by Taylor Follett
“Word-work is sublime…because it is generative: it makes meaning that secures our difference, our human difference-the way in which we are like no other life,” said Toni Morrison in her December 1993 Nobel Lecture. Sunday, October 7 marked 25 years since Morrison won the Nobel Prize in Literature for her expansive and phenomenal body of work. Celebrate one of the greatest living writers of our time by exploring her work at the library.
All works by Toni Morrison can be found here, but you can always get started with some of her most Beloved works (if you’ll excuse the pun):
As fall approaches and the weather begins to cool down, it’s the perfect time of year to curl up with a slice of pumpkin pie and a good book. Where better to find your next read than the library literature collection? The books we recently received have something for everyone—whether you’re looking for poetry, prose, or criticism.
Want a book that we don’t have in the library? Request it here.
The Cambridge Edition Of The Works Of Joseph Conrad: The Rover edited by Alexandre Fachard and J.H. Stape
David Jones On Religion, Politics, And Culture: Unpublished Prose edited by Thomas Berenato, Anne Price-Owen, and Kathleen Henderson Staudt
The Graphic Arts Loan Collection (GALC) is a collection of framed, original lithographs, etchings, engravings and other works of art that students, faculty, and staff at UC Berkeley can borrow from the Morrison Library. Art For The Asking: 60 Years Of The Graphic Arts Loan Collection At The Morrison Library is currently on display in the Doe Library’s Brown Gallery through February 28, 2019. This exhibition celebrates 60 years of the Graphic Arts Loan Collection, and includes ephemera and prints from throughout the collection’s history that are rarely seen. Francisco Goya, Rembrandt, Pablo Picasso, Jean Arp, Fernand Léger, Max Beckman, Corita, and Ellsworth Kelly are a few of the artists represented by prints in this exhibition. Detail about the reception on October 5th can be found here.
This program started 60 years ago in 1958 after Herwin Schaefer, professor in the Decorative Arts program at UCB, suggested the Library invest in a print collection instead of reproductions of paintings. Prints are relatively inexpensive when compared to paintings, because the artist makes and sells about 30 to 50 copies of each. The works—whether in the form of lithographs, etchings, woodcuts, or other media—are hand-printed from pictures cut, drawn, or etched on wood, stone, or metal by the artist. Because of this, Professor Schaefer declared that the university could assemble a collection of works touched by the hand of the artist and make them available to students, which would support a meaningful extension of the University’s art teaching program. According to the original catalog created in 1958, “living for a time with a lithograph, an etching, or a woodcut by an artist of our time will awaken or strengthen a desire in the student for art as a natural and necessary part of his life. Should he come to wish to own a work of art, he will find that many original prints are within his reach”.
Funding for the nucleus of the collection was provided by the Columbia foundation and the International Graphic Arts Society. Using the $5,000 grant from the Columbia Foundation in the spring and summer of 1958, Professor Schaefer travelled to San Francisco, New York, and Europe to personally select and purchase 100 original prints for the collection. At the same time, along with 24 other colleges and universities, UC Berkeley became a member of the International Graphic Arts Society rental service program, which had expanded from six colleges and universities during their pilot program in 1956 to 31 participants in the spring of 1958. As a part of this program, UC Berkeley was able to choose 50 framed prints free of charge from the International Graphic Arts Society to start the Graphic Arts Loan Collection with the stipulation that UC Berkeley spend at least $150 each year to grow the collection. Eight other prints were donated to the collection from individual donors to bring the total number of prints in the collection the first year to 158. The works themselves comprised a survey of art movements and artists—from Baroque to Cubism and from Rembrandt to Miró.
During the inaugural exhibition in 1958, more than 5,000 guests passed through the Morrison Library to view this amazing collection of art. The prints were displayed for two weeks for anyone to view before they become available to any registered UC Berkeley students to rent for a single dollar. All of the 158 prints in the collection that first year was borrowed within two hours. Over the years, it was common for students to line up the night before the prints would start circulating in order to get the prints they desired. At the beginning of the spring quarter in 1967, David Smith, a biology student waited 25 hours and 15 minutes to borrow a lithograph by Pierre-Auguste Renoir (1841-1919).
The funds from the rental fees were used primarily for supplies and repairing prints, and so the through the 1960s and 1970s new prints were added to the collection each year using funds given to the Library from Helen and Madeline Pardee. To secure funding for the collection, in 1977 all the prints were appraised and prints that were too valuable to continue circulating were sold to establish an endowment fund for the GALC. During 1983, 32 prints deemed too valuable to continue lending to students were transferred to the University Art Museum (UAM) (now the Berkeley Art Museum and Pacific Film Archive). A show was curated around these prints in celebration of the GALC program’s 25th anniversary at the UAM in the fall of that year. In 1987, the prints were appraised again, and the sale of 40 prints raised $92,000 for the GALC endowment fund, the yearly interest from this fund has sustained the program up to the present day.
Due to the closure of the Morrison Library in 1997 from construction being done in the Doe Library, the collection wasn’t publicized and prints were only lent out on a request basis until the program fully started up again in 2008 to mark its 50th anniversary. At this time, the prints were digitized for students to review on a new online catalog, and the paper check-out cards were replaced with barcodes on the prints that allowed the prints to be checked-out through our library catalog. Since 2008, the GALC online catalog has been updated and improved to make it easier for students to search the collection online, and last year the GALC Experience section of the online catalog was added to allow students to share their experiences living with pieces from the GALC. In recent years, funds usually used for the purchase of new prints have funded a conservation project to preserve the collection, as many older prints were originally framed with acidic matting that can potentially damage the prints irrevocably if not replaced with acid-free matting.
There are currently nine other art lending programs at universities and colleges in the United States, but the GALC has the distinction of being the only one of these programs run by a university library. All the others are run by university art museums. As of now, the GALC has more than 1,000 prints in its collection, with around 100 that are too valuable to circulate.
With the online catalog in place, students might not line up anymore outside the Doe Library to get their prints, but they do get up early to request prints through their computers as soon as the prints begin circulating each year. This usually results in over 200 requests being submitted in the first few days the program is open. Even with all the changes the program has gone through in the last 60 years—including discontinuing rental fees and allowing students to check-out prints for a full the academic year—Professor Schaefer’s vision for the collection remains: to put original art in the hands of students.
The collection can be browsed and prints can be reserved at the Graphic Arts Loan Collection website.
The reception for Art for the Asking: 60 Years of the Graphic Arts Loan Collection at the Morrison Library will take place Friday, October 5th from 4-6pm in the Morrison Library. There will be a pre-reception event in the Printmaking Studio (265 Kroeber Hall) from 2-3:30pm that day. Details can be found here.
Thérèse Bonney aboard the S.S. Siboney, en route to Portugal, 1941. BANC PIC 1982.111 series 3, NNEG box 49, item 19
Pioneering war correspondent and Cal grad Mabel Thérèse Bonney (1894-1978) was decorated with the Croix de Guerre and the Legion d’Honneur by the French government, and the Order of the White Rose of Finland for her work during World War II. Her photographs were exhibited at the Museum of Modern Art, the Library of Congress, and Carnegie Hall during her lifetime. Her work on children displaced by war spurred the United Nations to create their international children’s emergency fund, UNICEF, in 1946, and inspired the Academy Award-winning film The Search in 1948. Yet in the canon of female war photographers that includes contemporaries such as Lee Miller, Margaret Bourke-White, and Toni Frissell, Bonney rarely receives mention. Bonney was a renaissance woman whose life deserves further study, and her collections at the Bancroft Library are ripe for discovery. Manuscript Archivist Marjorie Bryer has processed The Thérèse Bonney papers, and Pictorial Archivist Sara Ferguson has digitized over 2,500 previously inaccessible nitrate negatives from the Thérèse Bonney Photograph Collection.
While living in Paris in the 1920s and 1930s, Bonney modeled for fashion designers like Sonia Delaunay and Madeleine Vionnet, and became friends with many of the most famous artists and writers of her day, including Raoul Dufy, Gertrude Stein, and George Bernard Shaw. In 1924 Bonney founded an international photo service that licensed images acquired in France for publication in the U.S. She was often dissatisfied with the images she distributed, and this inspired her to take up photography herself. Bonney wrote about, and took photographs of, many of the artists and writers in her life throughout the twenties, thirties, and forties.
PHOTOJOURNALISM AND WAR RELIEF EFFORTS
Bonney photographed throughout Europe during World War II, focusing on the effects of war on the civilian population. Her photographs of children were particularly moving and resulted in her most famous work, the exhibit and book, Europe’s Children. Bonney was actively involved with relief efforts after the war, particularly in the Alsace region of France. She also founded a number of organizations dedicated to promoting friendship between citizens of France and the United States, and improving Franco-American political relations. One effort, the Chain d’Amite, encouraged French families to open their homes to American G.I.s; another, Project Patriotism, inspired airmen who were shot down in France to help the families that had rescued them. Project Patriotism eventually spread to other European countries, including the Netherlands. Marjorie’s father-in-law, Peter, was a teenager when Germany invaded the Netherlands during the war. He was sent to live with relatives in the Dutch countryside so he wouldn’t be conscripted. One of Peter’s most moving stories was about the American pilot his family hid when his plane crashed on the family farm. Bonney’s papers include many poignant letters from U.S. soldiers and, while processing the collection, Marjorie wondered what this airman from Brooklyn might have written about his experiences with his Dutch “family.”
LOVER OF CHEESE
Bonney’s many interests included food and cooking. She and her sister, Louise, wrote a guide to Paris restaurants and a cookbook, French cooking for American kitchens. Her papers include her research on cheese, which she referred to as “Project Fromage.” Series 7 of Bonney’s papers include meticulous notes on various cheeses from France and the Netherlands, “technical” correspondence about cheese, and materials related to tyrosemiophilia — the hobby of collecting cheese labels.
EVERYDAY PEOPLE AND LIFE DURING WARTIME
Bonney documented daily life during wartime across Europe. She recorded entire communities — their families, customs, and industries, their artists and politicians, their schools, and their churches. Her papers and photographs show not only the horrors of war but the hope and perseverance of those who lived through it.
NOW AVAILABLE AT THE BANCROFT LIBRARY!
Newly digitized portions of the pictorial collection include Series 6: France, Germany 1944-1946. This series includes photographs of concentration camps Vaihingen, Buchenwald, and Dachau; Displaced Person camps; Neuschwanstein Castle; and Hermann Göring’s Collection of art looted by the Nazi’s. It also includes many images of the heavily bombarded town of Ammerschwihr in Alsace, France and war relief efforts there. Future digitization efforts will focus on Series 3, Carnegie Corporation Trip: Portugal, Spain, France 1941-1942. This series consists of images taken while on a grant from the Carnegie Corporation of New York to document the effects of war on civilian populations. It includes images of military personnel, civilian industries, and Red Cross operations. Famous personalities pictured in this series include Pierre Bonnard, Henri Matisse, Georges Roualt, Gertrude Stein, Philippe Petain, Raoul Dufy, and Aristide Maillol.
Bonney’s papers help contextualize her photographs. They include correspondence; personal materials; her writings (autobiographical and articles about others); and her files on World War II, Franco-American relations, art, fashion, photography, and cheese.
Both collections are open for research:
— Marjorie Bryer and Sara Ferguson
Exhibit: Art for the Asking: 60 Years of the Graphic Arts Loan Collection
Art for the Asking: 60 Years of the Graphic Arts Loan Collection at the Morrison Library is on exhibit in Doe Library’s Brown Gallery until February 28th, 2019. The exhibition celebrates 60 years of the Graphic Arts Loan Collection (GALC), and includes highlights from the collection that have not been exhibited in over 20 years. Ephemera from the GALC program, including collection catalogs, newspaper clippings, posters, letters from the community, and campus memos are also on display. The exhibit also includes cases dedicated to the history of printmaking told through GALC prints, as well as cases featuring different printmaking techniques.
Alex de Courtois de Vicose
Ramon De Santiago
Friday, October 5th 4-6pm
The reception will feature talks by Professor Lauren Kroiz of the UC Berkeley History of Art Department and Bay Area printmaker Keith Cranmer. Tours of the exhibition will be hosted by Curator Ramon De Santiago at 4pm and 5:30pm.
A pre-reception event will take place from 2-3:30pm in the Printmaking Studio (265 Kroeber Hall), with a printmaking demonstration led by artist and Lecturer in the UC Berkeley Art Practice Department, Randy Hussong. Participants will have the option of printing their own souvenir prints at this event.
Both of these events are open to the public.
Friday, October 5th
Pre-Reception Printmaking Event
265 Kroeber Hall
Reception and Tours
101 Doe Library
by Taylor Follett
September 15 marked the beginning of Hispanic Heritage Month, a month-long celebration of Latinx histories and cultures. Today we’re looking at the rich diversity of Latinx titles available at the Library. (You can find national information about Hispanic Heritage Month here and events at and around UC Berkeley here.)
One rich resource for Latinx literature is the Latino Literature digital collection, which has thousands of digitized, full-text novels, poems, and plays written by over 400 authors in English and Spanish. Organized by both author and genre, the Latino Literature archive has at least 800 items that are not published anywhere else, making it a wonderful online resource for anybody interested in research—or just in reading.
If you’re looking for recently published novels, try:
More interested in lyricism and poetic prowess? Recent poetry collections will not disappoint:
Don’t overlook one of the most inventive genres when looking for books to celebrate Hispanic Heritage Month. Young adult fiction has some truly wonderful picks:
Latinx memoir is another incredibly rich genre:
You can find these and other new art history acquisitions on the New Books shelf in the Art History / Classics Library.
New Subcollections on Trial from Drama Online
The Library has a trial to new subcollections through our subscription to Drama Online. The trial will run through October 26th, 2018. The Library wants to hear from you! Please send your comments and feedback to sreardon at berkeley.edu.
Karman: A Brief Treatise On Action, Guilt, And Gesture by Giorgio Agamben translated by Adam Kotsko
Later Novels: Tell Me How Long The Train’s Been Gone, If Beale Street Could Talk, Just Above My Head by James Baldwin edited by Darryl Pinckney
Album: Unpublished Correspondence And Texts by Roland Barthes translated by Jody Gladding
The Odyssey by Homer translated by Emily Wilson
The Unknown Kerouac: Rare, Unpublished, And Newly Translated Writings edited by Todd Tietchen and translated by Jean-Christophe Cloutier
Love + Hate: Stories And Essays by Hanif Kureishi
Talking To Brick Walls: A Series Of Presentations In The Chapel At Sainte-Anne Hospital by Jacques Lacan translated by A.R. Price
Conversations With W.S. Merwin edited by Michael Wutz and Hal Crimmel
The Bag Apron: The Poet And His Community by John Montague
The Origin Of Others by Toni Morrison with a foreword by Ta-Nehisi Coates
Dissenting Words: Interviews With Jacques Ranciere edited and translated by Emiliano Battista
God’s Zeal: The Battle Of The Three Monotheisms by Peter Sloterdijk
Reading Marx by Slavoj Zizek, Frank Ruda, and Agon Hamza