Scholarly Peer Reviewed Journal Articles on Controversial Art and Censorship

Introduction: Mural Controversy at York University

The painting Palestinian Roots hanging in the Student Middle at the writer's establishment, York University, became the heart of controversy in early 2016 (Figure 1). Information technology depicts a bulldozer moving toward a tree with an Israeli settlement under construction in the background. At the forefront of the work is a alone male figure wearing a Palestinian keffiyeh (scarf) and another scarf resembling a Palestinian flag depicting Israel and the Palestinian territories without borders. He is holding rocks behind his back. The artist Ahmad Al Abid, a old student, describes his work as follows: "My inspiration for this piece is the ongoing consequence in Palestine where illegal settlement expansions have become common. These expansions come up at the expense of uprooting century old olive trees, trees intertwined with the roots of the Palestinian people."¹

Figure ane.

Ahmad Al Abid, Palestinian Roots, 2013, painting at the York Academy Student Heart. Photograph by the writer.

Meanwhile, Paul Bronfman—businessman, chairman and CEO of Comweb Corporation and William F. White International, chairman of Pinewood Toronto Studios, and director of the Friends of Simon Wiesenthal Centre—has expressed strong objections to the work. He sees the painting as "anti-Semitic" and "detest propaganda," and he has threatened to withdraw his back up for the University Movie theatre & Media Studies program. He stated:

The upshot is that if that poster is not gone past the end of day today and then William F. White is out of York. York is going to lose thousands of dollars of television set production equipment used for emerging educatee filmmakers, access to technical people who do education and student training and pupil seminars, workshops and open houses at William F. White Middle that assistance them develop the hard skills needed to make full manufacture infrastructure positions like gaffer or grip: they volition no longer be invited. York Academy will be persona non grata at William F. White International until they take that poster down.²

The vice president of operations of the York Federation of Students responded with the argument, "It is the view of the York University Student Middle and the York Federation of Students that this artwork is not hateful and is the artist's depiction of the resistance to the occupation of Palestinian land."³ The president of the university followed with an open message to the university community addressing the concerns of Mr. Bronfman:

The Academy understands and respects these concerns. Given that decisions with respect to the mural's continued display are the responsibility of the governing body responsible for the Pupil Centre, which is a dissever and distinct legal entity from the University, we sincerely promise that they will address the concerns which accept been expressed.

York University remains firmly committed to the values of freedom of expression, open up dialogue, and effective discussion. We await forward to standing the important dialogue around inclusion that has emerged.⁴

The controversy surrounding the student artwork at York Academy is not unique. Debates about academic freedom on academy and college campuses in the Usa and Canada are a frequent occurrence. Yet, groups such as the American Civil Liberties Union (ACLU), the Association of American University Professors (AAUP), and more than recently, the Function of the Dean of Students at the Academy of Chicago, believe that growing political definiteness and concerns about trigger warnings, prophylactic spaces, and microaggressions pose fifty-fifty greater threats to free speech.⁵ It is worthwhile, and also revealing, to examine the office played by the library in this contend. The university library, dissimilar the Student Middle at York University, is not a separate and distinct legal entity from the academy. It is also perceived by members of the academic community as a neutral infinite, as compared to the rest of the university where, in the words of noted historian and museum professional Lonnie Bunch, "irresolute directions and multi-cultural context of historical scholarship" have been debated for many decades.⁶ Libraries are expected, as directed by the American Library Association, to facilitate the debate by providing "materials and data presenting all points of view on current and historical bug."⁷ Neil Harris, professor of history at the University of Chicago, describes libraries as "dictionaries expected to reflect inclusiveness."^viii Yet libraries—national, public and bookish—have not been allowed from these controversies as relates to the preservation and promotion of social and cultural memory. Library exhibits are revealed, according to librarian Gwendolyn Reece, as one of "many sites of contestation in which the politics of representation play out."^nine Equally noted by Agglomeration, a large number of exhibitions that are considered controversial "all grapple with problems of inclusion and diverseness."^ten Some notable examples of library exhibits that have stirred controversy are described below.

Controversial Library Exhibits

In 1978, Armenia: The Perseverance of a People, a display in the Doe Library at the University of California, Berkeley Library depicting results of massacres in Armenia during Earth War I, drew strong objections from the Turkish students and the Turkish Consulate. Librarian Richard Dougherty responded to complaints by removing the showcase containing the most "inflammatory" materials. Dougherty told Library Journal that his activity "was in keeping with a long-continuing UC policy that information technology is not appropriate for the brandish cases in question to exist used to advocate a signal of view."¹¹ The exhibit was returned to the library on the guild of the chancellor, just without the pamphlet and captions that had formerly been found objectionable.¹² Manifestly, Dougherty privately was "furious about the censorship" but was under force per unit area of the chancellor, Albert Bowker, who thought the showroom was inappropriate and told Dougherty to "shut down the exhibit" or "give the Turks equal time."^thirteen

A unlike response, and different estimation of free expression, was seen in the actions of assistant library managing director Jerry Thrasher with respect to the highly controversial 1979 Ku Klux Klan exhibit at the Forsyth County Public Library in Winston-Salem, Northward Carolina, which caused a "melee."^xiv He stated that the library policy was to "merely to make its facilities available to any public group with an exhibit of 'interest to the public.' … The public doesn't empathize that nosotros don't endorse the Klan—nosotros endorse gratuitous expression."^fifteen Library director William Roberts III said, "The basic question is how practise you balance freedoms guaranteed by the First Amendment. And so again, you tin can't take a semi-riot in the library every other month. If faced with a choice, however, the library would come down on the side of liberty.^xvi

In 1995, there was an internal staff outcry at the Library of Congress confronting the exhibit Back of the Big House: The Cultural Landscape of the Plantation, curated by John Michael Vlach, professor of American studies and anthropology at George Washington Academy (Figure ii).¹⁷ In this instance, co-ordinate to The New York Times, the showroom "was knocked downward on Tuesday, only hours after its installation the day before. Many African-American staff members and officers of the library 'took umbrage' at the exhibition, said Jill Brett, a library spokeswoman."¹⁸ Meanwhile, the Librarian of Congress, James H. Billington, "played down the controversy, calling the evidence 'a small-scale traveling exhibit.'"^xix The exhibition had previously been seen at iv other venues and ultimately toured to 18 sites, including the Martin Luther Rex Jr. Library.²⁰

Figure 2.

Screenshot of Dorsum of the Big House, The Cultural Landscape of the Plantation, https://world wide web.gwu.edu/~folklife/bighouse/panel9.html.

This article examines how university libraries currently handle exhibits. What are their policies regarding exhibits and how exercise they deal with potentially controversial exhibits? Information technology too explores whether policies regarding exhibits held in library spaces support the principles of intellectual liberty and liberty of expression. Every bit pointed out by Swanick, Rankin, and Reinhart, "It is a given that the audience will exist larger and more than diverse than you lot anticipate, and they will perceive the exhibition differently than you envisioned."²¹ Taylor Fitchett notes, "Art has a powerful result on us. It tin can educate and enrich, equally well as provoke and enrage. It is extremely hard to predict what people will find offensive."²² As director of the Police force Library at the University of Virginia, and responsible for curating fine art displays for libraries for numerous years, Fitchett advises "if you cannot tolerate the controversy, you'd best stay away from art curation"; she also believes that "exhibits that receive few remarks from patrons to take been less successful than those that have created a little stir."²³

Library Pecker of Rights

Many of the policies examined in this study draw on the Library Nib of Rights, which provides guidelines regarding library exhibitions. The goals of the guidelines are to assist libraries with balancing competing rights while upholding freedom of expression. The Library Pecker of Rights advises that libraries "should provide materials and information presenting all points of view on current and historical problems."²⁴ In fact, Dougherty, defending his commitment to complimentary speech and rights nether the First Amendment, cited the Library Bill of Rights, which points to "a key responsibility of libraries to present all sides of a controversial issue."²⁵ He argued (publicly at least) that the library should too have displayed materials that represented the Turkish point of view.²⁶ The Library Bill of Rights also states that materials "should non be proscribed or removed because of partisan or doctrinal disapproval," that "libraries should challenge censorship in the fulfillment of their responsibleness to provide information and enlightenment, and that "libraries which brand exhibit spaces and coming together rooms bachelor to the public they serve should make such facilities available on an equitable basis, regardless of the beliefs or affiliations of individuals or groups requesting their use."²⁷ While not explicitly stated, these guidelines support the concept of library neutrality where the library is impartial and does non support or align itself with a particular position.

The Library Bill of Rights is described past ALA equally "unambiguous statements of bones principles that should govern the service of all libraries."²⁸ Even so, upon closer examination they appear to be far from "unambiguous." The ALA Office for Intellectual Freedom has found it necessary to provide guidelines regarding their interpretation. Included in these are guidelines for showroom spaces and bulletin boards routinely found in libraries. They propose that uses made of these exhibit spaces should conform to the Library Pecker of Rights:

In developing library exhibits, staff members should try to present a broad spectrum of opinion and a diversity of viewpoints. Libraries should not shrink from developing exhibits because of controversial content or because of the beliefs or affiliation of those whose work is represented. Just equally libraries do not endorse the viewpoints of those whose work is represented in their collections, libraries also do non endorse the beliefs or viewpoints of topics that may be the bailiwick of library exhibits.²⁹

In addition:

The library should non censor or remove an showroom considering some members of the customs may disagree with its content. Those who object to the content of any showroom held at the library should be able to submit their complaint and/or their own exhibit proposal to be judged according to the policies established past the library. Libraries may wish to post a permanent notice near the exhibit area stating that the library does not advocate or endorse the viewpoints of exhibits or exhibitors.^xxx

The guidelines can exist perceived as internally inconsistent and cast dubiety on whether the library is in fact neutral. They counsel against endorsing beliefs or viewpoints of exhibits while also instructing library staff to present a broad spectrum of stance and viewpoints when developing library exhibits, which in itself suggests a grade of censorship or what can be described as "compromise."³¹ Equally questioned by Judith Krug and Candace Morgan, does a "biased brandish" mean advocating a cause, and does neutrality require that both sides of a "cause" always be represented?³² This contradiction is evident in the exhibit policies of a number of university libraries.

Library Exhibit Policies

University libraries have a range of exhibit spaces—brandish cases, galleries, bulletin boards, walls—that are used to promote their own collections but are likewise often fabricated available to different communities at the academy (Figure iii).³³ The exhibits themselves accept different forms: books, manuscripts, art works, artifacts. While special collections departments routinely mount exhibits that highlight their collections,³⁴ exhibitions of art works are also pop. As outlined by Jill Cirasella and Miriam Deutch, the display of art happens in a range of means, including the exhibition of permanent art collections owned or managed by the library; in partnership with campus museums; temporary exhibitions of works; in permanent galleries housed in the art library or other libraries; or through educatee fine art contests.³⁵ Increasingly, libraries are perceived as a desirable "public identify" for artists to exhibit their work.³⁶ The benefits are reciprocal as gallery art exhibits in the library increase the visibility of the library.³⁷ At Concordia Academy (Montreal), the "libraries provide the possibility for first-fourth dimension student artists to exhibit besides as a unique public space for exhibitions" considering of "its varied user group which includes many non-gallery visitors."³⁸

Figure three.

Screenshot of Boston College University Libraries, "Exhibit Spaces," http://www.bc.edu/libraries/about/exhibits/spaces.html.

The library showroom policies that were examined in this study were retrieved by conducting a web search.³⁹ A total of 70-vii policies were reviewed, ranging from brief to detailed. Examples cited in this paper are drawn from a representative sample of the more than developed policies. These policies unremarkably include a number of common elements, such as purpose, criteria, academic freedom statement, disclaimer, and dispute resolution. All the same, ambivalence is introduced past the inclusion of linguistic communication relating to both intellectual freedom as well as censorship.

Purpose

The get-go element included in policies is the purpose of library exhibits, which is tied normally to the goals and/or mission of the library. This policy from California State Academy, Sacramento Library is an instance:

It is the purpose of the Exhibits Program to support the Library's mission by providing information in alternative forms, and enriching customs knowledge on a large array of varied subject matter, featuring a broad spectrum of opinion and viewpoints. Exhibits may provide informational and artistic materials, including artwork, music, and other forms of entertainment.^twoscore

Other purposes most frequently cited in exhibit policies include:

• Publicize the richness and diversity of the libraries' collections

• Educate and inform patrons and visitors nigh subjects of electric current or historical involvement through the use of scholarly resource

• Provide opportunities to view art and artifacts

• Encourage intellectual, aesthetic, and artistic growth

• Encourage individuals to contribute to the expansion of cognition

• Support university events, programs, activities, and accomplishments

• Highlight the scholarly and creative accomplishments of the university community

• Complement campus programs and events, such as conferences and symposia

• Engage in collaborative projects with members of the university community

• Recognize library donors and supporters

• Recognize and gloat literary, scholarly, and cultural figures or events

• Create an inviting and educational setting for library patrons

• Promote inclusive excellence, enrich community cognition, and showcase intellectual and creative works of faculty and students

• Provide visual enrichment and a welcoming surroundings to the library and promote diverse educational and cultural experiences

Criteria

Exhibits policies also include criteria for credence, as outlined in this policy from the Washington and Lee University Library exhibit transmission:

Exhibits should take associated learning outcomes and frequently, but not always, require considerable enquiry. Learning outcomes practice non need to exist formal. Because library exhibits serve as an open up educational environment, learning outcomes will focus on an affective change in the audience—a change of feeling, a motivation to acquire more, etc.⁴¹

Additional criteria specified in policies include:

• Should be carefully conceived and should support the scholarly, historic, social and cultural concerns of the university

• Must provide background or other subject area enhancement across the mere publicizing of an event, expression of opinion, or a display of art objects

• Should include material from a variety of sources, and must include materials in the library's collections or cite scholarly resource

• Timeliness to current and campus events

• Reinforcement of the strategies and development goals of the campus and library

• Quality and aesthetic value

• Thematic integrity

• Educational and informational content, relevance to library collections, and broadness of appeal

• Uniqueness of materials or artifacts

• Exhibits should be relevant to the library's function in supporting the teaching and research activities of the university

• Research must be thorough and authentic

• Exhibits primarily for promotional or commercial purposes are not acceptable

• Educational content ranging from avant-garde scholarly contributions to general advisory value

• Appropriateness of bailiwick, technique, and manner for intended location and audience

• Ceremoniousness to special events, anniversaries, holidays, etc.

• Representation of an influential movement, genre, trend, or national culture

• Reflects vitality, originality, creative expression, and experimentation

• Appropriateness of subject, technique, and style for intended location and audience

Policies may as well brand reference to the existence of an exhibits committee, drawn from staff in the library, that is responsible for coordinating and planning exhibits besides every bit reviewing and blessing proposals. Those proposing exhibitions are asked to fill out a proposal course requesting detailed information near the exhibit, including how it fits within the scope of the library's showroom policy.⁴² At Concordia University, the committee'due south accuse includes "sending out a call for artists or inviting individuals to curate exhibitions."⁴³

Academic Freedom Statement, Disclaimer, and Dispute Resolution

A number of policies, simply past no means all, include a statement supporting bookish freedom, a disclaimer that the views represented in the content of the showroom are not those of the library, and a process for voicing concerns virtually the showroom and a mechanism for dispute resolution. Several policies also refer to the ACRL Intellectual Freedom Principles for Academic Libraries, item #7, which states, "Freedom of data and of creative expression should exist reflected in library exhibits and in all relevant policy documents."⁴⁴ Western Washington Academy Libraries provides the post-obit academic liberty argument:

Western Libraries subscribes to the American Library Association'southward Library Pecker of Rights as it applies to exhibit spaces, specifically: The library should not censor or remove an exhibit because some members of the community may disagree with its content. Those who object to the content of any showroom held at the library should be able to submit their complaint and/or their ain exhibit proposal to be judged according to the policies established by the library.⁴⁵

Another example of a disclaimer is establish in the Humboldt State University library policy:

The library supports all campus and customs groups' right to express their opinions, and aims to create a safe place for appropriate brandish of controversial topics. All the same, exhibits in the Library are prepared by and reflect the opinions, interests, and efforts of individual University persons or organizations or members of the wider customs. No official University or Library endorsement is expressed or unsaid. Please note that questions and/or concerns will be directed to the organization.⁴⁶

Meanwhile Western Washington University Libraries also provides a machinery for dispute resolution:

• The private will be notified that the Libraries has received his/her written argument of concern.

• A copy of the statement is to be forwarded through the supervisory chain.

• A review process volition be conducted in a timely fashion by the Libraries assistants in response to an private'south statement of concern.

• While a concern is beingness considered, there volition exist no change in the status of the exhibit.

• Upon completion of the review process, the appropriate administrator will notify the individual of the Libraries' decision.

• The private may entreatment the decision to the Provost.⁴⁷

Libraries claim to support academic liberty and strive to announced neutral. Still, many library showroom policies may include criteria that tin be perceived as restricting free speech communication.

Limits on Freedom of Expression

As noted by Marking Rosenzweig, co-founder of the Progressive Librarians Club, librarians have not e'er stood up for freedom of expression:

Nearly American librarians today take it for granted that our profession stands for the unequivocal defense force of intellectual freedom, freedom of voice communication, and a number of other very fine principles. It is surely among the all-time things about us that we now see ourselves as beingness almost definitionally committed to democratic values. But in the final decades we have perhaps grown as well used to casting our profession in this heroic mold, as if historically information technology has always been true that librarians as a profession and en masse accept opposed censorship, bigotry, and intolerance and held tenaciously to intellectual liberty as our primal professional value.⁴⁸

Upon closer scrutiny of library exhibit policies, it would appear that this situation has not changed. In the very same policies that publicly declare support for academic freedom and opposition to censorship, there are in fact often restrictions on the very aforementioned.

The exhibit policy from California State University, Sacramento Library states explicitly that, "While the Library supports bookish freedom, the Library reserves the right to take and/or refuse a perceived controversial exhibit." ⁴⁹ Some guidelines are provided with respect to which exhibits may or may not be considered. The University of North Carolina at Chapel Hill Library expressly states that when "the topic is controversial, an objective presentation is required," and the showroom "does not promote the partisan political, religious, or social doctrines of whatsoever single person or group."^l That same library has a somewhat contradictory bookish freedom argument with respect to library exhibits. On the ane hand, it states that "the University Library supports academic freedom and the free expression of opinion." On the other paw, it states, "The Libraries volition not practice any censorship of materials that do not violate the guidelines as expressed in the University Libraries Exhibits Guidelines."⁵¹ The inclusion of guidelines is problematic equally the effect is to restrict freedom of expression.

A review of exhibit policies institute numerous other restrictions on academic freedom:

• Should not advocate the personal point of view of the exhibitor.

• Topics for exhibits may include controversial issues only if such problems are presented from a neutral or not-partisan point of view.

• Exhibits which portray movements or events from a non-partisan historical signal of view, or which brand incidental use of religious or political symbolism in connection with an ecumenical or not-partisan event or observance will be considered. In society to avoid giving undue prominence to particular points of view on controversial matters the library volition non house religious or political exhibits that focus on the tenets of individual sects or parties.

• Exhibits will focus on topics consistent with the overall scholarly and cultural concerns of the university. The [proper name] Libraries Exhibits Committee volition decide if the proposed exhibit is consistent with these concerns.

• Exhibits shall not exist used to promote personal, commercial, or organizational positions. Topics subject to controversy may be presented, provided that they are approved by [proper name] Libraries Administration and handled in an objective style.

• Exhibits and artworks should feature wide and diverse viewpoints and demonstrate cultural and scientific importance if possible.

• Considering library exhibition spaces are not exclusively gallery spaces, and are not a public forum, all displays must be suitable for view by the broad customs of people who visit the library. These areas also serve as passageways for employees and members of the full general public of all ages to reach sure library services.

It is appropriate for, and incumbent upon, libraries to decline exhibitions that may contravene laws or be dangerous. Still, ane of the tenets of bookish freedom is to permit the expression of controversial views without repercussion. What is exposed in library exhibit policies is an try to suppress potentially controversial views and considerable discretion on the role of library staff past Exhibits Committees or Library Administration.

Censorship

Library exhibit policies too illustrate what tin exist perceived equally censorship. California Polytechnic Land University Library expressly states, "Our galleries are not a public forum, and all exhibits must be suitable for view past the broad community of people who visit the library. Accordingly, the library discourages proposals containing sexually explicit imagery, nudity, or graphic depictions of violence."⁵² In December 2015, three paintings in the pre-canonical Mystical Fruits exhibition at the Due north Primal College Oesterle Library Gallery were denied exhibition two days before opening by gallery director Nickole Lanham who said that the pieces were "exterior the College'south comfort zone." Lanham likewise stated, "The college does not see this as a censorship effect, just a contractual consequence. The gallery contracts state that all works are displayed at the discretion of the gallery director."⁵³ As recently as Apr 2016, a controversial piece of work of art depicting Jesus on a dartboard was removed from a library exhibit at Rutgers University in response to complaints. The university defended the determination, stating, "The artwork in question was removed from the exhibit because it did not meet Rutgers University Libraries policy, which requires art exhibitions and their pieces to be based on university events, curricular offerings, and topics of interest to the university customs."⁵⁴

Another instance in which the library demonstrated considerable discretion was at Trent University in 2009. The Peterborough Coalition for Palestinian Solidarity (PCPS) was told by the university librarian Richard Clarke that the group'southward affiche in the library's brandish instance that advertised Israeli Apartheid Week had to be "removed or covered." Co-ordinate to Clarke, "the image in the poster, which shows a kid in a walled area with 'Gaza' written beneath him having a missile shot at from a helicopter with the discussion 'Israel' written on it, 'communicates an inflammatory bulletin, and does not promote the positive discourse on the Palestine-Israel question that the Academy wishes to encourage.'" He said that "temporarily modify[ing] the existing poster by removing the … image and replacing it either with more text, or with imagery of a non-controversial nature, will be adequate."⁵⁵

Meanwhile, post-obit a campus racism hearing conducted equally role of a broader initiative of the Canadian Federation of Students, the current Bata Library exhibits policy at Trent Academy was revised and now states:

The display instance at the entrance to the Bata Library is a central and prominent area on the Symons Campus for displaying information about programs, events and services offered or presented past University Departments, Programs or educatee groups. The Library has enabled a cocky-service booking procedure through the University Room Booking module for internal academy departments and groups. The Display Case must be booked past a Trent student, staff or faculty fellow member using a Trent login. Please see the Terms and Atmospheric condition for booking the display instance.

The Trent University Library is committed to academic freedom—no censorship of exhibit fabric will be imposed by the Library. If in that location is business organization over the subject matter of a display, it is advised yous contact the university group mounting the displays and not the Library.⁵⁶

What is observed is that, while libraries claim to protect rights and fundamental freedoms relating to free speech and liberty of expression enshrined in the First Subpoena and the Canadian Charter of Rights and Freedoms, they motion quickly to censor when controversy erupts.

Library Neutrality

Gwendolyn Reece, in her discussion of multiculturalism and library exhibits, raised the important question: "Whose favored epistemologies are used to interrogate representations?" Reece uses as an example the 2003 library showroom Sorrow and Promise in the Holy State: Palestine and the Palestinians held at the American Academy Library. Librarians did "edit the self-representation to eliminate the most 'divisive' elements' in the exhibit."⁵⁷ In each of the examples cited in the previous section, the libraries responded to pressure past removing the exhibit. In fact, Taylor Fitchett admits, "When common sense suggests that a particular slice of work might exist offensive to many people, I do non hang it."⁵⁸ Reece contends there is a disharmonize betwixt ii positions—the commencement being objective truth and the other that privileges the subject. She writes:

On one side are those who believe in an objective truth. In this viewpoint, all representations of disharmonize and all debates should exist balanced. The presumption is that when supplied with sufficient ''objective'' information, reason has the power to pb the thinking person to the truth. On the other side is a point of view that privileges the subject field position and calls for the voice of the disempowered to be heard. This second philosophical stance calls into question the possibility of an ''objective'' and ''balanced'' portrayal of controversy, largely considering power and access to forums for representation are not every bit distributed.⁵⁹

It has been argued that it is dominant groups that are most likely to wield power, marginalized groups to exist silenced, and unpopular and radical views to be suppressed.⁶⁰ There is an obligation to avoid situations where the rights of one grouping infringe on the rights of another group or that of an private. This is especially truthful when rights are exercised in an organizational context such as the academy.⁶¹ Yet, the ceremonious rights of one group must be protected while not infringing on the ceremonious liberties of others.⁶² Rights may not be absolute, but at that place are rights that 1 may find objectionable, similar detest speech, that are protected. Library exhibit policies must be considered in this context.

Conclusions

The Library Bill of Rights is an attempt to reconcile competing rights. How it is applied in exhibit policies by the university libraries examined in this study brings into question the neutrality of the library. In his essay "The Myth of the Neutral Professional," Robert Jensen states:

In the political and philosophical sense in which I use the term here, neutrality is impossible. In any situation in that location exists a distribution of power. Overtly endorsing or contesting their distribution are, of class, political choices; such positions are not neutral. Only to accept no explicit position by claiming to be neutral is also a political choice, peculiarly when one is given the resources that go far easy to evaluate the consequences of that distribution of power and potentially affect its distribution.⁶³

A review of library exhibit policies and library responses to controversy reveals that libraries and librarians display a "profession's willingness to self-censor exhibitions, to smooth the rough edges of history, in order not to offend in this politically charged atmosphere."⁶⁴ Every bit they strive for neutrality and inclusivity, they place restrictions on academic freedom. They have chosen to interpret the Library Bill of Rights literally, that is within a unmarried library exhibit, "staff members should endeavour to present a broad spectrum of opinion and a variety of viewpoints."⁶⁵ Libraries tin can cull to host a range of exhibits that each express a atypical opinion and viewpoint. University libraries exist in an institutional context. The library, like the rest of the academy, should serve as a forum where debate and difficult conversations take identify. The exposure to different ideas and opinions enables individuals to brand informed choices.⁶⁶ Fitchett asks, "Is the fine art worth the controversy?" and concludes how "important it has been to the library'southward exhibit program to represent a broad spectrum of art in this diverse globe of academia."⁶⁷ Libraries and librarians traditionally take been viewed equally beingness at the forefront of upholding the principles of intellectual freedom. However, there appears to be an inherent conflict between intellectual freedom and other core values they seek to uphold, such every bit neutrality. University libraries are mostly considered to be one of the sites for the safe space debates roiling on academy campuses, which raises the question of how safe space is divers. At the very minimum the library, and its accompanying exhibit spaces, should provide a safe space for the gratuitous and open up exchange of ideas.

Appendix A Library Showroom Policies

Notes

Mary Kandiuk is the visual arts, design, and theatre librarian at York University Libraries, Toronto, Ontario; [electronic mail protected].

1. "Palestinian Roots," http://yusc.ca/landscape/palestinian-roots/. This website with the accompanying artist statement has been taken down.

2. "An Open Letter of the alphabet from Paul Bronfman to York University," Never Again Canada, http://www.neveragaincanada.ca/an-open-letter-from-paul-bronfman-to-york-university/.

iii. Ryan Moore, "'Palestinian Roots Here to Stay Despite Bronfman Withdrawal," Excalibur, January 26, 2016, http://www.excal.on.ca/palestinian-roots-here-to-stay-despite-bronfman-withdrawl/.

4. "Message from President Shoukri: A Commitment to Inclusive Communities," January 28, 2016, http://elink.crm.yorku.ca/m/1/25044496/b2816-c845df10-ebef-4056-b3cf-a127f0c3c539/8/329/108682b8-978c-4421-9ee0-5483a606eb09.

5. American Ceremonious Liberties Wedlock, "Detest Speech communication on Campus," https://world wide web.aclu.org/other/detest-speech-campus; American Clan of University Professors, "On Trigger Warnings," https://www.aaup.org/report/trigger-warnings; Stephen Gossett, "UChicago to Freshmen: We Don't Exercise 'Safe Spaces' or 'Trigger Warnings,'" http://chicagoist.com/2016/08/25/a_letter_sent_by_the.php.

6. Lonnie Agglomeration, "Embracing Controversy: Museum Exhibitions and the Politics of Change," The Public Historian 14, no. iii (1992): 64.

7. American Library Association, "Library Bill of Rights," http://www.ala.org/advocacy/intfreedom/librarybill.

eight. "Exhibiting Controversial Subjects," Presenting History: Museums in a Democratic Society, http://digital.lib.lehigh.edu/trial/enola/files/round4/exhibitingcontroversial.pdf.

9. Gwendolyn J. Reece, "Multiculturalism and Library Exhibits: Sites of Contested Representation," Journal of Academic Librarianship 31 no. four (2005): 336.

ten. Bunch, "Embracing Controversy," 64.

eleven. "Massacre Exhibit Sparks Controversy at UC," Library Journal, June one, 1978, 1106.

12. "Dougherty Defends Deportment in Armenian-Turkish Clash," Library Journal, June xv, 1978, 1215.

13. Albert H. Bowker, "Sixth Chancellor, University of California, Berkeley, 1971–80; Statistician and National Leader in the Policies and Politics of College Instruction," An Oral History Conducted in 1991 by Harriet Nathan, Regional Oral History Office, The Bancroft Library, University of California Berkeley, 1995, 188, http://digitalassets.lib.berkeley.edu/rohoia/ucb/text/sixthchancellor00bowkrich.pdf.

14. "KKK Exhibit Causes Melee in Due north.C.,"Library Journal, April 1, 1979, 776.

15. Ibid.

xvi. Ibid.

17. "Back of the Large Firm: The Cultural Landscape of the Plantation," https://www.gwu.edu/~folklife/bighouse/.

18. Karen De Witt, "After Protests, Library of Congress Closes Exhibition on Slavery," New York Times, December 21, 1995, http://www.nytimes.com/1995/12/21/united states/after-protests-library-of-congress-closes-exhibition-on-slavery.html.

xix. Ibid.

twenty. "American Studies in the News," http://world wide web.gwu.edu/~folklife/bighouse/about.html.

21. Sean Swanick, Sharon Rankin, and Melinda Reinhart, "Curating Exhibitions in Academic Libraries: Practical Steps," Practical Academic Librarianship: The International Journal of the SLA Academic Division 5, no. 2 (2015): 8, https://journals.tdl.org/pal/index.php/pal/commodity/view/7011/6096.

22. Taylor Fitchett, "Monet, Manet, Mayonnaise: Is Art Worth the Controversy?" Virginia Libraries 48, no. 2 (2002), https://ejournals.lib.vt.edu/valib/commodity/view/860/1141.

23. Ibid.

24. American Library Association, "Library Bill of Rights."

25. "Dougherty Defends Deportment in Armenian-Turkish Clash," Library Journal, June xv, 1987, 1215.

26. Ibid.

27. American Library Association, "Library Nib of Rights."

28. Ibid.

29. American Library Association, Intellectual Liberty Manual (Chicago: American Library Clan, 2010), 126.

30. Ibid., 127.

31. Judith F. Krug and Candace D. Morgan, "ALA and Intellectual Freedom: A Historical Overview," in A History of ALA Policy on Intellectual Liberty, ed. Trina Magi and Martin Garnar (Chicago: American Library Association, 2015), 10.

32. Ibid., 29.

33. For an example, encounter Boston College University Libraries, "Exhibit Spaces," March 13, 2012, http://www.bc.edu/libraries/about/exhibits/spaces.html.

34. Adam Berenbak et al., Special Collections Appointment, SPEC Kit 317 (Washington: Clan of Research Libraries, 2010), 11.

35. Jill Cirasella and Miriam Deutch, "From Art on the Wall to Something for All: How an Academic Library Turned Its Art Collection into a Campus Attraction," Journal of Library Innovation 3, no. 1 (2012): 2–three, http://www.libraryinnovation.org/article/view/136/295.

36. Swanick et al., "Curating Exhibitions in Academic Libraries," 1.

37. Jenna Rinalducci, "Pictures at an Exhibition: Fenwick (Hallway) Gallery," Proceedings of the Conference for Entrepreneurial Librarians 1 (2014): 1, http://libjournal.uncg.edu/index.php/pcel/commodity/view/1185/804.

38. Concordia Academy Library, "Library Exhibition Policy & Procedures," http://library.concordia.ca/well-nigh/policies/G-18.pdf.

39. The keywords used were "university library (showroom or exhibition) policy"; "university art library (showroom or exhibition) policy"; and "university library art (exhibit or exhibition) policy." The policies examined were restricted to United states and Canadian institutions. A call was put out on the ARLIS-L listserv asking members to share their library showroom policies; however, merely 5 responses were received. Several individuals expressed an interest in receiving the results of the report. See Appendix A for the library exhibit policies cited in this paper.

forty. California State University at Sacramento Library, "Library Exhibits Policy," http://library.csus.edu/exhibits/LibraryExhibitsPolicy.doc.

41. Washington and Lee Academy Library, "Library Exhibit & Display Transmission and Policy Data," http://library.wlu.edu/about/exhibits/exhibitmanual/.

42. For an example, run across Academy of California, Santa Barbara Library "Exhibition Proposal Form," http://www.library.ucsb.edu/sites/default/files/attachments/events-exhibitions/exhibitions/propose-exhibition/exhibitionproposal.pdf.

43. Concordia University Library, "Library Exhibition Policy & Procedures."

44. ACRL Intellectual Freedom Committee, "Intellectual Freedom Principles for Academic Libraries: An Interpretation of the Library Nib of Rights," http://www.ala.org/acrl/publications/whitepapers/intellectual.

45. Western Washington University, "Western Libraries Art Exhibits," http://www.library.wwu.edu/exhibits_art.

46. Humboldt State University, "Library's Exhibit Policy," https://library.humboldt.edu/about/policies/libraryexhibits.html.

47. Western Washington University, "Western Libraries Fine art Exhibits."

48. Mark Rosenzweig, "Politics and Anti-Politics in Librarianship," in Questioning Library Neutrality: Essays from Progressive Librarian, ed. Alison Lewis (Duluth, MN: Library Juice Press, 2008), 5.

49. California Land University at Sacramento Library, "Library Exhibits Policy."

50. University of North Carolina at Chapel Hill University Libraries, "Hosted Exhibits Policy," http://library.unc.edu/about/policies/hosted-exhibits/.

51. Ibid.

52. California Polytechnic Country University Robert E. Kennedy Library, "Library Exhibits," http://lib.calpoly.edu/support/policies/library-exhibits/.

53. Alison Hartman, "'Mystical Fruits Exhibition Stirs Upwardly Censorship Controversy," North Central Higher Pupil News, February 12, 2016, http://ncclinked.com/2016/02/12/6393/.

54. Kelly Heyboer, "Fine art or Sacrilege? Rutgers Removes Controversial Dartboard Jesus Art Showroom," NJ.com, April 21, 2016, http://world wide web.nj.com/education/2016/04/dartboard_jesus_art_exhibit_causes_outrage_at_rutg.html.

55. Trent Academy, Organizing Committee Campus Racism, "Campus Racism Hearing Trent University – 2009," 34, http://www.racerelationspeterborough.org/sites/default/files/CampusRacismHearingTrent.pdf.

56. Trent Academy Library & Archives, "Guidelines for Display Example Bookings in Bata Library," June 2014, https://www.trentu.ca/library/about/display_case_policy.

57. Reece, "Perspective on Multiculturalism and Library Exhibits," 369.

58. Fitchett, "Monet, Manet, Mayonnaise."

59. Reece, "Perspective on Multiculturalism and Library Exhibits," 369.

60. Canadian Ceremonious Liberties Clan, "Central Freedoms: Freedom of Expression," https://ccla.org/focus-areas/central-freedoms/liberty-of-expression-2/.

61. Ontario Homo Rights Commission, "Policy on Competing Rights," http://world wide web.ohrc.on.ca/en/book/export/html/6575.

62. American Bar Association, Students in Activity, "Debating the Mighty Constitutional Opposites: Debating Detest Spoken language," http://www.americanbar.org/groups/public_education/initiatives_awards/students_in_action/debate_hate.html.

63. Robert Jensen, "The Myth of the Neutral Professional," in Questioning Library Neutrality: Essays from Progressive Librarian, ed. Alison Lewis (Duluth, MN: Library Juice Printing, 2008), 91, 200.

64. Bunch, "Embracing Controversy," vi.

65. American Library Association, "Library Nib of Rights."

66. Canadian Civil Liberties Association, "Central Freedoms: Liberty of Expression."

67. Fitchett, "Monet, Manet, Mayonnaise."

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Source: https://www.journals.uchicago.edu/doi/full/10.1086/691374

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