Elizabeth O’Keefe, Melanie Wacker, Marie-Chantal L’Ecuyer-Coelho
The ArtFrame Project, a part of the Linked Data for Production (LD4P) collaboration, was a domain-specific, linked-open-data (LOD) initiative that explored the metadata practices of art libraries and museums. The project, headed by Columbia University Libraries and including major art institutions and the Cataloging Advisory Committee (CAC) of the Art Libraries Society of North America (ARLIS/NA), focused on developing an extension to the Bibliographic Framework Initiative (BIBFRAME) tailored to the needs of art catalogers. This article describes the history of the project and its collaboration with the LD4P Rare Materials Extension Group to produce a shared ontology, the Art & Rare Materials BIBFRAME Ontology Extension (ARM). [This article is an expansion of a presentation at the ARLIS/NA conference held in New York, New York, in February 2018.]
{"title":"The Outcome of the ArtFrame Project: A Domain-Specific BIBFRAME Exploration","authors":"Elizabeth O’Keefe, Melanie Wacker, Marie-Chantal L’Ecuyer-Coelho","doi":"10.1086/703508","DOIUrl":"https://doi.org/10.1086/703508","url":null,"abstract":"The ArtFrame Project, a part of the Linked Data for Production (LD4P) collaboration, was a domain-specific, linked-open-data (LOD) initiative that explored the metadata practices of art libraries and museums. The project, headed by Columbia University Libraries and including major art institutions and the Cataloging Advisory Committee (CAC) of the Art Libraries Society of North America (ARLIS/NA), focused on developing an extension to the Bibliographic Framework Initiative (BIBFRAME) tailored to the needs of art catalogers. This article describes the history of the project and its collaboration with the LD4P Rare Materials Extension Group to produce a shared ontology, the Art & Rare Materials BIBFRAME Ontology Extension (ARM). [This article is an expansion of a presentation at the ARLIS/NA conference held in New York, New York, in February 2018.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"35 1","pages":"1 - 21"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74095509","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}
Although the open access movement and institutional repositories (IRs) have become increasingly popular among faculty, those in the creative arts, where artistic output is not always connected to traditional notions of scholarship, have been slower to make use of IRs. This article describes a pilot project to deposit undergraduate Bachelor of Fine Arts students’ senior project “media packets” into a university’s IR as part of the information literacy curriculum. The initiative introduced students to the concepts of copyright and access as they relate to their own work. [This article is an expansion of a paper presented at the ARLIS/NA conference held in New York, New York, in February 2018.]
{"title":"Art, Rights, and Repositories: Contextualizing Information Literacy with the Institutional Repository","authors":"Larissa K Garcia","doi":"10.1086/702892","DOIUrl":"https://doi.org/10.1086/702892","url":null,"abstract":"Although the open access movement and institutional repositories (IRs) have become increasingly popular among faculty, those in the creative arts, where artistic output is not always connected to traditional notions of scholarship, have been slower to make use of IRs. This article describes a pilot project to deposit undergraduate Bachelor of Fine Arts students’ senior project “media packets” into a university’s IR as part of the information literacy curriculum. The initiative introduced students to the concepts of copyright and access as they relate to their own work. [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":"71 9","pages":"70 - 77"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72605362","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}
Valuable information can be found in relationships between objects, even while libraries and archives traditionally have prioritized the description of and access to discrete objects. Referencing curatorial studies and their emphasis on the study of exhibitions, the author explores how linked data could be used to represent art exhibition histories meaningfully. This would not only address a research need in art scholarship by helping to make archival materials and lesser-known art histories more accessible, but it could also contribute to a better understanding of how exhibition practices and the art historical canon have been shaped across institutions and geographies. Although the idea is presented here in its early stages, the author references recent efforts that could serve as starting points—such as those by the Museum of Modern Art and the American Art Collaborative’s Linked Art initiative—and considers potential challenges and next steps.
{"title":"The Possibilities of Constructing Linked Data for Art Exhibition Histories","authors":"Karly Wildenhaus","doi":"10.1086/702890","DOIUrl":"https://doi.org/10.1086/702890","url":null,"abstract":"Valuable information can be found in relationships between objects, even while libraries and archives traditionally have prioritized the description of and access to discrete objects. Referencing curatorial studies and their emphasis on the study of exhibitions, the author explores how linked data could be used to represent art exhibition histories meaningfully. This would not only address a research need in art scholarship by helping to make archival materials and lesser-known art histories more accessible, but it could also contribute to a better understanding of how exhibition practices and the art historical canon have been shaped across institutions and geographies. Although the idea is presented here in its early stages, the author references recent efforts that could serve as starting points—such as those by the Museum of Modern Art and the American Art Collaborative’s Linked Art initiative—and considers potential challenges and next steps.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"146 1","pages":"22 - 34"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77500279","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 museum library collections are unique in scope and invaluable as a principal institutional asset; therefore, extensive preservation and conservation activities for these collections can be justified. By conducting a survey and literature review, the author examines and explores current preservation and conservation activities for art museum library collections: how these actions are realized, staff structures required, the historical contexts of preservation, and how decision-making affects collections and value. She also clarifies the necessity for funding and collaboration to achieve higher standards of integrated preservation for art museum library collections in all formats.
{"title":"Aspiring to Greatness with Hindsight and Foresight: Assessing Current Preservation and Conservation Practices of Art Museum Library Collections","authors":"B. Morris","doi":"10.1086/703452","DOIUrl":"https://doi.org/10.1086/703452","url":null,"abstract":"Art museum library collections are unique in scope and invaluable as a principal institutional asset; therefore, extensive preservation and conservation activities for these collections can be justified. By conducting a survey and literature review, the author examines and explores current preservation and conservation activities for art museum library collections: how these actions are realized, staff structures required, the historical contexts of preservation, and how decision-making affects collections and value. She also clarifies the necessity for funding and collaboration to achieve higher standards of integrated preservation for art museum library collections in all formats.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"39 1","pages":"95 - 121"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86204113","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 libraries face unique challenges with collection care of their print monographs. In addition to being large, heavy, and densely illustrated, art monographs are at risk for accelerated wear and tear through routine use because of the construction and materials. At the same time, libraries everywhere face budget constraints along with increased demands on financial and human resources. This article describes the steps taken to design and implement a low-cost proactive collection care program in a non-circulating art library. High-use areas in the stacks were selected through analysis of use data and surveys of selected subject areas to determine condition and risk of damage. Finding that the high-use areas have a higher percentage of at-risk books, the article outlines the process and decisions involved in a collection care program that prioritizes items most likely to be used, while also minimizing costs, staff time, and required expertise.
{"title":"Proactive Collection Care: Leveraging Use Data in a Non-Circulating Art Library","authors":"L. McCann, Michael P. Hughes","doi":"10.1086/703510","DOIUrl":"https://doi.org/10.1086/703510","url":null,"abstract":"Art libraries face unique challenges with collection care of their print monographs. In addition to being large, heavy, and densely illustrated, art monographs are at risk for accelerated wear and tear through routine use because of the construction and materials. At the same time, libraries everywhere face budget constraints along with increased demands on financial and human resources. This article describes the steps taken to design and implement a low-cost proactive collection care program in a non-circulating art library. High-use areas in the stacks were selected through analysis of use data and surveys of selected subject areas to determine condition and risk of damage. Finding that the high-use areas have a higher percentage of at-risk books, the article outlines the process and decisions involved in a collection care program that prioritizes items most likely to be used, while also minimizing costs, staff time, and required expertise.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"11 1","pages":"122 - 140"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85241537","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 role of the subject liaison in academic libraries is evolving from reactive to pro-active. Curriculum, departmental, and faculty profile mapping are tools that liaisons use to gain a better understanding of the needs of their academic departments. The Louisiana State University Research and Instruction Services department modified the University of Central Florida Libraries’ mapping charts as part of its own liaison training process. These mapping tools were useful as a starting point for text-based disciplines but were inadequate when applied to the College of Art and Design. The author discusses the advantages and disadvantages of the tools, with particular attention paid to the faculty profile map’s limitations in charting studio arts faculty research and creative output. The Claremont College Mindomo mind-mapping tool is presented as one alternative for creating flexible, image-friendly maps that allow for a visual mapping of the visual arts disciplines.
{"title":"Curriculum, Departmental, and Faculty Mapping in the Visual Arts Department","authors":"Marty Miller","doi":"10.1086/702919","DOIUrl":"https://doi.org/10.1086/702919","url":null,"abstract":"The role of the subject liaison in academic libraries is evolving from reactive to pro-active. Curriculum, departmental, and faculty profile mapping are tools that liaisons use to gain a better understanding of the needs of their academic departments. The Louisiana State University Research and Instruction Services department modified the University of Central Florida Libraries’ mapping charts as part of its own liaison training process. These mapping tools were useful as a starting point for text-based disciplines but were inadequate when applied to the College of Art and Design. The author discusses the advantages and disadvantages of the tools, with particular attention paid to the faculty profile map’s limitations in charting studio arts faculty research and creative output. The Claremont College Mindomo mind-mapping tool is presented as one alternative for creating flexible, image-friendly maps that allow for a visual mapping of the visual arts disciplines.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"19 1","pages":"159 - 173"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81945008","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}
Peggy Keeran, J. Bowers, Katherine M. Crowe, Kristen Korfitzen
Students in non-arts disciplines generally are not taught to read and interpret visual images in the same way that those in the arts are taught. As a result, students in non-arts disciplines are often uncertain how to incorporate visual primary sources into their research. Using several of the frames outlined in the ACRL Framework for Information Literacy for Higher Education as an overarching structure, as well as the pedagogical model outlined in TeachArchives.org that focuses on active learning techniques, the authors outline their instructional techniques for teaching students to work with, and even interrogate, visual resources in a non-arts-based classroom. [This article is an expansion of a paper presented at the ARLIS/NA conference held in New York, New York, in February 2018.]
{"title":"Using Visual Materials to Teach Information Literacy Outside the Arts Curriculum","authors":"Peggy Keeran, J. Bowers, Katherine M. Crowe, Kristen Korfitzen","doi":"10.1086/702894","DOIUrl":"https://doi.org/10.1086/702894","url":null,"abstract":"Students in non-arts disciplines generally are not taught to read and interpret visual images in the same way that those in the arts are taught. As a result, students in non-arts disciplines are often uncertain how to incorporate visual primary sources into their research. Using several of the frames outlined in the ACRL Framework for Information Literacy for Higher Education as an overarching structure, as well as the pedagogical model outlined in TeachArchives.org that focuses on active learning techniques, the authors outline their instructional techniques for teaching students to work with, and even interrogate, visual resources in a non-arts-based classroom. [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":"17 1","pages":"141 - 158"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89436477","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}
While art history students frequently are required to write research papers, they often have trouble understanding some of the more abstract constructs they encounter. They may struggle to grasp the role that research plays in probing questions about the relationships between people, places, and events that compose complex historical periods. This article describes a collaboration between an art history professor, a librarian, and a digital humanities specialist in which students were taught how to conduct research for an art history course on German art 1900 to the present and then visualize that research through story maps created with ArcGIS. Through these mapping projects, students were encouraged to engage with the history of German art on a physical level by mapping spatial relationships between social networks, artists’ studios, exhibition venues, art museums, architecture, and other important historical sites that were integral to the development of major art movements. This case study article outlines the project, including its learning outcomes, pedagogical strategies, student products, and assessment data. In addition, it describes how the project developed through different iterations. Ultimately, this collaborative, interdisciplinary project may provide a model for ways that visualization in general and map creation in particular can be used as a teaching strategy to make art history come alive for students by opening new conceptual territory, prompting intriguing questions, generating unique answers, and engaging art history in a more physical, spatial manner.
{"title":"Mapping Art History: Enhancing the Teaching of German Art History with Student-Created Maps","authors":"B. V. Hoesen, Laura E. Rocke, Ann Medaille","doi":"10.1086/703509","DOIUrl":"https://doi.org/10.1086/703509","url":null,"abstract":"While art history students frequently are required to write research papers, they often have trouble understanding some of the more abstract constructs they encounter. They may struggle to grasp the role that research plays in probing questions about the relationships between people, places, and events that compose complex historical periods. This article describes a collaboration between an art history professor, a librarian, and a digital humanities specialist in which students were taught how to conduct research for an art history course on German art 1900 to the present and then visualize that research through story maps created with ArcGIS. Through these mapping projects, students were encouraged to engage with the history of German art on a physical level by mapping spatial relationships between social networks, artists’ studios, exhibition venues, art museums, architecture, and other important historical sites that were integral to the development of major art movements. This case study article outlines the project, including its learning outcomes, pedagogical strategies, student products, and assessment data. In addition, it describes how the project developed through different iterations. Ultimately, this collaborative, interdisciplinary project may provide a model for ways that visualization in general and map creation in particular can be used as a teaching strategy to make art history come alive for students by opening new conceptual territory, prompting intriguing questions, generating unique answers, and engaging art history in a more physical, spatial manner.","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"87-88 1","pages":"35 - 52"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76780638","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}
Questions concerning the provenance of art objects recorded in the William Randolph Hearst Archive originate from museums, private collectors, academic institutions, and auction houses.1 Recently, two aspects of inquiry have taken on an international focus. First, the “new nationalist movement” in the United Kingdom,2 concerned with the repatriation of architectural salvages from structures such as Gwydir Castle in Wales and Hamilton Palace in Scotland, has spurred new investigations.3 Second, in the midst of a digital project to provide electronic access to Hearst’s archival records through the Artstor Digital Library, a number of objects acquired by Hearst from forced sales during the Nazi Era (1933–1945) have been discovered. The author discusses works from the collections of Rosa and Jacob Oppenheimer, Frau Margarete Oppenheim, and Ottmar Strauss.4 [This article is a revision of a presentation given as part of the session “Common Ground: Provenance Research Agendas in Libraries, Archives and Museums” at the ARLIS/NA conference held in New York, New York in February 2018.]
{"title":"The William Randolph Hearst Archive at Long Island University: A Resource for Provenance Research","authors":"C. Larkin","doi":"10.1086/702893","DOIUrl":"https://doi.org/10.1086/702893","url":null,"abstract":"Questions concerning the provenance of art objects recorded in the William Randolph Hearst Archive originate from museums, private collectors, academic institutions, and auction houses.1 Recently, two aspects of inquiry have taken on an international focus. First, the “new nationalist movement” in the United Kingdom,2 concerned with the repatriation of architectural salvages from structures such as Gwydir Castle in Wales and Hamilton Palace in Scotland, has spurred new investigations.3 Second, in the midst of a digital project to provide electronic access to Hearst’s archival records through the Artstor Digital Library, a number of objects acquired by Hearst from forced sales during the Nazi Era (1933–1945) have been discovered. The author discusses works from the collections of Rosa and Jacob Oppenheimer, Frau Margarete Oppenheim, and Ottmar Strauss.4 [This article is a revision of a presentation given as part of the session “Common Ground: Provenance Research Agendas in Libraries, Archives and Museums” at the ARLIS/NA conference held in New York, New York in February 2018.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"47 2 1","pages":"78 - 94"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82720958","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}
Megan De Armond, V. Pilato, R. E. Pantalony, Greg Cram
Assessing copyright varies from institution to institution along with the specific workflow and end-user notices. This article looks at tools used in art libraries in a range of contexts along with pragmatic perspectives on copyright evaluation from a museum art library, a public research library, a university copyright advisory office, and a public university. Pain points for determining copyright presented by various formats, ownership issues, and digitization are addressed through cases encountered by the authors. Helpful tools and workflow strategies for moving forward, including widely available charts and resources, as well as software for copyright determination, are shared. Finally, the authors describe how different institutions are handling rights metadata. [This article is an expansion of a panel presentation given at the ARLIS/NA conference held in New York, New York, in February 2018.]
{"title":"Copyright Assessment in the Trenches: Workflow, Tools, Metadata, and More","authors":"Megan De Armond, V. Pilato, R. E. Pantalony, Greg Cram","doi":"10.1086/702990","DOIUrl":"https://doi.org/10.1086/702990","url":null,"abstract":"Assessing copyright varies from institution to institution along with the specific workflow and end-user notices. This article looks at tools used in art libraries in a range of contexts along with pragmatic perspectives on copyright evaluation from a museum art library, a public research library, a university copyright advisory office, and a public university. Pain points for determining copyright presented by various formats, ownership issues, and digitization are addressed through cases encountered by the authors. Helpful tools and workflow strategies for moving forward, including widely available charts and resources, as well as software for copyright determination, are shared. Finally, the authors describe how different institutions are handling rights metadata. [This article is an expansion of a panel presentation given at the ARLIS/NA conference held in New York, New York, in February 2018.]","PeriodicalId":43009,"journal":{"name":"Art Documentation","volume":"12 1","pages":"53 - 69"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78351114","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：