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Meet Ashley, a graduate student at Indiana University! She’s the first of our featured photos taken at the Art Libraries Society of North America (ARLIS/NA) conference in New York back in February.
This photo and the others you’ll be seeing this week are all courtesy of our guest photographer (and artist, obviously) Quentin Pace.
Part of being an Archivist is staying current with the current literature and practices in the archival field at large. To make sure I stay up to date with the work that my fellow Archivists undertake I attend conferences and participate in our professional organizations. This helps the #bkmarchives connect with colleagues and spread the word about our amazing collections.
Most recently I traveled to Mexico City to attend the International Council on Archives Annual Conference. The theme was Archivos, Ciudadanía e Interculturalismo (Archives, Citizenship and Interculturalism). I was interested in this conference because, although I’m involved in the American archives realm, I do not have much experience with practices in other countries (except for visiting the National Archives of Bermuda when I was on vacation).
The conference featured an impressive array of speakers. I was most excited to see Professor Anna Maria Guasch give her keynote address Arte, archivo y exposición: ‘Otra
Historia’ del arte de los siglos XX y XXI (Art, Archives and Exposition: “Another History” of 20th and 21st Century Art). Guasch gave a magnificent overview of the theoretical investigation into archives (Foucault, Derrida, Benjamin) as well as artists who use the archive as their conceptual conceit. I was shocked at how few of the artists she used as examples were women. This reminded me of Linda Nochlin’s Why Have There Been No Great Women Artists? published in 1971. As a feminist, an archivist, and an art historian I began to think of the institutional practices that have lead to the exclusion of women. As Nochlin points out my question shouldn’t be “have there been no great women artists who have used the archive as a concept and framework for their practice?,” but “what are the power dynamics and institutional structures in place that have not allowed for women artists work to be featured and recognized?”
Working at the Brooklyn Museum which has the Elizabeth A. Sackler Center for Feminist Art I am constantly thinking about how oppression is intersectional and the politics of representation. So I thought I would share our Feminist Art Base, and link to the work of one of my favorite artists, Martha Rosler, who has explored and activated the concept of the archive in her work.
I would also like to invite artists to come do research at the Brooklyn Museum Archives. Hopefully someone will produce work inspired by our Archives that will one day be presented at an international conference on archives!
Posted by J. E. Molly Seegers
Migration Now: A Print Portfolio of Handmade Prints Addressing Migrant Issues from Justseeds and CultureStrike
The library is hosting the Art Libraries Society of North America and Visual Resources Association (Pacific Rim Chapter) fall 2017 joint meeting today, so we get to show off some of our artists’ books like this one, Migration Now. Welcome to campus, ARLIS/NA and VRA-PRC!
Jenny Maryland Institute College of Art Digital Initiatives Librarian Founder of We Here
Photo courtesy of Quentin Pace
Brieanna Graduate Student State University of New York-Albany
Photo courtesy of Quentin Pace
This gorgeous reading room houses the oldest and largest art history library in the Netherlands.
(via https://www.youtube.com/watch?v=iZHhlwoy9Yc)
The Rutgers Art Library has set up a Lego building station in order to encourage everyone to take a break and build something. The goal is to foster a culture of creativity inside academic libraries. Take a look.
Library Manager Dana Hart looks at some of the few remaining card catalogues in the Met.
'The card catalog is not dead yet at the Met!
