The Sonoma State University Library Art Committee curates exhibits and develops programming for its library gallery to support the library and university missions, the library’s curriculum philosophy, and the ACRL Framework for Information Literacy for Higher Education. These exhibits complement various disciplines, foster curiosity, provide opportunities for reflection, present primary sources for research and inspiration, and invite campus and community engagement. The Art Committee also develops course-integrated programming and aligns exhibit components with the ACRL Framework to engage visitors with information-literacy concepts. In this article, the authors discuss examples of framework-driven curation and programming, methods for collaboration, lessons learned, and future directions for the gallery program. [This article is based on a poster session prepared for the 2020 ARLIS/NA virtual conference.]
{"title":"Framing a Gallery Program:","authors":"Loretta Esparza, Catherine Fonseca, Mary Wegmann","doi":"10.1086/716731","DOIUrl":"https://doi.org/10.1086/716731","url":null,"abstract":"The Sonoma State University Library Art Committee curates exhibits and develops programming for its library gallery to support the library and university missions, the library’s curriculum philosophy, and the ACRL Framework for Information Literacy for Higher Education. These exhibits complement various disciplines, foster curiosity, provide opportunities for reflection, present primary sources for research and inspiration, and invite campus and community engagement. The Art Committee also develops course-integrated programming and aligns exhibit components with the ACRL Framework to engage visitors with information-literacy concepts. In this article, the authors discuss examples of framework-driven curation and programming, methods for collaboration, lessons learned, and future directions for the gallery program. [This article is based on a poster session prepared for the 2020 ARLIS/NA virtual conference.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"3 1","pages":"282 - 303"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85037284","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 implementation of artificial intelligence (AI) and machine learning is becoming commonplace for visual arts libraries, archives, and museums (LAMs). In particular, computer vision, a distinct form of machine learning, has been used in arts-based LAMs to automate digital image analysis through trained algorithms to increase metadata description and collection accessibility. Linkage of LAMs with AI may seem logical, as the emerging technologies are well suited to process and analyze sizable amounts of information, such as the data held by large collection repositories. However, as interest in computer vision develops among those in the library and information science (LIS) field, there are important concerns to address. Machine-learning algorithms used in computer vision are known to reflect bias, lack transparency, and significantly impact labor. How can LAMs, as institutions dedicated to equity and access, confront these potentially harmful aspects of computer vision? Through analysis of recent case studies, accounts, and literature, this article proposes that visual arts LAMs can mitigate algorithmic bias by promoting transparency of computer vision models, demonstrating caution, and establishing accountability. The development of capable workforces in LIS through the implementation of education and collaboration is also critical to alleviate outsourcing and temporary labor. [This article is a revision of the paper that won the 2021 Gerd Muehsam Award. The award recognizes excellence in a paper written by a graduate student on a topic relevant to art librarianship or visual resources curatorship.]
{"title":"Computer Vision for Visual Arts Collections:","authors":"J. Craig","doi":"10.1086/716730","DOIUrl":"https://doi.org/10.1086/716730","url":null,"abstract":"The implementation of artificial intelligence (AI) and machine learning is becoming commonplace for visual arts libraries, archives, and museums (LAMs). In particular, computer vision, a distinct form of machine learning, has been used in arts-based LAMs to automate digital image analysis through trained algorithms to increase metadata description and collection accessibility. Linkage of LAMs with AI may seem logical, as the emerging technologies are well suited to process and analyze sizable amounts of information, such as the data held by large collection repositories. However, as interest in computer vision develops among those in the library and information science (LIS) field, there are important concerns to address. Machine-learning algorithms used in computer vision are known to reflect bias, lack transparency, and significantly impact labor. How can LAMs, as institutions dedicated to equity and access, confront these potentially harmful aspects of computer vision? Through analysis of recent case studies, accounts, and literature, this article proposes that visual arts LAMs can mitigate algorithmic bias by promoting transparency of computer vision models, demonstrating caution, and establishing accountability. The development of capable workforces in LIS through the implementation of education and collaboration is also critical to alleviate outsourcing and temporary labor. [This article is a revision of the paper that won the 2021 Gerd Muehsam Award. The award recognizes excellence in a paper written by a graduate student on a topic relevant to art librarianship or visual resources curatorship.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"14 1","pages":"198 - 208"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85307452","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}
R. Orcutt, Lucy Campbell, Maya Gervits, B. Opar, K. Edwards
Librarianship is a resourceful profession, but COVID-19 created new challenges for everyone, especially those working in public service with architecture students and faculty. Unlike in STEM disciplines, many architectural materials remain print-based, which impacted the quick change faculty needed to make to online teaching and classroom instruction. It impeded timely reference by even seasoned librarians and student access to necessary resources to complete their assignments. With libraries closed, librarians innovated and soldiered on, ordering new and different resources, applying new methods, learning new tools, and taking advantage of new vendor access models. This article documents the initial impact of COVID-19 on architecture libraries and librarians, supplemented by survey input from architecture librarians and faculty, and suggests strategies for navigating an uncertain future.
{"title":"COVID-19 Pandemic","authors":"R. Orcutt, Lucy Campbell, Maya Gervits, B. Opar, K. Edwards","doi":"10.1086/714593","DOIUrl":"https://doi.org/10.1086/714593","url":null,"abstract":"Librarianship is a resourceful profession, but COVID-19 created new challenges for everyone, especially those working in public service with architecture students and faculty. Unlike in STEM disciplines, many architectural materials remain print-based, which impacted the quick change faculty needed to make to online teaching and classroom instruction. It impeded timely reference by even seasoned librarians and student access to necessary resources to complete their assignments. With libraries closed, librarians innovated and soldiered on, ordering new and different resources, applying new methods, learning new tools, and taking advantage of new vendor access models. This article documents the initial impact of COVID-19 on architecture libraries and librarians, supplemented by survey input from architecture librarians and faculty, and suggests strategies for navigating an uncertain future.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"26 1","pages":"123 - 140"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90465337","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}
Many studies on the information-seeking habits of artists have been largely library-centric instead of considering the entire process of artists as integral to their research. This article examines the research behavior of artists Carmen Winant and Tomashi Jackson. The study recognizes the past literature on the information-seeking behavior of artists, framing it within literature by and for artists on artistic research practice. From this perspective, the authors analyze how research manifests into physical artwork in the cases of these two artists in order to situate the act of making as knowledge and research creation.
{"title":"“My Work Is Work”","authors":"C. Hunt, Michele Jennings","doi":"10.1086/713822","DOIUrl":"https://doi.org/10.1086/713822","url":null,"abstract":"Many studies on the information-seeking habits of artists have been largely library-centric instead of considering the entire process of artists as integral to their research. This article examines the research behavior of artists Carmen Winant and Tomashi Jackson. The study recognizes the past literature on the information-seeking behavior of artists, framing it within literature by and for artists on artistic research practice. From this perspective, the authors analyze how research manifests into physical artwork in the cases of these two artists in order to situate the act of making as knowledge and research creation.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"48 1","pages":"33 - 51"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91241569","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}
M. Murphy, Elizabeth Perrill, Alexandra Gaal, Christine Kelly, Maya Simmons
The authors discuss a scaffolded, semester-long Wikipedia-editing project developed by a librarian and art history professor for a modern and contemporary African art history seminar. Their goals for the project were to introduce critical information literacy concepts into discussions about art information on the Wikipedia platform with their students, as well as to encourage them to see themselves as information creators. While course participants were tasked with adding research-based content that complied with Wikipedia’s point of view, they also generated many ideas for scholarly inquiry into their chosen artist’s life and work—a process with which undergraduate students, as emerging art historians, often struggle when they are assigned a traditional paper.
{"title":"Editing Wikipedia, Discovering Inquiry","authors":"M. Murphy, Elizabeth Perrill, Alexandra Gaal, Christine Kelly, Maya Simmons","doi":"10.1086/714390","DOIUrl":"https://doi.org/10.1086/714390","url":null,"abstract":"The authors discuss a scaffolded, semester-long Wikipedia-editing project developed by a librarian and art history professor for a modern and contemporary African art history seminar. Their goals for the project were to introduce critical information literacy concepts into discussions about art information on the Wikipedia platform with their students, as well as to encourage them to see themselves as information creators. While course participants were tasked with adding research-based content that complied with Wikipedia’s point of view, they also generated many ideas for scholarly inquiry into their chosen artist’s life and work—a process with which undergraduate students, as emerging art historians, often struggle when they are assigned a traditional paper.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"3 1","pages":"64 - 80"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90160772","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}
Ellen Prokop, X. Y. Han, V. Papyan, D. Donoho, C. R. Johnson
The Frick Art Reference Library in New York launched a pilot project with Stanford University, Cornell University, and the University of Toronto to develop an algorithm that applies a local classification system based on visual elements to the library’s digitized Photoarchive. As a test case, the Cornell/Toronto/Stanford team focused on a dataset of digital reproductions of North American paintings and drawings and employed recent advances in artificial intelligence and machine learning to produce automatic image classifiers. The results of this preliminary experiment suggest that automatic image classifiers have the potential to become powerful tools in metadata creation and image retrieval.
{"title":"AI and the Digitized Photoarchive","authors":"Ellen Prokop, X. Y. Han, V. Papyan, D. Donoho, C. R. Johnson","doi":"10.1086/714604","DOIUrl":"https://doi.org/10.1086/714604","url":null,"abstract":"The Frick Art Reference Library in New York launched a pilot project with Stanford University, Cornell University, and the University of Toronto to develop an algorithm that applies a local classification system based on visual elements to the library’s digitized Photoarchive. As a test case, the Cornell/Toronto/Stanford team focused on a dataset of digital reproductions of North American paintings and drawings and employed recent advances in artificial intelligence and machine learning to produce automatic image classifiers. The results of this preliminary experiment suggest that automatic image classifiers have the potential to become powerful tools in metadata creation and image retrieval.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"58 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81285495","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 investigates how images are understood inside and outside heritage institutions. It focuses on information specialists in libraries, archives, and museums and on a very specific yet substantial end-user group for visual heritage material: university scholars in the humanities. Based on a survey on the production and use of descriptive metadata, this study discloses that there is an ontological divide between these two groups, and that the extensive production of descriptive metadata does not match the needs and interest of researchers in the humanities, but rather other end users. An increased dialogue is needed between these two groups concerning what metadata should be attached to images. This potentially could lead to a broader and more extended scholarly use of visual heritage material.
{"title":"What an Image Is","authors":"A. Dahlgren, K. Hansson","doi":"10.1086/714147","DOIUrl":"https://doi.org/10.1086/714147","url":null,"abstract":"This article investigates how images are understood inside and outside heritage institutions. It focuses on information specialists in libraries, archives, and museums and on a very specific yet substantial end-user group for visual heritage material: university scholars in the humanities. Based on a survey on the production and use of descriptive metadata, this study discloses that there is an ontological divide between these two groups, and that the extensive production of descriptive metadata does not match the needs and interest of researchers in the humanities, but rather other end users. An increased dialogue is needed between these two groups concerning what metadata should be attached to images. This potentially could lead to a broader and more extended scholarly use of visual heritage material.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"49 1","pages":"21 - 32"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82245688","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 authors examine two Canadian art initiatives that librarians from Canadian universities have undertaken at individual and institutional levels. The first project addresses an in-progress artists’ biographical dictionary that focuses on an under-documented form of art practice and situates the dictionary within an evolving landscape of biographical art reference resources in Canada. The second initiative reports on a collection management project that assembles essential Canadiana print material and recontextualizes it with renewed visibility and access. These projects are supplemented with an extensive literature review by a third art librarian that parses the library and information science literature related to these two topics and focuses on Canadian scholarship, where available, as a frame of reference. Together, the three sections of this article enrich the bio-bibliographic information about, and exhibition histories of, Canadian artists while improving access to essential research publications and collections.
{"title":"Reimagining Canadian Art Practices and Art Collections","authors":"J. Dufour, S. Ellis, J. Latour","doi":"10.1086/713835","DOIUrl":"https://doi.org/10.1086/713835","url":null,"abstract":"The authors examine two Canadian art initiatives that librarians from Canadian universities have undertaken at individual and institutional levels. The first project addresses an in-progress artists’ biographical dictionary that focuses on an under-documented form of art practice and situates the dictionary within an evolving landscape of biographical art reference resources in Canada. The second initiative reports on a collection management project that assembles essential Canadiana print material and recontextualizes it with renewed visibility and access. These projects are supplemented with an extensive literature review by a third art librarian that parses the library and information science literature related to these two topics and focuses on Canadian scholarship, where available, as a frame of reference. Together, the three sections of this article enrich the bio-bibliographic information about, and exhibition histories of, Canadian artists while improving access to essential research publications and collections.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"68 1","pages":"81 - 103"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85938033","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 examines the discursive creative practice of the conceptual performance art group Collective Actions (Kollektivnye deistviia, abbreviated “KD”) during the post-Stalinist Soviet era with a focus on the group’s activities between 1976 and 1981. For KD, documents evidencing and arising out of its performance-based actions co-constituted the works rather than merely representing and documenting them. Subsequent acts to preserve and present these documents for unknown future audiences represent the introduction of stewardship as part of the group’s art practice. This article traces the development of this stewardship practice by reviewing the role of documents in three of the group’s significant early actions and examining the group’s multi-volume self-published history Trips Out of Town. The author argues that compiling the first volume of Trips Out of Town in 1980 codified KD’s interest in the veracity of documents and a desire to use its “unofficial” art practice to explore the relationship between documents, archiving, and institutionalization.
{"title":"Stewardship in the Artistic Practice of the Collective Actions Group","authors":"H. Marshall","doi":"10.1086/713968","DOIUrl":"https://doi.org/10.1086/713968","url":null,"abstract":"The author examines the discursive creative practice of the conceptual performance art group Collective Actions (Kollektivnye deistviia, abbreviated “KD”) during the post-Stalinist Soviet era with a focus on the group’s activities between 1976 and 1981. For KD, documents evidencing and arising out of its performance-based actions co-constituted the works rather than merely representing and documenting them. Subsequent acts to preserve and present these documents for unknown future audiences represent the introduction of stewardship as part of the group’s art practice. This article traces the development of this stewardship practice by reviewing the role of documents in three of the group’s significant early actions and examining the group’s multi-volume self-published history Trips Out of Town. The author argues that compiling the first volume of Trips Out of Town in 1980 codified KD’s interest in the veracity of documents and a desire to use its “unofficial” art practice to explore the relationship between documents, archiving, and institutionalization.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"50 1","pages":"52 - 63"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90329673","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 summer 2017, the California State University (CSU) system implemented a shared unified library management system. This united the catalog records for the physical and electronic collections from all twenty-three campuses into one system. While multiple university systems collaborate on collection building and share cataloging and discovery systems, few studies have explored what challenges subject librarians across a system face on a regular basis and how communication and partnerships can improve access and services. This study explores such a collaboration among arts, architecture, and performing arts librarians across the CSU system.
{"title":"CSU Dreamin’","authors":"K. Smith, Ann Roll, Laurel Bliss","doi":"10.1086/713823","DOIUrl":"https://doi.org/10.1086/713823","url":null,"abstract":"In summer 2017, the California State University (CSU) system implemented a shared unified library management system. This united the catalog records for the physical and electronic collections from all twenty-three campuses into one system. While multiple university systems collaborate on collection building and share cataloging and discovery systems, few studies have explored what challenges subject librarians across a system face on a regular basis and how communication and partnerships can improve access and services. This study explores such a collaboration among arts, architecture, and performing arts librarians across the CSU system.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"20 1","pages":"141 - 158"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81782975","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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