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While there are variations in how an individual artist may be cuttered, there is some basic consistency in the classification for individual artists. Sometimes they get a whole number like NK942, sometimes they have to be crammed into a cutter such as N7255.S563. There is U.S. and western European bias. As the new countries developed in Europe, there was room only for extended cutters. This means that Slovenian artists don't have the space that British or American artists have. For some countries, there may not even be a breakdown for artists. The consistency generally comes in the range of numbers for a particular place, often a general number followed by some chronological or stylistic numbers, and then followed by cuttering for individual artists. The subdivision table related to how much space is allotted, and that varies.

2. What is the difference between about artist groups, movements, firms?

Artist groups are of two types-in terms of est. them in the authority file.  First one is an artist group that is informally created by the members and sometimes its name is given to them retrospectively. They don't collectively promote or advertise the work of the group. They cannot be considered corporate bodies. Groups such as this are est. using subject cataloging conventions and reside in the subject file. The qualifier is (Group of artists)-an example is the 150:: Blaue Reiter (Group of artists). 

The second is an artist group that is self-identified by a particular name and functions as a business firm in creating, publishing, promoting, and marketing their works. These groups are est. as corporate bodes using descriptive cataloging conventions. In most cases the same qualifier is used along with the name. See SHM: H 405 Name vs. Subject Authority File. Scroll to Group Two and click on Artists' groups.

Those artists groups est. as subjects (the first type) are not given a cutter for the name. Instead they are usually given a class for type/style of art, place of art (if applicable), etc. In the case of Blaue Reiter (Group of artists) most of the time they are given a class number that includes the cutter .E9 for expressionism as this is mainly what the artists concerned themselves with. This group comprised Russian emigrants who settled in Munich, Germany and worked in the expressionist art style.  So the class number for a book on several of these group members which includes paintings, drawings, prints would be N6868.E9 with the book cutter for main entry. If, for example, the book was about only paintings the class number would be ND568.5.E9. For a book on a single artist within the group the cutter for the artist's name would be used for that artist. So the class number for Wassily Kandinsky, associated with Der Blaue Reiter, would be N6999.K33 (Russian art--special artists, A-Z).  You'll notice that Kandinsky gets the call number for the place in which he was born (Russia). This is LC practice.

The class numbers for the second type of group are given the same way. Style, if any; country; century, etc. I assume that books on an individual artist in that group would get the class number for special artists within the country class number.

3. When an artist has done more than one media, should we try to collocate an artist into one media?

No.

34. What is the proper use for A4 for exhibition catalogs?

Use Table N6 where indicated in the N schedule.  This is not applicable to the TRs for artistic photography.  A4 is used for collections of reproductions  including exhibition catalogs.

45. Classification frequently involves knowing the 'nationality' of the artist. Some are born in one country, but spend much of their creative life in another.  Where do they get classified?

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ex. Jacquette, Yvonne, \|d 1934\- ,  \|e artist, \|e interviewer.  \[Note a comma separates the multiple \|e\]

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