Monthly Archives: April 2012

“The Art Department’s wanderjahre” — The origins of the Sloane Art Library

Over the last few months, I’ve had the pleasure of working on a project researching the history and origins of the Sloane Art Library. While rummaging through the Art Department’s old letters and administrative files might not sound like a fascinating way to spend time to everyone, my time in the University Archives at Wilson Library has revealed a surprisingly gripping narrative. Though many side stories attracted my attention, the main tale of the Art Library’s founding seems to be one of constant, dogged perseverance in the face of a troubled economy and an intransigent government.

The Sloane Art Library’s early history is inextricable from the history of the Ackland Art Museum. The first evidence in the archives of discussion of either the Art Library or the Ackland is in a 1951 report to Chancellor R.B. House from the “Committee on the Ackland Memorial,” in which the members discuss their plans to build an arts center in the “Fine Arts Area” of campus.

The intended location of the arts center. (1951)

Envisioned as a combination gallery and art department in which teaching would be facilitated by the presence of art, the plan was to include “the development of the Art Reference Library, housing books, prints, photographs and slides, for research and the teaching of art.” Later documents from 1953 detail more specific plans for this library, including:

  • A main reading room, office space for a librarian, and a “typing room”
  • Smaller reading rooms for classes
  • Shelving for 5000 books
  • An accessible “back stack”
  • A slide room and a file room for photos and prints
  • A vault for small valuable objects
  • Offices for the library’s art historian staff
  • Adequate table space for 30 readers
  • Spaces for 12-15 graduate students
  • 4 individual study rooms for faculty and researchers
  • An open-air reading room

Initial plans for the Ackland building, including the Art Library. (1951)

At first, the path seemed smooth for the Art Library. Grounds work was in progress on the Ackland complex by 1958, and the Ackland had an opening ceremony the same year. However, it seems that some problems were already beginning to surface just a year later, in 1959:

“The enclosed sketch shows why the [roof] canopy leaks. The rain water fills the channels faster than the water runs off so that drops hitting it splash up around the edge of the trough and drop below in quantity. I do not know if the design is defective or the installation, but in either case, the thing leaks like a sieve.”

At least they didn't have this problem! Close-up from an ad for fire safety products in the archive file. The ad title reads: "Stop Fire BEFORE It Spreads."

In 1966, plans were beginning for what would eventually become the Hanes Art Center. A “Defense of an Appropriation for an Art Building at UNC Chapel Hill” complained that the current library space was completely full (in terms of both books and people), had inadequate work space for librarians, and not enough study space. Unfortunately, in 1967 the art building was excised from the governor’s budget, prompting Joseph Sloane (then Director of the Ackland Art Museum, including the Art Library) to write to Chancellor J. Carlyle Sitterson: “Sadly enough, we all know that sweet reason is not what the Legislature is most likely to listen to.” 

One of many facilities photographs used as an argument for a new space. (1970)

These hard times, described in another letter from Sloane as “the Art Department’s wanderjahre,” lasted for another twelve years, with a total blackout on new construction in 1969 and another ignored request for funding in 1970. At long last, in 1978, discussion of the new building resumed, and in 1979 building plans were once more being reviewed, this time with a new architectural firm.

I have many more files to go through, and more questions to answer: when was the library finally completed? What was the turning point for getting construction done? When did the Art Library go from being part of the Ackland to become part of the University Library system?

I’ll return to you with some of these answers in a later installment!

– Eva Sclippa

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Filed under History of the Art Library

Wrought from the ghosts of card catalogs past: David Bunn’s Subliminal Messages

Card catalog drawer, Uploaded to Creative Commons by Kevin Harber, 2011

Card catalog drawer, Uploaded to Creative Commons by Kevin Harber, 2011

Once upon a time, before computers were everywhere, looking for a library book required real preparation. To have any hope of success, you needed to be ready with a title, author, or official Library of Congress “subject” in mind.

The catalog you consulted was a hefty piece of furniture filled with endless index cards. There was nowhere to type your stream-of-consciousness haiku, that eminently Google-able mush we all hastily deposit into online library catalog search fields now.  No autocorrect options ever popped up to suggest what you might be looking for. That was the librarian’s job.

Library patrons search the catalogs of yesteryear. (uploaded to Creative Commons by Providence Public Library, 2004)

People spent time with these card catalogs. They spilled coffee on them.  Pawed through with grubby fingers. Leaked ink or made stray marks with their pens. Sometimes, they even editorialized on cards by adding a comment or crossing out words.  Paper card catalogs were imminently hack-able, no programming knowledge needed.  Brevity, however, appears to have been an important skill  – you might only have time to quickly scrawl a word or two without being noticed.

I often wish I could have been a librarian back in the heyday of card catalogs and so David Bunn’s Subliminal Messages, one of the many gems in our collection of artists’ books, holds a special appeal for me.

In a series of high-resolution scans, he presents noteworthy specimens from the discarded catalog of the Los Angeles Central Library.   A progression of elegant pairs, one page will feature a card in its entirety while the next presents a full-page close-up of whatever mischief may have befallen it.

Ink smears between pages look like Rorschach tests. Two stray marks on the “Vampire” title cards look menacingly like teeth.  On the card for a 1966 volume titled Mexican American youth: Forgotten youth at the crossroads, a simple editorial note appears: “Racist.”

The oscillation between close-up and long-view scans creates an intriguing tension between the anthropological nature of the project and the abstract beauty of marks on paper fibers. There are bleeds and blots, quick dashes of ink or mystery sauce.

Today’s online catalogs facilitate improved searching, but there are fewer twists and turns along the way — less commentary, fewer signs of encounter.  Luckily, art can always help to rescue the physical and tactile from the force of forgetting.

– Madeline Veitch

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Filed under Artists' books, Special collections in the Art Library