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The New Art Museum Library addresses the issues facing today's art museum libraries through a series of scholarly essays written by top librarians in the field. In 2007, the publication, Art Museum Libraries and Librarianship, edited by Joan Benedetti, was the first to solely focus on the field of art museum librarianship. In the decade since then, many changes have occurred in the field--both technological and ideological--prompting the need for a follow-up publication. In addition to representing current thinking and practice, this new publication also addresses the need to clearly articulate and define the art museum library’s value within its institution. It documents the broad changes in the environment that art museum libraries now function within and to celebrate the many innovative initiatives that are flourishing in this new landscape. Librarians working in art museum face unique challenges as museums redefine what object-based, visitor-centric learning looks like in the 21st century. These unique challenges mean that art museum libraries are developing new strategies and initiatives so that they can continue to thrive in this environment. The unique nature of these initiatives mean that they will be useful to librarians working in a wide range of special libraries, as well as more broadly in academic and public libraries. The New Art Museum Library is uniquely positioned to present new strategies and initiatives including digital art history initiatives, the new norms in art museum library staffing, and the public programing priorities that are core to many art museum libraries today. This book is an endorsed project of ARLIS/NA.
Public Spaces / Private Passions critically examines the growth of private museums in the 21st century, their impact on public institutions and what the future might look like. It is essential reading for museum professionals, art collectors, critics and cultural commentators and anyone working in the art trade.
Each chapter includes essays written by librarians in the field that deal with the unique environment of art museum libraries, from the largest research collections that serve many curatorial departments and multiple administrative layers to the smallest solo-librarian settings where staff work in relative isolation."--Jacket.
Meet the challenge of operating a successful art library! The Twenty-First Century Art Librarian examines the unique challenges and vital administrative issues that are at the forefront of current art librarianship. Librarians working in a variety of settings (art, academics, architecture, visual resources, and museums) address professional change and technological challenges, including inadequate staffing and the need to wear multiple hats to cope with day-to-day responsibilities. The book focuses on common practices in the field as well as the individuals who work in art libraries and the collections they maintain. Instead of the standard primer on art librarianship, this book is an insightful look at how art librarians are unique in terms of the clientele they serve, their subject knowledge, and the variety of environments in which they work. The Twenty-First Century Art Librarian examines pressing everyday issues, including operational management, staff recruitment and training, managing collections, public service and patrons, and developing a personal care plan. The Twenty-First Century Art Librarian also addresses setting-specific topics, such as: developing staffing standards at all levels working solo in small art museum libraries integrating digitization into visual resource libraries handling special collections in architecture libraries how culture and mission distinguish academic art libraries from their museum counterparts and much more! The Twenty-First Century Art Librarian provides library professionals and academics with a unique look at current trends in art, architecture, and visual resources librarianship.
While much attention has been paid to art librarianship as it exists in museum settings, comparatively less notice has been taken of academic and art-and-design-school art librarianship as a distinct focus. However, the skills of subject specialists in the arts and their advocacy on behalf of their users are fundamental elements in vital art libraries that fully support and anticipate the needs of artists, designers, architects, and the historians who study these disciplines. Put together by an international team of contributors, this essential handbook examines methods of innovative librarianship in academic and art school libraries throughout the world. With a focus on the intersection of best practice and best opportunities, the book brings together the philosophies and realities of the most creative librarians working in the field of art librarianship today and serves as a field guide to academic art libraries in the twenty-first century. Key discussions include: the role of liaison to the visual arts visual literacy for highly literate viewers art history pedagogy and special collections technology in an art and design library collection management, renewal, and de-accession new forms of scholarly communication and their impact on art librarianship the making of the 21st century art library. Readership: This timely book is essential reading for all information professionals working in art and design environments. It will also be of interest to students of librarianship interested in the challenges currently facing professionals working in this specialized area. While much attention has been paid to art librarianship as it exists in museum settings, comparatively less notice has been taken of academic and art-and-design-school art librarianship as a distinct focus. However, the skills of subject specialists in the arts and their advocacy on behalf of their users are fundamental elements in vital art libraries that fully support and anticipate the needs of artists, designers, architects, and the historians who study these disciplines.
A critical analysis of contemporary art collections and the value form, this book shows why the nonprofit system is unfit to administer our common collections, and offers solutions for diversity reform and redistributive restructuring. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in “public trust” on behalf of the nation, if not humanity. The public serves as alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. This structure allows for wealthy individuals at the helm to gain financial benefits from, and ideological control over, what is at its core purpose a public system. The dramatic growth of the art market and the development of financial tools based on art-collateral loans exacerbate the contradiction between the needs of museum leadership versus that of the public. Indeed, a history of private support in the US is a history of racist discrimination, and the common collections reflect this fact. A history of how private collections were turned public gives context. Since the late Renaissance, private collections legitimized the prince's right to rule, and later, with the great revolutions, display consolidated national identity. But the rise of the American museum reversed this and re-privatized the public collection. A materialist description of the museum as a model institution of the liberal nation state reveals constellations of imperialist social relations.
Collection development, the process used by librarians to choose items for a particular library or section of a library, can be time-consuming and difficult due to the many factors that must be taken into consideration. Library Collection Development for Professional Programs: Trends and Best Practices addresses the challenging task of collection development in modern academic libraries, which is largely learned on the job. This publication contains practical advice and innovative strategies essential for current collection development librarians and future librarians seeking guidance in this complex position.
The Metropolitan Museum of Art houses one of the world’s largest and most comprehensive collections of works of art from antiquities to modern and contemporary material. Their preservation is a responsibility shared by the many individuals employed at the Museum who oversee and have direct contact with the collection on a daily basis. The Care and Handing of Art Objects—first published in the 1940s and continually updated—offers a guide to the best practices in handling and preserving works of art while on display, in storage and in transit. It explains many of the fundamental principles of conservation that underlie these methods. One of its goals is to make the complexities of caring for a collection readily accessible. The first part offers basic guidelines for the preservation of the diverse types of materials and art objects found in the Met. Each chapter addresses the physical characteristics specific to the particular category, and the environmental, handling and housing factors to which one should be alert to prevent damage and ensure their preservation. Written by experts in the respective specialty, it addresses the Museum’s vast holdings summarizing the most critical preservation issues, many of which are amplified by photographs. As the table of contents makes evident these range from paintings on canvas and works on paper and photographs to furniture and objects made of stone, wood and metals to arms and armor, upholstery, ethnographic materials and many others. Part II succinctly describes factors that affect the collection as a whole: among them, current environmental standards for temperature, relative humidity, light exposure, storage and art in transit. Based on Museum protocols it addresses emergency preparedness and response, and integrated pest management. For easy reference, it includes charts on storage and display conditions, on factors contributing to deterioration, and a glossary of conservation terms, principles, and housing materials referenced in the individual chapters. Drawing upon the knowledge of conservators, scientists, and curators from many different departments, as well as technicians and engineers whose expertise crosses boundaries of culture, chronology, medium and condition, The Care and Handing of Art Objects is primarily directed to staff at the Met. It is, no less, an invaluable resource for students, collectors, small museums, museum study programs, art dealers, and members of the public who want to enhance their understanding of how works of art are safeguarded and the role environment, handling and materials play in making this possible.