ARLIS/NA CELEBRATES 15TH ANNIVERSARY IN NATION'S CAPITAL

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<ul><li><p>ARLIS/NA CELEBRATES 15TH ANNIVERSARY IN NATION'S CAPITALAuthor(s): Caroline Backlund, Sheila Klos, Milan R. Hughston, Amy Navratil Ciccone, CathyWhitehead, Amy Lucker, Susan Annett, Ray Anne Lockard, Mary Graham, Jane Collins,Karen Meizner, Paula J. Baker, Kathe Chipman, Rosann Auchstetter, Rochelle S. Elstein,Martha H. Hall, Claire Petrie, Matthew Hogan, Jack Robertson, Lamia Doumato, Jean Hines,Kathy Zimon, Margaret Prescott, Antje B. Lemke, Sally Hanford, Therese Gurski, Jennifer...Source: Art Documentation: Journal of the Art Libraries Society of North America, Vol. 6,No. 2 (Summer 1987), pp. 51-52, 54-62, 64-84Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27947744 .Accessed: 14/06/2014 11:20</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>The University of Chicago Press and Art Libraries Society of North America are collaborating with JSTOR todigitize, preserve and extend access to Art Documentation: Journal of the Art Libraries Society of NorthAmerica.</p><p>http://www.jstor.org </p><p>This content downloaded from 195.78.108.199 on Sat, 14 Jun 2014 11:20:15 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=ucpresshttp://www.jstor.org/action/showPublisher?publisherCode=arlisnahttp://www.jstor.org/action/showPublisher?publisherCode=arlisnahttp://www.jstor.org/stable/27947744?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>Art Documentation, Summer, 1987 51 </p><p>ARLIS/NA CELEBRATES 15TH ANNIVERSARY IN NATION'S CAPITAL </p><p>ARLIS/NA members returned this year to Washington for their 15th Annual Conference after an absence of 12 years. And what a change it was! ARLIS was in its infancy in 1972 when 277 members turned up for the Third Annual Con ference. The schedule was relatively simple with five general sessions, three workshops, six committee meetings, three tours, a joint meeting with CAA, plus the membership meet ing and a luncheon. Room rates at the conference hotel, the </p><p>Washington Hilton, ranged, I hesitate to report, from $23 to $32 a night! </p><p>As we all know, it's not like that any more. Not only are ARLIS conferences more expensive to plan and to attend but they have grown greatly in size and complexity. The member ship expects increasingly sophisticated programs covering a wide range of topics to meet its greater professional diversity and subject specialization. This year 474 of you attended the conference, lured by the richness and variety of its programs. These included 25 main sessions (in which 35 outside speak ers participated), four workshops, nine SIG and TOL meet ings, 15 computer project demonstrations, and 14 special group and committee meetings. The latter were requested by SIGs, TOLs and other groups to address special concerns, adding greatly to the variety of conference offerings. In addi tion, there were 16 separate tours and scheduled visits to 11 area art and architecture libraries. </p><p>An important innovation was the Computer Project Dem onstrations planned by the Computer SIG under Henry Pisciotta's direction. Scheduled throughout the conference to enable members to observe varied computer applications in art libraries and visual resource collections, they included microcomputer programs written by ARLIS members, the In ventory of American Sculpture, and an electronic magazine. </p><p>Another first for the conference program was a meeting of first-time attendees and new members, planned by James </p><p>Boyles. President Susan Craig and past Board members stopped by to offer a warm welcome, explain the structure of ARLIS, and encourage the participation of new members in ARLIS activities and future conference planning. The meeting was well attended and there are plans to keep a dialogue going with the group throughout the year. </p><p>The social events at the conference got off to a spectacular start with a beautiful buffet reception held in the spacious main court of the National Gallery's East Building, following the convocation. Three loan exhibitions were open for mem bers to view, undisturbed by the usual crowds: "Henri Matisse The Early Years in Nice," "Alexander Archipenko," and the "Age of Sultan Suleyman the Magnificent." The re ception was made possible through the generous support of Ars Libri, Ltd. and Harry Abrams, Inc. The next evening, mem bers were treated to a second splendid reception and buffet supper in the great hall of the National Portrait Gallery. Fol lowing a welcome from Director Alan Fern, members were free to view the Portrait Gallery's collections and visit the handsome library which serves the Portrait Gallery, the Na tional Museum of American Art and the Archives of American Art. Another truly memorable evening was had thanks to our friends at Ars Libri! </p><p>To provide an opportunity for ARLIS members to see some of the area's art museums and galleries, historic sites and research collections, 16 separate tours were scheduled. These included a trip to the White House (no waiting in line!), four opportunities to visit the Old Executive Office Building (surely one of the most beautiful architectural sites in Washington), the Department of State reception rooms furnished with ex ceptionally fine period furnishings of the 18th and early 19th century, and tours to Dumbarton Oaks and Georgetown, the Phillips Collection and the Textile Museum, the Dupont Circle area galleries, two trips to the Folger Shakespeare Library, Old Town Alexandria, the Seventh Street art galleries, and an art and architecture tour of Baltimore. </p><p>Events held away from the hotel included two oppor tunities to visit the National Archives: four special programs at the Library of Congress with visits to the Preservation Of fice, the Processing Services and the Prints and Photographs Division; and a presentation on resources in American art at the National Museum of American Art. A two-day trip to </p><p>Williamsburg was highly successful. Not only did Pat Lynagh, tour coordinator, drive the van but she also scheduled a rich program of special events at Williamsburg museums and libraries. </p><p>If members returned home stimulated but exhausted it was not surprising, and perhaps it was too rich a diet for some. But planning the conference was, in part, a nightmare of scheduling for the conference committee, trying to fit into a limited amount of time and into an already busy schedule the </p><p>many requests for sessions and special meetings. Some members complained (as happens every year) of over-sched uling and the frustrations of having to make choices. But no one was expected to attend every program and the planners assumed that members would welcome having a choice. At the same time, it is encouraging that there is such a high level of interest in attendance at conference programs and ac tivities. But I, for one, am very glad that program scheduling is going to receive careful scrutiny by the newly formed Task Force on Conference Planning. One important need, re quested by many of you and which I hope can be met, is the provision for more free time to give members the opportunity to meet informally with colleagues, to brainstorm and to </p><p>make new friends. Elsewhere in this conference issue, Milan Hughston reports </p><p>on the evaluations. I would like to add a few comments, as well. First, I want you to know how carefully your comments were read. Your praise, and there was a good deal of it, was enormously gratifying. But I looked, particularly, for ways in which improvements could be made. The Capital Hilton won high praise, in spite of its cost. Some of you lamented the lack of a coffee shop (a point very well made). As for overheated meeting rooms, if there is a way to guarantee proper room temperatures, I would like to know! It is not something, alas, that can be incorporated into ARLIS hotel contracts. In gen eral, hotel selection is a complicated process and not, unfor tunately, a very flexible one. When some of you suggested a smaller, less expensive hotel, I shared your concerns. There is no question that our conferences are increasingly expensive. </p><p>This content downloaded from 195.78.108.199 on Sat, 14 Jun 2014 11:20:15 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>52 Art Documentation, Summer, 1987 </p><p>However, when ARLIS meets in big cities, the choice is often, of necessity, a more expensive hotel. Small hotels are usually out of the question because ARLIS conferences, although characterized as small to medium in attendance, place excep tionally heavy demands on the hotel for meeting rooms of varying size. Our well-attended exhibits, for example, seem to require a larger area every year. </p><p>Speaking of exhibits, ARLIS has, as many of you know, an exceptionally loyal group of publishers and book dealers who regularly exhibit (see list in this issue). Their presence at our conferences is one of the features considered most important by attendees. We must, therefore, provide greater oppor tunities for members to spend concentrated time in the ex hibits area?something many of you have requested. This will receive increased priority, I am sure, in future conference planning. </p><p>The red-and-slate-blue conference publications with their book logo designed and produced by Kevin Osborn (1986 </p><p>Wittenborn winner) of Research &amp; Design Associates won extensive praise. The handsome graphics, clarity of layout, and useful content were mentioned by many of you. The matching badges with names in large type were very popular as well. This year's goal was to produce a distinctive and practical design package that could be used for future con ferences and thus provide considerable savings in time, effort and expense. A look at next year's conference graphics and the report from the publications subcommittee will indicate </p><p>whether this goal is being met. Finally, a word of special thanks to the many persons who </p><p>worked so hard to make this conference a success, par ticularly the individual program planners and the conference hosts-members of the local D.C./Maryland/Virginia chapter. I </p><p>wish also to express special gratitude to the National Gallery of Art for its support of my ARLIS/NA conference work these past two years. Serving as the conference chairman has been an incredibly rewarding experience for me, chiefly because of the opportunity it provided to work with many of you and learn from your varied skills and expertise. Together we pro duced a conference of which, I believe, we can all be proud. </p><p>Caroline Backlund 1987 ARLIS/NA Conference Chairman </p><p>February 15 </p><p>The auditorium of the National Gallery of Art was the set ting for the fifteenth annual ARLIS/NA convocation. Henry Mill?n, Dean, Center for Advanced Study in the Visual Arts, welcomed the conference attendees to Washington and to the National Gallery of Art. ARLIS/NA President Susan Craig welcomed the audience to the conference. She thanked Mr. Mill?n for the Gallery's most gracious hospitality in hosting the convocation and reception, and thanked Ars Libri, Ltd. and Harry N. Abrams for their generous support of the reception. Her thanks to Caroline Backlund, Conference Chair, for a truly outstanding conference were reinforced by enthusiastic ap plause from the audience. </p><p>Ms. Craig then began the program by introducing Lynette Korenic, Chair of the Travel Award Committee. Ms. Korenic announced the expansion of the awards during 1986, from one award to three, each with a distinct purpose (see inset). Marc Zeitschik from Clearwater Publishing Company pre sented the 1987 Clearwater Travel Award to Ute Wachsmann Linnan, a student at the UCLA Graduate School of Library and Information Science. Charles Chadwyck-Healey presented the </p><p>Chadwyck-Healey Professional Development Award to Eliz abeth DeMarco, Public Service Librarian at the Munday Branch of the Onondaga County Public Library. Gail Gilbert was presented the G.K. Hall Conference Attendance Award by Donna Sanzon? of G.K. Hall. Ms. Gilbert is Head, Margaret M. Bridwell Art Library at the University of Louisville. </p><p>President Susan Craig then introduced Jack Perry Brown, Chair of the 1985 Wittenborn Award Committee, who pre sented the 7th Annual Wittenborn Award for three outstand ing publications. Dr. Claribel &amp; Miss Etta: The Cone Co/lection of the Baltimore Museum of Art, by Brenda Richardson, pub lished by the Baltimore Museum of Art, was honored for being "a sparkling combination of biography and art history, with readable text, precise notes and scholarly detail, and excellent production." Peter Hastings Falk's Who Was Who in American Art, published by Sound View Press, was described as "a labor of love, a reference work of enduring value." The award to Edith Appleton Standen's book, European Post </p><p>Medieval Tapestries and Related Wall Hangings in the Metro politan Museum of Art, honors "a work of careful, insightful scholarship and a lifetime of connoisseurship, respectfully and elegantly presented." Karen McKenzie, Chair of the 1986 </p><p>Wittenborn Award Committee, presented the 8th Annual Wittenborn Award to two publishers. Penumbra Press was presented an award of excellence "for its ongoing commit ment to the publishing of source documents in Canadian art history, together with excellence of design." Martha Sandweiss's exhibition catalogue, Laura Gilpin: An Enduring Grace, published by the Amon Carter Museum, was hon ored as "a work of scholarship, sensitive interpretation and elegant design." </p><p>The annual presentation of the Gerd Muehsam Award fol lowed. Jeannette Downing, Chair of the 1986 Gerd Muehsam </p><p>Award Committee, presented the award to Sigrid Docken Mount for her paper "Evolutions in African Art Exhibition Cat alogues." The paper covers the study and documentation of African art by tracing the development of the exhibition catalogue as a scholarly resource. Ms. Mount wrote the paper while earning her M.L.S. at Indiana University. She also holds a masters degree in art history and has studied and taught art in Africa. She is currently Arts Bibliographer at Vanderbilt University. </p><p>Caroline Backlund presented the second ARLIS/NA Dis tinguished Service Award to Antje Bultman Lemke (see inset). In accepting the award Ms. Lemke noted that she was par ticularly happy because she follows Bernard Karpel in receiv ing this honor. She said that the award is important to her "because the turning point in art librarianship from i...</p></li></ul>