A highlight of the Conference, the Awards Luncheon brings us together for a full buffet luncheon in an elegant setting as we announce the recipients of the Association’s major honors and awards.
PowerPoint presentation of the 2012 service awards presented during the Awards Luncheon at the 2012 Visual Resources Conference in Albuquerque, NM. Kathe Albrecht received the Distinguished Service Award; Sheila Hannah and Patti McRae Baley were presented with Nancy DeLaurier Awards.
PowerPoint presentation of the 2012 service awards presented during the Awards Luncheon at the 2012 Visual Resources Conference in Albuquerque, NM. Kathe Albrecht received the Distinguished Service Award; Sheila Hannah and Patti McRae Baley were presented with Nancy DeLaurier Awards.
Evelyn Oldfield Unit End of Year Report 2009-10Sadiqa Jabbar
Design and collation of the outreach work undertaken by Evelyn Oldfield Unit into a comprehensive end of year report, while working as a volunteer with the organisation.
Launch Event presentation:
up to date information on CDA 2030, explore trends and issues for CDA, get information on the scientific community survey and learn how you can get more involved!
Publicação com conteúdos sobre a Serra da Gardunha e o património histórico, cultural, natural e humano deste território.
CONTEÚDOS
Editorial \ Descobrindo o lado solar.
Associativismo \ Associativismo Juvenil... uma escola da cidadania.
Destaque \ Projecto Ninho.
Identidade \ Os produtos locais na identidade territorial.
Produto Local \ O ciclo do Queijo: do pasto à mesa.
Território \ Serra da Gardunha - Palimpsesto de paisagens
Natureza \ Albufeira de Santa Águeda. Um oásis aqui tão perto.
Terra a terra \ Crónica lírica de São Vicente da Beira.
Ficar \ Solar dos Caldeira e Bourbon
Degustar \ Restaurante Rural Gardunha
Um momento \ Uma imagem...
Agenda \ A não perder...
Contactos uteis \ Turismo, Alojamento, Restaurantes e outros
Instituições \ Juntas de Freguesia, Associações e outras
Evelyn Oldfield Unit End of Year Report 2009-10Sadiqa Jabbar
Design and collation of the outreach work undertaken by Evelyn Oldfield Unit into a comprehensive end of year report, while working as a volunteer with the organisation.
Launch Event presentation:
up to date information on CDA 2030, explore trends and issues for CDA, get information on the scientific community survey and learn how you can get more involved!
Publicação com conteúdos sobre a Serra da Gardunha e o património histórico, cultural, natural e humano deste território.
CONTEÚDOS
Editorial \ Descobrindo o lado solar.
Associativismo \ Associativismo Juvenil... uma escola da cidadania.
Destaque \ Projecto Ninho.
Identidade \ Os produtos locais na identidade territorial.
Produto Local \ O ciclo do Queijo: do pasto à mesa.
Território \ Serra da Gardunha - Palimpsesto de paisagens
Natureza \ Albufeira de Santa Águeda. Um oásis aqui tão perto.
Terra a terra \ Crónica lírica de São Vicente da Beira.
Ficar \ Solar dos Caldeira e Bourbon
Degustar \ Restaurante Rural Gardunha
Um momento \ Uma imagem...
Agenda \ A não perder...
Contactos uteis \ Turismo, Alojamento, Restaurantes e outros
Instituições \ Juntas de Freguesia, Associações e outras
A highlight of the Conference, the Members & Awards Dinner brings colleagues together for an opportunity to relax and socialize over dinner in an elegant setting. The evening's festivities include recognition of the Association’s honors and awards recipients along with the generous donors who have made these awards available.
CREATIVE CITIZENSHIP BUILDING CONNECTION, KNOWLEDGE, BELONG.docxwillcoxjanay
CREATIVE CITIZENSHIP: BUILDING CONNECTION, KNOWLEDGE,
BELONGING AND LEADERSHIP IN YOUNG PEOPLE
Lisa Burnett Regional Manager Transit Lounge Caboolture Qld and Anne Spelman Client Services
Coordinator Moreton Bay Region Libraries Qld
For the last three years Moreton Bay Region Libraries has hosted Transit Lounge Caboolture (TLC), a developmental
program for creative young people. Although not an obvious pairing, it has been successful, with the hosting arrangement on
the verge of transforming into a true partnership. Between them, they offer a suite of services and programs that support the
developmental needs of creative young people from pathfinders through to aspiring artists, emerging artists and professional
artists. Programs such as Mash It Up short film festival and Band Camp, services like the enewsletter and project mentoring
provide opportunities for skills development, networking, showcasing and resourcing that would not otherwise exist. Through
this unique partnership, a continuum of support has been offered that connects young people to each other, to community
resources and to professional artists and artsworkers – connection, knowledge, belonging – developing a generation of
young citizens who have a stake in their community and the skills and networks to create and lead arts and cultural activity.
Edited version of a paper presented at ‘12 to 24s @ your public library in Australia and New Zealand conference’ Qld 11-
12 June 2010.
hen we sat down to develop this paper
there was one word that dominated our
conversation – why?
• why does Transit Lounge Caboolture exist?
• why is Moreton Bay Region Libraries doing
community development work?
• why are we partnering?
• why are we interested in working with young
people?
• why arts and culture?
• why do we think other people should be doing
this?
We articulated our personal motivations, which
ultimately lead back to some clear and compelling
reasons.
Declining optimism
In the 10 years between 1995 and 2005 there was a
significant decline in young people’s optimism
regarding their preferred futures
• 49% of young people think the future quality
of life in Australia will be worse (up 25%)
• 65% think the world is headed for a bad time
of crisis and trouble (up 49%)
• although 89% would prefer a ‘green’ future
only 23% expect that is what they will see
• although only 11% prefer a ‘growth’ focused
future, 77% expect that is what will prevail.1
If you are faced with a widening gulf between your
expected and preferred futures, what does that do
to your sense of hope – especially if you do not
feel that you have any control over that situation?
Reduced feelings of wellbeing
A survey2 of more than 10,000 Australian students
from prep school to year 12 found that
• 40% of students could be described as
displaying lower levels of social and emotional
wellbeing
• there was, at most, only a weak positive
relationship.
Informe sobre la actividad desarrollada en Silicon Valley para incentivar la creatividad en las empresas a traves de la creación artistica participativa, Incluye un modelo de flujos sociales
Programa Icsei 2017 . Ottawa. 30th annual International Congress for School ...eraser Juan José Calderón
Programa Icsei 2017 . Ottawa. 30th annual International Congress for School Effectiveness and Improvement..
Collaborative Partnerships for System-Wide Educational Improvement
This presentation was given by Garrett Jacobs on 10/5/15 At SxSW Eco and describes the work the AFH Chapter Network has been doing this year and where we hope to go as a new organization.
A big thanks to everyone who helped out - especially Courtney Drake and her hard work on the presentation graphics.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenters: Megan Macken, Louise Siddons
Prior to the fall of 2020, the historic record of art exhibitions held at Oklahoma State University (OSU) was available only in incomplete, unprocessed archival materials. Students in Louise Siddons’ fall 2020 History of American Art course conducted research in the digitized student newspaper archive to begin documenting OSU art exhibitions since 1960. The resulting database was shared with the public with the intention of building on the project in future courses. Throughout the project both students and faculty engaged in critical cataloging.
Using the exhibition dataset they had created, students completed two analytical assignments: a traditional art history essay in which they considered one exhibition closely, and a critical reflection prompting them to consider their new understanding of the university’s history based on the aggregation of exhibitions. As gaps and surprises in representation appeared, students developed a more nuanced picture of institutional culture in the latter half of the 20th century.
After the course concluded, art history and library faculty standardized the student-generated data in preparation for sharing on other platforms such as Wikidata. Some artists who have exhibited at OSU also have interviews in the OSU oral history collections, and intersections between these projects and the questions raised by surfacing this metadata were explored. In the process issues emerged around artists’ preferred ways of identifying themselves as well as the difficulties of achieving a balance between increased representation of artists on the margins and respect for the privacy of living artists.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
The Fascinating World of Bats: Unveiling the Secrets of the Nightthomasard1122
The Fascinating World of Bats: Unveiling the Secrets of the Night
Bats, the mysterious creatures of the night, have long been a source of fascination and fear for humans. With their eerie squeaks and fluttering wings, they have captured our imagination and sparked our curiosity. Yet, beyond the myths and legends, bats are fascinating creatures that play a vital role in our ecosystem.
There are over 1,300 species of bats, ranging from the tiny Kitti's hog-nosed bat to the majestic flying foxes. These winged mammals are found in almost every corner of the globe, from the scorching deserts to the lush rainforests. Their diversity is a testament to their adaptability and resilience.
Bats are insectivores, feeding on a vast array of insects, from mosquitoes to beetles. A single bat can consume up to 1,200 insects in an hour, making them a crucial part of our pest control system. By preying on insects that damage crops, bats save the agricultural industry billions of dollars each year.
But bats are not just useful; they are also fascinating creatures. Their ability to fly in complete darkness, using echolocation to navigate and hunt, is a remarkable feat of evolution. They are also social animals, living in colonies and communicating with each other through a complex system of calls and body language.
Despite their importance, bats face numerous threats, from habitat destruction to climate change. Many species are endangered, and conservation efforts are necessary to protect these magnificent creatures.
In conclusion, bats are more than just creatures of the night; they are a vital part of our ecosystem, playing a crucial role in maintaining the balance of nature. By learning more about these fascinating animals, we can appreciate their importance and work to protect them for generations to come. So, let us embrace the beauty and mystery of bats, and celebrate their unique place in our world.
La transidentité, un sujet qui fractionne les FrançaisIpsos France
Ipsos, l’une des principales sociétés mondiales d’études de marché dévoile les résultats de son étude Ipsos Global Advisor “Pride 2024”. De ses débuts aux Etats-Unis et désormais dans de très nombreux pays, le mois de juin est traditionnellement consacré aux « Marches des Fiertés » et à des événements festifs autour du concept de Pride. A cette occasion, Ipsos a réalisé une enquête dans vingt-six pays dressant plusieurs constats. Les clivages des opinions entre générations s’accentuent tandis que le soutien à des mesures sociétales et d’inclusion en faveur des LGBT+ notamment transgenres continue de s’effriter.
Understanding the Mahadasha of Shukra (Venus): Effects and RemediesAstro Pathshala
The Mahadasha of Shukra (Venus) is one of the most significant periods in Vedic astrology. Shukra is known as the planet of love, beauty, wealth, and luxury. Its Mahadasha can bring about profound changes in an individual's life, both positive and negative, depending on its placement and condition in the natal chart.
What is Shukra Mahadasha?
Mahadasha is a planetary period in Vedic astrology that affects various aspects of an individual's life for a specific number of years. The Mahadasha of Shukra lasts for 20 years and is known to bring a period of significant transformation. Shukra is associated with pleasures, creativity, relationships, and material comforts. During its Mahadasha, these areas of life tend to get highlighted.
At Affordable Garage Door Repair, we specialize in both residential and commercial garage door services, ensuring your property is secure and your doors are running smoothly.
MRS PUNE 2024 - WINNER AMRUTHAA UTTAM JAGDHANEDK PAGEANT
Amruthaa Uttam Jagdhane, a stunning woman from Pune, has won the esteemed title of Mrs. India 2024, which is given out by the Dk Exhibition. Her journey to this prestigious accomplishment is a confirmation of her faithful assurance, extraordinary gifts, and profound commitment to enabling women.
Care Instructions for Activewear & Swim Suits.pdfsundazesurf80
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4. SHEILA M. HANNAH
B.A. & M.A. Art History, M.L.S.
University of New Mexico, 1977–2005 as Library
Technical Assistant, Library Information
Specialist, Director of the Visual Resources
Library, and Adjunct Assistant Professor in the
Department of Art & Art History
5. SERVICE & AWARDS
VRA Data Standards Committee, 1994–2002
UNM Committees: Technology Advancement,
Interdisciplinary Media, Strategic Planning, Policy,
Slide Library
Kress Foundation Fellowship recipient
$48,000 grant from Educational Foundation of
America
6. DISTINCTION
Visual resources internship program
Visual resources automation
VISION Project
VISIC (Visual Information Checklist)
VIRCONA (Visual Resources Catalog of Native
American Artists)
7. THE BUZZ…
―extremely high degree of professionalism‖
―a true pioneer‖
―straightforward, methodical, and knowledgeable‖
―wonderfully generous with her knowledge‖
―demonstrated exemplary service‖
―inspiring yet practical‖
10. THE BUZZ…..
Each year Patti would excitedly email me after the conference to tell
me the grand total from ticket sales, and we would both be thrilled
about the number of travel awards that would be available for the
following year’s conference. Each year at the conference Business
Meeting the string of award recipients seemed to stretch farther
across the room, and this was in large part due to Patti’s energy and
efforts with VRAffle fundraising. Jackie Spafford
Her creation, the VRAffle, was the perfect “cocktail.” It was so much
fun that we hardly realized we were giving money. Eliza Lanzi
I first met Patti when I attended my first Visual Resources Association
conference in Kansas City. My co-worker was scheduled to help set up
the VRAffle and she invited me to come with her and “meet someone
fun!” Well, I did – and within moments of meeting Patti I was laughing
and engaged and felt WELCOMED. Greta Bahneman
11. The high point for me was the 25th anniversary event in Kansas City.
Opening with a choral number updating the old song, “Everything’s Up
to Date in Kansas City” from the Rogers and Hammerstein musical
“Oklahoma,” Patti’s Raffle Rousers, some attired as computers,
described the marvels of the digital revolution. Renate Wiedenhoeft,
chief executive of Saskia Images, even stormed onstage from the
audience at one point in the guise of an intellectual property lawyer to
present a cease and desist order for copyright violation. Karen Kessel
Patti brought her love, passion and full blown enthusiasm for a good
time and it overflowed and became catching for us all. The result: more
interest in the VRaffle and hence more $ for the Nancy DeLaurier award
to help others in the profession. Scott Gilchrist
I know we will stand and cheer, with a unanimous “Figure 8, Touch
Pearls!” Jenni Rodda
12. We have all benefited from the fun and camaraderie of the VRA Raffle
17. KATHE HICKS ALBRECHT
―Kathe Albrecht has served as President-Elect, President,
and Past-President; co-chair of the 2002- 2003 Strategic
Plan; twice Chair of the VRA Mid-Atlantic Chapter;
Membership Committee Chair; Intellectual Property Rights
Committee Chair; Representative to the Digital Future
Coalition; and as VRA Bulletin Column Editor.
For the VRA Foundation she has served as a Director since
its inception in 2008 - as Secretary and as Co-Chair of its'
Summer Educational Institute.‖
- Jeanne Keefe & Ann Thomas
18. ― When I first sat down to write this letter, I
had to ask myself ―What hasn‘t Kathe done
for the Visual Resources Association?‖ With
contributions of such breadth and depth, it
is extremely difficult to adequately
encapsulate and express what Kathe‘s fine
work means to both the past and future of
the VRA.‖ - Betha Whitlow
―Supporting the nomination of Kathe Hicks Albrecht is a no-
brainer. I like many other long time VRA members can attest
to the length, breath and variety of her contributions to our
organization‖. - Chris Hilker
19. ―If ever a candidate's qualifications for the DSA were all inclusive, it
would be those of Kathe Hicks Albrecht. Her service runs the gamut
from leadership on both the VRA Executive Board and the VRA
Foundation Board to education, research and mentoring that have
greatly benefited our organization‖. -Margo Ballantyne
―She is a leader in our profession-- someone who has spent her
career providing service to the members and prospective members
of our profession. She is a person that I know will always accomplish
what she has said she will do. In addition, her generosity is an
example for all of us.‖ -Trudy Jacoby
20. ―Since she entered the profession
20 years ago, she has chaired
committees, written articles and served as
VRA President, possibly the ultimate
sacrifice...
Her interests ranged from the basic nuts
& bolts practices to intellectual property
rights. VRA has thrived as a result of her
organizational and leadership skills at the
local, regional and international levels‖.
- Chris Hilker
21. ―Kathe also had a visionary impact on the VRA in her role as
co-chair with Margaret Webster of the first VRA Strategic
Plan Task Force, on which I served as a member during my
first collaboration with Kathe. The recommendations in this
Strategic Plan laid the groundwork for the VRA to truly
professionalize and thrive‖. -Betha Whitlow
22. ―Many of the advancements that
now define VRA grew out of her
tenure on the two Executive … and
the 1998 Strategic Plan Task Force…
These include: online registration for
conferences, Memberclicks, SEI, and the
VRA Foundation. Kathe's attributes
combined with her intense work ethic have
distinguished VRA and have helped grow
the organization strongly through the first
decade of the twenty-first century‖.
- Margo Ballantyne
23. ―One of the most active members of the
Task Force and VRAF‘s Board of Directors,
Kathe regularly volunteered her time and
energy, and her wise counsel greatly
benefitted both entities‖.
―Her comments and contributions on the
issues we faced, the documents and written
materials produced, on communications
with VRA and its members, and the
organizational agreements with VRA and
ARLIS were always thoughtful, incisive, and
valuable‖. - Loy Zimmerman
24. ‗Following her time on the VRA Board, Kathe
turned her efforts toward establishing the VRA
Foundation. Despite the fact that the VRAF was
established during the worst economic downturn
since the Depression, it has developed against all
odds as a vital advocacy and fundraising force for
the value of images in a teaching and learning
environment‘. -Betha Whitlow
Kathe‘s visionary work on the VRAF Board will have a
lasting impact on the visual resources profession.
-Tina Updike
25. ―Kathe devoted endless amounts of
time and energy to the planning and
implementation of SEI. Kathe helped
re-shape SEI. 2010 was the first year we
held SEI in Albuquerque, NM and it
was a newly formed program – the first
instance of SEI Pro…
Kathe‘s positive approach and fresh
ideas were crucial to developing the
program‖.
-Alix Reiskind
26. ―Kathe helped inspire a new way
of thinking about the curriculum
and how the courses could be
organized. This work was carried
through to her work the following
year for SEI, tailoring the courses
and program to fit students‘ needs
and knowledge levels‖.
-Alix Reiskind
―Kathe‘s contributions were crucial to a re-organization of
SEI‘s structure and operations that greatly improved its
administration and management‖.
-Loy Zimmerman
27. ―Kathe is a leader in our profession –
someone who has spent her career
providing service to the members and
prospective members of our profession.
She is a person that I know will always
accomplish what she has said she will
do. In addition, her generosity is an
example for all of us‖.
―Her establishment of the Kathe Hicks
Albrecht Travel Award, her continuing
contribution as a VRA Foundation Gold
Circle Donor, and her generous
donations of both money and time set
the highest example of true support for
the VRA, her colleagues and newcomers
to the field‖.
-Trudy Jacoby
28. ―In 2007 she created the Birds-of a-
Feather affinity networking lunches for
the VRA conferences. Fourteen people
gathered together in Toronto, 2009, for the
Retirement 101 luncheon. Hosted by
Chris Sundt, these members, myself
included, pondered ways in which we
could still connect to VRA when our
affiliation with our respective institutions
would end‖.
―This successful venue for membership
networking and support has now
expanded to the SEI schedule‖.
-Margo Ballantyne
29. ―Following a week of challenging,
satisfying work running a successful SEI
2011 in Albuquerque, Kathe and I found
ourselves with two hours before our
flights. Settling down at an airport
restaurant, we talked of work, our
families, and our dreams outside of our
professional lives. It was one of the best
times I‘ve ever enjoyed with a colleague,
and as I reflect on it now, I‘m reminded
that Kathe isn‘t just a great leader—she‘s
also a wonderful friend to many.‖
And if that‘s not the sum of an individual
deserving of the Distinguished Service
Award, I‘m not sure what is.
-Betha Whitlow
30. ―She is at the forefront as a
model leader and mentor for
the next generation of VRA‖.
-Elisa Lanzi
―Truly a woman for all seasons…‖
-Margo Ballantyne
Introduction of Awards Ceremony MNWFirst slide Welcome to the 2012 presentation of the Visual Resources Association’s Nancy DeLaurier & Distinguished Service Awards. I’m Margaret Webster, the incoming chair of the Awards Committee, and am standing in for our chair, Brenda MacEachern, who for health reasons is unable to be here today. Please continue to enjoy your meal while celebrating with our stellar group of awardees.The awards committee worked hard this year and is pleased to present two Nancy DeLaurier Awards and one Distinguished Service Award to three exceptional representatives of our profession. We are very proud of the professional diversity exhibited by this group of deserving honorees. I extend a big thank you to all of the members of the awards committee (Linda Callahan, LiseHawkos, Madelyn Millen, and Martine Sherrill) for their thoughtful, collegial work during the year and in particular to our chair, Brenda MacEachern, who was instrumental in guiding us through the process. A very special thank you to Brenda.Finally, I want to give you all a head’s up. I will post a call for nominations for both the Nancy DeLaurier and the Distinguished Service Awards for 2013 immediately after this conference. Please, while you are enjoying your meal and this awards celebration, think about those have influenced your professional development, those who in your opinion have contributed so much to visual resources. Please consider submitting a nomination for a Nancy DeLaurier or Distinguished Service Award. The award guidelines and list of previous recipients are posted on the VRA web site. Furthermore, each member of the Awards Committee is prepared to help you with this process. Remember—no nominations equals no awards celebration. We have too many worthy potential honorees to let this happen.
Portrait of Nancy DeLaurierNancy DeLaurier Award MNWThe Nancy DeLaurier Award, named for one of the pioneers of the visual resources profession, annually honors a visual resources professional for distinguished achievement in the field. "Achievement" is measured by immediate impact, and may take the form of published work, oral presentation, project management, software development, technology application, website creation, or other outstanding effort. This year I am pleased to announce that the Awards Committee has chosen to award two Nancy DeLaurier awards. Each of the awardees richly deserves this honor but in distinctly different ways.
Portrait of Sheila MNWOur first Nancy DeLaurier Award goes to Sheila M. Hannah. Sheila is the retired director of the Bainbridge Bunting Visual Resources Library at the University of New Mexico here in Albuquerque. I call upon Mark Pompelia and Cindy Abel Morris to make the presentation. Would Sheila, Mark and Cindy please join me at the podium?
Next four slides = presentation by Mark Pompelia and Cindy Abel Morris. Visual Resources Association 2012 Nancy DeLaurier Award: Sheila HannahIntroductory RemarksDelivered by Mark Pompelia at the VRA Awards Luncheon, April 19, 2012, Hotel Albuquerque, Old Town Albuquerque, New MexicoGood afternoon. I’m so pleased to be speaking to you in Albuquerque, New Mexico, the “Land of Enchantment”—a slogan that is, well, a slogan, but nevertheless has the virtue of being perfectly true. We are gathered in a truly singular place for our thirtieth anniversary. The question remains at this anniversaryAwards luncheon at a time when record achievement is met with great upheaval and where the journey is equalto the destination: how did we get here? Co--‐nominator Cindy Abel Morris and I have an answer (and this is where our pleasure derives in being here this afternoon): Sheila Hannah is how we got here. I know that I am addressing an audience of doers, and mostly humble, quiet doers at that, but these remarks will show that Sheila is a pioneer of the initiatives that have come to define the Visual Resources Association. Like many pioneers, we often don’t know their names or the details of what they have done but their accomplishments are indisputably foundational, cumulative, and ultimately indispensible in getting us to this destination.At the start of the millennium at Rice University in Houston, a neighbor of sorts to New Mexico, I investigated the possibility of building an in--‐house database for visual resources. Sheila Hannah’s name turned up in the research since she had built one of the first databases for visual resources: VISIC, the Visual Information Checklist, and subsequently published on the topic of database automation. When I later explored the possibility of an internship program in visual resources, colleagues said, “talk to Sheila,” who had already presented andpublished on one of the most extensive and successful visual resources internship programs at the time. When I was confronted with the challenge of addressing the arts of Native America and the Southwest within the collection at Rice, again I heard: “talk to Sheila.” Sheila, it turns out, had created VIRCONA, the Visual Resources Catalog of Native American Artists, one of the first authorities to be contributed to the Getty Vocabularies program that is shared to the entire world today. Database creation; training of new professionals; and shared authorities: you should now have a clear understanding of why Sheila Hannah is a pioneer in visual resources—a pioneer in getting us to where we are today.With her achievements cumulative in effect, it is this last accomplishment that stands out in Sheila being successfully nominated for a Nancy DeLaurier Award here in Albuquerque. Databases will be locally adapted, internship programs will change, but the VIRCONA authorities represent an achievement of wide and lasting value and a precedent of shared contribution that harkens to our best nature as humble doers and inspires us still. She was one of the first critical and crucial voices to urge awareness and sensitivity to non-Western works of cultural heritage that directly informed the creation and early versions of the VRA Core. If that strikes us as a given in 2012, when our strengths lie in recognizing diversity of cultural objects, we have Sheila to thank for the intellectual and structural normalization of that attitude.Sheila had her origin in libraries, which gave her a foundational and unwavering appreciation of standards. She soon moved to visual resources and continued that normalization in data standards and took up the mantle of visual resources training. Minimizing local idiosyncrasy, she could see the bigger picture of her work and contribute to a wider audience beyond her immediate setting. Or maybe, being here in remote New Mexico, she understood that she had to be her own doer. Sheila will credit others, which is understandable, but that should not take away from her cumulative string of accomplishments.The Nancy DeLaurier Award hinges on the factor of a wide and shared impact. I won’t quote the letters of recommendation beyond what you’ve seen projected on the screen, except to say that universal to all were the sentiments: “I’m so glad to see Sheila being recognized”, “She was a critical contributor to our major initiatives, especially the shared authority”, “It’s likely we would not be where we are today without her.”So Sheila: I’m so glad to see you being recognized as a critical contributor to a shared initiative. And it’s very clear that we would not be here today in Albuquerque without you. Congratulations.Cindy Abel Morris; Bunting Visual Resources Library: University of New MexicoMark Pompelia; Fleet Library; Rhode Island School of Design
[Move to next slide] and Burns presentation.]
Award presentation by Maureen Burns. Sheila Hannah’s remarks:Award Remarks Mark, thank you very much for your kind words. I'm both humbled and thrilled to receive a 2012 Visual Resources Association Nancy DeLaurier Award. It is a great honor to be ranked with the outstanding people who have received this award before me. The fact that I was nominated for this recognition by Mark Pompelia and by Cindy Able Morris - two people who themselves do so much for the visual resources profession - is an added honor. Cindy and Mark, I thank you both. I also thank all those who submitted letters endorsing the nomination and I thank the committee for selecting me as a recipient. As many of you know, I 'm now retired from the field of visual resources, so this bolt from the blue in the form of Margaret Webster saying I would receive a VRA award really jolted me into thinking about the past. I honestly couldn't recall any single achievement worthy of the distinction. I was told my recognition was a bit different. It was for my general work in visual resources to support Native American topics - not for one project with immediate impact like those recognized in previous years, but rather for a collection of efforts linked by a single theme that together produced a slower cumulative effect. For me the slow accumulation began in 1980 when I co-edited with Zelda Richardson a now largely forgotten College Art Association Visual Resources Guide titled Introduction to Visual Resource Library Automation in which I naively suggested that not only main frame computers (which were the sole topic of the guide - does anyone even remember main frames), but also those new "Personal Computers" might have a role in our futures. There followed an article here, a book review there; a smattering of papers and panel discussions; the posting of a Native American classification system on-line, the commission of a slide label producing program that stored data in files that would later be ported to a custom relational database, submissions to the Getty Vocabularies, five years on the Data Standards Committee, participation in the VISION project, successful (and unsuccessful) grant applications, an on-line database, a permanently funded graduate internship program -- all always dedicated to insuring that any and all electronic visual resources activities could easily and accurately accommodate images of Native American art objects. I am deeply grateful I took this multi-faceted approach, because at every stage it rewarded me with the opportunity to work with many smart and inspiring colleagues in the visual resources profession. I thank every one of them for productive collaborations and lively exchanges of ideas. While I can't name them all here, I feel I must mention two - Jeanette Mills and Karen Kessel - who have always been there when images of Native American art were on topic. At my own institution I collaborated with dedicated staff members, many fine graduate students, IT heroes, database developers, generous deans and even legal counsels. I thank them all for giving me their support, hard work and valuable expertise. And on the home front, I thank my husband, Michael Hannah, who has always, always been there for me with his moral support, practical advice and true wisdom. While reflecting on my own history, I couldn't help but examine the accomplishments of our visual resources profession as a whole and I was struck by how much our discipline has to be proud of. Over the past thirty-five years, visual resources curators have evolved from cohort-starved image-wranglers isolated in their slide rooms to members of a vibrant and vital interactive community. As a community, our profession has moved from analog to digital, from slide cabinets to servers, from slide labels with limited information in teeny-tiny type to metadata rich electronic records. We've moved from light tables to terminals, from classification systems to search engines, from individual production to shared records, and from "I do it this way" to accepted standards in data, cataloging and vocabulary. We've gone from handing out carousel trays to managing Web services systems. And through our guides, bulletin, journal, listserv, workshops, summer institute, committees, website, conferences, amazing spirit of sharing and experimentation and yes -- even awards, we did it together - one measured individual effort linked to all the others over time. In conclusion, I came to realize that this Nancy DeLaurier Award is actually an acknowledgement of the accumulation of contributions each of you has made in the past and will make in the future to the collective success of the visual resources profession. This Nancy DeLaurier award is a reflection of what each of you do every day - share an idea, mentor a student, write an article, participate in a committee, apply for a grant, catalog an image, share a lunch. So it is on behalf of all of you, that I accept this award. It's been fun working with visual resources, rewarding to belong to the VRA, and exciting to meet so many professional people. Thank you.
Portrait of Patti MNWThe second Nancy DeLaurier Award is given to someone who truly needs no introduction -- Patti McRae Baley of the University of Nevada in Las Vegas and of VRAffle renown.Unfortunately, MerriannBidgood who submitted this nomination is unable to be here to present the award; I will, therefore, read her remarks.Would Patti please join me at the podium?
MerriannBidgood’s remarks: The Nancy DeLaurier award is for those individuals who have made a distinguished achievement in the field of Visual Resources. Patti McRae Baley has shown such a tireless and dedicated effort in promoting the VRA Raffle, which supports the Tansey Travel Awards. I am honored to present Patti McRaeBaley with the Nancy DeLaurier award. The VRA Raffle has been one of the most anticipated events in the conference schedule. Every one looks forward to seeing what the grand prize will be, or what new piece of Chris Sundt jewelry will adorn the lucky winner. The main focus of the Raffle is to promote the Tansey Travel Awards. Without the funding that is raised for the Tansey many of our colleagues and friends would be unable to attend the annual conference. Every person who knows Patti comments on her skill at coordinating and managing the donations, the volunteers, and the main event of the VRA Raffle. The hard work is often rewarded with cheers from the crowd for another fine performance and a bigger pot of funds for more travel awards for the following year. One of the best things about Patti and the VRA Raffle was her ability to make even the shyest new member in VRA to become a Raffle Rouser. It is this welcoming spirit that many look forward too. [Move to next slide].
Conclusion of MerriannBidgood’s remarks:Thank you Empress Patti for all of your hard work and dedication. As you have taught us: Figure 8, Touch Pearls. [Move to next slide] and Burns presentation.
Award presentation by Maureen Burns.2012 VRA Nancy DeLaurier Award Remarks: Patricia McRae BaleyA quick survey of past recipients of the DSA and The NDL awards reveals a surprisingly high percentage of them have been bestowed on members with the surname McRae. Between the great Linda McRae and myself, we have taken home 13.3% of the VRA’s two top awards in the past 15 years. Speaking as a resident of Las Vegas, the odds bode well for VRA member Erik McRae, and all future VRA members from Clan McRae. Thank you all. I would first like to thank MerriannBidgood, one of the original Raffle Rousers, who nominated me for this great honor and guided the process, and those who wrote such touchingly lovely support letters. I will treasure them. Also, profound thanks to the Awards Committee for having found me worthy. I am pleased and humbled to the point of stupefaction (but not silence) to accept this award, which is especially sweet as my husband Virko is here today. Thank you from the bottom of Our imperial heart. There are worthies I will probably fail to thank here so I beg forgiveness, pleading tiara fatigue.At the VRA/ARLIS joint conference in Minneapolis, I abdicated the VRAffle throne in order to tend to personal family matters. Last January 6, Margaret Webster informed me of this tremendous honor. I was accustomed on every first Friday in January to posting the first of a series of epistles to VRA-L publicizing the VRAffle (my weekly harangues), and for the first time in years there was to be no blurb that day. Since you are a room full of metadata fans, I am happy to pinpoint the creation date of the first VRAffle message to March 24, 2003. So, it was a delicious bit of kismet that the call came that first Friday. From that moment, I began to cogitate on how it is that I am standing here today.Just as no one becomes a scholar or artist by themselves, I am only standing here today because of a network of esteemed individuals of great charity. In other words, there is no “I” in VRAffle. Without donations from hundreds of caring vendors, chapters and VRA members, I am not standing here. Absent the volunteers who sacrificed part of their precious conference time, and I am not standing here. Remove the organizational skills, wit, and level head of Lady-in-Waiting Rebecca Moss of the University of Minnesota, and the likewise savvy Interim Lady-in-Waiting JenniRoddaLoory of NY’s IFA, I am not only not standing here, I am huddled in a corner, babbling incoherently. Withhold the brilliant talents of Allan Kohl of MCAD, who selflessly threw in his lot with the Empress starting with the Mermaids of Miami in 2005, bringing his fine theatrical talents and showmanship to the drawings, and I am in no way standing here. Delete the collaboration of the Development and Travel committees and the Executive Boards (especially the Treasurers) of the past 10 years, I am not standing anywhere near the dais. Withdraw the support of UNLV’s Department of Art and Dean of Fine Arts, I could not afford to stand here. And rescind the loving support of my soul mate Virko, and I am sitting in the audience. I thank them all here and now.Flash back to a conference room in St. Louis when I was VRA Secretary. A volunteer was sought to MC the ARLIS Silent Auction for the first joint conference and I heard myself say, “I’ll do it”. I shocked myself in taking this on because I had never MC’ed anything. What overrode my deep desire to wait for someone else to volunteer was a deeper desire to give back to the organization that had advantaged me so significantly. Without the VRA, I would have flamed out. Soon after earning my MA in Art History I got my first position in visual resources in July of 1994. My entire training as a VR professional consisted of a hands-on instructional by my University of Memphis predecessor that stretched across a span of 3 hours. That was it. Without help, I was headed for an epic fail. Enter the VR division of SECAC, which was meeting in New Orleans in October 1994. I obtained funding and a carful of undergrads to drive to the Big Easy. There I had the pleasure of meeting Christina Updike and Sandy Walker among others, who enthusiastically welcomed me into the fold, introducing me to this organization called the VRA. The next spring my education continued at my first VRA conference in NY. Year after year, I advantaged myself with the wisdom and knowledge of my generous-to-a-fault peers, eventually bridging the digital divide in my UNLV solo shop. VRA gave me every practical and technical tool I needed to succeed. It is the sine qua non of my career, at the root of all my professional achievements of the past 18 years.Rewind back to that fateful Board meeting. “Who wants to MC this Silent Auction?” “I’ll do it.” Because, how could I not? I didn’t feel I was doing enough for the VRA even as Secretary, and this sounded like something I could actually do. And it was a great cause. How hard could it be? And I could wear a fabulous outfit for the occasion (I have always ascribed to the idea that the one who dies with the most couture wins.) And it was a one off! I’d make it up as I went along (my go to move) and that would be it. Well, that wasn’t it. Next came Houston in 2003, and the “21 Raffle” for the 21st conference, organized and executed by MerriannBidgood. VP Jeanne Keefe suggested the “bid for individual items” format and it was so. At the drawing, Merriann and Rebecca Moss and Treasurer Ann Thomas assisted along with others and there was even a last minute, nerve-wracking live auction of a Chris Sundt neckpiece. Afterward, John Taormina proclaimed me “Empress”, and once one is made Empress, it is never undone. The following year, the name VRAffle was introduced in Portland and, with the help of co-Chair Debra Royer and the first grand prize, donated by Archivision, Inc., the VRAffle was established as a conference staple. But- the ticket prices always remained ridiculously affordable- $2 each, 6 for $10, 12 for $20.Not counting the first Silent Auction in St. Louis for which I found no data, I have documented that the grand total raised benefitting VRA’s Travel Awards, excluding ARLIS’s portion last year, is $22,208. The VRAffle turned out to be more play than work, and over the years the process was developed and refined, culminating in my writing the VRAffle Procedural manual. It details every aspect of the VRAffle down to the last jot and tittle. By the way, the Development Committee has done an outstanding job on the Vendor Slam raffle, and I’d like to encourage all to bid.Now the VRAffle needs a new leader to guide it. So, the person- and you know who you are- sitting out there looking for some way to give back to VRA, may be thinking to themselves, “hey, I can take this fundraiser to the next level!” Be Our guest, says the Empress. You will never regret it, and you can even choose your own signature wave. May I suggest any of these- the Light Bulb, the Fan, the Windshield Wiper, the Sporadic Flutter, the Rodeo Queen (this requires riding a horse draped with a spray of roses)…. But- this one is perpetually taken! [Figure 8, Touch Pearls]. Thank you!
DSA Initial Slide MNWEach year the Visual Resources Association honors an individual who has made an outstanding career contribution to the field of visual resources and image management. Nominees must have achieved a level of distinction in the field either through leadership, research, or service to the profession. Nominees who have shown outstanding innovation, participation, or project management may also be considered. In fact, our Distinguished Service Award winners are typically distinguished in multiple areas of expertise and have demonstrated this through continuing, outstanding professional participation and contribution. This year’s award winner is no exception. -- next slide.
MNWThe 2012 Distinguished Service Award is presented to Kathe Hicks Albrecht of American University. I call upon Ann Thomas and Jeanne Keefe to make the presentation. Would Kathe, Ann, and Jeanne please join me at the podium?
DISTINGUISHED SERVICE AWARD PRESENTATION: Kathe AlbrechtJeanne Keefe and Ann ThomasSLIDE 4Good Afternoon, Members of the Visual Resources Association, guests, and friends.INTRODUCTIONSLIDE 5We have both had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Ann Thomas and Jeanne Keefe) SLIDE 6While working with Kathe on the VRA Executive Board, VRA Foundation Task Force and the VRA Foundation Board, it became increasingly apparent that as a leader she possesses the rare combination of an entrepreneurial mind with the organizational skills, people skills and determination to carry creative ideas through to their implementation (Margo Ballantyne) SLIDE 7Kathe is the consummate professional in her many areas of service for VRA and the VRAF. Her decision-making is constantly based on what is best for the organization. Kathe’s devotion and passionate commitment to the visual resources field is what informs her leadership. For the past several years I have had the honor of working closely with Kathe as a partner in all things VRAF. Her incredible energy is invaluable in this realm. In addition, I have always admired Kathe’s ability to handle any situation that comes her way with grace and aplomb. She deserves mucho kudos for bringing the SEI to maturity, making it the premier program that it is today. Kathe … truly deserves our recognition as the 2012 VRA DSA Award winner. (Elisa Lanzi) EARLY CAREERSLIDE 8At American University she was an early adopter of digital imaging and an advocate for the university’s involvement in the Museum Educational Site Licensing Project (1994-1997). Kathe served as one of three campus coordinators for this digital imaging project funded by the Getty Foundation. She has twice been the recipient of the American University Staff Achievement Award…and in 2002 was given the American University Dedicated Service Award. With colleagues at AU Kathe has received a number of grants for digital imaging projects. (Macie Hall)SLIDE 9From the outset of my participation in the VRA, Kathe stood out as a visible and accomplished leader, representing the interests of the VRA at the CONFU hearings and providing critical advocacy at the national level for the fair use of images. I believe her efforts as a CONFU representative and as Intellectual Property Rights Committee Chair played a critical role in helping all of us understand and navigate a world where the use of images was rapidly altered by digital technology.(Betha Whitlow)TASK FORCES & COMMITTEES I was Chair of the Nominating Committee during a challenging period. Kathe was an immense help in recruiting candidates for office during her tenure as a Committee member. I found her knowledge of the membership to be vast, and her insights on the qualities an effective Board member should display to be invaluable. Her thoughtful comments and candidate suggestions demonstrated her focus on the best interests of the Association. (Ann Burns)PRESIDENT OF VRA SLIDE 10 She also uniquely managed to make the challenges of Board work fun as well as satisfying by encouraging an environment of conversation, collegiality, and civility—qualities that I have tried to emulate in my own leadership roles. (Betha Whitlow)VRA FOUNDATION DIRECTORSLIDE 11As both a Founding Director and Director of the VRAF, Kathe has tirelessly sought to support important projects such as CCO (Cataloguing Cultural Objects) and SEI (the ARLIS/NA-VRA Summer Educational Institute), while implementing funding initiatives such as a professional development grant program. (Betha Whitlow)SLIDE 12In the preparation, for instance, of the application for IRS recognition of the Foundation as a 501(c)(3) non-profit organization, one of the most important required documents was a narrative description of VRAF’s activities. “Describe completely and in detail past, present, and planned activities,” was how the IRS put it. Consequently, we had to describe not just the plans for VRAF’s future activity, but also give an accounting of VRA, its history and purpose, and the relationship of the two organizations. Kathe, with Elisa Lanzi, volunteered for the task, and the lengthy document they produced was so beautifully written that it not only served as the source for much of VRAF’s web site materials, but its VRA elements were also used as the basis of a white paper on the VRA developed for the 2006 redesign of vraweb.org. (Loy Zimmerman) SUMMER EDUCATIONAL INSTITUTE CO-CHAIR SLIDE 13SLIDE 14 On the go from early morning to late evening, Kathe never tired. She was always available to students and instructors to answer questions, solve problems and give advice. Kathe is always willing to put in extra time and energy. Kathe approaches challenges in a thoughtful and creative manner, taking the time to weigh alternatives and consider other opinions. (AlixReiskind) MENTOR PROGRAMSLIDE 15SLIDE 16 In addition to the years of dedicated service to on- going development and administration of VRA, Kathe still found time to create opportunities for mentorship and member support. Kathe’s personal mentorship of VRA members is a commonly known fact and includes the statistic that she has volunteered eight out of the thirteen years that the Annual Conference Mentor Program has been in existence. I will never forget the joy and amazement expressed on the face of a young curator attending her first conference when she realized that Kathe, then President of the VRA, would be in her own words, “my very own mentor.” (Margo Ballantyne) CONCLUSIONS SLIDE 17Ann and I have had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Jeanne Keefe & Ann Thomas) SLIDE 18TOGETHER: “Truly a woman for all seasons…” DISTINGUISHED SERVICE AWARD PRESENTATIONKathe AlbrechtSLIDE 4Good Afternoon, Members of the Visual Resources Association, guests, and friends.INTRODUCTIONSLIDE 5We have both had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Ann Thomas and Jeanne Keefe) SLIDE 6While working with Kathe on the VRA Executive Board, VRA Foundation Task Force and the VRA Foundation Board, it became increasingly apparent that as a leader she possesses the rare combination of an entrepreneurial mind with the organizational skills, people skills and determination to carry creative ideas through to their implementation (Margo Ballantyne) SLIDE 7Kathe is the consummate professional in her many areas of service for VRA and the VRAF. Her decision-making is constantly based on what is best for the organization. Kathe’s devotion and passionate commitment to the visual resources field is what informs her leadership. For the past several years I have had the honor of working closely with Kathe as a partner in all things VRAF. Her incredible energy is invaluable in this realm. In addition, I have always admired Kathe’s ability to handle any situation that comes her way with grace and aplomb. She deserves mucho kudos for bringing the SEI to maturity, making it the premier program that it is today. Kathe … truly deserves our recognition as the 2012 VRA DSA Award winner. (Elisa Lanzi) EARLY CAREERSLIDE 8At American University she was an early adopter of digital imaging and an advocate for the university’s involvement in the Museum Educational Site Licensing Project (1994-1997). Kathe served as one of three campus coordinators for this digital imaging project funded by the Getty Foundation. She has twice been the recipient of the American University Staff Achievement Award…and in 2002 was given the American University Dedicated Service Award. With colleagues at AU Kathe has received a number of grants for digital imaging projects. (Macie Hall)SLIDE 9From the outset of my participation in the VRA, Kathe stood out as a visible and accomplished leader, representing the interests of the VRA at the CONFU hearings and providing critical advocacy at the national level for the fair use of images. I believe her efforts as a CONFU representative and as Intellectual Property Rights Committee Chair played a critical role in helping all of us understand and navigate a world where the use of images was rapidly altered by digital technology.(Betha Whitlow)TASK FORCES & COMMITTEES I was Chair of the Nominating Committee during a challenging period. Kathe was an immense help in recruiting candidates for office during her tenure as a Committee member. I found her knowledge of the membership to be vast, and her insights on the qualities an effective Board member should display to be invaluable. Her thoughtful comments and candidate suggestions demonstrated her focus on the best interests of the Association. (Ann Burns)PRESIDENT OF VRA SLIDE 10 She also uniquely managed to make the challenges of Board work fun as well as satisfying by encouraging an environment of conversation, collegiality, and civility—qualities that I have tried to emulate in my own leadership roles. (Betha Whitlow)VRA FOUNDATION DIRECTORSLIDE 11As both a Founding Director and Director of the VRAF, Kathe has tirelessly sought to support important projects such as CCO (Cataloguing Cultural Objects) and SEI (the ARLIS/NA-VRA Summer Educational Institute), while implementing funding initiatives such as a professional development grant program. (Betha Whitlow)SLIDE 12In the preparation, for instance, of the application for IRS recognition of the Foundation as a 501(c)(3) non-profit organization, one of the most important required documents was a narrative description of VRAF’s activities. “Describe completely and in detail past, present, and planned activities,” was how the IRS put it. Consequently, we had to describe not just the plans for VRAF’s future activity, but also give an accounting of VRA, its history and purpose, and the relationship of the two organizations. Kathe, with Elisa Lanzi, volunteered for the task, and the lengthy document they produced was so beautifully written that it not only served as the source for much of VRAF’s web site materials, but its VRA elements were also used as the basis of a white paper on the VRA developed for the 2006 redesign of vraweb.org. (Loy Zimmerman) SUMMER EDUCATIONAL INSTITUTE CO-CHAIR SLIDE 13SLIDE 14 On the go from early morning to late evening, Kathe never tired. She was always available to students and instructors to answer questions, solve problems and give advice. Kathe is always willing to put in extra time and energy. Kathe approaches challenges in a thoughtful and creative manner, taking the time to weigh alternatives and consider other opinions. (AlixReiskind) MENTOR PROGRAMSLIDE 15SLIDE 16 In addition to the years of dedicated service to on- going development and administration of VRA, Kathe still found time to create opportunities for mentorship and member support. Kathe’s personal mentorship of VRA members is a commonly known fact and includes the statistic that she has volunteered eight out of the thirteen years that the Annual Conference Mentor Program has been in existence. I will never forget the joy and amazement expressed on the face of a young curator attending her first conference when she realized that Kathe, then President of the VRA, would be in her own words, “my very own mentor.” (Margo Ballantyne) CONCLUSIONS SLIDE 17Ann and I have had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Jeanne Keefe & Ann Thomas) SLIDE 18TOGETHER: “Truly a woman for all seasons…” DISTINGUISHED SERVICE AWARD PRESENTATIONKathe AlbrechtSLIDE 4Good Afternoon, Members of the Visual Resources Association, guests, and friends.INTRODUCTIONSLIDE 5We have both had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Ann Thomas and Jeanne Keefe) SLIDE 6While working with Kathe on the VRA Executive Board, VRA Foundation Task Force and the VRA Foundation Board, it became increasingly apparent that as a leader she possesses the rare combination of an entrepreneurial mind with the organizational skills, people skills and determination to carry creative ideas through to their implementation (Margo Ballantyne) SLIDE 7Kathe is the consummate professional in her many areas of service for VRA and the VRAF. Her decision-making is constantly based on what is best for the organization. Kathe’s devotion and passionate commitment to the visual resources field is what informs her leadership. For the past several years I have had the honor of working closely with Kathe as a partner in all things VRAF. Her incredible energy is invaluable in this realm. In addition, I have always admired Kathe’s ability to handle any situation that comes her way with grace and aplomb. She deserves mucho kudos for bringing the SEI to maturity, making it the premier program that it is today. Kathe … truly deserves our recognition as the 2012 VRA DSA Award winner. (Elisa Lanzi) EARLY CAREERSLIDE 8At American University she was an early adopter of digital imaging and an advocate for the university’s involvement in the Museum Educational Site Licensing Project (1994-1997). Kathe served as one of three campus coordinators for this digital imaging project funded by the Getty Foundation. She has twice been the recipient of the American University Staff Achievement Award…and in 2002 was given the American University Dedicated Service Award. With colleagues at AU Kathe has received a number of grants for digital imaging projects. (Macie Hall)SLIDE 9From the outset of my participation in the VRA, Kathe stood out as a visible and accomplished leader, representing the interests of the VRA at the CONFU hearings and providing critical advocacy at the national level for the fair use of images. I believe her efforts as a CONFU representative and as Intellectual Property Rights Committee Chair played a critical role in helping all of us understand and navigate a world where the use of images was rapidly altered by digital technology.(Betha Whitlow)TASK FORCES & COMMITTEES I was Chair of the Nominating Committee during a challenging period. Kathe was an immense help in recruiting candidates for office during her tenure as a Committee member. I found her knowledge of the membership to be vast, and her insights on the qualities an effective Board member should display to be invaluable. Her thoughtful comments and candidate suggestions demonstrated her focus on the best interests of the Association. (Ann Burns)PRESIDENT OF VRA SLIDE 10 She also uniquely managed to make the challenges of Board work fun as well as satisfying by encouraging an environment of conversation, collegiality, and civility—qualities that I have tried to emulate in my own leadership roles. (Betha Whitlow)VRA FOUNDATION DIRECTORSLIDE 11As both a Founding Director and Director of the VRAF, Kathe has tirelessly sought to support important projects such as CCO (Cataloguing Cultural Objects) and SEI (the ARLIS/NA-VRA Summer Educational Institute), while implementing funding initiatives such as a professional development grant program. (Betha Whitlow)SLIDE 12In the preparation, for instance, of the application for IRS recognition of the Foundation as a 501(c)(3) non-profit organization, one of the most important required documents was a narrative description of VRAF’s activities. “Describe completely and in detail past, present, and planned activities,” was how the IRS put it. Consequently, we had to describe not just the plans for VRAF’s future activity, but also give an accounting of VRA, its history and purpose, and the relationship of the two organizations. Kathe, with Elisa Lanzi, volunteered for the task, and the lengthy document they produced was so beautifully written that it not only served as the source for much of VRAF’s web site materials, but its VRA elements were also used as the basis of a white paper on the VRA developed for the 2006 redesign of vraweb.org. (Loy Zimmerman) SUMMER EDUCATIONAL INSTITUTE CO-CHAIR SLIDE 13SLIDE 14 On the go from early morning to late evening, Kathe never tired. She was always available to students and instructors to answer questions, solve problems and give advice. Kathe is always willing to put in extra time and energy. Kathe approaches challenges in a thoughtful and creative manner, taking the time to weigh alternatives and consider other opinions. (AlixReiskind) MENTOR PROGRAMSLIDE 15SLIDE 16 In addition to the years of dedicated service to on- going development and administration of VRA, Kathe still found time to create opportunities for mentorship and member support. Kathe’s personal mentorship of VRA members is a commonly known fact and includes the statistic that she has volunteered eight out of the thirteen years that the Annual Conference Mentor Program has been in existence. I will never forget the joy and amazement expressed on the face of a young curator attending her first conference when she realized that Kathe, then President of the VRA, would be in her own words, “my very own mentor.” (Margo Ballantyne) CONCLUSIONS SLIDE 17Ann and I have had the honor to have worked closely with Kathe on the VRA Executive Board, the VRA Foundation Board, and the Summer Educational Institute and can attest to her energy, enthusiasm, competence, organizational skills, leadership qualities, and (above all) to her support of and generosity to those engaged with her in forwarding the mission of the VRA. (Jeanne Keefe & Ann Thomas) SLIDE 18TOGETHER: “Truly a woman for all seasons…”
Award presentation by Maureen Burns. 2012 VRA Distinguished Service Award RemarksKathe Hicks AlbrechtI am deeply honored to receive the 2012 VRA Distinguished Service Award. This organization has meant so much to me over the years and I cannot imagine a more meaningful recognition. I want to, first and foremost, thank Jeanne Keefe and Ann Thomas for spearheading the nomination. You two have been major influences on me personally as we’ve served together on the VRA Board, the VRA Foundation board, and the SEI Implementation Team, significant commitments that we each made to VRA. I am always very grateful to have you on any project. Thank you, also, to my colleagues who generously wrote letters of support. I am touched by your kind words and delighted that you found me worthy of support for this award. Many thanks go to the Travel Awards Committee for recommending me for this award. I also want to thank my husband Mark who is here today for his ongoing support of everything I do—I hope many of you get a chance to meet him. We travel together through life but we also found ourselves in nearby states this week so he drove down from Colorado this morning to be here today. I want to speak for a few minutes if I may, about this great organization that welcomed me as a new curator to the profession almost 25 years ago and today has bestowed on me such a prestigious award. VRA is an amazing collective of people who care deeply for the profession and at the same time support and encourage their colleagues. Many organizations are not like that—they are competitive, bureaucratic, and less conducive to supporting individuals within the organization. VRA is quite unique in this regard. This unique quality allows us each to contribute in ways important to us individually, to innovate and develop ideas in a “think tank” atmosphere of collegiality, and to ultimately impact VRA as an organization and the profession as a whole. This semester I’ve been studying contemporary philosophy and systems of knowledge and learned about a form that occurs in nature called the rhizome. I think of VRA as a rhizome. The rhizome grows in a very non-linear pattern, with each piece or section able to give rise to a new form, and with each section able to grow in any number of directions. There is no beginning and no end to a rhizome. Its growth may seem to have a haphazard pattern as the parts are connected together with no particular hierarchy. But any point can connect to any other point so the whole evolves beautifully and creatively along new paths, incorporating ideas and knowledge learned along the way. I encourage us all to think of VRA as a splendid rhizome. And remember what I learned early on: That you can make this organization work for you and your career, as you work for the organization. Choose your focus and impact our profession. Is it digital preservation? Copyright issues? Metadata? Education and pedagogy? Developing new VR oriented social networking tools? I was inspired by Todd Carter’s Legacy Lecture yesterday on Tagasauris. This exciting project is one to which VRA members can significantly contribute. Or is your focus on some aspect of the profession that hasn’t yet been found along the rhizomatic pathway? Find that focus and along the way I guarantee you will get to know many innovative, supportive, creative, and brilliant colleagues. As I always like to say VRA as an organization is bigger than the sum of its individual parts, but that is only because of the creative wealth of its individual parts. That’s you!Again, I thank you immensely for this incredible honor and I very much look forward to working with you on future projects and sharing the VRA experience in the coming years.
Conclusionof Awards Ceremony MNWThis concludes the 2012 Nancy DeLaurier and Distinguished Service Award program. Thank you of helping me to honor the achievements of these fine visual resources professionals. Please join me in congratulating them once again.