Member Spotlight: Diana Chou

ARLIS/NA OV member Diana Chou

ARLIS/NA OV member Diana Chou

Diana Chou has received the Asia Library Travel Grant from the University of Michigan, Ann Arbor (July – August 2014) to continue a research project on a specific motif in Asian Art. This research is in preparation for a future publication through the University of Edinburgh, UK.

Diana will also be one of 20 awarded attendees from the USA, Asia, and Europe at the 2014 Overseas Koreanology Workshop (here’s a pdf overview of last year’s workshop). It will be held in South Korea in October, 2014. This workshop is mainly funded by the National Library of Korea and focuses on the Korean library system, Korean materials, and Korean art and culture.

If anyone is interested in learning about these opportunities, please feel free to contact Diana at dchou21@gmail.com. Congratulations on your successes, Diana!

UC Forward Course Takes Hands‐on Approach to Teaching and Learning about a Fashion Icon

First offered in the fastreet shotll of 2013 and then again in spring 2014, “Documenting a Fashion Icon: The UC Bonnie Cashin Collection” is a ‘test kitchen,’ hands-­on course that incorporates trans-disciplinary inquiry and discourse, student crowd sourcing power, and Millennials’ innate love for technology, social media and images, to investigate, interpret, digitize and widely disseminate authoritative information about an important collection of garments (from the DAAP Historical Garments Collection) designed by Bonnie Cashin.

BonnieBonnie Cashin (1907-­‐2000) was a very influential mid-­20th century American fashion designer. A free spirit flying outside the limitations of the world of Seventh Avenue, her practical approach to garment design spoke to, and answered, the needs required by the post‐World War II woman’s new fluid way of life. Though questioned greatly at first, the fashion world gradually accepted her point of view over a 30-year period and eventually copied her ideas extensively. Now, decades after her height of popularity, her design influence championing simple cuts, practical designs based on an active lifestyle and ‘mix and match’ sportswear still form the very foundation of contemporary Western fashion of the 21st century. The UC Bonnie Cashin Collection comprises just over 200 garments designed by Cashin (that she designed for Sills and Co., a leather house run by Phillip Sills) from 1960 through the 1970s.

Students who have taken the course, “Documenting a Fashion Icon: The UC Bonnie Cashin Collection,” come away with an understanding of how to conduct formal, historical and structural analysis of objects. They practice the principles of collecting and curating of both physical and digital objects, textile conservation and proper handling techniques and forms related to physical and digital preservation.

GarmentsThe idea for this course grew out of a problem: UC’s College of Design, Architecture, Art, and Planning (DAAP) wanted to rehouse their entire Historic Garment Collection to make way for more classrooms. The administration approached Jennifer Krivickas, head of the Robert A. Deshon and Karl J. Schlachter Library for Design, Architecture, Art, and Planning (DAAP), for ideas on how to deal with the collection. Krivickas was enthusiastic about the possibility of working with DAAP to properly preserve, document, rehouse and create access to the collection, but she knew the DAAP Library couldn’t take it on in its entirety, so she worked with the DAAP administration, faculty of the DAAP School of Design’s Fashion Department, visual resources librarian Elizabeth Meyer, Cincinnati Art Museum textile and costume curator Cynthia Amneaus and Cincinnati Art Museum conservator Chandra Obie to analyze the collection so as to extract and target the most valuable objects for conservation review, preservation, documentation, cataloging and storage. Based on the collection analysis, the group concluded that while the entire collection was a valuable teaching tool, the Bonnie Cashin objects were special and deserved of conservation review, preservation, documentation, cataloging and archival storage.

Everyone understood the fact that the resources necessary to properly deal with this collection would be sizable, so with the help of DAAP Library graduate assistant Christopher Campbell (M.S. Architecture, DAAP/SAID 2013), Krivickas began researching grants that would support a project such as this. Once funding opportunities were identified, Campbell and Krivickas began writing the first grant proposal. It was sheer fate that near the end of the grant writing process, UC Forward sent out a call for proposals for innovative, forward‐looking, TRANS-DISCIPLINARY projects. Krivickas reached out to associate professors of fashion design Hanna Hall and George Sarofeen and visual resources librarian Elizabeth Meyer to see if they might be interested in collaboratively applying for the UC Forward Grant, which would fund the necessary components of collection management. What was different about the UC Forward Grant was that in order to apply for funding, the project must engage students. This is where the idea for the “Documenting a Fashion Icon” course, a course that engages students in the documentation and ultimately, the creation of a globally accessible research resource, germinated and grew.

Ciera“I came into this class with a love for fashion and its history, having aspirations to one day be a curator of costumes in a museum. This class opened my eyes to just how much consideration goes into the creation of a garment, as well as how much work goes into curating a display for the public,” said Ciera Philpott, DAAP art history major. “It also showed me how much of an innovator Bonnie was, and how she had a hand in creating many of the things we still wear today. I now have even more of an appreciation for both fashion and curating, and hope to have a future heavily involving both.”

Students who take this course learn how to conduct object analysis, interpret information and prepare succinct written descriptions of objects. In addition, they learn and practice the basics of database and website design, metadata and standardized descriptive language and finally, how to organize, market and execute a successful, multidimensional event (an exhibition and opening).

students photoshoot“The goal of this course is to actively engage UC students in trans-disciplinary inquiry and discovery and to enable innovation through collaboration,” said Krivickas, lead instructor of the course. “The course provides a global community of designers, historians, curators, students and design-minded lay people with free and open access to high quality visual and textual information about The UC Bonnie Cashin Collection, a collection with international research potential.”

 

Studio shot of garment

The class will be offered again in fall 2014! The course number is FASH2099c. Class meets on Tuesdays from 2pm‐4:50pm. For more information on Bonnie Cashin or the course, visit the website http://libapps.libraries.uc.edu/blogs/bonnie-cashin/the-uc-cashin-course/ or contact the instructor at jennifer.krivickas@uc.edu.

 

Meet “The Artist & The Librarian”: Shannon Robinson

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    The quilt (detail, 2012) is made of library materials. The other is an embroidery (2014). And the photo of me is me working on my biggest art project, my house!

     

    Shannon Robinson, Fine Arts Liaison Librarian at Denison University. 

    The Artist:  Though I had an undergraduate background in traditional fiber arts, my MFA work was very conceptual and not at all about process.  After receiving my degree, I taught college-level art and continued examining ideas around nostalgia, memory, and childhood in my artwork (the title of my thesis show was Nostalgia for Mud).

    When I returned to school for my MLIS degree, it was because I wanted a life change.  But, I didn’t think about how this would influence my artwork.  Going to school and working full-time meant my studio became a home office for writing papers and checking email.  I didn’t have time or space for art making.

    Since becoming a librarian, I find that my artwork has returned to traditional fiber methods – first out of necessity for time and space; then because the material of librarianship began shaping my art.

    The very materiality of my work as a librarian has influenced my work.  At work in a library, I am always collecting materials that attract my eye – yellowed book tape, damaged book jackets, and of course old books.  I use these untraditional materials and other found items in traditional fiber methods – quilting and stitching.  These methods do not need a lot of space and I can work on a piece for a little bit of time before having to return to answering emails or my largest artwork of all – restoring a 1910 home!

    The librarian attitude of sharing has also influenced how I distribute my artwork.  I no longer seek exhibition or sales opportunities.  Instead, when I have a work that I think a particular person will like, I give it to her/him.  Now if I would just start doing this with all my books!

    The Librarian: All of my coursework in art history and studio art certainly helps me with many of my art librarian responsibilities.  But the biggest skill I gained as an artist is confidence.  Creating artwork, often personal, is always followed by sharing that work and having it critiqued.  An artist must be able to articulate and defend her ideas as well as be open to suggestion and be willing to admit failure.

    Librarianship is a very risk-adverse discipline.  As an artist librarian, I am willing to take risks and approach an old problem in a new way.  As a new librarian always learning on the job, my confidence and ability to articulate the importance of my work has been a tremendous blessing. 

     

    Follow Shannon on wordpress and tumblr!

     

ARLIS/OV Travel Award Announced!

The travel committee is happy to announce that the Spring 2014 Travel Award has been granted to Anna-Sophia Zingarelli-Sweet, an MLIS student at the University of Pittsburgh. Anna-Sophia has been active in ARLIS/NA since 2012 and was previously a member of the New York Metropolitan chapter. She serves the ArLiSNAP Section as Student Groups Liaison. In addition to participating in chapter and section meetings, workshops, and as a mentee in the Yearlong Career Mentorship Program, Anna-Sophia will present a poster session, “Developing a New Bibliography of Sexuality and Gender in the Fine Arts.”
 
Congratulations, Anna-Sophia! We hope to see you at the OV meeting in D.C.!
 
Christine Mannix & Betsy Lantz
ARLIS/Ohio Valley Travel Award Committee 2014

 

Artist Book or Livre d’Artiste?

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The Art Library’s latest addition is The Book by photographer and graphic designer Julius Friedman.* It’s a simple title for a book that is anything but.

It started with library discards, books falling apart, covers battered, bindings torn. Friedman took those sad books and made them into something startlingly beautiful. He manipulated pages, he tore pages, he drilled holes in pages, he collaged pages, he swirled pages. And then he photographed what he had made. Transforming these books into art, into artists’ books, he was giving the old books new life. The response to the photographs of his artists’ books was even stronger than the response to the objects themselves. So an idea began to germinate – ask writers to share their thoughts about books, match their writings with photographs and produce a limited edition book. With the help of writer and editor Dianne Aprile he did just that. Eventually 23 writers contributed to the project.**

Friedman chose master printer Gray Zeitz of Larkspur Press in Monterey, Kentucky, to do the exquisite letterpress printing of the text. Binder Carolyn Whitsel tipped in the photographs and then sewed the signatures with waxed linen around black tape. Using boards covered with black Japanese book cloth, she fashioned an exposed spine binding. Finally, Friedman asked John Reeb to make the cherry box that houses each book. Friedman then included a photographic print in each box.

At this point, The Book seems to have entered the realm of Livre d’Artiste. Developed in late 19th – early 20th century France, the livre d’artiste refers to a sumptuously created, limited edition book, illustrated with original prints that are made or chosen to resonate with the text. The Art Library’s copy is number 5 in an edition of 20.  Whether artist book or livre d’artiste, we are thrilled to add The Book to our collection.

*JULIUS FRIEDMAN is a graphic designer, photographer, artist specializing in cultural, nonprofit, and corporate design. His works are included in the permanent collections of the Museum of Modern Art, New York City; the National Gallery of Art, Washington, DC; the National Museum of Poster Art, Warsaw, Poland; the Dansk Plakamuseum, Aarhous, Denmark; the Brown-Forman Corporation; 21C Museum.

**List of contributors
DIANNE APRILE is an editor and writer of essays and books, including The Eye is Not Enough, a collaboration with visual artist Mary Lou Hess. A former journalist and jazz-club owner, she teaches creative nonfiction at Spalding University’s brief-residency MFA in Writing Program.

MARTHA COLLINS is the author, most recently, of White Papers and the book-length poem Blue Front. She has also published four earlier collections of poems and two collections of co-translated Vietnamese poetry. She is currently editor-at-large for FIELD magazine and an editor for Oberlin College Press.

KATHLEEN DRISKELL’s collection Seed Across Snow was listed as a national bestseller by the Poetry Foundation. Her book Blue Etiquette is forthcoming from Red Hen Press. She helps direct Spalding University’s brief-residency MFA in Writing Program.

CLAUDIA EMERSON’s five books include Late Wife, winner of the Pulitzer Prize, and, most recently, Secure the Shadow. Emerson has been awarded fellowships from the National Endowment for the Arts, the Library of Congress, and the Guggenheim Foundation. She is Professor of English at Virginia Commonwealth University.

NIKKY FINNEY has authored four books of poetry, including Head Off & Split, which won the 2011 National Book Award for poetry. She also authored Heartwood and edited The Ringing Ear: Black Poets Lean South. Co-founder of Affrilachian Poets, she teaches at the University of South Carolina where she holds an endowed chair.

KATHLEEN FLENNIKEN is the author of Plume, a meditation on the Hanford Nuclear Site and finalist for the William Carlos Williams Award, and Famous, named an ALA Notable Book. Her other honors include a Pushcart Prize and an NEA fellowship. She is the 2012 – 2014 Washington State Poet Laureate.

ALBERT GOLDBARTH, a distinguished professor of Humanities at Wichita State University, is the author of over twenty poetry collections, most recently Everyday People. He has published three essay collections, as well, and was a Guggenheim fellow and twice a winner of the National Book Critics Circle award.

SARAH GORHAM is the author of four collections of poetry, Bad Daughter, The Cure, The Tension Zone, and Don’t Go Back to Sleep. Her essays have appeared in AGNI, Iowa Review, Quarterly West, Pleiades, Gulf Coast, Arts & Letters, Creative Nonfiction, and elsewhere. She is co-founder and editor-in-chief of Sarabande Books.

MARIE HOWE has published three books of poems, The Good Thief, What the Living Do, an elegy for her brother who died of AIDS, and most recently The Kingdom of Ordinary Time. She is Poet Laureate of New York state, where she teaches at Sarah Lawrence.

PICO IYER is the author of two novels and eight works of non-fiction, including Video Night in Kathmandu, The Lady and the Monk, The Global Soul and, most recently, The Man Within My Head. An essayist for Time since 1986, he publishes regularly in The New York Review of Books and The New York Times.

NANA LAMPTON attended Wellesley College, University of Virginia, and Spalding University. She is a board member of Yaddo and Sarabande’s Advisory Board. Her publications include Bloom on a Split Board and The Moon with the Sun in Her Eye.

SHANE MCCRAE is the author of Mule, Blood, and three chapbooks. His work has appeared in The Best American Poetry, The American Poetry Review, Fence and elsewhere, and he has received a Whiting Writer’s Award and an NEA fellowship. He teaches in the brief-residency MFA program at Spalding University.

MAUREEN MOREHEAD is a poet and teacher in Louisville, KY. Her latest book is Late August Blues: The Daylily Poems. She is on the poetry faculty at Spalding University’s MFA Program in Creative Writing. She was Kentucky Poet Laureate for 2011-2012.

LUCIA PERILLO’s sixth book of poems, On the Spectrum of Possible Deaths, was a finalist for the National Book Critics’ Circle Award. Her previous book, Inseminating the Elephant, was a finalist for the Pulitzer Prize and won the Bobbitt prize from the Library of Congress.

PAUL QUENON is a monk of the Cistercian Abbey of Gethsemani in Kentucky. He has published five books of poetry, with his photography, including The Art of Pausing and Monkswear.

SPENCER REECE, an ordained priest and former chaplain to the Episcopal bishop of Spain, is a teacher and chaplain at the bilingual school of Nuestras Pequenas Rosas, a home for abandoned and abused girls in Honduras. His second book of poems, The Road to Emmaus, is forthcoming in April, 2014.

JEFFREY SKINNER’s new book of poems, Glaciology, won the 2012 Crab Orchard Open Poetry Competition. His play, Down Range, will have its second full production in Chicago in 2014. In addition to poetry collections, his other books include The 6.5 Practices of Moderately Successful Poets.

KATERINA STOYKOVA-KLEMER is the author of three poetry books, most recently The Porcupine of Mind. She is founder of Accents Publishing and hosts Accents radio show on WRFL (88.1 FM) in Lexington

TREE SWENSON is executive director of Richard Hugo House. She spent ten years as executive director of the Academy of American Poets in New York. She was executive director and co-founder of Copper Canyon Press, where for twenty years she published poetry, and a former AWP Board President.

FRANK X WALKER is poet laureate of Kentucky. He is a Lannan Literary Fellow for Poetry, University of Kentucky associate professor of English and editor of Pluck! the Journal of Affrilachian Arts & Culture. Among his six books of poetry is Turn Me Loose: The Unghosting of Medgar Evers.

EMILY WARN’s latest of five books of poetry is Shadow Architect, An Exploration Of The 22 Letters Of The Hebrew Alphabet. Her poems and essays appear widely, including in Poetry, Bookforum, Poetry Northwest, and The Writer’s Almanac. The founding editor of poetryfoundation.org, she now teaches and writes in Seattle.

JONATHAN WEINERT is the author of In the Mode of Disappearance, winner of the Nightboat Poetry Prize, and Thirteen Small Apostrophes, a chapbook. He is co-editor of Until Everything Is Continuous Again: American Poets on the Recent Work of W.S. Merwin.

NANCY WILLARD, a winner of the Devins Memorial Award, has had NEA grants in fiction and poetry. Her book Water Walker was nominated for the National Book Critics Award. She won the Newbery Medal for A Visit To William Blake’s Inn. Her most recent poetry book is The Sea at Truro.

CATHERINE WING’s second collection, Gin & Bleach, won the Linda Bruckheimer Series in Kentucky Literature and was published by Sarabande Books. She has recent poems in Best American Poetry, Crazyhorse, and The Nation. She teaches at Kent State University.

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Gail R. Gilbert, Director

Art Library

University of Louisville

Louisville, KY  40292

502.852.6741

louisville.edu/library/art