Visual Resources Association
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VRAB Volume 8: Issue 4, 1981
No full textIn this issue:
Conferences to Come
Conference Reports
Profile
Princeton University Department of Art and Archaeology Slide and Photograph Collection
Conservation
Ask the Photographer
Photographic Journals
Positions Open
Professional News
Microforms
Slide Market New
VRAB Volume 7: Issue 3, 1980
No full textIn this issue:
Conferences to Come
Profile
The New College of Design at Iowa State University
Crafts Council Slide Library
Subject Indexing Conference
Image Access Society
Guides
Slide Libraries, 2nd Edition
Classification & Cataloging: East Indian Painting
Professional News
Positions Filled
Positions Open
Wrinkle -- A Slide Conservation Problem: Question and Answer
Ask the Photographer
Photographic Journals
Slide Market News
Microform
Oral History as Care: Preserving Memories & Maintaining Stakeholder Relationships
No full textThis paper will outline a recent oral history project the author undertook with the artist Bill Hutson, currently the Jennie Brown Cook & Betsy Hess Cook Distinguished Artist-in-Residence at Franklin & Marshall College in Lancaster, Pennsylvania. The author will discuss the project’s impetus, process, and lessons learned. Special attention will be paid to the ways in which the project both intersected with and deviated from standard best practices in the field of oral history, in service of the project’s greater success.
This article has undergone a double-blind peer review process
The Naming of Things: Collaboration and Creative Reuse
No full textThe objective of this paper is to encourage the use of visual collections as a tool for community engagement and visual literacy. Using the example of a collaborative exhibition between the New York Public Library Picture Collection and Pratt Institute, it highlights the potential of engaging new communities by utilizing already-available resources in new or unexpected ways
Copyright Statements in Plains to Peaks Collective Digital Collections
No full textWhile digital collections provide users with unlimited access to cultural heritage materials, ambiguities about copyright status limit users’ understanding of what can or cannot be done with these materials. This study uses a descriptive research method to examine a sample of copyright statements attached to items in digital collections provided by member organizations of the Plains to Peaks Collective. The Plains to Peaks Collective is a partnership of the Colorado and Wyoming State Libraries that, in Fall 2018, introduced over 181,000 items into the Digital Public Library of America (DPLA). This study seeks to answer the following research questions: what copyright statements are included in Plains to Peaks Collective records that have been ingested by DPLA, and what copyright statements are included for public domain Plains to Peaks Collective items at the local system level? The study reveals that a large number of statements included in these collections incorrectly claim copyright over public domain objects and/or provide conflicting rights information. The study concludes with recommendations about how libraries and archives in the Rocky Mountain area and our greater community can better inform users about rights regarding the reuse of digital objects. 
Closed Stacks: Image Resources and the Future of Artistic Research Practice During the Covid-19 Pandemic
No full textDecades of research on information behavior of studio art and design students, faculty, and practitioners has emphasized the importance of image resources, in a variety of formats, to their creative processes. Artists have traditionally sought out images in library print collections, following their curiosity and browsing through books, magazines, and catalogs for fine art reproductions, photographs, illustrations, diagrams, charts, maps, advertisements, and other graphic forms in all subjects. Artists' preference for browsing the library stacks for serendipitous inspiration from visual materials in print books also highlights the importance of the library itself as a vital and generative site for many artists. However, this year’s new studio art students, just beginning their formal practices in college in remote or hybrid environments, will not have the same opportunities as the emerging artists before them to freely browsing through books, looking for images and ideas. A survey was conducted to provide a snapshot of art information professionals’ experiences and perceptions of studio art and design students and instructors’ use of image resources in different formats during the Covid-19 pandemic. While survey participants reported continued use of print books and physical materials as image resources by studio art and design students and faculty pre-pandemic, during fall 2020 usage of print and physical materials for image research was down, while demand for digital images was up—even though students and faculty do have at least nominal access to print collections and library stacks at many institutions. The question remains, though, about what the long-term impact of this period may have on the information behavior of studio art students going forward, since this is the first truly global pandemic of the digital age. While digital alternatives for image research, particularly those that focus on fine arts images, do not provide the same opportunities for serendipitous exploration and making interdisciplinary connections between personal interests and visual elements from books in subjects outside of the visual arts that artists continue to prefer, it may be that emerging studio artists who do not have formative experiences browsing library stacks in the wake of the pandemic may continue to engage in image research digitally. Further research on the image information behavior of emerging artists will be needed. 
Review of "Visual Literacy for Libraries: A Practical, Standards-Based Guide"
No full textIn six chapters, Visual Literacy for Libraries explores the seven ACRL "Visual Literacy Competency Standards" through a series of exploratory questions and hands-on activities. As the first guide of its kind, this volume is a significant resource and valuable addition to the literature on library instruction and visual literacy. The book is highly organized and clearly written, easily accommodating cover-to-cover readers as well as those jumping in to focus on a specific topic
When Drift becomes Current: Collaborating to Expand Beyond the Visual
No full textIn 2015, SUNY Purchase College art librarian Kim Detterbeck reimagined a long-standing part-time Visual Resources position into a full-time Digital Collections Curator position. After hiring Mēgan Oliver for this two-year term that started in January of 2016, they collaborated on several joint projects including the rebranding of the Visual Resources Center (VRC) into the Digital Collections Center (DCC), collections management, outreach and new services, developing instruction, and the creation of an institutional repository with learning management and systems staff. This instance of intentional and strategic scope drift demonstrates how expanding upon the traditional departmental mission of visual resources can benefit an institution looking to develop greater user engagement, better collections and services, and stronger professional ties among faculty, staff, and students
Review of "Digital_Humanities"
No full textJohn J. Taormina provides a review of Digital_Humanitie
Review of "Debates in the Digital Humanities"
No full textJenni Rodda provides a review of Debates in the Digital Humanities