Scrapbooks Sketch Books Eportfolios

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Creating History,Telling Stories, andMaking Special:Portfolios, Scrapbooks, andSketchbooks BY ELIZABETH DELACRUZ AND SANDY BALES}A ll human communications are a form of storytelling about some aspect of theworld. They are shaped by human personali ty and grounded in their historicalcontexts (Fisher, 1987). Communications scholar Walter Fisher defines storytelling,or narration, as symbolic action, words, or deeds, that have sequence and meaning for thosewho live, create, or interpret them (1987). Stories, embedded as they are in myths, imagery,and rituals, embody the cultural histories and aspirat ions of social groups and solidifycommunitarian values (Campbell, 1949). The embellishing and fashioning of objects andrituals that tell stories enhance their communicative power; human communications thatare conveyed in artful ways, that is, the human tendency to "make special"their communications, promote communality and one-heartedness (Dissayanake, 2003).

With these ideas in mind, this article considerscommonalities and differences among three kinds ofartful human communications that appeared to us as aspecial kind of storytelling: preservice art teachers'electronic professional teaching portfolios, family andfriendship scrapbooks of people we have met in ourcommunity, and artists' sketchbooks/journals. We firstshare insights from an evaluation of preservice ar tteachers' production of digital videos and electronicportfolios, productions that were intended by thesestudents to document and showcase their best teachingpractices. We then share findings from our inquiriesabout related creative and cumulative self-referencingforms of expression, including scrapbooks and sketchbooks/journals. Recurring themes are identified andspeculations include discussion of the nature of theseself-referencing repositories of experience; the value oftelling one's story as a form of social bonding (Fisher,1987; Kellman, 1998); the human need to collect,recontextualize, and confer meanings on objects as ameans of seeking permanence in the world

(Csikszentmihalyi, 1993); the intentional shaping andembellishing of some objects to make them special(Dissanayake, 2003); and the capaCity to share suchexpressions in caring ways with others. Connections toar t education conclude the paper.Background to the Preservice Art TeacherElectronic Teaching Portfolio

Professional teaching portfolios have long been used inour degree program to demonstrate that students meetstate-mandated standards for teacher certification.Originally appearing as binders, student standardsportfolios have typically contained students' teachingphilosophies, research on multicultural artists, visualculture studies, studies of schools' resources and strategiesfor serving students with special needs, ar t lessons,teaching handouts, examples of their own artwork, anartist's statement, examples of student artwork, evaluations of their teaching, and newsletters to parents. Withsupport from a federal technology grant, we experimented for 2 years with an electronic portfolio as a

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replacement for the binder, and examined the results of thetransition to digital technology. The first year of the grant wasconceptualized as a digital video project. Using compact digitalvideo cameras, students were taped during teaching episodes in apracticum course, learned iMovie:rM and created 3-5 minute filmcomposites of their teaching. During the second year, in a latercourse, these students each created a cumulative electronicportfolio that included their best teaching practices (includingtheir edited films) and their collected representative work (akaartifacts) in the program. We conducted formal evaluations at theend of each semester for four semesters. Findings were shared ina narrative summary of our grant Final Report to the federalgrant evaluation team. Students reported both the digital videoproject and the electronic portfolios to be powerful contributorsto their sense of identity as emerging professionals. The strengthof students' reported professional identification was attributableto processes particular to working with electronic technologies inthe creation of these videos and electronic portfolios.

Documentaryfilmmaking ofbest teachingpractices. Throughthe movie-making process, students saw their teaching in realtime, for the purpose of selecting and editing film clips to createshort representative film composites of their best teachingpractices. The viewing and editing of teaching episodes took onanother facet-autobiography and self-identification with acommunity ofpractice. In the creation of these film clips, studentsgained autonomy in the analysis of their teaching. No longerconstrained to looking for teaching successes and flaws with theirsupervisors, they were now free to focus on various aspects oftheir teaching that were most interesting to them. During exitinterviews, student teachers talked about how creating their filmsgave them a better sense of being an integral member of theclassroom and about their belief that they were making adifference in the lives of the young students under theirguidance.

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Professional electronic portfolios.With digital videos of theirbest teaching practices completed in an earlier practicum course,we then asked students to digitize their self-study of their ownartistic development (a project central to this course), and totransition to an electronic format in the creation of theirprofessional teaching portfolio (a requirement for certification).We anticipated that the DVD format would provide a compact,portable, and flexible version of the cumulative teaching binder.The DVD project required three new behaviors: a creation of astoryboard, a script, and an internal hyper-linking of artifactsselected for inclusion. The storyboard required students tovisually pre-plan the location and flow of each artifact selectedfor inclusion. The script resulted in an audio-recorded voice-overthat introduced the portfolio and offered a narrative about theartifacts. This process required students to wr ite a statementabout who they are and what they believe as art teachers. Theinner linking of materials to be included on the DVD providedstructure, established meaningful connections between materialsincluded, and made the portfolio navigable. In formal evaluations, students mentioned the planning, selecting, editing, andscripting processes as integral to their growing sense of identityas a teacher, rather than merelyas a student in a teacherpreparation program. Moreover, students saw themselvesthrough their own eyes, rather than through the lens of theirsupervisor, the critic teacher. We also noted that for thesestudents the value of meaningfully connected video footage,self-selected teaching artifacts, and self-authored orally spokenstatements of values took precedence over their former preoccupation with grades.

Discussion. The nature of the transition from student toprofessional art teacher in the mind of the emerging practitioneris poorly understood in ar t education, and reflective practice isseen as essential to this process (Kowalchuk, 1999; Unrath &Norlund, 2009). Purposeful repeated viewings of films of theirteaching allowed ou r students to see aspects in the teachingcomplex previously missed, evoked the felt quality of theteaching experience, and strengthened their appreciation of theclassroom community. Self-reflection was facilitated through theprocesses of reexamining, selecting, and editing segments fordigital video production, and students recognized theseprocesses as important contributors to their professionalidentities. As we concluded ou r evaluation of the federal grant wenoted not only the value of self identification with a communityof practice, but also the importance of archiving, choosing andarranging artifacts that embody meaningful symbolic content,and of shaping that content into a coherent story about one's life.The electronic portfolios embodied a sense of the history (albeita highly selective history) of these students while they progressedin ou r degree program. And they had a communal character.

Figure 1. Front "page" of an electronic professionalportfolio. Name of artist in image retained and usedwith permission of the artist.


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Students reported both the digital video project and the electronic portfolios to be powerfulcontributors to their sense of identity as emergingprofessionals.

Creating Identities, Archiving Personal andCommunal Histories, and the Power of StoriesOur focus up to this time had been on the students'

emergence of a sense of being affiliated with a community ofprofessionals, on the quality and content of the kinds ofobjects students selected as representations of that affiliation,on the caringmanner in which they organized and displayedthese objects, and on the stories they told through them. Thisled us to wonder how personal histories and communalidentities might similarly be constructed through creativeprocesses used by individuals who artfully create other kindsof self-referencing forms of expression. We broadened ourfocus, and using ethnographic interview methods, weconducted video-taped interviews with new individuals,other students and artists who regularly kept artists'sketchbooks and journals, and students and other peopleliving in East Central Illinois who made family scrapbooks.We also photographed their work, and analyzed recordingsand photographic documentations, probing for recurringpatterns. Findings suggest intriguing themes that includenotions about history and identity, about why humans collectthings, about the power of storytelling, and aboutmaking things special.

Telling one's story. Underlying these endeavors(creating professional electronic teaching portfolios,making family scrapbooks, and keeping an artist'sjournal/sketchbook) is the need to tell one's story.Contained within these forms of self-representationare the collected/collective personal thoughts,feelings, and stories of selfin relation to andidentification with others, whether or not theyinclude the tellers' professional communities ofpractice, real and imagined, or the tellers' immediate community of close friends and family.Interest in telling the story is growing in academic

discourse, for example, in the scholarly discipline ofhistoriography, and as evidenced by the increasing popularityof autoethnography in anthropology, communications, newmedia studies, and qualitative research. The narrativecomponent in these kinds of creative and autobiographicalforms of self-expression both informs their making andmakes them comprehensible to others.Contemporary Scrapbookers: Family Historiansand Chroniclers of Friendship

Just as the power of the narrative to reinforce personal andcommunitarian values was highly evident in our students'electronic portfolios, we also found it in the scrapbooks weexamined. Scrapbookers collect objects, write stories ofshared histories, and creatively assemble their collections ofphotographs, memorabilia, and decorative and symbolicmotifs that reference valued people and events. The artistically designed page layouts and visual embellishments addand convey aesthetic pleasure, and signify the importance ofthe people and events depicted and remembered.

Figure 3. Selection from a family heritagealbum. Reproduced with permission ofthe artist.

Figure 2. Youthful scrapbooks.Reproduced with permissionof the artist.

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Equally important to the scrapbooker isthe shar ing of scrapbooks with friends andfamily (Seabrook, 1991; Williams, 1991).Shared stories have personal significance tonot only the storyteller (the scrapbookmaker), but also social significance withinintimate social networks (the intendedaudience for the story). Writing, telling,hearing, and reflecting on shared life storiesmay have profound effects on the lives ofscrapbookers and their families. For example,the telling and listening that went intocreating a family scrapbook reconciled onescrapbooker's family relationships. Cynthia'told us about her family as she showed us amemory album she'd created for herterminally ill father-in-law. This albumincludes handwritten notes from herhusband, her son, and herself. Before he diedCynthia's father-in-law asked her to get hiswife (Cynthia's mother-in-law) to make herown family heritage albums. Cynthia believesthat the albums subsequently created by hermother-in-law have reconciled past rifts andbrought her family closer, and that herfather-in-law knew this would happen.Another scrapbooker similarly told us howshe made a friendship scrapbook to reconcilean old friendship after a misunderstanding.For Sally, her friends were he r surrogatefamily, and her relationships with lifelongfriends were important to her sense ofbelonging. Jeanne, another scrapbooker, toldus how important scrapbooks are tomaintaining family relationships that nowspan great distances, as her children havemarried and moved across the country.Jeanne's home is filled with her familyalbums-organized around trips, specialevents, and years in their family historyalong with framed family photographs, newsclippings, trophies and ribbons, andmemorabilia that are prominently displayedthroughout her home. For Cynthia, Sally, andJeanne, scrapbooks serve as both an archiveof remembrance and belonging, and aregularly performed ritual of reconnecting.

Discussion. Contemporary scrapbooksderive from ancient albums, 15th-centurycommonplace books, and 16th-centurycabinets of curiosity (Ruth, 1995; Bernhard,2005; Tucker, Ott, & Buckler, 2006).Scrapbooks are a personal archive of valuedexperiences, events, rituals, and everydaymoments. Their contents include objectscollected, catalogued, annotated, andre-presented for the purpose of remembering. "Scrapbooks, like diaries and today's

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blogs on the Internet, are a reflection of thevery human need to tell our stories, to createa record ofour lives" (Clyde, 2005, p. 53).They are a self-telling that attempt to producecoherence, wholeness, and significance ou t ofephemeral moments (Tucker et aI., 2006).Sometimes they traverse past, present, andfuture, both distinguishing and mixing erasdiscriminatingly. They are a conversationbetween the maker and her ancestors, herimmediate circle of family and friends, and/or her anticipated decedents yet to come.Scrapbooks are also repositories, filled withobjects and memories from the scrapbooker'severyday life: photographs, memorabilia,newspaper clippings, magazine cutouts,drawings, any manner of decorativeembellishments, and, importantly, writings.Writings may include (but are not limited to)documentary-styled descriptions of people,places, dates, and events; inside jokes orquirky phrases from the culture at large; and/or quotes from individuals represented in thephotographs and mementos. Whatever thestyle, journal entries are considered a priorityin the completion of a scrapbook layout,second only to the photographs themselves(Danet & Katriel, 1989).

Scrapbooking in the digital age. Manyscrapbookers no longer merely cutand pasteclippings, memorabilia, and photos directlyinto albums. Two of our study participantscurrently utilized electronic technologiesextensively in the creation of their scrapbooks. Computers, digital cameras, scanners,desktop publishing software, scrapbook pagelayout software programs, and inexpensivehome printers now make it easy to createprofeSSional-looking materials and layouts(Levie, 2004). Scrapbookers may also payothers online to create family scrapbooks forthem, and/or use online services to havetheir albums profeSSionally printed inhardbound books. And some scrapbookscurrently may exist only in digital form.Although the variety in media, styles, sizes,and purposes of contemporary scrapbooks isvast, what connects them is a sense ofwanting permanence in the world.Importantly, scrapbooks are made to begiven to loved ones, shared, seen, and/orperformed by the scrapbooker to intendedaudiences. We note that a common practiceof family members, upon visits to childhoodhomes, is to get out the family scrapbooksand gather around them for rememberingand shared storytelling.

Like Scrapbooks, Sketchbooksare Artful Repositories of Images,Curiosities, Quests, Journeys,and Life NarrativesLike scrapbooks, artists' sketchbooks are

sometimes used to capture moments in time,but sketchbooks have a more serendipitousstructure. Like the electronic portfoliOS ofour preservice teachers, sketchbooks allowartists to track their own development overtime, work through ideas, and see multipleworks collected into one place. In addition todrawings, visual documentations, and plansfor future artworks, sketchbooks may house acurious collection of ephemera, photographs,newspaper clippings, Xeroxed images,magazine cutouts, inspirational sayings,musical notations, birch bark, postcards,scraps of ragged-edge paper with partiallycompleted renderings, course handouts,personal mementos, and a wide variety ofwritings. Artists' sketchbook drawings,writings, and other materials tend to beassembled in the chronological order of theirmaking and/or finding, rather than reassembled page-by-page for specific purposes,as are scrapbooks or profeSSional portfolios.We are likely to see elements of caricature,appropriation, analogy, distortion, abstraction, and humor alongside stylized andrealistic depictions. Personal, unique, andeveryday encounters and ideas form thecontents of artists' sketchbooks, documentartists' surroundings, and provide crypticclues about their thoughts and feelings. Thequick sketches and fragmentary notes thatcomprise artists' sketchbooks are oftenexploratory, and their connections acrosspages are not obvious to a casual viewer. Forthe sketchbook artist, it is an ongoingnarrative of fragmented experiences, and theintended beneficiary is immediately, but notalways, an audience of one.

Their sketchbooks served asjournals for personal reflection,artistic aspirations, and as aplace for exploring inner worlds,including self-doubts.


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4 (top). A sketchbook serving as a repository of ephemera. Reproduced with permissionthe artist.5 (bottom). A sketchbook journal entry. Reproduced with permission of the artist.

Three participants in ou r inquiry, Bridget,Matthew, and Ted, maintain different kindsof sketchbooks, and they carry a sketchbookat all times. Bridget has a sketchbook inwhich she keeps receipts, bids, contacts,costs, and other documents for a large-scalecommunity sculpture she is planning. Itincludes renderings, dimensions, technicalprocesses, notes about materials, andinformation about the site. Matthew'spocket-size sketchbook contains whimsicalsketches of skateboarders and whitesuburban ninjas, phrases of music, doodles,jokes, illustrations, photographs, postcards,and found materials to draw on. Amongmany other things, Ted's sketchbookscontain fully rendered figure drawings andstoryboards for a comic book series heintends to publish.

Sketchbooks as journals. All of thesketchbook artists we talked to wroteextensively in their sketchbooks. Theirsketchbooks served as journals for personalreflection, artistic aspirations, and as a placefor exploring inner worlds, includingself-doubts. In one entry, Ted wrote an entirepage about his self-consciousness duringanimated debates with friends, ponderinghis sense of himself as listener, conversationalist, and "measurer of his own words;considering his insecurities and need toestablish authority, and finally reconcilingthese feelings by the end of the page. Bridget,committed to building two massive sculptureprojects and anxious because of their scale,explained how her sketchbook writings keepher focused and grounded. In contrast,Matthew's sketchbook journal entries are alog of important experiences kept in aregular and disciplined manner. His entriesare written in a matter-of-fact style andinclude, for example, descriptions of acamping trip to Minnesota with his buddies,and a family vacation to London. All of thesketchbooks we examined appeared asstories in the process of being formed,endings yet to be determined, and with somestories defying closure.

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When created and shared in caring ways with others in thecommunal setting ofan art classroom, these kinds ofcreativeactivities and cultural productions provide an additional benefitofconnecting individual students to peers. When shared beyondthe classroom these idiosyncratic, creative, personal/culturalproductions mayfurther connect students to kin and to othervalued individuals in students' social networks.

Insights and Speculations-The idea of collecting life experiences and

then reassembling that collection as a questor a s to ry to be told was mentioned by eachof the individuals that we talked to (preservice art teachers, local scrapbookers, andartists). Their portfolios, scrapbooks, andsketchbooks/journals provide a means ofarchiving experiences and insights for lateruse, as well as a working through of problemsto gain deeper understanding. The followinginsights encapsulate some of ou r otherspeculations about these forms of creativepersonal expression.

Why we need things. Artifacts objectifythe self in a variety of ways. Objects stabilizeou r sense of who we are, giving a permanentshape to ou r views of ourselves. Objectsreveal the continuity of the self throught ime. And objects function as symbols ofvalued relationships, giving concreteevidence of one's place in a social network(Csikszentmihalyi, 1993). Things of this sortprovide external order, a cultural script, andphysical evidence of aspects of life that areinherently fleeting and intangible. "Withoutexternal props even ou r personal identityfades and goes out of focus; the self is afragile construction of the mind"(Csikszentmihalyi, 1993, p. 13). We need ou rscripts and props to remember, to imposeorder on the random fragments that makeup a life, and to connect to others. For artistslike Bridget, a sketchbook/journal reveals"form and patterns in the myriad ofseemingly formless experiences andactivities that make up my days, weeks andmonths." Similarly, creating scrapbook givesthe maker a means of control over theobjects, experiences, and memories, andgives them a feeling of order withinthemselves (Katriel & Farrell, 1991).

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Recontextualization as meaningmaking.Scrapbooking and creation of portfoliosinvolve removal of objects from their originalcontexts and redefinition by the collector/designer. This is a derivative process-thingsare taken from somewhere else and put intoa scrapbook (DeCandido, 1993), but theprocess also has connective capacity, asobjects and memories are gathered in waysthat connect past to present, in anticipationof an imagined or desired future (Tucker etaI., 2006). Similarly, the visual recordings andreflective writings of the sketchbook artistswe interviewed engaged similar processes ofrecontextualization. And our students'teaching portfoliOS were, in essence, anexercise in conferring desired meaningsupon selected objects, and connecting theseobjects and intended meanings into acoherent whole with a particular purpose inmind. These kinds of self-referential forms ofpersonal and communitarian expression alsoeach represent an ideology, a point of view,an historical moment, and a fascinating facetof contemporary material culture, ripe formultiple interpretations and/or criticalanalysis.

Documenting and domesticating lifeexperience: caring, connecting, andcommerce. The theme of caring permeatesthe act of scrapbook making: care in makingand care for the people included, especiallywhen shared with insiders (Katriel & Farrell,1991). Twenty years ago, scrapbooking wasmostly a teen and young female adult activity(Danet & Katriel, 1989). Now it is done by allages and is a multi-billion dollar enterprise.We relate these interests to the related growthin family history writing and genealogy (seefor example, Library of Congress, n. d.), andobserve a growing cottage industry for bothscrapbooking in homes and scrapbooking for

others. One of ou r scrapbookers, Cynthia,represents a scrapbooking company andhosts monthly scrapbooking workshops inher home. As she explained these gatherings,we were reminded of multi-age Amishquilting bees, organized around themes ofpreserving cultural tradition, creating caringand community.Not only are individuals keeping sketch

books, diaries, and scrapbooks, they aredoing so on the Web, and in great numbers.Personal and commercial sites composed ofdigital diaries, blogs, histories, digitalportfolios, digital scrapbooks, and sitespromoting products for the creation andmaintenance of these forms of expressionnumber in the tens of millions. Intriguingsites include virtual repositories in which onecan archive family histories, including a sitewhere one can upload raw data (names,dates, and events) onto a form and havesomeone, a historian, presumably, write thatdata into a narrative history. Books retrievedin another Internet search producedrevealing titles such as "Becoming theAuthor of Your Experience;' "The Story ofYour Life;' "Writing the Family arrative;'"This is Your Life Story;' "TurningMemoriesinto Memoirs: A Handbook for WritingLifestories;' and "Bringing Your FamilyHistory to Life Through Social History;'suggest not merely a burgeoning commercialmarket for history writing, but a basiccontemporary human need to tell andpreserve ou r stories.Connections to Art EducationThese findings and speculations are

important to art education insofar as ar teducators are interested in why meaning isattached to "things;' how individuals usethese "things" to tell their own stories andconvey their history, and how they do this inpurposeful, artistic ways that are meant tohave an aesthetically pleasing impact. Webelieve that there are important linkagesbetween the human need to preserve andcreatively retell one's personal history, andmeaningful classroom practices in the artroom. In closing, we offer a few possibleconnections to ar t education that now seemrather elf-evident.Art education practices in classrooms and

beyond are well served when learningactivities involve students in reflectiveprocesses that include the saving and creativeassembling, in artful ways, of experiences


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and things that have special meaning toindividual students. Young people like tocollect a good many things (collectibles,personal memorabilia, iconic contemporarycultural artifacts, cool stuff, etc.), to organizeand enjoy these things, and many of thesethings are personally valuable to theseyoung people (Stone, 2004). We also knowthat s tudents are already predisposed toarchiving and sharing their personal stories,photographs, and experiences in creativeways, as evidenced by the phenomenalgrowth of online sites such as MySpace andFacebook. Student construction of anautobiographical portfolio or profile thatcreatively conveys a self-representation ofindividual accomplishments, experiences,and aspirations; her/his creation of apersonal scrapbook or heritage album ofcreatively arranged objects and writings thattell of personal and communal histories;and/or the keeping of a sketchbook/journalof insights and renderings captured infleeting moments may each serve as a means

of making special and strengthen studentidentities that are in the process of developing. These kinds of student productionsmay be created with and without digitalmedia. When created and shared in caringways with others in the communal setting ofan ar t classroom, these kinds of creativeactivities and cultural productions providean additional benefit of connectingindividual students to peers. When sharedbeyond the classroom these idiosyncratic,creative, personal/cultural productions mayfurther connect students to kin and to othervalued individuals in students' socialnetworks. In an e ra of schooling riddledwith standardization, competition, and everincreasing pressures to conform to predetermined outcomes that have some purportedfuture benefit (economic or otherwise),these kinds of personal/social, creative/connective, fun/quirky, and caring activitiesare greatly needed in contemporary arteducation educational settings.

REFERENCES

Elizabeth Delacruz is Associate Professor ofAr t Education and Womens Studies, andEditor, Visual Arts Research Journal, atthe University of Illinois, UrbanaChampaign. E-mail: [email protected] Bales is a former instructor in Ar tEducation at the University of Illinois,Urbana Champaign, and currently acommunity arts and environmentaleducator in East Central Illinois. E-mail:[email protected]

ENDNOTEI We use pseudo-names throughout this article.

Bernhard. F. W. (2005). Weblog modern equivalent of a Wunderkammer. Weblog retrieved March 20, 2007, from http://barnhard.n1l2005/09/2l/weblogs_equivalent_oCa_modern_wunderkammern/7/

Campbell, ]. (1949). The hero with a thousandfaces. Princeton, N]: Princeton University Press.Clyde, L. A. (2005). Digital scrapbooking. Teacher Librarian, 33(2),53-55Csikszentmihalyi, M. (1993). Why we need things. In S. Lubar & W. D. Kingery (Eds.), History from things: Essays on material culture,

(pp. 20-29). Washington, DC: Smithsonian Institution.Danet, B., & Katriel, T. (1989). No two alike: Play and aesthetics in collecting. Play and Culture, 2, 253-277.DeCandido, R. (1993). Scrapbooks, the smiling villains. First featured under the title, "Out of the Question" in Conservation

Administration News, 53, April 1993. Retrieved March 20, 2007, from http://www.well.com/user/bronxbob/resume/54_7_93.htmlDissanayake, E. (2003). The core of art: Making special. Journal of the Canadian Associationfor Curriculum Studies, 1(2), 13-38.Fisher, W. R. (1987). Human communication as narration: Toward a philosophy of reason, value, and action. Columbia: University of South

Carolina Press.Katriel, T., & Farrell, T. (1991). Scrapbooks as cultural texts: An American art of memory. Text and Performance Quarterly, 11( 1), 1-17.Kellman, J. (1998). Telling space and making stories: Art, narrative, and place. Art Education, 51(6), 35-40.Kowalchuk, E. (1999). Perceptions of practice: What art teachers say they learn and need to know. Studies in Ar t Education, 41(1), 71-90.Levie, E. (2004, Sept. l3). Scrapbooking, cyberstyle. U.S. News & World Report, 137(8),62. Retrieved March 20, 2007, from www.usnews.

comLibrary of Congress. (n. d.). American Memory Home. Retrieved April 3, 2009, from http://memory.loc.gov/ammem/about/index.htmlRuth, A. (1995). Victorian scraps. Antiques & Collecting Magazine, 99, 38-39.Seabrook, j. (1991). My life is in that box. In]. Spence & P. Holland (Eds.), Family snaps: The meanings ofdomestic photography (pp.171-185). London: Virago Press.Stone, D. (2004). Students' personal collections and art museum practices. Visual Arts Research, 30(2),87-98.Tucker, S., Ott, K., & Buckler, P. B. (2006). Scrapbooking in American life. Philadelphia: Temple University Press.Unrath, K., & Norlund, C. (2009). Postcard moments: Significant moments in teaching. Visual Arts Research, 35(I), 91-105. Available

online at: http://var.press.illinois.edu/Williams, V. (1991). CarefuUy creating an idyll. [n J. Spence & P. Holland (Eds.), Family snaps: The meanings of domestic photography (pp.186-195). London: Virago Press.

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Scrapbooks Sketch Books Eportfolios