Once again the summer break has provided enough clearance for us to undertake a major renovation project, and mirroring last summer, that effort is occurring at the Fine Arts Library.
Dovetailing with last year’s completion of the Foundry — a creative maker space loaded with technology and production tools — the fourth floor of FAL has been cleared of physical resources in an effort to create space that blurs the line between classroom and library.
The reimagining of previous stack space will result in new classrooms and collaborative spaces to accommodate the Center for Integrated Design (CID), an interdisciplinary program administered in the College of Fine Arts that connects design, engineering, information, business, computer science and architecture programs from across the university to bring solution-focused design thinking to university curricula in a comprehensive way. The center seeks to provide all UT students the opportunity to study design methodology and apply it in creative and entrepreneurial scenarios.
Recent expansions of CoFA curricula into areas emphasizing innovation skills and design thinking are meant to better prepare students for a professional landscape that is ever-evolving in the face of technological development. But these programs have strained the college’s existing facilities, and partnerships with the Libraries — like the CID space and the Foundry — are helping to address the needs of current and future undergrads and graduates.
The 4th floor renovation includes the creation of two large classrooms — one of which will be equipped with active learning and creative technologies — a large seminar room, a medium seminar rooms that seats 12 and two small seminar rooms. The changes will also provide new office space for the faculty and staff in CID, as well as for faculty in the Center for Arts and Entertainment Technologies (CAET), a primary partner with the Libraries in the development of the Foundry.
Libraries staff moved more than 100,000 books, bound journals and scores to offsite storage facilities to accommodate the new construction, and moved the remaining 195,000 items to the stacks on the fifth floor of the building. Thanks to a robust delivery system developed over the last decade, the Libraries can provide campus access to any remote materials within 48-72 hours.
The renovation is on schedule and expected to be complete in time for the opening of classes this fall.
Libraries have long been “third places” for community groups, students (both young and old), immigrants, national and international visitors, and members of the local the community. At their best, libraries provide patrons with safe spaces to engage with the written word, new technologies, new ideas, and new ways of thinking. Libraries expand the horizon of possibility in ways that are both emerging, and traditional. Library spaces are being transformed to include tinkering labs, community kitchens, makerspaces, and virtual reality rooms, all of which exist alongside books, newspapers, computers, and reference desks. These new ecosystems are ripe with the potential to connect people and create new communities.
As library administrators and staff consider what the new horizon will look like for patrons, it is important that we make that horizon accessible. When considering what an accessible horizon looks like in the context of emerging technologies, we should be mindful of our role as intermediaries and translators. Much like learning a new language, engaging with emerging technologies can be daunting. Without a framework for how to utilize or engage with new technologies in productive and enriching ways, our patrons could easily be discouraged, or worse, feel isolated in their learning endeavors. We can encourage and support patrons in their exploration by providing thoughtful programming, workshops and tours of our spaces, and by emphasizing jargon-free explanations of new technologies and their application in the real world. By providing an accessible framework for how to think about oneself in the context of emerging, technology-rich environments, we can empower patrons to move toward new horizons with confidence.
Libraries are the go-to place for knowledge-seekers looking to sharpen their intellectual capacity and understanding of everything from boolean logic to gardening in Texas soil. They provide books on the arts, and on creative practices like knitting, cooking, and photography, so why not provide a larger technical infrastructure that will enable patrons to integrate traditional creative practices with technology? Why not provide patrons with the tools and skills they need to move into new realms of possibility via the practice of making, and making alongside others? While creativity may come naturally for a large portion of the population, it isn’t necessarily a skill that is mastered overnight. Like many skills, creativity takes patience, practice, and a good support community. With many communities losing access to arts funding it is an opportune time for libraries to consider playing a role in the creative lives of citizens, and makerspaces are just one example of how libraries are rethinking their role.
A Brief History of The Foundry
The University of Texas Libraries’ exploration of makerspaces began in 2013 under the oversight of the former head of the Fine Arts Library, Laura Schwartz. During this time, a Special Interest Group (SIG) was charged with researching makerspace technologies within the scope of academic libraries. The group’s findings provided insight into what services are typically made available through these spaces. Following this period of exploration, the Libraries began to pursue funding from outside sources in order to renovate existing library spaces to accommodate new technologies.
In 2014, the Libraries applied for a Longhorn Innovation Fund for Technology (LIFT) Grant and an Institute of Museum & Library Services (IMLS) grant. Neither of these applications was successful.
However, even before funding was secured for the makerspace, the Libraries decided to move forward with a project to build a recording studio in the Fine Arts Library. In spring of 2015, the Libraries participated in the second round of the university’s project fundraising tool Hornraiser — a new crowdfunding operation launched by the university development office — which netted over $15,000 for the studio, and served as a kind of proof of intention to create a larger creative space.
In 2015, the university’s College of Fine Arts (COFA) launched a new program, the Center for Arts and Entertainment Technologies (CAET) which provided additional purpose and created a partnership for the development of the space. The Libraries coordinated fundraising efforts with COFA and the Provost’s office with the expressed purpose of collaborating with CAET to build tools and services in support of the program. A proposal to the Hearst Foundations was rewarded with $200,000 in grant monies to create a makerspace that would be available to anyone on campus, regardless of major or departmental affiliation.
To supplement the Hearst Foundations grant award, COFA and the provost provided additional funding to support the Fine Arts Library renovation, the purchase of makerspace technologies, and staffing for the new space. Two key positions were established to support the program and new functionality in the library. The Arts & Creative Technologies Librarian is responsible for day to day operations and provides support to faculty across campus in order to integrate The Foundry into the curriculum, and the Media Support Technician provides support for the equipment and facilities.
With staffing and funding largely secured, the Libraries worked with designer Harmony Edwards (Edwards + Mulhausen) to seek input from campus stakeholders; faculty, staff and students were invited to provide feedback during design charrettes and focus groups. These discussions allowed the Libraries to better understand how faculty and students envisioned a makerspace, how they might engage with the technology in that space, and if they were currently using makerspace technology in their personal or professional work.
By early 2016, Libraries staff purchased multiple 3D printers, technology for a video wall, top-of-the-line Mac Pros, Bernina sewing machines, a 3D scanner, a large format printer/cutter, two mills, a laser cutter, and an array of additional tools based on feedback from earlier stakeholder conversations. This technology, combined with the high-end audio equipment that would reside in the recording studio, formed the foundation of what was to be known as “The Foundry.”
Construction took place at a fevered pace over the summer of 2016. In early September, The Foundry’s impressive grand opening was celebrated with overflow crowds from the campus community and beyond in attendance.
After the initial success of the launch and praise for the exceptional results had subsided, the difficult work of developing processes and a structure for use of The Foundry began in earnest. The following months were considered a rollout period and involved developing an assessment plan, workflows for equipment certification and use, bringing equipment online, and developing learning materials that would support student and faculty engagement with the space.
As of May 2017, The Foundry is almost fully operational.
There is always a learning process involved in doing something for the first time, and it was no different building a creative space full of machines in the middle of a library originally designed for quiet reflection and housing books. Here are a few bits of practical advice to keep in mind.
When bringing a makerspace online, it is important to develop effective and productive working relationships with campus departments. At The University of Texas at Austin, the Office of Environmental Health & Safety is responsible for oversight of campus facilities. This group is charged with developing safety training procedures for labs and shops across campus. New technology-rich spaces like The Foundry present a challenge when developing safety protocols. Makerspaces aren’t necessarily as dangerous as a wood shop with a large table saw, but the spaces do present safety challenges, and therefore need to have sufficient safety training procedures in place. Negotiating the terms of these procedures with institutional partners is a key component of a successful launch, and the time involved in this should not be underestimated. When considering a makerspace for a school, college, or university, relevant campus safety services should participate in planning conversations from the project’s initiation. Experts can advise on compliance requirements, and may even work directly with principals to develop safety procedures that are customized to the proposed space.
Aside from ensuring that patrons are safe, administrative procedures and workflows need to be addressed. Depending upon campus size, seemingly small workflows could potentially take longer than expected to develop. Will patrons be paying for their 3D prints? Which pieces of equipment warrant safety certification, and which can be made freely available without training? Who should be teaching the certification classes? How long should a patron be able to use a piece of equipment? All of these questions help inform the workflow development, and will help inform the character and value of the makerspace.
Prioritizing the development of an assessment plan, or, at a minimum, a mission statement, will present the vision for a makerspace, and allow progress towards that vision to be monitored in measurable increments. Makerspace technology can be intimidating to many students and faculty. Foundry staff are addressing this concern through the assessment plan, and by closely monitoring how welcome patrons feel in the space. Surveys are a great tool to better understand how patrons are engaging with spaces, services, and technical resources, and, in the case of The Foundry, assist in monitoring progress towards creating a welcoming space. Survey data can and should inform planning discussions, and can assist administrators in demonstrating an operational commitment to the mission.
Looking ahead to the next year, The Foundry will cross-reference data from multiple sources in order to refine existing workflows, and accommodate growing interest from faculty across campus. Increasing the number of strategic partnerships will hopefully open the door to interdisciplinary use of the space, with faculty from multiple departments partnering to teach workshops or courses that use Foundry resources. Additional funding and staffing will inevitably need to be pursued in order to accommodate these demands.
Even though The Foundry is in its infancy, it has generated enormous excitement across campus. Potential partners are continuously connecting with Foundry staff to discuss their ideas for collaborative use of the space. Faculty, staff, and students are demonstrating a vested interest in the space by submitting requests for new technology and services, and by sending positive words of encouragement, along with articles about makerspace projects that are inspiring to them. This type of excitement and willingness to stay engaged with a space can be difficult to find on large research university campuses, where competition for internal and external funding can be fierce. If the excitement, enthusiasm, and generosity of the campus community aren’t evidence of the value of a makerspace, then what is? When thinking about creating new communities, the final product may be less important than the process used to get there. Breaking down departmental and organizational barriers is not for the faint of heart, but with a willingness to collaborate and tackle challenges alongside one another, it can be done.
Amber Welch is Head of Technology Enhanced Learning at the University of Texas Libraries.
The Fine Arts Library has a collection of over 500 zines focused on art, music, performance, as well as zines created by regional and local authors. Zines are typically described as self-published or DIY works that have limited editions. Zines are often made of 8 ½ by 11 sheets of paper folded in half and stapled together. Early zines emerged from science fiction fandom, though over time different social and counter-cultural movements adopted the medium as a way to disseminate information and share ideas. More recently, artists also adopted zines as a creative medium and method to distribute work outside mainstream channels within the art world. Many cities around the country and world, including our Texas neighbors in Houston and Dallas, have zine or independent publishing festivals.
Back in January, a group of Austin librarians and zine makers gathered to discuss the possibility of creating a new festival called Lone Star Zine Fest (LSZF). LSZF took place on June 11th at Cheer Up Charlies and was co-sponsored by UT Libraries, Sherwood Forest Library, Town Talk Library, and artist Josh Ronsen. The goal for this festival was to create a space for Austin’s artists, poets, zinesters, and zine-lovers to come together as a community to celebrate and share work. LSZF had close to 30 exhibitors participate and over 375 attendees during the Sunday afternoon event.
Longhorns were well represented at LSZF as exhibitors and attendees. Several graduate students, undergraduate students and staff shared their zines or small presses. The UT Libraries also had a table where Gina Bastone, English Librarian, and I highlighted the Zine Collection at Fine Arts Library and UT Poetry Center at the Perry-Castañeda Library.
Gina and I also created a zine to use as an outreach tool that playfully describes the two complementary collections to readers. Members of the public along with UT students, faculty, and staff who stopped by our table expressed surprise to hear these two collections were present within the libraries. The library zine proved to be a fun outreach tool that we plan to continue using with our respective departments.
In addition to working with Gina to promote our collections, I also represented UTL on the planning committee for the festival. Serving as a co-sponsor of this event, shows Longhorns and Austinites alike the value UTL places on supporting creativity on campus and within our city. As the liaison to the Art and Art History department, it is important to me to help create spaces on campus and within the greater Austin community that celebrate makers and their creative output. One of my favorite moments of the day was an exchange with an Art History student. Upon checking in to exhibit at the festival, the student remarked that I am their librarian. The student expressed excitement that UTL helped put on an event like LSZF. This was one of the many positive remarks heard from Longhorns throughout the day, demonstrating the importance events like this have to our community.
Stop by the Fine Arts Library or UT Poetry Center to see new zines and chapbooks acquired at the festival.
Choreographer, dancer, artist and teacher Yacov Sharir recently donated his archive to the Fine Arts Library. Sharir moved to Austin in 1978 where he founded the American Deaf Dance Company and was hired on as faculty at UT shortly thereafter. He developed a dance program that has become a model for universities across the country, founding the university’s professional company-in-residence, the Sharir Dance Company, in 1982, which became Sharir+Bustamante Danceworks (SBDW) in 1998.
The lengthy project of processing the collection of materials from Sharir’s professional career required the persistence of graduate researcher Katie Van Winkle, an advanced degree candidate in the College of Fine Arts.
Van Winkle took time to answer some questions about the project and her impressions of the experience.
Tex Libris: How did you get involved in processing the Sharir archive?
Katie Van Winkle: I’m a Ph.D. candidate in Performance as Public Practice (PPP), a program in the Department of Theatre & Dance. When I began my studies in the fall 2013, a fellow PPP student named Cassidy Browning was working with Dr. Sharir as a research assistant. Cassidy moved on to dissertation work, and recommended me as a replacement, just as Beth Kerr (Theatre & Dance Librarian in the Fine Arts Library) and Dr. Sharir established the archive project.
I have found always physical and digital archives invaluable in my work both as a scholar and as an artist–but I have almost zero training in archival work. At UT, I participated in a one-day workshop with the American Theatre Archive Project (ATAP), and a theory-based course on “Archive and Ephemera.” Instead, I have some experience in inventing and implementing technological solutions for arts management: for example, as a Dramaturgy Fellow at Center Stage in Baltimore I developed an early prototype of the National New Play Network’s New Play Exchange (http://nnpn.org/programs/new-play-exchange) through a Dramaturgy-Driven Grant from the Literary Managers and Dramaturgs of the Americas.
What did the process consist of? What was the scope, and how much in terms of materials and types of materials were there?
KVW:The Sharir/Sharir+Bustamante Dance Collection is a gift archive from Dr. Sharir to UT’s Fine Arts Library. It consists of video documentation of many hundreds of dances between 1977 and 2015, as well as paper documentation (programs, photographs, press clippings, etc.) of the work of the American Deaf Dance Company, the Sharir Dance Company, and Sharir+Bustamante Danceworks. A large selection of this archive has been digitized by Anna Lamphear and Katie Thornton and other staff members of UT Libraries’ Preservation and Digitization Services. The digitized collection is hosted on Texas ScholarWorks.
This symposium celebrates the public launch of the first phase of the digitization process: the videos! The paper archive will be digitized in 2017 as phase two of the project.
Dr. Sharir’s office contained 671 individual video objects. Since the earliest was dated 1977, and the latest 2015, these objects embody four decades of video technology: U-matic (3/4″), VHS, Hi8, Betacam, Digital Video Cassette and Mini DV, DVD, and born-digital files stored only on hard drives: .mov and .mp4.
Some of these 671 objects were labeled with titles and dates and choreographers and other pertinent information; some were not labeled at all. Some of the objects documented multiple dances, some from multiple events with multiple choreographers or dance companies participating; others documented a single dance.
The major challenge we faced was how to balance efficiency and depth of coverage. We wanted to ensure that the digital collection represented as many unique dance works as possible, without wasting time digitizing duplicate tapes, but the inconsistency of visible information made this difficult. Also challenging: there was no way to tell if the physical object had degraded beyond use without playing/digitizing it at the PCL.
Here’s the sequence of my work:
In the fall of 2013, I created an inventory of most of the video items (we discovered more later on). I ordered the items chronologically (as far as possible), gave each a unique number (0001-0671), and made a spreadsheet detailing all “metadata” available at that point. Depending on the item, this could include: unique number, date, item format and brand, event title, individual dance titles, event type (rehearsal or performance), run time, dance companies, choreographers, venues and sites, videographers and their notes, performers, designers, musicians, composers, other collaborators, and notes.
Sharir and I then began selecting “batches” of video items to send to the PCL, 20 at a time. We prioritized based on questions like “how old is this tape?” (older objects got priority); “how significant is this event/dance?” (Dr. Sharir, of course, was the expert of this); and “have we digitized any version of this event/dance before?” (new/unique pieces got priority).
In January 2014, I delivered the first batch of 20 tapes to Anna and Katie in the PCL, where they worked their magic using lots of devices that I do not recognize or understand! I continued to deliver and pick up batches of tapes through the summer of 2016.
Anna and Katie digitized 398 video objects between January 2014 and September 2016. WOW.
After they uploaded each batch to the libraries server as .mp4 files, Dr. Sharir and I watched each digitized video. While he watched the dances closely, reminiscing about his fellow artists and considering the quality of the videography and lighting, I filled in the blanks of my spreadsheet, based sometimes on in-video credits and sometimes on Dr. Sharir’s recollections.
Once he watched the video through, Dr. Sharir decided whether or not to accession it into the digital collection. He based this decision on the significance of the dances represented, the quality of the video (for instance, some videos lacked audio, and some had degraded over time), and whether we had coverage of the event in the collection already. We generally chose to accession subsequent nights of the same dance program, a collection-level acknowledgement that live performance changes in every reiteration.
About halfway through the watching process, Dr. Sharir’s co-artistic director José Luis Bustamante delivered three crates filled with beautifully organized files of programs, press clippings, and season announcements. I am so grateful for this gift! Matched with Dr. Sharir’s files, it has allowed me to create a four-decade production history, and provide extensive credits and notes for almost every item in the digital collection.
Once an item is chosen for the digital collection, I upload its .mp4 file to TexasScholarWorks, and add in all its metadata. On TexasScholarWorks, UT folk and the general public alike can search and browse the collection, view streaming video, and download the videos to their own drives. Each video is protected by a Creative Commons license (Attribution-NonCommercial-NoDerivs 3.0 United States).
I take the digitized tapes to Beth Kerr at FAL, and she adds them to the physical Sharir collection located in off-site storage. This physical collection contains all digitized video objects, whether accessioned or not into the digital collection. It also contains all the video objects we decided not to digitize (usually because they were clearly duplicates of something we already had accepted).
You worked closely with Dr. Sharir on this project; did he provide any impressions about the digitization/digital preservation of his work?
KVW: I don’t want to speak for Yacov, but I know he is tremendously grateful for the opportunity to share his work with the global public and with future generations. (He is also grateful to regain all that shelf space in his office!)
He has found great joy in “re-view”ing his choreography and dancing over the decades, and in responding again to the work of the many extraordinary artists he worked with and presented/produced here in Austin and elsewhere.
He shared many jokes and memories with me. Certainly the most poignant and somber touched on the lives of his artist colleagues who had died between the filming of the dance in the 1980s or 1990s, and the day we watched it again in 2015 or 2016. The Sharir Dance Company, like so many arts organizations, lost beloved members to the AIDS epidemic. We felt sometimes that we were watching ghosts dance.
How long did the project take?
KVW: 3 years and 2 months since I began my work as (part-time) archivist. (But the project isn’t done yet—we have phase 2 still to complete). Add in more time before that (I don’t know how much) for Beth and Yacov’s work getting the project up and running and funded.
Did you discover anything in the process that was either unexpected (either in the materials or cataloging), and can you reflect on the accomplishment and its value to the broader world?
KVW: My favorite moment in the inventory process was discovering a VHS tape with no labels except two sticky notes reading: “This is the one you’ve been waiting for. UNCUT UNRULY UNHOLY.”
Having never participated in a archival process of this scope, I had no idea just how much time this work takes. It’s a major undertaking.
Yacov is a treasure: of the dance world, of Austin and the UT faculty, of the Department of Theatre & Dance. His career has been hugely significant and influential, from his pioneering, inclusive work with Deaf and hearing dancers; to his artistic and production collaborations with artists like Merce Cunningham, Bill T. Jones, Deborah Hay, David Dorfman, Doug Varone, Margaret Jenkins, Tina Marsh, Allison Orr…the list goes on.
Documenting and preserving dance has always been difficult. Yacov’s work is perhaps particularly suited to a digital life because he was a pioneer of the integration of digital media and live performance, beginning in the early 1990s and continuing in his collaborations with dancers, musicians, computer programmers, and biomedical and wearable-tech engineers today. (Check out [3D Embodied] and AdMortuos for the most recent examples in the collection):
It has been a privilege—and a real pleasure—to help make this important piece of dance history available to the public. I grew up and discovered theatre and dance here in Austin, and I’m proud to contribute to the preservation of the city’s cultural history.
The FAL began collecting ‘zines in 2010 with some guidance from Russell Etchen, the manager/curator of the much-beloved and gone-too-soon Domy Books, which provided Austin (and Houston before) with an opportunity for browsing (and occasionally purchasing) niche publications and other media in art, design, literature and photography. Domy closed and Etchen moved on, but he’s maintained his ties to Austin, and he recently generously donated his personal collection of ‘zines to FAL — four large boxes of rare and sometimes unique works that represent a breadth of formats and genres, and superlative examples of the form.
Russell is returning to Austin for a visit and a show at Co-Lab Projects’ Demo Gallery (721 Congress Avenue), and kindly accepted an invitation to moderate the panel at FAL. He also took some time out to answer a few questions from us about his own experiences with self-publishing.
Tex Libris: Since they are such a very outsider form, what was your entrée into the world of ‘zines?
Russell Etchen: I started reading Mad Magazine and superhero comics first. Had a subscription box at my local strip mall comic and game shop and went weekly.
RE: I was always both. I collected to create. I created to collect.
How many ‘zines have you produced, and are you still making them today?
RE: I’ve produced two dozen, maybe three dozen ‘zines to date. I still self publish now and then for myself and others. Two last fall. Nothing currently in the works.
My personal memory of you is from Domy Books, and I know that (former head librarian) Laura Schwartz connected with you during that time to get your help in developing what became the ‘zine archive at FAL. Can you tell me a little bit about how you met Laura and what you did to help guide her in choosing materials?
RE: Unless I’m mistaken, I met Beth and Tim Kerr first. They both work/worked in the UT library system for decades. Beth introduced me to Laura, and Laura let me know that she was working with a budget to start purchasing interesting small press and self-published publications.
Selfishly, I guided Laura to works I was particularly fond of and publications I felt wouldn’t get archived anywhere else.
Did you use the same criteria for developing your own collection, or was that more organic?
RE: A mix. Mostly organic, but sometimes strategic. I was seeking the underground and was trying to go as deep as I could. I was looking for fellow outliers and I found them. So many of them.
How would you describe the purpose(s) of a ‘zine? Or does that question even have an answer?
RE: A ‘zine is self published self-expression. An extension of a perceived community and was/is cultural currency. You want to trade? I make one, too.
How would you characterize the relevancy or currency of ‘zines today? What’s their relationship to technology? This is a recurring question that we have to consider at the libraries regarding physical/digital.
RE: To me, these days, they seem to be primarily an extension of the business card or portfolio. Or one-upmanship within a scene (echo chamber). Too precious. A digital generation discovering the analog and turning it into a fetish. Exceptions abound, but it feels like an inversion of itself. I don’t trust them anymore. The intentions have been blurred.
What made you decide to donate your collection to FAL? It’s pretty amazing, and based on the small segment I’ve seen, encompasses a broad variety of types and formats.
RE: After spending twenty years collecting and editing the collection, moving it everywhere I went and hardly ever looking at them anymore, I finally decided that someone else will get much more out of them. That, and I need the space while still wanting to know my “stash” is relatively safe and accessible. Plus, someone else is going to catalog it all for me!
What do you hope people get out of having access to your collection?
RE: Should one person rifle through them and find inspiration, my job is done. Should another person find that obscure publication that helps their research, my job will be done. Beyond that, I just know they’ll just sit in boxes in my closet and continue to decay and that would be a waste. I care too much about analog history to do that to them. And I’m done with them.
Are you still collecting?
RE: I’m actively un-collecting at this point, but I will still pick up cheap paperback literature for the same reason I picked up comics or ‘zines. To feel like I’m saving a small slice of history from absolute oblivion, and ’cause there are just too many books I want to read before I’m dust.
Gallery of covers from Etchen’s ‘zine donation:
Thursday’s panel features photographer/publisher Kelly Dugan of Peachfuzz, visual artist James Huizar of Puro Chingon Collective, editor/curator Amarie Gipson of MUD Magazine, designer/curator Phillip Niemeyer of Northern-Southern, and mail artist/musician Josh Ronsen of Monk Mink Pink Punk.Click for more info.
The Historical Music Recordings Collection houses a group of 408 discs (78 rpm) of Jewish cantors and opera stars that were generously donated by Joseph Prager in 1995.
Pictures of the cantors and stars have been cut and pasted to the spines of the albums.
The collection includes work by Yossele Rosenblatt, considered one of the greatest Cantors of his era, and who has been referred to as the “Jewish Caruso.” Rosenblatt performed as himself in the first talking film, The Jazz Singer.
Cantors serve an important function in Jewish religious practices, as explained below by musician Jeremiah Lockwood.
After a frenetic summer of construction, the new maker space at the Fine Arts Library — The Foundry — opened to great fanfare (literally) on September 7.
More than 300 attendees were welcomed to the renovated area on the main floor of FAL with a flourish of horns by the FivE Euphonium Quartet — as well as other performances by Butler School of Music students and director Jerry Junkin — and remarks by Vice Provost Lorraine Haricombe, College of Fine Arts dean Douglas Dempster and Provost Maurie McInnis.
FAL staff and students provided demonstrations of the new tools and technology that inhabit the space, and the centerpiece video wall projected examples of creative work produced by art and design students from across campus.
Guests had the opportunity to see the 3-D printers, a carver, sewing and embroidery machines, and MFA student Jon Haas provided a hologram projection onto a large model of the UT Tower to the delight of onlookers.
The opening attracted interest from around the university community, as well as area residents, donors and local media.
With the space completed, efforts to train staff and student assistants on the technical particulars of the new equipment and the development of training materials and video tutorials for patrons is well underway. The space is expected to be fully functional by the end of October, and the wait begins to see how students will use the space for creativity and innovation.
All photos by Lawrence Peart, provided by the College of Fine Arts.
Those words of Thomas Edison are representative of a sentiment that is increasingly reflected in the way that libraries are evolving to meet modern needs. In a departure from the traditional notion as a place where people go to simply gather information, the modern library is becoming a vibrant space where knowledge is partnered with tools that allow users to immediately synthesize ideas into creative output.
The University of Texas Libraries have, in recent years, been working with campus partners and administrators to reimagine spaces to meet these new expectations, and the results have been worth noting. The opening of the Learning Commons on the entry level of the Perry-Castañeda Library (PCL) provides students with onsite support for writing projects through a partnership with the University Writing Center, and a substantial new Media Lab offers users the opportunity to create the kind of dynamic multimedia projects that are gradually replacing project papers as a measure of student understanding. The Scholars Commons — opened earlier this spring, also in PCL — provides a space for both isolated study and cross-discipline collaboration, and includes a Data Lab for greater capacity for complex data visualization, making synthesis of information possible within arm’s reach of essential resources.
With the launch of the new undergraduate major in the Center for Arts and Entertainment Technologies (CAET) announced in February by the College of Fine Arts (COFA), the Libraries are partnering with the college to develop a new kind of creative space in the Fine Arts Library (FAL) to support the specialized needs of students in the new program. “The Foundry” will occupy space in the main level of the FAL, and will consist of a series of interconnected studios designed to support audio recording, video production, fabrication, 3D printing, animatronics, game design and fiber arts where students can gather to create independently or collaboratively, and where they’ll have immediate access to traditional library resources and services to augment their work. Although it was developed primarily to support CAET, The Foundry is open to every student at the university.
The focus of the space redevelopment is to provide advanced technological systems for all aspects of performance, game development, music production, digital visual arts, and other forms of digital entertainment. The project is funded by the Office of the Provost, the Libraries, the College of Fine Arts and by a generous grant from the Hearst Foundations.
It’s not quite Menlo Park (yet), but libraries are finding ways to become a larger part of the creative process by providing the materials and tools that allow ideas the potential to be realized at the point of conception. Edison might even be impressed.
Construction on The Foundry began with the close of the spring semester and is slated to open in time for the students’ return in the fall. Check back for progress reports on the renovation throughout the summer.
Any time that the university acquires a new archive or artwork, or announces new research discoveries or innovations, the Libraries take it as a responsibility to provide the resources necessary to understand and provide context for such accomplishments.
When James Turrell’s Skyspace opened at the Student Activity Center in a October 2013, his profile among the campus community was elevated, and so it was up to bibliographers at the UT Libraries to work with relevant constituencies determine what materials would be needed to support inquiry into the artist’s work and career.
One of the items that came of acquisitional considerations in the wake of Turrell’s arrival on campus is the bookJames Turrell / comisaria de la exposicion y del catalogo by Ana Maria Torres (IVAM, Institut Valencia d’Art Modern, 2004), a catalog of an exhibition held at IVAM, Dec. 14, 2004-Feb. 27, 2005, which includes an interview with the artist.
Given budgetary realities, librarians and bibliographers have to make strategic collection decisions, and often that requires delaying the purchase of materials that may be both desirable and essential in order to meet other resource needs. Specialized texts, especially in the field of fine arts, can often be somewhat inflated, and the cost of this volume was evidence. At $2000, the Turrell text was one that was obliged to be set aside until additional monies were present.
The Libraries development office has worked with bibliographers to target materials that similarly fall into this category, constructing a Wish List of items that would be of great purpose for Libraries users, but for which funding isn’t currently available. The Turrell book was selected to be added to the Wish List, and almost immediately found benefactor in the person of Libraries advisory council member Margery Lindsey.
There’s no doubt that the embrace of digitization by museums and libraries has significant benefit for the devotees of art history. The preservation of the cultural record from the degrading effects of time is the most utilitarian benefit of the practice, but archival digitization also allows for non-linear consideration of creative works in its ability to allow art to be partnered with other data, information, critical context, etc. Digitization is, though, limited by the sheer volume of historical works that exist and by that which continues to be created. Sometimes, the only sure way for art to be preserved digitally, is for a specific need to arise.
Such is the case with the work of Sandow Birk, a visual artist in southern California, whose art contemplates modern American society with a nod to past masters.
Earlier this year, UT College of Fine Arts Ph.D. candidate Rose G. Salseda began research for her dissertation by interviewing several artists who created artworks in response to five days of civil unrest caused by a jury’s acquittal of four white Los Angeles police officers who had been charged with the videotaped beating of Rodney King, a black motorist.
“These riots were the first in history to be heavily documented through live news coverage, film, video, and photographs,” says Salseda. “Yet, past scholarship has failed to recognize the potential encompassed within art to speak to the history of the riots.”
“My dissertation seeks to unearth a missing visual narrative. Moreover, it reveals the capacity of art to unhinge and complicate polarizing histories of the 1992 LA Riots.”
Along with Birk, Salseda had interviewed sculptor Seth Kaufman and graffiti artist Man One, only to discover that virtually none of the artists’ work from the 1980s-90s had been digitally preserved.
“It really alarmed me,” says Salseda, “because, since most of these artworks were in private collections or in unprotected public spaces, no one would have the opportunity to see them again.”
In working with the Birk, Kaufman and Man One, Salseda was able to gain access to slides, photos and ephemera directly from the artists themselves.
“Birk was the first of the three artists that I met. He shared slides of his work with me and I was surprised that only a few had ever been digitized,” recalls Salseda. “I knew that if the documentation of the work was not updated, it may continue to be overlooked by scholars, teachers, and others.”
Salseda remembered from previous work with staff at the Visual Resources Collection (VRC) at UT that a library might be able to help her capture the imagery, thus ensuring that it would be preserved for both her use, as well as the use of future researchers. But she needed to find someone close by in Southern California that would be willing and able to assist.
“I contacted the head art librarian at Cal State Long Beach — the university closest to Birk’s studio. She then directed me to Jeffrey Ryan, the CSULB Visual Resource Center staff,” recounts Salseda. “I spoke with Ryan and he volunteered to digitize Birk’s images, as well as that of other artists whose work has not been digitized. Thus far, he has digitized several hundred slides for me and the artists I work with — all of which are now available to CSULB students, faculty and staff.”
Salseda then followed up with Sydney Kilgore, media coordinator for the UT’s VRC — an actively growing collection of some 80,000 digital images of art and architecture located at the university’s Fine Arts Library — to see if it would be possible to ingest a selection of Birk’s work into the university’s digital media repository, the DASE (Digital Archive SErvices) Collection, for the benefit of students, faculty and researchers at UT.
“When Ms. Salseda approached us with the Birk project we knew it would be another win/win situation,” says Kilgore. “In this case, the VRC additions resulted with Rose Salseda wanting to share her research, and artist Sandow Birk being willing to personally choose and share 30 images of his art which he felt were representative of his career.”
Salseda is currently working with Kaufman and Man One to secure digital images of their work for inclusion in the VRC, as well, which are expected to arrive next year.
She believes that there is a larger history to be told by the art that was created in the wake of the unrest, but because of a lack of documentation, the story of the period has an incomplete context.
“Due to the numerous artworks the riots inspired and the surprisingly scant scholarly and curatorial consideration of this work, I am positive there are many more artworks out there that have not been properly digitized and archived,” Salseda says. “In general, the lack of art history on the riots and the unbalanced focus on a small pool of artists means that other artist contributions to this important episode in LA and US history are forgotten or go untold.”
It’s this personal, practical experience that Salseda had in the process of her own research that prompted some realizations about the temporality of art and the necessity of digital preservation.
“I have come to realize even more the importance of digitizing images. These images are essential when original artworks are lost, reside in private collections, and/or are irregularly exhibited,” she says.
“It is also important for artists to update the format of their image archives to ensure that future generations have the potential to access images of their art when viewing equipment for older formats become scarce or defunct,” says Salseda. “However, taking on such tasks are out-of-reach for many artists: the equipment is expensive, as is hiring private companies to do such work, and it can take an extraordinary amount of time if one does not have the proper equipment or assistance.”
“Resources like UT’s VRC and CSULB’s Visual Resource Center are invaluable. From personal inquiries to professional ones, like documenting my exhibitions or archiving images related to my dissertation, I knew I could rely on these resources. I hope more students and faculty realize the important indispensable services they offer.”
An exhibition featuring Sandow Birk’s “American Qur’an” is currently on view at the Orange County Museum of Art.
Sydney Kilgore, Rose Salseda and Thao Votang contributed to this article.