ARLIS/NA 53rd Annual Conference

Utilizing a range of digital tools, The Phillips Collection Library and Archives is embarking on an initiative to expand access to our exhibitions, permanent collection, and institutional history. Our tour will offer a brief overview of the Library and Archives physical collections before exploring one of our newest digital assets: a virtual gallery of imPRESSED: Emerging Artists in Ink, an exhibition of student artwork inspired by the special exhibition Timeless Mucha: The Magic of Line. The student exhibition’s digital twin, created with Matterport and Treedis, is incorporated with student narratives, photographs, lesson plans, and interactive elements to further showcase the young artists’ exploration into their own artistic processes. Intended to live in perpetuity, virtual galleries of community exhibitions at The Phillips Collection present a new avenue for the Library and Archives to collect and highlight the stories of non-traditional and emerging artists.

This session will not be recorded.
This session will be limited to the first 100 participants due to the interactive format.

Since their inception, ARLIS/NA Conferences have been a source of more than professional development–they are a site to connect with new colleagues, one usually wouldn’t meet. Serendipitous encounters and connections at workshops, social gatherings, or lectures and the professional and personal relationships that develop are part of the magic of these conferences. Mail art, with its roots in conceptual art and Fluxus, also has the potential to facilitate long-term, long-distance connections through serendipitous first meetings. Since its inception, mail art remains one of the most accessible forms of art. It can be created using found materials and can be sent for the price of a stamp. Mail art adds a fundamental tactile element to the virtual conference setting and brings back the chance encounters that make ARLIS/NA conferences memorable.

Attendees can participate in the pre-conference mail art chain, create mail art during the workshop, or participate in both ways. Prior to the conference, ArLiSNAP will match participants who will then receive the contact information of their partner. As part of a collaboration with the Stimulating Creativity in Practice SIG, participants will have the option to contribute to a Reconciliation Address Book, an experimental mail network utilizing Indigenous place names. Mail art should be no larger than 9 x 12 in. and should be sent by April 28. Fill out this form to be matched. Documentation of mail art will be compiled into an interactive arcGIS story map.

During the workshop, the interactive arcGIS story map and examples of mail art will be shared. Attendees who have not participated in the pre-conference mail art chain can be matched and will have time to create their correspondence. There will be time to share mail art and takeaways in Zoom breakout rooms.

This session will not be recorded.
Workshop is limited to 30 participants. I’m sorry but this workshop is currently full.
Participants – please note a zoom link for this workshop will be emailed to you on Friday, May 9^th. If you do not receive the email, please contact: Megan Brouwer at mbrouwer@barcamilane.com.
View the suggested pre-readings.

Neurodiversity is a framework that recognizes people have neurobiological and developmental differences which impact how they experience and interact with the world; thus, there is no “right” way to think or behave. Although this term encompasses the neurodiversity of all people, it is usually used to describe people who have conditions such as autism spectrum disorder, attention-deficit/hyperactivity disorder, mental illnesses/madness, and learning disabilities such as dyslexia or dyspraxia. Many conditions can impact one’s physical health and lead to other disabilities. These conditions often create stressors and barriers for success in the workplace, especially those designed for neurotypical individuals who are often in a position of power or authority. Fortunately, small adjustments such as sensory-friendly spaces, flexibility in where and how work is done, clear expectations, and establishing communication preferences can make a big impact and create a healthier working environment for everyone.
This workshop is open to anyone who is interested in fostering a more inclusive working environment for neurodiverse individuals, and is open to information professionals at any workplace type and within any role, whether that be managerial or non-managerial. Workshop content will include a brief presentation to provide context about working experiences for neurodiverse individuals, but will mainly focus on active work amongst the participants, who will help shape the direction that the workshop will take. Workshop attendees will work both independently and collaboratively with other participants to ideate and brainstorm concrete strategies aimed at making the workplace more accessible and accommodating for neurodiverse individuals, coming away with a toolbox of tips and ideas to exercise in their own individual workplaces.
This workshop is sponsored by the Neurodiversity + Invisible Disabilities Special Interest Group and serves as a continuation of the “Please Don’t Pop! Near Me: Neurodiversity and Library Work” session presented at the ARLIS/NA 2024 conference in Pittsburgh. In that session, panelists who identified as neurodivergent or neurodiverse shared how their careers in art librarianship were impacted by their neurological and development conditions. In this workshop, participants will learn best practices for building inclusive work environments that allow all employees to thrive and develop a toolkit for making their workplaces more accessible for neurodiverse employees. The workshop will be led by librarians from multiple library types, including academic libraries and museum libraries, sharing perspectives from both types of work environments, and is open to all ARLIS/NA conference attendees.

This session will not be recorded.
This session will be limited to the first 100 participants due to the interactive format.

During the Middle Ages, the long stitch technique was employed for hand binding blank books and stationery bindings. By the 1480s, this binding method made its way into the production of printed books in Italy, offering an affordable and practical means to safeguard and secure printed pages as they transitioned through the book trade to their initial owners. This binding method has rows of decorative sewing on the spine that connect the pages to the cover.
In this workshop we will construct a modern variation using the long stitch method with multiple folded paper sections and a stiff paper cover to make a blank long stitch book that participants can use as journals, notebooks, sketchbooks or gifts. Participants will complete a book during the workshop. Necessary materials will be easily gathered by participants from items they have at home, or supplies that can be found at local art or craft stores. See the handout for full details on materials and supplies as well as this video for more information.

Join us for a guided tour of the Pratt Institute Libraries. Pratt's Brooklyn Campus Library is located in Clinton Hill, in a landmark building with interiors by the Tiffany Glass & Decorating Company, and the Pratt Manhattan Center (PMC) Library is in a loft building on the border of Chelsea and Greenwich Village. Collections and services are focused on visual arts, architecture, design, creative writing, library science, and allied fields. The Libraries house more than 200,000 volumes of print materials, including periodicals, artists' books, zines, and the Institute archives, as well as a large circulating media and equipment collection. This prerecorded tour will introduce visitors to library spaces, collections, and workers with particular focus on unique collections.

The Canadian Centre for Architecture (CCA) was founded in Montreal in 1979 with the mission of making architecture a public concern. In 1989, we opened our current building, which features three galleries with rotating exhibitions, a bookstore, an auditorium, and a study room. Although use of the space has changed over the years, the study room now hosts both local and international researchers who wish to explore our collection. One of the unique things about the CCA is the ability for researchers to consult books, archives, prints, drawings, and photographs in one location—our study room. Here, we encourage scholarly discourse and create literal togetherness through the design of our space; our collections, such as Montreal architecture, are designed to engage local populations, while other unique collections (like many of our archives) bring together international scholars. Digitized archival items support architectural researchers near and far, and we are breaking down (literal) barriers to access by opening the study room’s front door and encouraging museum visitors to explore and connect with a curated portion of our Collection as an extension of their visit. The CCA’s study room is an essential part of the institution that, alongside our initiatives, enables research and researchers of all interests and levels. A tour of this space will highlight its thoughtful conception, including the lack of barriers between archival consultation tables, which enables and encourages scholarly conversation. CCA staff are also users of this space, encouraging further exchange. The tour will also share behind-the-scenes information about our management of the CCA Collection, including a peek into our storage vaults.

This recorded virtual tour will highlight a variety of themed collection tours and class visits originally developed for members of our university and broader community. The tour will showcase the Jean Charlot Collection's strengths, classes, student projects, and engaged groups.

Taking Space & Making Space for BIPOC Book Arts, Cultures, Histories, and Futures - Tia Blassingame 

Proprietor of Primrose Press, Tia Blassingame is a book artist, printmaker, curator, educator exploring the intersection of race, history, and perception. Utilizing printmaking and book arts techniques, she renders racially-charged images and histories for a nuanced discussion on issues of race and racism. Blassingame holds a B.A. in Architecture from Princeton University, M.A. in Book Arts from Corcoran College of Art + Design, and M.F.A. in Printmaking from Rhode Island School of Design. She has been an artist-in-residence at Yaddo, Santa Fe Art Institute (SFAI), the Andy Warhol Preserve, the International Print Center New York (IPCNY), and MacDowell Colony. Her artist's books and prints can be found in library and museum collections around the world including British Library, Library of Congress, Rijksmuseum, Metropolitan Museum of Art, Tate Britain, National Museum of Women in the Arts, and State Library of Queensland. In 2019, Blassingame founded the Book/Print Artist/Scholar of Color collective, which has over 40 members, to bring Black, Indigenous and People of Color (BIPOC) book artists, papermakers, paper engineers, letterpress printers, printmakers, children’s book illustrators into conversation and collaboration with scholars of their cultures’ Book History and Print Culture, to build community and support systems.

Blassingame co-curated the NEA and Center for Craft grants-awarded Paper Is People: Decolonizing Global Paper Cultures, a travelling exhibit, at Minnesota Center for Book Arts (2023), San Francisco Center for the Book (2023), and
at Robert C. Williams Museum of Papermaking this spring with writer/publisher Stephanie Sauer. In 2022 she co-curated the Troubling: artists’ books that enlighten and disrupt old ways of being and seeing exhibit at the Bainbridge Island Museum of Art with book artist/educator Ellen Sheffield.

Blassingame is an Associate Professor of Art at Scripps College, where she teaches Book Arts and Letterpress Printing, and serves as the Director of Scripps College Press.