Artstor is moving to JSTOR

A promotional image from JSTOR that says: Ready, set, redirect: Come August 1, 2024, Artstor URLs will automatically redirect to JSTOR. Next to the text is a black and white photo by Lee Friedlander.

On August 1 of this year, the legacy Artstor website will be retired, but all Artstor images are already available on JSTOR, and our subscription to that material will continue uninterrupted.

When you search JSTOR, you will find Artstor’s 2 million licensed images and more than 1,700 additional primary source collections alongside the JSTOR ebooks and journals you already know and love. With the new Workspace tool, you can save and organize Artstor images alongside other JSTOR content in one convenient workflow.

If you use Artstor, you’re invited to get started on JSTOR now!

Useful Links

Start here: Artstor on JSTOR Overview

Introduction to Workspace

LibGuide for working with images on JSTOR

Browse images on JSTOR

Image: Lee Friedlander. New York City. 1963, printed 2006. Saint Louis Art Museum.

Reflecting on Climate Change: Images of Josh Kline’s Artwork Added to RDC for Earth Day

In anticipation of Earth Day celebrations on campus, hear from Visual Resources Assistant Andee Gude ’26 about their President’s Summer Fellowship and the decision to add artist Josh Kline’s work to the Art & Architecture Collection in Reed Digital Collections (RDC). 

This blog post was written by Visual Resources Assistant and Art History major Andee Gude ’26, and edited by the Library’s Visual Resources Curator Chloe Van Stralendorff.

In the summer of 2023, I embarked on a journey to New York to dive into as many art spaces as possible over two weeks. The exhibition Project for a New American Centuryat the Whitney Museum of American Art had a lasting impression on me, more so than any other during my short visit. 

Kline’s work explores critical issues such as climate change, politics, AI, capitalism, disease, labor, and technology. Much of his work was originally created in the early 2010s but remains deeply relevant to the societal challenges we face today. I’ll highlight two installations that especially resonated with me, but for those interested in exploring more, the exhibition, which concluded this summer at the Whitney, can be fully appreciated on their website, along with additional works by Kline on his website.

One impactful project was “Climate Change is Personal Responsibility (2023-),” set in a future ravaged by climate disasters. The installation is set in the future, following climate disasters, and features materials “used by refugees and migrants in the United States and around the world” (Whitney Museum of American Art). These shelters Kline created represent homes and workplaces for those who remain “essential workers” forced to face the impacts of climate change in the pursuit of labor and financial stability. Within this installation are two sets of videos, one being titled “Capture and Sequestration (2023)” which address “the enslavement of Africans and the theft of Indigenous land” concerning the assumed downfall of the land in light of the dramatic climate change (Whitney Museum of American Art). The videos highlight commodities like sugar, tobacco, cotton, and oil, and how “human-made global warming and climate change back through America’s global empire and the industrial revolutions of the nineteenth and twentieth centuries” will ultimately contribute to Kline’s perception of the future (Whitney Museum of American Art). The other videos fictionally survey Americans facing the disaster, informed by “extensive research into the experiences of survivors of climate-related disasters such as Hurricanes Katrina, Sandy, and Harvey and the recent wildfires in California” (Whitney Museum of American Art). In this project, Kline prompts his audience to consider this future. 

Another project that captivated me was Blue Collars (2014–20), featuring sculptural portraits and video interviews with American workers from corporations like Walmart and Waffle House. Initiated in the wake of the 2008 Great Recession, the interviews include a diverse group of employees, from delivery personnel to hotel cleaners, represented through 3D printed sculptures and were interviewed about their “..their jobs, aspirations, political views, and feelings about the conditions of their lives in general” (Whitney Museum of American art). This project underscored Kline’s position that “work turns human bodies and human lives into products” (Whitney Museum of American Art).

One of our goals at the Visual Resources Center, is to add current exhibitions and artwork that resonates with student’s interests. Motivated by what I experienced at the Whitney, I initiated a collection development project for Reed’s Digital Collections (RDC) focused on Josh Kline’s work from the exhibition at the Whitney Museum of American Art. With the urgent conversations surrounding climate change, labor, AI, and capitalism, Kline’s work is a pertinent addition to Reed’s Digital Collections, especially as we approach Earth Day and reflect on our planet’s future.

Work Cited

  1. Josh Kline. Josh Kline | home. (n.d.). 
  2. Josh Kline: Project for a new american century. Whitney Museum of American Art. (n.d.-b). Trial through 4/1/24

The library has begun a trial of World Collection.

With content dating from the early 1700s into the 2000s, contains full runs and portions of runs of well-known regional and state titles as well as small local newspapers. The emphasis is on historical content, not current news and events.

(Note that this library edition of has some differences from the consumer version, which you may be familiar with if you have a personal account.)

To access this trial you must use a dedicated link and click through the ProQuest trials portal. If you try to use the general URL, you will not be recognized as an authorized user.

If you have questions about this trial, please email

Whether you’re a student, faculty member, or staff member, we welcome your evaluation of this resource! To share your thoughts, please complete our trial feedback form.

Did the data tell your story?

You responded on the board. By adding to the board, you offered a piece of information — data about yourself — and collectively created a dataset. Anyone walking by the board, including yourself, could view and “access” that data. One challenge with data for research is that not all of it is public, open, or accessible, though different movements nowadays are calling for accountability and transparency in data collection and sharing.

Even though you contributed to a dataset, there could be many possible flaws or issues with the data that could in its worst form be devastating for you and your communities.

What do you notice about the questions that were asked? What about the categories of food? Is that the only way people have categorized food? What kinds of food are missing? Who do you think answered the questions (what are the demographics)? Does it represent the community? Does it represent you?

By identifying existing data-driven narratives that align, or don’t, with our lived experiences and naming gaps in available information, we can start to define and create new datasets that let us tell the full stories of our communities

Opening Data Zine, page 9

Read this excerpt from the Opening Data Zine for an example documenting “retail redlining”:

Remember that data is read by humans with biases, and those biases inform how people understand data and how they attribute value, or interpret, that data, such as looking for data to back up held beliefs or pre-made claims. Also, some data sources, such as the well-known census, can be skewed in other ways, with some groups or communities underreporting and being undercounted (for various reasons). Covid-19 proved a critical moment for collecting health data on marginalized and underrepresented populations that weren’t readily available before.

Interested in learning more about data research? Check out these resources:

Love Data Week 2024‘s theme is “My Kind of Data” and is all about data equity, inclusion, and creating a kinder world through data.

Spring/Fall thesis desk lottery Feb. 7

Thesis Desk Lottery

Senior thesis desk lottery numbers will be drawn from the official 470 list.  Eligible seniors will get an email request to opt-in on Tuesday 1/30. If you are a senior are not yet registered for 470, and want to be included in the drawing, please come to the circulation desk and have your name added to the lottery list by Monday, February 5.  Biology, Chemistry, Physics, and Studio Art, majors are not eligible for thesis desks in the library.

The list of numbers will be posted Tuesday, February 6 along with a map of thesis desk locations, so that you can have preferences in mind before the actual selection. For a map of available thesis desks click here.  Seat maps will also be posted in thesis desk areas.

Desk selection will begin at noon on Wednesday, February 7 in library room L17.  You or your proxy must be present when your name is called.  Lottery numbers are not transferable.

PLEASE NOTE:  Thesis desks are shared – two students to each side of a desk.  In order to create the most pleasant sharing arrangement possible, the person with the better number may bring in as a partner another senior on the list.  If you do not have a partner, the seat next to you will be assigned as needed.  Please make those arrangements ahead of time and let us know when your name is called.

About thesis desks

Desks assigned to seniors are for their sole use through the end of the school year or as long as they remain registered for 470. Only thesis desks are assigned to individuals. All other seating in the library is open to the Reed Community. You may not claim or reserve these desks.  Please take your belongings with you when you leave.  Items left on open study desks and tables will be removed and can be retrieved from the circulation desk.

Thesis desk restrictions

The staff, assisted by student monitors, will remove the following from thesis desks:

  •     Library materials that are not checked out.
  •     Plants, flowers, etc.  Sorry – they attract bugs.
  •     All dishes and silverware.  You can return commons dishes to the container in the lobby
  •     All opened packages or containers of food and beverages.  Sorry – bugs again.
  •     All electrical appliances and extension cords (per the fire marshall).