2017 ARLIS/NA DISTINGUISHED SERVICE AWARD Acceptance Speech by Kathryn Wayne; DSA ceremony held at the Cathedral Church of St. John the Divine, February 28, 2018
In the beginning, I was born at Resurrection Hospital in Chicago, Illinois. I grew up in Bensenville, a suburb near O’Hare airport. My mother was an artist and lay teacher at St. Alexis Catholic school, my father was an electrician and glass blower. In second grade, after my First Holy Communion, I decided to become a nun. The following week, my teacher, Sr. Dominia, went running to my mother’s classroom and said there was a serious issue she needed to discuss. “Your daughter wants to become a nun!” My mother’s face lit up until Sister said “She wants to become a nun and marry the Pope!” As you can see, I set my sights high from the beginning, and way Out of Bounds. Shortly after that, my parents took me to see the movie The Music Man because I loved books and libraries so much. Watching Harold Hill and Marian the Librarian sing and dance in the River City Public Library made it crystal clear--I was definitely going to be a librarian.
But at the same time, I was also confronted with another dilemma—my love of comedy. Anyone from Chicago has, at one point in their life, believed they could be a stand up comic—I went back and forth, struggling with the choice between comedian and librarian until it dawned on me that I could just be…a funny librarian.
In third grade, shocked that none existed, I established the first circulation system for the library in my classroom. After that, the nuns were always sure to use me as a consultant whenever library-related issues arose. Skipping to 7th and 8th grade, I worked in my junior high school library, and, as I was about to enter high school, the librarian, Mr. Gunlaw, suggested I apply at the Helen M. Plum Public Library. Interviewed by the very serious Ms. Roloff, I was excited to be hired as a Page at 14. I shelved books, shifted shelves, processed books, and always made sure the 700s were in perfect order.
At 17, I went to Illinois State University majoring in studio art and museum studies, and minored in library science with a goal to be an art librarian. This is when my nickname “Chuck” was coined as a result of entering a dorm-sponsored talent contest my Freshman year. I performed a stand up comedy routine where I talked to an invisible man named Chuck and won First Place and ice cream for my entire dorm floor. And the next day-- keeping things even--I interviewed with Art Librarian Steve Meckstroth who hired me to work in the art section of Milner Library. An inspiring mentor, he introduced me to ARLIS/NA and communicated the importance of connecting to others interested in the field of art librarianship.
At 23, I received my Masters in Library Science from the University of Arizona and was fortunate enough to obtain my first professional position as the Head Librarian at the College of Architecture Library. Ten years later, I assumed the position of Architecture/ Landscape Architecture Librarian at the University of California Berkeley, and then worked as Fine Arts Librarian and Head of the Art History/Classics Library for 19 years until my retirement in 2016. I loved every single minute of my 38-year professional career. What a luxury it was to be able to work in an academic library every single day, surrounded by students and faculty –in a stimulating, challenging, and gratifying environment.
I want to thank Gregg Most for spearheading this effort, along with other colleagues who supported my nomination – Andy Cahan, Jane Carlin, Lamia Doumato, Holly Hathaway, Milan Hughston, Debbie Kempe, Sheila Klos, Professor Margaretta Lovell, mentees Barbara Rominski and Alex Watkins–and several of my colleagues in the Northern California Chapter, led by Abby Bridge. Throughout the years, all of you have made an enormous impact on my professional career. I enjoyed every collaboration I had with you and I thank you for your advice, trust, patience, and help with achieving my goals. I’d like to thank all of the many colleagues I’ve worked with in ARLIS/NA over several decades—there are too many to name but you all know who you are and know how appreciative I am to have had the honor of working with you.
I would also like to thank the many art publishers and antiquarian book dealers that have supported our members and conferences for so many years—I have learned so much from you and the Fine Arts Collections at Berkeley are stronger because of that relationship. Finally, my accomplishments could not have been realized without the encouragement of my supervisors, the unending patience of my staff, the unconditional love and support of both of my parents, and my husband, Gary Nelson.
I would also like to thank Awards Committee Chair, Karyn Hinkle and Distinguished Service Award Committee Chair, Rachel Resnick and their committees for their tireless efforts and recommendation for my nomination. And, to theARLIS/NA Executive Board for its final approval.
I am greatly humbled and honored to accept the Distinguished Service Award, however, most of my goals were accomplished through collaborations with my librarian colleagues, publishers, students, faculty, architects, and artists. So, I share this award with all of you and encourage you to find a potential collaborator that may lead to an exciting new achievement in your own career. Consider putting your name forward to be a Chapter Chair, Committee Chair, or to serve on the Executive Board. I can assure you that experience will be life changing.
And before I ride into the sunset, a quote from Coco Chanel “if you were born without wings, do nothing to prevent them from growing.”
This award means so much to me. Thank you.
Jason Kaplan and Caroline Frank for their paper, “Der Berliner Kunstmarkt: An Analysis of the Berlin Art Market, 1930-1945.”
Lily Brewer and S.E. Hackney for their project “Historical 'Big Data': Visualizations of Algernon Graves' Art Sales in the Early 20th Century and Today.”
Roderic Crooks, Haley DiPressi, Megan Driscoll, Stephanie Gorman, Sally Márquez, Tiffany Naiman, Raphael Sasayama, and Tori Schmitt for their project “Experiments with the Getty’s Provenance Data.”
A compilation of winners 1974-present.
2016 ARLIS/NA DISTINGUISHED SERVICE AWARD Acceptance Speech, by Elizabeth O'Keefe; DSA ceremony held at the Hilton New Orleans Riverside, February 8, 2017
I am reminded of the time someone told Brendan Behan that the Guinness family had been very good to the people of Dublin. "The people of Dublin have been very good to the Guinness family," was his reply. ARLIS and its members have been very good to me. I regard this award as the culmination of a professional lifetime's worth of support and collegiality from ARLIS and ARLISians, and I would like to devote my response to tracing the history of my association with the Society and the role it has played in my career and achievements.
Unlike many previous recipients of this award, I was a latecomer to art history and art librarianship. I was exposed to art and museum-going from an early age, as evidenced by an essay I wrote after a visit to the Met when I was ten. It began, "The best thing in the Metropolitan Museum of Art in my opinion was the Cellini Bowl", and went on to describe the piece, made of gold adorned with jewels, as "assuredly worth a king's ransom". It concluded rather sanctimoniously, "The Cellini Bowl is a magnificent work of art, contrasting with its maker's shady doings". Since the Cellini bowl was later revealed to be a 19th-century forgery, that judgment may have been apter than I knew.
But despite this early promise, a family orientation toward languages and literature initially steered me in a different direction. I majored in Classics at Smith, and went on to Trinity College Dublin, where I spent eight years or so failing to complete a doctoral dissertation on an Alexandrian pastoral poet. I enjoyed reading the texts, but had no bent for research.
A nudge in the right direction came from an Irish friend whose field of study, Medieval Irish History, was even less monetizable than mine. She suggested that I, too, consider a career in libraries. Back in the States, I took my first cataloging course at Pratt, and was hooked. Maybe there is an overlap in mental processes between decoding heavily inflected classical languages and coding and interpreting metadata elements.
Five years as a generalist cataloger at Brooklyn Public Library taught me the tools of my new trade, and then I was hired in 1988 by the Pierpont Morgan Library, initially as a cataloger and then as Head of Cataloging and the Reference Collection. Six months later, I was blinking in the bright sunlight of Phoenix, on my way to my first ARLIS conference.
ARLIS was the first professional organization I ever joined. Though for years I tended to skulk in the shadows when the conversation turned to art, fearing to expose my ignorance, ARLIS was actually a very good fit for me. I was somewhat dim and retiring; ARLIS was small, friendly, and very welcoming, with lots of opportunities to get involved at both the national and chapter level. The Society was particularly hospitable to catalogers, thanks in large part to Sherman Clarke. The Cataloging Problems Discussion Group he presided over gave me my first exposure to the idea that catalogers could lobby for changes to rules they didn't like, instead of just whingeing about them. There was even someone from the Library of Congress at the session! I was so impressed.
During my early years in ARLIS, I focused on issues affecting the description of traditional library materials. But as the 1990s wore on, the winds and the currents began to set in new directions, carrying many to strange shores of metadata. The Montreal conference in 1995 initiated the first of many conversations between Morgan librarians and the visual resources community within ARLIS and VRA. This led to involvement with early VRA data projects such as VISION and Reach. It also planted the idea that art librarians could move beyond book cataloging if they partnered with the providers of content, repackaging curatorial information into a sharable, well-established data format.
To test this theory, Maria Oldal and I created MARC records, with curatorial encouragement, for various Morgan collection items. The results were successful enough to persuade the Morgan's director that a library system was the best way to bring together information on all the Morgan's collections into a single database. I was given responsibility for making it happen, with Maria's able assistance. Funnily enough, it was actually an advantage not to have a degree in art history. I could reassure curators wary of non-specialists meddling with their data that there was absolutely nothing of value I could contribute to the description of their collections--except maybe to say that they were magnificent works of art assuredly worth a king's ransom.
In the end, as Maria has noted, all our big lies did come true. But the building of CORSAIR brought to light all sorts of problems with fitting object information into the library data framework. These provided helpful evidence of the need for change, since rule-makers are always more sympathetic to real-world use cases than to hypotheticals. But If I had gone to standards bodies as an individual, I would have had very little traction. Instead, I was able to work through the Cataloging Advisory Committee (CAC) of ARLIS, which had formal liaisons with all the big players in the library standards world.
I joined the CAC in 1997 as the ARLIS liaison to the MARC Advisory Committee. This was my first step into the chilly, sometimes murky waters of standards development-less chilly because Sherman Clarke's many years of participation in various standards organization had built up a reserve of credibility and good will for ARLIS catalogers. And it was by no means a solitary journey. All the work that I did was in collaboration with the many outstanding ARLIS catalogers who served on the CAC or who provided input at CAC meetings or list-serve discussions.
The experience and contacts made through ARLIS led to involvement in other organizations' standards work. There was the VRA's Cataloging Cultural Objects, continuing the conversations begun in Montreal, and the Rare Books and Manuscripts section of ALA's guidelines for the description of medieval manuscripts, and, later, modern manuscripts, and various task forces and what not. Currently I am on a task force working on aligning the descriptive rules for rare materials with the new cataloging standard, Resource Description and Access (RDA). Old catalogers may retire, but they can't stop haggling about cataloging rules.
Maria mentioned that it is difficult to think back to where art documentation was when I entered the profession. It is gratifying to see how things have changed, and I am proud to have participated in those changes, both in the realm of data standards and within the august precincts of the Morgan Library. But I am prouder still to have won the regard and recognition of my ARLIS colleagues, mentors, dare I say friends? I would mention you all by name if I could, but time forbids.
In conclusion, I would would like to extend my heartiest thanks to Maria and Marie Chantal for their persuasive skills and the enormous amount of work they devoted to my nomination; to the DSA committee, which had to read all those letters, and to the ARLIS board for approving the award (special thanks to you, Heather, for warning me to have a box of tissues at my side when I read the letters—it came in handy.)
2015 ARLIS/NA DISTINGUISHED SERVICE AWARD Acceptance Speech, by Ann Baird Whiteside; DSA ceremony held at the Westin Seattle, March 11, 2016
Thank you Mark and Jolene for your lovely introduction. I will say that it is a bit overwhelming. In fact, when I received an email message from Kristen Regina and Elaine Paul in early January telling me that I was this year’s recipient of both the ARLIS/NA and VRA Distinguished Service Awards, I had to re-read the email four times to make sure that it was truly addressed to me. I was on the Boston subway at the time, reading the emails of the afternoon—dealing with faculty needing access to course sites, budget questions, the usual emails—and there was this message. I was sure the email was sent to me in error. When I realized it really was addressed to me, my first thought was “How Amazing”. I have been in awe and delight since. To receive these two awards at the same time from one’s peers is truly the best and highest compliment one can receive. And for these awards to be given here at this joint conference reflects so perfectly on my own work on collaborative efforts across both organizations. It is also a tribute to our two organizations here in Seattle at this time. I am so honored and indebted to ARLIS/NA and to VRA.
I want to thank the group of colleagues who instigated the nomination—Mark Pompelia, Jolene de Verges, and Sherman Clarke—and those who wrote letters in support of my nomination. All of you have been my close colleagues and friends for a very long time. Thank you to the DSA Awards Committee chairs of both organizations, Laurel Bliss and Margaret Webster, and their recommendations for my nomination. And thank you to the boards of ARLIS/NA and VRA for approving the awards, especially the presidents, Elaine Paul and Kristen Regina. And thank you to all the members of ARLIS/NA and VRA, you are what makes our organizations so fantastic and you provide the support that makes us excellent professionals.
Those who have been the backbone for me through my career are my family and friends, and I cannot imagine doing anything I’ve done without them. My husband John, here tonight, has always been there with love and support while I work on different projects and travel. Thank you, John, for your support and your patience with my unending supply of new projects. Our children, Leah and David, grew up with ARLIS/NA and VRA; and they know two important things: that art and architecture librarians and visual resources professionals are the center of the information world, and that we have great parties.
My passion about art and architecture librarianship and the visual resources profession was fueled by my first conferences at ARLIS/NA and VRA. At each of those first conferences, I listened to people talking about interesting topics, about how we could make our work better, provide better access to information, how we could provide new kinds of services; and there is an ethos—the deep sense of how important our work is to our institutions and to our society. As I became more deeply involved through volunteering, it fueled my passion for our work.
Through my association with our two organizations, I have amassed an amazing number of mentors, colleagues, and friends. Each of you has been inspirational and have helped to push me forward as a professional. From my first committees—the ARLIS/NA Collection Development Committee, where I volunteered for a project at my first meeting, and the VRA Data Standards Committee, where we developed the VRA Core and a host of other astonishing initiatives, I have been supported and encouraged by the people in our organizations to be creative, imaginative, and to do things I would never have imagined doing. And I have taken that passion and drive back and forth between my libraries and our organizations.
As I progress in my career, I continue to be excited by the changes in our profession, changes driven by technology, but also by changes in higher education and how people learn and do research. As information professionals, we are a critical part of the infrastructure of our cultural heritage institutions. We can lead the changes required to meet the needs of researchers today by continuing to think outside the box about how we support the users of our collections. We also have the opportunity to take the collaboration skills required in a digital world, and use those skills to develop partnerships with scholars to partner in and support their work.
One of the most important things I have learned through my work with all of you and in my institutional homes is the importance of collaboration with stakeholders. Gathering the stakeholders for any project is the primary key to success. It takes time, it takes energy, and it takes political will to bring people along, to try new things, to develop a new model or service. It also takes patience. I am not a naturally patient sort of person, so the development of these skills has been my personal challenge. And yet, over and over, I find that when these skills are utilized, the outcomes are far and beyond the original goal and expectation. Through the process of collaboration, one builds relationships as well as supportive allies, in addition to successful outcomes. And those who have been part of the process like the outcome as well. These skills are critical to the success of just about everything that I do in my work.
For those of you here tonight that are new librarians or first time attendees, like many before me, I encourage you to use this conference to meet people, to attend committee meetings and to participate in the lives of these organizations; test out your ideas on your colleagues here; use your collaboration skills. You will find support and encouragement and joy that you are here. There are many opportunities in our organizations to become involved and through our organizations you will develop life-long skills and collaborations in and across your institutions, as well as mentors and friends who will be with you for your career. I cannot imagine two more collegial organizations to participate in.
As part of the process of becoming used to the honor of being a Distinguished Service Award recipient, I went to the ARLIS/NA and VRA websites to look at past recipients. What one sees in those two lists is that each recipient has helped to shape our profession and our organizations and to push us along paths we may not have chosen on our own. Each has had a vision for what our profession can be, and each individual has made important contributions to the field. It is truly humbling to be among this august group of colleagues.
In closing I want to thank all the people with whom I have worked in ARLIS/NA and VRA—on the two boards, on the various committees, and on the many projects we have taken on and launched. There are too many of you to name as individuals, and you should all know who you are. I will always treasure the work we’ve done together, what you have all taught me, and my experiences in these wonderful organizations. And, there is so much more to do!
Thank you so very much for this dual honor.