Some Comments on the Cataloging of Exhibition Catalogues, or, Who Was the Author of That Exhibition?

Some Comments on the Cataloging of Exhibition Catalogues, or, Who Was the Author of ThatExhibition?Author(s): Daniel StarrSource: Art Documentation: Journal of the Art Libraries Society of North America, Vol. 15,No. 1 (Spring 1996), pp. 11-16Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27948812 .

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FEATURE

Some Comments on the Cataloging of Exhibition Catalogues, or, Who Was the

Author of That Exhibition?

by Daniel Stan, The Museum of Modern Art

What is an exhibition catalogue? Even though it is a term that is constantly used, I have never seen any good definition of it. Obviously, an exhibition catalogue has to document an exhibition in some way, but how, and to what extent? Does an exhibition catalogue have to contain a checklist of the exhibi tion, or reproductions of all of the works included, or give the dates and venues of the exhibition, or merely call itself a

catalogue of an exhibition? What about works that say that they are published in connection with, or conjunction with, or on the occasion of, an exhibition? Are these exhibition catalogues?

Does their content differ, or are publishers just trying to make it easier to sell the catalogue as a "real" book? I believe that when art librarians try to decide if any of these publications are exhibition catalogues they adopt an attitude of, "I know one when I see one," and, in lieu of any commonly accepted definition, that will suffice for the following discussion.

I do not intend to address the usual humdrum problems that arise when cataloging exhibition catalogues. What I would like to do is address what I think is the underlying cause of most of those

problems, and that is, that when we attempt to catalog an exhibi tion catalogue, we actually have two conflicting goals. Are we

cataloging a publication or an exhibition? How that question is answered affects how we catalog, but the question is seldom asked. If we only had to address the publication itself we would not have to worry about questions concerning venues, for what difference

does it make where a show traveled if we are concerned only with the traditional cataloging information of author, title, and

publisher? We would not have to be concerned with the organizers of the exhibition, whether personal or corporate. On the other

hand, if cataloging the exhibition is the goal there is no need to be concerned with editors and publishers.

I would like to address three main areas that this unstated conflict affects: questions of authorship, of publication, and of

dealing with supplemental exhibition materials.

Authorship problems Who is the author of an exhibition catalogue? Or, to put it

in cataloging terms, who is responsible for the intellectual and artistic content of an exhibition catalogue? Or more simply, who

gets entries in the cataloging record? Librarians have always made an attempt to strive for

consistency when cataloging exhibition catalogues, to formulate the one rule that will apply to all exhibition catalogues. But how

can this be accomplished when it is so difficult to define what an exhibition catalogue is? Some librarians cling to the past practice of entering all exhibition catalogues under corporate body. This was not always the panacea that some fondly remember. There were always questions when one had to choose between the place of the exhibition and the organizer of the

exhibition, or when the exhibition was in a park, or a castle, or on a ship. These questions became more problematic as more shows traveled or were co-organized, and as different versions of

catalogues were published for different showings of the exhibi tion. Who today remembers where the Treasures of Tut?nkhamen show originated and who organized it? Or do you only remember the title, or where you saw it?

The Library of Congress attempts to solve the problem of

authorship by applying a rule that favors main entry under artist or title; unless the exhibition catalogue is also a catalogue of a

collection, we are told to apply Library of Congress Rule

Interpretation 21.17B, namely, "If a catalogue of the works of a

single artist also contains reproductions of the artist's works, or

reproductions and texts about the artist or the artist's works, enter it under the heading for the person who wrote the

catalogue if he or she is represented as the author of the cata

logue in the chief source of information. Otherwise, enter the

catalogue under the heading for the artist." There is some rationale for this, but it is based on peculiarly

outdated or inconsistent notions, either on whether or not

information is on the title page (the chief source of information) or whether a catalogue is illustrated. Does one illustration in a

10-page catalogue warrant entry under artist as author of the work illustrated? Does one illustration in a 100-page catalogue? What makes the artist less important than the organizer of the show or the writer of the text, when the organizer or writer is

mentioned on the title page, but, more important, when the

organizer or writer is not on the title page? What happens when some version of minimal cataloging that does not call for

recording an illustration statement is applied? The basis for

determining choice of main entry may not be apparent in the

resulting cataloging record. Moreover, why should the mere position of the name of the

person who wrote the text influence the choice at all? We have all had the experience of having an irate curator question why he was not recorded as being the author of the catalogue to a show he organized. (Advise any beginning curator that to get credit an author's name should be on the title page; but that

1996 ? Volume 15, Number 1 ? Art Documentotion 11



does not always help for, since title page cataloging has such a bad reputation, some catalogers will delve further into the work at hand and discover that the curator of the show was "really" only the editor or compiler of the catalogue, in spite of any evidence on the title page.)

Example 1 Fine, Ruth E.,1941

Helen Frankenthaler : prints / Ruth E. Fine. ? Washington : National Gallery of Art;

New York : H.N.Abrams, cl 993. 159p.:ill. (somecol.),port.;28cm.

"Exhibition dates: National Gallery of Art, Washington, 18 April-6 September 1993; San Diego Museum of Art, 25 September-28 November 1993; Museum of Fine Arts, Boston, 5 January 13 March 1994 ; Contemporary Arts Center, Cincinnati, 8 ApriH 7 June 1994."?T.p. verso.

Includes bibliographical references (p. 159-[160]). ISBN 0894681915 (NGA pbk.).

- ISBN 0810925362 (Abrams pbk.) : $35.00

1. Frankenthaler, Helen, 1928- ?Exhibitions. I. Frankenthaler, Helen, 1928-. II. National

Gallery of Art (U.S.)

LCCN: 9243980

Bledsoe, Jane K., 1937 Elaine De Kooning / [introduction by] Jane K. Bledsoe ; essays by Lawrence Campbell, Helen A.

Harrison, Rose Slivka. ? Athens, Ga. : Georgia Museum of Art, University of Georgia, cl 992.

119p.:ill. (somecol.);28cm.

Catalogue of an exhibition held at the Georgia Museum of Art, University of Georgia, Athens, Mar. 21-May 3,1992... [etal.].

Includes bibliographical references (p. 115-119). ISBN 0915977095: $30.00

1. De Kooning, Elaine?Exhibitions. I. Campbell, Lawrence. II. Harrison, Helen A. III. Slivka, Rose. IV. De Kooning, Elaine. V.Georgia Museum of Art.

LCCN: 9145232

In example 1, Ruth Fine is clearly presented as the author of the exhibition catalogue simply by the position of her name on the title page in the traditional position for the author of a

book. Yet the librarian who cataloged the Elaine de Kooning exhibition catalogue looked beyond the title page and discov ered that Jane Bledsoe, who organized the show, was "merely" the author of the introduction. Now, according the rules, she should not have been given the main entry, but, fortunately, common sense prevailed and she is still recorded as the author of the catalogue to her exhibition. If the librarian cataloging the Frankenthaler catalogue had turned to the table of contents, it

might have been decided that Ruth Fine merely wrote a 22-page essay and should not be considered the author of the catalogue.

A more vexing concern, and a more practical one, when

deciding to make entries in the cataloging record, is when to consider the organizers of the show (i.e., curators) as opposed to the writers of the catalogue (i.e., authors). Anyone cataloging an exhibition catalogue, or attempting to cite one in a bibliogra phy, will come upon the author less catalogue. We know someone had to be responsible for the catalogue but all we see is a list of

people connected to the exhibition. This is particularly true with publications from the romance language countries. Take the catalogue for the exhibition Frantiseli Kupka, 1871-1957, ou l'invention d'une abstraction (Paris, 1989), for example. It lists

general commissioners, scientific commissioners, a committee of

honor, the author of the preface, the authors of the texts, and, buried in the preface, the organizers of the exhibition. Who is the author of this catalogue?

We may know that the person who is listed as the curator, organizer, or director of the show, or the author of the introduc tion to the catalogue, was really responsible for the whole

catalogue, but how do we justify giving that person an entry? We have to rely on common sense.

This dichotomy will always exist, and there is no clear solution to the problems it presents in cataloging. One approach that would make this situation easier is the trend to enhanced access to contents of publications. If every essay in the publica tion were accessible, either through a contents note or through added entries for all contributing authors, it would be easier to make sure that at least some credit was given where credit is

due, without necessarily having to decide who was the author of a particular catalogue. But will this trend make any headway against another powerful trend, the one of briefer and quicker cataloging, especially for exhibition catalogues?

Publication problems In addition to the problems of authorship, or intellectual

responsibility, there are the problems encountered in simply trying to record publication information. In the past, the most common problem seemed to be when we came upon catalogues with no publisher at all, just a place of exhibition. In lieu of evidence to the contrary, common sense called for recording the museum or gallery where the exhibition was held as the pub lisher. Now, as more and more museums enter into joint

publishing arrangements with commercial publishers, we are faced with more questions about who published the particular version of the catalogue we have in front of us. Here the

problem is more often with German and American catalogues. Even our example catalogue illustrates this.

12 Art Documenfotion ? Volume 15, Number 1 ? 1996



Example 2 Example 3 Fine, Ruth E.,1941

Helen Frankenthaler : prints / Ruth E. Fine. ? New York : H.N. Abrams ; Washington : National Gallery of Art, cl 993.

159p.:ill. (somecol.),port.;28cm.

"Exhibition dates: National Gallery of Art, Washington, 18 Aprik6 September 1993; San Diego Museum of Art, 25 September-28 November 1993; Museum of Fine Arts, Boston, 5 January 13 March 1994 ; Contemporary Arts Center, Cincinnati, 8 April-17 June 1994."?T.p. verso.


- ISBN 0810925362 (Abrams pbk.) : $35.00

1. Frankenthaler, Helen, 1928- ? Exhibitions. I. National Gallery of Art (U.S.). II. Museum of

Fine Arts, Boston. III. San Diego Museum of Art. IV. Contemporary Arts Center (Cincinnati, Ohio). V. Title.

LCCN: 9243980

Evans, Walker, 1903-1975. Walker Evans Amerika : Bilder aus den Jahren der Depression : Katalog zur Ausstellung in der

St?dtischen Galerie im Lenbachhaus M?nchen, 15. August bis 15. Oktober 1990 / herausgegeben von Michael Brix und Birgit Mayer ; mit einem Vorwort von Armin Zweite ; und Texten von Michael Brix, Christine Heiss und Ulrich Keller. ? M?nchen : Lenbachhaus, cl 990.

265 p.: ill.; 28 cm.

Also published in a trade ed.: M?nchen : Schirmer/Mosel, 1990. Includes bibliographical references. ISBN 3886450902. - ISBN 3888143519

1. United States?Pictorial works?Exhibitions. 2. United States?Social life and customs? 1918-1945-Pictorial works-Exhibitions. 3. Depressions-1929-United States-Pictorial works?Exhibitions. 4. Documentary photography?Exhibitions. I. St?dtische Galerie im Lenbachhaus M?nchen. II. Title.

LCCN: 90221751

Fine, Ruth E.,1941 Helen Frankenthaler : prints / Ruth E. Fine. ?

Washington : National Gallery of Art ; New York: H.N. Abrams, cl 993.

159 p. : ill. (some col.), port.; 28 cm.

"Exhibition dates: National Gallery of Art, Washington, 18 April-6 September 1993; San Diego Museum of Art, 25 September-28 November 1993; Museum of Fine Arts, Boston, 5 January 13 March 1994 ; Contemporary Arts Center, Cincinnati, 8 ApriH 7 June 1994."?T.p. verso.


- ISBN 0810925362 (Abrams pbk.) : $35.00

1. Frankenthaler, Helen, 1928- - Exhibitions. I. Frankenthaler, Helen, 1928-. II. National

Gallery of Art (U.S.)

LCCN: 9243980

When the difference between a trade edition and a museum edition is merely a difference in which publisher is recorded, or which one first, the problem is minor and the worst result is

simply the cluttering of the database with entries for two versions of the same catalogue. But in an effort to make exhibi tion catalogues more marketable, commercial publishers may eliminate information concerning the exhibition, especially dates and venues (which might make the publication seem less

timely), or even change or modify the title. A cataloger can simply record what is there and let the user

(whether it is a reader, acquisitions or exchange librarian) fend for himself, or, at least clarify the situation by a judicious use of

publication history notes. (Example 3 illustrates this type of

note.) In this age of traveling shows, a more serious problem is

that of translations of a catalogue versus the catalogues of different versions of a show. If we are concerned only with the

publication, we might be tempted to keep and catalog only one version of it, either the original one or the English one, but unless we are dealing with a strict translation, there might be substantial differences in the contents.

Evans, Walker, 1903-1975. [Walker Evans, Amerika. English]

Walker Evans, America / edited by Michael Brix and Birgit Mayer; with an essay by Michael Brix.-New York: Rizzoli, 1991.

37 p., 123 p. of plates: ill.; 28 cm.

Partial translation of: Walker Evans, Amerika. Originally published as the catalogue of an exhibition held Aug. 15-Oct. 15,1990, at the St?dtische Galerie im Lenbachhaus M?nchen. Includes bibliographical references (p. 28-31). ISBN 0847813444

1. United States?Pictorial works?Exhibitions. 2. United States?Social life and customs? 1918-1945?Pictorial works - Exhibitions. 3. Depressions -1929 - United States - Pictorial works?Exhibitions. 4. Evans, Walker, 1903-1975?Exhibitions. I. Brix, Michael. II. Mayer, Birgit, 1955-. III. St?dtische Galerie im Lenbachhaus M?nchen.

LCCN: 9050849

Here we have the original German exhibition catalogue, and a publication that is cataloged as an English translation of it. Yet, even though the cataloging shows that the translation is about the same size as the original (if you can figure out the collation statement), the translation omits three important essays.

We also have in the cataloging for the German version an

example of how the judicious use of a cataloging note (as mentioned earlier) might help clarify the publication history and thereby avoid the possible duplication of acquiring and

cataloging a trade edition that has the same content as the exhibition catalogue.

Much more common than a translation of a catalogue is the situation where different language versions of a catalogue are

produced for different venues of a show. Here it is important to

keep all versions as documents of the exhibition, since the exhibition is likely to change as it travels. Is it important to include all exhibition venues in the cataloging or to try to record the relationship of catalogues that are not strictly translations of one another? Are we cataloging the catalogues or the exhibitions? The answers to these questions will affect how we catalog the publications.




Example 4

Moholy-Nagy, L?szl?, 1895-1945. L?szl? Moholy-Nagy : [exposition] Mus?e Contini Marseille, 5 ?uillet-15 septembre, 1991 :

[catalogue / conception g?n?rale, Catherine David et Corinne Diserens]. ? Ed. rev. et corr. ?

Marseille : Mus?es de Marseille : R?union des mus?es nationaux, 1991. 535 p. : ill. (some col.) ; 30 cm.

Includes bibliographical references. ISBN 2711824683

1. Moholy-Nagy, L?szl?, 1895-1945?Exhibitions. I. David, Catherine. II. Diserens, Corinne. III. Mus?e Cantini. IV. R?union des mus?es nationaux (France). V. Title.

Moholy-Nagy, L?szl?, 1895-1946. L?szl? Moholy-Nagy/[Texte, Catherine David... [et al.]].

- [Stuttgart] : G. Hatje,cl991.

351 p.:ill. (somecol.);30cm.

Also published as the catalogue of an exhibition held at the Museum Fridericianum, Kassel, Apr.21-Junel6,1991.

Bibliography: p. 318-339. ISBN 3775703446 (Buchhandelsausg.)

1. Moholy-Nagy, L?szl?, 1895-1946?Exhibitions. I. David, Catherine. II. Museum Fridericianum. III. Title.

Moholy-Nagy, L?szl?, 1895-1946. L?szl? Moholy-Nagy : 21. April-16. Juni 1991, Museum Fridericianum Kassel / [Kuratorin der

Ausstellung, Catherine David]. ? Kassel : Documenta und Museum Fridericianum GmbH, cl991.

351 p.:ill. (somecol.);29cm.

Bibliography: p. 318-339. ISBN 3775703446

1. Moholy-Nagy, L?szl?, 1895-1946?Exhibitions. I. David, Catherine. II. Museum Fridericianum. III. Title.

Here we have an exhibition that traveled to three countries with three catalogues in three languages (and a trade edition of the German version). If we were concerned only with the

publication itself, we might want to keep just the most compre hensive one, but if we are concerned with documenting the exhibition we need all three versions. The Spanish version of the show had 239 works; the German, 227 works; and the

French, 215 (unnumbered) works.

Supplemental material Once you have cataloged the exhibition catalogue, there is

the question of what to do with all the other stuff that accompa nies the show: the checklists, educational brochures, audioguides, press releases, and so on. When the National

Gallery of Art presented the Frankenthaler exhibition it

produced a one-sheet glossary of terms. Should this be cataloged separately? Is it of value to anyone besides the National Gallery? Does it need to be used along with the exhibition catalogue, or does it have intrinsic value? The cataloger will have to exercise

judgment. In this case, the cataloging decision is fairly easy. If the item is small enough just tip it into the exhibition catalogue and record it in a note. But how much can be tipped in, and what if the item to be inserted has authors different from the ones of the catalogue, such as for an educational brochure?

Separate records for the different pieces may be necessary, but how cluttered do we want our databases to be?

When you search RLIN by title for the Museum of Modern Art's Picasso retrospective, you will get six hits and have to go to the second screen before you find the catalogue that everyone has. (Example 5)

Moholy-Nagy, L?szl?, 1895-1946. L?szl? Moholy-Nagy : IVAM Centre Julio Gonz?lez, 11 febrero-7 abril, 1991 / [comisaria:

Catherine David]. -

[Valencia] : El Centre, [1991] 465 p.:ill. (somecol.);29cm.

Catalogue of an exhibition also held at the Fridericianum Museum, Kassel, April 21-June 6, 1991, and at the Mus?e Cantini, Marseilles, on June 28-Sept. 15,1991.

Bibliography: p. 435-457. ISBN 8478903437

1. Moholy-Nagy, L?szl?, 1895-1946-Exhibitions. I. David, Catherine. II. IVAM Centre Julio Gonz?lez. III. Museum Fridericianum. IV. Mus?e Cantini.

14 Art DocumentQtion ? Volume 15, Number 1 ? 1996



2) NYMX86-B4723 New York (N.Y.). Museum of Modern Art.

Pablo Picasso, a retrospective : prints and illustrated books. [New York : Museum of Modern Art], 1980.

1 folded sheet (10 p.); ill; 28 cm.

Catalogue of the exhibition, May 22-Sept. 16 [extended to Sept. 30], 1980. Text by Alexandra Schwartz.

Example 5 [screen 1]

1) New York (N.Y.). Museum of Modern Art. PABLO PICASSO, A RETROSPECTIVE : (New York : Museum of Modern Art, 1980.) NYMX (c-9924 DCF: NNMoMA)

2) New York (N.Y.). Museum of Modern Art. PABLO PICASSO, A RETROSPECTIVE : ([New York : Museum of Modern Art], 1980.) NYMX (c-9924 DCF: NNMoMA)

3) PABLO PICASSO, A RETROSPECTIVE : ([New York : Museum of Modern Art, 1980]) NYMX (c-9114 DCF:a NNMoMA) IIAA (c-9616 ICA)

4) PABLO PICASSO, A RETROSPECTIVE : (New York : Museum of Modern Art, [1980]) NYMX (c-9114 DCF:a NNMoMA)

5) Picasso, Pablo, 1881-1973. PABLO PICASSO, A RETROSPECTIVE / 2d printing, rev. (New York : Museum of Modern Art ; cl 980.) PAUG (c-9114 DCF:i PU) DCNA (c-9667 DNGA) MONA (c-9914 MoKNA) NYBY (c-9665 NBuU) NYMX (c-9124 NNMoMA) NYPG (b-9114 NN) NYRG (c-9665 NRU) QMCA (a-9114 CaQMCCA)

[screen 2]

6) Picasso, Pablo, 1881-1973. PABLO PICASSO, A RETROSPECTIVE / (New York : Museum of Modem Art ; cl 980.) DCLC (c-9110 DCF:i DLC) AZPG (c-9610 AzTPC) CACG (c-9116 CHA) CAIA (c-9110 CL0A) CCCG (c-9110 CSpaW) CCSG-1 (c-9667 C) CCSG-2 (c-9667 C) CFCG (c-9610 CF) ?PA (a-9110 CMalG) CLCG (c-9610 CLCo) CLPG (c-9110 CStcl) CMAG (c-9610 CMa) CMCG (c-9610 COMO CNBG (c 9116 CStrNB) CNDG (c-9110 CBelmN) COSG (c-9114 CoFS) CPAG (c-9610 CPa) CRPG (c-9610 CRic) CSCW (c-9665 CLSU) CSFX (c-9610 CSf) CSJG (c-9110 CSjGC) CSUG-1 (c-9115 CSt) CSUG 2 (c-9114 CSt) CSUU (c-9610 CSt) CTYG (c-9114 CtY) CTYX (c-9110 CtY-BR) CUBG (c-9610 CU) CUDG (c-9114 CU-A) CUPG (c-9610 CStoC) DCNA-1 (c-9667 DNGA) DCNA-2 (c-9667 DNGA) DEWA (c-9665 DeWint) FLFG (c-9665 FTaSU) FLUG (c-9665 FU) GAEG (c-9665 GEU) HKCG (c-9110 DCF:i HkUC) IAUG-1 (c-9114 laU) IAUG-2 (c-9114 laU) IIAA (c-9616 ICA) ILNG (c-9665 IEN) MABA (c-9116 MBMu) MACA (c-9920 MWiCA) MDJG (c-9610 MdBJ) MIFG (c-9110 MiFliC) MIUG (c-9610 MiU) MNUG (c-9665 MnU) MOSA (c-9110 DCF:? MoSR) NHDG (c-9114 NhD) NJPG (c-9610 N?P) NJRG (c-9110 NjR) NMRA (c-9110 NmRMu) NVRG (c-9110 NvU) NYAG (c-9665 NAIU) NYBA (c-9110 NBB) NYBG (c-9665 NBiSU) NYCE (b-9110 NNC-T) NYCG (b-9110 NNC) NYCX (c-9665 NIC) NYFA (b 9110 NNFIT) NYMA (c-9616 NNMM) NYMX-1 (c-9910 NNMoMA) etc.

What is the rest of this clutter? (Example 6)

Example 6 1) NYMX86-B4724

New York (N.Y.). Museum of Modern Art. Pablo Picasso, a retrospective : [supplement] New York : Museum of Modern Art, 1980. 1 folded sheet (8 p.): 44 ill.; 29 cm.

"The catalogue of the exhibition... does not contain certain works that were borrowed after it had gone to press. The following listing is a complete record of these additional works."

1. Picasso, Pablo, 1881-1973?Exhibitions.

1. Picasso, Pablo, 1881-1973-Exhibitions. 2. Picasso, Pat?o, 1881-1973-Prints. 3. Picasso, Pablo, 1881-1973?Illustrated books. I. Schwartz, Alexandra.

3) NYMX86-B29 Pablo Picasso, a retrospective : selections from national and international press coverage.

?

[New York : Museum of Modern Art, 1980] [51] leaves:ill.; 25 x 37 cm.

Photocopies of reviews of the exhibition.

1. Picasso, Pablo, 1881-1973-Exhibitions. 2. Reviews. 3. New York (N.Y.). Museum of Modern Art. Pablo Picasso, a retrospective. 1980. I. Museum of Modern Art (New York, N.Y.)

4) NYMX84-B278 Pablo Picasso, a retrospective : the Museum of Modem Art, May 22-September 16, 1980 : [press kit].

- New York : Museum of Modern Art, [1980] 1 portfolio : ill. ; 31 cm.

Publicity folder for the exhibition. Exhibition extended to Sept. 30,1980.

1. Picasso, Pablo, 1881-1973. I. New York (N.Y.). Museum of Modem Art. II. Museum of Modern Art (New York, N.Y.)

5) NYMX86B4754 Picasso, Pablo, 1881-1973.

Pablo Picasso, a retrospective / edited by William Rubin ; chronology by Jane Fluegel. ?

2d printing, rev. ? New York : Museum of Modern Art ; Boston : distributed by New York Graphic Society, cl 980.

463 p. : chiefly ill. (some col.) ; 29 cm.

"Published on the occasion of the exhibition 'Pablo Picasso: a retrospective/ May 22-September 16,1980, organized by the Museum of Modern Art, New York, with the collaboration of the R?union des mus?es nationaux de France." Bibliography: p. 459.

1. Picasso, Pablo, 1881-1973-Exhibitions. I. Rubin, William Stanley. II. Fluegel, Jane. III. New York (N.Y.). Museum of Modem Art. IV. R?union des mus?es nationaux (France). V. Title.

6) NYMX84B451 New York (N.Y.). Museum of Modem Art.

Pablo Picasso, a retrospective / edited by William Rubin ; chronology by Jane Fluegel. ?

New York : Museum of Modern Art ; Boston : distributed by New York Graphic Society, cl 980. 463 p. : chiefly ill. (some col.) ; 29 cm.

"Published on the occasion of the exhibition 'Pablo Picasso: a retrospective/ May 22-September 16,1980, organized by the Museum of Modern Art, New York, with the collaboration of the R?union des mus?es nationaux de France... and directed by William Rubin... and Dominique Bozo."

Errata slip inserted. Bibliography: p. 459. ISBN 0870705288 : $50.00. - ISBN 0870705199 (pbk.)

1. Picasso, Pablo, 1881-1973?Exhibitions, 1980. I. Rubin, William. II. Bozo, Dominique. III. Fluegel, Jane. IV. R?union des mus?es nationaux (France) V. Title.

LCCN: 8080107 LC. CALL NO: N6853.P5.A4 1980a




We find (1) a small supplement, (2) a checklist of a related

exhibition, (3) a compilation of the press coverage, (4) the press kit for the opening of the show, and (5) a second printing of the

catalogue with minor revisions, before we come to (6) the

catalogue of the exhibition. Is this material valuable to anyone except MoM A?

So again, we return to our original question: Does this material relate to the catalogue or to the exhibition? How

appropriate is it for the library to handle it in the first place, and how significant is the information for anyone outside of the host institution? The only solution here is to communicate with the other appropriate departments in the museum?publicity, education, archives, and registrar?and agree who keeps what and how and where it should be cataloged.

Finally, as librarians, where does this leave us? I hope with the realization that cataloging exhibition catalogues is so difficult because we are trying to do two things with sometimes

contradictory demands, catalog a publication as well as an exhibition. Until there is a separate database of exhibitions and information pertaining to them, so that we may restrict our selves to cataloging just the publications, there will always be

problems that can only be overcome by using common sense. So I leave you with a final example of how things might

look, if we were only concerned with documenting the exhibi tion and not the catalogue.

Example 7 Frankenthaler, Helen, 1928

Helen Frankenthaler prints / organized by Ruth E. Fine ; with the help of Charles Ritchie. 1 art exhibition : 76 prints ; 42 30-22 30"

Exhibition held at the National Gallery of Art, Washington, D.C., Apr. 18-Sept. 6, 1993, the San Diego Museum of Art, Sept. 25-Nov. 28,1993, the Museum of Fine Arts, Boston, Jan. 5-Mar. 13, 1994, and at the Contemporary Arts Center, Cincinnati, Apr. 8-June 17, 1994.

1. Frankenthaler, Helen, 1928- ?Exhibitions. 2. Prints?20th century-United States Exhibitions. I. Fine, Ruth E., 1941- II. Ritchie, Charles. III. National Gallery of Art (U.S.) IV. San Diego Museum of Art. V. Museum of Fine Arts, Boston. VI. Contemporary Arts Center, Cincinnati. VII. Title.

BOOKS TO NOTE:

Hare's Fur, Tbrtoiseshell, and Partridge Feathers Chinese Brown- and Black Glazed Ceramics, 400-1400 (Harvard University Art Museums, 1996)

pb. 256pp. 112 color plates ?,

0-916724-88-3 (4883) $30 ^BL* "Elevates Chinese ceramics to mlBmk

the artistic pedestal ????B?P normally reserved for

painting and sculpture/' Wt^B The New York Times W??f

Shop Talk: Studies in Honor of Seymour Slive (Harvard University Art Museums, 1996) he 426pp., 324 halftones 0-917624-85-9 (4859) $65

Seventy-two essays by colleagues inspired by the eclectic mind of Slive, Rembrandt

expert & former director of the Fogg Museum.

British Art 1740-1820: Essays in Honor of Robert R. Wark

(The Huntington Library, 1992) he 256pp. 103 b-w illus., 19 color plates 0-87328-135-7 (12357) $60 Ten scholars on this authority on British art. "Essential for all research libraries/'

J. Riely, Boston University

Indian Paintings from Oxford (Ashmolean Museum) he 80pp. 38 color illus. 1-85444-05-9 (1519) $19.95 India's glorious Mughal Period.

Visions of the Dharma

Japanese Buddhist Paintings and Prints in the Honolulu

Academy of Arts (Honolulu Academy of Arts)

pb. 200pp. 62 colon 78 b-w illus. $35

Magnificent presentations of Buddhist art.

?? Woodstocker Books: distributors for Ashmolean Museum, Bodleian Library Harvard University Art Museums, Honolulu

Academy of Arts, Huntington Library, National Museums of Scotland, Yale University Art Gallery

"BOOKLIST 104" catalogue 800-669-9080, fax, 914-679-4093

234 Meads Mountain Rd. Woodstock, N.Y. 12498

16 Art Documentotion ? Volume 15, Number 1 ? 1996



Documents

Some Comments on the Cataloging of Exhibition Catalogues, or, Who Was the Author of That Exhibition?