Department:
Collection Management
Subject:
Fine Arts Library Art Collections
Written
by: Patricia Thompson (former Head, Art Library)
Date
Drafted: August 1992
Revised
by: Terrie L. Wilson, Art Librarian
Last
Date Revised: 06/20/06
I. PURPOSE OR SCOPE OF THE COLLECTION.
A. Curricular/Research/Programmatic
Needs
The Art Library collection serves several purposes by 1) Supporting the
curricular needs of the Department of Art and the research needs of
undergraduate, graduate students and faculty in that department, 2) Supporting
the programmatic needs of the MSU and Kresge Art Museums, 3) Supporting the
curricular and research needs of such departments and programs such as IAH,
Interior Design, Theater and other disciplines and 4) Supporting the reference
needs of the community at large as a land-grant institution. Curriculum,
research and programs are expanding beyond the confines of traditional,
western-oriented history of art, which is an extremely important factor to
consider.
MSU currently offers a BA in Art History, an MFA in Studio Art, an MA
in Art History and a degree in Art Education.
If a PhD program in the history of art is approved, there will be a
substantial impact on the Art Library, although the program would be
interdisciplinary in nature.
B. History of the Collection/Existing Strengths
and Emphases
The collection has strong holdings in the history of the western visual
arts, photography, and architecture. The collections contain both English and
foreign language works, including some Asian vernacular material. In recent
years the collection has been strengthened in the areas of Asian and African
art, and this trend will continue if the curriculum continues to become more
specialized in those areas. Important collections housed in either the Art
Library or Special Collections are exhibition catalogs, illuminated manuscript
facsimiles, catalogues raisonnés of major artists, French salon catalogues,
journals with original art work such as XXe Siecle and Derrière le
Miroir, books on color and ornamental ironwork, and a substantial
collection on Russian art. A strong reference collection includes major library
catalogs, exhibition and sale indexes, and numerous specialized encyclopedias,
handbooks and biographical dictionaries. The current journals collection is
adequate but somewhat small for a library of this size. The core strength of
the collection is supported by essential holdings in Main and Special
Collections, given the interdisciplinary nature of the history of art.
II. FACTORS INFLUENCING COLLECTION POLICY
A. Anticipated future trends
Current trends include expansion of the curriculum beyond the survey
level in the area of Asian art. Latin American art is another potential area
for expansion. The program in Museum Studies is developing as well and will
have an impact on both the Main and Art Library collections. Recent trends in
art education make it imperative that the collections in Art and Main are
maintained, and the students and faculty in Interior Design will continue to
depend heavily on the Art Library for much of their research support.
Integrative Arts and Humanities (IAH) has a growing impact on the Art Library,
and a strong general undergraduate collection must be provided for the program. The future Residential College, with a
planned emphasis on an arts and humanities curriculum, will likely depend on
the art collection for a variety of research needs.
The trend for other disciplines—from entomology to political
philosophy—to use pictorial material in their curriculum and research appears
to be on the increase, and the Art Library has provided that support thus
far. Other trends include changes in
the formats necessary for the study of the history of art. Non-print (and
alternative) formats such as video are extremely valuable for studies such as
African art where context is important. Video art, a relatively new medium, is
a potential area for collecting. Many books or exhibition catalogs are now
accompanied by a video supplement. Reference tools in CD-ROM format are
proliferating (Louvre and National Gallery catalogs, for example). Artists’
books are increasingly important in graphic design programs (see
Appendix). It is critical that
non-print formats be collected but location, fund and cataloging aspects need
to be determined.
B. Relationships with other resources
1.The Art Library
collections are enhanced by materials in Special Collections, Main Reference,
Africana, the Digital and Multimedia Center, Government Documents, and the Main
collections in classical studies, history, philosophy, ethnology, handicraft,
textiles and many other areas. Special Collections, for example, houses many
illustrated books in addition to the illuminated facsimiles collection.
Africana holds important bibliographies and works on African art classed
outside the N classification. Government Documents’ international holdings
include, for example, material on cultural property and its preservation. In sum, the Art Library’s resources are
augmented greatly by collections throughout MSU Libraries and provide rich
ground for research and reference needs.
2.Regional resources include
the two other statewide major art library collections, the Art and Architecture
Library and the Tappan Fine Arts Library at the University of Michigan and the
art holdings (there is no separate art library) at Wayne State University. The
art library at the Detroit Institute of Arts is a major collection, but it
offers access by appointment only. Other libraries in the state hold smaller
visual arts collections, and specialized collections, such as that at the
Kendall School of Design, are probably available although no formal network
exists. The State Library has art holdings as well. Cooperative agreements are
most likely with UM and WSU but have not yet been established. Programmatic differences are substantial
among the three institutions.
Other CIC libraries have strong holdings in the
history of the visual arts, and there is an organized group of CIC art
librarians which meets at the annual Art Libraries Society of North America
(ARLIS/NA) conference and which facilitates cooperation.
CRL has some important holdings for the history of
art, and the library at the Art Institute of Chicago should be considered a
major nearby research resource as well, although interlibrary loan is not an
option (their collections are non-circulating.)
C. Relationships to resources treated
in other policy statements:
Classical
Studies (archaeology)
Technology
(handicrafts and textiles)
Philosophy
(aesthetics)
Anthropology
(ethnography, cultural artifacts)
Ethnic Studies, including
Native American, African American, Asian American, and Chicano/Latino
(ethnography, sociology, cultural artifacts)
Latin American and Caribbean
Studies (Pre-Columbian thru contemporary ethnography, artifacts)
Education (art education)
Museum Studies (non-art
museum materials)
Journalism
(photojournalism and graphic design)
Religious Studies (history,
iconography of religions, churches, orders, saints, gods in Western and Eastern
religions)
History (pictorial works,
such as history documented in WPA photographs)
III.
ANALYSIS OF THE SUBJECT FIELD
A. Chronology of the subject:
emphases/restrictions
Chronology generally includes the ancient but not the prehistoric
world, beginning with the early ancient era (Minoan, Mycenean and Archaic Greek
art). Works on the art of ancient Egypt, Sumer, Assyria etc. are not collected
to a great extent, nor are works on cave paintings and other prehistoric rock
art.
Selection extends from the ancient to the Imperial Roman, Early
Christian and Byzantine, Carolingian, Ottoman And Romanesque, Gothic,
Renaissance, Baroque, Neoclassical, Impressionist, and Postimpressionist
periods to the movements of the twentieth and twenty-first centuries.
B. Languages of Resources Collected
Emphasis is on English language, followed by French, German and
Italian, the traditional languages of the literature of art history. When a
major work is published only in a foreign language, it will generally be selected.
Translations of major works of which we have the original edition will be
selected when possible given the perceived language abilities of the
clientele. Works in non-Roman languages
(Chinese, for example) will not be excluded if there is substantial visual
information.
C. Geography of the subject:
emphases/restrictions
Emphasis is on history of western art, but with growing attention to
African, Asian, Latin American, Pacific and Native American art, reflective of
an increasing curricular interest in “non-western” cultures. No geographic
restrictions.
D. Format of the resources collected: no
restrictions.
E. Date of publication of resources
collected: no restrictions, but emphasis will remain on current imprints.
IV. LEVELS OF COLLECTING INTENSITY
(Using WLN/OCLC Conspectus)
Levels: 0) Out-of-Scope, not collected
1) Minimal
information level
1a) Minimal information level, uneven coverage
1b) Minimal information level, focused coverage
2) Basic
information level
2a) Basic information level, introductory
2b) Basic information level, advanced
3) Study or
instructional support level
3a) Basic study or instructional support level
3b) Intermediate study or instructional support
level
3c) Advanced study or instructional support level
4) Research level
5) Comprehensive level
Call
Number Range Subject Level
N1-N9165 Visual Arts 3c
NA1-NA9425 Architecture 3b
NB1-NB1950 Sculpture 3c
NC1-NC1940 Drawing, Design, Illustration 3c
ND25-3416 Painting 3c
NE1-NE2890 Print Media 3c
NK1-NK9955 Decorative Arts, Applied Arts,
Decoration, Ornament 3c
NX1-820 Arts in General 2b
TR1-835,
925-1050* Photography 3b
*TR845-899 represents
Cinematography and Motion Pictures. The
Film Studies Bibliographer collects in this area.
V. COLLECTION MANAGEMENT ISSUES
Specific policies on replacement, withdrawal,
out-of-print acquisition and preservation.
Introductory
surveys and textbooks, which may have been acquired, will not be kept in
multiple copies; one archival copy of each edition will be retained for the
history of arts education.
Replacement
of worn copies will be achieved when possible with the use of gift copies. If
needed for curricular or reference purposes, replacements will be
purchased. Books mutilated by vandalism
will receive page replacement if only a few pages are needed. Otherwise, a notice about missing pages will
be placed in the book. If the item is extremely important for reference and research,
an additional copy will be obtained.
When
a new edition of a reference book is acquired, the old edition will usually be
placed in the Art stacks. Given the nature of art history, very little material
is appropriate for withdrawal (with the exception of duplicate copies of
non-core materials). Non-current
journals available through an electronic source (i.e. JSTOR) will be sent to
Remote Storage.
Retrospective
selection will take place predominantly in the newer areas of the curriculum
(Asian, African and Latin American art, etc.).
APPENDIX
COLLECTION DEVELOPMENT
POLICY
ARTISTS’ BOOKS COLLECTION
Michigan State University
Libraries
Department: Fine Arts Library / Special Collections
Written
by: Terrie L. Wilson, Art Librarian
Date
Drafted: July 25, 2001
I. PURPOSE OR SCOPE OF THE COLLECTION
A.
Definition
Definitions
for artists’ books are as varied as the objects themselves. In simple terms, artists’ books are books
created by artists, where the artist has total control over every aspect of the
creative process. Artists’ books differ
from livre d’artiste in that the livre d’artiste are books illustrated with
original artwork. Artists’ books can
take any format, from a traditional codex to a tunnel book. The history of artists’ books can be traced
to the Sixties, when artists began making multiple copies of cheaply produced
work in order to disseminate and democratize their art. Generally speaking, artists’ books continue
to be made in limited editions.
Artists’ books offer a non-traditional yet innovative approach to the relationship
between book and reader.
B. Curricular/Research/Collection Needs
The
artists’ books collection serves several purposes by 1) supporting the
curricular needs of the Department of Art and the research needs of
undergraduate and graduate students and
faculty in that department, in particular, those active in the book arts,
2) supporting the research needs of the
community at a land-grant institution, 3)
enhancing the collection of both the Fine Arts Library and the Special
Collections unit of the Michigan State University Libraries, and 4) supporting the programmatic needs of the
Kresge Art Museum. Curriculum,
research and programs in the Art Department go beyond the traditional media in
art, an important factor to consider in collecting artists’ books. MSU currently offers Bachelors and Masters
degrees in Studio Art and Art History.
History
of the Collection/Existing Strengths and Emphases
The
artists’ books collection is small but current holdings are strong. The collection includes both nationally
known and local artists’ works. Women
artists and Cuban artists are particularly well represented. As these are items that require special
housing and preservation, they are kept in Special Collections. Materials about artists’ books are kept in
the Fine Arts Library.
II. FACTORS INFLUENCING COLLECTION POLICY
A.
Anticipated future trends
Current
trends include course work in the book arts taught by Studio Faculty in
alternating Spring semesters. Artists’
book exhibits are becoming increasingly popular and prevalent on local,
regional and national level.
B. Scope
A
variety of formats will be collected, in order to provide representative
examples of all types of artists’ books.
Students and faculty would benefit from a wide variety, and the
collection will be more typical of other artists’ books collections if a number
of formats are acquired. At this time,
virtual artists’ books will not be included in the collection, but requests for
this type of book will be taken into consideration. Because of availability, an emphasis will be placed on regional
and national artists rather than international. Foreign language books will not be actively collected but may be
included. There is no restriction on
dates of publication for artists’ books, although retrospective collecting may
be constrained by budget limitations.
C.
Acquisition
Both
the Art Librarian and the Special Collections Librarian will select items in
the collection. Artists’ books will be
purchased 1) directly from the artist, 2) from artists’ books dealers or
distributors, such as Printed Matter, Art Metropole, Women’s Studio Workshop,
or Califia Books, and/or 3) through galleries or dealers at exhibitions. Donations of books will be accepted and
sought out, if feasible.
III. COLLECTION MANAGEMENT ISSUES
A.
Housing
Due
to the variety of formats and unique nature of each item, the artists’ books
collection will be housed in Special Collections. This will ensure optimal conditions for the preservation and
security of the collection. If the
artist does not provide a protective enclosure for his or her work, the
Libraries’ conservation librarian will be consulted. Special enclosures, ranging from archival envelopes to
custom-made boxes will be necessary to protect the items. Artists’ books must not be labeled or marked
in any manner, as this would result in an alteration of the artist’s work and a
reduction in the value of the item.
B.
Access
Staff
in the Special Collections unit will perform cataloging of the items in the
collection. Consultation with the Art
Librarian may be necessary to ensure that as much information as possible is
included in the online record.
Consistent application of LC call numbers (N7433.3…, N7433.4…), subject
headings (Artists Books) and a concise description of the item’s format in a
500 field note are of particular importance.
Library
patrons will be able to access the collection’s records through MAGIC. Use of the items will follow the same
guidelines as use of other materials in Special Collections. Items will be viewed in Special Collections
only unless needed for display in the library or instruction by the Art
Librarian.
In
the future, additional finding aids are recommended. As they are visual in nature, artists’ books are best accessed
through a visual medium. An online or
in-house database that combines images of the items with textual information
would be ideal. This would enhance not
only patron access but also promotion of the collection.