bluuebunny/crossref_metadata_2025_split huggingface dataset:
Problems in art history documentation in Japan
Authors: Okubo Itsuo 
Published: July 2016

The study of art history in Japan, and its documentation, have developed since the end of the 19th century, very largely (especially prior to World War II) as a national project dependent on national institutions, development of a kind which, while making considerable achievements possible, has been subject to certain limitations and which has failed to produce co-operative networks involving museums and art libraries which now exist in greater variety. In particular, some categories of material tend not to be acquired by either museums or libraries. These are problems which must be resolved if art history scholarship is to continue to flourish in Japan, and if Japan is to contribute as fully as it might to scholarship worldwide.A paper presented to the Art Libraries Round Table at the IFLA General Conference, Manila, 1980.
ICAM and architectural records
Authors: Kamen Ruth H. 
Published: July 2016

An increasing awareness of the importance of architectural records and concern about their acquisition, control, conservation and exhibition was made evident at the second conference of the International Confederation of Architectural Museums (ICAM) which was held in London from 26-30 April 1981, hosted by the British Architectural Library of the Royal Institute of British Architects.The work of ICAM is of direct relevance to art librarians and what follows is a brief report of the conference, which was attended by 53 participants from 16 countries.
Art library associations worldwide: their history and future
Authors: Pacey Philip 
Published: July 2016

The world-wide compass of the visual arts and their parallel documentation brings with it the necessity for a world-wide network of information retrieval, communication and organisation between art libraries. This, together with the personal commitment towards material and readers, is what gives art librarianship its distinction. Within art library organisations over the years and within IFLA now that distinction has been continuously developed and shared. A particular duty of the art librarian now must be to help preserve the local and national qualities of art and life within the framework of the international scene.The text of a paper presented to the Art Libraries Section at the IFLA Conference, Leipzig, August 1981.
The use and development of art library materials in large and small libraries
Authors: Behrndt Helle 
Published: July 2016

This article consists of two lectures, combined into one, which were given at art libraries in Gentofte and in Slagelse.The library association of Greater Copenhagen had a meeting on 21 May 1981 at Trånegarden, the art library of the municipality of Gentofte, where the president of the cultural committee in Gentofte, Professor A. Vinding Kruse contributed as follows: should public libraries arrange visual art exhibitions? – the answer was a definite yes … and librarian Helle Behmdt talked about art libraries with Trånegarden as her starting point.The library association of the county of Vestsjælland (West Zealand) arranged a one-day conference on 26 May 1981 in Slagelse concerning: local historical archives and public libraries; municipal tape newspapers; and distribution of art in small libraries, which librarian Katrine Høffding talked about.
Image analysis and indexing in North America: a survey
Authors: Ohlgren Thomas H. 
Published: July 2016

Those in charge of image collections in North America have found it difficult to agree upon standards for classifying and cataloguing their material, and many individual and incompatible systems have been developed. However there has been some recent progress in co-ordination, and this paper surveys some inter-institutional projects attempting to create standards, based on an awareness of user needs, primarily the Image Access Society, the Library of Congress list of subject headings for the Prints and Photographs Division, the Picture Division Thesaurus of the Public Archives of Canada and the Art and Architecture Thesaurus.This paper is a continuation of a survey, “Subject indexing of visual resources: a survey”, published in Visual Resources: an International Journal of Documentation, Vol. 1, no. 1, Spring 1980, pp.67-73.
Architecture in journals of the ‘avant~garde’. Part 2
Authors: Pezzini Isabella , Gubler Jacques 
Published: July 2016

A selection of ‘avant-garde’ journals, from the early 20th century onwards, which have included architectural material. The journals are grouped into countries (which appear in alphabetical order), and are then arranged chronologically by date first published. Part 2 covers journals from the Netherlands, Poland, Romania, Spain, Switzerland, U.S.A., U.S.S.R. and Yugoslavia. Part 1 appeared in Art Libraries Journal, vol. 9, no. 1, Spring 1984. The journals are described by a number of contributors denoted by their initials: A3. (Antoine Baudin); A.R.G. (Antoni Ramon Graells); J.G. (Jacques Gubler); M.D.G. (Manolo De Giorgi); I.P. (Isabella Pezzini); P.G.T. (Piero G. Tanca).The article is the translation of a survey ‘La rete delle riviste’ which first appeared in Rassegna, no. 12, December 1982 – a special issue entitled ‘Architettura nelle riviste d’avanguardia’.
Art libraries in the Federal Republic of Germany
Authors: Lersch Thomas 
Published: July 2016

The history of the development of art libraries in the FDR is outlined, and their problems and unique characteristics analysed Matters such as co-operation, networks and the impact of information technology are dealt with. Particular attention is given to the Arbeitsgemeinschaft der Kunstbibliotheken, established in 1964.This paper was originally delivered to the Section of Art Libraries at the 1983 IFLA Council.
ARLIS/UK confers honorary life membership on Trevor Fawcett
Authors: Phillpot Clive 
Published: July 2016

Trevor Fawcett has retired from art librarianship. An era is thus delineated. While Trevor had published on art library issues before the birth of ARLIS/UK in 1969, none of these articles had the impact of a short letter which appeared in the Library Association Record in March 1968, asking if there was any interest in co-operation amongst art librarians.This was the acorn from which grew the oak tree of ARLIS/UK, and ultimately, through Trevor’s role in planning the first International Art Libraries Conference in 1976, the thicket of trees represented by the IFLA Section of Art Libraries, which now shades several continents.One might say that Trevor Fawcett was fortunate to raise the question of co-operation at a time when the soil for an art library organisation was exceptionally fertile. But one can also propose that the incipient sub-profession of art librarianship was extremely fortunate in having Trevor Fawcett in the right place at the right time.
Artists on Libraries 1:
Authors: Phillips Tom 
Published: July 2016

I love the word ‘library’ and feel sorry for the French who wasted their equivalent on a mere stationery shop and cornered themselves into using the nobly historical yet somewhat dry term ‘bibliothéque’. I feel that my own books make up a library but would scarcely constitute a bibliothéque.I am temporarily separated from the bulk of my books and thus more keenly aware than ever of their importance to me. It is not only the contents that I miss but the visible presence of them. I can picture the shelves and the configurations of buckrams and dust-jackets: in my mind’s eye particular books can be located. I see Bergson’s Creative Evolution there next to Wittgenstein’s Tractatus. Shall I ever read it again? I doubt it; yet the sight of it, austere on its appropriate shelf reminds me that in some sense what lies within its covers is also to be found within my head, although I cannot quote a word of it. Books do furnish a mind. The visual array of them is a house of memory in the form of a mnemonic of evocative spines.
British art librarianship today and tomorrow
Authors: der Wateren Jan van 
Published: July 2016

The National Art Library (NAL) has moved from its former isolation, through the developments of the last decade, to its present position as a focus for and active player in the art library and information community of the UK. The NAL has worked with ARLIS on some of the major co-operative ventures currently preoccupying the art library field. However, there is still a need for further clarification of, and support for, subject specialist services in the national arena, not least the relationship with the British Library. The potential of the proposed Library Commission and Visual Arts Library and Information Plan is still to be realised. Art librarians must work with their users in formulating a more radical and visionary view of their objectives, as they face the challenges of the future.This article is a revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.
The Arbeitsgemeinschaft der Kunstbibuotheken (AKB) and its members
Authors: Lersch Thomas 
Published: July 2016

Bekanntlich ist die Kulturpolitik in Deutschland, anders als in Frankreich und England, über weite Strecken föderalistisch organisiert. So existiert denn auch in der Bundesrepublik weder eine Nationalbibliothek noch eine nationale bzw. zentrale Kunstbibliothek. In Anbetracht dieser Situation haben sich 1964 die sechs großen (west) deutschen Kunstbibliotheken von überregionaler Bedeutung zu einer Arbeitsgemeinschaft der Kunstbibliotheken (AKB) zusammengeschlossen, die durch enge Kooperation ihrer Mitglieder eine optimale Literaturversorgung und -erschließung sicherstellen soil. Im Rahmen eines von der DFG gefÖrderten Programms, das 1972 angelaufen ist, wurden die Sammelschwerpunkte der teilnehmenden Bibliotheken aufeinander abgestimmt. Durch ihre kooperative Erwerbungspolitik erfüllen die (inzwischen sieben) Mitgliedsbibliotheken der AKB heute in gewisser Hinsicht die Funktion einer dezentralen Nationalbibliothek für Kunstgeschichte.Unlike France and the United Kingdom, the organization of cultural affairs in Germany is strongly determined by federalism. So there is no national library, nor is there a particular national art library. In 1964, the six bigger (West) German art libraries of supra-regional importance formed a loose association called Arbeitsgemeinschaft der Kunstbibliotheken (AKB). The purpose of the AKB is to foster co-operation on different levels (acquisition, cataloguing, etc). A co-operative acquisitions programme has been operated by the participating libraries since 1972; it is mainly financed by the German Research Society (Deutsche Forschungsgemeinschaft). Thanks to this co-operation the member institutions of the AKB function in some way as a decentralized national art library.
The situation in the New Lander (except Berlin)
Authors: Schäme Ulrike 
Published: July 2016

Bis zum Beginn des Zweiten Weltkrieges hatte man in den wissenschaftlichen Bibliotheken der nunmehr neuen Bundeslanäer, besonders aber in Sachsen, ausgezeichnete Bestände an Kunstliteratur zur Verfügung. Der Krieg brachte mit Zerstörung und Abtransport von Kriegstrophäen schwere Verluste. In den folgenden Jahrzehnten behinderte vor allem Devisenmangel den Anschluß an die internationale wissenschaftliche Literatur. In dieser Zeit konzentrierte die Sächsische Landesbibliothek in Dresden ihre Mittel auf ihr spezielles Sammelgebiet bildende Kunst und ist ein Erwerbungs- und Informationszentrum, besonders für die Universitäten des Landes, gewesen. Seit 1990 fließen aus verschiedenen Quellen Gelder, um neueste Literatur zu erwerben und die störendsten Lücken nach Möglichkeit zu schließen. Gleichzeitig wurden vor allem die Bibliotheken der Universitäten und Kunsthochschulen mit moderner Technik ausgestattet und die Vernetzung in Angriff genommen, hinweg über die verschwundene innerdeutsche Grenze.Until the beginning of the Second World War the scholarly libraries of what is nowadays known as the ‘New Länder’ (‘new federal states’), and especially those in Saxonia, had excellent collections of art literature. The war brought severe losses through devastation and transportation of war booty out of the country. In the following decades, lack of foreign currency impeded the acquisition of international academic literature. The Sächsische Landesbibliothek in Dresden concentrated its budget on its focal collection subject, fine arts, and it has ever since been a centre for acquisition and information, in particular for the universities of the country. After German reunification, since 1990, there has been a flow of money from different sources to enable the acquisition of the most recent literature and to complete most of the inconvenient gaps. Simultaneously, libraries, especially those belonging to universities and art academies, have been equipped with modern technology, and have been integrated into a library network which unites the formerly divided nation.
Art libraries in Austria
Authors: Pacher Jeanette 
Published: July 2016

Kunstbibliotheken in Österreich können gemäß ihrer jeweiligen institutionellen Verankerung in drei Gruppen unterteilt werden: in Museums- und Universitätsbibliotheken sowie in Bibliotheken, die in anderen Austellungs-institutionen, Galerien und Kunsthallen untergebracht sind. Gerade in jüngster Vergangenheit ist die Zahl der ‘alternativen’ Ausstellungsräume stark gewachsen, die vorwiegend internationale Gegenwartskunst präsentieren und in ihren Bibliotheken und Archiven grundlegende Materialien dazu sammeln. Museums- und Universitätsbibliotheken verfügen hingegen meist über einen umfangreichen Bestand an Basisliteratur zur bildenden Kunst und Kunstgeschichte, aber auch über Literatur zu ihren Sammlungs- und Studien-schwerpunkten. Insgesamt muß festgestellt werden, daß aufgrund der äußerst unterschiedlichen Organisationsstrukturen Fragen von allgemeinem Interesse (etwa eine zentrale Vernetzung aller Daten oder eine generelle Ausbildungs-regelung) nicht koordiniert werden und die Situation daher recht unzufriedenstellend ist. Immerhin ist aber ein Trend in Richtung länger-fristiger Kooperationen im Ansatz zu erkennen. Zu nennen wären in diesem Zusammenhang etwa der Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe (FIB) oder die ‘Kunstreferentensitzungen’, bei denen (seit 1949!) Bibliothekarlnnen aktuelle Probleme und Entwicklungen im Bibliotheksbereich diskutieren.Art libraries in Austria are basically divided into three main groups according to their specific form of institutional organisation: museum libraries, university libraries, and libraries in galleries. The latter are often situated in recently founded institutions and usually put their focus on contemporary art. Museums and university libraries traditionally have rather extensive collections of basic literature on art and art history as well as specialized literature according to the main subject of their collections. It is characteristic of the present stage of development that innovations in the organisation of these libraries (i.e. computer systems for online catalogues, specialized training, etc.) are not being co-ordinated and the results of local improvements are therefore not as rewarding as they could be. Nevertheless, the first steps towards long term cooperation are being taken, and include such initiatives as the Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe, FIB (= Association to promote the foundation of an academy for information professions), and the Kunstreferentensitzungen, an assembly of librarians who discuss current trends and problems in library organization.
Design libraries in Germany
Authors: Aszmoneit Helge 
Published: July 2016

Design-Bibliotheken in Deutschland definieren sich über ihren in der Regel sehr speziellen Bestand zu Themen im Produkt- und Grafik-Design. Diese Bibliotheken sind häufig in Institutionen angesiedelt, die sich in vielfältiger Weise mit Designthemen auseinandersetzen, wie z.B. Design-Zentren, Hochschulen, Museen oder als Spezialabteilungen in großen Bibliotheken. Die Verteilung der Design-Bibliotheken auf sehr unterschiedliche Einrichtungen bedeutet auch, daß ein durchaus großer Benutzerkreis angesprochen wird.Design libraries in Germany are characterized by their generally extremely specialized collections dedicated to aspects of product and graphic design. These libraries are frequently located in institutions which concern themselves with a wide range of design-related subject areas, such as design centres, universities, and museums, or else they exist as special collections in large libraries. This distribution of design libraries amongst very different institutions also means that they reach a very wide spectrum of users. Librarians working in design libraries have formed a loose network known as the Initiative der Design-Bibliotheken.
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.
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.
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.
Sheep for Long Leys
Authors: Bywater T. L. 
Published: July 2016

Great changes have been brought about in British farming by the war. Of these changes the most obvious as well as the most important have been, firstly, the conversion of large areas of grassland into arable to grow much needed human food crops, and secondly, the decline that has taken place in the numbers of all classes of farm livestock other than dairy cattle.
There are now welcome signs that the European war may soon be brought to a successful conclusion and the time is appropriate, therefore, for taking stock of British farming as a whole as well as of its component parts, in order to decide what developments are necessary to bring farming in this country into a sound and healthy state, so that it may yield its full profit to farmers themselves and to the nation as a whole.
The Breeding of Dual Purpose Cattle
Authors: Mansfield W. S. 
Published: July 2016

Though this paper is on the subject of Dual Purpose Cattle it is in no sense a defence of them, not because I am not a devout believer in them myself, but because I am certain that before a learned body such as this they need no defence. Still less is it necessary for me to prove to you that such cattle really exist, though even this has been questioned. But though I do not think it necessary to defend them, I should like first of all to say something about their place in the general economy of our English farming. (I say English advisedly, for there have never been many dual purpose cattle in Scotland, perhaps because the conditions are not suitable.)
It is a fact often overlooked that only a small proportion of our milk producing farmers are dairy farmers in the true sense of the term. A dairy farmer is surely one who draws the major part of his farm income, if not the whole of it, from his dairy herd. In other words, he is a specialist. If this definition of a dairy farmer is accepted then I submit that dairy farmers form a small minority of those farmers who keep milch cattle, and by all means let them keep pure dairy breeds.