! Knowledge Organisation and Contemporary Art Cataloguing Practices in two Libraries in Sweden, Umeå uni- versitetsbibliotek and Konstbiblioteket Elsa Avraam Institutionen för ABM Uppsatser inom biblioteks- & informationsvetenskap ISSN 1650-4267 Masteruppsats, 30 högskolepoäng, 2017, nr 734 Författare/Author Elsa Avraam Svensk titel Kunskapsorganisation och samtida konst: katalogiseringspraktiker på två bibliotek i Sverige, Umeå universi- tetsbibliotek och Konstbiblioteket English Title Knowledge Organisation and Contemporary Art: Cataloguing Practices in two Libraries in Sweden, Umeå uni- versitetsbibliotek and Konstbiblioteket Handledare/Supervisor Ulrika Kjellman Abstract This master thesis examines the cataloguing practices of two art libraries in Sweden in relation to contemporary art. The aim of this study is to show how classification systems and other forms of controlled vocabulary corre- spond to contemporary art and reveal the factors that influence the everyday practice of cataloguing. The qualitative methods of semi-structured interviews and an analysis of bibliographic records have been used for the purposes of this study. The study is based on domain analysis as conceived by Hjørland and Al- brechtsen and some concepts and principles of Knowledge Organisation in the field of Library and Information Science. A total of three interviews of cataloguers has proved that perceptions concerning classification and subject indexing differ among cataloguers and cataloguing practices depend on local policies concerning acquisition, shelving and user perspectives, but also each library’s resources and the institutional context (academic vs muse- um). Through the analysis of eleven bibliographic records, no consistent pattern has been detected, in relation to indexing and classification. The libraries do not use special systems for subject analysis. The classifications pro- vided by universal systems have been considered insufficient to express all the concepts found in documents. The use of subject headings is, therefore, important and complements the process of subject analysis. The classi- fication systems and subject headings lists analysed include the Dewey Decimal Classification (DDC), the Swe- dish Sveriges Allmänna Biblioteksförenings Klassifikationssystem (SAB) and the Svenska ämnesord (SAO). This is a two-year master’s thesis in Archive, Library and Museum studies. Abstract (sv) Denna masteruppsats handlar om katalogiseringspraktiker på två konstbibliotek, nämligen Umeå universitetsbib- liotek och Konstbiblioteket, i relation till samtida konst. Syftet med denna studie är att visa hur samtida konst återspeglas i klassifikationssystem och andra former av kontrollerad vokabulär och ta reda på vilka faktorer på- verkar katalogiseringsarbete. Metoden som har använts i studien består av halvstrukturerade intervjuer med katalogisatörer och en analys av bibliografiska poster. Studien baseras på domänanalys som har utarbetats av Hjørland och Albrechtsen samt vissa begrepp och principer från Kunskapsorganisation inom ramen för Biblioteks- och Informationsvetenskap. Analysen av tre intervjuer visade på att uppfattningar om klassifikation och ämnesordsindexering skiljer sig åt bland katalogisatörer och att katalogiseringspraktiker beror på varje biblioteks riktlinjer med avseende på för- värv, hylluppställning, användarperspektiv, bibliotekets resurser samt institutionell kontext (akademisk vs muse- al). Elva bibliografiska poster har analyserats och genom analysen har inga mönster i relation till ämnesordsin- dexering och klassificering identifierats. De undersökta bibliotek använder inte något specialsystem för klassifi- kation eller ämnesordsindexering. Klassifikationskoder från universella system ansågs otillräckliga för att ut- trycka alla begrepp i dokumenten. Ämnesordsindexering är därför viktig och anses vara mer effektiv för ämne- sanalys. Klassifikationsssystem och ämnesordlistor som har analyserats är Dewey Decimal Klassifikation (DDK), Sveriges Allmänna Biblioteksförenings Klassifikationssystem (SAB) och Svenska ämnesord (SAO). Det- ta är en tvåårig masteruppsats i Arkiv-, Bibliotek- och Museumstudier. Ämnesord Katalogisering, klassifikation, ämnesord, konst, bibliotek, domänanalys. Key words Subject cataloging, Classification, Subject headings, Contemporary art, Art libraries, Domain analysis.
 !2 Table of contents Introduction .........................................................................................5 Background ..........................................................................................6 Contemporary art and the ‘new art history’. .........................................................6 Knowledge Organisation ......................................................................................7 Art libraries ..........................................................................................................8 Classification ........................................................................................................8 Criteria for a good classification system ............................................................10 Subject analysis ..................................................................................................10 Effectivity of subject analysis ............................................................................11 The Dewey Decimal Classification ....................................................................12 The SAB classification system ...........................................................................12 The Library of Congress Classification .............................................................13 Literature review ...............................................................................14 Contemporary art documentation .......................................................................14 The arts in the LCC ............................................................................................15 Classifying photography and artists’ books. .......................................................17 Limited resources ...............................................................................................18 Alternative systems ............................................................................................19 Notation and specificity .....................................................................................21 Western world bias .............................................................................................21 User perspectives ................................................................................................22 Interdisciplinarity ...............................................................................................23 Theoretical and methodological framework ...................................24 Domain analysis .................................................................................................24 Collectivism and discourse communities ...........................................................27 Theories of categorisation ..................................................................................28 The epistemological basis of universal systems .................................................29 Aim and research questions ................................................................................31 Method and material ...........................................................................................32 Study ...................................................................................................35 The arts in the DDC ...........................................................................................35 The arts in the SAB ...........................................................................................35 Swedish subjects headings .................................................................................36 Selection of libraries for interviews ...................................................................37 Umeå universitetsbibliotek .................................................................................38 Konstbiblioteket .................................................................................................39 Delimitations ......................................................................................................41 Semi-structured interviews .................................................................................41 Informants ..........................................................................................................42 Interview results .................................................................................................43 !3 Comparison of the DDC and the SAB .......................................................................45 Cataloguing art. ..........................................................................................................47 Institutional context, principles and guidelines .........................................................49 Consequences and the purpose of classification and indexing ..................................50 Analysis of Libris bibliographic records ............................................................53 Douglas Gordon .........................................................................................................55 Marina Abramović ....................................................................................................57 Anish Kapoor .............................................................................................................58 Marlene Dumas ..........................................................................................................59 Ernesto Neto ..............................................................................................................61 Cindy Sherman .........................................................................................................64 Robert Gober .............................................................................................................65 Lee Krasner ................................................................................................................66 Maurizio Cattelan ......................................................................................................67 Natalia Goncharova ...................................................................................................68 Summary of the analysis ............................................................................................71 Discussion ...........................................................................................75 Ontological dimension .......................................................................................75 Epistemological dimension ................................................................................78 Sociological dimension ......................................................................................80 Summary ............................................................................................85 Bibliography ......................................................................................87 Unpublished material .........................................................................................87 In the author’s possession ..........................................................................................87 Published material ..............................................................................................87 Appendix: Interview guide ...............................................................92 !4 Introduction This master thesis aims to examine the use of universal classification systems and other forms of controlled vocabulary, such as thesauri and subject headings, in the field of the visual arts, with a special focus on contemporary art. A universal clas- sification scheme covers all disciplines. However, some would argue that for the needs of a specific domain, a subject classification scheme would be more appro- priate. The focus of the study is the use of two classification systems that are mostly in use in Sweden, namely the Swedish Sveriges Allmänna Biblioteksföre- ning’s klassifikation, or SAB, and the Dewey Decimal Classification (DDC) for cataloguing documents in the context of art libraries in Sweden and in relation to contemporary art. The specific practices of cataloguers in two libraries are exami- ned. The cataloguers’ views and opinions about the practice of cataloguing, as well as the use of classification systems and subject headings are also examined. The field of contemporary art includes a variety of media, techniques and forms. In many artists’ work, it is common to identify the use of various media that tend to characterise the majority of art nowadays produced, thus, reflecting art as an interdisciplinary or multidisciplinary field, where boundaries between art forms and media are blurry. In addition to that, new approaches to studying art history that have been emerging since the late 1960s pose some challenges to the cataloguing and classifying practices and raise questions as to whether a certain system is updated and suitable for the representation of documents in art libraries. The primary aim of this study is to understand how the aforementioned classi- fication systems correspond to the phenomenon of contemporary art. The chosen way to achieve this is to examine how these systems are being used by catalogu- ers in different libraries.With the use of Domain Analysis (DA), as conceived by Hjørland and Albrechtsen, and taking into consideration principles and concepts from the subfield of Knowledge Organisation (KO) within Library and Informa- tion Science (LIS), this master thesis will examine the practice of subject catalo- guing in two art libraries in Sweden, namely the university library in Umeå and its two library departments (Universitetbibliotek (UB) and Universitetsbibliotek Konstnärligt Campus (UBKC)), as well as the art library in Stockholm, Konstbib- lioteket. The study consists of two parts: an analysis of bibliographic records re- presenting publications found in both libraries and semi-structured interviews with cataloguers that work at the aforementioned libraries. The aim and research questions are presented in detail on page 31. !5 Background In this section, some background information will be given, as this is considered important for understanding the research object of the present master thesis. The- refore, definitions and descriptions of basic concepts and phenomena that are per- tinent to this study will be provided. These include the phenomenon and concept of contemporary art, concepts in the field of LIS and specifically the subfield Knowledge Organisation, and a definition of art libraries. A short presentation of universal classifications systems is also included in this section. Contemporary art and the ‘new art history’ The term contemporary is a common descriptor that refers to current and recent art and has become a field of study within the discipline of art history itself, as well as the focus of many art schools and art historians.1 The usage of the term in texts written in the major European languages has been constant from the 1870’s until now and has increased rapidly from the 1960’s.2 The term also appears in names of institutions, visual art museums, galleries and auction houses.3 The defi- nition of contemporary art is such a difficult task, that even art historians and scholars do not seem to find consensus on. Sometimes art historians juxtapose the term contemporary with the term modern: So just as “modern” has come to denote a style and even a period, and not just recent art, “contemporary” has come to designate something more than simply the art of the present moment. In my view, however, it designates less a period than what happens after there are no more periods in some master narrative of art, and less a style of making art than a style of using styles.4 The course of art history has since the late 1960s been highly influenced by a lar- ge number of theories, related to social sciences and the rise of feminism, such as the theories of visual culture, representation and semiotics to name some.5 Since the late 1970s, some art historians have argued that “aesthetic experience is not natural but cultural” and that “[a]rt and the experiencing of art are social con- structions.”6 These new theories establish different ways of studying and interpre- 1 Smith (2010), p. 366. 2 Smith (2010), p. 371. 3 Smith (2010), p. 371. 4 Danto (1997), see Smith (2010), p. 375. 5 Minor (2001), pp. 150–156. 6 Minor (2001), p. 152. !6 ting art, creating a field of knowledge that is interdisciplinary, combining know- ledge of sociology, and other fields, such as psychoanalysis and gender studies. It is also evident, that art has been studied throughout the centuries with a focus on a Western, Eurocentric viewpoint.7 The Western perspective is now challenged and replaced by global and multicultural perspectives.8 All these new theories and per- spectives have provided the discipline of art history with new directions. If these changes are present in the recently produced literature, then the classification systems used in libraries should be able to represent them with adequate terms. Knowledge Organisation Knowledge and information becomes easily accessible when it is organised. This saves time and facilitates the learning process of individuals, as well as other acti- vities. The concept of Knowledge Organisation (KO) is applicable to several fi- elds, from organising one’s work or home environment to more ‘professional’ ac- tivities, such as creating library and archive catalogues. The very concept of knowledge is, however, quite complex and difficult to define and is usually under- stood in relation to information. Several authors distinguish between explicit and implicit knowledge. Implicit or tacit knowledge refers to “personal knowledge embedded in the human mind through individual experience,” while explicit knowledge is “codified and recorded in books, documents, reports, White Papers, spreadsheets, memos and other documents, so that it can be shared.”9 In the context of LIS, Hjørland describes Knowledge Organisation as: activities such as document description, indexing and classification performed in libraries, bibliographical databases, archives and other kinds of “memory institutions” by librarians, archivists, information specialists, subject specialists, as well as by computer algorithms and laymen.10 Information systems are developed, in order to organise documents into distingu- ishable categories and classes for the purposes of organising collections, enabling information retrieval and use. KO includes classification systems, thesauri, sub- ject headings and bibliographies. In the domain of visual arts special classifications and thesauri exist, such as the Iconclass and The Art and Architecture Thesaurus (AAT). 7 Minor (2001), pp. 206–207. 8 Minor (2001), p. 214. 9 Nonaka & Takuchi (1995), cited in Rowley & Hartley (2008), p. 7. 10 Hjørland (2008), p. 86. !7 Art libraries Art libraries are institutions that collect resources about visual arts, music, theatre, performing arts, crafts, architecture, design, and other adjacent fields. Depending on the context and user group, art libraries usually focus on specific areas that re- late to the character of the organisation the library is affiliated with. These are usually defined as special libraries, because they focus on a specific subject and can be found in different contexts, mostly in academic or museum libraries. Special libraries are libraries that have one or more of the following attributes: a focus on specialized information resources, usually of a limited subject scope; a focus on a specialized and limited clientele; and the delivery of specialized services to that clientele.11 Even some public libraries have also extended material on arts, but their user group is the general public, not a community of the art world that studies or has an interest in arts, in a consistent way. Art librarians participate in associations, such as the IFLA Art Libraries Section, and Art Libraries Society (ARLIS), which has departments in countries and regions, such as the UK, Ireland, North America, Scandinavia, Australia and New Zealand.12 Classification Classification has been defined in many ways. Geoffrey C. Bowker and Susan Leigh Star define classification as “a spacial, temporal, or spatio-temporal seg- mentation of the world.”13 Classification is also defined as the activity of grouping things and phenomena in classes, according to some principles or criteria. The most usual principle is likeness.14 Classification is applied to many aspects of life and is based on the formation of categories, “one of the most fundamental of human learning activities.”15 In the context of libraries, the collections of a library consisting of different kinds of documents are organised in a library catalogue. These catalogues can be defined as reference databases, containing information about documents and their location in the library, but not providing access to the actual document.16 Most library cata- logues nowadays, include both printed material that can be found on the library’s shelves, thus acting as reference databases, and electronic material that can be ac- cessed directly online, in that case acting as an open public access catalogue. The main task of a cataloguer is to create representations of the library’s documents that will appear as catalogue entries and act as a document surrogates. The main 11 Shumaker (2009), p. 4966. 12 ARLIS/Norden’s website. Home > Association; ARLIS/Norden’s website. Home > Affiliated Organizations. [2017-01-18]. 13 Bowker & Star (1999), p. 10. 14 Benito (2001), p. 103 (the author’s translation). 15 Rowley & Hartley (2008), p. 172. 16 Rowley & Hartley (2008), p. 22. !8 functions of this action is to describe and identify a document, distinguish it from other items, and show any relation with them.17 In bibliographic classification, classification schemes are used to organise a library’s collection. According to Rowley and Hartley, “a classification scheme is simply a systematically arranged list. To be of practical use a classification needs additional features, and these are what make it into a scheme.”18 The basic three components of a classification scheme are listed as follows: • the schedules, in which subjects are listed systematically showing their rela- tionships: the ordering of subjects in these schedules is not self-evident, and therefore requires: • a notation, a code using numbers and/or letters that have a readily understood order which signals the arrangement of the schedules; and • an alphabetical index to locate the terms within the schedules19 For the purposes of covering all subjects in a library, a universal classification scheme is used. Universal classification systems cover all subjects or disciplines and for every class, subclass and its subsections, a notation is provided. These no- tations are included in what is called call numbers (US) or shelf marks (UK) and they direct the users to the actual shelf. The shelf mark may include other abbre- viated forms of information that point to the author’s name or the book’s title. However, this does not presuppose that a classification number will appear on a shelf mark. Some libraries choose to organise their collections by assigning a nu- merus currens to their documents. A numerus currens or accession number is a number revealing when the library item was acquired. It usually consists of num- bers or a combination of numbers and letters. There are enumerative systems, such as the Library of Congress Classifica- tion (LCC) and the Dewey Decimal Classification (DDC), often referred to as Dewey. These systems have a predetermined number of classes. Every main class is analysed to its main components, establishing subclasses and subdivisions. In some cases, some attributes are coded and listed in standard tables that enable ad- ding more attributes to a notation. These systems are hierarchical. Their schedules show the inner structure and hierarchy of classes and their divisions in subclasses and subdivisions. This kind of classification is also described as analytical or top- down. On the other hand, faceted classification is a bottom-up classification that allows synthesis.20 The discipline or subject is analysed, according to some con- 17 Rowley & Hartley (2008), p. 74. 18 Rowley & Hartley (2008), p. 174. 19 Rowley & Hartley (2008), pp. 174–175. 20 The term facet was introduced by Shiyali Ramamrita Ranganathan, the creator of Colon Classification, who identified five main facets for grouping different concepts: Personality, Material, Energy, Space and Time (PMEST). See Benito (2001), pp. 125–126 & 240. !9 cepts or facets.21 Faceted classifications do not show hierarchical relationships between concepts. Complex or compound classes are created by combining diffe- rent facets. Even hierarchical systems enable faceted classification to some extent. Criteria for a good classification system The following criteria characterise a classification system as good. • The system must include all topics that appear in literature and must allow for new topics to be included (hospitality) • It should be systematic • All adjacent subjects/topics should be placed close to one another • It should be flexible and easy to expand • The terminology used in the system should be clear and up-to-date • It should be balanced22 Certain qualities are preferable and make a system more effective and user-friend- ly. These include a short notation that makes it easier to locate material.23 Mne- monics, is also an important factor.24 This is achieved, as long as the classification system uses notations in a consistent way, so that it is easier to remember and un- derstand them, e.g. the letter K is used to denote history as a main class in the SAB, while k is used as a standard subdivision to also denote history. Subject analysis Subject analysis is a process, in which a cataloguer or indexer assigns terms or codes to a document that describe what the document is ‘about’. Arlene Taylor defines it as: “[c]onceptual analysis […] the determination of what the intellectual content of an item is ‘about’ and/or determining what an item ‘is’.”25 The main purpose of subject analysis is to facilitate information retrieval and access to documents, while providing collocation of similar documents.26 The concepts used in subject analysis can refer to topics, names of persons, corporate bodies, geographic areas or other named entities, time periods and form.27 Classification 21 Benito (2001), pp. 103–121. 22 Benito (2001), p. 116. 23 Benito (2001), p. 118. 24 Benito (2001), p. 119. 25 Taylor (2004), p. 242. 26 Taylor (2004), p. 242. 27 Taylor (2004), p. 252. !10