Special collections bring their own (special) challenges and opportunities. This session will cover topics related to managing special collections in libraries.
The #GayAgenda: LGBTQIA2S+ materials in the Murray & Hong Special Collections at Michigan State University Libraries
Speakers: Nicole Smeltekop and Eli Landaverde
MSU Libraries Special Collections began collecting radicalism and activism materials in the late 1960s. The large amount of LGBTQIA2S+ materials collected over four decades remained dormant and the collection had not been kept up to date until the appointment of a curator in 2018. This paper presentation will discuss assessing previous collection development decisions, setting collection development priorities for the collection, and expanding cataloging practice beyond inventorying to follow more current practice. This will include details on conducting a collection analysis to identify gaps in the collection, developing policies that include ensuring various experiences and identities were represented in the collection, and cataloging material focused on the LGBTQIA2S+ community ethically and empathetically. A focus for the examples will be on the art prints and posters collected, many from lesser-known artists. The cataloging part of the presentation will include tips for working with this material - including a list of best-practices and resources, using both Library of Congress Subject Headings and Homosaurus as controlled vocabularies, and considerations when creating Library of Congress Name Authority File headings for underrepresented groups.
Photobooks as Resistant Objects: Politics, Propaganda, and the Colonial Gaze
Speaker: Margherita Naim
Many library holdings worldwide include photobooks on politically significant topics from several historical periods and regions of the world. At times, these photobooks can be considered sensitive materials due to both contained images and accompanying texts. This may be the case with war and propaganda materials, photojournalistic reports, or publications originating from colonial contexts. As such, these photobooks must be viewed not only as particularly significant sources for research into the history of photography, but also within a transdisciplinary framework.
I refer to them as ‘Resistant Objects’ (Thomas, K. and Gu, J. H., ‘Resistant Objects’, Conversation, Kunsthistorisches Institut in Florenz, October 10, 2025), as they hold a resistant potential in reframing perspectives on historical narratives as well as reconstructing creative processes.
In this context, I would like to present a case study from the Martin Salter Collection, a private collection of photobooks recently acquired by the Kunsthistorisches Institut in Florenz (KHI). The collection consists primarily of photographers’ monographs from a wide range of countries, veritable book objects, some of them very rare. An overview of the ‘Resistant Photobooks’ included in this collection will be matched by descriptions of other photobooks held by the KHI, and by other libraries.
What’s in an Artist File? The Future of Artist Files
Speakers: Amelia Nelson, Alexandra Reigle, Kathleen O'Reilly, and Bridget O’Keefe
Artists’ files are a uniquely rich and dynamic resource, that may include zines, correspondence, artist statements, exhibition ephemera, and other documentation that illuminate artists’ careers and practices. Despite their significant research value, the idiosyncratic nature of their content and varied methods of acquisition often present challenges for libraries.
Increased attention to documenting regional artists, particularly those historically underrepresented in traditional art historical narratives, has underscored the critical importance of artist files. In many cases, these files serve as the only record of underrecognized artists, regionally significant artists, and artist-run spaces. In this presentation, members of the Artist File SIG will share and synthesize the results of a survey of institutions that collect artist files to provide a snapshot of current practices, perceived value, and resource needs. Building on these findings, SIG members will propose community-driven best practices and tools to support those responsible for creating, maintaining, and activating artist files.
