CISSIG (Cataloging and Indexing Systems)Author(s): Diane ParksSource: Art Documentation: Journal of the Art Libraries Society of North America, Vol. 7,No. 4 (Winter 1988), pp. 151-152Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27947960 .

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Art Documentation, Winter 1988 151

the collections of Smithsonian museums. While there was formerly no charge for loaning color transparencies for pub lication, the NMAA has had to implement a modest fee to pay for the staffing necessary to handle the number of re quests it receives.

Karen P. Cassedy Secretary-Treasurer

ARLIS/New England Newly elected officers are: secretary, Betsy Peck, and trea

surer, Eunice Cohen. Barbara Reed has assumed the duties of chair. It is interesting to note that academic architecture and art libraries, museum and public libraries, and visual resources collections are all represented on the executive board.

On Friday, June 3rd, the meeting was hosted by Betsy Peck at the Architecture Library of Roger Williams College in Bris tol, R.I. Peck gave a tour of the new Architecture School build ing and talked about setting up a new library. A program on "Picture Searching Using Secondary Sources" was pre sented by Barbara Reed and Helene Roberts.

On Friday evening some attendees took part in the Provi dence Preservation Society's Festival of Historic Houses tour. Saturday was visiting day at selected Providence libraries and historic houses, followed by a reception at the RISD Mu seum of Art.

ARLIS/New York On May 21st, under overcast and muggy skies, ARLIS/New

Yorkers met in the garden courtyard of the Isamu Noguchi Garden Museum in Long Island City to view the work of an extraordinary talent in a setting Noguchi himself designed.

On June 25th, ARLIS/New Yorkers arrived by car and train to attend a tour of the Donald M. Kendall Sculpture Gardens at Pepsico and the campus of the State University of New York at Purchase in Westchester County.

ARLIS/Northern California A third and final meeting of the ARLIS/Northern California

chapter for the academic year was held on the UC-Berkeley campus Friday, June 24. Elizabeth Byrne and her staff gave a tour of the Environmental Design Library, including a demon stration of their two online catalog systems, as well as DI ALOG and RLIN searching capabilities. Maryly Snow offered an orientation to the Environmental Design slide collection and demonstrated the potential capabilities of the Sun work station for use of the AAT and slide cataloging in general. During an elegant lunch at the Women's Faculty Club (de signed by John Galen Howard), members ratified new by laws for the chapter. After lunch, the group was treated to an extensive tour of Bernard Maybeck's First Church of Christ Scientist, followed by optional visits to the University Art Museum, Sather Tower and the Environmental Design Sim ulation Lab. Plans are underway for the fall meeting at the Headlands Art Center in Marin County in October.

Amanda Bowen Secretary

SPECIAL INTEREST GROUP (SIG) & TYPE OF

LIBRARY (TOL) COLUMNS

CISSIG (Cataloging and Indexing Systems) edited by Diane Parks

Establishing Chapels In lieu of guidelines in the three "divided world" lists of the

Library of Congress (see subject manual section H405), one is left with several possibilities on the treatment of chapels in terms of tagging and direct or indirect entry. While no uni form code of handling was forthcoming, the following advice on how to manage different types was elicited through corre spondence with Ben R. Tucker, Chief, Office for Descriptive Cataloging Policy at the Library of Congress.

First of all, if the chapel is isolated (i.e., free-standing and unrelated to a larger structure), it obviously gets entered di rectly. Being free-standing in itself is not a final criterion, since if it is known that it is related to a larger entity it is possible it might get entered subordinately, and some cases like this have been found with information notes added in dicating that such a relationship existed. And furthermore, the exact physical relationship of the chapel to the church is not important. Whether it is just off the nave, in a separate building connected by a passageway, or completely apart from the main structure is a matter of indifference.

For chapels that are a part of a larger entity in any sense, treatment will vary first according to whether the larger structure is a church, as opposed to a secular building. Chapels in churches fall under the provison of AACR2 de scriptive cataloging rules normally, because these rules govern the headings for churches, and chapels "are churches in the generic sense" according to Tucker. As a subordinate body, they fall under rule 24.13, and will be entered indepen dently unless one of the subtypes applies. The only two cases most likely affected would be types 3 and 5.

Type 5: "A name that includes the entire name of the higher or related body," while objective sounding enough, does not rule out the possibility of interpretive judgment in all cases. One cataloger may perceive the name of the higher entity as being included while another does not, and layout and typog raphy do make judgments like this necessary at times. Such cases should not be labeled as right or wrong, and should be seen as equally valid alternatives. While, in Tucker's words, "the presentation of the name in the particular item would be all important," there is room for more than one choice, and this should be understood when reviewing these headings.

Type 3: "A name that has been, or is likely to be, used by another higher body for one of its subordinate or related bodies," also involves a degree of judgment, which is nev ertheless less than it used to be. Since many headings may have been established before the current rule interpretations were in place, however, there could be a high degree of vari ability in headings encountered, which should be regarded with this fact in mind.

Finally, chapels which are in non-religious buildings are treated as "building details," and set up as subfields ac cording to the subject rules in section H1334.

All of the above applies only if the chapel has a name. If not, it has to be treated in a roundabout method. Use the headings: Chapels [geographic location]; Name of build ing; Name of city Buildings, structures, etc.

21.1B2 Rule Interpretation for Art Catalogues In regard to exhibitions of works from a single museum, a

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152 Art Documentation, Winter 1988

question arose concerning the four criteria which are listed in the rule interpretation for 21.1 B2 to be met before using the corporate body as the main entry. For example, say the book was about 20th-century drawings from the Museum of Mod ern Art, which do not show at the museum but are on tour and are taken from their collection. Assume that three of the criteria are met, namely: (1) that the work presents itself as a catalogue, (2) all of the works listed are held by the museum, and (3) the wording of the chief source of information ex plicitly links the holding body with the exhibition. If these three criteria are satisfied, would there be any case where the other one is not? Specifically, would there be any case where the work does not emanate from a corporate body?

A letter concerning the "emanates provision" was received from Robert Ewald at LC's Descriptive Cataloging section. He said that it meant that the corporate body had "blessed the work at some level." Anna Smislova from LC's Subject Cata loging section had the reaction that he probably meant "re sponsible" at some level. If taken literally, Ewald's phrase does not seem to exclude anything for the case we are con sidering here, since what museum would allow its holdings to go on tour without giving its consent, or blessing, if you

will? The term "blessing" seems to broaden the issue too much, and does not seem to help clarify the intention of this rule. A related type which has some bearing on this problem is

a case which does not satisfy the second pard of criterion three, which is linked to criterion two by the phrase indicat ing that the same corporate body from which the work ema nates must hold the works. This would be a case in which there was evidence that some other institution had been the organizing factor and prime initiator of the publication and exhibit, and had somehow solicited the first museum's coop eration (e.g., LCCN 84-60982).

However, whether there are ever exhibitions of a single museum's holdings which do not emanate from any corpo rate body in any sense (assuming that something more than consent is meant) would be a harder case for which to find an example. Conceivably, some private individual(s) might be able to put together such a work for some purpose or an other with a museum's agreement, which might be a case which would be excluded by this rule. If this is what criterion two excludes, then it may be that criterion two is, for the vast majority of cases, redundant with criterion three.

Biennials Most catalogers have probably run across the term "bien

nale" (or sometimes "bienale") for art exhibitions held every two years. These particular forms derive from the Venice Biennale (instituted in 1895), the first and most famous of the shows for the established international avant-garde. The term was taken intact into English, and has been used along

with the traditional "biennial." However, probably few will have seen the form "biennal,"

which has the distinction of looking very much like a ty pographical or translator's error for "biennial." But dropping the final "e" is simply an adaptation of biennale, and not a misspelling of biennial.

The Oxford English Dictionary is the only dictionary (art or general) which was found actually to list "biennal" (with the obsolete meaning of a particular type of mass), but at least this gives proof of a historical basis for this usage. Even the terms "biennale" and "bienale" are difficult to find in diction aries, even art dictionaries, with the exception of ones issued by Oxford University Press. The term "biennal" can also be found in several LC authorities. Only one example of an En glish heading established with this form was encountered, "International Biennal of Paper Art" (LCNH n86093751). But several authorities have (English) references with it (e.g., LCNH n85109304, n85113097 and n83049535), and inter estingly enough, all three of the ones given here also have another entry for the spelling "biennial." In the 670 field for "International Biennial," the second example, LC itself has indicated some confusion as to whether the spelling is actu ally an error with the note "International Biennal, i.e. Bien nial." In any case, this is not to say that such a typographical

error could not occur, but to warn catalogers that such an occurrence may rightly be considered a valid form.

I I SERIALS SIG edited by Alexandra de Luise

SERIALS UPDATE CEASED PUBLICATION Inchieste di Urbanistica e Architettura; Rivista di Studi e Infor

mazioni. Rome. Catch Magazine. Halifax, Nova Scotia: Technical University of

Nova Scotia, Faculty of Architecture.

NEW PUBLICATIONS Ancient Worlds a Journal. Vol. 1, no. 1 (June 1988)- . Quar

terly. $10/yr. Ancient Worlds, 303 Fifth Ave., Suite 1513, New York, NY 10016. Edited by Mort Malkin.

Offset newsletter containing short articles on ancient civilizations.

Architects' Employment Clearinghouse. Vol. 1, no. 1 (May 1988)- . Monthly. $5/yr. The Louisiana Architects Associa tion of the AIA, 521 America St., Baton Rouge, LA 70802.

Useful classified ad section listing jobs available by state. Also contains announcements and short news items related to the architecture job market.

Asia Major. 3rd series. Vol. 1 (1988)- . Semi-annual. $60/yr. institutional rate. Princeton University Press, 41 William St., Princeton, NJ 08540.

"The revived Asia Major will cover all aspects of Chinese culture and history unrestricted by period. Its primary em phasis will be on the humanities, history, philosophy, re ligion, literature and language. Although specializing in

Chinese studies, Asia Major will also publish articles on the neighboring peoples of Inner Asia and East Asia."

Combined Arts Bulletin. No. 1 (May/July 1988)- . Quarterly. Free. ISSN 0953-7694. Combined Arts, 7 Anglo Terrace, Bath BA1 5NH England.

Newsletter of information on developments at the Com bined Arts, a new publishing company devoted to the crafts. Also provides informal commentary on current areas of interest within the crafts.

Contemporanea; International Art Magazine. Vol. 1, no. 1 (May/ June 1988)- . Bimonthly. $42/yr. institutional rate. Contem poranea Ltd., 17 E. 76th St., New York, NY 10021. ISSN 0897-8271.

This glossy new journal covers the international art scene with articles pertaining to new art trends, interviews with established contemporary masters along with the next generation of painters, sculptors, photographers, dancers, directors, architects and composers (profusely illustrated color plates).

Cra History; International Quarterly of Mediaeval and Modern Craftsmanship. No. 1 (Oct. 1988)- . Quarterly. 58/yr. ISSN 0953-931X.

"Aims to fill the need for a vehicle of serious writing about crafts; by craft historians, educators, craftsmen . . . Each issue presents a major collection of the best work in the field."

Journal d'Histoire de l'Architecture. 1988- . Semi-annual. 200 ff/yr. Presses Universitaires de Grenoble, B.P. 47X 38040 Grenoble Cedex, France.

Created out of a need for a journal written entirely in French on the history of architecture. Written by scholars at the Architecture School in Grenoble, the first number is devoted to Le Corbusier, the second to gothic architecture.

Journal of Design History. Vol. 1 (April 1988)- . Quarterly. $72/ yr. institutional rate. Oxford University Press, Walton Street, Oxford, OX 6DP England.

A membership publication from the Design History So ciety, the Journal of Design History will play an active role in

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