety of publishers of art exhibition catalogs, specialized knowledge to identify and acquire these resources is required.
{"title":"The Collecting Practices for Art Exhibition Catalogs at Academic Libraries in the United States and Canada","authors":"Andi Back","doi":"10.1086/697272","DOIUrl":"https://doi.org/10.1086/697272","url":null,"abstract":"Reporting on the results of a survey conducted in spring 2017, the author offers insight into the contemporary trends and challenges of collecting US, Canadian, and European print and digital art exhibition catalogs by academic art librarians in the United States and Canada. Findings demonstrate that for academic institutions with programs in art history, fine arts, or design, exhibition catalogs are a collection priority. Due to the variety of publishers of art exhibition catalogs, specialized knowledge to identify and acquire these resources is required.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"87 11 1","pages":"104 - 118"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84033532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2015, art historian Sally Stein made the gift of the Allan Sekula Library to the Clark Art Institute in memory of her husband Allan Sekula (1951–2013). An internationally known artist, photographer, filmmaker, and writer, Sekula is recognized as a public intellectual, trenchant art critic, and critical theorist. He is also known for the social commentary, criticism, and activism that informed his life and work. This article considers a representative sample of comic and graphic novel titles found in the Allan Sekula Library and provides an analysis of complementary materials in the Allan Sekula Archive now held by the Getty Research Institute. From the dark heroism of the worker in the early books-without-words of Giacomo Patri and Frans Masereel to the vulgar staccato bouzouki and priapic productions of Robert Crumb and S. Clay Wilson, the author examines the comic, manga, and graphic materials used by Allan Sekula as both subject and “object of interest” in his physical installations, films, essays, and teaching. [This article is a revision of a paper presented at the “How to Develop a Comic Book and Graphic Novel Collection” session at the ARLIS/NA conference held in New Orleans, Louisiana, in February 2017.]
{"title":"Bouzouki Music: Allan Sekula and the Comics","authors":"P. Baker","doi":"10.1086/697273","DOIUrl":"https://doi.org/10.1086/697273","url":null,"abstract":"In 2015, art historian Sally Stein made the gift of the Allan Sekula Library to the Clark Art Institute in memory of her husband Allan Sekula (1951–2013). An internationally known artist, photographer, filmmaker, and writer, Sekula is recognized as a public intellectual, trenchant art critic, and critical theorist. He is also known for the social commentary, criticism, and activism that informed his life and work. This article considers a representative sample of comic and graphic novel titles found in the Allan Sekula Library and provides an analysis of complementary materials in the Allan Sekula Archive now held by the Getty Research Institute. From the dark heroism of the worker in the early books-without-words of Giacomo Patri and Frans Masereel to the vulgar staccato bouzouki and priapic productions of Robert Crumb and S. Clay Wilson, the author examines the comic, manga, and graphic materials used by Allan Sekula as both subject and “object of interest” in his physical installations, films, essays, and teaching. [This article is a revision of a paper presented at the “How to Develop a Comic Book and Graphic Novel Collection” session at the ARLIS/NA conference held in New Orleans, Louisiana, in February 2017.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"10 1","pages":"1 - 19"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86661149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using methods from library and information science in conjunction with art and art history, the author explores the challenges and possibilities associated with “queering” the art library. The author underlines the importance of providing access to materials relating to non-normative sexualities, genders, and identities and suggests that queer art and theory can intersect to critique traditional library structures. This is demonstrated through a description and analysis of a course-long collaboration in a Memphis College of Art art history class in which students produced finding aids for the library on topics relating to gender and sexuality in art. [This article is a revision of a poster presented at the ARLIS/NA + VRA joint conference held in Seattle, Washington, in March 2016.] Perhaps it is human nature to search for a reflection of ourselves in literature. … We need artistic, literary, historical and quantitative proof that we are, and always have been, “here.” But we don’t always find it.—tatiana de la tierra1
作者运用图书馆和信息学的方法，结合艺术和艺术史，探讨了与“酷”化艺术图书馆相关的挑战和可能性。作者强调了提供与非规范性行为、性别和身份相关的材料的重要性，并建议酷儿艺术和理论可以交叉来批评传统的图书馆结构。这是通过对孟菲斯艺术学院艺术史课程的描述和分析来证明的，在这个课程中，学生们为图书馆提供了与艺术中的性别和性有关的主题的寻找辅助工具。[本文是2016年3月在华盛顿西雅图举行的ARLIS/NA + VRA联合会议上发布的海报的修订版。]也许在文学中寻找自己的影子是人类的天性。我们需要艺术的、文学的、历史的和定量的证据来证明我们现在和一直都是“在这里”。但我们并不总能找到它。-tatiana de la tierra1
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Open-access MFA theses give students the opportunity to publish and establish their work in the public sphere. While providing visibility and preservation of their work, they also serve as a resource for future scholars and their university communities. This article documents the process of working with the Sam Fox School of Design and Visual Arts’ Graduate School of Art at Washington University in St. Louis to disseminate and archive its written MFA theses and related files. Even with an established institutional repository, special considerations for visual art theses must be addressed, including image copyright and privacy and creative concerns. In addition to the team effort on campus, the Art Libraries Society of North America (ARLIS/NA) community responses to a survey proved instrumental when approaching the school and developing an initial plan. [This article is an expansion of a paper presented at the ARLIS/NA conference held in New York, New York, in February 2018.]
{"title":"Establishing an Open-Access MFA Thesis Collection","authors":"Jennifer Akins","doi":"10.1086/697271","DOIUrl":"https://doi.org/10.1086/697271","url":null,"abstract":"Open-access MFA theses give students the opportunity to publish and establish their work in the public sphere. While providing visibility and preservation of their work, they also serve as a resource for future scholars and their university communities. This article documents the process of working with the Sam Fox School of Design and Visual Arts’ Graduate School of Art at Washington University in St. Louis to disseminate and archive its written MFA theses and related files. Even with an established institutional repository, special considerations for visual art theses must be addressed, including image copyright and privacy and creative concerns. In addition to the team effort on campus, the Art Libraries Society of North America (ARLIS/NA) community responses to a survey proved instrumental when approaching the school and developing an initial plan. [This article is an expansion of a paper presented at the ARLIS/NA conference held in New York, New York, in February 2018.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"15 1","pages":"44 - 54"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84737805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Copyright fraud or copyfraud—when museums misrepresent or restrict rights in ways that go against public domain copyright law—continues to be a widespread practice even in the years following the 1999 Bridgeman Art Library, LTD. v. Corel Corp. court case. To help clarify this situation, the author first reviews the relevant copyright issues, then considers some of the problems that copyfraud creates in universities, publishing houses, and museums. In conclusion, he explores the ways museums, supported by their librarians and visual resources managers, have recently changed their approach to copyright and copyfraud, and the ways in which this is transforming scholarship and allowing scholars and librarians to better serve the public.
即使在1999年布里奇曼艺术图书馆有限公司(Bridgeman Art Library, LTD.)诉Corel Corp.一案之后的几年里，版权欺诈或版权欺诈——博物馆以违反公共领域版权法的方式歪曲或限制权利——仍然是一种普遍的做法。为了澄清这一情况，作者首先回顾了相关的版权问题，然后考虑了大学、出版社和博物馆中假冒欺诈造成的一些问题。最后，他探讨了博物馆在图书管理员和视觉资源管理人员的支持下，最近如何改变了他们对待版权和版权欺诈的方式，以及这种方式如何改变了学术研究，使学者和图书管理员能够更好地为公众服务。
{"title":"Understanding Copyfraud: Public Domain Images and False Claims of Copyright","authors":"C. Needham","doi":"10.1086/694241","DOIUrl":"https://doi.org/10.1086/694241","url":null,"abstract":"Copyright fraud or copyfraud—when museums misrepresent or restrict rights in ways that go against public domain copyright law—continues to be a widespread practice even in the years following the 1999 Bridgeman Art Library, LTD. v. Corel Corp. court case. To help clarify this situation, the author first reviews the relevant copyright issues, then considers some of the problems that copyfraud creates in universities, publishing houses, and museums. In conclusion, he explores the ways museums, supported by their librarians and visual resources managers, have recently changed their approach to copyright and copyfraud, and the ways in which this is transforming scholarship and allowing scholars and librarians to better serve the public.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"75 1","pages":"219 - 230"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86526701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Typically, arts information professionals are concerned with the documentation of artwork. As a provocation, this conceptual article explores how art-making itself can be considered a form of documentation and finished artworks as documents in their own right. In this view, art works as evidence in referencing something else, within a broader system, and under scrutiny it exposes how it references. Some implications of this perspective are discussed, springing from a historical discussion of document epistemology, research on the information behavior of artists, and the philosophy of Nelson Goodman. This discussion provides a framework for conceptualizing artistic information behavior along the entire information chain. Framing art-making in terms of information science in this way may help arts information professionals assist artists, as well as provide grounds for deeper co-understandings between artists and information scientists. Once information scientists consider art as a kind of document, one can begin to see that even non-artistic documents perhaps never were as “objective” or “factual” as they may have seemed.
{"title":"Understanding Art-Making as Documentation","authors":"T. Gorichanaz","doi":"10.1086/694239","DOIUrl":"https://doi.org/10.1086/694239","url":null,"abstract":"Typically, arts information professionals are concerned with the documentation of artwork. As a provocation, this conceptual article explores how art-making itself can be considered a form of documentation and finished artworks as documents in their own right. In this view, art works as evidence in referencing something else, within a broader system, and under scrutiny it exposes how it references. Some implications of this perspective are discussed, springing from a historical discussion of document epistemology, research on the information behavior of artists, and the philosophy of Nelson Goodman. This discussion provides a framework for conceptualizing artistic information behavior along the entire information chain. Framing art-making in terms of information science in this way may help arts information professionals assist artists, as well as provide grounds for deeper co-understandings between artists and information scientists. Once information scientists consider art as a kind of document, one can begin to see that even non-artistic documents perhaps never were as “objective” or “factual” as they may have seemed.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"386 1","pages":"191 - 203"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86820182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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