Taste by Giorgio Agamben
The Cambridge Edition Of The Works Of Joseph Conrad: The Nigger Of The ‘Narcissus’ edited by Allan H. Simmons
Barracoon: The Story Of The Last “Black Cargo” by Zora Neale Hurston edited by Deborah G. Plant and foreword by Alice Walker
Visions Of Cody, Visions Of Gerard, Big Sur by Jack Kerouac
The Chinese Pleasure Book by Michael Nylan
Dis Mem Ber: And Other Stories Of Mystery And Suspense by Joyce Carol Oates
The Incandescent by Michel Serres
The Complete Works Of Evelyn Waugh Volume 16: Rossetti: His Life And Works edited by Michael G. Brennan
The History Of Russian Literature by Andrew Kahn, Mark Lipovetsky, Irina Reyfman, Stephanie Sandler
China Doll by David Mamet
Mary McCarthy: Novels 1942-1963 edited by Thomas Mallon
Mary McCarthy: Novels 1963-1979 edited by Thomas Mallon
John O’Hara: Stories edited by Charles McGrath
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David Jones On Religion, Politics, And Culture: Unpublished Prose edited by Thomas Berenato, Anne Price-Owen, and Kathleen Henderson Staudt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.
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
Between both organizations, Software Carpentry and Data Carpentry have more than two decades of experience teaching foundational computing and data science skills to researchers through their volunteer-led workshops. In 2018, these organizations merged to become the Carpentries, and at the end of May, Research Data Management team members and Carpentry instructors Scott Peterson, who is also the Head of the Morrison Library and Graduate Services Library, and Josh Quan, who is the Library’s Data Librarian, attended the first CarpentryCon at University College Dublin in Ireland. This event brought together Carpentry members from across the globe to share knowledge, develop skills, and strategize about how to build strong local communities around teaching computational skills and good data practices that can have long lasting and far reaching effects for researchers. The theme of the conference was building locally and connecting globally, which were central to the keynotes, trainings, workshops, poster session, lightning talks, and meet-ups that featured views and ideas from all parts of the world.
Photo by Berenice Batut
With a volunteer base coming from more than 60 member organizations spread out over 10 countries, community and diversity are what keep the Carpentries moving forward. Valerie Aurora’s opening keynote, Focus On Allies, set the tone for the inclusiveness of this conference by delineating ways to make sure everyone’s voice is not just heard, but listened to. Her guidelines for and approaches to confronting institutional inequity by empowering targets, those in the minority, and identifying allies, those with the social capital and sensitivity to influence change, produced examples of how to run better meetings where everyone has a voice, and how to engage with colleagues who refuse to see the need for change. By focusing on changing the culture of just “checking the box” on diversity and inclusion that can be found in tech companies and academia, Valerie’s keynote reminded everyone that the conference was not just about improving how computing and data science can be taught, but on how they can be taught to everyone equally.
Greg Wilson, the founder of Software Carpentry, gave a keynote echoing some of Valerie’s concerns by pointing out that to change the system, you need to organize and fight, as “inertia is the fifth element of the the universe.” While Greg spoke about this challenge in starting Software Carpentry, his keynote was focused on endings and how the merger of the two carpentries signaled it was now time to leave things in someone else’s hands. He gave the audience his ten simple rules for leaving, and noted that the English language doesn’t have a word that is the opposite of mistake. He reminded everyone that the most important part about the Carpentries was that it was teaching people how to teach, and in order to keep things fresh, change one thing every time you teach to make the instruction seem new.
Other highlights included keynote presentations by Desmond Higgins and Anelda van der Walt. Desmond’s presentation on the history of the Clustal Package served as an example of what needs to be done to keep a project, program, or tool relevant over the long term. Andela van der Walt’s keynote, It Takes a Global Village, was an overview on the Carpentries in Africa. In order to provide a more complete view of such a large continent, after an introductory speech about the Carpentries Africa task force, Andela turned her keynote over to members of the task force to discuss their activities in their respective African countries. Mesfin Diro, Lactatia Motsuku, Erika Mias, Katrin Tirok, Caroline F. Ajilogba, Kayleigh Lino, and Juan Steyn spoke about building vibrant R and Python communities in Ethiopia and South Africa, what is was like to be a part of the Africa Carpentries instructor community, how the task force is supporting instructors in Africa, the diversity of the disciplines, languages, and cultures of the learners taking Carpentry workshops in African countries, and how they have found funding to put on these workshops. The international reputation of the Carpenties was on full display through the many different voices in this keynote. These presentations brought the theme of building locally and connecting globally to the forefront, as the Carpentries Africa task force members demonstrated how they were able to connect their various communities across Africa in order for the Carpenties to have a greater impact globally. Both Anelda’s and Desmond’s keynotes exhibited how dedication, perseverance, and teamwork are necessary for sustainability across projects and organizations.
Photo by Berenice Batut
Library Carpentry is the latest Carpentry to become involved with the Carpentries, and over the three days there were a few session that focused on teaching computing skills to librarians. A session on the incubation period of Library Carpentry outlined what is needed in creating a Carpentry. This backstory about Library Carpentry and what needs to be asked in order to create a set of successful workshops for another Carpentry community was nicely bookended two days later with a session on Library Carpentry onboarding that focused on what Library Carpentry needs to do going forward to make an even greater impact in training librarians across the world. A lightning talk on upskilling librarians in South Africa and a session on teaching the Carpentries in a university were also helpful in seeing how teaching Carpentry lessons for library staff at UC Berkeley might be done. Additionally, Josh Quan, UC Berkeley Data Librarian as well as RDM team member, presented a poster sharing the results of an undergraduate library fellowship program that integrated Carpentry teaching principles such as lesson design, cognitive load, and learner motivation into the curriculum. Sessions on FAIR (Findable, Accessible, Interoperable, and Reusable) data principles and an incubating HPC (High Performance Computing) Carpentry were also very useful in seeing how other places tackle issues relevant to RDM and Berkeley Research Computing at UC Berkeley.
The growth and impact the Carpentries are having across the world was demonstrated over the three days of CarpentryCon. This growth has created new challenges for the Carpentries though, and during the conference Tracy addressed the state of the Carpentries and the communication strategies being developed to deal with this growth. The new website, the Carpentries Handbook, and the Carpentry Clippings newsletter have been developed in the last year to help members find answers to questions they might have. There are also weekly discussion sessions that members can join to keep in touch with others in the Carpentries. Tracy stressed that training and community of practice are the Carpentries strength, and one can always reach out to it when you don’t know the answer. This is the power of a strong community, and this is something researchers working with data and technology need. CarpentryCon reinforced what a strong community can accomplish, and the ideas and practices at CarpentryCon can be used to strengthen the Carpentry and RDM communities that exists between the UC Berkeley Library, the Berkeley Institute for Data Science, the Lawrence Berkeley National Laboratory, and the UC Berkeley campus as a whole.
More Than True: The Wisdom Of Fairy Tales by Robert Bly
The Peace Of God by Geoffrey Koziol
The Book Of Ephraim by James Merrill annotated and introduced by Stephen Yenser
Adrienne Rich Poetry And Prose Second Edition edited by Barbara Charlesworth Gelphi, Albert Gelphi, and Brett Miller
Starting August 1st, Graduate Services will hold your belongings if you need to leave the room for part of the day. Just give your things to the Graduate Services employee at the front desk and in return you will receive a bag clip with a number on it to identify your bag. All belonging will need to be picked up before Graduate Services closes each day.
Angel Catbird Volume 1 by Margaret Atwood and illustrated by Johnnie Christmas with an introduction by Margaret Atwood
Angel Catbird Volume 2: To Castle Catula by Margaret Atwood and illustrated by Johnnie Christmas with a foreword by G. Willow Wilson
Angel Catbird Volume 3: The Catbird Roars by Margaret Atwood and illustrated by Johnnie Christmas with a foreword by Kelly Sue DeConnick
The letters of T.S. Eliot Volume 7: 1934-1935 edited by Valerie Eliot and John Haffenden
Collected Essays Of The 1960s by Norman Mailer edited by J. Michael Lennon
Four Books Of The 1960s: An American Dream, Why Are We Still In Vietnam?, The Armies Of The Night, Miami And The Siege Of Chicago by Norman Mailer edited by J. Michael Lennon
Moby-Dick by Herman Melville (Third Norton Critical Edition) edited by Hershel Parker
Second Childhood by John Montague
Please, Louise by Toni Morrison and Slade Morrison illustrated by Shadra Strickland
With Shuddering Fall by Joyce Carol Oates
Orwell On Truth by George Orwell with an introduction by Adam Hochschild
Visiting Edna by David Rabe
The Luck Of Friendship: The Letters Of Tennessee Williams And James Laughlin edited by Peggy L. Fox and Thomas Keith
Night And Day by Virginia Woolf (The Cambridge Edition Of The Works Of Virginia Woolf) edited by Michael H. Whitworth
Collected Poems 1991-2000 by John Ashbery edited by Mark Ford
They Knew What They Wanted: Poems & Collages by John Ashbery
Oxford Dictionary Of Critical Theory (Second Edition) by Ian Buchanan
A Vision Of Battlements by Anthony Burgess edited with an introduction and notes by Andrew Biswell
The Gods, Goddesses, And Mythical Beasts Collection: The Children’s Homer: The Adventures Of Odysseus And The Tale Of Troy by Padraic Colum and illustrated by Willy Pogany
The Gods, Goddesses, And Mythical Beasts Collection: The Children Of Odin: The Book Of Northern Myths by Padraic Colum and illustrated by Willy Pogany
The Gods, Goddesses, And Mythical Beasts Collection: The Golden Fleece And The Heroes Who Lived Before Achilles by Padraic Colum and illustrated by Willy Pogany
Alienation And Freedom by Frantz Fanon edited and compiled by Jean Khalfa and Robert J.C. Young, translated by Steven Corcoran
Chicago: A Novel by David Mamet
The Penitent: A Play by David Mamet
Stories, Plays & Other Writings by Carson McCullers edited by Carlos L. Dews
Night-Gaunts And Other Tales Of Suspense by Joyce Carol Oates
Conjugating Hindi by Ishmael Reed
Rage And Time: A Psychopolitical Investigation by Peter Sloterdijk translated by Mario Wenning
The Complete Works Of Evelyn Waugh Volume 26: Essays, Articles, And Reviews 1922-1934 edited by Donat Gallagher