NEWS FROM THE CHAPTERSAuthor(s): Peter AnthonySource: ARLIS/NA Newsletter, Vol. 1, No. 4/5 (SUMMER 1973), pp. 21-23Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27945197 .

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But all his power came from his eyes, they were glowing and

shining?a lighthouse burning within and radiating, giving light, to the world around him. In Artforum, September 1972, his self-portrait appeared, a masterpiece of photomontage, i.e. a

composition of overlays on a background of millimeter graded paper. The reproduction is too dark, compared to the prirvt I

treasure, as it was made by Lissitzky himself around 1924 in

Hannover. In fact, he uses all iconographie elements to charac

terize a designer, but I cannot quite agree with Birnholz who

implies that the circle in the rear of the head of Lissitzky is meant to be a halo, to glorify the creative work of the artist.

Lissitzky has closed the door locking out old time (Christian symbol). However, the perfect form of the circle is eternal.

Perhaps it means the sun of reason. It is not quite closed, but allows the artist-explorer to enter. There is much more

for him to learn and to discover. ?Kate Steinitz

Honorary ARLIS/NA Member

IMPRESSIONS/EXPRESSIONS An answer to the query about internships in North America

with regard to art librarianship cited in Newsletter 2 produced this response from Jane Nelson of the De Young Memorial

Museum library:

This is how the University of California Library School's Field

Study program has worked, in my experience: The library

needing assistance informs the library school, either in writing or by telephone, of the project. This can be anything the li

brary needs done, a very special project which it could not

otherwise afford having done, or very routine work. The "job" is posted ?t the library school and applicants call to come to be

interviewed. The project can be for one quarter only, or it can

be extended. The student reports to a professor in the school,

and at the end of the project is required to write a report on

what was done. The librarian and the professor communicate

very informally, by telephone. In the Spring Quarter of 1973 I had 2 students. One did re

cataloging of the collection. We both felt that this was a good

way to begin, because the cards were already available as a guide, and the student needed to check to see if the book was correctly

cataloged, and then to re-Cutter it. Towards the end of the

quarter, she catalogued books which had not been done,

after having 4-5 weeks of practice on the other books. In the

process, she learned what to use as guides when you were not

sure which number or what number to use, use of the shelf list,

and generally why cataloging is done as it is-a very practical exper ience.

The other student made a bibliography of publications of the

two museums, including exhibition catalogues of shows which

had been exhibited here, but whose catalogues were pub lished by other organizations. This was extremely useful to

us as an information source; something she realized, since

many of us availed ourselves of her work even while it was

in progress. She seemed impressed by the fact that the museum

actually needed what she was doing. The first is an example of getting trained assistance

for routine work, the second of a special project. I am

delighted with the success of both arrangements and feel

that the experience was most valuable for the students.

Mrs. Elizabeth C. Booth of the Henry Clay Frick Fine Arts

Library reports that in connection with the matter of poor

binding practice, especially gluing, rather than sewing, books

which seem to be of excellent quality otherwise?good plates

good typography, hard cover, etc., she is keeping a listing of

those books arriving in her library which fall apart on first

handling?and suggests others do so as well. She feels this

is ammunition for some concerted action, individually and

together, to pressure publishers for better binding practice. She also has indexed by author of critique and author of

book reviewed the recent reprint edition of Kritische Berichte

zur Kunstgeschichtlichen Literatur (Leipzig, 1927-37. Hildes

heim, Georg Olms, 1972). She is sure that this has been done

before, for the original 6 parts, but new purchasers might

possibly welcome this effort. The Frick Fine Arts Library,

University of Pittsburgh, will send a 9-page photocopy of

typescript for $2, including postage, to anyone in North

America desiring it.

In unity there is strength, and Elizabeth Fitton Folin, Fine

Arts Librarian of the Frick Fine Arts Library throws out this important suggestion for consideration. Your Chairman

would appreciate feedback concerning this issue.

Mrs. Folin mentioned the indispensable tool of the Inter

national Directory of Arts which we all know and use, which

she cites includes just about everything except art libraries

and art librarians. Most of the art librarians in this country would be aided considerably by knowing whether or not a cer

tain art department, or museum had a real library and if so, its

name and the name of the librarian. To be sure, in the distant

future ARLIS/NA plans to produce such an international

directory of detailed information on art libraries and art li

brarians with international assistance. But what Mrs. Folin

feels important is that this information, although slight, should

be included in an art directory rather than just in library directories.

She further suggests that if ARLIS/NA members agree to

promote the idea with publishers and also with other art li

brarians, we could then make sure that when departments or

institutions send in the next listing for these directories, some

of which I shall mention later, then a mention should be made

of the name of the art librarian and the existence of the art

library. Certainly, this is not the place for a description of the

library, but just a listing. In addition, not only should this be included in the Inter

national Directory of the Arts, but in the American Art Direc

tory which apparently will include in 1974 "libraries with

important print and book collections", and also in the Official Museum Directory.

More than food for thought, there is action to be taken upon these issues, and your Editor solicits your comments.

NEWS FROM THE CHAPTERS ARLIS/BOSTON

On May 17 the staff of the Rotch Library, M.I.T., hosted

a luncheon at the M.I.T. Faculty Club for art librarians in the

Boston area. The purpose of the meeting was twofold: to pro vide a relaxed setting in which to make new acquaintances and

renew old friendships among our colleagues and to discuss the

possibilities of forming a local chapter of ARLIS/NA. Invita

tions were extended to twenty-six librarians, and to our de

light all twenty-six attended representing the following insti

tutions: The Archives of American Art, the Architects Colla

borative, Inc., Boston Architectural Center, the Boston Athe

naeum, Boston Public Library, Boston University-Mugar Li

brary, Brandeis University, Harvard University's Fine Arts

Library, Graduate School of Design Library, Peabody Museum

of Archaeology and Ethnology Library, M.I.T.?Rotch Library, Museum of Fine Arts, University of Massachusetts?Boston,

and Wellesley College?Jewett Arts Center Library.

Wolfgang Freitag of the Fine Arts Library, Harvard Univer

sity, spoke informally to the group, putting ARLIS/NA in historical context with other associations of art librarians for

those present unfamiliar with the organization and briefly

outlining its goals on a national as well as local level. Response to the suggestion of the formation of an active local chapter

was enthusiastic, and accordingly the group agreed to meet again in four weeks and to continue to meet on a monthly basis at

the various institutions represented. We are not yet an official

chapter replete with charter and officers, reports Mrs. Lenis

Williams, but with such an auspicious beginning that step should

not be too far off.

The June meeting was to be held on the 21st at the Univer

sity of Massachusetts with Fine Arts Librarian Andrew Cas

tiglione as the host. ARLIS/BOSTON wishes to welcome all

persons working in or interested in art libraries, support staff

as well as professionals, to the meetings. Anyone whom Mrs.

Williams did not reach for the initial meeting who desires further

information about Boston area meetings should please contact

Mrs. Lenis Williams, Slide Librarian, Rotch Library, Room 7-238,

M.I.T, Cambridge 02139, telephone 253-7053.

21

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CANADA

Canadians will be interested to know that the "NA" (or "North

America") in ARLIS/NA was chosen specifically to make them feel welcome in the new organization.

When the outlines of the organization were being formulated in Chicago (June, 1972) predominant throughout the meetings

was the concept that it would be one facet in an international

network, mirroring the international (or supernational) nature of art itself, though, of course, national and regional character istics are of great importance.

Being the only Canadian present in what at that stage was of

necessity a working group limited in size, 1 was especially con

sulted about the suitability of NA (as opposed to U.S.) to dif

ferentiate this body from the original U.K. organization. Cognisant of national sentiment but at the same time aware

that despite the unceasing efforts of its chariman, Melva Dwyer, the Art Libraries Committee of CASL1S could rarely obtain

any appreciable attendance of art librarians at CLA conferences, I felt that at this time a wholly independent Canadian organiza tion would be premature. Nevertheless, 1 felt that many Cana dian art librarians would welcome the opportunity to take an

active part in an organization which planned to meet at the same time as the College Art Association, and so be able to

take advantage of the array of interesting meetings, lectures, art book displays, etc., when not attending the library oriented

meetings which brought them there. As there have always been a number of Canadians in attendance at CAA, they could also meet separately as a group to formulate specifically Canadian

projects and promote developments of national concern while at the same time making their rightful contribution to

continent-wide concerns.

Accordingly, I favoured the "NA" designation as providing an umbrella of welcome to prospective Canadian members, rather than having them join another U.S. association.

However, 1 could not presume to speak for Canadians as a

whole on this matter and, furthermore, did not want to jeop ardize any organization affiliations or initiatives among art

librarians in Canada. Because previous commitments and per sonal obligations would prevent me from taking any further active role in ARLIS/NA for over a year, I provided the

fledgling organization with the names of two notable Canadian art librarians who might be contacted on these matters. As

negative response to "NA" did not materialize, the organiza tion proceeded apace as originally conceived, and has proved

quite successful. With the next meeting of CAA and ARLIS/NA scheduled

for Detroit just across a river from Canada and near its Eastern

concentration of art libraries, many Canadians might find it

convenient to attend. They might also find an opportunity to

confer on the future of art librarianship in Canada and what

organizational arrangements may best meet its needs. It is my

personal opinion that the formation of a Canadian Chapter of ARLIS/NA would best suit the needs of Canadians at

present, but other arrangements may be desired by Canadians and any which would advance the cause of art librarianship in

Canada would be welcome. ?Peter Anthony

Architecture & Fine Arts Librarian

University of Manitoba

ARLIS/SOUTHERN CALIFORNIA

The Southern California chapter of ARLIS/NA will be having its first fall meeting in September at the Los

Angeles County Museum of Art, probably during the first week of that month. In addition, a group of art li brarians in the San Diego area have informed your Chairman of its desire to organize as a sub-chapter, since their

proximity is of such great importance for their meetings. Projects and establishment of a recognized chapter will

be discussed at the September meeting. For information, contact Judith A. Hoffberg, ARLIS/NA, P.O.Box 3692, Glendale, CA 91201.

22

ARLIS/TWIN CITIES

The Twin Cities Art Librarians Chapter of ARLIS held its second meeting on Friday, April 27, 1973. Mrs. Kathryn Blackwell was elected Chairman of the Chapter.

Discussion was held about ARLIS and its importance as an

independent organization open to all those interested in art

librarianship. A campaign to get more members of the Twin

Cities Chapter was discussed. Another point of discussion was exhibition catalogs and how

various members of the Chapter handle them. In addition, discussion of standing orders took place. In addition, the

meeting turned to the possibility of museum directors being asked to share holdings of exhibition catalogs of all shows held in Minnesota with all other libraries in the state. (That is in fact what ARLIS/NA is trying to promote on a regional basis, a cooperative system).

What is unique about ARLIS/TWIN CITIES is that they have their own Newsletter which reports news from the

meetings held and this Chapter should be commended for its enthusiasm and its initiative, largely due to Mrs. Blackwell.

ARLIS/WESTERN MISSOURI

Due to the division in the state of Missouri geographically, two groups have been generated as far as chapter organization goes, Western and Eastern Missouri. On Saturday, May 19, the Western Missouri Chapter of ARLIS /NA met at the William Rockhill Nelson Gallery. This was the first such meeting of its kind of the Western half of Missouri and was supported by librarians from as far west as Topeka, Kansas and as far east as

Columbia, Missouri. The hope is to eventually meet with li brarians from Wichita, Kansas and the St. Louis end of the state. At this point, it is not clear whether distance will make it imperative to have an East and West chapter of the Society in the Midwest.

The meeting was begun with a discussion of ARLIS/NA by Martha Kehde, Art Librarian at the University of Kansas at

Lawrence, and Editor of the project publication of a Directory of Art Librarians and Art Libraries in North America for ARLIS/ A. She discussed her work on the directory, and the discussion soon opened up to those attending who discussed their collections, staff, responsibilities and problems.

It was suggested that a first project of the Chapter might be a union list of serials of all the participating institutions. This will be brought up for further comment at the August meeting to be held jointly with the St. Louis art librarians. What was initially important about this meeting appeared to be that area art librarians were meeting each other for the first time.

ARLIS/NORTHERN CALIFORNIA

On May 22nd the ARLIS/NORTHERN CALIFORNIA chapter met at the Library of the San Francisco Museum of Art. Genie Candau, Museum librarian, presented the collection and its new location. Since the recent expansion of the Museum's

quarters in the Veterans' Building, the top fourth floor is given over almost entirely to gallery space. Administrative offices, classrooms and the library are on the third floor, as is the

newly established conservation laboratory. Thornton Rockwell, chief conservator, gave a thorough tour

of this extensive facility, which offers its services to the

general public as well as to museums of the area. The chapter had the opportunity to hear from both the

present chairman of the national organization, Judith Hoff berg, and from the chairman-elect, Jean Finch?a review of ARLIS/ NA past, present and future. For the near future, too, is our

resolution to do something about the paperwork for chapter status, before the fall meeting in late September or early

October.

Anyone interested in hearing about the next meeting should contact Mary Ashe, San Francisco Public Library, Art & Music Department, Civic Center, San Francisco, CA 94102.

ARLIS/NEW YORK

A multi-media presentation demonstrating the potential value of various media when working in the field of art documentation was given at the second meeting of the New York chapter. The artists whose works were represented in the presentation in which catalogs, periodical articles, photographs, slides, and

taped and videotaped interviews were used were Chuck Close,

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the Photo-Realist painter, and Vito Acconci, the Conceptualise Claus Kertess (Bykert Gallery) and Elean Wingate (Sonnabend Downtown Gallery) were the gallery directors represented by recorded interviews.

In the interview with Chuck Close, the artist commented

on his recent addition of color to his work and his use of

commercial color separations of photographs in order to de

termine his applications of shades of red, blue, and yellow to

his canvases. The recorded interview with Close was followed

by an interview with Claus Kertess in which impressions of Close

work were given and in which the gallery director's first ex

periences upon coming in contact with the artist's works were

outlined. In the recorded interview with Vito Acconci, the artist ex

plained his use of materials (a clock and a hanging light bulb in one piece; his own navel in another) and the concepts and

esthetic rationale behind his performance pieces. In a video

taped interview, the gallery director, Elean Wingate, presented the possible forms of documentation of one of Acconci's

pieces?documentary panels, publicity photographs, gallery archival materials, film, etc.

The report of the Art Documentation Committee utilized

interviews which were especially granted to ARLIS/NEW YORK for the presentation at the meeting. Also, slides were loaned

by the artists and galleries; and photographs were specially

tallen for the presentation by Stan Lewis.

numfcer of possible directions which the project might take in th? futuife are sien. Arkong the various types of msjerials k/hich Jnight Be

collated aje: slices and/or photo

libitedfen Nelr Yorl$ galleries, catalogs and other lis of ̂llerieswhichicouldtossibly be formed into \ and indexei archhlal colli ction,jand taped inter |lesser*knowif and minoriti artists. There is the

I becoming ariinterr ationa} exchange program, iconsiaeratio shou d be g^ven to making (the annual mi :eting >f ARLIS/NA in January : the

rjsssibil ty of ? ?curin| the support of

j members mi ?ht be nvestigated.

meefing fo! owed :he rerjort of the Art Docu

ittee. An ann >uncei lent Was made concerning ILIS/fsJA m< mbers ip directory and mention

lossibilty of jompil hg a directory especially ImemrlprshipjAlso

? nnounbed was the accep >Y as fie Nef York chapter of ARLIS/NA

by the Executive Board of the lation; I Society. The decision of the Charter Commu?e to request

< nly a voluntary contri

bution to the chapter ratfflst than to e tablish dues for the

remainder of 1973 was preserved. Th( .following officers were

elected to serve in an acting cajtacity f >r the remainder of

the year: David J. Patten, Art Index, ? ; Acting Chairman; Edith Meta Jaenike, SUNY at Pujxhas i, as Acting Vice

Chairman; and Susan V. Craig, At Inc , as feting

Secre

for ̂ie New Yor]

tan<% of A?

tary/Treasurer. A revised set of lylawJwas presented, and it was announced that a mail bal^t wouM be uled to ratify the bylaws after further suggestions were Atherefi from the mem

bership. At the end of the bifsThess

mating, secoild project com

mittee was formed for the purpose of ihvesti^ting the feasi bility of compiling-a dire&ory of sources of art library materi als id ated

i^, the

?4pw York area. Arthur H. Minters, book

seller was ekcted Chairman; and David Patten and llene

Sehe? iter wire apt?ointed as members of the Committee.

The s ope olthe directory was discussed, and it was tentatively

decid d thatjit sholld include book sellers; book publishers,

perio ical p&lishefs; museums, art galleries, and auction houses and distributors of visual materials, of the Chapter was announced for

wishing further information on the

/ Yorl chapter should senti their requests Secretary/Treasurer: Susan V. ?raig, c/o

W. Wjfson Company, 950|Univefsity Avenue,

|publi|ping c:

Th? nex Sept acti

fork |0452|

'NA Njwslettef is published

JCA [A* Libraifes Society of Nfcrth Ai

|P. O.

B|x 369$ Glendf le, Callornia Jopyrjht ? 1*73 by ARL1S/NORTH AMERfCA

for the next Newsletter is October 10, 1973

times |year by ARLIS /NORTH

rica], Judith A. Hoffberg, 201

?

FROM THE CHAIR Due to circumstances within our control, you notice that we are

issuing a double number of the Newsletter for several reasons. The news kept flooding in, the annual conferences of ALA and SLA were upon us, and I needed time. I think the delay was well

worth it, and I hope you agree. I believe both the news and the

special columns will amply satisfy the needs of our readers and

show the way for a very special October issue. In October, as well, a mailer will be sent to our members with the program for the

Detroit meeting, registration and hotel accomodation forms. In addition, a membership campaign will be launched in October to attract more members while announcing our plans for the Second Annual Conference.

But what is more interesting is a consistent pattern of arti

cles in the past two months on art publishing, a theme that will be echoed in our meeting in Detroit. First of all, a notable member of ARLIS/NA, Bernard Karpel, has compiled and annotated a bibliography of art publications by Arno Press. The catalog is beautifully printed and well illustrated, and is a welcome addition, even though it is a commercial catalog. As stated in the catalog, "To the professional researcher and

librarian, the entries and annotations will hint at the historical, factual and spiritual wealth to which outstanding individual talents, and now considerable commercial enterprise has been devoted. In essence, the library recorded here is homage of the

present to the past in the belief that a future without art is un

thinkable." Amen.

Secondly, the editorial in the May issue of The Connoisseur entitled "The Menace of the Co-edition" certainly pleads for standards which art publishers should set for themselves, in order that the art historian and author be not tyrannized by demands, largely premised upon saleability, rather than the

integrity of the author's skills and knowledge. In late April, John Canaday of the New York Times also

pleaded for accuracy in color reproduction in art volumes. As indicated by Mr. Canaday, art publishing beginning with Skira has thrilled the reader with exciting color, which not always is a true reproduction of the original patina of age. What publishers have done, for the most part, is to try to capitalize on their

sources, rather than serve their sources. Legitimate excitements can be reached if the publisher makes a conscious effort to

strive for accuracy, but more often than not, the publisher serves to do the original one better.

As art librarians, I am sure we all realize the discrepancies in color reproduction, especially if we have experienced the

original works. I remember my first time in Paris when I visited the Jeu de Paume and literally had a mystical aesthetic experi ence with the Impressionists. It was something indescribable, but I knew I was communing with them in an environment which they would have approved. I have just experienced these painters under bullet-proof plastic in Los Angeles, and have

gazed at their catalog in the Russian painting show at the Los

Angeles County Museum of Art. I am afraid that the catalog leaves much to the imagination as far as approximation of colors of the original paintings goes. If I went into detail, it would not be pleasant as far as standards of color reproduc tion are concerned. The intensification of tints has led to a

distortion of shocking inaccuracy. Mr. Canaday thoroughly agrees in his review of the show and especially the catalog in the New York Times of 29 April, citing the "evil so per sistent in art books that it has to be taken for granted." Well, fellow members, as we increase in numbers, let us persist in

setting standards for art publishing, as disseminators of art

information, true art information.

Consequently, ARLIS/NORTH AMERICA will be awarding its first Annual Art Publishing Award in January 1974 to the publisher of an art book who has created the finest publication in the art field in 1973, based on criteria such as good binding, good typography and paper, good index and bibliography, etc. The Committee selected to make this award consists of William B. Walker, Chairman; Peter Anthony, Fine Arts Library, University of Manitoba; Elizabeth Fitton Folin, Fine Arts Li

brarian, Frick Fine Arts Library, University of Pittsburgh; Wolfgang Freitag, Fogg Art Museum, Fine Arts Librarian; Eleanor Hartman, Librarian, Art Research Library, Los Angeles County Museum of Art; Jacqueline Sisson, Fine Arts Librarian, Ohio State University ; Joan Burns, Principal Art Librarian, 23 Newark Public Library.

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