Connexion Constant Data Template
The constant data sets the following values in the bibliographic record:
CODE
FIELD
VALUE
*recs=mbf
load profile
b2=1
Material Type
1 ARTISTS BOOK
bn=mq
Bib Location
MOMA QUEENS
The constant data sets the following values in the item record:
CODE
FIELD
VALUE
|i
Barcode
unique per item
|l mqa
Item Location
MoMA Queens Artists’ Books
|s 2
Status
LABELING (MQ)
|t 2
Item Type
2 artists’ books
Note: An 852 tag using OR, MO, CO, [cat initials], which indicates original, modified, or copy cataloging work should be added to every record. A second 852 tag is used to identify specific projects with |x data formulated identifying the project (e.g. ABPROJ201205). Once the project starts the Constant Data is set with the second 852 data.
Constant Data Changes
Item locations for materials larger than 30cm need to be changed to mqao - MoMA Queens Artists’ Books Oversize. In the constant data, change |l mqa to |lmqao.
Call Numbers
852 |h contains the call number and is imported into the item record call number field. No |i is used in AB call numbers.
MoMA artist book call numbers are made up of either two or three parts. Artists’ books by one artist (or by one group of artists) have two parts and will be discussed first. Artists exhibition catalogs that are artists’ books, in themselves, have three parts, and will discussed second. Artists’ books by multiple artists who are not acting as a single group of artists, have two parts, and will be discussed last.
1. Artists’ books by one artist (or one group of artists):
Part one consists of an alpha-numeric string representing the artist (or group of artists) name. A single alphabetic character for the first letter of the name is followed by a number, read as a decimal, that insures alphabetic shelf order among the artists [see CUTTERING as used in MoMA Artists’ book classification. below, for description of how to formulate]. Part two is the string that serves to keep the titles arranged alphabetically within each artist’s output. The string always begins with “A12” and is immediately followed by (i.e., no space) an alphabetic “shelf mark” character, in lower case, representing the title. There is a space between the 2 parts. Both appear in |h within the 852 field in the bib and item records. No |i is used for the second part.
Examples:
1) Edward Ruscha’s artist book “Dutch details” ([S.l.]: Stichting Octopus, 1971) carries the call number R85 A12d. (MARC coded: 852 8_ |hR85 A12d)
2) David Bellingham’s artist book, “A Kurt Schwitters bookshelf” ([England?: s.n., 1995?]) carries the call number B47775 A12k (MARC coded: 852 8_ |hB47775 A12k)
3) Franklin Salasky’s book “Lucky strike : poetic word: ([New York, N.Y.]: F. Salasky, 1977) carries the call number S223952 A12L. [L is always used in upper case as a shelf mark to avoid confusion with the numeric character “1”] (MARC coded: 852 8_ |hS223952 A12L)
4) Superflex’s [i.e., group of artists] “Free shop” (Copenhagen: Pork Salad, 2009) carries the call number S942 A12f (MARC coded: 852 8_|hS942 A12f)
2. Artist exhibition catalogs that are artists’ books
Call numbers for artist exhibition catalogs that are also artists’ books are formulated in 3 parts. The first part, representing the artist, is created like the first part described above. The second part, representing the exhibition venue, begins with a lower case “x” and is immediately followed by (i.e., no space), an alpha-numeric string for the city of the exhibition. The third part is the 4-digit year of the exhibition. The entire call number appears in |h within the 852 bib and item records. As with the above process, no |i is used.
Examples:
Mikael Levin’s artist book, “Borders” ([New York]: Cultural Sevices of the French Embassy, c1994) accompanies an exhibition held at the Goethe House in New York in 1994 and carries the call number L3756 xN39 1994. (MARC coded: 852 8_ |hL3756 xN39 1994)
Paper Tiger Television/West Collective’s artist book, “The Paper Tiger guide to TV repair!” (San Francisco, CA: Paper Tiger Television/West Collective, c1992.) accompanies an exhibition held at the San Francisco Art Institute in 1992 and carries the call number P26557 xS26 1992 (MAR coded: 852 8_ |hP26557 xS26 1992)
Niki de Saint Phalle’s artist book, “Invitation à la danse” ([Paris] :|bARC, Musée d'art moderne de la ville de Paris, c[1993]) accompanies an exhibition held at the Animation-recherche-confrontation in Paris, France and carries the call number S2234 xP27 1993i (MARC coded: 852 9_ |hS2234 xP27 1993i)
CUTTERING as used in MoMA Artists’ book classification.
Cuttering (a tribute to the practices of Charles Ammi Cutter (1837-1903)) is a method of sub-organizing material within a classification number. For MoMA artists’ book, the classification number is the first letter of the artist’s last name (or group of artist’s name) in upper case. It is followed immediately (i.e., no space) by a cutter number. The cuttering process developed by Beaumont Newhall for the MoMA Library in the 1930s used the telephone dial as the device for generating cutter numbers. Each of the 10 units on a phone dial (increased to 12 on today’s phones) is associated with letters or blanks: 1=blank, 2=ABC, 3=DEF, 4=GHI, etc. . . . 9=WXYZ, 0=blank. This method of linking alphabetic characters to numbers is roughly equivalent to cuttering procedures used by most libraries, including the Library of Congress. Given that the MoMA library adopted Library of Congress Classification in 2003 as its classification scheme, new cutter numbers will no longer be devised by using the telephone dial. We will use the Library of Congress cutter table, if needed, but will continue to assign numbers consistent with those already assigned for Artists’ books.
Example:
To fit an artist book by hypothetical artist G. Menaleus between hypothetical artist P. Meklin, (M235560497) and hypothetical artist G. Mendenhoff (M235560498) one would not even need to use a phone dial or a cutter table. The number would most likely be M2355604974 OR M2355604976.
3. Artists’ books by MULTIPLE artists (as distinct from one group of artists)
Use the class number “68” for the first part and create a cutter for the main entry for the second part. “A12” is not used. The main entry will most likely be for the title, but under some circumstances it will be for the name of one of the artists (i.e., if there are two or three artists involved, the catalog will be entered under the first named artist)
For group exhibition catalogs that are in themselves artists’ books, use “68” for the first part and create a cutter for the place of exhibition, as described above for exhibition catalog cuttering, for the second part. Add the year of publication for the third part.
Examples:
1) Getting back to freedom. (Santa Fe, NM: S. Vilmain, B. Daniel, M. Picón, G. Weiss, 1992) carries the call number 68 G38 (MARC coded: 852 8_ |h68 G38.
2) Non stop poetry: cash up the ass. ([S.l. : s.n., 199-?]) carries the call number 68 N66 (MARC coded: 852 8_ |h68 N66.
3)Word-pictures by kids ... (New York, N.Y. : Teachers & Writers Collaborative, [197-]) carries the call number 68 W67 (MARC coded: 852 8_ |h68 W67)
(explanation: 68 is the class number used in the “Newhall” MoMA system for illustrated books and artists’ books. Generally, numbers in the 60s were identified with graphic material. A Dewey derived system, material about graphics in Dewey falls within 760-769. The Newhall system strips the initial 7 from the Dewey numbers for the fine arts. Caveat: there is not always an exact equivalent between a Dewey 7xx number and a MoMA Library number.)
Authority Work Flag
For names not found in the Name Authority File (http://authorities.loc.gov/), enter NACO into 852 |x to flag the record for future authority work.
For example:
852 8_ NNMoMA |h call |i number |x MO201204 lp |x NACO
Special Instructions for Remote Processing (i.e., Alfred)
Status: In the constant data, change |s 2 to |s t. This marks the status as IN TRANSIT.
Barcodes: Barcodes will be added at MoMA to the housing for the artist book, however, the 949 _1 |i should remain in the constant data to create an empty Barcode field upon import.
Bib ID: A slip of paper (any size of Sherman’s choosing...) with the bib id will be placed in each item.
Classification of Artists’ books. [work in progress]
We will use our old classification scheme in which the artist’s class number is created using the first letter of the artist’s name followed by a cutter number--presented as a single alpha-numeric string.
The old cutter number was based on a different model from the one we are used to (i.e., the telephone dial). Going forward, we will use the standard LC cutter tables for new numbers, taking into account, however, the old numbers when devising new ones to make sure they are properly sorted alphabetically.
When creating original records for artists’ books we will add an 050 _4 with an LC class number in the MARC record. We will use N7433.4.A-Z class for individual artists as well as N7433.3 class for groups of artists and for general material including exhibition catalogs.
2 notable exceptions:
A. For groups of artists and/or general material focusing on, or harboring from particular geographic region(s) we will use the N7433.35 class.
B. For groups of artists and general material focusing on, or reflective of 20th or 21st “special aspects or movements,” we will use the N7433.35 class
(refer to N6494 for the 20th century list and to N6498 for the 21st century list)
In the 852 field in original records we will devise an old classification number as described above [in other words, an LC Class number for the 050 but a MoMA number for the 852 in the bib record and to be printed on the book label].
Accompanying material
Accompanying material will be kept with the artist book itself and not housed separately. If for some reason the accompanying material is physically separate from the artists’ book, it will be classed with the same number, using some indication of its relation to the book (e.g., “v.2” or “suppl.” ) and shelved next to the artist book itself.
The Museum of Modern Art Library, New York, NY
DRAFT CATALOGING GUIDELINE FOR ARTISTS' BOOKS
(prepared by Anne Britton, 1999)
In general, The Museum of Modern Art Library catalogs all items considered "artists' books" at standard levels of cataloging according to AACR2 as interpreted by Library of Congress. This basic information is amplified with additional fields, such as notes about binding (500), form/genre (655), publisher (710), etc.
246 --> added title
Example: 246 1 _ $i Title supplied by Franklin Furnace: $a Bodybuilder labels
260 --> place of publication / publisher / date of publication
Example: 260 _ _ $a [S.l. : $b s.n.], $c c1987 $e (Atlanta, Ga. : $f Nexus Press)
Example: 260 _ _ a NY, NY [i.e. New York, N.Y.] : $b J. Allyn ; $a Seattle, WA : $b Distributed by Art Inform, $c c1983.
Example: 260 _ _ $a [Rochester] : $b Space Heater Press, $c c1979 $e (Rochester : $f Visual Studies Workshop)
300 --> physical description
Example: 300 _ _ $a [2] sheets : $b ill. (some col.) ; $c 176 cm., folded to 39 x 24 cm.
Example: 300 _ _ $a 1 v. (unpaged) : $b all ill. ; $c 18 x 23 cm. + $e 1 videocassette.
Example: 300 _ _ $a 1 v. (unpaged) : $b ill. ; $c 15 cm. + $e 1 audio cassette, 1 box (18 cm.) containing paper cut-outs and fish hook.
Example: 300 _ _ $a [3] boxes ; $c 51 x 51 mm.
Example: 300 _ _ $a 1 kit : $b ill. ; $c 24 cm.
Example: 300 _ _ $a 1 book object : $b all ill. ; $c 23 x 45 cm.
Example: 300 _ _ $a 1 block of wood : $b ill. ; $c 16 x 10 cm.
Example: 300 _ _ $a 1 match box (1 folded sheet, 7 matches) : $b ill. ; $c 52 x 35 mm.
500 --> notes
Example: 500 _ _ $a Title and artist's name supplied by Franklin Furnace.
Example: 500 _ _ $a Artist's name supplied by Franklin Furnace.
Example: 500 _ _ $a Library has copy 5/100, inscribed by the artist to Lucy Lippard. $5 NNMoMA
Example: 500 _ _ $a Library's copy inscribed by the artist, "A Fortunato Chifari//con affetto fraterno [...]//Onorio Rutolo//14 Feb 1949." $5 NNMoMA
Example: 500 _ _ $a Library's copy of 1 vol. of Volume Eight is signed and dated by the artist. $5 NNMoMA
Example: 500 _ _ $a "This piece was originally presented in May and June of 1987 as a series of four 3 minute phone message loops"-- colophon.
Example: 500 _ _ $a "A book bound with hemp dipped in a red wax-like substance. A visual pun." -- colophon.
Example: 500 _ _ $a Published on the occasion of an exhibition held Sept. 10 - Oct. 15, 1994.
Example: 500 _ _ $a Box contains 1 v., 1 sheet, 1 CD + booklet, 1 pair of 3-d glasses.
Example: 500 _ _ $a Compact disc filed separately. $5 NNMoMA
Example: 500 _ _ $a MoMA's copy lacks audio cassette. $5 NNMoMA
Example: 500 _ _ $a Sheets consist of ten bounced checks and one altered bank statement.
Example: 500 _ _ $a Illus. pasted onto pages of an appropriated book, entitled Adolf Hitler, with assorted plastic, paper and fiber trinkets affixed to covers.
Example: 500 _ _ $a Sheets in metal spindles.
Example: 500 _ _ $a Handpainted illus.; concertina binding.
Example: 500 _ _ $a Stapled fold binding; paper cover, with 51 x 88 mm. sheet inserted into slits on front cover.
Example: 500 _ _ $a Invitation to "private viewing" mounted to p. [2] of cover $5 NNMoMA
Example: 500 _ _ $a Issued in an envelope mounted on a folded poster.
Example: 500 _ _ $a Issued in a three-ring binder.
Example: 500 _ _ $a One onion is inlaid into the text block.
Example: 500 _ _ $a Includes autograph manuscript text; photographic slides; photographs; one video cassette of "Scarlet letters" performance at the Cleveland Public Theatre 3/21/93; one annotated copy of The Scarlet letter by Nathaniel Hawthorne (Cleveland, Ohio: Charles E. Merrill, 1969)
Example: 500 _ _ $a Unique.
Example: 500 _ _ $a Telephone directory wrapped in cloth.
Example: 500 _ _ $a Sheets of two pre-published volumes are torn into successively smaller widths; both lack front covers; the volumes are glued together at their spines.
Example: 500 _ _ $a Library's copy issued with wooden stand (18 x 28 x 13 cm).$5NNMoMA
Example: 500 _ _ $a Accompanied by 12 sheets (51 x 88 mm., each with text "What do you think you can see in a photo like that...") in an envelope. $5 NNMoMA
505 --> contents note
505 2 0 $a [4]. [Sheets cut from comic books; perfect binding; board covers; issued in a rubber band]. 26 x 26 x 28 mm. -- [5]. [Perfect binding; self-cover; issued in a plastic container with lid]. 26 x 27 x 18 mm. -- [6]. [Perfect binding; self-cover; spiralling text block]. 39 x 35 x 20 mm., in wrapper (28 cm.) -- [7]. [Perfect binding; self-cover]. 26 x 26 x 21 mm. -- [8]. [Perfect bindings; self-covers]. 6 vols. (34 x 25 mm.), 1 cube (27 x 28 x 27 mm.), in plastic L'Eggs container (10 x 7 cm.)
510 --> citation/reference
Example: 510 3 _ $a Drucker, Johanna. The century of artists' books, $b 1995
Example: 510 4 _ $a Princenthal, Nancy. "Artist's book beat," Print collector's newsletter, $c vol. 22, no. 5, Nov.-Dec. 1991, p. 179
Example: 510 3 _ $a "Homage a Diter Rot by Ken Friedman: an annotated bibliography" by Matthew Hogan
541 --> direct source of acquisition
Example: 541 _ _ $3 SC copy $a Gift of Elaine Lustig Cohen, $d 1998. $5 NNMoMA
Example: 541 _ _ $a Franklin Furnace Collection. $5 NNMoMA
Example: 541 _ _ $a Printed Matter, Inc., $d 1998. $5 NNMoMA
650 (or 600, 610, 651) --> topical subject
Example: 600 1 0 $a Miro, Joan, $d 1893- $x Appreciation.
Example: 600 1 0 $a Roth, Dieter, $d 1930- $x Parodies, imitations, etc.
Example: 600 1 0 $a Morgan, Joey $x Exhibitions.
Example: 650 _ 0 $a Chewing gum in art.
Example: 650 _ 0 $a Telephone directories in art.
Example: 650 _ 0 $a Motion picture authorship.
655 --> form/genre
Add whichever form/genre term applies to the item; for artists’ books add the year of publication. (If there is more than one date for a single title, add 655$y each for the first and last years in the range)
Example: 655 _ 7 $a Altered books. $2 aat
Example: 655 _ 7 $a Artists' books $y 1997. $2 aat
Example: 655 _ 7 $a Artists' anthologies. $2 aat
Example: 655 _ 7 $a Artists' pages. $2 aat
Example: 655 _ 7 $a Artists' periodicals. $2 aat
Example: 655 _ 7 $a Book objects. $2 aat
Example: 655 _ 7 $a Bookworks. $2 aat
Example: 655 _ 7 $a Calendars. $2 aat
Example: 655 _ 7 $a Coloring books. $2 aat
Example: 655 _ 7 $a Comics. $2 aat
Example: 655 _ 7 $a Copy art. $2 aat
Example: 655 _ 7 $a Dos-à-dos bindings. $2 aat
Example: 655 _ 7 $a Flip books. $2 aat
Example: 655 _ 7 $a Folded books. $2 aat
Example: 655 _ 7 $a Mail art. $2 aat
Example: 655 _ 7 $a Matchbooks. $2 aat
Example: 655 _ 7 $a Mechanical bindings. $2 aat
Example: 655 _ 7 $a Multiples. $2 aat
Example: 655 _ 7 $a Organic materials. $2 aat
710 --> publisher / added author
Example: 710 2 _ $a National Endowment for the Arts, $e funder/sponsor.
Example: 710 2 _ $a Franklin Furnace (Archive), $e recipient.
Example: 710 2 _ $a Nexus Press, $e printer.
752 --> place of publication
Example: 752 _ _ $a France $dParis.
Example: 752 _ _ $a United States $b Illinois $d Chicago.
Miscellaneous:
Use the format integration (multiple 007 fields) to encode accompanying materials of different format, eg, a book accompanied by an audio cassette; a book accompanied by a floppy disk; etc.
Other libraries' practices:
The National Art Library (England) provides extensive notes in its artist book cataloging: http://www.nal.vam.ac.uk/nalcomct.html
Other libraries, such as the Rhode Island School of Design, Yale and Harvard Fine Arts Library also include extra notes in their artist book cataloging.
The School of the Art Institute of Chicago's web page features images and brief catalog records of selected titles from their collection of artists' books: http://www.artic.edu/saic/flaxman/flasch.html