Annotated Bibliography
Brewer, Camille Ann. "Fine Art Collection Management In Urban Public Libraries." Art Documentation: Bulletin Of The Art Libraries Society Of North America 30.2 (2011): 74-78. Library Literature & Information Science Full Text (H.W. Wilson). Web. 29 Mar. 2013.
<http://search.ebscohost.com/login.aspx?direct=true&db=llf&AN=69594436&site=ehost-live>
In this study, Brewer investigated collection management practices employed by urban public libraries with regards to their fine arts collections. Due to budget and staffing constraints, most institutions of this type do not have librarians trained in best practices for handling and cataloging art objects. From her survey, Brewer concluded that many urban public libraries are working with systems and policies designed in-house specifically for their institution; this makes data sharing, participation in union catalogs, and the creation of visual galleries more complicated than it would be if institutions employed standardized methods for art collection management.
CONTENTdm Collection Management Software, 2013. http://www.contentdm.org/
CONTENTdm is a platform option that we will explore for the art gallery. It is described as “software… that handles the storage, management and delivery of your library’s digital collections to the Web.” We will explore this as a potential software to use for digitizing the Nettie J. McKinnon art collection.
Digital Library Federation, 19 Mar. 2013. <http://www.diglib.org/>
The Digital Library Federation (DLF) is a “network of libraries and related agencies pioneering innovative uses of information technologies and community expertise to extend collections and services.” They also control the Registry of Digital Masters (RDM), which contains over 4.5 million records. It also provides the coordination and organization of the digitizing of print materials between institutions and to prevent the unnecessary duplication when digitizing those materials.
Digital Public Library of America, 2013. <http://dp.la/>
The DPLA will be examined as a model of a well-done digital collection. With over 10 million available items, they also recently partnered with the Smithsonian to “provide links to the Smithsonian’s digital collection of books, journals, museum objects, manuscripts and videos.” They are also partnered with ARTstor, providing access to more than 10,000 high quality images from six leading museums. This website will be a good source to compare metadata collection opportunities.
ExLibris, 2013. <http://www.exlibrisgroup.com/>
Another platform option, this will be contrasted and compared to Content DM and other available platforms. ExLibris focuses on preservation (via digitization), management, and enabling users to easily access collections.
Google Books, 2013. <http://books.google.com/>
Google books is, to date, the world’s largest digital public library. We will research how Google Books handles digitized artwork, and compare it to other major digital libraries such as Hathi Trust and DPLA. This site will also be a source of information on copyright concerns. We will also consider Google Books’s metadata collection options.
Harper, Georgia. “Fair use of copyrighted materials.” Copyright Crash Course(2012). Web. 29 Mar. 2013. <http://copyright.lib.utexas.edu/copypol2.html>
Harper provides a clear, practical explanation of fair use as it applies to copyrighted materials being used in an educational setting. This guide starts with an introduction to the concept of fair use and then walks the user through the process of determining what kind of permissions (if any) they need to reproduce materials for educational purposes.
Hathi Trust, 2013. <http://www.hathitrust.org/>
Hathi Trust is a very well-respected digital repository of over 10 million images of books, artwork and artifacts. The website’s presentation of these images will be compared to other digital libraries. In addition, this website is a good source of information about the practical end of digital library production and maintenance.
Leslie, Fiona. "Bringing Collections To Life, Digitising Local Studies And Special Collections: The COLLAGE Project." Electronic Library 22.3 (2004): 260-263. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=14213699&site=ehost-live>
Fiona Leslie prepared this report on a presentation given during a 2003 workshop on digitizing local studies and special collections. The presentation focused on a digitization project at the Corporation of London Library and Art Gallery Electronic (COLLAGE). While the collection and the project differ in size and scope from ours, Leslie’s clear and concise descriptions of development and implementation are useful. The “Lessons learned” section provides a bulleted list of tips like “Define and agree the objectives very clearly at the outset,” and “Weigh up what you can do in terms of pragmatism versus assessment of public need.” These recommendations can easily be scaled down to a project of our size.
Lipcan, Dan. "Faith-Based Cataloging: Resource Description And Access And Libraries, Archives, And Museums." Art Documentation: Bulletin Of The Art Libraries Society Of North America 31.2 (2012): 210-218. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=83480324&site=ehost-live>
Lipcan briefly introduces the new descriptive cataloging standard, Resource Description and Access (RDA), and how RDA addresses some of the issues common to art cataloging.
McDermott, Irene E. "Digital Gallery: Image Collections On The Web." Searcher 13.5 (2005): 8-12. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=17185208&site=ehost-live>
McDermott introduces the reader to a sampling of online art collections from institutions around the world, including the British Museum, the Louvre, the Metropolitan Museum of Art, the New York Public Library and the Library of Congress. Collections are grouped by type (Art, Photo, Earth and Space, and the less serious Celebrities and Silly Photos). She highlights useful tools and features of each collection, and includes screenshots of several. Also useful is a sidebar with basic information on copyright and URLs of copyright-related websites.
Murphy, James L. "Link It Or Lump It: Basic Access Strategies For Digital Art Representation." Journal Of Library Administration 39.2/3 (2003): 139-160. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=12464656&site=ehost-live>
Murphy examines several online library catalogs that include records for art, historical objects and/or natural history specimens. He emphasizes that putting images online is only the first step; libraries also have a responsibility to create integrated catalog records using controlled vocabulary, and to provide consistent access points to these catalogs. According to Murphy, some institutions have made the mistake of jumping to and online interface and have failed to provide adequate and consistent access. It is important, he says, that librarians find a balance between new information technology and proven access (i.e., cataloging) strategies. For smaller libraries (such as the one we are profiling), Murphy recommends OCLC’s CONTENTdm® program.
Overdrive, 2013. <http://www.overdrive.com/libraries/public-libraries>
Overdrive provides e-books, which is a different service from providing a digitized image of an existing book. This service will be examined for insight on metadata management.
Parity Computing, 2013. <http://www.paritycomputing.com/web/products/digital_library_platform.html>
Another platform option, “Parity Computing's Digital Library Platform is a complete software technology for accessing research collections, including search for bottom-up keyword-based searching, ontologies for top-down browsing, and a polished user interface integrating the two forms of navigation.” Most useful for born-digital items.
SaltCreek American Art Foundation webpage; copyright 2005. <http://www.saltcreekart.org/saaf_vision.htm>
The SaltCreek American Art Foundation is the name given to the group of individuals who provides guidance to the school district in matters pertaining to the Nettie J. McKinnon Art Gallery. This website provides information about this foundation’s mission and vision. It also offers a basic introduction to the types of art in the collection and various methods on including the collection in school curricula.
Schmidt, Aaron. "A Site Divided." Library Journal 136.6 (2011): 22. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=59800712&site=ehost-live>
Schmidt believes that users of library websites and online library catalogs do not perceive a difference between the two, even though the websites and catalogs are usually created, paid for, and maintained as separate entities. He suggests that librarians (and their IT people) think from the perspective of the user when designing library websites and online catalogs. Ideally, he says, there should be no visual distinction between the two. In developing our digital art collection, we may wish to take some of Schmidt’s suggestions into account and try to incorporate visual elements that mirror the school library’s website and existing catalog.
Shincovich, Ann C. "Copyright Issues And The Creation Of A Digital Resource: Artists' Books Collection At The Frick Fine Arts Library, University Of Pittsburgh." Art Documentation: Bulletin of the Art Libraries Society Of North America 23.2 (2004): 8-13. Library, Information Science & Technology Abstracts. Web. 28 Mar. 2013. <http://search.ebscohost.com/login.aspx?direct=true&db=lxh&AN=15612884&site=ehost-live>
This article address copyright and fair use as they apply to digital image collections created for educational purposes. As Shincovich explains, securing copyrights can be prohibitively time-consuming and expensive for some institutions, which is why fair use was designed to aid in education endeavors. While laws regarding copyright and fair use of digital image resources are not always clear, Shincovich provides examples of scenarios in which such resources would likely be protected under fair use. She also points to guidelines to assist people with copyright and fair use decisions regarding digital image collections.
Visual Resources Association (VRA). "Image Collection Guidelines: The Acquisition and Use of Images in Non-Profit Educational Visual, Resources Collections." Web. 28 Mar. 2013. <http://www.vraweb.org/resources/ipr/guidelines.html>
This document provides guidelines for the acquisition, attribution, display and oversight of images in non-profit educational visual resources collections.
Wikipedia, last modified March 19, 2013. <http://en.wikipedia.org/wiki/Digital_library>
Wikipedia provides a succinct overview of digital libraries; including the history, framework, current projects, and speculation on what the future might bring. A good source of basic information, it also provides a considerable list of additional resources to turn to for in-depth perusal.
WTTW-TV; A Treasure of American Fine Art, Chicago Tonight; February 25, 2013. <http://chicagotonight.wttw.com/2013/02/25/treasure-american-fine-art>
This locally-produced television news show showcases the Nettie J. McKinnon Art Gallery. It lasts 4:48 and shows the art collection, students in the gallery and describes how they use the paintings. We will use this to demonstrate how students enjoy and need the art collection.