ARLIS/NA 2018 Poster Session Descriptions
Gabrielle Reed, Public Services Librarian, Massachusetts College of Art and Design
Wikipedia, love it or hate it, it’s here to stay. Librarians have a unique skill set to make Wikipedia a better and more scholarly resource. Why don’t we partner with this community? This poster is a brief overview of how the MassArt library through event programing is making Wikipedia a richer environment while teaching others to become Wiki editors. We have hosted 3 Art + feminism edit-a-thons and will be starting the Wiki project #1Lib1Ref (One Librarian, One Reference). We will also go over the pitfalls of working in Wikipedia, retaining editors, and creating a community of trust much larger than one art library.
Jamie Vander Broek, Librarian for Art & Design, University of Michigan
Our library has been collecting artists’ books for nearly 15 years. Popular among the faculty and students, the artists’ books collection represents an opportunity for deeper engagement between the Library and the community we serve. Faculty often request visits to the collection as part of the curriculum, but we wanted to take this interaction a step further, and have students not just view and handle artists’ books, but to DO them.
We started with a stack of cutting mats and a handful of bone folders. Along the way, we acquired a retired professor’s printing presses and cabinets of type. Our new Book Arts Studio has positioned us as a place for doing situated between the Library’s collections, services, and experts, and the community of makers at the School of Art & Design and the University more broadly. We’ll also share how we gained support from administration and established a user community.
Marianne Williams, Librarian-In-Residence, University of Arkansas
Google Arts and Culture has released a number of digital art experiments that allow users to navigate and discover artworks that have been shared by museums and archives from around the world. One project titled 'X Degrees of Separation' uses creative coding to find visual similarities between artworks, where the user selects two images and a computer algorithm generates results based on the aesthetic connections of these works. This poster will explore how this experiment was integrated into a visual literacy workshop for students to encourage critical thinking in serendipitous visual research. This poster will include suggestions and considerations for developing a similar type of workshop at your institution.
Meredith Kahn, Women's Studies Librarian, University of Michigan
The Model Publishing Contract for Digital Scholarship (https://www.modelpublishingcontract.org/) offers a powerful tool for scholars who wish to make their work accessible to the public, and supports the creation and dissemination of scholarship in the digital humanities, as well as more traditional book-length formats. In addition, it serves as an educational tool for librarians, scholars, students, and anyone who wants to learn more about publishing contracts for academic works. This poster presents the key features of the Model Contract, how it differs from a traditional contract, and ideas for how art information professionals can use the Model Contract as a conversation-starter with scholars and students on topics such as open access, digital scholarship, new developments in scholarly communication, author's rights, and much more.
Luiza Wainer, Metadata Librarian, Spanish/Portuguese Specialty, Princeton University
Link data establishes connections between entities on the web. Reconciliation, or instance matching, allows us to identify multiple representations of the same entity and create relationships between equivalent resources from disparate datasets. A reconciliation service is a web service that compares pairs of entities from different datasets using a measure of similarity and returns a ranked list of potential matches that fit into this similarity threshold. As part of the William Brumfield Linked Data project at the University of Washington, we tested several tools that implement reconciliation services to match subject headings to the Getty’s Art and Architecture Thesaurus (AAT). This poster will compare the ease of use, quality of results, and performance of reconciliation with AAT using Fuseki (Apache Jena), OpenRefine, and Silk Linked Data Integration Framework.
Stephen Marvin, Campus Copyright Coordinator / Reference Librarian, West Chester University
An artist’s work is usually one-of-a-kind. A single work of art may be sold many times over its lifetime, but the resale only benefits the most current owner, rarely the artist. Born digital creations can be transformed, parodied, reproduced, circulated, recycled and posted anywhere, rarely with artist’s immediate knowledge. On display will be topic coverage of (un)fair use, attribution, translation, transformation, digital watermarks, moral rights, rights of place and other legislation, cases and works relevant to promote further discussion on copyright. Claims of ownership, licensing works, works for hire, inheritance, taxation and other ancillary copyright topics are welcome for further discussion. Poster will attempt to display various rights available for artist creative consideration.
Samantha Deutch, Assistant Director, Center for the History of Collecting, Frick Art Reference Library, and Louisa Wood Ruby, Head of Research, Frick Art Reference Library
Samantha Deutch and Louisa Wood Ruby of The Frick Art Reference Library will present a prototype of ARIES: ARt Image Exploration Space, a digital initiative they are developing in concert with NYU’s Tandon School of Engineering. ARIES is an interactive image manipulation system that allows for the exploration and organization of fine art images taken from multiple sources in a virtual space. ARIES provides an intuitive interface to explore, annotate, rearrange, and group art images freely in a single workspace environment, using organizational ontologies drawn from existing best practices in art history. It allows for multiple ways to compare images, from using dynamic overlays analogous to a physical light box to advanced image analysis and feature–matching. Additionally, users may import and export data to and from ARIES. Thanks to an anonymous donor, a beta version will be available for use by the end of June 2018.
Mike Satalof, Archivist and Digital Collections Librarian, Bard Graduate Center
The Bard Graduate Center library is the long-standing institutional repository for graduate theses (also called Qualifying Projects), and has recently received the first deposits of such works in born-digital form. This poster describes the methodology, challenges, and outcomes of an initiative to preserve and make them accessible to patrons. The initiative included developing workflows to manage and store restricted files, preserve interactive web content, and provide reading room access. This poster outlines replicable digital capture practices employed using the open-source tool Webrecorder and highlights the project as an opportunity for institutional collaboration–in this case, between Bard Graduate Center’s archivist, library, Digital Media Lab, and IT department. It aims to encourage further conversation about strategies to ensure long-term access to works of digital scholarship, especially in small institutions and those of limited resources.
Ann Whiteside, Librarian/Assistant Dean for Information Services, Harvard University
The Frances Loeb Library at the Harvard University Graduate School of Design received an IMLS National Forum Grant under the National Digital Platform funding priority to support two meetings of engaged stakeholders – architects, architectural historians, archivists, librarians, technologists, digital preservationists, and others who will frame a national/international collaborative infrastructure to support long-term preservation of digital design data. The first meeting takes place April 16-17, 2018 and will provide a venue for the diverse group of stakeholders to think collaboratively about the issues in preserving architectural design data, to find alignments across communities, and to identify the needs required to develop an infrastructure to support archiving of digital design information that will be usable by a variety of types and sizes of architectural museums and archives. This poster presentation will provide information on the progress of the grant.
Claire Powell, Instruction and Research Services Librarian, Ringling College of Art + Design
Instruction librarians at the Alfred R. Goldstein Library at Ringling College of Art and Design have recently begun to employ virtual reality technology in instruction and outreach efforts to further visual and information literacies among the campus community. Focusing on experiential learning, librarians are partnering with faculty members to support virtual excursions related to course content and increase understanding of site-specific cultural artifacts. In these instances, librarians not only support the use of physical VR equipment in the classroom, but also facilitate instructional design of course content by creating multiple teaching and learning activities centered around virtual reality experiences. Students have met the use of VR with excitement, and the technology has been used successfully to engage students in discourse surrounding select artworks and course concepts and objectives. This poster presentation will describe the program, efforts, and results surrounding engagement with virtual reality technologies in library instruction and course design.
Lindsey Reynolds, Art Librarian, Lamar Dodd School of Art at the University of Georgia
During the 2016 academic year, the Visual Resources Center at the Lamar Dodd School of Art was converted to a branch of the University’s library system. The new Art Library doesn’t occupy enough space to take on the entire art book collection, but we do house current art periodicals, media, reference books, and a rotating selection of new and thematic monographs. We are also a daily stop along the library’s campus delivery route. "The Artist is Reading" was conceived as an outreach and inspiration project. I collaborated with a sculpture professor to build a sandwich board on wheels that acts as a mobile book shelf. I solicit a reading list from visiting artists and lecturers and pull titles from the library’s collection. For six weeks, the books reside on the sandwich board, which roams the Dodd. I document each round and archive it via a Tumblr page: https://theartistisreading.tumblr.com/
Kelly Swickard, Resource Description Librarian, Maryland Institute College of Art
Decker Library Erotic Collection is an important look at the underground and alternative publications of sexual communities. It demonstrates historic restrictive values of publishing erotic or sexually explicit materials. Furthermore, it focuses on artwork of a group who were marginalized and persecuted but through underground publishing and subscription services could form a safe community for sexual expression. The subscription services provided limited protection from persecution under obscenity laws. It is an observation into changing artistic styles and representation as well as societal changes. The works range in date (1930s-2000s), style (e.g. comics, zines, books) and artists such as Tom of Finland, Alan Moore, and contemporary African American illustrators. The hope is to expand the collection in order to include all types of sexuality expressed in erotica. This poster will provide information about the original donation, supporting curricula, access and discoverability in the OPAC, and online exhibition in OMEKA.
Jill Kehoe, Assistant Museum Librarian, Reader Services, Metropolitan Museum of Art, and Seth Persons, Senior Library Associate, Systems & Information Technology, Metropolitan Museum of Art
Following an institution-wide rebranding, the time was right for the Thomas J. Watson Library at the Metropolitan Museum of Art to initiate a project to redesign Watsonline, our online catalog. Beginning with a small team of staff from multiple library departments who worked together to analyze and critique the catalog, the project grew over the course of ten months to include input and collaboration from a multitude of sources. After building wireframes, we initiated a series of usability tests with staff across the Museum and reached out to other institutions whose catalogs were built on the same database, Innovative's Sierra, for advice and initial coding assistance. The site was officially launched after a beta test where both iterations existed concurrently for one month. In the year since it was launched, the redesigned Watsonline has been embraced by our constituencies and the project considered a success.
Sara DeWaay, Art + Architecture Librarian, University of Oregon, and Karen Bankole, Manager, Design Library, University of Oregon
At many academic libraries, student workers are the face of the library working at the service desk to help patrons with circulation and basic reference. At the Design Library at the University of Oregon, we have implemented a reference training program that teaches students relevant skills. By employing active learning techniques, students engage with each other, librarians, and library staff to improve research, customer service, and reference. The modules also make it possible for the library to assess student staff understanding of job expectations.
We are sharing our process because we found few examples of student reference training. Our program includes a video/discussion module to teach library-specific customer service, a research race to highlight specific tools, and a grade-the-librarian module. The poster will discuss these exercises, student feedback, and our assessment processes. We hope to provide ideas for reference training, and start conversations about including student staff in reference services.
Abby Stambach, Archivist/Librarian, Hillwood Estate, Museum & Gardens
In the late 1970s, the papers of Marjorie Merriweather Post were divided between the archives of the newly opened museum, Hillwood Estate, Museum & Gardens, her Washington D.C. home and the University of Michigan’s Bentley Historical Library in Ann Arbor, Michigan. While the division was logical at the time, it has since caused many challenges for researchers. In July 2016 with support from the Bentley, the Hillwood Archives launched a project to digitize the Marjorie Merriweather Post Papers held in order to digitally reunite these papers. This poster will explore how the Post Family Papers project is being implemented at a small institution and how the project depends on a dedicated team of volunteers with varying technological skills. Workflows need to be simple but also adhere to digitization best practices. The poster with also highlight how other Hillwood departments are supporting and participating in the project.
Vanessa Viola, Librarian, New York Institute of Technology
New York Institute of Technology Art & Architecture Librarians are developing hybrid information literacy instruction. Hybrid Information Literacy is defined by the authors to expand dialogue between embedded librarians and the School of Architecture and Design community while representing essential information literacy principles. Without the advantage of an actual course, our embedded approach expands information literacy skill education specific to the architecture and design disciplines.
The Education Hall Library at New York Institute of Technology supports the undergraduate students, faculty, and alumni of the Architecture, Interior Design and Fine Arts Programs. Education Hall Art & Architecture Library supports the Associates through Graduate Architecture programs as well as the Undergraduate Interior Design programs where approximately 400 students are enrolled.
Magdalena Mazik, Library Manager, Anna Pyzik, Librarian, Marta Mosiolek, Graphic Designer, and Rafal Sosin, Graphic Designer, MOCAK Museum of Contemporary Art in Krakow
Mieczysław Porębski’s Library has existed at MOCAK Museum of Contemporary Art in Kraków (Poland) from its very beginning (2012), combining the functions of a reading room and a permanent exhibition. Professor Mieczysław Porębski (1921-2012), historian, art theoretician and critic, donated to the museum his private book collection of more than 5 000 items. In the space arranged to replicate the studio in the Professor’s flat in Krakow, there is an exhibition of works by his artist friends – representatives of the canon of Polish post-war art. Its form puts the inspiring tension between categories like: library/museum exhibition, text/image, private/public under consideration. It is also a meta-commentary on ways how art history’s narrative is being written. The poster presents challenges of access, conservation, display, education and users’ experience of Mieczysław Porębski Library.
Michele Jennings, Art Librarian, Ohio University
This poster presents findings from the author’s thesis at the University of British Columbia, which investigated subject headings for describing images of Indigenous visual culture of Canada and the United States in the collections of libraries and museums, including the ethical implications of imposing static and biased conceptions of meaning on these digital surrogates. This poster focuses on the use of controlled vocabularies and free text description during cataloguing, with consideration given to the fraught history of cultural heritage institutions and the collection, description, and display of Indigenous material culture and ethnographic photography of Indigenous subjects. The author proposes that over-reliance on subject heading systems (which reflect and propagate settler colonialist biases) not only inhibit institutional efforts to transmit and describe Indigenous epistemologies and the affective qualities of images and objects, but prevent access and disenfranchise Indigenous communities capable of activating the knowledge embodied in their community’s visual culture.
Anita Vriend, Senior Librarian, Van Gogh Museum
In 2018 the library of the Van Gogh Museum celebrates its 50th anniversary. Since 1 January 2017 the library is incorporated in the new department “Collection Information”, which is responsible for registration, metadata and management of all information concerning the art collections of the Van Gogh Museum and The Mesdag Collection (in The Hague), as well as the complete oeuvre by Van Gogh. At the beginning of 2018 the library will move to a brand new location across the museum. On its new somewhat remote location the library faces new challenges. By collaborating with the new Van Gogh Museum Academy for instance and by participating in the yearly seminars of the Van Gogh Museum Visiting Fellow, the library hopes to reach a larger audience. In addition, the museum will pursue initiatives for new developments, such as creating linked open data. There are also plans to link digitized 19th century publications in the collection of the library to digitized letters in which Vincent van Gogh refers to these sources. In my poster presentation I would like to share my plans with my American colleagues and other colleagues from abroad.
Delia Tash, Information Resources and Services Support Specialist, Penn State Abington Library
This poster will review a single programming event that was developed in relation to a proposed academic program on Books, Archives, and Manuscripts at Penn State Abington Campus. It involved experimenting with evening programming catering to students in the newly built residence halls and provided a space for commuter students and residence hall students to come together to interact. The event, sponsored by the 2017-18 Penn State University Libraries Innovation Microgrant, was a bookbinding program where students made their own books and journals and learned about the progression of bookbinding through the ages. Each participant left with some new hands-on skills, knowledge, and a small book or journal to keep. The event was designed for students of any level of expertise to expand visual literacy and promotion of the concept of the book as an accessible object that can be both personal and collective.
Peter Schreiner, NCSU Libraries Fellow, North Carolina State University
Virtual reality (VR) facilitates new ways of interacting with information and computers. There are many specialized VR apps for content creation which allow artists and designers to harness the benefits of working immersively. Creators can now interact with and experience their work in unprecedented ways. Providing access to any technology can be complicated, but many new digital tools are intended to be attached to one user’s workstation. Others require apps for full functionality, and these apps also require individual accounts. Scaling these tools to a university-sized user group is challenging. This poster will share how NCSU Libraries is providing access and support for VR hardware, software, and spaces in an academic library. It will provide the basics of installing and supporting VR platforms and share insights for successful VR program management.
Ellen Faletti, UW-Madison iSchool Student, University of Wisconsin-Madison
Researching provenance can be very overwhelming and time consuming, especially for smaller art museums with limited resources. Can an instructional guide be created for researching provenance efficiently and effectively? While a step-by-step “how-to” guide is not realistic, I was able to create a document providing guidelines for researching provenance for a provenance research data entry project, as well as compiling both online resources and print resources available at an art library.
Iris Finkel, Reference and Instruction / Web Librarian, Hunter College, and Steven Kowalik, Art Librarian, Hunter College
A collaboration among two librarians, an art history faculty member, and students in a class in Hunter College’s Advanced Curatorial Certificate program yielded an online exhibit in Omeka. The program addresses students’ desire for curatorial experience and offers an outcome to leverage that experience. The objective of the class was to create a gallery exhibit featuring Magnum photos. The collaboration with librarians enabled an online component. In two class sessions, the librarians assisted students with basics in web writing, the technical aspects of the exhibit platform Omeka, and issues of copyright. Throughout the semester, students worked on selecting images for the exhibit and writing essays for the accompanying print catalog. At the end of the semester, the students came together in the art library to work collaboratively on creating the online exhibit. This poster illustrates the steps taken in this process.
Christiane Ramsey, Visual Arts Librarian, Brigham Young University
Artists have long explored museums, archives, and library collections in search of new meanings and relationships in art. By curating exhibitions that extract content from these collections, they can help to bring new light to hidden gems. The idea of a visiting artist mining a local collection and working with subject librarians, curators, students, professors, and local geologist produced a rewarding collaboration. The Brigham Young University Lee Library was home to Historical Echoes, a two-week installation curated by a renowned visiting field photographer. The project showcased significant historical photographs from the Special Collections Photo Archive, displayed in a contemporary setting, alongside pamphlets, postcards, notes, stereoscopic images, and relevant rock specimens. This experience produced an exciting juxtaposition of resources, which generated renewed interest in these precious materials, and developed new ways of collaboration.
Cory Budden, University of Washington
Mozilla's Web Literacy Framework consists of specific skill sets for entry level and beginning web users to acquire in order to be "web literate." These broader skill sets are the ability to "read" on the web, or, to search the internet and evaluate results; "write," meaning design, compose, and remix code; and "participate," meaning to create, publish and link content. For this project, I analyzed Mozilla's approach to web literacy and its related learning activities. I then built my own learning activity aimed at high school students to address specific web literacy skills while bringing in concepts of visual literacy and art. The resulting activity titled, "Know Your Art Meme," encourages students to analyze existing memes using visual analysis and then, using skills like search optimization, coding, and remixing, build their own meme using an artwork. The activity also places an emphasis on knowing image rights and proper citation. The goal of this project is to consider whether Mozilla's Web Literacy Framework is an effective tool in teaching web literacy as it relates to working with images on the web. This is a unique approach to both web literacy and visual literacy, yet it's important as users incorporate and work with images online more frequently.
Bronwyn Dorhofer, Head Librarian, Sound Transit Research Library
The Sound Transit Research Library primarily serves internal staff in professional fields within the transportation sector including architecture, public art, engineering, and design. These patrons often don't rely on traditional library monograph collections, and can be challenging to engage. Head Librarian, Bronwyn Dorhofer, combines outreach and collections management strategies to increase the visibility of the Sound Transit Library’s holdings and to build Sound Transit employee's sense of ownership in their library. This poster will outline some of the strategies recently implemented to engage patrons, such as strategically designing Library signage and wayfinding systems after Vignelli’s recognizable New York Subway System designs, Pop-Up Library services, and other methods to establish and maintain Library visibility within a rapidly-growing public agency. Participants will leave with concrete ideas for engaging users with collections in order to gain user input and feedback, how to leverage the talents of colleagues, and how to build user’s long-term ownership of library spaces.
Katy Parker, Research and Instruction Librarian, Savannah College of Art and Design
This poster session will examine the process of planning and executing long-term storage and preservation for unorthodox special collections and archival material through the lens of a project conducted at the Jen Library of the Savannah College of Art and Design (SCAD). In the Spring of 2017, the Jen Library Archives and Special Collections acquired the latest edition of luxury design publication from Visionaire, #66: Ritual. This publication consists of a trio of hand-sculpted and professionally scented candles. Upon receiving the candles, the Jen Library team realized that the chemical nature and ephemeral intention of these objects meant that they are going to require special consideration when being accessioned into the collection. With little literature to go on, and some very helpful advice from other archivists, the Jen Library Special Collections and archives team was able to safely create a long-term storage plan for these unusual objects.
Marie-Laëtitia Lachèvre, Head of Library, Palace of Versailles, and Valerie Chanut-Humbert, Head of the National Museum Libraries Network, C2RMF
Even in big museums like the Louvre or the palace of Versailles, libraries are run by small teams so it is more than vital to be an active part of a network. The benefits gained through network collaboration are numerous and various from sharing experience, knowledge, material, even software, exchanging library items, staying professionally updated or practicing free interlibrary loans. It can be a way to expand the boundaries always further and to answer to our users’ requests to the best of our ability.
The French National Museum Libraries Net is currently undergoing major structural changes. The Louvre libraries, just arrived in the network, give a new impetus to undertake them and renew the strength of the net.
Patricia Guardiola, Assistant Head, Fisher Fine Arts Library, University of Pennsylvania
Philadelphia’s historic Fisher Fine Arts Library experienced a summer transformation when its slide library was turned into a space for its new material sample collection, 3D scanner, seminar room, and home for Penn’s historic printing presses. Fisher staff have been resolutely developing a collection of hundreds of samples of cutting-edge architectural and structural materials from around the world. They have also created custom metadata fields in Shared Shelf to catalog each sample and capture it with video, audio, and 3D scans for quick reference in the database. The tactile aspect of handling samples will provide a point of design inspiration for users. Combined with the robust metadata supplied about the samples in Shared Shelf, students and faculty will have a new learning resource on the practical aspects of selecting design materials, with a consideration for price points, vendors, distributors, and rights information.
Andi Back, Fine Arts and Humanities Librarian, University of Kansas
One of the largest examples of a wildlife diorama for its day, Lewis Lindsay Dyche’s Panorama embodied radical new developments in the presentation of natural history collections from the late 19th century. Now 125 years old, the Panorama is still exhibited today at the University of Kansas Natural History Museum. An ongoing digital humanities project focusing on the Panorama unites images of the display dispersed across various physical archives in order to piece together its visual narrative. This poster will highlight the role of an art librarian in this project. Contributions of an art librarian include: familiarity with multidisciplinary collaboration, providing insight into organizing the online archive, reinterpreting history through a humanist lens, focusing on imagery to emphasize observation, and more will be reviewed. The project serves as an example of the skills that art librarians can utilize in the digital humanities.
Jill Chisnell, Integrated Media and Design Librarian, Carnegie Mellon University Libraries
As the liaison librarian to CMU’s IDeATe network, a program designed to advance research and creativity by merging practice in technology and the arts, I am often inspired (and wowed) by student projects. However, it’s a challenge to promote library resources and services to makers and creators producing work such as VR experiences, media installations and interactive wearables. I often find it necessary to adventure out of bounds of the traditional librarian role to engage them. Last spring, I had the unexpected opportunity to join an IDeATe class that traveled to Camagüey, Cuba to make an interactive documentary. This poster shares that unique experience by reflecting on my transition from class observer to production team member, the resulting faculty collaboration opportunities—including a photography exhibit and international conference presentation, and what I learned and plan to do differently in the next installment of the course.
Duane Degler, Principal, Design for Context, and Kate Blanch, Data Architect, Design for Context
Digital availability of your collections to enable rich scholarship around the world is not a "big bang" effort that is completed quickly, before moving on to other things. Sustainability, continuous improvement and integration are vital.
Libraries are at the forefront of linked data for cataloging efforts, and are actively digitizing and describing special collections. Museums are making art collection data available online, producing digital scholarly publications and integrating data across collections. Archives are being spurred on by born-digital materials, preservation requirements, and active funding for digitization. The demands for using linked data are growing exponentially. At the same time, art libraries need sustainable strategies to enhance metadata and link collections. We offer key steps in the theory and practice of managing collection data as linked data, a framework that supports ongoing enhancement of digital resources and ways to discuss your approach toward digital scholarship.
Andrijana Sajic, Senior Book Conservation Coordinator, Metropolitan Museum of Art, and Jenny Davis, Associate Manager of Book Conservation, Metropolitan Museum of Art
Over the past year and a half Watson Library has established an Integrated Pest Management Plan. This poster presentation will explore our experience of surveying the collection space, establishing trapping and monitoring methods, working with outside pest control vendors, implementing preventative procedures (including environmental control), identifying collection high risk pests, and communicating and informing library staff.