Showing posts with label libraries. Show all posts
Showing posts with label libraries. Show all posts

Monday, March 20, 2017

"What Do You Do?" "Among Other Things, I Read a Lot of Old Mail."

Recently, I've had the opportunity to talk to individuals from a wide variety of backgrounds, education/training, and life experiences about what I do for a living. Many of them did not know what an archivist is or what one does. I started with what I do as a local history librarian, and gradually worked my way into the archives work I do.

"That Sounds Like a Fun Job!"

"It is," I say. It's the most fun I've ever had at work (although my first job out of college at the recording studio was pretty cool, too). What makes it fun? A great number of things, actually. For me, one of the draws is that it's never the same day twice. Someone might walk into my office to donate a county wall map from 1977 and leave having made an appointment to sit with me the following week to record a video oral history interview. That same person may later, in an interview, reveal that he had worked on the Nike Ajax missile program during the Korean War. He might return for another recording session carrying photos and all of the license and permit cards from his wallet in the Army, which he allows me to scan and return to him on his next visit.

Another day, I might research how best to describe in a finding aid all of the electronic visual materials in a collection. I then reach out to professional friends I've met at the Society of American Archivists and Mid-Atlantic Regional Archives Conferences and ask what they would do. I send a link to the finding aid for their feedback because it's good to have a second/third set of eyes look at a finding aid, especially since I am what is called a Lone Arranger -- the department head of my department of one. Later, after all suggested edits are implemented, I will publicize the finding aid so that researchers can find the collection (here is one: http://chesterlib.org/local-history-room/finding-aids/rademacher-family-collection-finding-aid/).

If you walk into my office in the coming week, you might see me putting together an exhibit. The image below shows an example of a holiday-themed exhibit I had developed. I made facsimiles of postcards that had been lent for the purpose of digitization, as well as ads and articles from a local paper and newsletter. The little turkey is a salt shaker that I bought at the dollar store, along with the fabric leaves.


On rare days, it's not as much fun. For instance, when links began disappearing from the .gov site, I had to update some of my Local History Resources to links from the Internet Archive. Sometimes, I have to take a stand (https://concernedarchivists.wordpress.com/). Other days, to keep positive energy flowing, I update my Facebook page with news stories of great work by archivists, conservators, and librarians. On the tough days, the updates include puppy videos.

"What's the Most Interesting Thing You've Found?"

That is a tough question. However, my favorite archival materials are maps, especially this one (http://hereandthere123.blogspot.com/2011/09/i-am-map-magnet.html). I'll be talking about that map at the upcoming annual New Jersey Library Association meeting (http://njlaconference.info/). The information about the map can be found here: http://chesterlib.org/local-history-room/about-our-1860-new-jersey-topographical-wall-map/.

I've found things that document the unattractive aspects of a town's history. The importance of telling the whole story, not just the parts we like, cannot be overstated. Consequently, when I uncover evidence of minstrel shows and KKK activities in a town's past, it is my responsibility to make that material just as accessible as the turtle races put on by the Optimist Club.

The most interesting things aren't artifacts or archives, but the stories given to me by the oral history interviewees. They are gifts that give to me as well as the giver. I might be the only person the interviewee talks to in a day. The patrons win by experiencing local history in a completely different way than they would otherwise. Researchers can use the impressions of the people who lived in the times they describe. I gain by meeting and getting to know some pretty fascinating people whom I probably wouldn't have met had they not happened to walk into my office while I was processing a collection of library records.

Maybe, someday, I'll write a book about it.


Thursday, July 16, 2015

Thoughts on the Practice of Description

As an archivist and local history librarian, one of the primary elements of my work is the description of collections and individual items. Sometimes, this description ends up in a finding aid such as this one on the Combe Fill South Landfill Records (http://chesterlib.com/local-history-room/finding-aids/combe-fill-south-landfill-records-finding-aid/). The purpose of that work is to make it easier for researchers to find and use the collection. It also provides a much deeper level of documentation of the collection that previously hadn't existed.

Beyond the finding aids, I also create a fair number of exhibits each year, both online and in cases within the Chester Library. Each of the items featured in the exhibits requires some description, but the more exhibits I create, the more time I spend describing the items. For my latest online exhibit, I kept a friend of mine in mind as a potential visitor. He uses a screen reader to experience web sites, as well as digital documents (think Word files), because he's blind.

Last week, I talked with another librarian about these types of motivations and decision-making efforts when it comes to description. I was reminded of attending the ARLIS annual meeting in Boston a few years ago. In one of the sessions, the speakers touched on the nature of description as applied to artworks. Her talk was in the context of describing paintings and other works to patrons with varied abilities, such as my friend Ken

Thinking about how to make a meaningful experience for anyone who might use a screen reader drove my process. Here is an example from the Memories of Chester, Herman Rademacher Series exhibit, "West Main Street and Morris Chamberlain" (http://chesterlib.com/local-history-room/online-exhibits/memories-of-chester-west-main-street-and-morris-chamberlain/):

The postcard, copyrighted in 1915 by local printer George E. Conover, shows leafy trees lining the right side of the dirt road. On the left side of the image are businesses, a gas station, and a garage. There is an early Model T parked in front of the striped gas pump tower. A man stands in the doorway of the second building on the right (the Masonic Lodge). The Lodge is a two-and-a-half story building with a painted shield hung between two windows on the second floor. The garage is a single-story building with a flat façade.
It's been a few months since I released the exhibit, and without the pressure of a deadline, I can see areas where I could have been more descriptive. For example, I would describe the façade as a brick one in the block, Art Deco style. Here's a link to the high-quality, larger image of the postcard: https://librarychesternj.files.wordpress.com/2015/01/westmainstreet_front.jpg.

This week, I've been teaching a volunteer and Friend of the Library how to describe another set of postcards given anonymously to the library. These came fully captioned and annotated on their versos, but they still required more description. For the first postcard, I told her what I was seeing, and I brought out a large magnifying glass so that we could read a hanging sign in the card. (It reads "heste House," due to weather damage, but it should read "Chester House," because that's what the subject of the image is).

We talked about the fact that the trees had no leaves, which indicated winter (confirmed by the snow on the dirt road), and the possible time of the day based on the shadows. She understood right away why we were embarking on this project, and did a great first pass. This particular volunteer completed all the transcription work on the Herman Rademacher oral history videos, and enjoys her work in Local History. Because she was so familiar with that project, she was able to transfer what she learned onto her current project.

In my very compact schedules at Chester Library and the Plainfield Historical Society, it's a challenge to spend as much time thinking about projects as I'd like to do. Fortunately, I have a handful of smart and capable volunteers (who sometimes end up with the fun projects I'd like to do myself) doing great work and, through training, taking a some of that thinking off my plate.

Just as an aside, recently I've become President of the New Jersey Library Association's History & Preservation Section. That also puts demands on my time, but I'm happy to do what I can to help move our profession forward. For example, with great help from Jacqueline Haun, the Archivist at the Bunn Library, our next meeting on July 27 will be held with the Princeton Preservation Group at The Lawrenceville School. Importantly, in addition to our meeting, we booked a hands-on photo preservation workshop with Peter Mustardo of The Better Image. I also arranged a catered lunch for those interested in staying for it. It will be a day of filling our minds and bodies with very good things.

Sunday, October 12, 2014

Work Updates: The Big Exhibit and a Third Gig

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014

The Big Exhibit
Shown above is the terrific Charles H. Detwiller, Jr. Architectural Drawings Collection exhibit at Plainfield Public Library created by Sarah Hull, Senior Archivist and Head of Local History, Special Collections and Genealogy; Jeff Wassen, Visual Materials and Exhibition Coordinator; Jane Thoner, Genealogy Librarian; and Sandy Gurshman, Special Collections and Reference Librarian. My contribution to this impressive display (which covers walls in the main reading room, Plainfield Room, and Meeting Room 2, as well as 4 exhibit cases) took place much earlier during my processing of the collection favorites in 2010 and 2011. The favorites are a small percentage of the now 16,000 sets of architectural drawings that represent each of the Plainfield architects, each type of structure in the city, and the best examples to use for exhibits.

When I took on that project, I applied the condition-reporting techniques I'd learned working at the Zimmerli Museum. My documentation included, among other things, taking measurements of each set and making recommendations for future exhibits. At the time, I didn't know where I would be working when those objects would be displayed, but I did know that the information I collected would be useful at some point. Since beginning his work on the exhibit, Jeff has let me know that my measurements, recommendations, and information slips kept with the rolled blueprints/drawings were helpful in their decision-making process.

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014

The exhibit is extraordinary. It covers a wide range of architectural styles from the first building permit in 1896 to mid-century split-levels (the collection itself spans nearly 150 years). There are houses of worship, schools, homes of different types, apartments, stores, and even a drawing of a fancy snack cart for Muhlenberg Hospital. Below is a truly unique example -- a Central Railroad of New Jersey documentation of a train derailment in Cranford from 1924.

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014


There are 25 architects' work on display. The archivists and librarians were able to locate information on 11 of them. For example, Col. Evarts J. Tracy, Jr. lived from 1868-1922 and was the great-great grandson of Roger Sherman, who signed the Declaration of Independence and the Constitution. Then there was Oscar S. Teale (1848-1927), who wasn't just a Plainfield architect, he moonlighted as a magician known as "Ottilidio," and called Houdini a close friend.

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014


While those are notable stories, one of my favorite architects in the collection is Augustus L.C. Marsh (1865-1942). His attention to detail and flourish made his designs and talent famous with the wealthy families of Plainfield, as well as New York City, where he worked at the firm Marsh & Gette until he moved his offices to Plainfield.

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014


The great collector and architect Charles H. Detwiller, Jr. (1916-1991) (shown above) saved this collection from certain ruin. As the story goes, Plainfield had been storing all the drawings and blueprints at the Wardlaw School until Wardlaw moved to Edison and the duCret School of Art bought the building. The city would have disposed of all the historical documents had it not been for Charles Detwiller. Son of an architect and father of two architects, Detwiller rented a storage facility for the thousands of sets of plans to save them for future generations until he donated them to the library in 1982.

Detwiller worked on many historical preservation projects including the Drake House in Plainfield, East Jersey Olde Towne in Piscataway, and others along the Atlantic coast. His residential works make up a fair amount of the collection. I've worked with many of the now fragile and acidic sketches of additions and new homes in locations as far flung as Montana (where he designed a fishing library with shelves bolstered by carved wooden fish). He's also the man behind the fancy snack cart I mentioned earlier.

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014

I am sorry that I didn't have the opportunity to meet Charles Detwiller. Because I've spent so much time with his collection, as well as his own work, there are questions I wish I could ask him. For instance, what types of concerns arise when you speak with a client about the miniature golf course he wants for his garage (see the image below).

From Plainfield Public Library Detwiller Architectural Drawings Exhibit 2014

The Third Gig
Speaking of Detwiller, he and his wife Catherine also were active members of the Plainfield Historical Society (PHS). Earlier this year, PHS wrote me into a small grant to take a survey of their collection, make recommendations to bring the collections under intellectual and physical control, and do some processing (time permitting). I'm still at PHS one day per week, and very much enjoying the small and large discoveries in the Drake House. The volunteers and staff are lovely people who are dedicated to making the House and its collections more accessible and interesting to its visitors. On many a Sunday, I find much-needed and long missing photos of the House during a pivotal time period or a letter giving more insight into the relationship between a famous spinster and her mentor. Each week, there is an exciting new discovery, and I'm very grateful to be a part of that excitement.

Other Work News
Additionally, I recently celebrated two years as the Local History Librarian at Chester Library. The universe's gift to me on the occasion was to send a wonderful 83-year-old lifelong resident to me with a collection of postcards. It seems to be our trend now to digitize items on loan to us in order to increase their accessibility to our patrons both far and wide. His collection is no different, although this time, I have the great pleasure of video recording our patron talking about his Chester postcards and what the town was like during the 1940s and 1950s. My plan is to post an online exhibit on the postcards (much like this one), and add these short oral histories to each postcard page. I think it will add a wonderful new dimension to experiencing these postcards of Chester.

Our patron also has lent us his collection of The Mendham-Chester Tribune newspapers to digitize. I'm in the process of writing a grant for that project. Those papers add to our current collection of local papers and fill in an important gap -- the 1936-1939 time period. I can't wait to read those papers!

Overall, it's been an exciting time at Chester Library. This week, I give a Genealogy 101 presentation and have another video recording session with our soon-to-be internet sensation. He really is a natural at it. I'll be posting a link to the exhibit here when it's available. Because he has many postcards and we're taking quite a bit of footage, I expect the finished exhibit will be online in early 2015.

Until then, I encourage you to visit the Plainfield Public Library at 800 Park Avenue in Plainfield, NJ to see the remarkable Charles H. Detwiller, Jr. Architectural Drawings Collection exhibit. It will be available for viewing until November.


Friday, January 03, 2014

Doing More with Less -- Using Newspaper Ads and Loaned Postcards for a Holiday Exhibit

Fall and Winter Holidays in Chester Exhibit, 2013. Photo Copyright Deb Schiff, 2013.
Holidays in Chester Exhibit. Photo credit Deb Schiff, copyright 2013.
In early October 2013, I began asking my coworkers and volunteers if they had any holiday objects, photos, or other items I could borrow for the upcoming Holidays in Chester exhibit I was planning. Unfortunately, no one had anything to offer. I then turned to our most generous donor, Joan Case, to ask if she had anything I could display.

Later that week, Joan came to my office with a giant smile and a three-ring binder filled with the most marvelous holiday postcards from the early 1900s and 1910s. They had been sent to her mother and uncle when they were children. The cards were in excellent condition and properly housed in polyester sleeves. Importantly, they scanned and printed well when I made facsimiles for the months-long exhibit (November through early January). While I'd love to use the originals in an exhibit, it would be a shame for these gorgeous cards to fade while on display under UV lights.

All of the items in the exhibit (with the exception of a turkey-shaped salt shaker and some fabric leaves I'd bought at the dollar store) were facsimiles. Because the postcards were overwhelmingly Christmas-themed, I needed to supplement them with a diverse array of holiday items. I also required enough items to populate the main display case by the front desk and the new small, wall case I recently purchased. The little case is mounted on a wall adjacent to my office. The facsimiles in that case show the backs and fronts of holiday postcards, so that patrons could see the warm greetings sent to Joan's family members.

Holidays in Chester Exhibit, image 2. Photo copyright Deb Schiff 2013.
Holidays in Chester Exhibit. Photo credit Deb Schiff, copyright 2013.
Although it also was Christmas-themed, I made a smaller facsimile of a masthead from the Christmas 1944 issue of The Honor Roll newsletter. I remembered what a striking image of the town it had, and thought it would provide a focal point for the main display. You can see it in the upper right corner of the photo above this paragraph.

The remaining items in the exhibit originated in The Mendham-Chester Tribune and the Observer-Tribune, its successor newspaper. These materials included local stories that highlighted the season, as well as advertisements. Surprisingly, there weren't many holiday stories that could be used in the exhibit. Perseverance pays, however, because I did manage to find one item highlighting former Mayor (and famed chicken farmer) Janet Abeles cooking in her kitchen (lower center of the photo above).

The early (1950s) Tribunes' publishers kept a tradition of selling ads to local businesses for a special holiday section. These notices included thank yous to patrons, holiday greetings, and reminders of items for sale. Often, they featured lively holiday designs.

Holidays in Chester Exhibit. Photo credit Deb Schiff, copyright 2013.
Holidays in Chester Exhibit. Photo credit Deb Schiff, copyright 2013.
Above is a close-up photo of three advertisements and one postcard. The original postcard has a lovely 3D effect with raised gold sections indicating a folded-back area where an attractive, blonde, early 19th century woman dressed hat to toe in holiday red is carrying a gift. It's a lovely card and the facsimile doesn't do it justice. Thankfully, our donor has hinted that the card's future includes becoming part of her family's collection at the library.

The advertisements include one for a Jeep on sale at Apgar's Garage, as well as two New Year's Eve parties at the Chester Inn and Red Cricket Inn.

Two major exhibits are in the works for 2014:
  1. Celebrating the 350th anniversary of New Jersey, I'll be mounting an exhibit showcasing select sections of our 1860 New Jersey Topographical Map. The exhibit will be coordinated with a featured speaker, Maxine Lurie, on April 29th.
  2. The 10th anniversary of the Chester Library addition and renovation takes place in 2014. We have many blueprints and photographs that will be highlighted in the exhibit occupying the cases during the second half of the year.
As I continue to learn more about exhibits, I try to put my new knowledge into practice. The greatest teacher has been the viewing of other exhibits, whether in libraries, museums, or other institutions. So, my cultural institutional friends, don't be surprised if I pinch one of your better practices!

Sunday, June 23, 2013

Work Update: Exhibit

 
“Chester’s ‘Tommie’ Barker – a Year in Professional Women’s Baseball, a Lifetime of Memories” exhibit, Rossney E. Smyth Memorial Display Case, Chester Library, Chester, New Jersey. Photograph © Debra Schiff 2013.

I'll admit it. I'm a bit envious of libraries with multiple display cases and areas dedicated to exhibits. While the image above shows a fine, sizable display case, it's the only one we have at Chester Library.  If we had, perhaps a square museum case, I could place it in that corner all the way in the back by the quiet study rooms. I could outfit the case with one of our not-quite-rare, but certainly scarce, old books. For now, I'll be happy with the one above.

The exhibit shown in the image above is focused on the terrific Tommie Barker, our resident sports legend. She played professional women's baseball in 1950, not long before the end of the All-American Girls' Baseball League. Tommie (whose father wanted a boy and whose real name is Lois) played softball on a team she helped create, the Chester Farmerettes and previously on the Roxbury High School team before the League's tryouts in Irvington, New Jersey.

After earning a spot in the "camp" phase of the tryouts she took several trains to finally arrive in Indiana. Tommie earned her spot as the oldest rookie in the League at age 27, although she fibbed about her age and said she was 21. She was signed to the Grand Rapids (Mich.) Chicks for the 1950 season, and quickly made new friends in her teammates. The framed photo in the upper right corner of the image above shows her team photo.

Because Tommie's items are on loan from her personal collection, she agreed that I could make digital facsimiles of all the materials for a future online exhibit. The yearbook in the center bottom of the case is from the Chester Library collection, although it was a donation from a former Chester resident who wanted it to go to a good home. You can see Tommie in the yearbook on the left page, top-most photo.

When I visited Tommie to talk with her about her life and experience as a professional women's baseball player, I learned that she only played for one year because her father had become ill. "Back in those days," she said, "You had to come home and take care of your parents." When the League mailed her a renewal contract for 1951, she returned it unsigned due to her devotion to her father.

She didn't keep her uniform, but she did hold on to the round sweater patch (on the right) and the shield-shaped uniform patch (on the left). They are in excellent condition, and I placed them on top of some black velvet cut in a way that I hoped would make them pop even more against the light blue background. The blue paper is actually archival wrapping paper which is acid-free and buffered. I thought that it would provide a stable background for the items in the case.

The other framed items include a tinted black and white portrait of Tommie and her certificate from the Baseball Hall of Fame, which had inducted the League in 1998. When I unframed the items to make digital facsimiles, I discovered two other photos in the portrait's frame. First, there was black and white signed portrait of Tommie in the same pose, and a baby picture with three children. When I see Tommie next, I'll ask her about that baby photo.

I used small bench weights to keep the framed items in a tilted standing position, hiding them with other items. For future exhibits, I will likely wrap them in black velvet to make them less noticeable. One of the items used to camouflage the weights is a digital facsimile I received from the Grand Rapids Public Library. It is a copy of a 1950 program from a Grand Rapids Chicks game. The Special Collections librarian at GRPL made a digital copy of a few of the inside pages, including one that shows the team photo. I'll hang onto that one for the online exhibit.

The baseball is held in place by a coiled string weight that you cannot see from above. These types of weights are typically used to hold book pages open. They resemble white shoelaces. Finally, I also used the tilted frames to hide some silica gel packets to help prevent humidity from causing damage to the items.

On top of the case, I used an acrylic stand to hold a list of the items within the case. I hope that it helps to discourage patrons from using the case as a stand for their items. Because the case is currently located between a copier/print station and another copier, I've seen my share of people setting items on top of it.

Last, but far from least, I was able to locate an historian who is an expert on women in baseball for a companion program on July 25. Leslie Heaphy is the author of the Encyclopedia of Women and Baseball, and is an associate professor of history at Kent State University. Tommie Barker has the date on her calendar, and although the 90-year old has had some health challenges, she can't wait for an evening of women's baseball history in her hometown of Chester.

Sunday, June 02, 2013

The Service Side of Being an Archivist and Local History Librarian

Some may characterize library service as being available at the reference desk for appointments, phone calls, email and web requests, and "walk-ins." However, library service is all-encompassing, from the moment a patron enters or contacts a library until (s)he leaves/disconnects. Libraries are places that people trust for their ability to provide answers whether via the reference desk, a book or database, a special collection, or any number of resources, especially the library workers. It is for that reason that I take an holistic approach to library service.

At both of my employing libraries, I regularly work with some terrific volunteers. In Chester, one is a Friend of the library who shares great photos of her husky dog and clips newspaper articles for Local History. She had attended one of my "Caring for Your Family's Treasures" workshops and asked if I might help her with some specific preservation questions concerning some old photos and a Bible. I readily agreed because

1. She asked for my help, and that's what I do...HELP.
2. Preservation isn't work for me, it's fun.
3. I was excited to see what she would bring to my office.
4. The request entailed shopping for archival supplies, and those web sites are my kind of candy stores.

Later, the Friend brought to my office a huge family Bible, cabinet cards, and larger mounted photos all dating from the mid-1800s to the early 1900s. The Bible clearly had some binding issues and had been used (as many are) to hold genealogy documents, which had become acidic and fragile. Some of the photos were in better shape than others, however all were notable not only for the sentimental value to the volunteer, but for the subjects' expressions, costumes, and poses. After we measured them, I placed the photos into suitable folders until she could put them into polyester sleeves.

She also asked me to help her select supplies and house the Bible because it was so large. The illustrated family Bible would require a custom sling to help place it inside (and remove it from) the box she would purchase. Typically, a special collections department would purchase a custom drop-front box for such an item, but these types of custom boxes can be cost-prohibitive for many people (such as our volunteer). In her case, I let her know that I would be happy to create a way of working with a box already available in dimensions suitable to her needs.

I guided her to items that she would need for this project. She navigated the University Products site easily and placed her order within an hour of her first showing me the photos. We were able to stay within her budget and begin her early preservation work.

The Friend was very grateful, and her gratitude was contagious. Not two days after our shopping session, she brought to my office the president of another local organization who needed help preserving the group's 20+ scrapbooks. As ever, I was happy to help.

Sunday, May 05, 2013

Book Review: The World's Strongest Librarian


In his recently published autobiography, The World's Strongest Librarian, Josh Hanagarne shares his experience navigating life with Tourette Syndrome, how libraries and librarians changed his life, and his understanding of (and some struggles with) the Mormon culture and faith. Josh's great love and admiration for his parents weaves its way throughout the book, especially during times that could try any parent's patience. The book, like Josh's long-standing blog of the same name, is a well-written work that honestly tackles thorough self-examination with a great deal of humor.

It cannot be understated how inspiring and moving this work is. Many books share extraordinary stories of ordinary individuals beating the odds, surviving terrible disasters, and so on. One aspect of this book's appeal is the accessible way Josh explains what seem like monumental challenges with Tourette's. He has a definite voice, and while I would like to say his humor is self-deprecating, it really isn't. It just doesn't come at his expense, and I am glad of it. He pokes fun at funny situations, and I laugh right along with him. Out loud at times.

Another fun (well, fun for those of us who work in public libraries) example of Josh's humor is the use of Dewey Decimal subject headings at the start of each chapter. They provide a concise description of where he would catalog the chapter in his library and a bit of a visual joke. Speaking of the library, I especially enjoy the descriptions of his interactions with patrons at the main branch of the Salt Lake City Library. (If you haven't been, I suggest a visit the next time you're in town as it is an architectural marvel worth exploring.)

From Salt Lake City July 2009

I have been a quiet fan of Josh's writing since 2009, when I first read his unique blog. He provided this blog with an excellent guest post, A World Without Calendars. He's been guest posting in loads of places these days and has been touring the U.S. speaking and signing his book for appreciative audiences. If you have the chance, go see him, especially if he is reading from his book. There's nothing like hearing an author read his or her own work. And, don't forget to pick up a copy of The World's Strongest Librarian.

Sunday, December 30, 2012

Work Update -- Plainfield Public Library, The Vail Family Papers

Introduction

I've said it before, but it bears repeating -- one of the top attractions of being an archivist at Plainfield Public Library is the ability to work on a wide variety of interesting projects. Another favorite facet is shepherding a project from beginning to end. Taking the time to know a small collection (or even a sizable one, such as the Detwiller Blueprints) intimately has been key to writing detailed and informative finding aids for researchers interested in these collections.

Recently, I've had the pleasure of inventorying, preserving, and processing a special collection that spans the categories of archives and museum collections. The Marjorie and Roger Vail Family Papers (1772-2001) comprises much more than what we typically describe as "papers." Some examples include hand towels embroidered in 1772; a family bible dated 1791; early daguerreotypes, tintypes, cabinet cards, and cartes des vistes; Civil War correspondence; 19th century wedding dresses; an 1876 harmonica; White Plains Regents Exams results from 1917; World War I postcards and photographs; books; sketches; maps; and genealogical research. My favorite materials are the hundreds of postcards and the Civil War correspondence, which describes in detail David Vail's experience of the war.

About the Vails

Marjorie and Roger (sister and brother) were the last descendants in the Roy G. Vail line. They very generously gave their family's large (approximately 39 boxes) and diverse collection of records to the Plainfield Public Library in several installments during the 1990s and early 2000s. You might recognize the Vail name because a few of the family members left their mark on New Jersey and America as a whole. They include Stephen Vail, owner of the Speedwell Ironworks; Alfred Vail, arguably the inventor of Morse Code and co-inventor of the telegraph; and Theodore Vail, creator of the ATT monopoly (and cousin to Alfred Vail). The Plainfield Vails are distantly related to their Morris County cousins via their common ancestor, Thomas Vail (1620-1687). Below are samples of the many family trees in the genealogy series.

From PPL, Vail Collection 2012

Vail Family Tree; undated; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

From PPL, Vail Collection 2012

Vail Family Tree; 1938; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

Processing, Preservation, and Arrangement


From PPL, Vail Collection 2012

Collection in Process; 2012; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

The first two bays from the right in the photo above show the range of size and shape of the materials in the collection. The red binders in the second bay hold photographs that had previously been sleeved and numbered for use in exhibits (both online and in-library). Since I took that photo, I have rearranged and re-housed some materials, including the addition of another binder of nearly 400 postcards. We also have ordered some custom boxes to help better preserve the wedding dresses and other items of unusual size (such as the sewing box that held costume jewelry in a hidden compartment).

In addition to processing the wedding dresses, I preserved an incredibly detailed black lace dress. Fashioned from black taffeta and net with ornate glass beading and embroidery throughout, the evening dress is said to have belonged to "Grandma Stiehl," (on Marjorie and Roger Vail's mother's side). The original package also included a head/neckband of the same material. The woman who wore the dress was petite, to be sure, and strong -- the dress is quite heavy due to all the glass beads. The five photos below show some of the great detail of the dress.

From PPL, Vail Collection 2012

Here, I gently placed some acid-free tissue in the sleeve to show some of the detail.

From PPL, Vail Collection 2012

From PPL, Vail Collection 2012

From PPL, Vail Collection 2012

From PPL, Vail Collection 2012

For the five photos above:  
Evening Dress; Undated; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

I processed and preserved the large textiles in the Plainfield Room, which is open to the public and serves as a reading room for researchers. The room is located downstairs on the south west side of the fountain (which resembles a shallow swimming pool due to its aqua blue-painted interior; it is usually empty, but filled during certain events). When I worked on the dresses, I had my share of company from co-wokers to patrons interested in these beautiful bits of Plainfield's history.

The Vails donated numerous photographs of family members, houses, and travel destinations. Because I had taken Gary Saretsky’s Dating 19th Century Portrait Photographs workshop back in April, I was able to identify and date within a few years many of the early images in the collection. Below is an example of an ambrotype in a hinged case. I've dated it c. 1860-1870s due to the highly ornate and patriotic design of the copper mat and preserver. It is interesting to note that the 30-star flag in the design only existed between 1848 and 1851. I suspect that it was for the sake of design and space that the artist used that flag, especially when the bottom section is magnified and the date "July 4, 1776" appears. The subjects are Elise Ditzel Leis and Baby Charles.

From PPL, Vail Collection 2012

The case is ornate down to its latches, as well.

From PPL, Vail Collection 2012

From PPL, Vail Collection 2012

For the three photos above:
Photograph, Elise Ditzel Leis and Baby Charles; c. 1860s; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

When preserving the photos in their cases, I wrapped them individually in acid-free, unbuffered tissue and placed them in a smaller box to accommodate the odd sized items. I also ran into round frames such as the one below. I made an acid-free, unbuffered tissue cradle in a small box to fit the round frame.

From PPL, Vail Collection 2012

Photograph, Robert Leis; undated; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

After all the preservation and processing, it was necessary to address the arrangement (organization) of the collection. While most of the collection had a nice order to it, a portion didn't. It was time to impose some order upon it. I also consulted with the Senior Archivist and Dept. Head Sarah Hull to determine exactly the series we would include. Below is a photo of my notes on the topic.

From PPL, Vail Collection 2012

Vail Series Arrangement; 2012; "Marjorie and Roger Vail Family Papers" collection; Local History Department, Plainfield Public Library, Plainfield, New Jersey. Photograph © Debra Schiff.

Sarah quickly divided my list of item types into six main series, which helped me to re-sort the Excel spreadsheet I had used for the inventory. After I put all the "like" items together by series, I began to do some re-housing and rearrangement accordingly. By re-organizing the collection in this way, it will greatly help researchers to find materials by category when the finding aid is published (likely later in 2013).

I hope that when the collection is opened for research, we can put together a traveling exhibit, perhaps displayed at the Morris Museum (they have such lovely costume exhibits, and the Vail cousin-ship would be a nice tie-in).  Until then, I'll be continuing to arrange, and later describe the Marjorie and Roger Vail Family Papers at the Plainfield Public Library.

Sunday, June 17, 2012

Interview with the Artist, Karen Guancione -- "A Portable Constant Obsession"

Introduction
Over the years, I've had my share of fun and interesting side projects, but this year's project -- documenting a small portion of the work and life of a living artist -- could top the list. The artist Karen Guancione's work is wide ranging, from pocket-sized artists' books to gigantic installations of sewn plastic bags hanging in panels (and loads of other forms in between). The woman Karen Guancione is intelligent, energetic, focused, engaging, humorous, and inspiring. She fights for workers' rights and human rights at an international level, and takes an avid interest in her students' work.

Karen also is very generous with her time and committed to documenting her life's work, so when she said she'd like to open up the cases in the "A Portable Constant Obsession" exhibit at Rutgers, take out her art, and talk with me at length about the pieces and her life as an artist, I jumped at the opportunity. 

In previous posts, I've spotlighted some of Karen's local installations. For instance, I was incredibly moved by her "Found Journal" exhibit at the Printmaking Council of New Jersey in 2010. More recently, exhibit curator Michael Joseph gave me a tour of the "A Portable Constant Obsession" exhibit. 

Now, interspersed with beautiful photographs by Bruce Riccitelli (and a few by yours truly), here is the first in a series of my interviews of Karen Guancione. Note: In some cases, the description above an image applies to other images of the same piece. Those other images will immediately follow the one with the description above it. Additionally, some of the videos are a bit dark, and for that I apologize. 

Begin at the Beginning
We began our interview in the upstairs gallery, across from the entrance of Rutgers' Alexander Library. One of the pieces in the exhibit was Karen's first journal. Even at 7 years old, she documented the world around her.



The two photographs below show the pages Karen read in the video:

Untitled 
First travel journal created at age seven on family cross-country road trip.  Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

The Cacophony of Life
During the 1970s through the 1990s, Karen continued keeping diaries, which evolved into art journals, complete with collages of ephemera, drawings, paintings, and text. 

In the video below, she talks about the journals in a display case in the "A Portable Obsession" exhibit.




Aquiloni
Within the entire installation are smaller displays, often hung with Karen's "Aquiloni." In the video below, she explains just what the works are and the amazing effect they have on children.



Below are a series of photographs showing materials Karen referenced in the video above. Additionally, I've included the "Catalog Card Aquiloni" she created specifically for the exhibit, hung in the downstairs Special Collections gallery.

Aquiloni 
Letterpress (edition of 40), Hahnemuhle and handmade paper, acrylic paint, thread, w: 5-1/4 x h: 7 3/4 x 43 inches when open, printed and published by Edizioni Pulcinelefante in 2004. The text, "Quando sono stanco di camminare, VOLO" ("When I'm tired of walking, I FLY"), was written specifically for this book and the artist’s installations by the Italian poet Roberto Dossi. The book accompanies a large-scale installation of the same name. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Aquiloni, Scuola dell’ Infanzia Ex-Lucca

Mixed media, with drawings of the artist’s Aquiloni installation made by 3 to 5 year old preschool children from Scuola dell’ Infanzia Ex-Lucca in Fiorenzuola d’ Arda, Piacenza, Italy. Translation of page shown: thank you from the children and teachers. Mixed media: handmade paper (wool, cotton and mixed papers), acrylic paint, small sewn photographs of students in the installation Aquiloni, linen thread, children’s original drawings and written descriptions, closed: h: 15 3/4 x w: 12 x d: 1 inch, 2005. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Card Catalogue Aquiloni
Mixed media installation: old catalogue cards from Alexander Library, small pieces of handmade and hand painted paper, shipping tags, labels, coin wrappers, torn prints and other found materials hand sewn and suspended throughout the 2 galleries, size variable, 2012. 
Artwork © Karen Guancione. Photograph © Debra Schiff. All rights reserved.
From Karen Guancione Art

In the following video Karen talks about how she was able to obtain all those catalog cards, especially when the library no longer uses them. She also talks briefly about her work, "La Jupe" and the installation.

La Jupe (The Skirt)
Found skirt, acrylic paint, created in Nice, France in August 2008, w: 15 x h: 36 1/2 inches ©Karen Guancione.



The photo below shows one of the letterpress books inserted into the case.

Gli Occhi di Santa Lucia (The Eyes of Santa Lucia)
Letterpress (edition of 43), wood engraving, Hahnemuhle paper, gold leaf, grommets, ribbon, metallic pigment, shipping tag, holy card and medal, w: 5-1/4 x h: 7 3/4 inches, printed and published by Edizioni Pulcinoelefante, Osnago, Lecco, Italy, 2007. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Artists' Books
In the next video, Karen talks with me about the collaborative art project "Art Trash." Immediately following the video is a photograph of the letterpress cover.




TRASH ART/ ART TRASH
Letterpress (edition of 66), mixed media, Hahnemuhle paper, w: 5-1/4 x h: 7 3/4 inches, with Carmen Cheung, Asha Ganpat, Lisa Hasselbrook, Suzanne Reiman, Carolyn Salinas, Susan Valenza and Sally Willowbee, printed and published by Edizioni Pulcinelefante, Osnago, Lecco, Italy, 2004. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.

From Karen Guancione Art

Moving to the Special Collections gallery, in the next video, Karen and I talk about what might be her most famous work, "Guide de la Correspondance Amoreuse."



Guide de la Correspondance Amoureuse 
Mixed media, found materials, red bra and underwear, scraps from antique books and actual love letters, contains collage, drawings, paintings, closed: w: 13 1/2 x h: 12 x d: 6 3/4 inches, created in Nice, France in the winter of 2004-05, (view one: front cover, view two: back cover showing closure with bra). Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art


From Karen Guancione Art

Guide de la Correspondance Amoureuse 
Mixed media, found materials, red bra and underwear, scraps from antique books and actual love letters, contains collage, drawings, paintings, closed: w: 13 1/2 x h: 12 x d: 6 3/4 inches, created in Nice, France in the winter of 2004-05. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.



From Karen Guancione Art

In the next video, Karen shows me one of her most recent works, "Nice 1."

Nice 1 (2011)
Mixed media, handmade paper, found materials, 100 pages of collage, drawing, painting, cover: found tile shards, stones and glass, acrylic paint, w: 13 x h: 10 1/2 x d: 3 1/4 inches, with painted zippered bag, fabric, acrylic paint, w: 16 3/4 x h: 13 inches, July - August 2011.


Next, Karen talked with me about her serendipitous experience finding a different kind of medium to use in an artists' book.


This image shows a close up of the book's cover.

Pátzcuaro (number 3)
Mixed media, handmade paper, collage, painted communion hosts, found materials, 12 plastic baby and ceramic baby Jesus figurines on cover, 100 pages, w: 9 3/8 x h: 6 1/2 x d: 4 1/2 inches, December 2009 – January 2010. 
Artwork © Karen Guancione. Photograph © Debra Schiff. All rights reserved.
From Karen Guancione Art

The following two photographs are © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art
From Karen Guancione Art

In the following short video, she talks about using her body as a printing press to produce "Foufune."



During the interview, I asked Karen about her training. I was delighted to hear about her punk foundation. In the video below, she tells me about that exciting time in London, as well as her piece, "No Rest."



No Rest
Mixed media: wood chair, handmade paper, encyclopedia paper, recycled papers from artist's daily life, gold leaf, mirror, gold leafed cups, 40 x 17 x 18 inches, 1998. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Finally, Karen warns me about touching "No Rest," and talks with me about her "Garbage Books."



Spiral Bound Garbage Books
Found materials and over 400 spiral bound books made from decades of accumulated recycled trash, packaging and paper scraps from around the world, individual scraps are dated and each book numbered, ongoing project, 2007- present.  Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

These videos represent most of the footage I collected during my interview of Karen on May 5, 2012. If you want to see more, please visit the YouTube playlist at http://www.youtube.com/playlist?list=PLB889D867E48C3884&feature=plcp. Additionally, more photographs by Bruce (and me) are available on my Picasa Web Album for Karen's art here: https://picasaweb.google.com/debra.schiff/KarenGuancioneArt.

Coming soon, my next interview with Karen at her "Bolsas de Mandado" exhibit in Loveladies, New Jersey.

Sunday, May 13, 2012

Writing a Finding Aid for a Superfund Site's Records

Introduction
Recently, I completed processing the Combe Fill South Landfill Records collection, and wrote the accompanying finding aid for the Chester Library. During the processing, I was dismayed, disgusted, and frightened, at turns, as I examined hundreds of pages of air, soil, and water quality test results. The more I researched the background and current status of this Morris County, N.J. landfill, the more important it became to increase awareness about it. I also realized that in writing the finding aid for the collection, especially the History, Scope and Content, and Series Descriptions sections, would be one of the biggest challenges I had experienced at Chester Library.

Background
When I became the first Local History Librarian at Chester Library last September, I made a very cursory inventory of the library's archival materials, most of which resided on the shelves and in the filing cabinets of the Library Director's office. Later, other materials surfaced in places other than her office, such as this terrific collection of World War II newsletters (the link to PDFs of the newsletters is in the Technical Access section of the finding aid). Of the collections in the Director's office, one standout was a row of 8 white, vinyl binders named "Combe Fill South." I asked the Director about them, and she told me that there was a Superfund site in town, and that was its name. I made a mental note to get to these materials sooner rather than later.

Processing
A few months ago, my schedule opened up enough to begin work on the Combe Fill South Landfill Records collection. I removed all the binders and related materials from the Director's office to the Local History Office, and began processing the collection. I started with an overall preservation assessment, which led to my finding approximately 100 maps folded into the pages of the binders. The maps required unfolding, flattening, and rolling for storage into tubes. Most of the maps were numbered according to the overall page numbering system of the binders, so it was easy to keep them in order of appearance. However, the deeper I delved into the binders, the more the maps changed. They varied in size and type, so in order to best preserve them, I kept to the page numbering scheme after preserving them by size and type.

I didn't want to roll items of different sizes together if possible because the variance in size would affect the maps later, if they were kept rolled long term. It would be great if the Local History Department had a large enough budget and space for map cases to keep these items flat, but like many small archives, it doesn't. Another challenge arose from all the tears and creases in the maps because they had been stored in such a way that they extended the boundaries of the binders, consequently coming in contact with shelving, other materials, etc. While it is time-consuming to unfold all the creases and flatten the documents with weights, it is worth the effort because over time, creases and folds become tears, and tears can end in loss.

Even without all those binders to explain the detailed assay results that accompanied them, the maps themselves are fascinating. Processing the maps allowed me to look at each one for an extended period of time while I recorded all the details visible, such as the locations of testing wells, the latitude and longitude of the site, the nearby rivers and streams affected by the contaminated materials (or leachate -- a new word I learned during this work), and much more. Some of the maps showed water, soil, and air-quality test results at the testing locations. Others were aerial views of the site, showing the locations of homeowners' wells in relation to the landfill.

After I had finished working on the maps, I moved on to the binders. Most of the remaining records were correspondence, remedial investigation plans, and ecological test results. These were easily processed, since they were in order, and only needed to be removed from their binders, foldered, labeled, and boxed before I began the description part of the process.

The Finding Aid
I enjoy writing finding aids. For me, the process is a cross between writing an article and a research paper. First, there is the heavy lifting of all the research and formatting required. Then there's the challenge of spotlighting the nuggets that will be important to researchers. When I write those, I feel as if I call on all of the different writing jobs I've had -- newspaper reporting, technical writing, feature articles, press releases, and instruction -- to tell the story of a given collection and why it might be important to various types of researchers. In some cases, it might be enough to simply let researchers know a collection exists. Here, however, it is necessary to put the collection in context and call out key materials that, for one example, would be useful to someone examining how local health departments handle test results that reveal significant water, soil, and air-quality contaminants.

When I write finding aids, I follow a standard called DACS (Describing Archives: A Content Standard -- not imaginatively named, I know, but it gets to the point). DACS is especially handy because it is structured in such a way that once an archivist/librarian decides the level of description he/she wants, he/she can easily create a DACS finding aid template.

For example, because I work at a small library with small collections, I can afford to create detailed finding aids, and DACS has all the categories a detailed finding aid could need. On the other hand, if I worked for an organization that used, say the "More Product, Less Process," method, I could apply the DACS minimal requirements for finding aids. DACS also includes MARC coding for adding a finding aid to a catalog, and some EAD coding. Early on at Chester Library, I created a finding aid template with the DACS categories that would more than adequately describe a collection for a researcher. I figured that I wouldn't be there forever, and the least I could do for the next archivist/librarian was to make his/her life a bit easier by providing such a template.

After sorting through all my notes from the processing part of the work, I researched Combe Fill South's history, and dug into all of the related materials available on the U.S. Environmental Protection Agency (EPA) and N.J. Department of  Environmental Protection (DEP) web sites. Immediately, I learned  that outside of the EPA, Chester Library is the only designated public repository for these records. I knew from the records at the library that the DEP had been involved in the cleanup activities from 1984-2009, but the EPA later took over the efforts which are still ongoing. However, the government sites had different details and perspective on the changeover than those in the library's records.

Probably the biggest challenge in writing the finding aid for the Combe Fill South Landfill Records was an internal one. I asked myself a lot of questions -- How do I tell the story of this local Superfund site without editorializing? How much do I talk about the work not yet done since the 1980s?

Mostly, I thought about what would be important to researchers, and that didn't include my opinion. I described the collection's contents, leaning heavily on the DACS guidebook for direction. I also searched for collections at other institutions that were similar -- government records held in local repositories. That tack proved to be helpful and re-focused my efforts.

Postscript
The Combe Fill South Landfill Records collection was my first foray into processing government records. Like many of my new experiences as an archivist, I'm happy to document this work here so that others new to the profession might benefit by my lessons learned.

If you'd like to see the finding aid for yourself and learn more about this Morris County Superfund site, please visit the finding aid online at Chester Library.