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When the diversification of collections is a priority for a library, making diverse content in existing holdings more discoverable is a useful complement to the acquisition of new resources. Artists and authors from diverse groups, and material written from diverse perspectives, can be made more visible to patrons, either through enhancements to catalogue records or the creation of standalone indexes focussed on those groups. With the conscious, ethical diversification of collections a relatively new enterprise for many libraries, certain aspects of how best to proceed are not yet clear, meaning librarians need to make time to reflect on, and review, the methods they are using to improve discoverability.
Melbourne Art Library was established in 2020, during the early days of the COVID-19 pandemic in Australia, as a uniquely independent art library in Australia. The library's development – which may be equated to a kind of practice-lead-research exploring what a library is – has not been without its difficulties. Yet, despite this, the library is three years strong and provides a specialised lending collection of over 3000 books, a reading room, and an active program of public events.
Neutrality is one of the founding principles of library classification; however, systems reflect the biases of the societies that created them. Many articles have been written on bias in the Library of Congress Classification System (LCC) and its subject headings (LCSH). But how is bias evident in the Fine Arts (N) range?
One answer to this question lays in the writings of Hope A. Olson who argues that systems like LCC are inherently prejudiced because of their use of universality, which results in hierarchical relationships and Derridean binaries. This is problematic because library classification, according to Olson, functions as a third-space, a place where meaning is created.
Reading the Fine Arts range through Olson's work reveals a system that perpetuates bias by reconstructing the western canon of art history through its privileging of fine art over craft. While each of the fine arts are given their own subclasses, craft mediums are located under one subclass, Decorative Arts (NK), giving them a lesser than status. Artists and art historians have argued that the valuing of fine art over craft in the western canon, something clearly seen in LCC, is a consequence of patriarchal and colonialist power systems.
This article will outline how Merrill's first principles of education and the Taxonomy for learning, teaching, and assessing: A revision of Bloom's taxonomy of educational objectives were leveraged to scaffold the construction of an OER visual literacy tool. It will demonstrate how each object of these two guides can be paired with specific H5P activities. The outcome of this tool is to build upon students’ visual literacy knowledge so that they can analyse a work of art while gradually removing their reliance on detailed or frequent prompts.
The aim of this paper is to identify scientific content and compilations related to circus arts available in subscription databases and in renowned and free academic information systems. After providing terminological definitions for circus and circus arts, the article describes the search strategies applied and the issues which emerged during the searches, and then introduces quantitative results, thereby also identifying the major periodicals and the most often referenced articles of the topic. The analysis provides useful input for representatives of other arts related to circus arts (e.g., performing arts, theatre arts, visual arts, musical arts) and of other academic fields (e.g., literary studies, history, media science); but first of all, it serves as an unparalleled library information service guide for navigating between electronic information sources.