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The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody.

The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios.

The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions.

This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework.

The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody.

The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.

The purpose of this paper is to report the results of an ethnographic study that used object biography with an archival collection of police surveillance files, the Police Historical/Archival Investigative Files, housed at the City of Portland Archives & Records Center in Portland, Oregon.

Document analysis, participant observation, semistructured interviews, and object biography were conducted over four years, from 2013 to 2017.

Using object biography with the Police Historical/Archival Investigative Files uncovered numerous personal and public relationships that developed between people and this collection over several decades as well as how these records acquired, constructed, and changed meanings over time and space.

This paper argues that the biography of objects is a useful way for studying the relationships records form, the values people assign to them, and how people and records mutually inform and transform one another in shifting contexts of social lives. Recognizing records as having social histories and applying object biography to them contributes to and grows the greater biography and genealogy of the record and the archive—a genealogy important not only for discovering something about the lives of those who create, encounter, steward, and use records and archives but about our shared human experience.

Purpose – In January 2015, a diverse group of stakeholders engaged in a planning forum on “Envisioning our Information Future and How to Educate for It.” Focused on shaping a future by design, not by default, information educators, professionals, technologists, futurists, and others proposed proofs of concepts for larger-scale implementations. This chapter reports on four pilot projects using steps in the design-thinking process to frame the discussion.

Design/Methodology/Approach – The stages of (1) empathize, (2) define, (3) ideate, (4) prototype, and (5) test in the design-thinking process facilitate moving beyond what is and breaking fixedness to build a representation of what might be. Applied to library and information science (LIS) education, design thinking can lead to transformative change.

Findings – Creative collaborations yielded actionable outcomes from projects that identified the following: (1) the knowledge, skills, and abilities that employers seek in graduates of LIS programs, (2) curriculum options for developing and launching artist-in-residence programs, (3) how a Library Test Kitchen course enables students to apply design thinking, and (4) how a short-term faculty residency in a particular institution connects LIS educators with trends in the field and informs curriculum design.

Originality/Value – The value of tangible outcomes from pilot projects informing future innovation in LIS education is augmented by the originality of their framing within design-thinking processes.

This paper aims to showcase the range of historical records held at The National Archives of the UK which are potentially highly useful to researchers in marketing and advertising history, but have so far been under-appreciated in these fields.

By taking key record collections, primarily intellectual property records and records of government publicity, and examining them from the perspective of different fields of study, the potential of these collections is brought to light. This paper also draws out key examples of past research with these collections to show both the effectiveness of these records as sources for research and at the same time the limited way they have so far been approached by academics.

This review of the records demonstrates how researchers working in advertising and marketing history fields might supplement their research or open up new research avenues with the benefit of new sources. It shows how assumptions about government archives need to be reconsidered to avoid missing research opportunities.

Sharing knowledge and increasing connections between government archives and academics in these fields may encourage archives to improve their own approaches to archival practice and academic engagement, to make records more accessible to these new research audiences. This would of course be beneficial both to researchers and government archives.

This paper provides a detailed examination of government records in the specific context of the field of marketing history. This unique focus makes a valuable contribution to the literature exploring historical sources for this field.

This paper scrutinizes the scholarship on community archives' information work. Community archives and archiving projects represent unprecedentedly democratic venues for information work centering on essential documentary concepts such as custody, collection development and appraisal, processing, arrangement and description, organization, representation and naming, collaboration, resource generation and allocation, activism and social justice, preservation, reuse, and sustainability.

Unearthed through databases searches, citation chaining, and browsing, sources examined include peer-reviewed journal articles, books, and book chapters published in the English language between 1985 and 2018.

The literature on community archives’ information work shows considerable geographical (six continents), topical, and (inter)disciplinary variety. This paper first explores scholars' efforts to define both community and community archives. Second, it unpacks the ways in which community archives include new stakeholders and new record types and formats even as they leverage alternative archival principles and practices. Third, it discusses community archives as political venues for empowerment, activism, and social justice work. Fourth, this paper delves into the benefits and challenges of partnerships and collaborations with mainstream institutions. Fifth, it documents the obstacles community archives face: not only tensions within and among communities, but also sustainability concerns. Finally, it sets forth six directions for future research.

This paper is the first systematic review of the community archives literature.

The purpose of this paper is to examine the literature on the information behavior of practicing visual artists to determine if a consistent model emerges and what further research is necessary.

Works dealing with the information needs and uses relevant to the creative activities of visual artists are discussed in the paper. These works are assessed for their contributions toward understanding of the specific information behaviors of practicing artists.

The results show that a consistent model of artists' information behavior emerges. However, nearly all of the literature focuses on art students, academic art faculty, or librarians, and so any claim that practicing artists fit the model is largely unsupported by research. There have been no published studies of communities of practicing visual artists. The implications of defining artists as communities of practice are discussed.

Research is proposed that studies the information behavior of communities of practicing visual artists in order to confirm or amend the existing model.

Practitioners will have their attention drawn to an underserved user population whose information needs and behaviors have not been directly targeted for research. They will recognize the need for study of their own artist communities and the development of services for them.

This paper directs the discussion of artists' information behavior away from the art‐library‐specific literature, where it has largely resided, as a means of adjusting the focus of research onto the largely unstudied and underserved communities of practicing artists.

This chapter analyses the interaction between two important movements in Britain in the second half of the twentieth century, the international contribution to urban planning through the New Towns programme and the particular contribution of British artists to public art and how these two parallel movements intertwine. The chapter begins by considering the definition of public art and the marked changes to the work purchased and commissioned in the immediate post-war period. The chapter then considers how the development of post-war New Towns has created new opportunities for contemporary artists, whose work had previously been confined to the gallery. In some cases the public art is integral to the architecture, and this opportunity has since become a threat to the future of many of these artworks. The optimism that defined post-war planning gave way to more negative perceptions of some New Towns as sites of boredom, monotony and even decay, from a failure to deliver on their initial promises of good jobs; a clean, modern environment; and supportive welfare state. In the second half of the chapter are examples of current public art activity in New Towns, and the challenges to sustain these in a time of public sector austerity. Finally, the chapter looks forward, and at the potential to sustain and reinvigorate public art in New Towns into the future.

This paper presents recently published resources on library instruction and information literacy, providing an introductory overview and a selected annotated bibliography of publications covering various library types, study populations and research contexts.

This paper introduces and annotates English-language periodical articles, monographs, dissertations, reports and other materials on library instruction and information literacy published in 2020.

The paper provides a brief description of all 440 sources and highlights sources that contain unique or significant scholarly contributions.

The information may be used by librarians, researchers and anyone interested in a quick and comprehensive reference to literature on library instruction and information literacy.