Dear Richard,
The Boston 2010 Program Committee heartily thanks you for your 
submission, your encouragement of others and your fabulous PR work!!
Ann

Richard Minsky wrote:
>
>     Amy Lucker wrote: 
>     > Have you thought to yourself, "oh it's too much work", or 
>     > "oh, they'll never go for this"? Well it's up to YOU. Yes, I'm
>     speaking to you. 
>
> Amy was right on both counts, so I got off my butt (figuratively), 
> overcame my fear of rejection, and submitted an abstract 
> <http://www.surveymonkey.com/s.aspx?sm=yzQS2txK78auP5kfgmiIjQ_3d_3d> 
> for a paper on building a collection of publishers' bindings from 
> within a library's collections (copied below). I have started 
> contacting people outside ARLIS who may have related notions, to 
> provide the conference program chairs with some opportunities to 
> assemble an interesting session. For example, Jessica Lacher-Feldman, 
> Curator of Rare Books and Special Collections at the Hoole Library 
> (UA), is putting together a proposal for a presentation on PBO and 
> related Web 2.0 outreach (see below).
>
> Have YOU built a special collection or exhibition by accumulating 
> material from within various divisions or circulating stacks in your 
> library? Do you have other ideas for collection development, 
> visibility or outreach? Have you had administrative issues dealing 
> with the redistribution of library resources? Do you have experience 
> applying the ACRL 
> <http://www.ala.org/ala/mgrps/divs/acrl/standards/selectransfer.cfm> 
> materials transfer guidelines 
> <http://www.ala.org/ala/mgrps/divs/acrl/standards/selectransfer.cfm>?
>
> Please look at the conference theme issues identified at the bottom of 
> this message, and if any of them apply to your experience and 
> interests, I'd love to hear from you!
>
> =====
>
> PROPOSAL for 2010 ARLIS Conference
>
> *BUILDING A COLLECTION FROM WITHIN
> *by
> Richard Minsky
> Founder, Center for Book Arts
>
> The “Golden Age” of American publishers’ bindings was from 1872-1929. 
> Most libraries have hundreds, if not thousands, of beautiful and 
> innovative bindings in their collections, but these are often in 
> general stacks, where they are prone to loss or wear. By establishing 
> a Special Collections category for this genre and moving the existing 
> examples into it, these works of art can be preserved, and can be 
> exhibited for informational and fund-raising purposes.
>
> This will serve the art librarian’s position in several ways. 
> Exhibitions of these works will increase the visibility of the library 
> on campus, attracting people to look at the “real” books in a new way 
> as valuable assets. It is likely that potential and existing donors 
> have some of these books at home, and promoting them as important 
> works of art enhances the donors’ perceived value of their own 
> possessions.
>
> In the current economic climate, this is an efficient way to develop a 
> new resource from existing materials. Without a large expenditure on 
> acquisitions a new collection can be developed from within the 
> library, providing a quality resource for the community. This paradigm 
> can be extended beyond this particular topic to a variety of special 
> collections possibilities, including those specific to the local 
> community.
>
> The collection can be published online and web 2.0 resources can be 
> deployed to enhance community participation. The University of 
> Alabama’s Hoole Library is a good example of how this can work. Go to 
> http://bindings.lib.ua.edu/index.html
>
> They have effectively used new technologies to promote the collection. 
> For example, see http://coolathoole.blogspot.com/
>
> This sort of use of “real” materials that are attractive and tactile 
> serves to educate the administration and constituency about the value 
> of artifactual library materials as containers of information that 
> cannot be transmitted digitally, and establishes a new paradigm for 
> access to visual collections.
>
> *Three Questions for the Audience:*
>
>     What visually exciting materials in your library are in general
>     stacks? 
>     Are there resources for identifying these materials? 
>     Would the administration cooperate in a program to preserve these
>     materials in special collections and promote them for scholarly
>     and fund-raising purposes? 
>
>
> *This paper addresses the following theme issues:*
>
>     * How do you increase your visibility on campus? What novel ways
>       do you advocate for your library’s services?
>     * In light of the current economic climate, what strategies have
>       you developed to provide quality resources for your community?
>     * How do libraries balance fulfilling the patron’s desire for
>       digital content with the realities of the heavily print nature
>       of art, architecture and design publishing?
>     * How have you successfully created solutions using emerging
>       technologies such as open source programs, mobile technologies,
>       mashups and more?
>     * Taking advantage of new technologies, what unique projects have
>       you successfully collaborated on with your colleagues (library,
>       IT, etc.)?
>     * What are some strategies being employed by libraries to provide
>       reference and instruction to distance students/faculty?
>     * The value of visual resources libraries is being questioned in
>       some institutions. What are the strategies that can be employed
>       to educate institutions and administrators about the value of
>       such collections? How do you promote these collections to
>       faculty and students who prefer Flickr databases and web searching?
>     * Are there new paradigms for the building of and access to visual
>       collections that we should be moving towards?
>
> --
> Richard__________________________________________________________________ 
> Mail submissions to [log in to unmask] For information about joining 
> ARLIS/NA see: http://www.arlisna.org/join.html Send administrative 
> matters (file requests, subscription requests, etc) to 
> [log in to unmask] ARLIS-L Archives and subscription maintenance: 
> http://lsv.uky.edu/archives/arlis-l.html Questions may be addressed to 
> list owner (Judy Dyki) at: [log in to unmask] 

-- 
**************************************************************
Ann Whiteside
Head, Rotch Library of Architecture & Planning
Project Director, SAHARA
MIT - Room 7-238
77 Massachusetts Avenue
Cambridge, MA 02139
Phone: 617-258-5594
Fax: 617-253-9331
[log in to unmask]

www.libraries.mit.edu
SAHARA
wwww.saharaonline.org

Cataloging Cultural Objects
http://www.vraweb.org/ccoweb/cco/index.html

__________________________________________________________________
Mail submissions to [log in to unmask]
For information about joining ARLIS/NA see:
        http://www.arlisna.org/join.html
Send administrative matters (file requests, subscription requests, etc)
        to [log in to unmask]
ARLIS-L Archives and subscription maintenance:
       http://lsv.uky.edu/archives/arlis-l.html
Questions may be addressed to list owner (Judy Dyki) at: [log in to unmask]