Thanks to everyone for the responses to the Albers
question I posted. I'll let the responses speak for
themselves. Someone did ask about the status of the Albers
CD-ROM that was published over 10 years ago. A
representative at Yale press told me the old CD-ROM should
work on the Macintosh. It's not necessary to install
software first using the floppy disk. I haven't tried it
yet. Has anyone had any luck? The Yale representative also
mentioned there was some talk about reissuing a new CD-ROM
but he didn't know if it would happen or not. I don't know
anything about plans to publish a new print edition (or
facsimile).
Here are the responses. Thanks again! And if I get more
answers I'll post more.
Nina
----------
Years ago, we at the [name] Museum of Art fabricated some
very crude sleeves that plates would fit into, thus
minimizing handling wear. The Mylar and acid-free board
were cut larger that the plate/open folder and stapled
together on three sides. The instructor was the only
person allowed to transfer the individual plates into
sleeves and had to wear gloves. We also required that the
volume be used within the Library. We made about a dozen
sleeves, as most of the use was comparing and contrasting
two folders.
Interestingly enough, we have had no request for use in
many years, so the volume is not getting worn, even from
slipping the folders into the sleeves.
----------
This exact same question has come up here. Studio artists
love this book. I did let one instructor use it in the
studio with much trepidation. It came back fine but I
don't know if I can do it again. I would love to hear the
responses.
-----------
We have it also. We keep it in Special Collections. When
classes come to see it, we require a library staffer to be
with the faculty and students while the book is being
shown.
Our Special Collections isn't really like an archive, but
we are trying to protect the book for future students.
Studio/ Color Theory classes are the ones who view it
every semester.
---------
We keep ours in Special Collections. I use it for classes
and allow access in our Special Collections reading room.
It is one of the very few items we require the use of
cotton gloves.
---------
from a bookseller:
First of all, you should of course be concerned about
losing any folders
from Albers' Interaction of Color; however, this should
have always been a
concern since you first acquired it, as this set has
always been valuable,
even when initially published at a list price of $1250 I
believe. I sold my
last set at $3500 ten years ago.
As far as the single folder listed at $1000, that
should not be taken
seriously, as it will never sell, and is simply one
bookseller's grasping at
straws because he probably acquired an incomplete set and
is trying somehow
to compensate for his mistake.
Art students at Yale have long used the set in the
classroom and I
recall once seeing individual plates mounted on display
for study purposes.
What you need to do is ensure that the set be signed out
only to a faculty
member (or for inspection only to a student, under
supervision, and not to
leave the library). The borrower should be asked to sign a
statement
requiring reimbursement to the school for full replacement
value if not
returned complete.
---------
We had the same problem--when I saw prints from an
original copy, like ours, on display in an exhibit at
[name deleted], I almost had a heart attack. Now ours is
kept in our slide library, where NO one uses
it..Ridiculous. We had one studio prof who used it in her
class, but it made me so nervous, her taking one or two
sheets out of a folder....that is when I put it in the
slide lib. I have no locked cases or spec coll section. I
have considered sending the whole thing over to our main
lib special collections, and if faculty want to show it,
they will have to take the whole class over to their
reading room.
------------
Can you treat it like in-class library instruction and
accompany it to the studio? That way you could keep an eye
on it. You could also play up the idea of having students
use the digital Albers instead. Just a thought.
-----------
We have it in our branch Special Collection area (locked
cage) from where users can request it and then use it at a
table next to the Circ. desk where desk clerks can keep an
eye on Special Collection users.
When a class needs to see it as a group, I take it to the
class and show if off to the students, and it gives me a
chance to discuss how to handle special collection
materials, explain about the excercises and the printing
of the plates, and participate in the instruction with the
faculty member. A nice way to collaborate!
------------
from:
Henri, Janine Jacqueline. "Management, Public Service, and
Access Issues: Serving Special Collections in an
Architecture Branch Library." Journal of library
administration 39.1 (2003):57-76.
"Although we do not have a group study room in the
Architecture and Planning Library, there is a seminar room
in the building that I have been able to reserve when a
faculty member has asked about showing specific items to
their classes. Students in architecture history courses
have examined early builder's guides this way, and folios
of nineteenth century plates of landscape views have been
shown to students in an art history course dealing with
the picturesque. At least once a year for the last few
years I have taken Josef Albers' Interaction of Color to a
class of interior design students that meets in another
building on campus. Of course, during each classroom
presentation I can say a few words about our special
collections and how to access them. Besides promoting the
use of special collection materials, these services to
classes have also facilitated more cooperation between
library staff and faculty and have resulted in an increase
in librarian consultations by students from these classes.
As a result of these interactions I believe that once
students are aware of the extent and potential usefulness
of our special collections, they are more willing to learn
the subject searching intricacies needed to locate
relevant records in our catalog."
--------------
At [our college] we have two copies of the Albers set.
Both are kept in the locked "Cage" or special collections
storage area within our library, where all materials are
for library-use only. For individuals requesting to use
materials we hold their ID card and require that they sit
at a designated table next to the Reference desk.
One Albers set is complete, and we have so far kept it
that way by restricting it to in-house use by faculty
only, or for student group viewing overseen by a faculty
member. I.e., faculty teaching the color courses make
appointments to bring their classes to the library for a
viewing. Students are not allowed to use the complete set
on their own - at all. Fortunately, we have sufficient
seating within the library that a class of 15-20 students
can gather around a few tables pushed together for a
presentation like this.
The second set that we have is incomplete, following years
of use. It is available for students to use on their own,
though I've recently heard comments that the "good" parts
are missing.
Our conservation/book repair person has just completed a
treatment for both sets, replacing the original (acidic)
interleaving with archival slip sheets. At that time, she
took several steps to assist in keeping the sets intact
through continued use:
- numbered the leaves lightly in pencil, since one
challenge we have is that the faculty have not tended to
keep the leaves in order (it was hard to do, since the
numbering is in Roman Numerals).
- counted the number of items in each set and place a
checklist in the front of each slip case. Now when the
Reference Librarians serve the sets to a patron (faculty
for a class presentation, or student, etc. for an
individual viewing) they can count the number of items
upon delivery and return.
I hope this is helpful. Obviously, the situation here was
not well controlled for a number of years since we lost
many pieces, but since we started out with two sets, we
are lucky to still have one complete set and a secure
storage area in proximity to our reading room - and can
accommodate the occasional class group within the library.
I'm wondering whether this item is due to be re-issued -
would probably still be quite costly! But if the supply
were renewed, libraries without a copy would have a better
chance of getting one. Maybe Yale University could get it
done? It obviously has unique and continuing pedagogical
value.
-----------
I would be very interested in seeing what kind of replies
you get. Our Special Collections in the university
library has a copy of the original edition and they were
quite interested when I called over with your estimate of
the current price.
Also, do you have any information on the CD that Yale
produced around 1994? Do you know if it's been updated --
my faculty gave up trying to use it some years ago.
-----------
I know this sounds excessive, but we have two copies of
the Albers: one for classroom and study use, and the
second for archival use. When I arrived at [university]
(25 years ago) we had one copy, and it was well used. I
decided to take a huge financial leap and purchase another
copy that had become available in the market. I have never
regretted it. The volume is used so often by so many,
which is as it should be, and for most purposes the
well-used copy satisfies users. We reserve the pristine
copy for special presentations, etc. The color theory
faculty are thrilled with this, and the students seem very
satisfied.
I realize that most librarians don't have an extra $6,000
at their disposal, however you might lobby your Friends of
the Libraries group to make this a special project or
challenge (perhaps one of your faculty could give them a
presentation about the importance of the publication and
why it is so important to have a clean and complete copy),
or if you have a donor or several donors with special
interest in your library you might approach them with the
idea.
------------
Have you thought of using digital images from it in place
of the original? If the color is corrected to be accurate
to the individual prints, they should suffice for
classroom use and would then be available to the students
outside the class via computer.
---------------
Our museum has a large studio school and we opted for the
simple solution -- acquiring one of the reprint (Yale UP
1975) for general use. The original is stored as a rare
book, doesn't leave the library, and is used under
supervision. It helps to have an added incentive -- we
exhibit rare books in the galleries whenever an
opportunity presents itself, so our users understand the
imperative to protect them. Hope this is useful
---------
On Thu, 12 Jan 2006 12:17:56 -0700
Nina K Stephenson <[log in to unmask]> wrote:
> No, this isn't an offer of a free duplicate to share!
> :-)
>
> We're trying to figure out how to protect yet provide
>access to the original edition of Albers' classic color
>study (Yale, 1963). We've discovered that the set is now
>selling for upwards of $6,000. One vendor is selling one
>folder from the set for $1,000. We're already missing a
>few plates. One faculty member has asked to use the set
>in the classroom this semester for a color class. Even
>using it for in-library consultation is problematic
>because we don't have a secure special collections type
>reading room. Transfering it to our special collections
>library would severely limit access by studio artists,
>let alone his color class.
>
> Any ideas or strategies to share??? I can compile
>responses and share with the group if there is interest.
>
> Nina
>
> *~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*
> Nina Stephenson, Art & Photography Librarian &
> Collection Development Manager
>Fine Arts Library MSC05 3020
> 1 University of New Mexico
> Albuquerque, NM 87131-0001 USA
> ph: (505) 277-0679 email: [log in to unmask]
>
> __________________________________________________________________
> 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
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> ARLIS-L Archives and subscription maintenance:
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> Questions may be addressed to list owner (Judy Dyki) at:
>[log in to unmask]
*~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*^*~+~*
Nina Stephenson, Art & Photography Librarian &
Collection Development Manager
Fine Arts Library MSC05 3020
1 University of New Mexico
Albuquerque, NM 87131-0001 USA
ph: (505) 277-0679 email: [log in to unmask]
__________________________________________________________________
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]
