Selection and acquisition in an art school library

Abstract

It is 8 o’clock at night in the Art School Library. Hands covered in clay, boots coated with dust, a frantic figure appears at the circulation desk. “I need to know how a deer’s antlers are joined to its head. Where can I find a picture T’ At 8:15 p.m., another anxious face appears, “Where can I find information on Kenneth Snelson?” It is now five minutes to nine, the Library is about to close when the phone rings, “My instructor suggested that I inquire about studying at the University of Loughborough. How can I find the address?” The answers to these questions can be found respectively in, a book on taxidermy, a current exhibition catalog, and the Commonwealth Universities Handbook. How does an Art School Library, with a limited budget, ensure that it has the range of resources necessary to answer these fairly typical questions? In an unofficial survey made in 1981 of nine art schools, the average book budget reported came to less than $15,000. Working with such a minimal budget, every dollar spent must be carefully weighed. The approach has to be systematic, well planned, and in accordance with established policies. It must be decided which selection sources are pertinent to the student’s needs, and which of those offer the best value. Finally, all existing methods of acquisition must be explored, and decisions made as to the most useful and efficient. Of 30 art schools surveyed in 1981, only two had established written collection policies. If you are to make every dollar count, it is essential to start off with the clearest possible idea of whom the library aims to serve, and what there needs are. This can only be done by first establishing the objectives of the institution which the library serves. At last count, approximately 30 studio art schools were represented in the Art Library Society of North America (ARLlS/NA). These cover a wide range of programs, from a small unaccredited college, to