Art Libraries Society of North America | Mountain West Chapter Newsletter




Vol.5, No.1
June/July 2006


past issues

Chair's Column

2006 Conference, Banff, Canada

Travel Award Report

Upcoming Conference in Tucson, 2006



Ideas from Members

Chair's Column

ARLIS/NA in Banff was an exciting conference with rich content and vibrant scenery.  We had twelve members at the Mountain West Chapter meeting in Banff.  You can read about some of the sessions in this newsletter.

I hope all of you are saving October 12-14 for our ARLIS/Mountain West Annual Conference in Tucson, Arizona.  Co-Chairs, Mary Graham and Lisa Blankenship, will be lining up an exciting time for us.  The conference hotel is the Tucson Marriott University Park Hotel, one block from the University of Arizona.  The theme for the conference is "The Legacy of Arts in the West," encompassing the rich history as well as the exciting contemporary developments in the arts in Arizona and other western states. 

Consider sending in a proposal for a presentation at the Mountain West Annual Conference.  Proposals may still be submitted by email or surface mail. Deadline for submissions is July 1, 2006 and should be sent to Lisa Blankenship.  Presentations, panels, or workshops can address a wide range of topics from professional issues in management, reference, instruction, or technology to art, architecture, or related subject specific themes. Proposals can include more than one area.  Perhaps this is the year for you! 

I look forward to seeing you at the Tucson Conference.

Mari Russell, ARLIS/Mountain West Chair

Marilyn Russell, Library Director, Institute of American Indian Arts

2006 Conference Reports

Speaking Out: Indigenous Artists and Collaborations with Museums, Universities, and Libraries.

Contributed by Marilyn Russell.  The session was organized by Marilyn Russell and moderated by Patricia Cutright.

The purpose of the session was to speak of collaborations and connections among professionals in museums, libraries, universities, and artists on the subject of contemporary indigenous artists.  Artists and scholars discuss issues of identity and spiritual values in the context of Native communities. What can we do to support and make the work of these artists relevant? 

The first speaker was Beth Carter, Ethnology Curator at the Glenbow Museum in Calgary.  The title of her presentation was "Speaking is a Dialogue."  The Glenbow is fifty years old and founded a First Nations Advisory Committee to start school programs in Aboriginal galleries presented by aboriginal people.  The best-known project is Nitsitapiisinni (Our Way of Life), completed in 2001. A group of 17 elders, representing four Blackfoot communities, advised the museum on this project, choosing artifacts and developing themes.  Museum staff and community members worked as collaborators.  This collaboration resulted in re-evaluating the role of curators to work more closely with the community. A decision was made to spend more time out of the museum, to offset a sense of intimidation felt by community members.  The museum also created a First Nations Liaison position, with an aboriginal staff member to speak to the community.

The second speaker was Jane Sproull Thomson, Lecturer at the University of Calgary and Curator of Art at the Red Deer College. The title of her presentation was "Learning Native Art History: Native Art Sources Used by Curators and Teachers."  Jane teaches Inuit Art, emphasizing the Canadian component, leading to another course called Inuit Graphic Art and Survey of Native North American Art.  Sources and materials tend to be experiential and experimental. It is important to look at Native American art from a different perspective, to provoke a shift in consciousness.  Students tend to be non-aboriginal and need extra background in that culture.  Anthropology and archaeology are also useful methods of teaching unfamiliar material, as is breaking up the course into discussion groups to analyze art works based on important themes such as racism, stereotyping and reappropriation of land.  Other class events include gallery visits, exhibition projects, storytelling (the history of the people, the cultural heritage), discussions of Native art issues (stereotyping, sexism, reclaiming land, etc.) independent research and publication projects.

The third Speaker was Mari Russell (Ojibwe), Director of Library Programs, IAIA, Santa Fe, NM. The title of her presentation was "How Art Libraries Support Indigenous Artists."  The artwork of three members of the IAIA art faculty was featured (Linda Lomahaftewa, Norman Akers, Karita Coffey), emphasizing their themes and quality of the imagery.  Works by Russell were also shown, especially from the "Spirit Woman" series with the emphasis and use of symbols.  Mari also spoke of the library's role as being a community center for gatherings of different kinds, in order to provide access to materials and to provide a forum for open discussion.  The library has subscriptions to over fifty tribal newspapers, a valuable resource for the community. The challenges for the library include adjusting to digital media and distance education and to making good choices in times of rapid change.  All librarians need to establish strong collaborations with other librarians throughout the world, in order to support research and education as comprehensively as possible in this global environment.  Mari showed digital images of the IAIA campus and library.

The fourth speaker was Joane Cardinal-Schubert, Blood (Blackfoot), Peigan, First Nations Artist.  The title of her presentation was "Sharing Contemporary UPspeak on Anthro/Ethno Aboriginal Art Soup."  Joane spoke of the need of a historical study of early aboriginal artists, those who made it possible for the contemporary recognition of this field.  The early aboriginal artists were the illuminators and scribes, providing historical billboards.  She read her poem written for an exhibit called Revisions, which included eight male artists and her. She spoke of her family and educational background and years spent as a curator and as an exhibiting professional artist.  She discussed an installation/performance piece, Preservation of the Species: A Lesson and Archive, as examples of her major work that have toured widely.  She spoke of her creative process as circular rather than linear, which allows her to come back to points in the circle when she needs to.  She displayed several artworks, such as Four Directions.  Influences on her work include ancient pictographs, the night sky, and modern billboards.  She gave interesting backgrounds to the making of several paintings, multi-media pieces, and installation/performance works.

Marilyn Russell.

Planning for Posterity:  The Preservation of Art and Architecture Materials

Contributed by Jeanne Brown

The session had four speakers. Two discussed their specific situations. Ann Marie Holland from McGill University presented on the McGill renovation to improve preservation (e.g. improve humidity control etc.). Tony White reported on Pratt Institute’s efforts. No doubt the conference proceedings will provide summaries of each of these. Amanda Bowen delivered the presentation of Nancy Schrock from Harvard. There were a couple of sites mentioned in the talk that would be worth visiting for all of us: Library of Congress Preservation [] has lots of information, standards and specs on preserving books, photos, paper, film, sound and so forth.  Library Preservation at Harvard Guidelines [] includes guidelines on how to prepare books for moving. The fourth speaker was Dr. David Gratten from the Canadian Conservation Institute []. He presented some concrete information you may find of interest. He talked about the most dominant preservation issues, which include electronic media and acid paper. Acid paper is really something that is being addressed at national levels (you will also find information on this at the Library of Congress). Regarding the longevity of electronic media, there is much for us to ponder and worry about! First, we do not have enough data to know how long they will last. For instance, CD -—Read Only—may last 5-100+ years. There are no standards to "ensure longevity." "DVD erasable formats (DVD-RW, DVD+RW, DVD-RAM) are not compatible with each other." Here are some quotes from his PowerPoint handout: The "most stable CD-Rs have Phthalocyanine dyes and a gold metallic layer; most common brand with this format is Mitsui Advance Media (MAM) Archival quality disc—also now being sold under Kodak Brand." His center also has a page on preservation for the general public that might be of interest:

Jeanne Brown, Head, Architecture Studies Library, University of Nevada - Las Vegas

The Canadian Pacific Railway, National Parks, and the Great Lodges of the Rockies.

Contributed by Nancy Pistorius

The First Speaker was David Jones, Manager, Canadian Pacific Railway: The Wonder Merchants: Poster Artists of the World’s Greatest Travel System.

William Van Horne came from the U.S. in the 1880’s to help build the Canadian Pacific Railway (CPR) and brought along his keen interest in marketing.  While the British found billboards and posters “tacky,” Van Horne used them to promote the CPR and the travel experience. Poster art was still in its infancy in the mid-1880's. Use of wood block along with engraving was the most common form of production. The advent of lithography in the 1890’s allowed for more detail.  For the first couple of decades most posters were produced in Europe. 

The themes of immigration and early tourism were most common in the posters in the early days of the CPR. To encourage migration, the CPR offered reduced travel rates for those wanting to settle in western Canada. CPR established ready-made farms as enticements. Farm posters often used artistic license to make the farms look better than they really were which was often stark in contrast.

In 1903, the CPR began to promote itself as part of the Imperial highway between Britain and the Orient. They purchased ships to encourage immigration and tourism. Steamships were both for transportation across the Atlantic and the Great Lakes. In 1915, CPR formed the Canadian Pacific Ocean Service (CPOS).

By 1920, advertising for the CPR could be found in different countries and in multiple languages, i.e., German, French, Chinese, Japanese, etc. Posters of the 20’s and 30’s presented on the heroic worker image for immigration but also began to promote winter sports, such as dog sledding, curling, and hiking.

From the 1930's to the 1940's tourism started to come into its own and posters utilized photomontage that blended photographs with artwork and the use of silkscreen. Posters of Banff Springs showed beautiful views such as the Bow River Valley rather than images of the hotel.  The views at Lake Louise displayed Victoria Glacier and the surrounding forests.  Other themes during these years were hunting, camping, mountaineering, and fishing. Tourists came from the United States, Great Britain, and Europe to enjoy the wilderness experience. During this time, CPR took advantage of the craze for golf. Wealthy and upper middle class tourists were drawn to golfing opportunities aboard CPOS ships and tours throughout Canada.

In the 1940’s skiing and golf took over from hunting and fishing. Hundreds of ski posters promoted the Canadian sport throughout Europe and North America.  During World War II more graphics were utilized in the posters and designs became more severe and abstract. During this time the Canadian Pacific began to develop air service that came into its own during the 1950’s enabling CPR to cover land, sea, and air. Posters promoted it as the “world’s greatest travel system.” 

Second Speaker was C. James Tayler, Historian, National Parks Canada: The Architecture of the Canadian Pacific Railway Resorts in Banff and Yoho National Parks.

Bruce Price, from New York City, became the chief architect for the Canadian Pacific. His prototype of the Banff Springs Hotel built in 1888, was originally a wood-frame structure inspired by a combination Scottish Baronial architecture and French Château style. This combined steeply pitched roofs, dormers, and conical towers. The Château style was supplemented with late Victorian flowering in what would become the hotel style for the CPR. Subsequent architects followed the style when designing hotels for the CPR. Price’s successor designed the center towers for the Banff Springs hotel in 1912. In 1925 a fire destroyed the hotel and another architect using Price’s original concepts reworked the center tower and wings into the historic castle seen today. By 1930, the limestone exterior and interior along with heavy wooden beams set a medieval appearance that became a distinctive Canadian style. Jacobean style furniture and furnishings further established the Banff Springs Hotel’s distinctive features. The focus of this hotel and others constructed by the CPR was to attract wealthy clientele to the hotels as destinations. Views of Bow River Valley along with advertisements of the mineral springs water and health spa were emphasized.

The hotel at Lake Louise, built in the 1890’s, was destined as a cultural commodity similar to that of Niagara Falls and became a major Rocky Mountain destination. In 1912 the wings were fireproofed with steel and concrete with cladding. In 1925 the older, wooden section burned down. It was replaced with the Chateau “look” and became more formal and stark on the outside. However, the views from the hotel into the out-of-doors were powerful and included Victoria Glacier.  Tourists were encouraged to enjoy outdoor activities such as hiking and climbing.

With the advent of automobile travel, highways in the parks began to develop in the early 1920’s. These included roads over the great divide into Yoho National Park on the British Columbia side of the mountains.  Along with auto travel came the development of government campsites. The nature of travel was changing and becoming more family oriented. It demanded less formality and less need to make reservations or rely on hotel accommodations. CPR tapped into automobile tourism by establishing bungalow camps that enable tourists to be closer to nature. Options included a central lodge, plain cabins, or tent camping. Other parts of the experience were group activities such as trail rides, hiking, or climbing.  Connected to Bungalow Camps were outposts established for the more adventurous. These consisted of teahouses and small lodges with a Swiss or Alpine design and were located in remote areas.

The CPR continued to impact tourism in Western Canada by improving transportation options, constructing hotels, developing lodges, camps, and multiple services to attract vacationers throughout the 20th century.

Nancy Pistorius, Zimmerman Collection Management Librarian,
University of New Mexico, Albuquerque, NM.

Banff Conference Photos

Winberta Yao Travel Award Recipient's Report

Contributed by Angelica Lopez Moyes

June, 2006

I am honored to be a recipient of the ARLIS Mountain West Chapter Winberta Yao Travel Award which recognizes my past contributions to the Society, supports my activities as a continuing member of the ARLIS/NA Professional Development Committee and as Chair of the ARLIS/NA Core Competencies Sub-committee, and provides opportunities for my professional development.  ARLIS/NA serves as an invaluable resource to me, and I am indebted to its members who have supported and encouraged my growth as an art information professional.  My attendance at the 2006 ARLIS/NA annual conference in Banff would not have been possible without the funding assistance provided by Winberta Yao Travel Award. 

Merely a couple of days before departing for Banff, Alberta, I received an offer to work as the Visual Resources Specialist at the University of Utah.  My new mentor, Linda McRae—whom I met at the conference opening reception—wasted no time in recommending useful resources and offering very timely, invaluable information on negotiating terms for visual resource professional positions in University settings.  I anticipate a productive mentoring experience and the development of a long-lasting friendship with Linda.

With the possibility of shifting from a position in a public library to visual resources in an academic setting, I approached the core competencies centered conference offerings with the intent to review and learn as much as possible about the issues and resources related to managing visual resources collections.  From the presentations by panel members of the session Aggregated Image Collections, I gained insight and new knowledge through: a useful comparison of the ARTstor and CAMIO image databases with references to content quality and relevance, functionality, interface, and compatibility with presentation software; a summary of various image database user studies; considerable questions about varying levels for cataloging digital images and multi-level approaches to providing images; a history on the implementation and promotion of the UC Image Service Collections; and a discussion of how various combinations of image resources may be complementary and competitive.  The panelists of Visual Resources, Educational Technologies, & Teaching consisted of a team from Johns Hopkins University—an Art Librarian, a Visual Resources Curator, and University technologists—who described the history of their collaboration and outlined the tangible results of their approaches to support faculty members who teach with digital images.  I am enthusiastic about forming a similar team at the University of Utah and to benefit from the tools that the JHU team developed and made available for use by other institutions.  By attending these and other sessions as well as users group meetings, I augmented my knowledge and skills.  I expanded my knowledge of content standards, learned how to contribute to the Getty vocabularies, and gained exposure to perspectives on shared cataloging among members of the visual resources community. 

At the ARLIS/NA Professional Development Committee meeting, some topics of discussion included the distribution of the art information professional careers brochure as well as core competencies sub-committee progress and proposed activities related to future updates and outreach.  As chair of the core competencies sub-committee, I also visited Dr. Hemalata Iyer during her poster session, Visual Resources Management:  Determining Professional Competencies and Guidelines for Graduate Education, and met with her the following morning—along with sub-committee member, Sarah Falls—to discuss how Dr. Iyer’s IMLS-funded research may assist us with future updates of the core competencies.  I also attended the Visual Resources Division meeting during which I gained two volunteers and established a contact on the Summer Educational Institute for Visual Resources and Image Management Committee to advise on proposed changes to the core competencies as they relate to visual resources professionals.

On the way to the Mountain West Chapter meeting, I spoke with Chris Ramsey, Brigham Young University, about some possibilities for facilities, programming, and tours for the upcoming 2007 chapter conference in Salt Lake City, Utah.  I became better acquainted with several members of my new chapter through interactions at the conference and on a couple of excursions around Banff.

At the reception that followed the Convocation, I met a group of ARLIS/NA student members, and I was very pleased to meet with Greg Hatch, Art Librarian at the University of Utah.  Likewise, a handful of brief encounters, including those with Daniel Starr and Murtha Baca made my days.  I also had the pleasure of catching up with my former supervisors, classmates, and other colleagues from Southern California—all ARLIS/NA members: Susan Flanagan, Lorraine Perrotta, Nancy Norris, Dawn Henney, Alexis Curry, Kelley Bacchli, Alyssa Resnick, and Brooke Henderson. 

I left the conference with new perspectives on various aspects of art librarianship and the visual resources profession, a renewed enthusiasm for the art information profession, more in-depth knowledge of tools and products, and several new friends.  I hope to continue giving back to the Society through leadership and participation in ARLIS/MW as well as ARLIS/NA committees. 

Angelica Lopez Moyes,
Salt Lake City Public Library

Upcoming Chapter Conference in Tucson, 2006

Contributed by Lisa Blankenship


ARLIS/Mountain West Regional Conference October 12-15, 2006 Tucson, Arizona

The ARLIS/Mountain West Chapter of ARLIS/NA is seeking proposals for presentations, panels, or workshops for its 2006 Annual Regional Conference to be held at the Marriott University Park in Tucson, Arizona. The theme of this conference will be The Legacy of Arts in the West, encompassing the rich history as well as the exciting contemporary developments in the arts in Arizona and other western states.

Presentations, panels, or workshops can address a wide range of topics from professional issues in management, reference, instruction, or technology to art, architecture, or related subject specific themes. Proposals can include more than one area.

In your proposal, please include:

1. Speaker's name, affiliation, address, telephone number, and email address. If you want to propose a panel, specify moderator and include names and institutions of all speakers. Please note any speakers requiring an honorarium.

2. Title of proposed paper, panel, or workshop.

3. Abstract of paper, panel, or workshop; please limit to 150 words.

4. Amount of time requested for presentation.

5. Equipment required.

Proposals may be submitted by email or surface mail. Deadline for submissions is July 1, 2006.

Send proposals to:
Lisa Blankenship, ARLIS/MW Vice-chair/Chair-elect,
James A. Michener Library, Campus Box 48, University of Northern Colorado, Greeley, CO 80639
Phone: (970) 351-1521 Email:


Contributed by Polly McCord, member of the ARLIS/MW Chapter and former University of Arizona Librarian.

Hi Everyone,

It's time for my annual message encouraging you to visit the Land of Enchantment.  Art season runs May-October and every town has something fun happening.

I've reworked my web page ( and hope you'll visit it.  I also have new brochures, so if you'd like one, or know a faculty member or curator at your institution that you think would want to plan group trips, just let me know.

Following is information from Polly’s press release:

The Artful Traveler has been providing itineraries for individuals or groups interested in the history, fine arts and letters of northern New Mexico since 2005. She recently moved to Taos, New Mexico. Due to popular demand, she offers itineraries including the Four Corners area (New Mexico, Arizona, Utah, and Colorado), as well as to the growing art colony of Marfa, Texas.  The unique services provided by The Artful Traveler appeal to independent travelers who prefer to be their own guides, as well as to groups such as museum boards, arts councils, and conference or workshop attendees.  Additionally, Polly can help plan spiritual retreats, outdoor activities, and much, much more!

Customized itineraries, pre-planned packages, or consulting services are available for trips lasting a few days or a few months. She coordinates specialized and often off-the-beaten path experiences that clients might otherwise miss.

Polly McCord
The Artful Traveler, LLC
Leave the Enchantment to me!

507 Camino de la Placita
Taos, NM 87571

Allison Colborne, Art Librarian – Special Collections of College of Santa Fe, reports that she made it through the first phase of immigration green card application, which allows her to stay in the U.S. and keep her job at the College of Santa Fe. She will pass the second phase of the application in late August or September. She notes that this doesn’t giver her citizenship, but the right to stay and work in the U.S.

Mari Russell, Director of Library Programs at the Institute of American Indian Arts, has been selected as one of three Library Directors to receive the Association of College and Research Libraries/Harvard Leadership Institute scholarships. This is to attend the Harvard Leadership Institute for Academic Librarians in Cambridge, Massachusetts, August 6-12, 2006. These awards cover the cost of the $1,800 tuition to attend the Institute and are provided to those who serve diverse library communities such as Black or Tribal Colleges and Universities. The ACRL/Harvard Leadership Institute is limited to 100 in attendance.



Friday, July 7, 2006, from 5:00 – 7:00 p.m., Polly will be in Santa Fe at the Grand Opening of the new location of New Mexico Printmakers/Works on Paper.  The new space is located at 229a Johnson Street (next to the O’Keeffe Café).  For more information about the Gallery, call 505-989-1189.

Friday, August 4, 2005, from 5:00-7:00 p.m., Polly will be at Coleman Gallery Contemporary Art, located at 3812 Central Avenue SE 100A in Albuquerque’s Nob Hill Art Complex for First Friday ArtCrawl.  For more information about Coleman Gallery Contemporary Art, call 505-232-0224.

University of New Mexico
Fire closes UNM’s Zimmerman Library

Contributed by Nancy Pistorius

Zimmerman Library for the Education, Humanities, and Social Sciences, experienced a fire in its periodical area the evening of April 30th.  The result has been the closing of this central building on the University of New Mexico Albuquerque campus.  The fire occurred the week before final exams which resulted in creative thinking on the part of both library employees as well as teaching faculty at the university. The University administration asked teaching faculty to be lenient with students who were working on research projects requiring use of Zimmerman’s collections. Print reserve materials were sent to the Centennial Science and Engineer Library. Use of interlibrary loan for periodical articles and monographs was accelerated to meet the high level of demand. Reference services were initiated in the Student Union Building.

The University Libraries has an extensive disaster preparedness and recovery plan in place and this was its test.  While the building was under the control of the fire marshal and a team of investigators, the Physical Plant Department, in consultation with library administration, initiated RFPs for bids on multiple aspects of the clean-up and recovery process. Bids were for cleaning and recovery of damaged materials, for cleaning surfaces and equipment, and for reconstruction of damaged parts of the facility. Clean-up began a few days after the fire and will soon be completed. Within days the library initiated a paging system for customers. Designated staff retrieved monographs from the circulating collections. Nearly 1200 paging requests were made during the first week the service was initiated. Remaining periodicals and microforms in the basement area were packed and sent to a cleaning facility out of state. This consisted of 170 microform cabinets and nearly 13,000 boxes of periodicals that filled over 19 semi-trailers. Affected government documents were cleaned on site and removed to a storage area.  All employee offices near the fire area were closed and work in progress was removed off-site for priority cleaning.

The fire displaced not only customers of the library but also over 100 library employees. Most damage was limited to the basement and parts of the first floor; however, other floors and parts of the building were impacted by smoke.  In addition to closing the regular circulating and periodical collection, also closed was its Center for Southwest Research (special collections), the Chaco Project, and the Center for Regional Studies.  Many library employees were redeployed to branch libraries on campus and a few began working from home. Parts of the library hope to reopen to the public in late June.

Several committees were established to address issues raise by the fire. These include a committee to examine the reconstruction aspects, building code demands, electrical and water needs, and other issues related to repairing and renovating the damaged structure; a committee to assess the materials lost and determine availability and replacement costs; and lastly, a committee to address furniture, shelving, computers, and so forth.  The assessment and recovery process will continue for the foreseeable coming days, months, and possibly years.

Nancy Pistorius, Zimmerman Collection Management Librarian,
University of New Mexico




Fonseca’s Coyote:  Living with the Trickster
June 8 – July 15, 2006

Emmanuel Gallery’s first exhibition of the summer season under the new direction of Shannon K. Corrigan will be a retrospective of Harry Fonseca’s Coyote drawings and paintings.  Fonseca’s Coyote:  Living with the Trickster will include over 25 pieces by Harry Fonseca that feature the Coyote, a character that has appeared in his work for over 30 years. 

This thought provoking work tackles issues of Native identity with humor and beauty.  In Native Peoples’ myth lore, the Coyote can be the Creator, the messenger, the culture hero, the transformer or the fool.  The Coyote appears in many Native Peoples’ cultures and is commonly known as the trickster.  In Fonseca’s work, the Coyote is seen ‘Leaving the Res’ in his black leather jacket, dancing on stage in ‘Swan Lake’ and hanging out with is girlfriend Rose, an equally fascinating character.  By examining thirty years of Fonseca’s work through an amazing collection of early and more recent depictions of the Coyote, one sees both the transformation of the artist as well as Native lives.  This exhibition is being guest curated by Polly Nordstrand, Assistant Curator of Native Arts at the Denver Art Museum.   Many works are from Fonseca’s own collection and have never been seen before by the public.

Fonseca’s own heritage includes Maidu, Hawaiian and Portuguese.  In Maidu culture, Coyote plays a significant role in the creation of the world and humankind. In the creation story, Coyote as the trickster is seen connected to both truth and deception. His actions conjure joy, humor, and sadness. Living and working in California in the 1970’s,  Fonseca’s work spoke to the search for identity among many Indian people in urban areas. The contemporary identity of many Indian people is influenced by the tremendous interaction of peoples—Indian, European, Asian, Hispanic and Pacific Rim peoples all had a significant part in California’s history. The Bay area, like Denver, became a relocation destination in the 1950s. Indian people from across the country were relocated through government efforts to gain employment and education opportunities not available in their reservation homes. The cultural mix in these urban areas was enriched with Indian people from the Plains, Southwest, Northwest coast and beyond.

While there are over 45,000 American Indian people in the Denver area, exhibits of contemporary American Indian art are rare. We hope to celebrate this exhibition by partnering with local schools and organizations such as the Denver Indian Center to provide programs for the local community to experience and understand Fonseca’s interpretation on urban Indian life. Fonseca does not lament social crises nor exploit hopelessness, but instead observes the reality of Indian lives and honors the strength of heritage. We seek to offer this vision of strength to the urban community of Denver.

Harry Fonseca paintings are exhibited internationally and in permanent collections at the Denver Art Museum, Heard Museum, Linden Museum in Germany, and the Oguni Museum in Japan, to name a few. He is highly regarded as an artist, a community leader, and Emmanuel Gallery couldn’t be more pleased to organize, and hopefully travel, this exciting exhibition.  


On June 6, 2006, Nina K Stephenson wrote this email:

While cleaning out email I came across this message from Sherman at NYU. It occurred to me that this could be a creative fundraiser for a future ARLIS/NA conference. ARLIS-ers could create artist's books using library discards, and they could be silent-auctioned.  What do y'all think? Is there any interest out there?

Email from Sherman Clarke:

When I was at College Art last week, I heard an artist presentation about a project at the Portland Public Library (Me.).  The library gave discarded books to a couple hundred artists who made book/objects that now circulate. Some of them are library-use-only because of sharp edges; the kids love to check them out, wheel them around (we saw a slide of one of wheels with nails or other projecting things), and return them to the circ desk. If you want to see some of the records, you can go to and search "altered book" or "artists books -- Maine" as a subject. 176 hits on the latter.

Sample record:
Author Closson, Karalyn.  Title [Bird's nest / by Karalyn  Closson.  Imprint [Portland, Me.: the Artist, 2005] Descript Altered book: ill.; 22 cm. Note Nests Altered book. Altered book: Pages in central section of book glued together and then cut so as to provide a cavity in which are contained cards decorated with an etching of a bird. Viewer requested to take a card and mail it. Case is painted. Edition limited to 1 copy. Entry in an exhibition held at Portland Public Library, April 16-31, 2005, Portland, Maine. Signed: Karalyn Closson. Subject Mail Art   Etchings Intaglio Birds Altered books -- Maine. Interactive art.  Artists' books -- Maine -- 2005. rbgenr

Another example of note on alterations:
Altered copy of The Essential Rumi: Box constructed of book case and wood; opens to reveal interior decorated with fabric and paint; contains poetry and 3 pads of paper to encourage participation by the viewer; arachnid-like animal constructed of paper and wire suspended from one end of the interior of the box; box covered with fabric, fastened shut with 3 buttons.What an interesting project, and one of my serendipity experiences during the conference since I walked into the wrong room and found this presentation.

Sherman Clarke, NYU Libraries,

Editor:  Ellie Vaughter, Platt College

Online Publisher:  Chris Ramsey, Brigham Young University, Provo, UT

10 July 2006