International Open Access Week, a global event that entered its sixteenth year in 2023, is an opportunity for Open Access advocates to engage and teach their communities about the potential benefits of free access to information.
Open Access Week brings the scholarly community together in the hopes of making Open Access—when research outputs are distributed online, free of access charges—a new norm in scholarship and research. This year's theme for Open Access Week is "Community over Commercialization."
Online | Register at https://libcal.health.unm.edu/event/11370379
The Health Sciences Library & Informatics Center is pleased to offer Open Access Publishing 101. This session will provide researchers and scholars with basic information about open access publishing including:
Models and paths to Open Access
Funding options such as article processing charges, publisher/transformative agreements, and including as a line item in grant proposals
How these options may influence selection of scholarly output
Open access publishing options currently available at UNM including existing publisher agreements, the UNM Digital Repository, and Native Health Database will also be discussed.
The UNM Digital Repository has provisions to create, manage and publish Open Access journals, datasets, posters and presentations.
Comprised of historic and contemporary research articles, reports, grey literature (and much more) intended to improve health outcomes for Indigenous populations, the Native Health Database embeds concepts of Indigenous Data Sovereignty into the management of the database – effectively encompassing a more nuanced “Open-ish” Access model for users.
Online and in the Waters Room, Zimmerman Library | Register at: https://libcal.unm.edu/calendar/register/digitalarchivingrint
The Digital Initiatives and Scholarly Communication (DISC) at The University of New Mexico present a panel discussion on digital archives. We will be engaging with several poster designs held in the Center for Southwest Research at UNM to discuss the visual power of print, as well as how these images can motivate artists and curators, today. For the panel, which will include faculty at UNM, along with other scholars at museums and other institutions, we will be presenting questions like, “How do we maintain both physical and digital archives? How do we make certain that digital processes hold the integrity of the art? What are ways we can connect with artists, enthusiasts, patrons, and students for access to these archives that may enhance their work, their knowledge, and their art experience on a global scale? Most importantly, we want to discuss ways to create equitable pathways for better access to art, for all.
This event will be moderated by Marya Errin Jones, OER Fellow, MFA Candidate in Dramatic Writing, Department of Theatre and Dance
Carol A. Wells, Executive Director of Center for the Study of Political Graphics, is an activist, art historian, curator, lecturer, and writer. She has been collecting protest posters and producing poster exhibitions since 1981. Trained as a medievalist at UCLA, she taught the history of art and architecture for 13 years at CSU Fullerton. Her articles on political posters have appeared in numerous publications, and she has lectured extensively throughout the U.S. and abroad. In 1988, Wells founded the Center for the Study of Political Graphics, an activist, educational, and research archive with more than 90,000 human rights and protest posters from the 19th century to the present, including the largest collection of post-WWII political posters in the U.S. Political posters challenge the status quo, confront our preconceptions, and make us question the world and our responsibilities. By exhibiting posters from past and present struggles for social justice, Wells works to educate and inspire people to work for a better future.
Emily Sulzer, Archives Director for the Center for the Study of Political Graphics, began her time at the Center for the Study of Political Graphics as a volunteer in 2015. Sulzer oversees three other archivists in the cataloging, preservation, digitization, and management of CSPG’s collections. Sulzer received her MLIS from UCLA and her BA in Art History and Visual Art from Occidental College. She has worked on a variety of archival projects at arts institutions in Los Angeles, including the Skirball Cultural Center, Los Angeles Contemporary Exhibitions, and the Getty Research Institute.
Dr. Kenneth Oravetz, Coordinator and Lecturer of Critical Text Analysis at the University of New Mexico and a Printmaker, received his Ph.D. in Literature from Northeastern University in Boston, MA in 2023. His research focuses on investigating contemporary media culture, materiality, and reading practices through the study of art comics. His pedagogy focuses on inclusive strategies for entwining instruction in reading comprehension, collegiate success, and multimodal rhetoric. His writing has appeared in Bubbles fanzine and in the comics studies journal among other venues. His printmaking experience includes risograph zines at Max’s Garage Press in Berkeley, CA, and works in letterpress at Huskiana Press in Boston, MA as part of the Letterpress Goes 3D digital humanities initiative.
Dr. Susanne Anderson-Riedel is an Associate Professor and Chair of the Department of Art: Studio, History, Education at the University of New Mexico. She received her M.A. in Art History from Freiburg, Germany, and her Ph.D. from UCLA with a focus on European art of the 18th and 19th centuries. Dr. Anderson-Riedel has extensive international experience, studying, working, and publishing in the U.S., Germany, France, and Italy. Dr. Anderson-Riedel’s book, Creativity and Reproduction: Nineteenth-Century Engraving and the Academy (2010), tells the story of the printmakers’ rise within the French Academy and their success in transforming a reproductive art form into a creative and original genre. Currently, Dr. Anderson-Riedel is preparing a book publication on the role of prints in the international discourse on politics, ideologies, and the arts in the global 18th century. She is also part of an international group of scholars who are preparing a publication on the lavish, 19th-century print albums titled Le Musée Français and their global distribution.
Gold open access means that a publication is immediately provided in open access mode through a high-quality open access publication channel, that is, an open access journal. In this case, the publisher is responsible for providing the article in open access mode immediately. The publisher may charge an open access fee (article processing charge).
Hybrid open access refers to a combination of subscription-based and free-of-charge publishing. This means that the author pays a fee (APC) determined by the publisher to make the article freely available. Otherwise the journal is only available to readers who have paid the subscription fee. Some hybrid journals allow for Green Open Access publishing in a researcher's institutional repository or on their own webpage. Sites like Sherpa Romeo can help researchers identify the Open Access policies of thousands of journals.
Diamond / Platinum OA Journals refer to open access journals that don't charge any author fees (APC - Article Processing Charges). They are usually financed by a university or research organization.