Although the ARLIS International Conference in April was primarily devoted to the study of art periodicals, considerable discussion, and one formal session, concerned the desirability of an international art libraries society, ARLIS International. With delegates from Australia and New Zealand, Canada, Eire, France, Germany, Holland, Nigeria, Norway, Sweden, Switzerland, the United Kingdom, and the United States of America, it was apparent that some consensus of opinion could be taken which would reflect the need for international cooperation between art libraries.

Each of the 120-odd delegates to the International Conference went away with a different impression. Anne Dallet’s report draws on one of these; it will, we hope, refresh readers’ memories of their conference, as well as informing those who could not attend.

Certain themes threaded the whole weekend. The significance of the art periodical, especially in recording contemporary art in the context of its times, for that time and for times to come, was continuously reaffirmed; on the other hand, the problems of publishing and acquiring those ‘little’ magazines which can play such an important part in this process, were raised time and time again. But also, some specific proposals won the approval of the conference, and deserve to be noted here whether or not they are capable of achievement. (Some may be more likely to be translated into effective action if the spirit of the conference can be embodied by an international organisation representing art librarians everywhere). These were

• (1) that a comprehensive bibliography of art periodicals, and union lists of library subscriptions to and holdings of art magazines, should be compiled;

• (2) that art librarians should bring periodicals in need of reprinting to the notice of publishers;

• (3) that art librarians should join in persuading magazine publishers to refrain from extracting from libraries a considerably higher subscription rate than that offered to individuals;

• (4) that a periodicals subscriptions agency is needed, which will specialise in art, and with whom art librarians could confidently place all their orders (including orders for ‘little’ magazines).

Approximately 6,000 current periodicals may be considered relevant to the art library, though no one art library can provide more than a fraction of these. Aids to the selection of an essential ‘core’ collection include specialized bibliographies; for access to periodicals outside its means or scope the art library must rely on cooperation with other libraries. Micro-publishing can play a vital part in facilitating global access. to art periodicals; meanwhile the art librariun can make a more informed selection of titles for a particular library, by analysing the needs of the library’s actual and potential users, and by studying what has been written on the history of art periodicals and of their usefulness. Excerpts from a paper presented to the ARLIS International Conference on art periodicals at the University of Sussex on April 9th.

The role, as a source of information and as a vehicle of art itself, the writing, and the future, of the contemporary art magazine. A paper presented to the ARLIS International Conference on art periodicals at the University of Sussex on April 9th.

A survey of the English, European, and American magazines which might have influenced 19th century architecture in Australia and other places distant from the centres of urban industrial civilisation, and of Australian architectural magazines of the same period.