 |
 |
Hi Pat: As a retired librarian, I'm no longer "in the field," but I wanted to mention that just last night one of the "Crafts in America" series (the one called "Process") was replayed on our local PBS station and one of the artists talking and demonstrating her work was Julie Chen, a maker of artists books. I was struck, in listening to her, by how many times she referred to the librarians who were her clients. A few thoughts in response to Jenny Beard's question: Of course the books are seductive, beautifully crafted, and certainly as interesting, if not more so, than, for example, fine bindings. I think they also appeal to people interested in contemporary art; a lot of the artists books I have seen are conceptual, with as much intellectual content as aesthetic. As compared to other forms of studio-made art, they tend to be less expensive, yet they are far from cheap and are generally beyond the reach of all but the most dedicated collectors. I think that art librarians are most logically great appreciators of this form, and probably feel that the library budget is well spent on at least a few of these artworks each year; that getting them into collections where they can be seen and studied and appreciated by those who could not afford them as individuals--this is one of the reasons we buy any library materials, no? Of course whichever department in a museum purchases materials must be prepared to care for them--or have an agreement with their conservation department to give them assistance when necessary. To me, it is no mystery why art librarians buy these books. Or for that matter, why collectors who can afford them do. I would like to know who the non-librarian collectors who are not wealthy are. As with other art forms, are there collectors who save up to buy one or two a year? And are there museums who have curatorial departments that are collecting? After all, it is difficult to display artists books, whether in a home or in a library or museum; with the cost of many of these books, it would seem to be a kind of limited-audience pleasure--not unlike the collection of fine bindings or fine textiles or?? I'm not sure where I'm going with this, but I agree with you, Pat, that it is a very interesting subject. Artists books are certainly not lessening in interest--to judge by the number of conferences, sales venues, and collecting institutions. And they are not lessening in aesthetic or intellectual power. Certainly they are worth collecting by art libraries so that they can be shared with the art world. Joan ----- Original Message ----- From: Patricia Barnett To: [log in to unmask] Sent: Thursday, November 18, 2010 10:14 AM Subject: Re: [ARLIS-L] Question Concerning Librarians and Artists Books 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 19th 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. ______________________________________________ Patricia J. Barnett Chief Librarian Emerita of the Frick Art Reference Library [log in to unmask] 33 Greenwich Avenue #6J New York NY 10014 212-243-4255 (NY) 646-206-8485 (mobile) 860-542-5889 (CT) From: ARLIS/NA List [mailto:[log in to unmask]] On Behalf Of Jenny Beard Sent: Thursday, November 18, 2010 9:57 AM To: [log in to unmask] Subject: [ARLIS-L] Question Concerning Librarians and Artists Books 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? What do artists books signify to librarians? I'm wondering if anyone has any notions or personal anecdotes about why artists books are so very valuable to the profession of librarianship? 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 ~~~~~~~~~~~~~~~~~~~~~~ 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.arlisna.org Questions may be addressed to list owner (Judy Dyki) at: [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.arlisna.org Questions may be addressed to list owner (Judy Dyki) at: [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.arlisna.org Questions may be addressed to list owner (Judy Dyki) at: [log in to unmask] ~~~~~~~~~~~~~~~~~~~~~~