Bib description:
1. When does the artist's name considered part of the title proper (when at head of title) and goes in 245 |a?
Some are obvious by proximity of the artist's name to rest of title - then record name as 245 |a and add 246:30 for the rest of the title.
ex. 245 |a Dorothea Rockburne :|b indication drawing
246:30: Indication drawing
ex. 245 |a Indication drawing : |b Dorothea Rockburne
246:30: Dorothea Rockburne
Note the ARLIS best practices for title and statement of responsibility states: Exhibition publications often require more use of cataloger's judgment, and more intervention in terms of transposing, omitting, and supplying date.
If not entered under the artist's name, add a 246 for this access.
2. If a book if primarily reproductions of art, do I need to add a 336 for still images?
It's recommended. Some at ARLIS are starting to add these.
3. Should I add a 700 for artistic content (if artist is not main entry)?
It's recommended unless the book if primarily text, like a biography.
4. Should I add analytics for a named essay included in an art book?
You can in RDA, but you can't have a relationship designator and a |t title analytic. If you want to retain relationship designators, then a quoted note may be better. Note: related works don't have to be traced in added headings in RDA
Subject headings:
1. H1250#2. 'Art by a single artist' states we should assign additional headings for style or movement, theme, location, and ownership, but I see many variation in this practice. What is recommended?
These are not as necessary for the very general headings, such Art, Modern. Add for less common topics, such as Minimal art. Note that LCSH gives narrower terms, so try to be as specific as possible.
2. The use of the form subdivisions 'Catalogs' [H1360] and 'Exhibitions' [H 1593 is very confusing even after reading the SHM blurbs. Any advice?
A dealer (person or form) who has created a publication showing his wares for sale = catalog.
Although H1360 states: Use Catalogs under artists or crafts persons and families of artists or crafts persons for works listing their art works or crafts that are located in, or available for purchase at, particular institutions or places. Use Catalogs under names of persons and families doing business as sellers under their own names. Also use Catalogs under types of organizations and names of individual corporate bodies for works listing objects, art works, products, etc., located in or available from those organizations -- this subdivision is usually used under a corporate body, not a personal name. Sometimes personal names are turned into corporate bodies however.
The subdivision 'exhibitions' trumps the subdivision 'catalogs'.
3. What is the difference between "Art, Chinese" and "Art objects, Chinese"?
"Art, Chinese" is actually a pattern heading (H 1148) and does not cover the cover the decorative arts, such as art objects in NK, or architecture, among other things.
"Art objects |z China" are art objects in China whether Chinese or not
"Art objects, Chinese" are Chinese art objects found in China or elsewhere (may subdivide geographically)
Classification:
1. In regards to artists' organizations the schedules seem inconsistent. For England firms are included under special artists:
NK942.A-Z Special artists, A-Z
Subarrange individual artists by Table N6. Including individuals, families, or firms of England, Scotland, Ireland, Wales
But for other countries, it's not explicitly stated, such as for Slovenia below:
N7255.S563A-.S563Z Special artist, A-Z
Subarrange individual artists by Table N7 [note no mention of families or firms]
In the latter case, how does one handle the cuttering of firms/artists' organizations?
While there are variations in how an individual artist may be cuttered, there is some basic consistency in the classification for individual artists. Sometimes they get a whole number like NK942, sometimes they have to be crammed into a cutter such as N7255.S563. There is U.S. and western European bias. As the new countries developed in Europe, there was room only for extended cutters. This means that Slovenian artists don't have the space that British or American artists have. For some countries, there may not even be a breakdown for artists. The consistency generally comes in the range of numbers for a particular place, often a general number followed by some chronological or stylistic numbers, and then followed by cuttering for individual artists. The subdivision table related to how much space is allotted, and that varies.
2. What is the difference between about artist groups, movements, firms?
Artist groups are of two types-in terms of est. them in the authority file. First one is an artist group that is informally created by the members and sometimes its name is given to them retrospectively. They don't collectively promote or advertise the work of the group. They cannot be considered corporate bodies. Groups such as this are est. using subject cataloging conventions and reside in the subject file. The qualifier is (Group of artists)-an example is the 150:: Blaue Reiter (Group of artists).
The second is an artist group that is self-identified by a particular name and functions as a business firm in creating, publishing, promoting, and marketing their works. These groups are est. as corporate bodes using descriptive cataloging conventions. In most cases the same qualifier is used along with the name. See SHM: H 405 Name vs. Subject Authority File. Scroll to Group Two and click on Artists' groups.
Those artists groups est. as subjects (the first type) are not given a cutter for the name. Instead they are usually given a class for type/style of art, place of art (if applicable), etc. In the case of Blaue Reiter (Group of artists) most of the time they are given a class number that includes the cutter .E9 for expressionism as this is mainly what the artists concerned themselves with. This group comprised Russian emigrants who settled in Munich, Germany and worked in the expressionist art style. So the class number for a book on several of these group members which includes paintings, drawings, prints would be N6868.E9 with the book cutter for main entry. If, for example, the book was about only paintings the class number would be ND568.5.E9. For a book on a single artist within the group the cutter for the artist's name would be used for that artist. So the class number for Wassily Kandinsky, associated with Der Blaue Reiter, would be N6999.K33 (Russian art--special artists, A-Z). You'll notice that Kandinsky gets the call number for the place in which he was born (Russia). This is LC practice.
The class numbers for the second type of group are given the same way. Style, if any; country; century, etc. I assume that books on an individual artist in that group would get the class number for special artists within the country class number.
3. When an artist has done more than one media, should we try to collocate an artist into one media?
No.
4. What is the proper use for A4 for exhibition catalogs?
Use Table N6 where indicated in the N schedule. This is not applicable to the TRs for artistic photography. A4 is used for collections of reproductions including exhibition catalogs.
5. Classification frequently involves knowing the 'nationality' of the artist. Some are born in one country, but spend much of their creative life in another. Where do they get classified?
Generally artists are classed where they are born. Cornell puts Picasso, for example, with Spanish rather than French artists. The catalog is very mixed, however, since we accept copy. The ULAN link below may help determine 'nationality' in confusing cases.
Sherman Clarke's classification cheat sheet from 1989 with various updates: |
|---|
NA was previously preferred for works on buildings or building types. However, when LC or member copy classifies such material in the history/description schedules (e.g. D, E, F), accept these classifications. |
TA TR140 was preferred for works by or about individual photographers. We now follow LC practice (e.g. TR140 should be used for biographies of individual photographers, TR647 for exhibitions, and TR654 for non-exhibitions with slight biographical content. Note: A4 should no longer be used with the TR schedule. |
Works about individual artists are classed first by medium (e.g. sculpture, painting, printmaking) and second by nationality. Use general N class if the works contains more than one medium. |
City planning used to be classified in NAC and landscape architecture in NP. These classifications are no longer used. If a new edition arrives for an item previously classed in this area, the related edition should be classified/reclassified into HT, SB, etc. |
Access points:
1. Is there a preferred of relationship designators for a single access point?
No, but each is given it's own |e
ex. Jacquette, Yvonne, |d 1934- |e artist, |e interviewer. [Note a comma separates the multiple |e]
Cull, Dave |c (Writer on art) |e writer of added text [Note there is no comma after |c and before |e]
2. What is the main entry for auction and sales catalogs?
LC practice: Enter an auction catalog or a sales catalog of an art dealer, gallery, etc., under the heading for the dealer, gallery, etc., according to category a of 21.1B2 ("its resources (e.g., catalogues, inventories)") although the dealer, gallery, etc., may have only temporary custody of the contents represented in the catalog. For monographs, make an added entry under the heading for the person or body from whom the contents of the catalog emanated if the person or body is named in the chief source. (If the catalog is devoted to the works of a single artist and contains the reproductions of the artist's works, apply LCRI21.17B.)
Is it better to create a serial record for these catalogs?
It depends on how many you have.
2. What is the main entry for exhibition catalogs by a corporate body?
RDA rules for this are the same as AACR2 rules.
3. What is the main entry for exhibition catalogs by an individual artist?
Generally in RDA, the artist is considered a collaborator with authors, editors, curators because he is rarely the chief source of the catalog or a direct influence on the catalog*.* The first named creator should get main entry and the rest get added entries.
1. ULAN or Union list of artist's names: http://www.getty.edu/research/tools/vocabularies/ulan/
2. ARLIS' Cataloging exhibition publications: best practices [AARC2]: http://www.loc.gov/cds/desktop/documents/cep-bp.pdf