Hi. Another perspective. I can understand the reasoning below, but
can also see things from the perspective of the artist trying to make
a living.
Artists want to sell their work, and unfortunately museums often have
policies to buy key works by artists, not entire bodies of artists'
works; due of course to budget and space constraints.
To support artists, if you have a budget that does encompass this
area ( lucky you) then I'd buy to support the artist and broaden the
scope of the collection in terms of curricula needs. Ideally museums
would buy the lot, but we live with real constraints in a real world!
Jennifer
>Thank you to everyone who responded regarding unique artists books.
>One of the responses that came directly to me from Laurie Whitehill
>from the Rhode Island School of Design Library was one that I
>consider especially thoughtful. With her permission, I am
>forwarding it to the list.
>
>Barbara Reed
>Dartmouth College
>
>--- Forwarded Message from "Laurie Whitehill" <[log in to unmask]> ---
>
> >Date: Mon, 20 Nov 2000 11:10:16 -0500
> >From: "Laurie Whitehill" <[log in to unmask]>
> >To: <[log in to unmask]>
> >Subject: One-of-a-kind Artists' Books
>
>Hi Barbara,
>
>Although we don't have a written collection policy regarding artists'
>books, we generally do not collect one-of-a-kind artists' books for many
>of the reasons stated in Jim Findlay's response to your ARLIS-L posting.
> We feel that they really belong in a museum. Saying that, however, we
>do have two. One is a pop-up book by Paul Johnson that is really a
>paper sculpture. It was expensive but still affordable. The other is a
>word-less book with handmade paper and small objects of nature included
>in the binding and loosely strewn throughout. This one is by Sandra
>Lopez. Again, it was small and affordable. I chose those because I
>wanted to have some examples of unique books to show students in our
>collection. Since the purpose of our collection is for teaching, I
>believe that it is good to have as wide a variety of examples as
>possible. I even include books that I think are not successful, either
>in part or as a whole.
>
>I would say that you might consider how that book would be used by your
>primary patrons. If you think students or researchers would be
>interested, then it might be good to have it in the collection. How
>would it relate to the rest of the artists' books in your collection?
>When people come to see your artists' book collection, would they expect
>it to include such items? Who is the artist? Is it a well known artist
>or a local person? Do you have other works by that artist in your
>collection. What is the quality of the work? If you were a
>museum curator, would you accept this piece? Who is the donor?
>Would you be offending them if you do not take it? If you think it will
>set a precedent that you do not want to encourage, or that it would be
>an odd item in your collection, requiring extra storage and exhibit
>space, special conservation, etc., then you probably should see if the
>museum would be more interested.
>
>All the best,
>Laurie
>
>__________________________________________________________________
>Mail submissions to [log in to unmask]
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>ARLIS-L Archives and subscription maintenance:
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Keeping you informed.
"Nobody can become perfect by merely ceasing to act"
BHAGAVAD - GITA
Jennifer Brasher
Reference Librarian
QCA Image (Slide/Digital) Library Supervisor
Information Services
Griffith University Library
Queensland College of Art Library
Griffith University
PO Box 84 Morningside Q 4170
AUSTRALIA
Phone (61) 7 3875 3130
Fax (61) 7 3875 3133
Email [log in to unmask]
__________________________________________________________________
Mail submissions to [log in to unmask]
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 at: [log in to unmask]
