bluuebunny/crossref_metadata_2025 huggingface dataset:
Uniformity and diversity: Education for (art?) librarians
Authors: Büsse Martina
Published: July 2016

Das Studium zum/r Diplom-Bibliothekar/in unterliegt in den letzten Jahren einem noch andauernden Reformprozeß: An die Stelle der traditionellen, dreijährigen verwaltungsinternen Studiengänge tritt zunehmend ein verwaltungsexternes, 7-8-semestriges und integriertes Studium. Gemeinsame Grundstudien sollen dabei den wachsenden funktionalen Verflechtungen zwischen wissenschaftlichem und öffentlichem Bibliothekswesen wie auch Dokumentationseinrichtungen Rechnung tragen. In einigen Einrichtungen besteht mittlerweile die Möglichkeit, die allgemeine Ausbildung durch Kenntnisse in Spezialbereichen wie z.B. Kunstbibliotheken zu ergänzen. Darüber hinaus beginnt die neugegründete AKMB Weiterbildungen fur Bibliothekarinnen, die in Kunstbibliotheken arbeiten, zu organisieren.

In recent years, education for certified librarians has been undergoing a process of reform which will continue. The traditional 3-year-long education within the civil service is being replaced by a 7-8 semester integrated study program, outside the civil service. A general curriculum aims at bridging the growing functional connections between research libraries and public libraries and documentation facilities. In a few institutions, opportunities now exist for adding special subjects to this general training in librarianship, including, in at least one institution, subjects relevant to art librarianship. In addition, the newly formed AKMB is beginning to address the need for training opportunities for working art librarians.
Paying for services: experiences at the Smithonsonian Institute
Authors: Chin Cecilia H. , DeAngelis lldiko P.
Published: July 2016

The Smithsonian Institution, a trust instrumentality of the United States, and the largest museum and research complex in the world, receives many outside permission requests to reproduce images in the Smithsonian Collections. Charging fees for photographic usage is a common practice in the United States, especially in art history and general museums. Beginning in 1992, the Smithonian established internal guidelines for changing such fees and for handling permission requests from outside sources. The procedures ensure that the Smithsonian recognises and respects the intellectual property rights associated with images in the collections and the terms of any pre-existing agreements. Great care is also taken to protect the Smithsonian’s name from use in any commercial context, to avoid the implication that the Institution endorses a product (or one product rather than another).
Art librarianship in Danish public libraries
Authors: Bojesen Benedicte , Johansen Anna
Published: July 2016

The 1964 Danish Public Libraries Act empowered public libraries to lend materials other than books. Subsequently a number of libraries took advantage of this to initiate loan collections of original works of art, posters, and slides, alongside and as an extension of the provision of art books and journals. In addition, art departments in public libraries began to organise exhibitions of contemporary art. In some cases, including Gladsaxe, Lyngby, and Gentofte in Greater Copenhagen, distinct art libraries were created. Artists whose work is represented in libraries can benefit from payments dispensed through the Public Lending Right scheme. Librarians responsible for art departments in public libraries formed a group within the Danish Librarians’ Union, in the 1970s. The activities of art departments have suffered during the difficult economic climate of the last decade or so, but membership of Kunstfaggruppen is now growing again.
Celebrating 25 years of service to the arts information community – an international perspective
Authors: Pacey Philip
Published: July 2016

Although art librarians began to join together in North America in the 1920s, they did so in two distinct strands — museum librarians and public librarians. Art librarians of all kinds, including, significantly, art librarians in higher education, formed national associations from the late 1960s, and almost immediately began to establish the international links which culminated in the coming into being of the IFLA Section of Art Libraries. International cooperation, including networking of resources, is helping art libraries to serve users worldwide. Art librarianship is now so well established as an international enterprise that it can afford to admit other arts information professionals; nonetheless it needs to continue to work towards becoming a genuinely multi-cultural professional community which does not privilege any country, region, language, culture, gender, or point of view.
The Centre for Newfoundland Studies at Memorial University Libraries
Authors: Hart Anne , Ritcey Joan , Riggs Bert
Published: July 2016

The Centre for Newfoundland Studies, a division of the Memorial University of Newfoundland Libraries, has as its mandate to collect all material possible on all aspects of Newfoundland and Labrador. The Centre’s collections of both published and manuscript materials will be of interest to researchers of the art and architecture of Newfoundland. While the Centre is primarily a reference collection, information services are provided to remote researchers. Researchers may wish to access the Centre’s catalogues and bibliographic tools, including its own Newfoundland periodical article bibliography, from the Centre’s web site.
Promoting Scandinavian design history
Authors: Gelfer-Jørgensen Mirjam
Published: July 2016

It is surprising, in view of the international interest in Scandinavian design, to find that studying this subject on a scholarly level is not at all widespread in the Nordic countries. To increase the amount of research in this field scholars need to be able to publish and get feedback, both from editors and translators and from colleagues. Awareness of this need led to the founding of the annual Scandinavian Journal of Design History seven years ago, which publishes scholarly articles in English, written by Nordic scholars on all topics, and by those abroad on Scandinavian Design. The author’s work on this journal has been complemented by her role as Librarian of the Danish Museum of Decorative Art, which for the last 100 years has been responsible for collecting and preserving Danish decorative art and design documentation. During the last 10 to 15 years the development of design and of design history has brought about a re-evaluation of the criteria for information retrieval. And this has also focussed attention on the problem of proper terminology in this relatively new field – in Danish, but also in other Scandinavian languages – and on the search for exact equivalents in English.
L’etoffe numerique: la Banque d’Images Textile du Musee des Tissus de Lyon
Authors: Blanc Odile , Calba Catherine
Published: July 2016

Depuis 1994, une grande partie des collections du Musée des Tissus de Lyon est accessible sur ordinateur. La Banque d’Images Textile propose, sur le site du Musée, des consultations écran, des impressions et des réservations pour les professionnels qui désirent exploiter un tissu faisant partie des collections. De la sorte les originaux sont préservés des manipulations trop fréquentes, et l’inventaire est informatisé, ce qui améliore grandement la connaissance des fonds.
Axis: broadening the constituency and extending the sphere of influence of visual art
Authors: Sandle Doug
Published: July 2016

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.
Book & image: art libraries and visual resources in the Netherlands
Authors: Beumer Mieke
Published: July 2016

In Spring 1999 the Art Libraries Society/The Netherlands (OKBN) plans to organize a conference on ‘Book & Image: Visual Resources and Art Libraries’, to discuss various aspects of the whereabouts, accessibility and use of visual resources in art libraries and other collections of art historical documentation. By doing this we hope to increase awareness amongst art librarians and visual resource librarians of the necessity of communicating questions and sharing their experiences. In particular we need to find new ways of co-operating in order to meet the challenges posed by new technological developments and future users. A small working group of ARLIS-NL members, joined by some colleagues from slide libraries and visual archives, already meets bi-monthly for brainstorming sessions aimed at preparing an attractive and challenging program for this event.
BONAS: two centuries of the life and work of Dutch architects
Authors: Pey Ineke
Published: July 2016

The BONAS database is the result of an initiative to gather and make easily accessible information about the work of nineteenth- and twentieth-century Dutch architects and related professionals. It gives details of their lives and works and of a large number of their buildings from about 1790 to the present. An extensive bibliography is being compiled at the same time, and the data is being published in a series of volumes on individual practitioners.
Innovation for arts and sciences: new technology in the French national library
Authors: Renoult Daniel
Published: July 2016

Founded in the fifteenth century, the French national library, the Bibliothèque Nationale de France, is one of the oldest research libraries, and, as regards the size and variety of its holdings, one of the largest in the world. An on-going programme of modernisation based on a new strategy was initiated in 1988, the aims of which are to enforce collection development in a broader encyclopaedic sense, facilitate access to documents for the general public and researchers, allow remote access through new technology and develop scientific and technical networks in co-operation with national institutions and the international community. From 1992 to 1995, two new buildings were created: one very large library (3,700 seats) located on the east side of Paris at Tolbiac, the François Mitterand Library, will house the 10 million books of the heritage collection and audiovisual documents; another new building, for conservation workshops, scientific laboratories, and new stores, the Centre Technique du Livre, is located on the outskirts of Paris, at Marne-la-Vallée. After the major book removal operation planned for 1998, the historic building in the rue de Richelieu will be devoted to special collections and will also house INHA, the new national institute for art history.

In 1996, the first workshops at Marne-la-Vallée became operational and the general public level of the François Mitterand Library was inaugurated. The research level will follow in October 1998. Implementation of stage three of the audiovisual system, the new information system, will also begin in 1998, the year in which it is foreseen in addition that the new French union catalogue and the digital library will be made available to the public. All these projects aim at improving and enlarging the information services provided both to the general public and the scientific community.
La Bibliothèque publique d’information: 20 ans de succès
Authors: Wallner Odile
Published: July 2016

Ouverte en 1977 au sein du Centre national d’art et de culture Georges Pompidou, la Bibliothèque publique d’information (Bpi) a été fondée selon trois principes: encyclopédisme, actualité et libre accès. Elle présente toutes ses collections multimédia en libre accès, à tout public, gratuitement et sans formalité, avec la possibilité de ‘se servir’ seul, de passer par le catalogue informatisé ou de s’adresser aux bibliothécaires présents dans des bureaux de renseignement spécialisés.

La Bpi connaît depuis 20 ans un incontestable succès: offrant 1800 places de lecture, elle reçoit plus de 10 000 personnes par jour, 6 jours sur 7 –jours fériés inclus – avec une amplitude d’ouverture de 10 à 12 heures par jour, la rançon de ce succès étant une fréquente file d’attente à l’entrée des espaces.
The Museum of the Book in the Hague
Authors: Boer Tanja de
Published: July 2016

Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.
Network access to visual information: a study of costs and uses
Authors: Besser Howard
Published: July 2016

This paper summarizes a subset of the findings of a study of digital image distribution which focused on the Museum Educational Site Licensing Project (MESL) - the first large-scale multi-institutional project to explore digital delivery of art images and accompanying text/metadata from disparate sources. This Mellon Foundation sponsored study evaluated the costs, infrastructure, and efforts involved in implementing the MESL project, as well as user reaction to functionality. The study also examined costs of running analog slide libraries and compared these to costs and functionality associated with digital image distribution.
The art of the film: some special collections at the British Film Institute
Authors: Moat Janet
Published: July 2016

The British Film Institute (BFI) has been collecting documentation and ephemera relating to the cinema since its own inception in 1933. These collections have grown into a valuable resource for the researcher into cinema and television history, as well as reflecting artistic trends prevailing at the time of production. Although modest when set beside the posters, stills, designs and museum objects held at the BFI, the collections of press or campaign books and general ephemera should not be overlooked.
Slide libraries in Ireland: an undervalued resource
Authors: Sheehy Ruth
Published: July 2016

A recent survey has examined the current position of slide libraries in Ireland, with particular regard to cataloguing, organisation, staffing, funding, facilities, training and computerisation. Despite the existence of a number of substantial slide collections, little training is available for slide librarians; the Association of Visual Arts in Ireland (AVAIL) plans to study possible solutions to this problem as part of a planned series of professional development seminars to be held over the next eighteen months.
Public libraries in Ireland I. Archbishop Narcissus Marsh and the foundation of the first public library
Authors: McCarthy Muriel
Published: July 2016

Founded 300 years ago, Marsh’s Library in Dublin – Ireland’s first public library – is described by its librarian as a ‘treasury of the European mind’. The outstanding collections, in their purpose-built 18th-century accommodation, are still accessible to the public. They include Irish books and manuscripts and books on subjects such as travel, botany, music and natural history. Recently the catalogue of printed books has been computerized and made available on the Internet.
The carrot v. the stick: can copyright be used to enhance access to cultural heritage resources in the networked environment?
Authors: Pantalony Rina Elster
Published: July 2016

Copyright, if used effectively, managed well and respected in business arrangements, encourages and enhances access to content in the Internet environment. But with the advent of new technologies and the emergence of a knowledge-based society, new ways of thinking are required in order to ensure that the Internet remains a ‘place’ where information can flow with few if any restrictions. Using the modern museum as example, this paper analyzes two types of intellectual property – databases and photographs – to determine whether copyright protection reduces or enhances access. It also touches briefly on some new management models which meet the needs of the users as well as the authors of copyright materials, while still fulfilling the key financial objectives of the organizations that host or provide content.
The Museological Library in Denmark
Authors: Kjaer-Larsen Gry
Published: July 2016

Although somewhat concealed amongst the lakes and forests of Sorø, the Danish Museological Library has already been in existence for a quarter of a century, and is one of the very few libraries on museology in Europe. There is an increasing interest in the subject both in Denmark and in other countries which have had museums for centuries, where the concepts of the museum and museology are under active discussion and museological education is becoming more widely available.
Architecture libraries in Catalonia
Authors: Grau Ma Antonia , Sangenís Conxita
Published: July 2016

Two of the largest architecture libraries in Spain are in institutions in Catalonia. One of these is the UPC (the Technical University of Catalonia), the home of the library of the ETSAB (the School of Architecture of Barcelona), which is one of the oldest architecture schools in Spain. The other is COAC (the Architects’ Association of Catalonia), which boasts one of the biggest architecture libraries in a professional association in the country. While these two libraries were built up in the 19th century, other architecture libraries have been created in Catalonia in the 20th century, both in schools of architecture and in the branches of COAC.
Tools of the trade: cataloguing trade literature
Authors: Archer Bernadette
Published: July 2016

Trade literature can be used as primary source material for the study of subjects ranging from business history to the history of advertising. Historical collections of trade literature exist in museum, academic and special libraries in the UK and in the United States. Collections of current trade literature are also being developed as important resources for users by an increasing number of academic libraries supporting design- or construction-related courses. Many such collections however remain uncatalogued, or only appear in in-house manual catalogues and are therefore largely inaccessible. This ephemeral material appears in a wide variety of formats and media, and can present particular difficulties in terms of organisation and documentation. The ARLIS/UK & Ireland Cataloguing and Classification Committee is currently working on guidelines to help libraries address these problems and encourage the online cataloguing of trade literature collections.
Problems of electronic art reference
Authors: Hoyer Rüdiger
Published: July 2016

This paper evaluates the access provided to electronic reference material in art libraries in Germany and elsewhere. The extremely heterogenous state of education and knowledge concerning these materials is discussed, both from the point of view of library staff and that of the specialised public. Finally a proposal is formulated for a co-operative way of giving access to at least the metadata of these resources, and for their thematic indexing.
Getting it all together: German art libraries in the year 2000
Authors: Hilliard Catherine
Published: July 2016

Electronic retrieval of information is only one of the many aspects of librarianship seen by delegates on the recent ARLIS/UK & Ireland study tour of art libraries in Germany. Diverse in their history and development, these are today being drawn together into a supportive web of co-operation through technological innovation and professional partnerships.
Access to art collections using Encoded Archival Description and beyond: the future of large-scale consortium projects
Authors: Rinehart Richard
Published: July 2016

In a Herculean effort to distribute information about art collections on a previously unknown scale, museums, arts organizations, libraries, and archives have been hard at work developing standards and implementing testbed projects, large-scale union databases which integrate and disseminate information. Two such projects are ‘Conceptual and Intermedia Online’ (CIAO) and ‘Museums and the Online Archive of California’ (MOAC), both using the Encoded Archival Description to describe and provide access to art and other cultural collections. But what is the future of such collaborations and the content portals they spawn? Will they be able to scale up to include hundreds or thousands of institutions, using current models? What are the limitations for such consortia? What are the limitations for participating institutions? Several options appear on the horizon, and one simple need suggests looking to decentralization, and back to the individual institution, for the solution to sharing art and cultural content on a truly vast scale.
The DACS Slide Collection Licensing
Scheme
Authors: Godfrey Jenny
Published: July 2016

For many years slide libraries in higher
education institutions in the UK grew steadily in
size as they accommodated the needs of new and
expanding art and design courses. Although some
slide librarians acquired new slides by
photographing works of art in museums and art
galleries, and most bought slides of the
traditional art history canon from commercial
publishers and art galleries, the largest
proportion of these ever growing slide collections
was made up of slides produced by copy
photography, using slide film to photograph images
taken from books, journals and exhibition
catalogues. Changes in UK copyright law in 1988
made this illegal and jeopardised the ability of
lecturers to present the visual material they
needed for their courses. Slide librarians were
forced to consider ways of getting around the law.
A licence scheme ultimately emerged as the answer,
but one that has its detractors and
critics.
A nation of shopkeepers?
Authors: Lambert Julie Anne
Published: July 2016

Trade cards and other trade resources in
the John Johnson Collection form the theme of the
forthcoming Bodleian exhibition (October 1st to
Christmas 2001). In parallel with this, the trade
cards have been catalogued and digitised. After a
brief introduction to the John Johnson Collection
and existing finding aids, this article discusses
the usefulness of trade cards as a resource and
the multiple access points provided by detailed
cataloguing, which enable us to establish new
correlations between trades.
EL Museo Imaginado: a virtual museum
of Spanish paintings outside Spain
Authors: Fernández Paz , Serrano Federico García
Published: July 2016

The main aims of the Museo
imaginado project are to create a
virtual museum of Spanish paintings held outside
Spain, and a virtual special documentation centre
on this topic, as a focus for other studies and
research tools. Most of the important museums in
the world contain masterpieces by Spanish painters
and our target is to collect them together in a
database which records their history, their
provenance and the travels and trials they have
undergone before arriving at their present
destination. Today, the meeting up of
technological skills and art history research has
made it possible for us to make this information
available to the public and to the academic
world.
From creation to diffusion: building historical archives at Cirque du Soleil
Authors: Saint-Denis Emmanuella
Published: July 2016

The importance of the creative process at Cirque du Soleil informed the establishment of its Documentation Centre nine years ago. The desire for conservation, a concern of the founding president as early as 1984, was initially related to the need to use earlier documents and materials in the creation of shows, rather than a desire to preserve history. Subsequently, the role of the archives has evolved and today Cirque du Soleil values the importance of memory and has put various tools in place to facilitate the collection and conservation of its history.
Conceptions: the conceptual document 1968 to 1972. A Norwich Gallery touring exhibition
Authors: Moseley Catherine
Published: July 2016

Conceptual art is not, and was not, a ‘movement’, but more a broad area of activity which privileges the idea over the material and the sensory. The ideas, process or activities of artists were documented in the form of text, photography, sound recordings, film, written or typed instructions and publishing.
Artists’ archives: preserving the documentation and collections of an artist organization
Authors: Tong Darlene
Published: July 2016

A wealth of primary documentation has been produced and collected by artists and artist-run organizations since the 1970s. Alternative art activities were often time-based and experimented with form and material, and documentation has become essential as a means to study and understand the intent, the actualization and the impact of artworks. What are the key issues for artists, archivists and researchers interested in the collection, preservation and provision of future access to the archives of the avant-garde?
The monitoring and documenting of contemporary art at the Central Archives in Helsinki
Authors: Lindgren Liisa
Published: July 2016

The Central Art Archives, founded in 1990 as a documentation and research institution within the Finnish National Gallery, have attempted to accept the challenges that contemporary art presents to archiving by realising extensive documentation projects covering conceptual, performance, land and environmental art in Finland. The corpus of documentary material includes photographs, slides, videos, interview transcripts, exhibition catalogues, etc. Currently the Central Art Archives is working together with the Museum of Contemporary Art Kiasma on a media art project.
A few of my favorite things
Authors: Lexier Micah
Published: July 2016

A few of my favorite things is a description and explanation of artist-designed items collected over the past 20 years. The author, an artist, has a particular interest in simple objects that are very economically designed. Hundreds of such items have been collected over the past 20 years, including books, drawings, posters, invitations, prints, tickets, coins and multiples of all kinds. Eight favorite artist-designed items have been selected to illustrate the kinds of objects collected and the ways in which items find their way into the collection.
De-selection: what are we throwing out?
Authors: Leja Ilga
Published: July 2016

The practice of weeding, known more latterly as de-selection, stock disposal or even de-acquisitioning, is the ‘poor cousin’ of library practices. Librarians undertake weeding, often for reasons they would like to reverse, such as scarcity of space and resources. Whatever the reasons, librarians everywhere are doing it. They just do not like to talk about it.
Co-operation between Spanish and Portuguese art libraries: ten years of activity
Authors: Docampo Javier
Published: July 2016

The BAEP Group (Bibliotecas de arte de España y Portugal) has travelled a long way in the last ten years. It has undertaken numerous co-operative activities: conferences, training, publications, projects to produce union catalogues and organise exchanges between libraries, creation of a web site, and international collaboration. Despite these achievements the Group has not so far constituted itself formally and it now has to decide whether to continue as an independent society of art librarians or to attach itself to a more general library association.
Creating a union catalogue for the libraries of the French national museums
Authors: David Christian , Granger Catherine , Picot Nicole
Published: July 2016

The French national museum libraries service comprises 21 libraries specialising in the history of western art and archaeology. The central library, which is at the head of the network, was automated first and has completed its retrospective conversion. At first this library catalogued the material acquired for all the others; then a number of them were able in their turn to computerise and thus contribute directly to the union catalogue of the national museum libraries. This can now be consulted on the internet site of the Ministry of Culture.
Cross-sectoral working, Backstage
Authors: Holland Stephen , Hudson Claire
Published: July 2016

Backstage, a major resource discovery project for the performing arts, aims to create a single portal for information on performing arts holdings across the UK. Its content will combine directory-style information for individual institutions with more detailed collection level and item level records. The project has provided an opportunity for cross-sectoral working for the main partners – a group of universities led by Kent and Bristol, plus the Theatre Museum and the Institute for Learning & Research Technology – but problems of uneven funding available to the different sectors have had to be overcome. The project was due for completion in October 2002.
Supporting the work of art libraries in society: the role of the professional association
Authors: French Sonia
Published: July 2016

Professional associations serve to underpin the work of libraries and of individual librarians. This paper considers the roles associations fulfil in general and goes on to examine in particular the international network of art library societies. Focusing on ARLIS/UK & Ireland, it outlines recent developments within the structure of the Society which have arisen from the needs of an active membership and a changing professional agenda.
Being Scottish: a cultural overview
Authors: Smith Wilson , Williamson Hilary
Published: July 2016

There has been a change in atmosphere in Scotland since the opening of the Scottish Parliament in 1999. This article describes some aspects of the country’s cultural background and the route taken to get there, as well as current trends in the Scottish library world.
Visual evidence: photographic presentation of landscape and people
Authors: Reid Norman H.
Published: July 2016

The University of St Andrews Library has extensive photographic collections, ranging from a fine collection of very early photography (stemming from St Andrews’ important position in the development of photography in Scotland), to modern documentary and topographical images. In order to increase access to these collections, and to assist in their preservation, the University is in the process of digitising the images, and providing them on-line, with a detailed searchable database index. In recent years, this programme has been undertaken in collaboration with the Universities of Dundee and Aberdeen, in the RSLP-funded Visual evidence project, which aims to provide a single point of access to all three collections. Much has been achieved in recent years using this type of temporary, project-oriented funding, but a period of consolidated, predictable funding is now needed in order to safeguard and further progress the advances made so far.
Collecting the contemporary
Authors: Saunders Gill
Published: July 2016

How do we define ‘the contemporary’, can we collect it, and if so, how should we do it? A look at some of the issues from the perspective of the Word & Image Department at the Victoria & Albert Museum in London argues for the primacy of the object over the digital surrogate, and investigates the challenges -and opportunities - involved in collecting or representing ‘boundary crossing’ art and design practice. The arguments are illustrated by a selection of recent acquisitions, ranging from book arts, multiples and ‘maps’, to prints, drawings and wallpapers.
Archiving the present: the Vektor project for European contemporary art archives
Authors: Widrich Mechtild
Published: July 2016

The European Union-funded Vektor project has focused on the opportunities for documenting contemporary art material in European archives and making it accessible on the Internet. After three years of research Vektor is now publishing the results, amongst which is European Artnet, a website connecting a number of different archival collections and giving information on contemporary art in Europe.
Singapore’s first performing arts library: library@esplanade
Authors: Creamer Ruth
Published: July 2016

‘Our task, with arts as the instrument, is not only to entertain and engage, but also to educate and inspire so that arts can effectively enrich the lives of all Singaporeans. The National Library Board and Esplanade welcome this opportunity not only to challenge people’s perceptions of art, but also to seamlessly integrate the arts into our daily lives.’

Benson Puah, CEO, The Esplanade Co. Ltd.
An introduction to Corbis and the Corbis Education offering
Authors: Young Adam
Published: July 2016

In July of 2003 Corbis Corporation began an initiative to offer educational institutions fair-use access to the world’s largest and most diverse archive of digital images. At a time when many visual resource collections are struggling with how to satisfy the digital needs of their faculty and students, Corbis is hoping to help meet this challenge. Our experience with digital archive development and image management, albeit on a larger scale, closely mirrors much of what visual resource collections are tasked with today. This article introduces readers to Corbis and gives details about our collection of images, outlining what is available through the new Corbis Education program.
Tate Archive online
Authors: Bandhari Rachel , Crookham Alan
Published: July 2016

Tate is committed to attracting new audiences both within and beyond its galleries. Insight is a long-term programme which aims to develop online access to Tate’s Collection through digital imaging and related indexing and content initiatives. Following the successful digitisation of the Collection, Insight entered a second phase which included placing part of the Tate’s Archive Collection online for the first time.
The library of the Kunsthistorisches Institut in Florence
Authors: Simane Jan
Published: July 2016

The history of the library founded in 1897 at the Kunsthistorisches Institut in Florence is marked by a very close connection with the history and profile of the Institute itself. The demand for scientific literature for research on Florentine Renaissance art and culture was the key motivation for establishing a German research library in Florence, where this art and culture flourished. But from the very beginning the holdings covered Italian art as a whole, not just the Renaissance and Florentine art. The acquisition policy as well as the internal organisation and systematic structure of the library have right up to the present day mirrored the research activities of the Institute and its scholars. With the founding of a consortium of the three German research libraries in Florence, Munich (Zentralinstitut für Kunstgeschichte) and Rome (Bibliotheca Hertziana) in 1994, a new era began. High-profile bibliographic information, additional services and the integration of the library in Florence into this co-operative network became a further characteristic of the existing identity of the Institute and its library, which were – and continue to be – closely tied to Florence and Tuscany.
V&A Illustration Awards – new directions
Authors: Timmers Margaret , Bilclough Annemarie
Published: July 2016

The V&A Illustration Awards have been running since 1972, with many famous illustrators receiving the prestigious and highly coveted prizes. In 2004, the Awards were strongly contested, and their success points the way forward for this important branch of art. A display of the award-winning entries for 2005 will be on show at the V&A from 7 December 2005 until 30 April 2006. The Awards are being expanded to widen the entry categories and to reflect new trends in illustration at the beginning of this 21st century.
A spider waiting to bounce . . . eight lessons for planning in an age of uncertainty
Authors: Houghton Beth
Published: July 2016

Based on the acceptance of a future of continuing and accelerating change, this paper looks at the political, economic, social, technological, legal and environmental issues which impact on us as art librarians, and looks back to see what lessons might be learned to help us deal with a future we cannot predict with any certainty.
Changing roles, changing realities: Australian art librarians in a brave new world
Authors: Volker Joye
Published: July 2016

As we all cope with an e-everything world, libraries are moving to accommodate WOW (words on the web) as well as POP (print on paper) in their collections. This has led to a realignment in organisational structures, particularly in university contexts. This paper addressed two major issues: firstly the challenges that major institutional reorganisations in Australia have placed on universities and, in particular, on art schools; secondly the way these challenges may be met, based on actions and solutions to improve access to Australian visual arts information resources which followed from an extensive survey by the National Library of Australia in co-operation with ARLIS/ANZ. These results encourage art libraries to develop partnerships and networking with their parent institution and other libraries and cultural institutions on a national level.
Curators and their use of digital images
Authors: McBride Caroline
Published: July 2016

New Zealanders like to think of themselves as high users of the latest technology. Does this extend to digital imagery in the workplace? Curators at the Auckland Art Gallery Toi o Tāmaki were surveyed regarding digital image sources, their use and the problems and opportunities they presented. They were found to be keen, adept users, satisfied with their technical and retrieval capabilities, and aware of issues relating to copyright and image storage. Happy with thumbnails in many instances, they employed the skills of the Gallery’s professional photographers when higher quality images were required. Looking at the move from analogue to digital, slide use was found to be negligible but reproductions in books and journals were still a favoured source. Disadvantages were downplayed and the positive impact of digital imagery was stressed.
ARTstor: a cross-campus digital image library
Authors: Rockenbach Barbara
Published: July 2016

ARTstor (http://www.artstor.org) is a digital library consisting of images in the areas of art, architecture, the humanities and social sciences, along with a set of tools to support use of those images in research and pedagogy. Originally conceived as a project of the Andrew W. Mellon Foundation in 2001, ARTstor became an independent not-for-profit organization in January 2004 and launched the digital library in July of that year. ARTstor works closely with both providers and users of content from educational and cultural institutions around the world in creating a resource that meets the needs of the scholarly, educational and cultural communities. At present, the ARTstor Digital Library contains over 420,000 digital images and descriptive data; software to enable active use of the images in the digital library; and tools that allow users to access and use personal and/or institutional images along with ARTstor content for scholarship and teaching.
The stuff of everyday life: a brief introduction to the history and definition of printed ephemera
Authors: Andrews Martin J.
Published: July 2016

Rubbish for the waste-paper basket or valuable social documents? What is printed ephemera and what can it reveal to us about the everyday lives of people in the past? This brief introduction to the subject goes some way to answer these questions, and poses others.
What should I do with paper ephemera? Looking after ephemera in a library
Authors: Yamada Liz
Published: July 2016

Looking after ephemera collections can seem quite daunting; their contents come in all shapes and sizes and they are designed to be ‘here today, gone tomorrow’. The definition of ephemera in the Oxford pocket dictionary is ‘things of only short-lived use’, which is disheartening when we are trying to preserve these fascinating items for posterity. However, there is a lot of information available about preservation and much of this is applicable to ephemera collections.
The collection of ephemera at the Bibliothèque Forney in Paris
Authors: Casiot Frédéric
Published: July 2016

Labels, packaging, bills, colour prints, blotters, fans, trade cards, publicity leaflets, social stationery, pious images, good-points cards, wrapping paper, golden crowns from Galettes des Rois . . . Far from being complete, this list gives just a glimpse of the iconographic collections of the Bibliothèque Forney. Alongside the prestigious collections that have always been part of the history of the institution (posters, wallpaper, printed fabrics, ancient books), the Library has in fact long been developing a collection of ephemera. These can be counted in hundreds of thousands of items, but it is difficult to be more precise; the ephemera collections grow daily, often as a result of small donations, and remarkable acquisitions enrich the collections.
‘Who takes the eye takes all’: visual culture in the Women’s Library collections
Authors: Cameron Gail , Doherty Teresa
Published: July 2016

The Women’s Library, London Metropolitan University is home to the most extensive collection of women’s history in the UK. It houses a wide variety of material from badges to banners, which reveal the many ways in which the struggle to change womens’ lives has been expressed visually. A move to purpose-built premises has created opportunities to open up the collections to a widening new audience.
Twenty-five years of international art library co-operation: the IFLA Art Libraries Section
Authors: Shaw J. Margaret
Published: July 2016

The IFLA Art Libraries Section was formed 25 years ago to fill a clear need for international co-operation in this most international of professions. The Section has been responsible for the publication of a range of materials including basic tools such as the International directory of art libraries and An art librarian’s glossary. It is also an active participant in the conference programmes of IFLA, frequently offering additional satellite programmes or workshops for art librarians. Representation in the Section has covered many countries, although there are still gaps that need to be filled.
Creating the new University Archives and Special Collections Centre at University of the Arts London
Authors: Mahurter Sarah
Published: July 2016

When the family of a major film maker offers you his archive, what do you do? University of the Arts London rose to this challenge, and achieved a major strategic goal – creation of a state-of-the-art Archives and Special Collections Centre, which would be a fitting demonstration of the University’s mission and aspirations and of Stanley Kubrick’s legacy. Through project management and collaboration, in less than two years, the flagship Centre was established. It will be a beacon of good practice and inspiration for future creative practitioners in the arts.
The Frick Art Reference Library: sharing a virtual future
Authors: Barnett Patricia
Published: July 2016

The Frick Art Reference Library, founded in 1920 as a research library accessible to the public, grew steadily in holdings and reputation throughout the 20th century. Its special text and image resources now make it ideal for a new era. Projects are underway to transform the Photoarchive into a digital surrogate. Among the aims of the Library’s newly established Center for the History of Collecting in America, as it responds to the changing needs of researchers, is to incorporate new areas for discussion, dialogue and workshops. As a participant in the planning stage of the New York Art Resources Consortium (NYARC), a recently conceived collaborative, the Frick will focus on shared access and delivery, reducing duplication, and further expanding research capabilities for a broader, ever-evolving community of users.
The British Library Centre for Conservation
Authors: Humphrey Vicki
Published: July 2016

On May 16th 2007 the British Library Centre for Conservation (BLCC) was opened, providing Conservation staff and Sound Archive Technical Services staff with a new purpose-built base from which to operate. The new building allowed them to be brought together onto the same site as their colleagues and co-located them with the collections for the first time. A BLCC-based programme of professional development events, special interest group events and public tours is providing Collection Care, Conservation, and the Sound Archive Technical Section with a public profile and a voice for communicating key messages about the Library’s stewardship of its collections and about caring for collections generally. The Centre, already a milestone in the history of collection care at the Library, is continuing an existing and ambitious change programme, giving the perfect opportunity to examine all aspects of operations and make changes of benefit to the Library and its staff.
Exhibiting information literacy: site-specific art and design interventions at the Ontario College of Art & Design
Authors: Payne Daniel
Published: July 2016

The Ontario College of Art & Design is a university that provides undergraduate education to a markedly diverse student body. Although the Dorothy H. Hoover Library offers proactive information literacy programming targeting academic research needs, only peripheral support was traditionally given to studio practice. To rectify this gap the reference librarians, in dialogue with selected design and art faculty, endorsed a Library exhibition program using the Library as both case study and exhibition site. An analysis of several works featured in a recent exhibition demonstrates how art can establish an eloquent dialogue with a visually-oriented learning community and lead to the examination of key philosophical and ethical issues in librarianship.
Tools for studying the collections at the musée du quai Branly: paper archives and electronic research
Authors: Frioux-Salgas Sarah , Dalex Françoise
Published: July 2016

The musée du quai Branly, dedicated to the arts and civilisations of Africa, the Americas, Asia and Oceania, has been open since 20 June 2006. Its holdings came from two pre-existing museums, and also from a number of new acquisitions. The museum’s library conserves and enhances the value of three heritage collections – the documents in the library itself, those in the drawings, engravings and photographs collection and the archive pieces and documents about the collections – and a miscellany of users is welcomed to its three dedicated research spaces, from museum visitors to internationally renowned scholars. An ambitious policy has led it to define and develop tools for consulting the collections, and to create a virtual collection in the form of a documentary web portal, through which the museum diffuses its research and heritage documents on the internet. The archives and the collections documentation described below perfectly illustrate how this works.
Selected resources on Native American art
Authors: Russell Marilyn , Young Thomas E.
Published: July 2016

This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.