Error during command authentication.
Error - unable to initiate communication with LISTSERV (errno=10061, phase=CONNECT, target=127.0.0.1:2306). The server is probably not started.
LISTSERV 16.5 - ARLIS-L Archives
*
Do you catalog artist books in with your regular collection? If so,
what system are you using?
Yes, we catalog them with our regular collection. We use Sirsi Unicorn
for cataloging. You can access our online catalog at:
http://www-sul.stanford.edu/search/socii/
--> Click on "Preview Version: Open to All" (this is a dynamic URL which changes per session while we're in the process of bringing up our new webcat).
Our cataloging records are also available in RLIN (library identifier CSUG).
A sample artist's book record is:
Title: Celestial wondering
Artist/Author: Horton, David
--or--
Title: Oaxaca (wa-ha-ka) and the saguaro (sa-wah-row) cactus : (a twice-told tale)
Artist/Author: D'Ambrosio, Joe [this record is still "in process" and lacks a call number]
* Do you use a separate database? If so, what system are you using?
Is it available to your users? Through your website? Only in the library?
Paper copy?
Our OPAC is available to everyone through the web, including on-campus users. Most of our artists' books are housed in Special Collections or in the Art Library, and do not circulate.
* Do you find the MARC format is sufficient for the artist book
records? If not, how have you compensated for this?
I do think the MARC format is sufficient if you are willing to accept that the catalog record is only a brief description of the book. In my experience, no description will ever suffice to stand in place of the book itself, so I feel that the catalog record should give enough information for a researcher or patron to decide if they need to see the book. Since these are unique, fragile items kept in a non-circulating collection, the more information I can provide, the better. We make lots of notes!
* What have you done differently in your cataloging of artist books
than you do with regular books (i.e., create new MARC fields)?
We always input a note about the special characteristics of the book: binding, special materials, accompanying matter, etc. We input these in a 500 or 590 note. We use the 590 if the characteristic is unique or thought to be unique to Stanford's copy (e.g., number of a limited edition).
We also have some local fields which are input in a special manner to provide separate index fields for binder, printer, illustrator, provenance, etc. On the record for "Celestial wondering" you will see two of these: %ILLR796 (illustrator, personal name) and %PRIN797 (printer, corporate body). These fields are used for all books in our Gunst special collection (a collection focusing on the art of the book and printing), for all pre-1826 imprints in our rare books collection, and for any book where it is desirable to mention these aspects.
We have a list of genre headings from the RBMS Thesaurus that we will add in a 655 field if the Library of Congress subject headings are not sufficient.
* Do you create original records or are you able to find records on
WorldCat/OCLC/RLIN? Are they sufficient or do you add information to your
local record?
We will use copy whenever available, and we search both OCLC and RLIN. We will add local fields when needed (for example, to trace an illustrator or printer). In my experience, I've usually found acceptable copy if an art library has cataloged the book because they have already included lots of notes. The hit rate for copy seems to vary a lot depending on language or country of publication. We tend to find copy for English-language items more often than we find for our Cuban artists' books, for instance.
* Do you record details of construction, materials, production
techniques, etc.? If so, in what MARC fields? Do you have a standard
vocabulary/terminology source that you use?
We usually input this information in a 500 field, unless we suspect that our copy may be unique, in which case we use a 590 note. For our 590 notes, we have a standard format:
590 Stanford copy 1 (<name of collection>): Binding: etc.
For 500 notes, it is up to the cataloger to give the information as clearly as possible, and note whatever is felt might be important for identification or for a researcher to know about.
* What special handling processes do you have for artist books? A
special cataloger?
Most artists' books monographs are cataloged by the rare books cataloger in the Special Collections Department. Serials are cataloged by the serials cataloger in the Catalog Department. The rare books cataloger catalogs all rare books (including incunabula, pre-1826 imprints, etc.), not just artists' books.
Artists' books are not given spine labels and do not go through our normal binding procedures. They have acid-free bookmarks with the call number typed on them inserted, and if they can't be shelved normally, they are housed in an acid-free box specially made for the item. For example, a handmade book with feathers and twigs attached to the front cover would be housed in a box. The acid-free boxes are labelled with the call number.
* Do you have any written cataloging policies/procedures for artist
books that you'd be willing to share?
We have Special Collections cataloging procedures on the web (not limited to artists' books) at:
http://www-sul.stanford.edu/depts/catdept/docs/cat_policy/speccoll/index.html
(best viewed with Internet Explorer 5 and above)
I believe this document can be accessed from outside the campus, but if not, my apologies!
* Anything else you feel is important for me to know?
We are a large academic research library, so our procedures for artists' books are very close to how we treat other types of rare books. This is because we do not primarily serve a curatorial staff or studio artists who need to handle these items on a regular basis. Therefore, some of the decisions we've made may not be suitable for a collection that's meant to be more "hands-on."
Kay Teel
Serials Catalog Librarian and Cataloger for the Arts
Stanford University Libraries
[log in to unmask]
