New traveling exhibition, catalog, digital collection, and website celebrate the life and work of regional planning pioneer, Ladislas Segoe

“In the Public Interest” will open with a wine and cheese reception at the Phillip M. Meyers, Jr. Memorial Gallery on February 19, 2015.


Created by urban planner Ladislas Segoe along with local lawyer Alfred Bettman and fellow planners George B. Ford and Ernest P. Goodrich, the plan is monumental in that it made Cincinnati the first major United States city to have a comprehensive urban plan. A new exhibit, In the Public Interest: The Life and Work of Regional Planning Pioneer Ladislas Segoe (1894-1983), which will run in the Phillip M. Meyers, Jr. Memorial Gallery, Feb. 15-April 5, with a public opening reception planned for 5-7 p.m., Thursday, Feb. 19.

With numerous other groundbreaking achievements including supervising the first federal study of urban America and writing the most influential planning text of the first half of the 20th century, Segoe had a long, successful career in city planning spanning over four decades and through interesting times for U.S. cities including the Great Depression, WWII, urban renewal of the 1950s and civil unrest in the 1960s.

Spending most of his career in Cincinnati, Segoe lectured at the University of Cincinnati from 1938 through 1942. In addition to plans for the city of Cincinnati, Segoe and his associates created comprehensive plans for numerous U.S. cities both local (including Middletown, Dayton and Mason) and across the country (including Detroit, Lexington and Tucson).

“Segoe was one of the most important of the early professional planners in the United States,” said David J. Edelman, professor of planning and director, Master of Community Planning (MCP) program, in the College of Design, Architecture, Art and Planning. “In the 1920’s, Segoe and Alfred Bettman pioneered comprehensive planning, which guides the profession to this day. He advocated regional planning and developed the idea of a growth boundary around cities to limit urban sprawl. Few, if any, have contributed more to planning practice.”

In the Public Interest includes maps, sketches and images that show not only Segoe’s professional work, but that also give insight into the man – his travels, love of fitness and marriage to opera soprano Vilma Czittler. The exhibit is the result of international collaboration that has involved many faculty, experts and staff across the University of Cincinnati, Cornell University and the Technion in Haifa, Israel. Segoe’s complete collection of professional and personal papers is housed in UC Libraries’ Archives and Rare Books Library and in the Cornell University Archives.

After displaying at UC, the exhibit will travel for display at Cornell University in the fall of 2015 and at the Technion-Israel Institute of Technology in the Spring of 2016. It was produced with significant support from the Ladislas and Vilma Segoe Family Foundation. For more information, contact Jennifer Krivickas, head of the Robert A. Deshon and Karl J. Schlachter Library for Design, Architecture, Art and Planning at or by phone at (513) 556-1319.

Congratulations Stacy Brinkman, Art & Architecture Librarian at Miami University!

The ARLIS/NA – Ohio Valley Travel Award Committee 2015 is pleased to announce that the Spring 2015 Travel Award has been granted to Stacy Brinkman, Art & Architecture Librarian at Miami University.

Stacy is the chair of the Diversity Planning Grant Task Force, which has worked over the past year to draft an IMLS Planning Grant proposal that will position ARLIS/NA to recruit underrepresented minorities into the art information profession. Stacy is also a member of the ARLIS/NA Membership Committee.

Congratulations, Stacy! We hope to see you at the OV meeting in Fort Worth!

Christine Mannix & Betsy Lantz
ARLIS/NA – Ohio Valley Travel Award Committee 2015

ARLIS/NA-Ohio Valley Travel Award

Originally posted on [ArLiSNAP]:

*please excuse cross-postings*

ARLIS-Ohio Valley is accepting applications for our Spring 2015 Travel Award. If you are an art librarian or library student living in Ohio, Kentucky, West Virginia, or western Pennsylvania, you can apply for a $250 grant to help defray the costs of attending the 2015 ARLIS/NA 43rd Conference, March 19-23, 2015, in Fort Worth, TX.  Interested ARLIS-Ohio Valley chapter members should follow the application procedures below and send as a Word attachment to Christine Mannix ( or Elizabeth Lantz ( by February 6, 2015. The winner will be notified no later than February 13, 2015.

Not a member? Visit the ARLIS/Ohio Valley Chapter blog at to join! Our professional membership costs $25 per year and our student membership is free with proof of ARLIS/NA membership. Memberships span the calendar year from January 1 to December 31.


View original 68 more words

Louis Adrean elected ARLIS/NA-OV Vice Chair 2015/Chair Elect 2016!

ARLIS/NA-OV is pleased to announce that Louis Adrean, Head, Research and Public Programs at Ingalls Library and Archives at the Cleveland Museum of Art is the Vice Chair 2015/Chair Elect 2016! Congratulations, Lou!


2015 Executive board will be:

Mo Dawley, Chair

Louis Adrean, Vice Chair/Chair Elect

Shannon Robinson, Past Chair

Jennifer Krivickas, Blog Editor

Anne Trenholme, Secretary/Treasurer

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 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 or contact the instructor at


Meet “The Artist & The Librarian”: Shannon Robinson

  • image




    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!