Journal articles on the topic 'National Art Library'
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1
Lambert, Susan. "The National Art Library repositioned." Art Libraries Journal 27, no. 4 (2002): 5–11. http://dx.doi.org/10.1017/s0307472200012797.
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Archives, libraries and museums have for some time been trying out the advantages, for themselves and for each other, of working together and sharing long-term aims. These independent sorties were given a coercive impetus in April 2000 when the Government-funded Library & Information Commission and the Museums & Galleries Commission were replaced by the single-word Resource, to bring together ‘strategic advocacy, leadership and advice to enable museums, archives and libraries to touch people’s lives and inspire their imagination, learning and creativity’. At the Victoria and Albert Museum, the National Art Library, which already included the Museum’s Archives, has recently merged with Prints, Drawings and Paintings to form the Word & Image Department. The integration of the National Art Library with a department that has traditionally put greater emphasis on its curatorial role has suggested new paths of development for us all and, in particular, an enhanced contribution for the new Department across the full range of material culture as represented in the V&A’s collections. Thus the merger has acted as a catalyst to put into practice aspects of the Government’s agenda within a single institution. This article outlines some of the developments proposed for the Word & Image Department, with particular emphasis on implications for the National Art Library, its staff, collections and users.
2
Phillpot, Clive. "National art libraries: monoliths or artels?" Art Libraries Journal 13, no. 1 (1988): 4–8. http://dx.doi.org/10.1017/s0307472200005472.
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The ideal of a single, national art library is no more practicable than that of a single national library. The alternative is to regard all of a nation’s art libraries as comprising the national art library, taking advantage of their diversity and of their provision of a range of access points and policies. This requires effective co-ordination, preferably combining maximum co-operation with a minimum of centralisation, and including the rotation of specific responsibilities among participating libraries. An example of such a confederation of art libraries is represented by the network of art libraries within the Research Libraries Group (RLG) in the USA. A new RLG plan for achieving efficient co-operative cataloguing of exhibition catalogues demonstrates how a confederation of libraries can work together to act as a national art library, more effectively than would be possible for a single ‘monolithic’ library.
3
Meriton, John. "Training and the National Art Library." Art Libraries Journal 27, no. 1 (2002): 13–17. http://dx.doi.org/10.1017/s0307472200019921.
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The National Art Library at the Victoria & Albert Museum in London has always seen itself as primarily an educational institution, with training as an integral part of its fabric. There are two fundamental strands to this training the provision of training by our librarians to the users, and the training the staff receive in order to develop and better perform their jobs.
4
van der Wateren, Jan. "National Library Provision for Art in the United Kingdom: The Role of the National Art Library." Alexandria: The Journal of National and International Library and Information Issues 6, no. 3 (December 1994): 173–92. http://dx.doi.org/10.1177/095574909400600303.
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From its beginnings in 1836 as the library of the Government School of Design, the National Art Library (NAL) in the UK was intended to have an impact on design in the country. After the Great Exhibition of 1851 it former part of what was to become known as the Victoria and Albert Museum (V & A). By the 1850s it had already adopted the title of National Art Library, although it was called the V & A Museum Library between 1908 and 1985. By 1853 collections aimed to cover the arts and trades comprehensively, and by 1869 the NAL aimed also at comprehensive access to individual objects created in the course of history. By 1852, the library was open to all, although a charge was made at first. Various forms of subject indexing have been used; from 1877 to 1895 subject lists were prepared for internal use and sold to the public, and from 1869 to 1889 a remarkable Universal catalogue of books on art was produced. The present mission statement of the NAL focuses on collecting, documenting and making available information on the history and practice of art, craft and design, and the library aims its services at both the national and international community. However, its great 19th century contribution to published subject control of art materials has been almost completely absent in the 20th century. During 1994 the NAL will contribute records to the British Library (BL) Conspectus database, though there is little formal cooperation between the two libraries. As a specialist library it can organize its collections and index them in ways that are impossible for a comprehensive library such as the BL, and it therefore has an important part to play in the national library scene.
5
Esteve-Coll, Elizabeth. "Image and Reality: the National Art Library." Art Libraries Journal 11, no. 2 (1986): 33–39. http://dx.doi.org/10.1017/s0307472200004624.
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The Library of the Victoria and Albert Museum originated in the mid-19th century as the library of a School of Design, and adopted the title ‘The National Art Library’ later in the century following publication of the Universal Catalogue of Books on Art. Decades of steady growth and of low usage ended in the late 1960s, when sudden growth of art publishing, and of interest in art history, generated demands the Library was not equipped to meet. The Library possesses one of the world’s outstanding collections of art publications but is still funded, staffed, and administered as if its role was merely that of a Department of the Museum. Currently all aspects of the Library’s procedures and policies are under review; government funding is to be sought for a programme of computerisation, and it is hoped to redefine the Library’s role in national and international contexts and to re-establish it as the ‘heart and core’ of art library provision in the U.K., as an active participant in cooperative schemes and projects, and as a training centre for art librarianship, or in other words, as an active and truly national art library.
6
Wateren, Jan van der. "The National Art Library: into the 1990s." Art Libraries Journal 15, no. 4 (1990): 12–18. http://dx.doi.org/10.1017/s0307472200006994.
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The National Art Library, at the Victoria & Albert Museum in London, seeks to fulfil its national role by becoming the focal point of a wider network of libraries. In order to support this role, and to carry it forward into the 1990s, the Library has redesigned its management structure, developed a role as a training library for the art library profession, and applied a professional approach, involving the collection and consideration of management data, to the Library’s administration. Collection development has been redefined, shifting the emphasis from the past to the present; this has resulted in an increased intake of material, in spite of a frozen budget, with a consequent need for more space which will be provided through a reorganisation of the Library’s existing accommodation. A plan for the conservation of items in the Library’s collections is being devised. Automation, installed in 1990, brings with it further possibilities and the critical question of whether to prioritise the development of the collections or the development of access to the collections.
7
Dodds, Douglas. "Documentation systems in Britain’s National Art Library." Art Libraries Journal 18, no. 4 (1993): 15–23. http://dx.doi.org/10.1017/s0307472200008518.
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Britain’s National Art Library at the Victoria & Albert Museum joined the OCLC network in 1986, and from 1987 to 1990 created catalogue records in MARC format on the OCLC database pending the introduction of a stand-alone computer system. The Library now employs a Dynix minicomputer system for cataloguing, acquisitions, circulation, serials control, and the provisions of OPACs. About 15% of the Library’s records are available online. Retrospective conversion of older records is proceeding and may be completed by the year 2000. The online catalogue is networked internally within the Museum, and is likely to be accessible to external users via JANET in the future. A number of bibliographic and image databases are also provided in CD-ROM and videodisc format. Future developments will include interface between Museum/image and Library/documentation databases.
8
Varley, Gillian. "Committee for the National Co-ordination of Art Library Resources." Art Libraries Journal 19, no. 3 (1994): 36–43. http://dx.doi.org/10.1017/s0307472200008932.
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ARLIS’s awareness of its national role and the necessity for a nationwide response to the needs of art library resources found expression in the work and research activities of the Committee for the National Co-ordination of Art Library Resources. The Committee first established itself as an influential voice in the debate on the National Art Library in the late 1970s and early 80s and later in discussions with the British Library which led in due course to the setting up of the BL Standing Committee on Art Documentation. An initiator of some of ARLIS’s major publications (the Union List of Art Periodicals; Art & Design Documentation: a Directory of Resources), the Committee has also seen notable success in the work of the Exhibition Catalogue project and more recently in the Visual Arts Library & Information Plan (VALIP).
9
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.
10
Gelfer-Jørgensen, Mirjam, and Hanne Horsfeld. "The National Art and Design Library in Denmark." Art Libraries Journal 28, no. 4 (2003): 21–26. http://dx.doi.org/10.1017/s0307472200013328.
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In 1997, the Danish Folketing made a grant of 200 million Danish kroner, the DEF grant, to upgrade IT facilities in research libraries throughout the country and help create Denmark’s Electronic Research Library. Most of the money was assigned to the major research libraries, but funds were also made available to some medium-sized libraries, among which was the National Art and Design Library in the Danish Museum of Decorative Art in Copenhagen.
11
Gaudelus, Sébastien, Martine Poulain, and Lucile Trunel. "The renovation of the Richelieu building: a future centre for art researchers in Paris." Art Libraries Journal 36, no. 1 (2011): 11–16. http://dx.doi.org/10.1017/s0307472200016734.
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The historic site of the French national library is currently being renovated in order to become a major centre for art documentation and special collections. It will incorporate three separate institutions: the specialist departments of the Bibliothèque nationale de France, the library of the Institut national d’histoire de l’art, and the library of the Ecole nationale des Chartes. Completion of the project is scheduled for 2017.
12
Teichman, Carmela. "Art libraries in Israel." Art Libraries Journal 13, no. 1 (1988): 18–19. http://dx.doi.org/10.1017/s0307472200005502.
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The Israel Museum Library at Jerusalem is Israel’s largest art library; it maintains the Archive of Israeli Art and an index of periodicals and it serves a national audience. It is complemented by other museum, university, and college libraries, and by the public library network.
13
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.
14
Poulain, Martine. "A major art library in preparation: the Library of the Institut national d’histoire de d’art." Art Libraries Journal 30, no. 2 (2005): 4–16. http://dx.doi.org/10.1017/s0307472200013900.
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The Institut national d’histoire de l’art (INHA) is still little known among library professionals, and still insufficiently known by researchers and its other potential users. Created by decree in July 2001, it has been extremely slow in gestation and researchers in the field of art have waited for it for a very long time. The Institution’s Library, comprising the largely complementary holdings of three of the main art libraries in Paris, is expected to open within a few years, and readers will be housed mainly in the beautiful Salle Labrouste, formerly occupied by users of the collections of the Bibliothèque nationale.
15
Lipoglavšek, Marjana. "Art libraries in Slovenia." Art Libraries Journal 20, no. 1 (1995): 22–23. http://dx.doi.org/10.1017/s0307472200009202.
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Present day Slovenia has inherited a number of historic libraries and collections, one of which provided the foundations of the National and University Library at Ljubljana, the major library for arts and humanities. There are also a number of specialised art libraries within and outside the University of Ljubljana, including the library of the University’s Department of Art History, the Library of the Academy of Fine Arts, and the libraries of the National Museum, the Museum of Modern Art, and the Museum of Architecture, all in Ljubljana. Slovenian libraries have been or are being automated and linked together through the COBISS network; most of the academic libraries are connected to the Internet. Library training programmes are available at degree level, and students can study another subject, such as art history, as well. More art librarians are needed, as is an association of art libraries and art librarians.
16
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.
17
Jankoska, Stana, and Viktorija Kostovska. "The St. Clement of Ohrid National and University Library: Macedonia's National Library." Alexandria: The Journal of National and International Library and Information Issues 8, no. 2 (August 1996): 117–34. http://dx.doi.org/10.1177/095574909600800204.
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The St Clement of Ohrid National and University Library, which was established in 1944, is a state institution of the Republic of Macedonia. It began its activity in modest accommodation with book stocks of about 150,000 library items and 50 seats for readers. It has gradually developed and enriched its functions, particularly after moving into the new building. The NUL is a legal deposit library, a central library headquarters, and an agent for the development of librarianship as well as the library information system of the republic. It is also a national centre for the restoration and preservation of library material, a bibliographic and referral centre, the national ISBN and ISSN agency and the library for the University of Skopje. There are three million library items at its disposal, in general and special book collections (manuscripts, old printed and rare library material, cartographic, art and music scores). It has extensive cooperative arrangements with 260 libraries from 60 countries in the world, as well as with relevant world institutions such as UNESCO and IFLA. Automation was late in starting; it has made substantial progress, but this is now hindered by the difficult economic situation.
18
Gardner, Julian. "SCOAD: its inception and aims." Art Libraries Journal 13, no. 1 (1988): 14–17. http://dx.doi.org/10.1017/s0307472200005496.
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In response, to initiatives from the Association of Art Historians and from ARLIS/UK & Eire, the British Library Working Party on the Provision of Materials for the Study of Art was established. Its Report (1983) proposed the setting-up of a permanent consultative body. This body, the Standing Committee on Art Documentation (SCOAD), was set up in 1985, to survey, and consider the co-ordination of, the provision of art library collections and services in the United Kingdom and in particular, by the British Library, the National Art Library, and other specialist libraries with notable contributions to make to a national service.
19
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.
20
Whalley, Irene. "ARLIS and the National Art Library: a retrospective glance." Art Libraries Journal 19, no. 3 (1994): 18–19. http://dx.doi.org/10.1017/s0307472200008907.
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21
Schmitt, Catherine. "News from the Sous-Section des Bibliothèques d’art." Art Libraries Journal 15, no. 4 (1990): 9–11. http://dx.doi.org/10.1017/s0307472200006982.
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The Sous-Section des Bibliothèques d’Art gathered in a successful and perhaps historic meeting, at St-Etienne, in October 1989. In spite of their different types, and in spite of being linked with central government in differing ways, French art libraries are collaborating more and more. Plans for five projects -on periodical indexing, periodical microfilming, the adoption of a thesaurus, the cataloguing of exhibition catalogues, and networking - were discussed, as was the creation of a new national art library which will occupy the site of the Bibliothèque Nationale and which can be expected to play a key role in coordinating future developments. A resolution regarding the national art library is appended.
22
der Wateren, Jan van. "British art librarianship today and tomorrow." Art Libraries Journal 19, no. 3 (1994): 20–26. http://dx.doi.org/10.1017/s0307472200008919.
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The National Art Library (NAL) has moved from its former isolation, through the developments of the last decade, to its present position as a focus for and active player in the art library and information community of the UK. The NAL has worked with ARLIS on some of the major co-operative ventures currently preoccupying the art library field. However, there is still a need for further clarification of, and support for, subject specialist services in the national arena, not least the relationship with the British Library. The potential of the proposed Library Commission and Visual Arts Library and Information Plan is still to be realised. Art librarians must work with their users in formulating a more radical and visionary view of their objectives, as they face the challenges of the future.This article is a revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.
23
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.
24
Sibul, Mari. "The Fine Arts Information Centre of the National Library of Estonia." Art Libraries Journal 26, no. 1 (2001): 12–15. http://dx.doi.org/10.1017/s0307472200011986.
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Key to the provision of art information in Estonia is the National Library’s Fine Arts Information Centre, offering services to some 60,000 visitors each year as well as producing the national bibliographic databases of maps, posters, postcards, sound recordings and sheet music. But co-operation with other major art libraries in Estonia is also flourishing, beginning with the selection of new material for the art and architectural history collections in consultation with scholars in other arts organizations, and culminating in 1999 in the foundation of the Estonian Art Libraries Society. This year, Estonian Book Year, marking the 475th anniversary of the very first known Estonian book, seems an excellent opportunity to describe what is happening in art librarianship in this country.
25
Creamer, Ruth. "Singapore’s first performing arts library: library@esplanade." Art Libraries Journal 28, no. 4 (2003): 34–38. http://dx.doi.org/10.1017/s0307472200013353.
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‘Our task, with arts as the instrument, is not only to entertain and engage, but also to educate and inspire so that arts can effectively enrich the lives of all Singaporeans. The National Library Board and Esplanade welcome this opportunity not only to challenge people’s perceptions of art, but also to seamlessly integrate the arts into our daily lives.’Benson Puah, CEO, The Esplanade Co. Ltd.
26
Melot, Michel. "Le projet de Bibliotheque nationale des arts a Paris." Art Libraries Journal 18, no. 4 (1993): 4–10. http://dx.doi.org/10.1017/s030747220000849x.
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When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).
27
Wyly, Mary. "Chicago's Newberry Library – Independent Research Library and National Resource." Alexandria: The Journal of National and International Library and Information Issues 7, no. 3 (December 1995): 181–94. http://dx.doi.org/10.1177/095574909500700305.
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One of several independent research libraries in the United States, the Newberry Library in Chicago, which is over 100 years old and has about 100 fte staff, has nationally significant collections in history, the humanities and music. Four special collections, each accompanied by an endowment for continuing acquisition, stand out: the Ayer Collection, now comprising more than 100,000 volumes, on early contacts between the Indian and the white man; the Greenlee Collection on Portuguese and Brazilian history; the Graff Collection on the American West; and the Wing Collection on the art of printing and graphic design. The library has pioneered in the field of preservation, and its Conservation Department presents training sessions and public programmes on the care of personal libraries and book handling. Access to the collections is gradually being automated, and a wide range of services and programmes for diverse audiences is offered. Its academic and educational programmes have made it a centre for advanced study in the humanities. Adult education seminars are held regularly, enrolling nearly 2,000 people.
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Budzinska, Elzbieta. "Art libraries in Poland." Art Libraries Journal 16, no. 01 (1991): 4–6. http://dx.doi.org/10.1017/s0307472200018885.
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Most art libraries in Poland are in fact sections of libraries of more general scope. In the case of the National Library of Warsaw, although material on Polish art is represented in the collections there is no art section as such. Other art library collections include the library of the Institute of Art of the Polish Academy, the ‘Cabinets of Illustrations’ within other libraries attached to the Polish Academy in various cities, departmental libraries in universities and technical universities, and libraries of museums and of learned and professional societies. Public libraries disseminate information on the arts and often organise arts activities; the Art Section of the Warsaw Public Library is among the most important art library collections in the country. Although public libraries join in cooperative arts ventures, art libraries in Poland have not yet begun to work together, and so far there is no professional organisation especially for art librarians.
29
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.
30
Pearson, D. "Word & Image: Art, Books and Design from the National Art Library. Ed. by ROWAN WATSON, ELIZABETH JAMES and JULIUS BRYANT." Library 16, no. 2 (June 1, 2015): 207–8. http://dx.doi.org/10.1093/library/16.2.207.
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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.
32
Fahy, Catherine. "Recent Developments in the National Library of Ireland." Alexandria: The Journal of National and International Library and Information Issues 17, no. 1 (April 2005): 13–23. http://dx.doi.org/10.1177/095574900501700103.
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The provisions of the National Cultural Institutions Act 1997, which will establish the National Library of Ireland as an independent statutory body under a new Board, are due to be implemented in 2005. The years since the Act was passed have seen substantial increases in funding and staff numbers, albeit from a very low base. A phased building programme has delivered improved visitor and administration facilities, but crucial storage and reading room elements have been delayed. Collection development has benefited from government measures including legislation for tax credit for the donation of important material and for a Heritage Fund. A new Genealogical Service has been an outstanding success, but other substantial improvements in service are contingent on the building programme. Retrospective catalogue conversion projects have been completed for the core Irish printed collections and these catalogues are available online. A substantial amount of retrospective conversion of catalogues of other collections remains to be done. Digital projects are underway which will lead to an increased amount of material from the graphic collections coming online. A major new state of the art exhibition facility opened in 2004 with the inaugural exhibition James Joyce and Ulysses at the National Library of Ireland. Progress has been made in securing conservation resources, and in preservation microfilming and reformatting programmes. The major challenges facing the Board will be to push through the building programme, to carry through digital and retrospective conversion programmes, and to secure adequate staffing and financial resources.
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Wateren, Jan van der. "Connections and collections: Britain’s National Art Library and the former USSR." Art Libraries Journal 17, no. 2 (1992): 32–36. http://dx.doi.org/10.1017/s0307472200007811.
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The National Art Library’s coverage of Russian and Soviet art is extensive if uneven, comprising some 20,000 titles. These include approximately 100 serials from the former USSR, a small number of manuscripts, some significant livres d’artistes, illustrated and illustrated childrens’ books, and many exhibition catalogues. The important Larionov/Gontcharova collection was begun when the Museum purchased certain items from an exhibition it organised itself in 1926; many more items (including part of the artists’ library) were acquired in 1961, and yet more have been added since. The Library’s collections of printed ephemera include work by El Lissitsky and Rodchenko. The collections in the Library, which are being developed partly through exchange, are complemented by examples of Russian fine and decorative arts in the collections of the Victoria and Albert Museum - the home of the National Art Library.
34
Wasserman, Krystyna. "The National Museum of Women in the Arts Library and Research Center." Art Libraries Journal 13, no. 3 (1988): 10–13. http://dx.doi.org/10.1017/s0307472200005757.
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The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.
35
Zheng, Haiyao. "The provision and use of information on Chinese art in London Libraries." Art Libraries Journal 22, no. 1 (1997): 10–14. http://dx.doi.org/10.1017/s0307472200010257.
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London is a major international centre for study of and research into Chinese art. Four libraries - the British Library, the library of the School of Oriental and African Studies, the library of the Percival David Foundation of Chinese Art, and the National Art Library at the Victoria and Albert Museum - are perhaps the main providers of information on Chinese art, although information is also available from several museum libraries, from the library of Christie’s auction house, and from public and other libraries. A survey of users of information on Chinese art indicates that provision is generally satisfactory, although the degree of user satisfaction varies from one library to another. More effective networking between the key libraries would bring about significant improvements.
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Phillpot, Clive. "Art, anarchy and the open library." Art Libraries Journal 16, no. 4 (1991): 5–10. http://dx.doi.org/10.1017/s0307472200007367.
Full textAbstract:
National, regional and international networking between art libraries and art librarians benefits the users of particular art libraries by extending each library’s awareness of resources beyond the limits of its own collections. At the same time, electronic information systems are facilitating the communication and sharing of data through library networks. But every art library, while opening up access to other libraries and information sources, works to improve access to its own collections, and to encourage browsing which can be a crucial method of overcoming the limitations of library classification schemes and of penetrating the contents of books, journals, or other formats of packaged information. Commitment to opening up information resources to human enquiry necessarily involves librarians in opposition to censorship and to those factors, such as illiteracy, which can deprive people of access to information even in “free” societies; any absence of information or publications, if not the result of overt censorship then a consequence of bias or neglect, will be of concern to librarians who may also adopt a pro-active role of acquiring and promoting unfamiliar material. Open libraries can thus provide alternatives to established ways of thinking, and can help to facilitate access to the broadest spectrum of ideas.
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Foley, Bob. "A national art information strategy for canada." Art Libraries Journal 19, no. 1 (1994): 7–9. http://dx.doi.org/10.1017/s0307472200008610.
Full textAbstract:
Libraries cannot any longer align themselves with their institutions’ priorities because public institutions in Canada are undergoing a fundamental restructuring, the outcome of which is unclear. Federal and provincial governments are transferring responsibilities to the municipal level, putting cultural funding in direct competition with schools, hospitals, social and emergency services. Multi-culturalism will alter the mandate, collections, programming and staffing of cultural institutions. Art librarians, lacking the ability to communicate with decision-makers, need a strategy to allow them to embrace new values and technology or they will be swept aside in the rapid change already evidenced daily which marginalizes the library and calls into question time-honoured traditions such as free access to information.
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Nakamura, Setsuko. "The Art Library of the National Research Institute for Cultural Properties, Tokyo." Art Libraries Journal 38, no. 2 (2013): 26–30. http://dx.doi.org/10.1017/s0307472200018009.
Full textAbstract:
The National Research Institute for Cultural Properties, Tokyo had its beginnings in the Institute of Art Research, which was the first institution to specialise in research in fine art in Japan. The library at the Institute played a central role from the very start, acquiring and making accessible its large collection of material related to fine art, with an emphasis on books and photographs. In recent years, we have also begun to play a role as an archive and information centre. What were the original aims and objectives behind the establishment of the library, and how have its activities changed? Amidst the many developments in recent years – the role of the internet, now a major information tool, the organisational changes at the Institute itself – it is essential that we continue to do the work for which we have long been recognised in art history research and the preservation and utilisation of cultural properties, and at the same time find ways to collaborate with related institutions.
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Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.
Full textAbstract:
The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
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Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.
Full textAbstract:
The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.
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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.
Full textAbstract:
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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Atasoy, Nurhan. "Early ‘art libraries’ in Turkey." Art Libraries Journal 21, no. 2 (1996): 15–18. http://dx.doi.org/10.1017/s0307472200009822.
Full textAbstract:
Early Turkish libraries, attached to such institutions as mosques and medreses, comprised collections of manuscripts including many of great artistic value. Medreses and their libraries were endowed by the Ottoman rulers, who as patrons of the arts were also responsible for causing many manuscripts to be produced. Scholars owned private libraries, and libraries for the public existed in every district of Istanbul. Many of the collections of these libraries survive, in some cases in museums and in libraries of later origin, in Istanbul University Library, and in the National Library at Ankara.
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Kašparová, Jaroslava, and Jana Konečná. "French Provenance in the Personal Library of the Art Critic and Theorist Karel Teige in the National Museum Library." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 83–92. http://dx.doi.org/10.1515/amnpsc-2017-0023.
Full textAbstract:
The National Museum Library contains the personal library of an outstanding Czech critic and modern art theorist, Karel Teige. From the 1920s, he was in touch with the founders and important representatives of modern art movements, mostly from France, whose relations and cooperation are i.a. demonstrated by the books donated to him. The article presents several dedications by André Breton, Tristan Tzara, Filippo Tommaso Marinetti, Le Corbusier and Salvador Dalí.
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Bury, Stephen. "Viewpoint." Art Libraries Journal 27, no. 4 (2002): 3. http://dx.doi.org/10.1017/s0307472200012773.
Full textAbstract:
‘A national art library’: if every one of these four words raises questions and demands qualification, together they suggest even more.Art is so elusive and resistant to institutionalisation that no single library - ‘a’ national art library - could possibly have the omniscience and omnipresence (never mind the money) to collect everything: to take a UK example, how many libraries managed to collect the Freeze (1988) exhibition catalogue at the time? And who collected the ‘programme note’ from that one-off performance in a half-derelict warehouse in Penge? Co-operation and collaboration in collection development are needed to maximise the research resources available in any particular nation, to ensure the retention of last or archival copies - and any national art library must surely have a role in this. However, this just sets up a chain of secondary problems - with access and funding at the top of the list. Individual institutions ultimately have their own agendas and priorities: and this even applies to national institutions, where existing collection strengths may skew collecting priorities. Perhaps we have to accept an incomplete but vibrant mosaic: the librarian’s desire for comprehensiveness and universal bibliographic control cannot be achieved in the real world.
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Johnson, Heather, and Alison Firth. "Showcasing the National Museum of the Royal Navy's image collections." Art Libraries Journal 44, no. 4 (October 2019): 185–89. http://dx.doi.org/10.1017/alj.2019.28.
Full textAbstract:
It has art and libraries, but it is not a traditional art library. The National Museum of the Royal Navy (NMRN) holds extensive imagery and art collections from across two hundred years, a range of locations and breadth of subject matter by professional and talented amateur artists. As a young museum we are discovering the shared heritage and scope of our collections, and the challenges of combining and exhibiting them from six constituent museums.
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Picot, Nicole. "Stage dans des Bibliotheques d’Art en Grande Bretagne organise par la BPI et le British Council." Art Libraries Journal 14, no. 1 (1989): 4–8. http://dx.doi.org/10.1017/s0307472200006052.
Full textAbstract:
During October, 1987, Nicole Picot, arts librarian of the Bibliothèque Publique d’Information at the Centre Georges Pompidou in Paris, worked at the National Art Library at the Victoria and Albert Museum in London. She also visited several other British art libraries in order to gain a wider view. Her report is printed below. As part of the same arrangement, Gillian Varley from the National Art Library spent two weeks, in June, 1988, at the Bibliothèque Publique d’Information; her report, and extracts from the diary of her visit, are also published in this issue of the Arts Libraries Journal.
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Opdahl, Ørnulf. "Artists on Libraries 3:." Art Libraries Journal 11, no. 3 (1986): 13. http://dx.doi.org/10.1017/s0307472200004727.
Full textAbstract:
Which libraries do you use and how do your use them? Having lived rather isolated I have felt the need to build up my own library. In younger days I used the local public library quite a lot. Their collection of art books was rather meagre, but it was still a strong inspiration. They had got several current art magazines as well, both Norwegian and international. I still use’ public libraries, especially their collection of fiction, poetry, philosophy, etc., which is quite good. They provide the information they have not got themselves through inter-library lending, and the services have been quite satisfactory. Apart from the library of the Statens Kunstakademi (National Academy of Fine Art) I have never used a ‘professional’ art library.
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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.
Full textAbstract:
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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Martinez, Katharine. "The Art Libraries and Research Resources of the Smithsonian Institution." Art Libraries Journal 13, no. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.
Full textAbstract:
The Smithsonian Institution, a public organisation established in 1846 “for the increase and diffusion of knowledge”, includes ten museums and several research bureaux. Most but not all of the associated libraries are linked through the Smithsonian Institution Libraries; they include several art libraries which contribute significantly to the overall provision of art library service to the American people but do not of themselves constitute a “national art library”. Most of the Smithsonian’s libraries enter their records in a database (SIBIS) which is accessible online via OCLC. Co-ordinated collection development has been pursued since 1984. In two areas in particular, American and African art, Smithsonian libraries aim to provide a national service.
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Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.
Full textAbstract:
Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.