Laurie Palumbo, Cataloging and Metadata Librarian, Art + Design Subject Coordinator
West Chester University of Pennsylvania
lpalumbo@wcupa.edu
https://arlisna.hcommons.org/deposits/item/hc:45745
The Library Company of Philadelphia is an independent research library that supports the study of American history through its collection of rare books and graphic materials. Founded by Benjamin Franklin as a subscription library in 1731, The Library Company serves a varied constituency and is well respected for its exhibitions, public programming, fellowships, and digital collections. Imperfect History: Curating the Graphic Arts Collection at Benjamin Franklin’s Public Library is their latest project. Commemorating the fiftieth anniversary of the Graphic Arts Department, it provides the opportunity to reexamine and reinterpret longstanding collections through the complex narrative of racial biases and cultural influences.
The multifaceted, multimedia site offers access to the various grant-funded project outcomes including exhibitions, catalogs, videos, a workshop, and symposium. While an impressive amount of content is available, navigating the offerings can be confusing. There is little differentiation in the font and color of the selections, some of which may benefit from stacking in drop-down menus under key events. The digital exhibition is only accessible within the introductory page of the in-person exhibition, while the digital catalog is only accessible from the main project page.
Once in the digital exhibition, there is a hamburger menu to navigate the six sections, each thoughtfully tackling topics such as visual literacy, stewardship, and intrinsic value. The viewer scrolls down to view high quality images of lithographs, daguerreotypes, maps, drawings, and scrapbooks. An interactive magnifying glass is a fun feature that appears when an image is clicked on, allowing movement around the digital object to inspect details. The intent of the arrows on each side of the image is unclear, as they do not lead to additional views nor back to the exhibit.
The digital exhibition culminates in a timeline featuring key moments in the history of The Library Company and the Graphic Arts Department. There is a block in the department’s timeline with images of several past exhibits and catalog covers, which makes the viewer curious for more. It is perhaps a missed opportunity to not have enhanced the timeline with an interactive element, connecting viewers to more information or images of the highlights.
The standalone digital catalog features three objects interpreted by four guest “catalogers,” chosen for their unique expertise. Again, navigating the project page can be confusing as linking across the top duplicates access but also restricts interaction. One of the more successful sections is the Catalog. Here, the viewer selects a title to connect with the digital image and a guest cataloger’s content, formatted as a cataloging record. The image stays in place while arrows at each side of the record allow the viewer to move the entries back and forth for comparison. This effective feature examines the concept of objectivity in traditional library cataloging and description through the juxtaposition of interpretations by the contributors.
The impact of the past two years is apparent throughout this project, both in the ideas and offerings. Rather than a limitation, it feels appropriate to the project and speaks with urgency to the times in which we live. While navigation is not always intuitive, the digital projects are aesthetically appealing and exciting to move through–it feels special to visit and learn about the works included. The easily accessible content offers simultaneous historical reflection and a prescient contribution to the telling and interpreting of the complicated history of the United States. The digital projects are valuable tools for students, scholars, and curious citizens interested in making connections between graphic materials, past ideas, and present considerations.