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While it is absolutely true that there *should* be a culture of respect for one’s classmates, it is not always so. We used to have terrible problems with expensive foreign fashion magazines. Coverage of the most popular designers would be cut out nearly as soon as we put them out for use. When I was waiting on them, I had a student tell me he considered the magazine images to be “first come, first serve”. I don’t have any good approaches to addressing that attitude. We already had notices warning that vandalization of magazines could result in expulsion.

Since we put multiple computers with attached scanners on the floor, this damage has subsided. We also now have multiple book scanners and there is always a line waiting to use them.

Elizabeth McMahon

Library Periodicals Analyst

Gladys Marcus Library

Fashion Institute of Technology

From: ARLIS/NA List [mailto:[log in to unmask]] On Behalf Of Julian Woodruff
Sent: Tuesday, January 29, 2013 12:01 PM
To: [log in to unmask]
Subject: Re: [ARLIS-L] Identifying Expensive, Out-of-print Books

To get political for a moment: Mr. Ginther’s point not to the contrary, there should ALWAYS be a culture of respect, & it should always be fostered.

Julian D. Woodruff

Librarian

Gerald Hansen Library

CROCKER ART MUSEUM

216 O Street

Sacramento, CA 95814

direct 916.808.8856

fax 916.808.7372

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From: ARLIS/NA List [mailto:[log in to unmask]] On Behalf Of Ginther, Gary
Sent: Monday, January 28, 2013 2:01 PM
To: [log in to unmask]
Subject: Re: [ARLIS-L] Identifying Expensive, Out-of-print Books

Heather,

This is big problem in the art library, has been for some time. It's nearly impossible to pull out valuable works, since most of them are valued in the $500 to $1500 range. I don't think you can effectively do it.

I would argue that the solution is not to send your collection to Spec Coll; it's not rare, just expensive. Many of these works are widely available. Beef up security.

I am in the process of shifting portions of the collection, such as oversize, to an area that is visible from the service desk. The idea is to pull it out of the shadows and keep it visible, thus more monitored. We're also developing better sight lines from the desk by moving furniture and lowering some shelving to half-height.

I won't drift into a rant, but I really believe that the art library in particular (and many libraries that serve higher level research functions) has got to be re-marketed as a privilege, not a right. If we're talking about PhD-level research collections, we have to foster a culture of respect.

Best,

Gary

Gary Ginther, Fine Arts Librarian

Frederick & Kazuko Harris Arts Collection, Ohio University

From: Heather Gillanders <[log in to unmask]>
Reply-To: Heather Gillanders <[log in to unmask]>
Date: Monday, January 28, 2013 3:54 PM
To: "[log in to unmask]" <[log in to unmask]>
Subject: [ARLIS-L] Identifying Expensive, Out-of-print Books

Dear ARLIS/NA Colleagues:

I am doing some research for our head of collections here at University of Washington Bothell on how to go about identifying books within our collection that are now out-of-print and, for that reason, have increased in value. I can imagine that this is quite an issue with art monographs in particular, so I'm wondering if you or your institution might have a process in place to identify these books.

We had an incident here recently where a student returned a book that was significantly damaged and not salvageable, and when we looked at the current price it was something like $600, as it was no longer in print (but our standard fee for damaged books is significantly less). We’d like to avoid this in the future and instead send books such as these to our Special Collections unit in Seattle, but we’re not sure how best to go about identifying these books in our collection.

Any ideas or advice would be most welcome!

All the best,

Heather Gillanders, MFA, MLIS

Research & Instruction Librarian

UW Libraries, Bothell Campus Library

Serving UW Bothell and Cascadia Community College

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