Showing papers in "Art libraries journal in 1979"
TL;DR: Visual arts indexing would be aided by an internationally agreed, controlled vocabulary with rules of usage, and subject knowledge and experience of the literature are as necessary as an understanding of indexing theory.
Abstract: There remain theoretical and practical difficulties in the subject analysis of visual arts documents and the assignment of appropriate index terms. Visual arts indexing would be aided by an internationally agreed, controlled vocabulary with rules of usage. In devising such a language, subject knowledge and experience of the literature are as necessary as an understanding of indexing theory. Examples of current indexing practice are cited, notably PRECIS, Library of Congress, RILA, and the Répertoire d’Art et d’Archéologie.
9 citations
TL;DR: AACR as mentioned in this paper is a cataloguing code for modern printed texts in English-speaking libraries, which was published in 1967 and used to deal with the general run of modern printed text in English speaking libraries.
Abstract: Because this review will be partial in its survey and somewhat critical in tone, it may be as well to begin by applauding the overall achievement of AACR. Its long-awaited publication in 1967 helped enormously to clear the cataloguing air. Here at last was a convincing demonstration that behind all the craft mysteries of cataloguing there lay a logic, a rationale; that it was not just a matter of following a few rule of thumb procedures. For dealing with the general run of modern printed texts in English-speaking libraries the new code promised well.
4 citations
TL;DR: The traditional subject category "visual arts" is based on a value judgment, but aesthetic criteria no longer suffice to define this category as discussed by the authors and art is increasingly permissive in its range, almost any material artefact can now be viewed aesthetically, and any work of visual art may be considered as an artefact.
Abstract: The traditional subject category ‘visual arts’ is based on a value judgment, but aesthetic criteria no longer suffice to define this category. Art is increasingly permissive in its range. The subjects of art history, archaeology, social anthropology, and history of technology tend more and more to overlap. Almost any material artefact can now be viewed aesthetically, and any work of visual art may be considered as an artefact. Libraries should aim to bring together all the material culture of human societies, whether tools or works of art, in their bibliographic classifications instead of scattering it as at present. (Slightly revised version of a paper given at the Art Libraries Round Table, 45th IFLA Congress, Copenhagen, 1979.)
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TL;DR: This paper described the art libraries and art collections visited in Budapest during a ten-day visit sponsored by the British Council, and sincere acknowledgements are due to the Hungarian Art Librarians and Museums staff whose genuine interest and hospitality provided the raw material for this paper.
Abstract: Describes the art libraries and art collections visited in Budapest during a ten day visit sponsored by the British Council. Sincere acknowledgements are due to the Hungarian Art Librarians and Museums staff whose genuine interest and hospitality provided the raw material for this paper.
1 citations
TL;DR: The illustrated book is a relatively new phenomenon in African literature, and the whole area of design and illustration is a problematic one for African publishers as discussed by the authors, and there are very few lavishly illustrated books produced in Africa.
Abstract: Just as African literature is going through a process,-of change and adaptation to new conditions, so African art is combining new techniques and ideas with ‘traditional’ ideas of the place of art in society. The illustrated book is a relatively new phenomenon in African literature, and the whole area of design and illustration is a problematic one for African publishers. Illustration has so far had a limited role in African publishing — there are very few lavishly illustrated books produced in Africa. To those used to the production and design standards of the West, it is difficult not to overlook the vitality, excitement and potential of the existing examples of illustration. This is not to say that I think African publishers have fully exploited talent available to them, or explored the scope allowed them in spite of limitations of finance, production methods and market pressures. These limitations have been overcome in examples quoted below.
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TL;DR: An account of the origins, developments and achievements to date of the Working Party of the IFLA Art Libraries Round Table concerned with the Directories project can be found in this article, where its importance is stressed as essential groundwork for the development of true international art library co-operation.
Abstract: An account of the beginnings, developments and achievements to date of the Working Party of the IFLA Art Libraries Round Table concerned with the Directories project. The next stages of the project are described and its importance is stressed as essential groundwork for the development of true international art library co-operation.
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TL;DR: In this paper, the authors describe a bibliographic system for print and try to make 'non-books' fit this mould. But they assume that because a component of the system is present for print, it ought also to be present in his scheme and, if not, is therefore missing.
Abstract: Mr. Croghan says in chapter 1 of this edition that \" . . . the only thing constant (in the topic of non-book media) is change\" and here we have, therefore, a second updated edition of a work which attempts to place the whole topic into a systems context. In doing so, he describes a bibliographic system for print and tries to make 'non-books' fit this mould. On the whole he is successful. However, Mr. Croghan assumes that because a component of the system is present for print, it ought also to be present in his scheme and, if not, is therefore missing. For anyone working with or interested in the bibliographic control of these materials, the establishment of a systems framework is tremendously helpful and stimulating. Indeed, a systematic study of the subject demands such an approach. Mr. Croghan's system may or may not be the best (I believe it to be sound) but without one how can we know what is missing? The book is comprehensive in scope (he really does cover the whole bibliographic system for non-book materials) but in only 162 pages, of which 94 are taken up with a list of references and an index, there is not really the detailed discussion which one would like. Mr. Croghan describes the groups of materials which make up the system, their production, how they are recorded, how information about them is disseminated and finally how they are indexed for retrieval. He describes also the organisations, such as libraries and resources centres (he calls them devices) which perform the storage and documentation function. Because Mr. Croghan is very much an individual (not many would devise and publish their own cataloguing rules or, as with this book, create a complete bibliographical system) some readers may find strange some of the ideas put forward. Soft music in the 780 section of a DDC classified library and liturgical chants in the section on religion may be attractive but perhaps a little impractical. Those who have indexed large numbers of nonbook media may not agree that there are no special problems involved. Readers may even find some of the author's views offensive as when, for example, in a discussion of copyright he condemns \" . . . the attitude in the world of education that because what they do is for the general good . . . this justifies their stealing the intellectual property of other people\" (a point, I think, which needs to be made).
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TL;DR: In this paper, a paper submitted to the CNAA Working Party on Libraries and Related Resources by myself as a member of that Working Party, and discussed at its meeting on 12th June 1978.
Abstract: This statement has been developed from a paper submitted to the CNAA Working Party on Libraries and Related Resources by myself as a member of that Working Party, and discussed at its meeting on 12th June 1978. The purpose of that paper was to define the special needs of a particular subject area, art and design, and to show how those needs can be lost sight of if quantitative standards are overstressed by comparison with the quality of a library’s service to its readers. The Working Party welcomed this paper, took note of its emphasis on the ‘browsability’ of library materials, and suggested that it might be put before the CNAA Committee for Art and Design, ‘possibly in a revised version’.
TL;DR: The concept of artistic knowledge is considered, that which is unique to the artist and that which can be acquired by other means, particularly from the storehouse of a library's collections as mentioned in this paper.
Abstract: The concept of artistic knowledge is considered, that which is unique to the artist and that which can be acquired by other means, particularly from the storehouse of a library’s collections. The problem of art being at a remove in a library can be countered by collections of ‘real’ art e.g. artists’ books, and by outgoing, generous art librarianship. The art library can also make its own contribution to the maintenance of traditional artistic knowledge by concentrating at least a part of its collections on whatever is unique in its own area, thus counterbalancing the tendency to uniform, ‘monochrome’ coverage.