The Experts below are selected from a list of 21084 Experts worldwide ranked by ideXlab platform
Olga Sinitsyna - One of the best experts on this subject based on the ideXlab platform.
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Censorship of Art books in the Soviet Union and its effect on the Arts and on Art Libraries
Art Libraries Journal, 1999Co-Authors: Olga SinitsynaAbstract:Although official censorship in the Soviet Union ceased over ten years ago, the effects in Art and Art Libraries are still felt. Censored books were marked with a hexagon and relegated to closed stacks, which for many years were off limits to the public and library staff alike. Some of the banned material in the All-Russia State Library for Foreign Literature is analysed here in an attempt to establish the reason why certain items were seen by the authorities as too harmful to be acceptable for general circulation. The fate of the second “enemy” perceived by the Soviet censors, the original works of Art and architecture, is also described.
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The Moscow Association of Art Libraries (ARLIS/MOS)
Art Libraries Journal, 1995Co-Authors: Olga SinitsynaAbstract:Emerging from an epoch of severe constraint, Russian Libraries needed to experience freedom and independence before entering voluntarily into cooperative arrangements. Art Libraries in Moscow, and also in St Petersburg, are now working together; in Moscow, informal cooperation preceded the foundation, by five institutions, of ARLIS/MOS in 1993, and the association has embarked on a programme of activities. (The text of a paper presented to the ARLIS/UK & Ireland Annual Conference in London, April 1994).
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Old and new problems of Russian Art Libraries
Art Libraries Journal, 1992Co-Authors: Olga SinitsynaAbstract:As a result of the momentous changes taking place in Russia, people and institutions have acquired a new freedom which they have not been prepared for. Art Libraries can offer opportunities for people to use their freedom well, but their collections are inadequate and they are desperately short of money. At the same time, prices of books have risen sharply, and the introduction of charges for inter-library lending is inhibiting smaller Libraries from borrowing material for their users. Library collections are being depleted by theft, sometimes perpetrated by hard-up librarians. Cooperation between Art Libraries could help, but Libraries accustomed to a rigid centralized system scarcely know how to begin to cooperate voluntarily; nonetheless, some first steps have been taken by a number of Moscow’s Art Libraries. Russian Art Libraries are of several kinds, notably museum Libraries, serving their own institutions in the first instance, and Art depArtments of large public Libraries, but there is no national Art library to serve as the focal point of a network; in the absence of cooperation and networking, collection development and stock-editing are guided only by the immediate needs of pArticular Libraries. Russian Libraries, not least the Library of Foreign Literature, desperately need not only to develop networking at home, but also to establish links with Libraries abroad.
Lucy Shelton Caswell - One of the best experts on this subject based on the ideXlab platform.
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Popular Culture and the Art Library
Art Reference Services Quarterly, 1993Co-Authors: Lucy Shelton CaswellAbstract:In recent years there has been much discussion about cultural standards. From Allan Bloom's jeremiad in The Closing of the American Mind to more recent discussions on "political correctness," questions have been raised about the validity of studying and exhibiting various components of American culture and about who has the authority to ratify cultural standards. Following a selected overview of attempts to define the relationship between Art and popular culture, this Article discusses the role of the popular culture research facility using The Ohio State University CArtoon, Graphic, and Photographic Arts Research Library and the Consortium of Popular Culture Collections in the Midwest as the models. Finally, the implication of increased interest in popular culture for more traditional Art Libraries is discussed.
Alleen Cook - One of the best experts on this subject based on the ideXlab platform.
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The National Art Library, ARLIS/UK and Ireland and the Union List of Art, Architecture and Design Serials
The Serials Librarian, 1997Co-Authors: Douglas Dodds, Alleen CookAbstract:Abstract The UK's National Art Library holds a major collection of serials in the fine and applied Arts subject areas, and has recently transferred the records for its serials to a computer system. In conjunction with the Art Libraries Society, the NAL is engaged in a project to use these records to create an online union list of the Art, architecture and design serials held in a wide range of Libraries in the UK and Ireland.
W.g.m. Beumer - One of the best experts on this subject based on the ideXlab platform.
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Book & Image. Art Libraries and Visual Resources in the Netherlands
Art Libraries Journal, 1998Co-Authors: W.g.m. BeumerAbstract:In Spring 1999 the Art Libraries Society/The Netherlands (OKBN) plans to organize a conference on ‘Book & Image: Visual Resources and Art Libraries’, to discuss various aspects of the whereabouts, accessibility and use of visual resources in Art Libraries and other collections of Art historical documentation. By doing this we hope to increase awareness amongst Art librarians and visual resource librarians of the necessity of communicating questions and sharing their experiences. In pArticular we need to find new ways of co-operating in order to meet the challenges posed by new technological developments and future users. A small working group of ARLIS-NL members, joined by some colleagues from slide Libraries and visual archives, already meets bi-monthly for brainstorming sessions aimed at preparing an attractive and challenging program for this event.
Claire Dannenbaum - One of the best experts on this subject based on the ideXlab platform.
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seeing the big picture integrating visual resources for Art Libraries
Art Documentation: Journal of the Art Libraries Society of North America, 2008Co-Authors: Claire DannenbaumAbstract:Historically, visual resources collections in the academic environment have provided Art and architecture faculty with visual material for teaching and research. Despite the breadth and diverse uses of images in general scholarship, Art and archi tecture librarians and visual resource curators are the primary managers of image collections. Librarians and curators often have expertise in image content, the pedagogy of Art and archi tecture scholarship, and knowledge of library issues as they pertain to the study of Art and architecture. They are, very often, subject specialists with expert-level knowledge in specific areas of the collections, and this subject expertise is reflected in the descriptive cataloging, in collection development, and in their approach to reference service. What happens when the images have a life beyond the scope of their specific users' needs? How do these image collections relate to other library and research activity on campus? My interest in this question was inspired by the Taliban in Afghanistan. This statement may seem insensitive, but it is true. Before stArting the MLIS degree program at the University of British Columbia in 2003,1 was a cataloger at the Architecture Visual Resources Library (AVRL) at the University of CaHfomia Berkeley from 1993-2003. During this time, we received a gift of 30,000 Kodachrome slides from the estate of Professor Emeritus Harold Stump. Photographed during a period of intensive travel from 1959-1970, the slides covered architecture and built envi ronments in thirty-two countries in Europe, the Middle East, Africa, and North America. The Stump World Architecture Slide Collection?as it is now known?surveys many vernacular typologies, from mud huts in Central Africa to colonial architecture in Southeast Asia.