Visual Arts Forum

Meeting papers

Agenda

  1. Welcome and introductions.
  2. Objectives of the Forum.
  3. Current situation - 2003 survey
  4. The National Bibliographic Database
  5. FRBR
  6. The Australian Libraries Gateway
  7. Indexing and databases
  8. Digitisation
  9. Consortia purchasing
  10. Working relationships among visual arts libraries
  11. LearnScope "Digital images: collaboration and community" discussion forum
  12. Online Dictionary of Australian Artists
  13. Summary of action items

4. The National Bibliographic Database

Information about resources held in collections can be contributed to the NBD in the following ways:

  • online via the cataloguing client and web holdings update;
  • online via the web form;
  • via files through the Batch*Link service
  • via files of records using OAI

Visual arts libraries currently contributing to the NBD currently generally catalogue online or send batch files.
Those visual arts libraries not currently contributing to the NBD could probably most easily use the following:

  • online via the web form;
  • via files through the Batch*Link service
  • by maintaining metadata on an OAI server or in harvest control lists accessible via ftp

We could arrange for an information session or send out notes on using all of these means.
For the web form people need to register and assistance can be provided by the helpdesk.
The form, which not a full MARC records, is very easy to use.

For Batch*Link contributors using the system currently have local systems including: ALTARAMA, Amlib Library Management System, Athena, AURICA, Aurora, DBTextworks/Inmagic, DRA, DYNIX, DYNIX Searcher, EOSi, EOSi Search Only, Ex Libris, GEAC, GEAC Advance, GEAC Plus/GeoPac, Horizon, Innopac, PLAIN, Spydus, STOWE BOOKPLUS, Voyager, VTLS and any library system that can output formatted text. We note that a number of visual arts libraries use DBTextworks/Inmagic, and these libraries could relatively easily provide a file for records for Kinetica. An article on the experiences on one library that recent contributed records from DBTextworks/Inmagic can be found at http://www.nla.gov.au/pub/gateways/archive/64/pages/p06a01.html

For OAI contribution we are now using the "harvester" to collect records from libraries such as the Australian Music Centre, State Library of New South Wales and State Library of Victoria. What do libraries need to do to be a participant in OIA record supply? They need to have an OAI server at their end to make records available to be harvested. One of the advantages of using the harvester process is that we can enhance records, for example add publisher and place of publication if the organisation supplying the records is the publisher of the material described in the records. We can also "harvest" metadata from harvest control lists, using file transfer protocol to extract the metadata.

We can provide slides and other information to visual arts libraries on contribution alternatives.

Guerilla resources

  • If the problem is having records to copy Kinetica would be very willing to pursue databases that might be good sources of copy records, provided we can reach a business relationship with them. Worth noting that WorldCat is available to visual arts libraries outside the uni sector through Kinetica?
  • We have added in the last year more collection level records (for example NLA ephemera subject records) and would be delighted to talk to visual arts libraries about incorporating these sorts of records. Note that these can flow on to RAAM too.

6. Australian Libraries Gateway

  1. NLA notes in response to ARLIS/ANZ Focus Group meeting on ALG, held June 2003
  2. Comments and questions submitted by Michele Burton, in response to NLA paper
  3. Notes from the June 2003 meeting

(i) Response to the Recommendations as identified by the ARLIS/ANZ Focus Group

Review the search interface to improve searching capacity
The NLA is willing to review the search interface (see details below), but would be reluctant to make Subject Collecting Levels a mandatory field. Search results are only as complete as the description as entered into ALG by the institutions themselves and we will continue to encourage libraries strongly to use these fields well.

Improve the Advanced search - either by including more fields in the drop down box, or the introduction of keyword searching of all fields, preferably with a Boolean search option
The inclusion of Collection Details in the drop down box on the Advanced Search screen can be added to the list of improvements to the ALG website with a high priority

Resolve problems with terminology such as 'subject' and 'type'
The NLA would be reluctant to change either descriptor, as they are both nationally recognised and in harmony with the ILRS Directory. To help clarify the terminology, a qualifier on the 'Search collections by subject' page can be added.

Review and clarify the 'How to update your library details' pages to remove confusion - i.e. how librarians are asked to enter information about their library and collections, especially under fields such as 'Other access aids' and 'General comments', where many of the 'treasures' are buried and not searchable in the current layout.
A review of the update page has been identified as a task for the NLA. The suggestions to improve search capabilities has been given a high priority.

Modify 'help' pages to provide clearer links to the actual data entry point
These pages will be reviewed in the near future

Contributing libraries

Persuade all libraries, particularly large libraries and those with unique collections to add more detail about their subject coverage, collection strengths and access aids so that they will be identified in searches
The NLA has been encouraging users to provide complete and up to date descriptions of their libraries for some time. Any assistance (such as suggested below) is welcomed by the NLA.

ARLIS/ANZ could use the opportunity provided by the Visual Arts Information Project - using the survey and subsequent meetings and the conference in September 2004 - to persuade its members to contribute and update regularly.

See previous response.

The NLA appreciates the input of the ARLIS/ANZ Focus Group in improving the ALG. The NLA encourages ARLIS/ANZ to assist in improving the data quality held by the ALG by reinforcing to Art Libraries the need to enter the most up to date, complete level of description that they are able.

The NLA will provide feedback to the group on progress with changes to the directory as they are completed and tested.

Modifications to the Search, Help and Update screens have been identified and been given a high priority in the list of tasks scheduled for ALG. The single greatest impediment to the completion of these tasks is one of resources. The NLA has routed a large proportion of its IT development to the Kinetica Redevelopment Project, and currently the service is supported by a part-time, non-technical member of staff.

(ii) Questions/comments submitted by Michele Burton, AFTRS

1. What is the list of tasks, priorities and timeframe for ALG improvements?

2. How can the identification of specialist art collections be improved? At present they can be retrieved by Subject or Type, but results are different.

  • Subject "art and architecture" ? 63 hits
  • Library Type "art" ? 93 hits
  • And Type "cultural organisation" ? 296 hits, Type "audio visual" ? 9 hits

3. Advanced search would benefit from including searches for:

  • All fields
  • Highlights of collection
  • Other access aids

4. It would be desirable for subject collecting level to be a mandatory field (see NLA's first point)

5. There is potential for an arts sub-directory of ALG to be made accessible via the ARLIS/ANZ home page

6. The ARLIS/ANZ conference in September 2004 will discuss ALG further

(iii) Notes from an ARLIS/ANZ focus group meeting about ALG

Focus group held 12th June 2003 at the Art Gallery of New South Wales

Present: Susan Schmocker (AGNSW), Michele Burton (AFTRS), Debbie Sander (AFTRS), Christine Roberts (NIDA), Margaret Rafferty (Powerhouse), Paul Bentley (ARLIS/ANZ Chair) Jill More (COFA)

The group met following discussion of the ALG at the previous ARLIS/ANZ (NSW Chapter) meeting. The aim was to review coverage of art in the ALG and to define how it could be extended to support the visual arts in lieu of the demise of Ariadne, the online version of the ARLIS/ANZ survey of in-house indexing in Australian art libraries. Locating 'guerilla resources' (hard to find material) was of particular interest.

Background
Why do art librarians use the ALG? This may be for a variety of reasons, including:

  • Directory information and contact details
  • Locate other libraries with similar collections e.g. DVD collections
  • Check the access aids of other libraries e.g. indexes, databases
  • Redirect users to relevant collections

There was general agreement that the ALG holds a great deal of information and has a good level of coverage of art libraries, but problems were identified with searching the material. The group identified problems with terminology which affected the way data was gathered and searched, and problems with search functions.

The group also proposed a way in which the ALG could be manipulated to improve access for art librarians and researchers.

1. Directory function
The directory information about each library is comprehensive and the list of libraries includes both small specialist art libraries and larger general collections with strong art collections. Identifying all specialist art collections within the ALG was, however, considered to be a problem.

2. Terminology
2.1 Subject / Type
Finding a library by subject can be difficult for an inexperienced searcher. The 'Find a library' Standard and Advanced search screens offer 'Search collections by subject', including an Art and architecture option, in the main menu bar at the top. This search results in 63 hits. A problem arises because many smaller specialist libraries have not assigned subject collecting levels and are consequently not listed under the 'Subject' category of Art and architecture.
A search by 'Library type', listed beneath 'Name' and 'Location' search options, also offers the opportunity to search by Art, resulting in 93 hits. However 'Library type' includes both type and subject coverage, for example Government, Public, School as well as Art, Health/Medical and Law . This can be misleading if the researcher has already searched by 'Subject' and doesn't search further. A search of Art under 'Library type', resulting in 93 hits, is more successful than a search by 'Subject'.
Although both the Standard and Advanced subject search screens suggest limiting subject searches by 'Library type' and 'Location', the terminology is confusing.

2.2 Collecting levels
Differing interpretations of subject collecting levels, and the failure of many stronger small libraries to complete the section on collecting levels at all, create a problem for searchers accessing the ALG by subject. Another problem is that many of the larger multi disciplinary libraries with relatively strong collections on art are not listed as Art libraries under Library Type, e.g. the State Libraries of NSW and Victoria. Currently, no single search will pick up all libraries with strong collections in art.

Recommendations

  • To improve subject searching, add a keyword search option and make it a requirement for libraries to enter subject description terms. In art libraries there is a lot of subject cross-over, including subjects which do not really fit under any of the existing types in the ALG - e.g. design, performing arts.
  • Some guidance on standardisation of subject terminology would be useful e.g. art, arts, visual arts, performing arts etc.

3. Searching - Advanced search

3.1 This search would be more effective if ALL fields could be searched by keyword. For example, a search for 'archives' as keyword, using "All fields above" in the drop down menu, finds 27 hits but excludes the Art Gallery of New South Wales, although Archives are mentioned twice in its entry. The 'Subject collecting comments' are searchable but not 'Highlights of the collection'.

3.2 There is a problem of definition and/or interpretation for libraries following the 'How to update your library's details' which affect the Advanced Search:

  • Information entered under '4. Collection details' invites details of other access aids such as in-house indexes including catalogues and databases, but these do not appear to be searchable except by browsing the library's full record (e.g. how can I search for 'ephemera' - entered by the College of Fine Arts). Since the demise of ARIADNE, the ALG is the only source of this information.

Recommendation
This field (Collection details) should be included in the Advanced search - in the drop down box (together with other fields such as 'General comments').

  • 'Subject collecting information' invites the addition of collection highlights, including special collections and unique materials, but this information is not searchable unless the library has defined its collecting levels.

The relationship between the way data is entered, how it will appear in the library's full entry on ALG, and how it can be searched in the Advanced search, is not well understood despite extensive instructions on 'How to update your library's details'. Information entered under 'Highlights of the collection' appears in the library's full entry and is searchable in the Advanced search, but the same information if entered under 'Comments' is searchable but does not appear in the entry. This can be quite confusing.

4. Format

The key to 'guerilla collections' is often format. Art researchers may be looking for libraries which specialise in material formats such as archives, artists' files, ephemera, exhibition catalogues, film and video, images, newspaper clippings etc. Other descriptors fall between format and subject (e.g. biographies), and would be better identified by keyword searching of all descriptive fields.

The Focus Group experienced problems searching the ALG for information where data had been entered but was apparently not searchable, for example:

  • libraries with disaster plans
  • bibliographies
  • film scripts
  • maps
  • DVDs

Recommendation
Make all fields searchable by keyword, preferably with boolean options.

5. Potential for increased value and wider application
5.1 The ALG offers, or has the potential to offer, excellent coverage of directory, subject and collecting information on the visual arts and related topics. Recommendation
It would be of great benefit to arts libraries to be able to extract a subset of relevant data to produce an arts sub-directory of the ALG to reside on the ARLIS/ANZ home page (with full acknowledgement of ownership by the NLA).

5.2 A gap has been left by the suspension of the Sydney Subject Specialisation Scheme, which was set up by public libraries but heavily used to direct researchers; the ALG should be able to fulfil this role.
Recommendation
The ALG should take on the role previously supported by the Sydney Subject Specialisation Scheme

6. General comments and possible further action
The structure of the ALG is complex, covering a broad range of information and user needs; the relationship between data entered, appearance in the library's main entry in the ALG and searchable fields is not always apparent. Some of the data entered by libraries is not easily searchable in the Advanced search and may not be visible when viewing the full entry for a library.

Recommendations

National Library of Australia

  • Review the search interface to improve searching capacity
  • Improve the Advanced search - either by including more fields in the drop down box, or the introduction of keyword searching of all fields, preferably with a Boolean search option
  • Resolve problems with terminology such as 'subject' and 'type'
  • Review and clarify the 'How to update your library details' pages to remove confusion - i.e. how librarians are asked to enter information about their library and collections, especially under fields such as 'Other access aids' and 'General comments', where many of the 'treasures' are buried and not searchable in the current layout.
  • Modify 'help' pages to provide clearer links to the actual data entry point

Contributing libraries

  • Persuade all libraries, particularly large libraries, to add more detail about their subject coverage, collection strengths and access aids so that they will be identified in searches
  • ARLIS/ANZ could use the opportunity provided by the Visual Arts Information Project - using the survey and subsequent meetings and the conference in September 2004 - to persuade its members to contribute and update regularly.

Jill More
ARLIS/ANZ
4th July 2003

7. Indexing and databases

1. Current situation

Information on the Australian visual arts is available in a great variety of formats and is widely dispersed among national, state, gallery, special and academic libraries. Identifying and locating this information can be a challenge if it is not on the National Bibliographic Database.

The 2003 survey identifies the resources and finding tools (excluding the NBD) that we currently use:

  • commercial online databases (e.g. APAIS, APAFT, AVAD, RMIT, ABM, DAAI, BHA) - problems with coverage, cost
  • freely available web databases - if you can find them - AustArt (COFA), Archibald, Wynne and Sulman Database (AGNSW), Index to Australian Art Exhibitions (NGA)
  • guerilla resources - in-house finding aids, indexes and databases - Index to South Australian Art Catalogues (Mortlock Library of S.A.), Arts Ephemera File of the James Hardie Library, State Library of Queensland)
  • guerilla resources - many not indexed at all

2. Issues

Since the 1980's, ARLIS/ANZ has made various attempts to improve access to visual arts materials in Australian libraries. The Society now finds itself out of its depth, its initiatives fragmented or no longer relevant in the current information technology environment. The demise of Ariadne, ARLIS/ANZ's online visual arts directory, is indicative of the problems we face. Our goal is easy web access to Australian visual arts information and resources, including guerilla resources and resources which are currently in-house indexes and databases.

  • Value of indexing for the Australian visual arts - discovery tools
  • History of indexing ventures: past and present
  • Past - AARTI (NGA), Artsdoc (Australia Council), Ariadne (ARLIS/ANZ)
  • Present - ARTEX (NGA), AustArt (COFA), NATSIVAD (AIATSIS)
  • Technology: the challenge faced by libraries attempting to develop online resources (e.g. convert in-house indexes to databases on the web). Problems identified in surveys 1991 and 2003:
  • Cost - lack of resources and staff time
  • Lack of staff skills
  • Access to good, affordable software
  • Compatibility of software
  • Standards, metadata
  • Problems associated with wider access - security, preservation, copyright
  • Case studies
  • AustArt - future prospects?
  • Archibald, Wynne, Sulman Prizes database
  • Access: how to find information from a variety of sources, including:
  • Grey (guerilla) resources revealed in surveys, including primary resources not otherwise accessible
  • Resources including catalogues, press clippings, ephemera, artists' files, audiovisual material, archives, photographs, pamphlets, posters
  • Forms of access - many formats from self-indexing files, card catalogues, lists and staff knowledge to online catalogues and databases
  • Relationship with NBD, commercial providers and organisational websites
  • Databases available via the internet commercially or on parent websites
  • Possibility of metadata harvesting of electronic resources
  • Affordability of access for libraries via commercial providers
  • Development challenge for libraries: how to convert an index to a database to an online resource to an affordable internet resource for others?

3. The Future

We need a better discovery service for Australian art : a framework to encourage sharing of resources and a means to discover who, what and where?

  • Technological solutions are needed to help convert paper resources to electronic/web versions. This would include software and support.
  • Options for bringing resources together - including guerilla resources:
  • Existing portals/gateways - too large to meet this particular community's needs e.g. Australian Libraries Gateway, cultureandrecreation.gov.au (Australian Government's Culture and Recreation Portal)
  • New portal option with access from NLA and ARLIS web pages
  • Benefits - discovery service for Australian visual arts; a portal would answer the questions who, what, where?
  • Issues to be considered - software, host, management, funding
  • Needs to be easily accessible - including via Google
  • Models - NLA's trial public libraries portal, Australian Government's Environment Resources Portal, PictureAustralia
  • Possibility of a co-operative venture - NLA, ARLIS/ANZ, others?
  • Links - PictureAustralia, NAVA, Dictionary of Australian Art Online (DAAO)
  • Other solutions?

8. Digitisation

Stephen O'Brien

Introduction

Digital technology is bringing about a fundamental shift in the way in which art image and cultural resources are being managed, accessed and displayed. It creates the potential for a vast increase in the quantity and quality of resources available. Some of the factors driving this shift are; new technologies, user expectations and the looming obsolescence of analogue equipment, (eg Kodak has announced its withdrawal from the traditional film and slide projector market and Phillip's from VCRs).

Some implications of this shift to digital for information professionals are:

  • Traditional roles change as we start to manage parallel analogue and digital collections
  • Collaborative alliances with IT sections, infrastructure and knowledge managers, administrators, teachers, students and users will be advantageous
  • We will need to become familiar with new technologies so as to help users to understand them and educate administrators about what is required to sustain them
  • We will need to adopt consortia, collaborative and cooperative models for digitising and distributing digital content
  • We will need to implement storage and delivery systems which are appropriate to the new display technologies

Possible action items

Given that the "building blocks" of sustainable digital projects are quality cataloguing and high-resolution images, we should consider the need to

  • Achieve commitment to digitisation standards (for example, controlled vocabularies, provisions for future data migration, data structures, file size and resolution, storage and memory size, maintenance and preservation of digital objects)
  • Establish commitment to cataloguing records (metadata) as an essential part of digitisation and which allows the digital object to be found in a meaningful way
  • Win recognition that cooperative indexing and data sharing will be promoted by the use of structured vocabulary tools which achieve the standardization of indexing terms and description
  • Avoid duplication of effort and help to prioritise the digitisation of culturally unique and distinctive resources
  • Establish models which can indicate the real cost of creating a digital image with metadata. In the United States estimates vary from US$11.38 to US$45 per image, with the metadata record being the most expensive part of the process. (Information sourced from the VRA)
  • Consider ways to anticipate the technological obsolescence of hardware and software. (Can PANDORA play a role?)
  • Plan for projects/tools/resources that use applications such as Flash or 3-D modelling software and which expand the pedagogical impact of images
  • Develop different models of use which balance the interests of "rights holders" with fair use by the public, educational institutions and researchers

Conclusion

The Visual Arts Libraries Survey reports that Australian collections hold over half a million photographs, 300,000 slides and over 20,000 digital images. While progress with digitisation has been mixed future projects will have the possibility of creating valuable content by learning from previous experiences and having access to cheaper and more developed technology.

Digitisation of Australian Art

Neil Hinsch

Access to images of Australian art, architecture and design for teaching purposes at both a tertiary and secondary level has proved increasingly problematic over the years with slide sets no longer being published by government departments, organisations, galleries and suppliers such as Educational Media.

The College of Fine Arts Library received from the Australia Council between 10,000 to 25,000 slides of works by Australian artists, decorative artists and designers covering the years 1985-1995. The works had been submitted to the Council by each artist as part of their respective portfolios for grant applications. Copyright considerations preclude the Library from putting these image up on the WWW for outside scholarly research and public perusal.

This collection demonstrates the vast wealth of untapped pictorial resources existing in the general community, but unavailable for scholarly research and education on a national basis. If artists, designers and architects could have access to an Internet based service that allowed access to their respective pictorial collections and acted as a copyright conservancy, it could facilitate the building of an extensive body of public domain work.

Proposal: That PictureAustralia assume this role and allow individual artists, designers and architects to place their respective images in the database.

Proposal: That PictureAustralia and NAVA work together to develop a copyright information portal to manage rights information ( preferably a virtual registry identifying intellectual property rights in individual artworks to ease access to images and probably reduce rights clearance costs to participants).

9. Possibilities for consortial purchasing of commercial electronic information resources for art libraries in Australia: notes for discussion

Margaret Shaw

Background

For most art libraries increased budgetary pressure is being exacerbated by the availability and demand for specialised commercial electronic information resources. Given the very international nature of art history research both local and over-seas tools are required for study of Australian art or Australian art collections. These include:

  • on-line periodical indexing tools e.g.:
  • Wilson art abstracts [incl. Art index retrospective], [major Australian sources and over-seas coverage of Australia]
  • ARTbibliographies modern [substantial Australian coverage including selected exhibition catalogues and monographs]
  • Bibliography of the history of art [major Australian sources and over-seas coverage of Australia]
  • Design and applied arts index [substantial Australian coverage]
  • Avery index
  • full-text periodical services e.g.:
  • Wilson's Art full text [of limited interest until illustrations / advertisements etc fully covered]
  • JSTOR [planning introduction of coloured illustrations]
  • on-line art price services e.g.:
  • Australian art sales digest
  • Artnet
  • Art sales index
  • Art price etc etc
  • reference tools
  • Discovery media's Ozbiogs [Australian]
  • Grove Dictionary of art online
  • image data bases e.g.:
  • Bridgman art library [available through Grove Dictionary of art]
  • AMICO
  • ARTStor
  • Corbis

In addition, art libraries need general on-line reference tools such as APAFT APAIS, newspapers, dictionaries, encyclopaedias etc. .

In 2001-2, I investigated the possibility of developing consortial arrangements for a couple of these sources for members of ARLIS/ANZ. While I managed to achieve some small discounts it soon became clear that there are some basic factors to be understood and hurdles to be over-come.

  • many art libraries are sub-departments of larger libraries and are covered by arrangements made on behalf of the parent body [nevertheless 16 of the survey libraries from all sectors expressed interest in a consortium for access to resources such as APAFT]
  • those which are not covered by a larger parent library may not have the expertise to develop and/or maintain consortial arrangements
  • even at discounted prices many of the basic tools are beyond the budgets of some smaller libraries [ 13 / 15 survey libraries which gave a reason for not subscribing to any/many online tools cited cost as the problem]
  • such a specialised field tends to hinder bundling of groups of suitable data-bases at discount rates although some suppliers are building groups of art materials
  • ARLIS/ANZ would not be a suitable body to manage consortial arrangements:
  • covers all types of art libraries, often through personal memberships
  • has a voluntary, peripatetic administrative structure which would make maintenance of a consortium a problem
  • does not have guaranteed sustainability re funding to maintain a consortium
  • suppliers do not always understand the structure and clustering of art libraries but recognise that it is in their interest to listen and negotiate
  • the art library market in Australia is extremely small, particularly when those libraries which come under a different umbrella are taken out of the equation, which makes it difficult to interest suppliers in consortial arrangements but there are possibilities for alternative approaches

Art library categories and how they access online resources:

  • art departments* within academic libraries
  • art school libraries
  • art departments* within public libraries
  • art departments* within state/national libraries
  • picture libraries within state/national libraries
  • art museum libraries

* there is a growing tendency for art collections to be amalgamated as a part of the general collection and for specialist art librarian positions to be abolished or to be covered by a librarian with responsibility for a range of more or less related subject areas.

Each of these categories has its own way/ways of purchasing commercial electronic information resources depending on the administrative and financial structure under which it works.

Some categories are already covered by a variety of consortial arrangements for purchasing.

  • Art departments within academic libraries may be covered by:
  • CAUL [Council of Australian University Librarians] consortial agreements
  • subscriptions held by the larger parent library or network

This may also apply to art school libraries which come under the umbrella of one of the Universities [NITA / ANU; COFA / UNSW etc.] or which are part of one of the TAFE networks

  • Art school libraries [which do not come under a larger umbrella institution]
  • these may be in the same situation as art museum libraries q.v. below.
  • Art departments within public libraries may be covered by broader umbrella agreements e.g. Viclinc's Gulliver in Victoria
  • Art departments within state/national libraries will be covered by CASL consortial arrangements [See specific paper]
  • Picture libraries with state/national libraries will be covered by CASL consortial arrangements
  • Art museum libraries are not generally covered by any consortial arrangements. They also tend to have very limited funding.

Realistically, this group is not big enough and does not have the expertise and resources to set up a full consortium but possible approaches for this group are:

  • to seek to join one of the larger consortia although this would require the ability to subscribe to selected resources from a larger package
  • negotiate for a single multi-site licence covering a specified group of art museum libraries but based on one library and a single payment to be divided between the members [I am currently investigating this with one data-base vendor as a sample] which depends on:
  • one library's being prepared to take this on
  • an agreed method of allocation of costs e.g. based on usage levels or on available funding.

Very specialised resources

Of course, the very specialised nature of some of the tools used means that they may not be covered by existing consortia. Art price listings are an example. It is also likely that the usage of these may cover a number of art library categories but not all of one sector.

Points for discussion

  • Possibilities for establishing consortia for very specialised, cross-sectoral resources which are not generally covered by umbrella consortia and/or for existing consortia to take on responsibility for these resources
  • Possibilities for those libraries not covered by existing consortia to join one of them for specific tools
  • Possibilities for use of alternative structures such as multi-site licences covering a number of smaller libraries
  • Sources from which smaller libraries can obtain advice on the development of consortial arrangements

Consortia Purchasing for Visual Arts Libraries

Cathy Pilgrim

Access to online subscription databases is an issue for many visual arts libraries. Several have reported the inability to afford relevant online databases such as Grove Art Online (Grove Dictionary of Art) and Art Full Text.

The development of a visual arts consortium would enable libraries to have greater bargaining power, more efficient contractual negotiations and, depending upon how the consortium is structured, may streamline processes in the selection, evaluation and acquisition of online resources. Cost savings at the individual institution level can be realised, potentially providing additional purchasing power overall.

For vendors of electronic resources a consortium approach would provide a single point of negotiation and the potential for greater take-up of their products when attractive packages are offered. They may also benefit from consolidated ordering, renewals and payment. Consortia agreements sometimes also bring publishers new customers, which may ultimately increase their revenue.

A consortium where member libraries have a shared vision and are committed to a partnership, where there is agreement on the type of product required, where the aims and objectives of the consortium are clearly defined and where there is an agreed management strategy is more likely to work well than a consortium lacking these characteristics.

The National Library of Australia is successfully participating in the Council of Australia State Libraries (CASL) Consortium, to acquire access to commercial electronic information resources. The CASL Consortium is just one of several library consortia operating within Australia at the present time. It has a strong business model and is one in which visual arts libraries may wish to consider when investigating a consortium approach to purchasing electronic resources. In determining the viability of a visual arts consortium some of the key issues to be addressed include:

Which libraries would participate in the proposed consortium?

  • Definition of a visual arts library (who can participate in the consortium?)
  • The development of a Consortium Profile would help to better educate vendors about the types libraries participating in the consortium. This document generally describes the Consortium, its administration and provides a brief profile of each member library. This document is used to communicate with vendors the nature of the Consortium and provides them with an insight into the requirements of Members to enable them to develop a subscription and pricing model, which is suitable.

How would it be constituted and administered?

  • The more centralised and coordinated administrative arrangements are, the more effective the consortium is likely to be in negotiating advantageous agreements with vendors.
  • The appointment of a Consortium convenor and lead negotiator who coordinates the activities of selection, evaluation and negotiation as well as carrying out the day-to-day administration is an efficient way of managing consortium activities.
  • The mechanism to enable members to join the consortium could be an agreement which clearly states roles and responsibilities. This could be modelled on the CASL Consortium agreement, which can be supplied.
  • How would the Consortium communicate? A major factor in successful communication among members is ensuring people respond in a timely manner to requests for information and provide relevant feedback. Teleconferencing, a closed email discussion list, the development of a website and regular face-to-face meetings help to enable good communication among consortium members.

What online products should be subscribed to?

  • The implementation of a formal forward workplan, which outlines products for trialling by Members is a useful tool. The plan outlines the products to be trialled, evaluated and negotiated each period. This would enable members to plan for subscriptions in line with their acquisitions budgets and streamline "ad hoc" approaches from vendors to the consortium.
  • Would the Consortium offer a "core set" of products to which all members must subscribe or offer an "opt in/opt out" model? The greater the number of participants subscribing to a product, the better the negotiated price is likely to be for individual participants, so for a small consortium, less than full participation for a product may not realise worthwhile savings.

How would the consortium be funded?

  • Would participation in the consortium attract a membership fee? If so what funding model would be used to determine the fee? (based on library budget, number of users?)
  • What costs would the membership fee cover - partial salary costs for convenor, teleconferencing, legal, photocopying, postage, maintenance of listserv and website.

Who would sign the licence agreements and what terms would be acceptable to members of the consortium?

  • For a convenor or lead negotiator to be able to sign licence agreements on behalf of other members, the legal relationships will be defined in the agreement signed by member libraries.
  • With the purpose of streamlining the licence negotiation processes the Consortium may consider developing a 'Statement of Principles Guiding Licence Negotiation' against which vendors' licence agreements can be routinely checked prior to signing. This document would enable more efficient negotiation with vendors by informing them of member requirements, particularly in relation to core library business such as document supply.

The development of a successful consortium requires participation, support and input from all members. Processes need to be out in place and effectiveness constantly monitored. In most cases it is beneficial to start small with subscriptions to one or two products and services, and grow the consortium over time. The Visual Arts Libraries will also need to decide whether a small set of products would be acquired for all or whether an opt in /opt out model would be implemented, enabling libraries to select which products they acquired through the consortium.

The National Library, in providing convenorship of the CASL Consortium is willing to offer support in the establishment of a visual arts consortium. One of the ways it might do this is by providing guidance to a visual arts consortium convenor in setting up trials and negotiation for two electronic resources. The CASL Consortium, in its 2004 Forward Workplan has identified Grove Art Online and Art Full Text as electronic resources to be trialled and negotiated in the July-September quarter.

The CASL Consortium currently has a business relationship and consortium subscriptions with the vendors of these two electronic products. The CASL Consortium Convenor could work, in a limited advisory capacity, with a visual arts consortium to assist in setting up trials of these electronic resources and assist in the evaluation and negotiation phase.

10. Working relationships between visual arts libraries. The role of ARLIS/ANZ

Paul Bentley

1. ARLIS/ANZ contexts?

  • Information. Types, quantities and quality? Audits: scope, redundancy, gaps, effort, spending, priorities? Marketplace considerations?
  • Workplaces. What's driving visual arts organisations? Libraries - generic and variant issues affecting public libraries and libraries in research, higher education, vocational, museum, gallery, government and private environments? Relationships with other information domains?
  • Approaches. What do the major reports tell us? Types of initiatives, products and services? Decision-making concerns, models for collaboration & levels of complexity? Data models, standards & technologies? Australian dependencies, initiatives & sources of funding?

2. ARLIS/ANZ SITUATION?
Business plan, with operational and strategic options, due Sep 2004.

  • Preliminary membership data: overall trends re employees, employers, regions & functions?
  • Preliminary assessment of performance, scope & purpose, prospects, activities, modus operandi, limitations & relationships?

3. ARLIS/ANZ contribution?

  • Human capital and know-how from experiences in the visual arts, libraries and other information projects. Lessons learnt from past initiatives. Which initiatives? What lessons?
  • Partial control over information infrastructure (facilities, technology, content and services in member institutions). How much content: *%? How much of the infrastructure: *%? How much control: *%?
  • Organisational capital and influence. (1) Linking the interests of visual art libraries / librarians and kindred domains, locally and internationally; (2) encouraging commitments by parent organisations and kindred information domains within parent organisations (How much influence: *%?); (3) a possible expanding contribution, subject to successful phase one endeavours, increased membership and/or improved financial position and/or adoption of options to streamline efforts.
  • Other contributions?

4. Summing up

  • Key points? Need for a broad vision and plan, as well as a focus on the achievable in the short term? Importance of a shop e-window and supporting framework for the shop? Need to harness institutional capability and commitment? Dependency on the National Library of Australia?
  • Next steps?

11. Online LearnScope Special Interest Team: Digital resources collaboration and community project

Project report for the Visual Arts National Forum by Stephen O'Brien

Aim of project

To assist team members develop a clearer understanding of how to store, retrieve and deliver high quality digital images that are copyright cleared, formatted correctly for use on screen, organized with good metadata and retrievable in a simple, search-based method in order to build engaging curricula and learning experiences for students and researchers. The team will seek to foster a sense of collaboration and community in the provision of cost effective Australian digital content.

Proposed activity

The project will develop and manage a national online forum for the interchange of experiences related to the creation, storage, preservation and sharing of digital images. It will use a variety of technologies (web based, internet, video and telephone conferencing) to facilitate the following and other activities

  • 'Guest access' to the image delivery systems and databases in North America and the Hunter Institute's implementation of the James Madison University Digital Image Database
  • Discussion on ways to incorporate digital objects into learning systems so as to help engage the learner and build engaging curricula
  • Creation of a web based Community space with user friendly yet secure private and public forums to facilitate the interchange of experiences
  • Promote collaboration and community in the provision of cost effective Australian digital content for educational delivery
  • Discussions on issues related to learner focused multimedia and media asset management systems, common standards and the implications of Kodak's withdrawal from the film and slide projector market and Phillip's from VCRs

The project will run from May until November 2004 and is not intended to substitute for any existing forums.

Proposed participants

The project initiator, the Arts and Media (AMED) Faculty Hunter Institute -TAFE NSW welcomes participation from a broad range of educational and non-educational institutions in this project such as

  • Representatives of private industry, state and national Libraries, museums, Universities, and VET providers, both nationally and internationally, who have an interest in the collection and management digital objects
  • Teachers and educational support staff in the VET sector who have an interest in using digital objects in teaching, eg. Fashion, design, visual arts, music, horticulture and building/architecture

For further information:
LearnScope http://learnscope.anta.gov.au/
Hunter Institute AMED Faculty. http://www.ccc.newcastle.edu.au/wyong/arts-and-media.html