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Journal articles on the topic 'Canajoharie Library and Art Gallery'

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Published: 26 July 2024

Last updated: 27 July 2024

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1

Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.

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2

Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.

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3

Massis, Bruce. "Art galleries in the library." Information and Learning Science 118, no. 9/10 (October 10, 2017): 566–68. http://dx.doi.org/10.1108/ils-08-2017-0083.

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Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may not have considered including an art gallery in their libraries to consider the possibility of doing so.

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4

Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future." Art Libraries Journal 20, no. 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.

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5

Tulloch, Pamela. "Integrating art – a Glasgow style." Art Libraries Journal 28, no. 3 (2003): 42–46. http://dx.doi.org/10.1017/s0307472200013237.

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Glasgow’s Mitchell Library is one of the largest public reference libraries in Europe. Recently, the City Council’s Cultural and Leisure Services staff have implemented an innovative approach to providing art information for the general public in the ‘Library @ GoMA – the learning gallery’, which opened in 2002 within the Gallery of Modern Art. In addition to the support the library offers to the Gallery’s activities, an ambitious programme of digitisation is under way to enable access to more of the Mitchell’s treasures.

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6

Dogu, Hikmet. "Exhibiting library books in an art gallery." College & Research Libraries News 50, no. 3 (March 1, 1989): 210–12. http://dx.doi.org/10.5860/crln.50.3.210.

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7

Shu, Yue, and Reiko Yoshimura. "The Chinese Collection of the Freer Gallery of Art | Arthur M. Sackler Gallery Library." Art Libraries Journal 39, no. 2 (2014): 33–38. http://dx.doi.org/10.1017/s0307472200018290.

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The library of the Freer Gallery of Art | Arthur M. Sackler Gallery is considered one of the finest East Asian art research collections in the United States. The development and progress of the library’s Chinese Collection has mirrored the historical changes in the field of Chinese art studies in the last one hundred years. Today, the library collection has more than 90,000 volumes, including 17,437 Chinese language monographs and 836 serials in over 25,000 volumes. In a landscape of changing scholarship, technology and user demands, the library is balancing the use of printed materials and digital resources and collaborating with other libraries to continue to meet the needs of curators, researchers and visitors.

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8

Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.

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9

Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.

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10

Schnell, Hayley. "The Technikon Natal Art Library: An overview." Art Libraries Journal 20, no. 4 (1995): 19–21. http://dx.doi.org/10.1017/s0307472200009585.

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The Fine Art Department at Technikon Natal is supported by the Library’s art section, and by the Technikon art gallery. Within the library, the art collection, which is the responsibility of a subject librarian, is an integral part of a multi-disciplinary resource. The scope of the collection is broad, but special efforts are being made to collect documentation of South African art.

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11

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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12

Ochigbo, Best, and Ime Ukim. "Achieving Excellence in Art Gallery Management in a Global Pandemic." Asian Journal of Interdisciplinary Research 5, no. 1 (March 2, 2022): 19–25. http://dx.doi.org/10.54392/ajir2213.

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The recent global pandemic, Covid-19, has crippled the activities of virtually all sectors of the world’s economy, including art. This has resulted in low patronage and, in some cases, a total shutdown of art galleries in the world. Managing an art gallery has, therefore, become a herculean task. This discourse, therefore, takes a look at achieving excellence in art gallery management in a global pandemic. Its objectives are to find ways of achieving excellence in art gallery management in a global pandemic; advance possible ways or means of creating innovative management strategies, and ascertain the role of art management in the visual art sector for effective service delivery. The paper relied on library and internet sources and participant observation research methods. The paper concludes that transparency, resilience, and speed are required to achieve excellence in art gallery management in a global pandemic. It is recommended that Art galleries should evolve by employing online access to doing business alongside traditional methods.

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13

Tinsley, Philippa. "Admusing adventures at Wolverhampton Art Gallery." VINE 27, no. 4 (April 1997): 47–50. http://dx.doi.org/10.1108/eb040655.

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14

Murdoch, John W. "Aberdeen Art Gallery image database project: A Prototype Low-Cost Art Image Database." Art Libraries Journal 21, no. 1 (1996): 23–28. http://dx.doi.org/10.1017/s030747220000972x.

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As a pilot project, a low-cost image database of selected works in the Aberdeen Art Gallery has been created. The database is available to members of the public in the Gallery’s library. It is hoped that the project can be developed further, with a CD-ROM as a possible outcome.

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15

Pulford, David. "The Library of the Barber Institute of Fine Arts at the University of Birmingham." Art Libraries Journal 35, no. 4 (2010): 24–28. http://dx.doi.org/10.1017/s0307472200016631.

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The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

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16

Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”

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17

Frost, Jonathan. "The Michaelis Art Library: Thirty Years in a Changing City." Art Libraries Journal 20, no. 4 (1995): 13–15. http://dx.doi.org/10.1017/s0307472200009561.

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The Michaelis Art Library, part of the Reference Division of the Johannesburg Public Library Service, originated with a collection of books purchased for the planned Johannesburg Art Gallery in the 1920s. Temporarily and then permanently housed in the Public Library, the collection became the nucleus of a growing art library, the largest public art library in South Africa. In recent years usage of the library declined as a result of political tensions, but then increased in parallel with a surge of vitality in the arts which heralded the end of apartheid and the emergence of democracy. During 1995 the Michaelis Art Library was due to move into Johannesburg’s central library building.

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18

Vicars-Harris, Oliver. "COLLAGE “the Corporation of London Library & Art Gallery Electronic”." Art Libraries Journal 24, no. 1 (1999): 48–51. http://dx.doi.org/10.1017/s0307472200019349.

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The Corporation of London (the local authority for the City) recently launched COLLAGE, a powerful custom-designed visual information system, whose aim is to transform public accessibility to the extensive visual collections held in its libraries and galleries. Over a period of eighteen months a dedicated team of staff photographed, digitised and indexed over 30,000 works of art as the result of an intensive data imaging project. So far the works are drawn from the Guildhall Library and Guildhall Art Gallery - collections particularly renowned for their strength in material relating to London, which is now widely and easily accessible on dedicated workstations in the City, as well as via the Internet.

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19

Vicars‐Harris, Oliver. "COLLAGE: the Corporation of London Library and Art Gallery Electronic." New Library World 100, no. 2 (April 1999): 60–64. http://dx.doi.org/10.1108/03074809910263783.

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20

Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (April 2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.

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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite numerous challenges.

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21

Andersen, Josephine, and Nozuko Mjoli. "Beyond the walls: taking the art library to the community." Art Libraries Journal 20, no. 4 (1995): 22–24. http://dx.doi.org/10.1017/s0307472200009597.

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The South African National Gallery (SANG) Library has been making its resources available to school teachers since 1992. Now a new outreach project, which has been in a planning stage for some months, has been started with the loan of material to libraries situated at some distance from the centre of Cape Town.

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22

Waddington, Murray. "The national role of the Library of the National Gallery of Canada." Art Libraries Journal 19, no. 1 (1994): 27–29. http://dx.doi.org/10.1017/s0307472200008671.

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The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be shared with colleagues and students; initiation and promotion of collaborative projects. As a federal body the National Gallery of Canada is excluded from funding sources available to others, but will support the projects of others. A national task force is needed to outline and develop a Canadian strategic plan for art libraries.

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23

Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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24

Arnadottir, Arndis S. "Art and libraries in Iceland." Art Libraries Journal 12, no. 2 (1987): 18–20. http://dx.doi.org/10.1017/s0307472200005149.

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Iceland’s cultural heritage dates back to the Vikings. While crafts have always been important to the Icelandic way of life, the country has become much more art and design conscious with the development of educational and cultural institutions in the last hundred years. The National Library receives copies of all Icelandic publications and publishes the Icelandic national bibliography (which includes art but omits some exhibition catalogues); in addition the Library of the National Gallery collects all published literature on Icelandic art. There is a major art collection in the University Library and a specialist art library at the Icelandic College of Arts and Crafts. The Nordic House at Reykjavίk accommodates an artotek. Because of its isolation, Iceland is unusually dependent on libraries for knowledge of world art, and much work remains to be done on the bibliography of Icelandic art. However, art librarianship has made substantial progress since the 1970s, and training in art librarianship is available.

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25

Woodhouse, Nicola. "The Hector Library, Museum of New Zealand Te Papa Tongarewa." Art Libraries Journal 24, no. 4 (1999): 31–38. http://dx.doi.org/10.1017/s0307472200019799.

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The Hector Library started life in 1867 as a science library with a strong geological bent. The establishment of Te Papa, New Zealand’s new national museum, in 1992 led to a merger with the erstwhile National Art Gallery Research Library, renowned for its resources on contemporary art. The enlarged Hector, with dual specialities in art and natural history, is part of the re-designed information package servicing Te Papa visitors (both in person and distant) at the Museum’s new waterfront site which opened to the public in February 1998. This paper outlines the package, focusing on the Hector’s collections and services, and also posits the relevance of its resources in the context of global art documentation.

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26

der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.

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27

Dwyer, Melva J. "Fine arts libraries in British Columbia: culture on the West Coast of Canada." Art Libraries Journal 24, no. 3 (1999): 5–7. http://dx.doi.org/10.1017/s0307472200019556.

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Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.

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28

Basagni, Carla. "Introducing our secondary school students to an important art library: Internships at the Uffizi Prints and Drawings Library." Art Libraries Journal 42, no. 4 (September 19, 2017): 195–97. http://dx.doi.org/10.1017/alj.2017.35.

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How can we entice adolescents into a “behind- the- scenes” world of an art library? The internship project at the Prints and Drawings Library is now in its 7th successful year. Young Florentine students are introduced to the working of the bibliographic research done by the librarians and are given the opportunity to carry out their own projects. At the end of the week they visit the masterpieces on show in the Uffizi Gallery.

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29

Franklin, Jonathan. "Going, going, gone: art auction catalogues from 19th-century Canada." Art Libraries Journal 24, no. 4 (1999): 44–48. http://dx.doi.org/10.1017/s0307472200019817.

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The art auction trade flourished in Canada as the 19th century progressed, pitting local artists against importers of European art; yet today there are relatively few preserved catalogues to show for all this activity. The National Gallery of Canada Library has been documenting the survivors, creating records in the SCIPIO database and arranging for microfilming. Individual lots have also been indexed (some of the idiosyncracies of auction catalogue entries are described below) and a Library Occasional Paper is to be published with a bibliographical listing and historical essay on the art auction in 19th-century Canada.

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30

Sorensen, Lee, and Irene Avens. "ACADEMIC TOL: On Running a Small Art Gallery in an Academic Library." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (October 1987): 121–23. http://dx.doi.org/10.1086/adx.6.3.27947785.

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31

Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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32

Franklin, Jonathan. "Museum libraries and library history: joining the research conversation at the National Gallery." Art Libraries Journal 44, no. 1 (January 2019): 19–22. http://dx.doi.org/10.1017/alj.2018.35.

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Responding to widespread changes in the role of the museum library, the National Gallery Library is adapting to join the research conversations within the institution, as well as in the wider arenas of art history and library history. Using the historic Eastlake Library as a focus, the library has been embarking on projects on several fronts: cataloguing rare books online; selective digitisation; collaboration with the Digital Cicognara project; publishing our own research; and establishing an innovative Collaborative Doctoral Partnership as one way of creating research opportunities for others.

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33

Houghton, Beth. "The Hyman Kreitman Research Centre for the Tate Library and Archive." Art Libraries Journal 27, no. 4 (2002): 19–24. http://dx.doi.org/10.1017/s0307472200012815.

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The Hyman Kreitman Research Centre for the Tate Library and Archive opened at Tate Britain in May 2002. The Library (covering those areas collected by the Gallery) and the Archive (covering British art since 1900) together constitute a centre of excellence for the study of modern art, particularly British. The new Centre, comprising storage for up to 20 years and reading rooms for around 40 people, has been built in a refurbished area of Tate Britain. The design aimed to comply with BS5454 and issues of compact storage, security, reading rooms without daylight, fire and flood hazards have been addressed.

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Cieszkowski, Krzysztof Z. "Heresy and the pleasures of the hunt." Art Libraries Journal 16, no. 01 (1991): 20–24. http://dx.doi.org/10.1017/s0307472200018927.

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This conversation between the distinguished art historian, Professor Sir Ernst Gombrich, and Krzysztof Z. Cieszkowski of the Tate Gallery Library, took place in Professor Gombrich’s home late in 1990. Professor Gombrich recalls making use of a number of libraries, and offers some thoughts — from an art historian’s point of view — on librarians, who, it is suggested, tend to make too much of professional skills at the expense of knowledge.

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Young, Jacklyn. "Allied forces: libraries and museums collaborating on World War II provenance research." Art Libraries Journal 29, no. 2 (2004): 33–36. http://dx.doi.org/10.1017/s0307472200013596.

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In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.

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36

Franklin, Jonathan. "Thinking outside the books: from printed page to web resource at the National Gallery of Canada Library and Archives." Art Libraries Journal 34, no. 1 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015698.

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How does an art museum library move into the digital arena? An account of four recent and current projects at the National Gallery of Canada Library and Archives, involving the extraction of information of value from printed matter and its re-presentation on the web, throws light on this topic. The selection of resources for digitization, and the challenges of an integrated approach, have also raised issues requiring discussion and solution.

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37

Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.

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Cronquist, Carol. "An Ohio librarian makes a ‘find’." Art Libraries Journal 18, no. 4 (1993): 24–27. http://dx.doi.org/10.1017/s030747220000852x.

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In the course of researching the life and work of a 19th century British artist, Henry Courtney Selous, several London museums and libraries were visited during 1993. The Royal Academy and the National Portrait Gallery yielded some information, but at the Guildhall Library the author’s attention was drawn to a diary held at the National Art Library which on perusal seemed undoubtedly to have been compiled by Selous. The Library has subsequently revised the diary’s catalogue entry to incorporate this attribution.

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Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.

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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.

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Beglo, Jo. "Today is for tomorrow: the National Gallery of canada Library collection policy in context." Art Libraries Journal 19, no. 1 (1994): 13–15. http://dx.doi.org/10.1017/s0307472200008634.

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Art librarians in Canada find themselves in the position of Janus, who simultaneously turns one face to the past and the other toward the future. They have the responsibility to care for collections from the past; at the same time they face a future of continuous change, escalating costs, dwindling resources and institutional agendas. Long-range planning is essential, and an up-to-date collection development policy is fundamental for identifying strengths and weaknesses, confirming commitments and setting priorities. The National Gallery of Canada Library (NGCL) has recently developed a draft collection policy which is now under review within and outside the Gallery. In addition to considerations of selection and bibliographic control, the policy deals with related companion activities such as evaluation, interpretation, and preservation.

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Derillo, Eyob. "Exhibiting the Maqdala Manuscripts: African Scribes: Manuscript Culture of Ethiopia." African Research & Documentation 135 (2019): 102–16. http://dx.doi.org/10.1017/s0305862x0002392x.

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The major purpose of this article is to document the exhibition “African Scribes: Manuscript Culture of Ethiopia” (hereafter “African Scribes”), which opened on 6 February 2018 in the Sir John Ritblat Treasures of the British Library Gallery in London.Items in the Sir John Ritblat Treasures of the British Library Gallery range from the 4th century Codex Sinaiticus to John Lennon's letters. The display tells the I literary history of Europe, Asia and the Middle East. Out of the 240 items on permanent display, there are only two items from Ethiopia representing Africa.The main objectives of the “African Scribes” exhibition were to pay tribute to unknown Ethiopian scribes and artists and also, to a certain extent, to direct attention to some diverse and significant items in the British Library collection that had never been on display before. The display explored the art, binding and calligraphy of manuscripts of Ethiopia.

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Schmocker, Susan. "Strengths and weaknesses in the international library exchange programme at the Art Gallery of New South Wales." Art Libraries Journal 13, no. 4 (1988): 24–25. http://dx.doi.org/10.1017/s0307472200005952.

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Since the 1970’s the international Exchange Programme at the Art Gallery of New South Wales has become more demanding. Consequently attention has been focussed on the strengths and weaknesses of various aspects of the programme. While some, though not all, of these weaknesses may be capable of being overcome, they are in any case outweighed by the benefits of exchange.

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Phillpot, Clive. "Three acronyms, two opportunities, one millenium: ruminations on the present and future states of art Librarianship in Britain, occasioned by the 25th birthday of ARLIS/UK & Ireland." Art Libraries Journal 20, no. 1 (1995): 4–6. http://dx.doi.org/10.1017/s0307472200009159.

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ARLIS/UK & Ireland can be proud of the achievements of its first 25 years, but might benefit both from re-examining its objectives and by broadening its constituency. The fact that the National Art Library (NAL) is now fulfilling a role commensurate with that title is welcome indeed, but art libraries should be wary of depending too much on the leadership of a national library. The Visual Arts Library and Information Plan (VALIP) offers a not-to-be-missed opportunity for ARLIS and the NAL together to ensure the continuing development of art librarianship in Britain into the foreseeable future; the absence of a national bibliographic database, however, must be a handicap to future progress, while the state of art provision in public libraries is a matter of concern. ARLIS is working too exclusively for specialists; as it approaches the year 2000 its biggest challenge may be the needs of people at large. (The text of a paper presented at the ARLIS/UK & Ireland Members’ Day at the Tate Gallery, London, on the 8th November 1994).

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Beaucar, Barbara, Adrienne Pruitt, and Katy Rawdon. "‘Art is no trivial matter’: the Barnes Foundation Archives and Library." Art Libraries Journal 33, no. 1 (2008): 22–27. http://dx.doi.org/10.1017/s0307472200015182.

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The Barnes Foundation is an educational institution located near Philadelphia, Pennsylvania. The Foundation’s world-renowned art collection and its twelve-acre arboretum serve its mission to promote the advancement of education and the appreciation of fine arts and horticulture, through classes and workshops held in the Gallery and the Arboretum. The staff of the Foundation’s long-neglected archives and library is in the process of organizing and cataloguing its collections, and has recently completed a major grant-funded project to create finding aids for several of them.‘[A]rt is no trivial matter, no device for the entertainment of dilettantes, or upholstery for the houses of the wealthy, but a source of insight into the world, for which there is and can be no substitute, and in which all persons who have the necessary insight may share.’ – Albert C. Barnes, Preface to Art and education (Merion, Pennsylvania: The Barnes Foundation Press, 1929), vi.

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Farmer, Thomas. "Christopher de Hamel, The Medieval World at Our Fingertips: Manuscript Illuminations from the Collection of Sandra Hindman. London: Harvey Miller Publishers, 2018, 264 pp., 270 color illus." Mediaevistik 31, no. 1 (January 1, 2018): 453–54. http://dx.doi.org/10.3726/med012018_453.

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Sandra Hindman has enjoyed a distinguished career as an art historian: She taught at Northwestern University (1984–2002), published numerous books and articles, served on the Board of Trustees of the Newberry Library (2003–14), and founded the gallery Les Enluminures, which purchases medieval manuscripts and miniatures. To honor her scholarship, from January 27 to May 28, 2018, the Art Institute of Chicago mounted an exhibition of thirty manuscript miniatures from Hindman’s personal collection, seven of which she had donated to the Art Institute. The Medieval World at Our Fingertips is the catalogue accompanying this exhibition, and it is a delightful tribute to Hindman’s career.

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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.

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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.

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Althofer, Jayson. "‘Lover of the real Australia and sane art’: William Bolton MBE and the Lionel Lindsay Art Gallery and Library." Australian Library Journal 56, no. 3-4 (November 2007): 233–50. http://dx.doi.org/10.1080/00049670.2007.10722420.

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Reed, Robyn, and Julie Lohnes. "Tripping the Black fantastic at a PWI: Or how Afrofuturist exhibitions in an academic library changed everything." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 116–29. http://dx.doi.org/10.1177/0955749019876383.

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There is diversity in our stacks and cultural collections. How might an academic library present these differently from a museum or art gallery to create dynamic and inclusive exhibitions? This case study will examine the use of our library’s spaces to showcase its collections and art, which are often more representative of diverse populations than the campus at large, to present a theoretical and practical framework with which other libraries might exhibit their rich resources. As part of our theoretical discussion, we will take up such practical issues as displaying cultural work in a non-museum setting, anticipating possible resistance and cultural challenges, and exploring partnerships between art curators and academic librarians. We also hope to show how such exhibits can forge new relationships with teaching faculty and foster more meaningful interactions with students and community users. Additionally, the Afrofuturist exhibit and art installation presented in this article will show how a library can be purposeful in art and artifact displays that reflect the institutional commitment to inclusion and diversity and support student retention efforts.

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Sari, Desy Novita, and Rahmi Rahmi. "National Gallery of Indonesia’s Website Evaluation Using WebQual 4.0." Paradigma - Jurnal Komputer dan Informatika 25, no. 2 (September 6, 2023): 71–80. http://dx.doi.org/10.31294/p.v25i2.2022.

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Although there is a lot of research on websites, there is very little research on art gallery websites in Indonesia. As a result, this study examines the quality of the National Gallery of Indonesia’s (commonly referred to as Galnas) website as a source providing information about the gallery by analyzing end-user perceptions through methods such as WebQual 4.0, importance–performance analysis, and customer satisfaction index (CSI). Fifty undergraduate and postgraduate college students in the Library and Information Science (LIS) program of the Faculty of Humanities at the University of Indonesia were selected as respondents based on convenience sampling. The study found that compared to other sources of information, the Galnas website was chosen the least, but the overall services of the website met user expectations, as evidenced by a CSI score of 83.88% for undergraduate college students and a CSI score of 74.96% for postgraduate college students. This research contributes to the enhancement of the quality and accessibility of the Galnas website.

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FOX-PITT, SARAH. "THE TATE GALLERY ARCHIVE OF TWENTIETH CENTURY BRITISH ART, ITS FORMATION AND DEVELOPMENT." Archives: The Journal of the British Records Association 17, no. 74 (October 1, 1985): 94–106. http://dx.doi.org/10.3828/archives.1985.9.

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