Academic libraries seek to engage people with information resources and maximize use of library spaces. When users increasingly rely on digital rather than print resources, libraries respond by shifting space usage from stacks to user working and reading spaces. How then do we, as academic library professionals, best keep print collections on public view and maximize user engagement?

In this whitepaper, we focus on fostering engagement with print resources among\nlibrary users, particularly with open stack print collections and users within the local community. We advocate moving toward a more flexible, more user-focused service that makes library collections easier to understand and to use. Libraries need to work with their surrounding communities in the further development and presentation of their collections. We offer a flexible, a la carte approach to transforming open stack academic library print collection management. We have developed a three-tiered system of potential approaches and actions for academic libraries to foster engagement with their collections. We also include materials and tools to help guide individual libraries towards a data-driven approach to print curation that may be tailored to their local context. We hope that these approaches and tools aid academic libraries in helping users engage in meaningful dialogues with print resources.

As part of a $50,000 planning grant from the Andrew W. Mellon Foundation, the analysis is aimed at fostering engagement with print resources among library users, particularly with open stack print collections and users within the local community. "The Future of the Academic Library Print Collection: A Space for Engagement" explores a three-tiered system of potential approaches and actions for academic libraries to foster engagement with their collections, and includes materials and tools to help guide individual libraries towards a data-driven approach to print curation that may be tailored to their local context.

By the 1930s, the MBL had become "the" place to go during the summer for biological research and training. Luminaries such as Frank Lillie, Edmund Beecher Wilson, Edwin Grant Conklin, and Thomas Hunt Morgan took their students, packed up their families and research labs, and headed to the MBL. They worked in labs, ate together in the Mess, and they often lived in the limited on-campus housing. Life at the MBL was a life where fun, family, and science intertwined. This film, taken in 1935 by B. R. Coonfield of Brooklyn College, captures snippets of life at the MBL. Though the science and equipment are considerably updated and the faces and families have changed, many features remain the same today.

This paper describes how Arizona State University Library used creativity and novel approaches to collections design and implementation processes to select open stack print books for a newly renovated academic research library. Using results from a workshop focused on rethinking the future of print within educational learning and research environments, the Collections Services and Analysis unit within Arizona State University Library performed a series of experiments to better understand the purpose and use of print collections within 21st century library design. The authors describe the creative processes used in collections design and three types of selection approaches that invited engagement with open stacks. These three types were: small browsing collections co-curated with community members, a medium-sized print collection selected for student engagement, and a large research collection selected using a novel data analysis of four factors affecting the likelihood of potential use. Using more than one million volumes as the basis for selection, approximately 185,000 volumes were installed in the renovated library through a complex implementation across four library locations. The authors discuss the key role that creativity played in the approaches, methods, and results of these efforts and offer recommendations for collection management teams seeking to maximize their pursuit of community engagement with print collections within contemporary academic library spaces.

Phoebus 6, Number 1: A Journal of Art History - Table of Contents

“Preface” p. 7-8.

“The Time of Qianlong (1736-1795)” by Wen Fong, p. 9-16.

“The Intellectual Climate in Eighteenth-century China: Glimpses of Beijing, Suzhou, and Yangzhou in the Qianlong Period” by Frederick Mote, p. 17-55.

“The Qianlong Emperor’s Skill in the Connoisseurship of Chinese Painting” by Kohara Hironobu, p. 56-73.

“An Overview of Stylistic Development in the Qianlong Painting Academy” by She Cheng, p. 74-90.

“Document and Portrait: the Southern Tour Paintings of Kangxi and Qianlong” by Maxwell Hearn, p. 91-131.

“Tangdai: A Biographical Sketch” by Ju-hsi Chou, p. 132-140. 

“For the Love of God: Castiglione at the Qing Imperial Court” by Howard Rogers, p. 141-160.

“Approaches to Painting at the Qianlong Court” by Claudia Brown, p. 163-168.

“Notes” p. 169-198. 

Phoebus 6, Number 2: A Journal of Art History - Table of Contents

“Preface” p. 207.

“Figure, Fiction, and Figment in Eighteenth-century Chinese Painting” by Richard Vinograd, p. 209-227.

“Yuan Jiang: Image Maker” by Alfreda Murck, p. 228-260.

“Zheng Xie's Price List: Painting as a Source of Income in Yangzhou” by Ginger Cheng-chi Hsü, p. 261-271.

“Jin Nong: The Eccentric Painter with a Wintry Heart” by Marshall P. S. Wu, p. 272-294.

“An Overview of Li Jian’s Painting” by Christina Chu, p. 295-315.

“Eighteenth-century Foundations in Modern Chinese Painting” by Chu-tsing Li, p. 316-327. 

“Rubric and Art History: The Case of the Eight Eccentrics in Yangzhou” by Ju-hsi Chou, p. 329-350.

“Notes” p. 351-379.

“Glossary” p. 381-391.

“Index” p. 393-418

Phoebus 7: A Journal of Art History - Table of Contents

“Preface” by Emily Umberger and Tom Cummins, p. 9-13. 

“Synthesis and Survival: The Native Presence in Sixteenth-century Murals of New Spain” by Jeanette Favrot Peterson, p. 14-35.

“Adaptation and Accommodation: The Transformation of the Pictorial Text in Sahagun's Manuscripts” by Ellen T. Baird, p. 36-51.

“The Madonna and the Horse: Becoming Colonial in New Spain and Peru” by Tom Cummins, p. 52-83.

“Colonial Visions: Drama, Art, and Legitimation in Peru and Ecuador” by Carlos Espinoza, p. 84-106. 

“Who's Naughty and Nice: Childish Behavior in the Paintings of Cuzco's Corpus Christi Procession” by Carolyn S. Dean, p. 107-126.

Phoebus 8: A Journal of Art History - Table of Contents

“Preface” by Ju-hsi Chou, p. 9-10. 

“The Significance of the Nineteenth Century for Modern Chinese History” by Stephen R. Mackinnon, p. 11-17. 

“Looking at Late Qing Painting with New Eyes” by Chu-Tsing Li, p. 18-37. 

“Qian Du to Zhang Jing: The Artist and the Patron” by Ju-hsi Chou, p. 38-66.

“Zhou Xian's Fabulous Construct: The Thatched Cottage of Fan Lake” by Britta Erickson, p. 67-93.

“A Forgotten Celebrity: Wang Zhen (1867-1938), Businessman, Philanthropist, and Artist” by Hsing-yuan Tsao, p. 94-109.

“Satire and Situation: Images of the Artist in Late Nineteenth-Century China” by Richard Vinograd, p. 110-133. 

“Painters and Publishing in Late Nineteenth-century Shanghai” by Jonathan Hay, p. 134-188.

“Calligraphy at the Close of the Chinese Empire” by Lothar Ledderose, p. 189-207. 

“Glossary of Chinese Names and Terms” p. 211-219