Pictured above are the current contents of the Crouch Fine Arts Library’s display at Baylor University Library in Waco, Texas. For the month of February 2014, a small but eclectic group of selections from the Baylor Artist Book Collection pertaining to *LOVE* in its varied manifestations engages viewers with themes as diverse as the playful revision of Shakespearian dialogue in r&j: the txt message edition to more jaded reflections in Heart Assortment: A Bittersweet Sampler.
Many academic libraries have artist book collections of various sizes and scopes. Some institutions collect regionally, thematically, or structurally, while others prefer a mix of all types and kinds. Collection scale, of course, depends heavily on the acquisitions budget. Art librarians have found artist books to be interesting objects for display within their libraries and useful tools for developing interdisciplinary relationships with faculty and students. The Baylor Artist Book Collection is often requested for art department classes, but is also requested by professors from other departments. An emerging trend at Baylor is engagement by students in the Medical Humanities program.
For more information on the collection see http://www.researchguides.baylor.edu/heartbooks.
What other ways are artist book collections used in libraries? Do you or would you collect artist books in your role as an art librarian? Why do you think these types of collections are popular in an increasingly digital age?
Booklyn is an artist-run non-profit organization in Greenpoint, Brooklyn. We are currently reviewing applications for spring and summer internships.
The Artist Book Inventory Intern will work with Booklyn’s artwork inventory, documenting new works of art and keeping our online database of artists’ books up-to-date.
Interns may also get involved with some of the following activities, depending on interest:
· Cataloging archive materials
· Helping to coordinate and publicize traveling art exhibitions
· Publicizing Booklyn news and events for our website & social media
· Assisting with grant applications and other fundraising projects
We encourage potential interns to contact us about special projects related to their skills and interests. Past examples include: creating a finding aid for a zine collection, creating animated videos of artist books, etc.
To apply, please email a cover letter and resume to Maya Taylor at firstname.lastname@example.org. Intern applications will be evaluated on a rolling basis.
Start date, spring: 2/1/14 (flexible)
Start date, summer: 5/15/14 (flexible)
Booklyn’s mission is to promote artists’ books as art and research material and to assist artists and organizations in documenting, exhibiting, and distributing their artworks and archives. All internships at Booklyn are currently unpaid. Booklyn strives to ensure that our internships are truly educational experiences and not “busy work.”
Find out more about Booklyn at booklyn.org.
Call for Panelists:
The ARLIS/NA Affiliate Session at the College Art Association Conference in New York City seeks three panelists to participate on the following panel to be held at CAA 2013 (February 13-16, 2013, in New York City):
21st Century Artist’s Publications: self-published print-on-demand artist’s books, zines, mini-comics and photo books
With the increased use of print-on-demand publishing technologies, many artists are blending the typologies of artist’s books, zines, mini-comics and photo books, often creating print publications that are indistinguishable from one another.
This session is open to papers discussing the impact of print-on-demand technologies on the typology of artist’s books, and to papers discussing the impact of print-on-demand on the genres of artist’s books, zines, mini-comics, and photo books. Has print-on-demand created a new typology (artist’s publishing) that is inclusive of multiple publication types? Has print-on-demand production and distribution transformed the creation of artist’s publishing and sales beyond (more traditional) brick and mortar dealer and distributor networks? What is the financial impact of print-on-demand for artists and/or dealers/distributors? Should new terminology such as artist’s publishing or book art subsume the typologies of artist’s books, zines, mini-comics, and photo books?
Session chair: Tony White, Maryland Institute College of Art (email@example.com)
Panelists are encouraged to present varying perspectives about the impact of print-on-demand on the current genre of artist’s publications. Of special interest are papers that balance art history and studio art voices, as well as persons early in their careers to those that are more established, whether independent scholars, artists, teaching faculty, curators, or librarians. Each panelist will speak for ca. 20 minutes and will then participate in a moderated dialog with the audience about issues and topics raised.
Interested speakers should send the following information via e-mail to the session chair (deadline August 20, 2012):
– Proposed title for your paper/presentation
– A brief abstract (ca. 150-200 words) of your proposed paper
– A C.V.
All submissions will be acknowledged, and a final decision will be made by August 25, 2012.
***Call for Papers — Internet Reference Services Quarterly — New Authors Welcome!***
Internet Reference Services Quarterly is now accepting manuscripts for the 2012/13 volume year.
>> Internet Reference Services Quarterly is a refereed journal presenting information about reference librarianship in the digital age. The journal offers studies and articles on technology and innovations related to the delivery of library user services, including reference, research consultation, instruction, information literacy, user design and usability, and electronic reference materials and sources.
>> IRSQ welcomes articles on all aspects of library reference and information services, including professional practices, electronic communications, information literacy, training and education, managing reference services, evaluating information services and sources, software and technology, and user populations.
>> IRSQ receives all manuscripts electronically via the journal’s ScholarOne website:
>>For more journal information and submission instructions, visit www.tandfonline.com/WIRS or contact Jason Sokoloff at firstname.lastname@example.org.
Improving Library Services for People with Disabilities e-Course
ASCLA’s popular and relevant online course, Improving Library Services for People with Disabilities, will be offered again this October.
>>>>>Please share this message with any colleagues or distribution lists who might find it of interest!<<<<<
Course details, including links to registration, are at the ASCLA blog:
The course will run October 1-28, 2012, with two live online meetings on Thursday, Oct. 11 and Thursday, Oct. 25 from 3:00-4:00p.m. Central time. Additional weekly coursework is self-paced.
During this course, participants will:
>>Identify library users with disabilities at their library
and the resources and assistive technologies available to assist them;
>>Examine changes in attitudes, laws and technologies that
have impacted people with disabilities;
>>Apply what they’ve learned to recommend changes in personal and organizational
behaviors to improve services for people with disabilities at their library.
This course is truly designed for all library staff, including support staff, general professional staff, age-level or subject specialists, managers and administrators. ***We welcome group registrations!*** Two or more registrants from the same library, library system or network will save 15% on their course registration rates. More information is at the ASCLA website: http://www.ala.org/ascla/asclaevents/onlinelearning/onlinelearning
For more information about this course, visit this ASCLA blog post:
Four-Week eCourse Begins Monday, October 15, 2012 Your patrons trust your recommendations on what to read next, and as the use of iPads proliferates, they will look to you for recommendations on exemplary books as apps. The best of this new breed of apps use the multimedia, multitouch capabilities of the iPad to extend the concept of the book, creating a new immersive experience for readers. In this eCourse Nicole Hennig, head of the user experience (UX) group for the MIT Libraries, will
- Provide guidance for integrating iPads into your library’s programs and services by facilitating demos of important titles from the most innovative publishers
- Offer benchmarks for evaluating book apps and writing reviews of them
- Lead you in conversation about book apps as you share your reviews with the class
Each week’s lesson includes a video introduction, readings, and ongoing message board discussions. To participate, you will need access to an iPad. It’s recommended that students plan to budget $30–$50 on apps, though additional purchases are not required to take the eCourse. To get the most out of this eCourse you should already be comfortable with using an iPad and purchasing apps.
Nicole Hennig is Head of the User Experience Group for the MIT Libraries. Her expertise includes user experience studies, mobile web, mobile apps and the user experience of e-reading. She presents frequently on these topics at national and regional conferences.
6-Week eCourse runs from September 4 through October 12
Drupal is an open source content management tool that allows users to build complex websites without extensive programming, making it perfect for library websites. In this introductory eCourse, librarian, consultant and Drupal expert Sean Fitzpatrick will guide participants in building an attractive, functional library website using Drupal. This test website will be hosted on a server for six months after the eCourse, facilitating additional learning. This eCourse will focus on Drupal 7, while highlighting what is still applicable to Drupal 6. Whether the objective is a simple site or full-service digital branch, this eCourse will give participants the know-how to get a library website up and running.
This dynamic, two-day program focuses on emerging practices and debates within art-book culture. This year’s sessions feature a keynote by artist Tauba Auerbach, and sessions on an array of topics, including: artists’ books from Latin America, non-commercial distribution practices, contemporary criticism, and the pedagogical use of artists’ books in the juvenile justice system.
Thanks to generous funding by David Teiger and Phillip Aarons, the conference is free to the public for the first time.
[Editor’s note: I’ve attended this conference/fair twice and it’s a wonderful event–engaging panels, amazing opportunity to interact with artists and booksellers, plus a lovely social atmosphere. I highly recommend it, even more so now that it’s free. RKJD]
Artists’ Records in the Archives: A One Day Symposium – Call for Participation
The archives of many institutions contain artists’ records—documents created by artists that often bear witness to the creative process, as evinced by sketches, doodles, and other notations. Artists’ records differ from other types of records due to their inherent connection to the art object and the art market. In recent years there has been a plethora of symposia and conferences dedicated to artist archives, art history and “the archive,” as well as to the use of archival materials by contemporary artists. While crucial, these investigations have been driven almost entirely by art historians and have not included the perspectives of archivists and special collections librarians. As part of an effort to broaden the discussion surrounding artists’ records, the Archivists Round Table of Metropolitan New York has organized a one day symposium, “Artists’ Records in the Archives,” to be held on October 11, 2011 in conjunction with the New York Public Library. Focusing on the perspective of the information professional, this symposium will address how contemporary artists use artists’ records in their work, the significance of artists’ records in archives for scholars and curators, and how archivists and special collections librarians manage artists’ records in their repositories.
Possible topics or areas of interest include, but are not limited to, the following:
*Artists’ use of other artists’ records
*How archivists manage artists’ records and how this might differ within a museum, estate, gallery, and university setting
*Collecting artists’ records
*Appraisal of artists’ records
*Underdocumented artists and the archives
*Exhibitions and artists’ records
*Artists’ records and the digital environment
*Born digital artists’ records
*Copyright, moral rights, and the artist
*Conversations between archivists, artists, and art historians regarding archives
Date: October 11, 2011
Location: New York Public Library
All individual presentations will be 20 minutes long (10 page paper).
Submissions must include a title, name of author and institutional affiliation, abstract (250 words max), and indication of technological requirements.
Individual papers or entire panel proposals accepted.
A small travel stipend is available. If interested please indicate in the submission.
Deadline for Proposals: Proposals should be emailed to email@example.com by August 15, 2011.
Video: Video of Kurt Allerslev and Eliana Prez’s Buckfast Splendor Book
I was first introduced to Booklyn when doing collection development work during a practicum at The Ohio State University’s Fine Arts Library. They’re a really interesting collective where actual book artists will travel to libraries to discuss their work and the work of others within Booklyn. It’s a great model because it directly links producer & buyer–instead of a impersonal transaction, the sale becomes a relationship.
If you haven’t checked out Art House Co-Op‘s sketchbook project, it’s definitely worth a look. Artists submit sketchbooks to be exhibited around the country and then to be housed in a gallery called the Brooklyn Art Library. Below is an example of one.