Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Library of Congress Cataloging-in-Publication Data /VII/s13/frbr/frbr.pdf).
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EditorsMurtha BacaHead, Getty Vocabulary Program and Digital Resource Management, Getty Research Institute, Los Angeles, California Patricia HarpringManaging Editor, Getty Vocabulary Program, Getty Research Institute, Los Angeles, California Elisa LanziDirector, Imaging Center, Department of Art, Smith College, Northampton, MassachusettsLinda McRaeDirector, College of Visual and Performing Arts, Visual Resources Library, University of South Florida, Tampa, Florida Ann WhitesideHead, Rotch Library of Architecture and Planning, Massachusetts Institute of Technology, Cambridge, MassachusettsProject ManagerDiane M. ZorichInformation Management Consultant for Cultural Organizations, Princeton, New JerseyAdvisory Committee Matthew BeacomMetadata Librarian, Yale University Library, New Haven, ConnecticutErin Coburn Manager, Collections Information, J. Paul Getty Museum, Los Angeles, California Janice EklundCurator of Visual Resources, Department of History of Art, University of California, Berkeley, California Mary ElingsArchivist for Digital Collections, The Bancroft Library, University of California, Berkeley, California Ardys Kozbial Digital Projects Librarian, University of California, San Diego, La Jolla, California Elizabeth O™KeefeDirector of Collection Information Systems, Pierpont Morgan Library, New York, New York Trish Rose Metadata Librarian, University of California, San Diego, La Jolla, California Layna WhiteHead of Collections Information and Access, San Francisco Museum of Modern Art, San Francisco, California AcknowledgementsMAJOR FUNDINGThe Getty Foundation, Los Angeles, California Digital Library Federation, Washington, DC ADDITIONAL ASSISTANCE Andrew W. Mellon Foundation New York, New York Donald J. Waters, Program Officer, Scholarly CommunicationsCataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images Getty Research Institute Los Angeles, California Murtha Baca, Head, Getty Vocabulary Program and Digital Resource Management J. Paul Getty Trust, Los Angeles, California Kenneth Hamma, Executive Director, Digital Policy and InitiativesRice University, Houston, Texas Chuck Henry, Chief Information Officer Mark Pompelia, Director of Visual Resources, Department of Art HistoryGaylon Denney, Budget Director, Department of Art HistoryUnion Catalog of Art Images, University ofCalifornia, San Diego, La Jolla, California Linda Barnhart, UCAI Project Coordinator Brad Westbrook, formerly UCAI Design Librarian University of South FloridaCollege of Visual and Performing Arts, Tampa, Florida, Faculty Research Council Visual Resources AssociationEXECUTIVE BOARD 2005Kathe Hicks Albrecht Visual Resources Curator, American University, Washington, DC Virginia (Macie) Hall Senior Information Technology Specialist, Johns Hopkins University, Baltimore, Maryland Jeanne M. KeefeVisual Resources Librarian, Rensselaer Polytechnic Institute, Troy, New York Betha WhitlowCurator of Visual Resources, Washington University in Saint Louis, Saint Louis, MissouriLinda ReynoldsVisual Resources Curator, Williams College, Williamstown, Massachusetts Ann M. ThomasSlide Curator, Union College, Schenectady, New York Christine E. HilkerDirector, Smart Media Center, University of Arkansas, Fayetteville, ArkansasPROJECT TREASURERLoy Zimmerman Arts Curator, Visual Resources Collection, University of California, Irvine, Irvine, California Project Web Designers PHASE I DESIGNMark PompeliaDirector, Visual Resources Center, Department of Art History, Rice University, Houston, Texas Phase I Web site images courtesy of Allan T. Kohl and the Art Images for College Teaching Web site, a free-use image resource for the educational community.
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PHASE II DESIGN AND CCO LOGOKalika Yap CEO, Citrus Studios,Santa Monica, California CCO Listserv Coordinator Benjamin KesslerChicago, IllinoisCCO ReviewersRandal BrandtPrincipal Cataloger, Bancroft Library, University of California, Berkeley, California Carole Campbell Registrar, J. Paul Getty Museum, Los Angeles, California Jennie ChoiCollections Management Coordinator, Metropolitan Museum of Art, New York, New York Sherman Clarke Head of Original Cataloging, Bobst Library, New York University, New York, New York Claudine DixonCuratorial Associate, Grunwald Center for the Graphic Arts, Hammer Museum, UCLA, Los Angeles, California Heather DunnHeritage Information Analyst, Standards, Canadian Heritage Information Network, Gatineau, QuebecJames EasonArchivist for Pictorial Collections, The Bancroft Library, University of California, Berkeley, Berkeley, California Eileen FryFine Arts Slide Librarian and DIDO Administrator, Indiana University, Bloomington, IndianaJonathan Furner Associate Professor, Department of Information Studies, University of California, Los Angeles, Los Angeles, California Jocelyn GibbsHead of Special Collections Cataloging, Getty Research Institute, Los Angeles, California Virginia (Macie) Hall Senior Information Technology Specialist, Johns Hopkins University, Baltimore, Maryland Benjamin Kessler, Chicago, IllinoisBrian MainsArt Information Manager, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California Marla MisunasCollections Information Manager, San Francisco Museum of Modern Art, San Francisco, California Lina Nagel Vega Project Director, Tesauro de Arte & Arquitectura, Centro de Documentación de Bienes Patrimoniales, Santiago, ChileMaria OldalHead of Cataloging and Database Maintenance, Pierpont Morgan Library, New York, New York Jane Bassett RosarioPrincipal Processing Archivist, The Bancroft Library, University of California, Berkeley, Berkeley, California Judy Silverman Head of Cataloguing, Canadian Centre for Architecture, Library, Montréal, QuébecErin StalbergHead, Cataloging Services, University of Virginia Library, Charlottesville, Virginia Kay Teel Cataloging Librarian, Stanford University, Stanford, California Special ThanksTo Joan Weinstein, Associate Director, and Jack Meyers (formerly Deputy Director) of the Getty Foundation, and David Seaman, Executive Direc- tor, and Daniel Greenstein (formerly Executive Director) of the Digital Library Federation, for their vision and advocacy.To Madeleine Lafaille, Canadian Info-Muse Network, for providing copies of the Canadian Info-Muse Network cataloging guide, Document-ing Your Collections: Info-Muse Network Docu- mentation Guide; Elizabeth O™Donnell for the translations of Méthode d™inventaire informatique des objects beaux-arts et arts décoratifs, theFrench museum documentation guide. To members of the VRA Data Standards Committee who were actively involved in the ini- tial planning stages: Jane Ferger, Margaret Webster, Benjamin Kessler, Eileen Fry, Janice Eklund, and Elizabeth O™Donnell. The following individuals contributed unpublished cataloging manuals used at their institutions: Sheryl Fisch (California State University cataloging manual); Gregory Most (Manual for Cataloging and Classifying Slides, National Gallery of Art Slide Library); Linda Bien (ARTSIŠAutomated ReTrieval of Slide Information Cataloging Man- ual, Concordia University); and Sheila Hannah (VIRCONA Data Dictionary, Bainbridge Bunting Memorial Slide Library, University of New Mexico).To Patrick Hogan, Editorial Director, and Jenni Fry, Acquisitions Editor, of ALA Editions, and to Helen Glenn Court of Formandsubstance.com. Last, but not least, to the many catalogers across the cultural heritage community who have contributed their valuable expertise and point of view.Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images
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CCO Logo Design: Citrus StudiosCover image courtesy of Allan T. Kohl, Art Images for College Teaching While extensive effort has gone into ensuring the reliability of informa- tion appearing in this book, the publisher makes no warranty, express or implied, on the accuracy or reliability of the information, and does not assume and hereby disclaims any liability to any person for any loss or damage caused by errors or omissions in this publication. Design and composition by ALA Editions in Bookman and HelveticaCondensed typefaces using QuarkXPress 5.0 on a PC platform. Printed on 50-pound white offset, a pH-neutral stock, and bound in 10-point cover stock by Victor Graphics. The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesŠPermanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Library of Congress Cataloging-in-Publication Data Cataloging cultural objects : a guide to describing cultural works andtheir images / editors, Murtha Baca [et al.].p.cm. Includes bibliographical references and index. ISBN 0-8389-3564-8 1. Cultural propertyŠDocumentationŠStandards. 2. AntiquitiesŠ DocumentationŠStandards. 3. ArchitectureŠDocumentationŠ Standards. 4. ArtŠDocumentationŠStandards. 5. CatalogingŠ Handbooks, manuals, etc. 6. Cataloging of artŠHandbooks, manuals, etc. 7. Cataloging of picturesŠHandbooks, manuals, etc.I. Baca, Murtha. CC135.C37 2006 363.6’9Šdc222006013342 ISBN-10: 0-8389-3564-8 ISBN-13: 978-0-8389-3564-4Copyright © 2006 by Visual Resources Association. All rights reserved except those which may be granted by Sections 107 and 108 of the Copyright Revision Act of 1976.Printed in the United States of America 100908070654321
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viiContentsIntroduction PurposexiAudiencexiiScope and MethodologyxiiiŠPART ONE Š General Guidelines1I.How to Use This Guide 1II.What Are You Cataloging? 3III.Works and Images 4IV.Minimal Descriptions 7V.Record Type 13VI.Related Works 13VII.Database Design and Relationships 20VIII.Authority Files and Controlled Vocabularies 27IX.Examples of Work Records 34ŠPART TWO Š Elements43I.CCO Elements 43II.List of Elements 441Object Naming 481.1About Object Naming 481.1.1Discussion 481.1.2Terminology 521.2Cataloging Rules 541.2.1Rules for Work Type 541.2.2Rules for Title 581.3Presentation of the Data 701.3.1Display and Indexing 701.3.2Examples 712Creator Information 772.1About Creator Information 772.1.1Discussion 772.1.2Terminology 792.2Cataloging Rules 812.2.1Rules for Creator 812.2.2Rules for Creator Role 962.3Presentation of the Data 972.3.1Display and Indexing97 2.3.2Examples 993Physical Characteristics 1043.1About Physical Characteristics 1043.1.1Discussion 1043.1.2Terminology 1073.2Cataloging Rules 1093.2.1Rules for Measurements 1093.2.2Rules for Materials and Techniques 1213.2.3Rules for State and Edition1353.2.4Rules for Additional Physical Characteristics140
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A.1.3Presentation of the Data 304A.1.3.1Display and Indexing304A.1.3.2Examples 307A.2Geographic Place Authority 312A.2.1About the Geographic Place Authority312A.2.1.1Discussion 312A.2.1.2Terminology 315A.2.2Editorial Rules 317A.2.2.1Rules for Place Names317A.2.2.2Rules for Other Elements320A.2.3Presentation of the Data 324A.2.3.1Display and Indexing324A.2.3.2Examples 326A.3Concept Authority 331A.3.1About the Concept Authority331A.3.1.1Discussion 331A.3.1.2Terminology 336A.3.2Editorial Rules 338A.3.2.1Rules for Terms 338A.3.2.2Rules for Other Elements342A.3.3Presentation of the Data 345A.3.3.1Display and Indexing345A.3.3.2Examples 346A.4Subject Authority 352A.4.1About the Subject Authority352A.4.1.1Discussion 352A.4.1.2Terminology 355A.4.2Editorial Rules 357A.4.2.1Rules for Subject Names357A.4.2.2Rules for Other Elements359A.4.3Presentation of the Data 362A.4.3.1Display and Indexing362A.4.3.2Examples 364Selected Bibliography371Glossary375Contributors379Index381Contentsix
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xiPURPOSEOver the last decade, many organizations and agencies have been working toward developing data standards for creating descriptions of and retrieving information about cultural objects. Data standards not only promote the recording of informa- tion consistently but are also fundamental to retrieving it efficiently. They promote data sharing, improve content management, and reduce redundant efforts. In time, the accumulation of consistently documented records across multiple reposi- tories will increase access to content by maximizing research results. Ultimately, uniform documentation will promote the development of a body of cultural her- itage information that will greatly enhance research and teaching in the arts and humanities.Standards that guide data structure, data values, and data content form the basis for a set of tools that can lead to good descriptive cataloging, consistent documen- tation, shared records, and increased end-user access. In the art and cultural her- itage communities, the most fully developed type of data standards are those that enumerate a set of categories or metadata elements that can be used to create a structure for a fielded format in a database. Categories for the Description of Works of Art (CDWA) is an example of a metadata element set. The CDWA Lite XMLschema and the VRA Core Categories, Version 4.0 schema are examples of meta- data element sets expressed within an XML structure. Although a data structure is the logical first step in the development of standards, a structure alone will achieve neither a high rate of descriptive consistency on the part of catalogers, nor a high rate of retrieval on the part of end users. Standards that govern the words (data values), and their selection, organization, and formatting (data content) are two other types of standards that must be used in conjunction with an agreed-upon data structure. Far more work has been done in developing standards for data values than for data content, typically in the form of thesauri and controlled vocabularies such as the Thesaurus for GraphicMaterials (TGM), the Art & Architecture Thesaurus (AAT), the Union List of ArtistIntroduction
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Names (ULAN), and the Getty Thesaurus of Geographic Names (TGN). Along withthe Library of Congress Name and Subject Authorities, the Getty vocabularies and other thesauri bring us to the second step on the road to documentation stan- dards and the potential for shared cataloging. Cataloging Cultural Objects(CCO) takes us to the third step by providing stan- dards for data content. Until now, little published documentation on data content standards has applied to cultural worksŠstandards that guide the choice of terms and define the order, syntax, and form in which data values should be entered into a data structure. The library and archival communities have well-established rules for data content in the form of the Anglo-American Cataloguing Rules(AACR)and, more recently, Describing Archives: A Content Standard (DACS). The culturalheritage community in the United States, on the other hand, has never had any similar published guidelines that meet the unique and often idiosyncratic descrip- tive requirements of one-of-a-kind cultural objects. Cataloging Cultural Objectshasbeen developed to fill this gap. Building on existing standards, Cataloging CulturalObjectsprovides guidelines for selecting, ordering, and formatting data used to populate metadata elements in a catalog record; this manual is designed to pro- mote good descriptive cataloging, shared documentation, and enhanced end-user access. It is also intended to inform the decision-making processes of catalogers and builders of cultural heritage systems. In CCO, the emphasis is on principles of good cataloging and documentation, rather than on rigid rules that do not allow catalogers and system implementers to make informed judgments about the infor- mation they create and how it will be presented to their users. We hope that, whether used locally as an aid in developing training manuals or in-house cata- loging rules, or more broadly in a shared environment as a guide to building con- sistent cultural heritage documentation, this manual will advance the increasing move toward shared cataloging and contribute to improved documentation and access to cultural heritage information. AUDIENCECataloging Cultural Objectswas designed specifically for members of the communi-ties engaged in describing and documenting works of art, architecture, cultural artifacts, and images of these thingsŠmuseum documentation specialists, visual resources curators, archivists, librarians, or anyone who documents cultural objects and their images. Although the guide is not about system design, it may also be useful to system designers who need to understand the nature and form of cultural object information. The guide attempts to balance the needs of various audiences but recognizes that each institution will have its own local requirements. Additionally, it is understood that those who describe original objects rather than analog or digital images of objects may require some additional, specialized guidelines. Museum registrars, for example, may require more detailed procedures for measuring an object or describing its condition or conservation. In addition to the bibliography that accompanies this manual, recommendations within the chapters include addi- tional specialized sources for cataloging museum collections. xiiIntroduction
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SCOPE AND METHODOLOGYCataloging Cultural Objectsfocuses on data content standards for descriptive cata- logingŠstandards that guide the choice of terms, and that define the order, syntax, and form in which those terms, phrases, values, and narrative descrip- tions are recorded. Other types of data standards (for example, data structure, data value, and interchange standards) are excluded, except where relevant to a discussion of data content standards. For example, each chapter references stan- dard tools appropriate to specific elements. Controlled vocabularies and various thesauri are recommended for building local authority files. The primary emphasis of CCO is descriptive metadata and authority controlŠdata intended to describe a cultural work, data used to create catalog records for that work and images of it. Administrative metadata (data used in managing and administering information resources) and technical metadata (for example, data to record digital image file properties) are excluded except where relevant to a discus- sion of descriptive metadata. For example, the guide often makes the distinction between controlled fields and fields used for display. Although the guide is system independent, it sometimes recommends using one or both types of fields within a local database based upon the needs of the cataloging institution. CCO includes elements used to describe both works and images, but does not include elements that involve administrative metadata. For example, Chapter 3: Physical Char- acteristics covers the physical characteristics of the work but not of the image, because physical characteristics of the image such as its size and format fall within the realm of technical metadata. CCO covers many types of cultural works, including architecture, paintings, sculpture, prints, manuscripts, photographs and other visual media, performance art, archaeological sites and artifacts, and various functional objects from the realm of material culture. CCO is designed for museum collections, visual resources collections, archives, and libraries with a primary emphasis on art and architecture. CCO is not intended for natural history or scientific collections. The research for CCO began with a review of the literature, emphasizing cataloging applications and best practice. Critical elements from the VRA Core 3.0 and from Categories for the Description of Works of Art (CDWA) were included. A summary of practice related to each element was compiled from the sources under review. Whenever possible, recommendations were based on common practice. The survey of literature produced a short list of published sources consisting of data dictionaries, museum documentation manuals, and standard library and archival sources. To obtain unpublished manuals, a call went out to various electronic discussion lists requesting local manuals and guidelines; these were also used in the initial evalua- tion of materials.Some elements were eventually rejected on the grounds that they dealt more with administrative, technical, or structural metadata relating to assets than with descriptive metadata relating to works and their images. The elements that were retained were grouped according to purpose and formed the basis for the nine chapters that comprise Part 2 of this manual.Both the form and content for the guide underwent rigorous editorial review, as well as the critique of an advisory committee representing all of the various target com- munities, including library, archival, museum, and visual resources professionals. Introduction xiiiC
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