This article examines the barriers that limit access to video art online and offers practical solutions and suggestions to aid librarians in the search for digital video art resources. Videotape is essentially an obsolete technology, a fact that dramatically slows down digitization efforts. Furthermore, in support of the protection of artist’s rights, access to video art is often controlled by third party distributors. While distributors are crucial champions of the medium, issues of copyright complicate discussions of online access. Opportunistic art lovers have taken matters into their own hands, uploading work to online platforms and creating new liminal spaces of access. This article offers an understanding of video recording technology, the historical development and dissemination of video art, and the problematic nature of many online resources that provide access to these culturally valuable works. [This article is a revision of a paper presented during the 49th annual ARLIS/NA conference held virtually May 11–13, 2021.]
{"title":"Video Not Available:","authors":"Michelle C. Johnson","doi":"10.1086/719902","DOIUrl":"https://doi.org/10.1086/719902","url":null,"abstract":"This article examines the barriers that limit access to video art online and offers practical solutions and suggestions to aid librarians in the search for digital video art resources. Videotape is essentially an obsolete technology, a fact that dramatically slows down digitization efforts. Furthermore, in support of the protection of artist’s rights, access to video art is often controlled by third party distributors. While distributors are crucial champions of the medium, issues of copyright complicate discussions of online access. Opportunistic art lovers have taken matters into their own hands, uploading work to online platforms and creating new liminal spaces of access. This article offers an understanding of video recording technology, the historical development and dissemination of video art, and the problematic nature of many online resources that provide access to these culturally valuable works. [This article is a revision of a paper presented during the 49th annual ARLIS/NA conference held virtually May 11–13, 2021.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"11 1","pages":"84 - 96"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88658352","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}
This article is presented in two parts. Part I is an overview of the sea change in craft studies among scholars, curators, and artists. It also documents the shift of craft history studies into an emerging post-disciplinary field, still at home academically in art schools and university art history departments, but now greatly influenced by anthropology, ethnography, sociology, material culture, critical theory, women’s studies, and other disciplines. In illustrating this shift, the author compares her experience when employed (1976–1997) as museum librarian at the former Craft and Folk Art Museum in Los Angeles with the current program of the renamed (Craft Contemporary) museum. She also compares three craft history textbooks. Part II describes the author’s search for teachers of craft history and records the results of a survey conducted in May 2021 of twenty-eight craft history teachers in US and Canadian colleges. The comments are so diverse the author could not summarize them, and she includes excerpts from all who answered the narrative questions. Though gender and race bias in craft studies must still be confronted, as in art history studies as a whole, the teaching of craft history is moving toward a global perspective. However, the practical need to break down the global into more manageable parts is a pedagogical and bibliographic challenge.
本文分为两部分。第一部分概述了学者、策展人和艺术家在工艺研究方面的巨大变化。它还记录了工艺史研究向一个新兴的后学科领域的转变，在艺术学校和大学艺术史系的学术领域仍然存在，但现在受到人类学、民族志、社会学、物质文化、批判理论、妇女研究和其他学科的极大影响。为了说明这一转变，作者将她在洛杉矶前工艺与民间艺术博物馆(Craft and Folk Art museum)担任馆长(1976-1997)的经历与更名后的(Craft Contemporary)博物馆的当前项目进行了比较。她还比较了三种工艺历史教科书。第二部分描述了作者对工艺史教师的寻找，并记录了2021年5月对美国和加拿大高校28名工艺史教师的调查结果。评论是如此的多样化，作者无法总结它们，她包括了所有回答叙事问题的摘录。虽然工艺研究中的性别和种族偏见仍然必须面对，但在整个艺术史研究中，工艺历史的教学正在走向全球视野。然而，实际需要分解成更易于管理的部分是一个教学和书目的挑战。
{"title":"A New Craft History Paradigm","authors":"Joan M. Benedetti","doi":"10.1086/720290","DOIUrl":"https://doi.org/10.1086/720290","url":null,"abstract":"This article is presented in two parts. Part I is an overview of the sea change in craft studies among scholars, curators, and artists. It also documents the shift of craft history studies into an emerging post-disciplinary field, still at home academically in art schools and university art history departments, but now greatly influenced by anthropology, ethnography, sociology, material culture, critical theory, women’s studies, and other disciplines. In illustrating this shift, the author compares her experience when employed (1976–1997) as museum librarian at the former Craft and Folk Art Museum in Los Angeles with the current program of the renamed (Craft Contemporary) museum. She also compares three craft history textbooks. Part II describes the author’s search for teachers of craft history and records the results of a survey conducted in May 2021 of twenty-eight craft history teachers in US and Canadian colleges. The comments are so diverse the author could not summarize them, and she includes excerpts from all who answered the narrative questions. Though gender and race bias in craft studies must still be confronted, as in art history studies as a whole, the teaching of craft history is moving toward a global perspective. However, the practical need to break down the global into more manageable parts is a pedagogical and bibliographic challenge.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"15 1","pages":"38 - 69"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89924159","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 historians have used repro-photography as a tool since the mid-nineteenth century, often without critically addressing limits of the technical medium. Today, when photo-documentary material is used in automated analysis, image production errors produced by limits of the medium may be built into machine learning, generative adversarial networks (GANs), and convolutional neural networks (CNNs). This article focuses on the uses of photographic reproductions of the works of Rembrandt van Rijn (1606–1669), including visual analysis of photographs, technical analysis of the “Rembrandt portrait” style, and projects that employ reproductions in the architecture of neural networks—these all define the new cultural shift generative reproduction brings to visual documentation. The article advocates for a critical approach to photo-documentation in the arts.
{"title":"The Work of Art in the Age of Neural Reproduction:","authors":"A. Peraica","doi":"10.1086/717074","DOIUrl":"https://doi.org/10.1086/717074","url":null,"abstract":"Art historians have used repro-photography as a tool since the mid-nineteenth century, often without critically addressing limits of the technical medium. Today, when photo-documentary material is used in automated analysis, image production errors produced by limits of the medium may be built into machine learning, generative adversarial networks (GANs), and convolutional neural networks (CNNs). This article focuses on the uses of photographic reproductions of the works of Rembrandt van Rijn (1606–1669), including visual analysis of photographs, technical analysis of the “Rembrandt portrait” style, and projects that employ reproductions in the architecture of neural networks—these all define the new cultural shift generative reproduction brings to visual documentation. The article advocates for a critical approach to photo-documentation in the arts.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"13 1","pages":"209 - 220"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84337337","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}
During the past year, there has been a global reckoning with systemic racism, misogyny, transphobia, and xenophobia. As institutions look inward at the ways they can dismantle ongoing systems of oppression, academia must also look at how it codifies these ideologies through Eurocentric canons. Art history is one such field. However, as a highly interdisciplinary subject, it presents a unique foundation on which to restructure these frameworks. This article dissects the role that cataloging plays in reinforcing the canon within art libraries and how a radical cataloging approach can diversify research and representation within art history as a field. [This article is a revision of a paper presented at the “New Voices in the Profession” session during the 49th annual ARLIS/NA conference held virtually May 11–13, 2021.]
{"title":"Why Have There Been No Great Art Libraries:","authors":"Janna Singer-Baefsky","doi":"10.1086/716734","DOIUrl":"https://doi.org/10.1086/716734","url":null,"abstract":"During the past year, there has been a global reckoning with systemic racism, misogyny, transphobia, and xenophobia. As institutions look inward at the ways they can dismantle ongoing systems of oppression, academia must also look at how it codifies these ideologies through Eurocentric canons. Art history is one such field. However, as a highly interdisciplinary subject, it presents a unique foundation on which to restructure these frameworks. This article dissects the role that cataloging plays in reinforcing the canon within art libraries and how a radical cataloging approach can diversify research and representation within art history as a field. [This article is a revision of a paper presented at the “New Voices in the Profession” session during the 49th annual ARLIS/NA conference held virtually May 11–13, 2021.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"22 1 1","pages":"179 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86760071","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}
The discipline of fashion studies has recently developed as a subject of critical academic study. As a result, information literacy instruction for these programs has become increasingly important. The ACRL Framework for Information Literacy for Higher Education provides general guidance for this instruction but, as with other performance, art, or design-oriented disciplines, it requires considerable contextualization. For fashion studies, discussions about disciplinary context have been limited, especially as they concern the ACRL Framework. This article provides a brief overview of the Framework and discusses issues of interdisciplinarity in fashion studies and applications of each frame from design and practice-based perspectives.
{"title":"Fashioning the Framework:","authors":"L. Thompson","doi":"10.1086/716735","DOIUrl":"https://doi.org/10.1086/716735","url":null,"abstract":"The discipline of fashion studies has recently developed as a subject of critical academic study. As a result, information literacy instruction for these programs has become increasingly important. The ACRL Framework for Information Literacy for Higher Education provides general guidance for this instruction but, as with other performance, art, or design-oriented disciplines, it requires considerable contextualization. For fashion studies, discussions about disciplinary context have been limited, especially as they concern the ACRL Framework. This article provides a brief overview of the Framework and discusses issues of interdisciplinarity in fashion studies and applications of each frame from design and practice-based perspectives.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"1 1","pages":"304 - 315"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78445806","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}
The purpose of a core list of periodicals is to organize and rank publications that correspond to unique information needs, while satisfying the definition and scope of a field of study. For the past twenty-five years, the Association of Architecture School Librarians’ Core List of Architecture Periodicals has served as a collection development guide for librarians supporting programs accredited by the National Architectural Accrediting Board (NAAB). Compiled and vetted by professional librarians and architecture faculty, the list has also informally become an information resource assessment standard for NAAB teams. Now in its fifth edition, the list is unique to the discipline in that no other professional organization publishes an alternative. This article describes the review process, evaluative methods, and criteria applied to develop that edition. In doing so, it outlines the process to develop such a resource for an academic program granting a professional design degree.
{"title":"Core or Not:","authors":"R. Orcutt, K. Edwards, Lucy Campbell, B. Opar","doi":"10.1086/716733","DOIUrl":"https://doi.org/10.1086/716733","url":null,"abstract":"The purpose of a core list of periodicals is to organize and rank publications that correspond to unique information needs, while satisfying the definition and scope of a field of study. For the past twenty-five years, the Association of Architecture School Librarians’ Core List of Architecture Periodicals has served as a collection development guide for librarians supporting programs accredited by the National Architectural Accrediting Board (NAAB). Compiled and vetted by professional librarians and architecture faculty, the list has also informally become an information resource assessment standard for NAAB teams. Now in its fifth edition, the list is unique to the discipline in that no other professional organization publishes an alternative. This article describes the review process, evaluative methods, and criteria applied to develop that edition. In doing so, it outlines the process to develop such a resource for an academic program granting a professional design degree.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"12 1","pages":"268 - 281"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80600984","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}
Since the 1960s, artists’ books have become an essential form of contemporary art. In this context, artists have also used their exhibition catalogs as forms of artistic expression. Within this framework of creative practices, this article delves into the characteristics that could lead to the definition of artists’ catalogs as a specific artistic genre. The concepts of artists’ books and exhibition catalogs are compared to discuss the ambiguities and blurred lines that make a precise delimitation difficult. The combination of both typologies is analyzed through a series of works by artists in the field of catalogs as works of art. Despite the great variability that emerges from the different perspectives through which artists’ catalogs have been conceived and produced, some common features come to light. These common features, as well as an examination of the functions and uses associated with artists’ catalogs, pave the way for answering the crucial questions as to whether these publications—as the works of art they are—are still catalogs and if they might even be considered as a differentiated genre of artists’ books.
{"title":"Artists’ Catalogs:","authors":"Salvador Haro González","doi":"10.1086/717514","DOIUrl":"https://doi.org/10.1086/717514","url":null,"abstract":"Since the 1960s, artists’ books have become an essential form of contemporary art. In this context, artists have also used their exhibition catalogs as forms of artistic expression. Within this framework of creative practices, this article delves into the characteristics that could lead to the definition of artists’ catalogs as a specific artistic genre. The concepts of artists’ books and exhibition catalogs are compared to discuss the ambiguities and blurred lines that make a precise delimitation difficult. The combination of both typologies is analyzed through a series of works by artists in the field of catalogs as works of art. Despite the great variability that emerges from the different perspectives through which artists’ catalogs have been conceived and produced, some common features come to light. These common features, as well as an examination of the functions and uses associated with artists’ catalogs, pave the way for answering the crucial questions as to whether these publications—as the works of art they are—are still catalogs and if they might even be considered as a differentiated genre of artists’ books.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"46 1","pages":"159 - 178"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90682626","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}
Libraries employ various methods of collection development that incorporate in-case and in-time models for acquisitions to maintain a balance of collection growth and access. Acquisition of e-books, especially within design disciplines, remains an ongoing area of development. In addition to subscription packages and firm orders, demand-driven acquisition (DDA) programs for e-books offer a method for growing collections. Although they appear to limit the role of the librarian in the process, use of these programs can serve to enhance librarian-centered acquisition practices.
{"title":"Demand-Driven Acquisition for an Academic Architecture Library Collection:","authors":"Hillary B. Veeder","doi":"10.1086/716736","DOIUrl":"https://doi.org/10.1086/716736","url":null,"abstract":"Libraries employ various methods of collection development that incorporate in-case and in-time models for acquisitions to maintain a balance of collection growth and access. Acquisition of e-books, especially within design disciplines, remains an ongoing area of development. In addition to subscription packages and firm orders, demand-driven acquisition (DDA) programs for e-books offer a method for growing collections. Although they appear to limit the role of the librarian in the process, use of these programs can serve to enhance librarian-centered acquisition practices.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"35 1","pages":"316 - 323"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73155116","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}
The author analyzes library design through the lens of architecture students graduating between 2015 and 2019. Master of Architecture thesis projects were examined to identify trends in the design and program of libraries. The study included projects from schools accredited by the National Architectural Accrediting Board that were available electronically in institutional repositories. Design trends noted in the theses include a connection to nature, natural light, courtyards, bridges, split-levels, mazes, and dispersed layouts. Program trends identified include spaces for books, galleries, transportation, technology, makerspaces, storytelling, meditation, and social activities.
{"title":"Explorations in Library Design:","authors":"Cathryn Copper","doi":"10.1086/716737","DOIUrl":"https://doi.org/10.1086/716737","url":null,"abstract":"The author analyzes library design through the lens of architecture students graduating between 2015 and 2019. Master of Architecture thesis projects were examined to identify trends in the design and program of libraries. The study included projects from schools accredited by the National Architectural Accrediting Board that were available electronically in institutional repositories. Design trends noted in the theses include a connection to nature, natural light, courtyards, bridges, split-levels, mazes, and dispersed layouts. Program trends identified include spaces for books, galleries, transportation, technology, makerspaces, storytelling, meditation, and social activities.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"1 1","pages":"249 - 267"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75375634","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}
This article considers the contingency of performance art documentation: how an accidentally acquired image or deliberately created documentation influences one’s memory of performance art events and creates a fictional action that exists only in one’s imagination. This phenomenon is illustrated with examples of widely known, iconic performances as well as primary sources, such as interviews with artists and documentalists. Consideration and analysis of whether technological improvements change the contingent and fictional nature of documentation are also included. Finally, the article analyzes the problem from both the perspective of a researcher, as well as an experienced individual who has documented hundreds of performance art pieces.
{"title":"The Contingency and Fiction of Performance Art Documentation:","authors":"Malgorzata Kazmierczak","doi":"10.1086/716732","DOIUrl":"https://doi.org/10.1086/716732","url":null,"abstract":"This article considers the contingency of performance art documentation: how an accidentally acquired image or deliberately created documentation influences one’s memory of performance art events and creates a fictional action that exists only in one’s imagination. This phenomenon is illustrated with examples of widely known, iconic performances as well as primary sources, such as interviews with artists and documentalists. Consideration and analysis of whether technological improvements change the contingent and fictional nature of documentation are also included. Finally, the article analyzes the problem from both the perspective of a researcher, as well as an experienced individual who has documented hundreds of performance art pieces.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"62 1","pages":"188 - 197"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83191997","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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