Jenny Beard has posed a fascinating question that needs consideration-

The answer may well be that the collecting of artists books has more to do with the librarian’s familiarity (they are “books” after all) along with the curator’s lack of the same degree of devotion to the genre. 

My library positions have always been at institutions that did not collect artists books (or rare books, per se), but rather books for their contents.  Even so, I too have been fascinated by the intensity of this area of special collections, and often wondered if there was as devoted a world of users – researchers and scholars -  to justify so many collections.  In the 1970’s, after identifying late 19^th century travel/view books in the MMA Watson Library and enhancing the cataloging to identify photographers, etc., I then observed their transfer to the Prints & Photograph Department.  In retrospect – I believe the transfer was justified, as long as the library could maintain the cataloging information to share with its researchers, access could be provided, and the book conservator would be their primary care-taker.  Collaboration began to replace separate and distinct.     

The artists books mystique is an example of antiquated issues at play – the book as object and/or information; the blurring of curatorial and librarian roles; and a romantic inclination toward “democratic” art.  Who are art librarians collecting for – their researchers or themselves?  Artists have been known to produce art for themselves, but if there weren’t so many art librarians collecting artists books, would there be so many artists books produced?

Let’s here from others who are actually in the field.

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Patricia J. Barnett

Chief Librarian Emerita of the Frick Art Reference Library

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Art Librarians,

I've been thinking about the relationship between librarians and artists books. The benefit to artists books is obvious: librarians have fostered the medium from the beginning by purchasing, preserving, offering critical perspective, and acting as defenders of the medium.

What is less discussed is how librarians and libraries benefit from their relationship with artists books. Of course there is pleasure in collecting as well as fulfilling the mission to preserve the cultural objects of our time. But is there a passion for artists books that, I think, borders the mysterious.

How can I better understand the personal and passionate interest of so many art librarians and curators in artists books?
For instance, how would a librarian be effected if their institution's collection of artists books was absorbed by another department or perhaps, sold off? The large collections of artists books seem to be in art libraries,and often in art museum libraries. Why not in art museum curatorial departments? How does the presence of artists book in library collection effect the morale of librarians?

I would be very grateful for your comments, observations or references to interesting articles.

Jenny Beard
Graduate Assistant, Image Cataloger
Pratt SILS
MLIS Candidate, 2011

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