The Long View: Protecting the Past for the Future

On its face, the University of Texas Libraries looks like any other modern academic library system: students queuing at printers, study groups in the Perry-Castañeda Library, books circulating in and out. But behind the scenes, in basements, labs and high-density storage facilities across Austin, a quieter scene plays out.

It’s the race against time.

Paper yellows, bindings crack, videotape degrades and digital files disappear from obsolete media. The very materials that help make The University of Texas at Austin a world-class research institution are fragile. Without constant care and attention, they could be lost.

The university’s institutional landscape of collections is exceptional: more than 170 million objects and specimens are distributed across some forty units, including rare books, geological cores, biological specimens, architectural drawings, sound recordings and more. These holdings sprawl across an entire campus ecosystem – original manuscripts, photographs and the Gutenberg Bible at the Ransom Center, modern art at the Blanton Museum, historical archives at the Briscoe Center, even geological cores and frozen genetic samples housed in scientific labs. Together, they rival the Smithsonian in size and diversity.

That scale is both a triumph and a challenge. Many of these materials are environmentally sensitive, and were never designed to last for centuries. Without deliberate preservation strategies, they will decay, fade or slip into obsolescence as new technologies supplant older ones.

The breadth of resources at the university is extraordinary, and it comes with daunting preservation needs. Each type of collection – artworks, specimens, maps, recordings – requires different expertise and different infrastructure to maintain.

Within this vast ecosystem of treasures, the University of Texas Libraries plays a critical role – stewarding the core scholarly resources that fuel teaching and research. With more than 10 million volumes, including special collections like the Nettie Lee Benson Latin American Collection and the Alexander Architectural Archives, the Libraries form both a foundation and a showcase for the University’s research mission.

These collections are heavily used, widely accessed and globally significant. Their preservation is not optional – it is an imperative tied directly to the university’s role as a leading public research institution, and steward of public resources.

When students pick up a library book or access a digitized resource online, they rarely recognize the imperceptible scaffolding keeping that resource alive. But at the Libraries, preservation is not a luxury – it’s a fundamental responsibility and a central tenet of its mission. The Libraries’ holdings span not only traditional print, manuscript and audiovisual collections, but vast, heterogeneous, digitized and born-digital records that present new and unexpected challenges. The preservation of physical artifacts and the ongoing stewardship of digital materials must work in tandem if the university is to continue to thrive as a living archive.

In the Preservation and Digital Stewardship unit at the PCL, staff mend spines, stabilize brittle paper and digitize fragile items to reduce handling. Items requiring specialized treatment are routed through the Campus Conservation Initiative to conservators at the Ransom Center, where advanced equipment and techniques can extend their life. It’s a story of triage, teamwork and unseen craftsmanship.  If physical preservation is a battle with chemistry and physics, digital preservation is a battle with code. Files don’t yellow or fray; they disappear silently – lost to corrupted disks, unsupported formats or vanishing software.

The Libraries’ Preservation & Digital Stewardship unit is the frontline defense. Staff recover files from obsolete media like floppy disks and Zip drives, build redundant storage systems, and create metadata that ensures digital objects remain usable as technologies change. They work hand-in-hand with repositories like the Alexander Architectural Archives and the Benson Latin American Collection to integrate preservation practices into projects from day one.

“We allocate resources to preserve our collections, both physical and digital, so that they will remain accessible for researchers far into the future,” says Wendy Martin, Assistant Director of Stewardship.

“Our collections contain a wide variety of formats. We have a very long history of caring for the traditional analog materials found in libraries,” Martin explains. “It is important that we take the same care in ensuring that our digital collections will remain accessible for the long term, as well. The methods are different, but the principles are the same.”

In line with emerging best practices across research libraries, the Libraires also employs tools that identify preservation risks across massive digital collections. These allow staff to spot which file formats are endangered, which collections are most vulnerable, and where to intervene first. Preservation, in this new paradigm, is proactive, data-driven and strategic.

Scale compounds the challenge. Each year, the Libraries acquire tens of thousands of volumes – nearly a mile of shelf space annually. With no new stacks built on campus, UT relies on a high-density storage facility in North Austin – at the J.J. Pickle Research Campus – where low temperature and humidity conditions dramatically slow deterioration.

In those warehouse-like aisles of high shelving, preservation is less about heroics than about patience and planning. Proper conditions mean a book or box of negatives might be able to sit stable for decades (or even centuries) waiting for its moment of rediscovery.

Harvard University built the first offsite high-density library storage facility in 1986, with materials shelved by size on densely-packed shelving, with low and stable temperature and relative humidity,” explains Martin. “The University Texas was an early adopter of this now prevalent model, building our first module in 1993. Preservation-quality storage of this type allows us to retain materials for the long term, while making space on our shelves for new acquisitions.”

The Libraries are currently in the completion phase of an expansion of the Pickle campus storage facility, expected to open in early 2026. The new unit is the third addition to the complex, and represents and evolutionary step in its overall development. The Collections Preservation and Research Complex will feature new new low-bay cool and cold environments ideal for materials like film, photographs, textiles, and artifacts, significantly benefitting partners like the Harry Ransom Center and the Briscoe Center for American History, along with specialized workspaces for conservation, digitization, and collection care, as well as a shared reading room that will allow researchers to consult materials directly at the CPRC, reducing turnaround times and minimizing transport risks for fragile items.

The preservation mission on campus isn’t happening in isolation. The Association of Research Libraries (ARL), of which the Libraries is a member, has long declared preservation an “enduring responsibility” for research libraries. ARL emphasizes that enduring access to scholarship requires both strong local programs and cooperative efforts across institutions.

Reports like ARL’s New Roles for New Times argue that preservation today is not just about repair, but about digital curation – lifecycle planning, collaborative storage, metadata standards, and new skill sets for library staff. Other studies, such as Safeguarding Collections at the Dawn of the 21st Century, highlight the need for comprehensive strategies that integrate physical, digital, and legal aspects of preservation.

The Libraries’ work mirrors these evolving norms. Its blend of physical conservation, digital stewardship, climate-controlled storage and forward-looking policies places the Libraries squarely within the network of research libraries redefining preservation for the 21st century.

Ultimately, these preservation efforts are about more than keeping objects intact – they’re about maintaining continuity of knowledge. A fragile field recording of an Indigenous language, a digitized map of a vanished city, a frozen sample of an extinct amphibian – all are held not only for current scholars, but “in trust for future generations.”

That trust is both a privilege and a consequential responsibility. It requires resources, policy, collaboration and a relentless commitment to access. And it depends on the quiet, often hidden work of preservation staff whose labor sustains the university’s intellectual and cultural legacy.

Preservation is rarely glamorous. It doesn’t draw ribbon-cuttings or fill stadiums. Yet so many acts of discovery on the Forty Acres depend on it.

Whether it’s a historian uncovering an unpublished manuscript in an archive, or a student discovery of our prehistoric past in a collection of fossils, or a scientific analysis of geologic samples that reveals potential new energy resources, each discovery depends on the quiet, meticulous work of preserving and stewarding the university’s vast collections.

“Preservation at UT Libraries, is a vital thread in the fabric of the university’s mission,” explains Director of Discovery and Access Jennifer Lee. “We’re safeguarding the intellectual and cultural legacy that fuels discovery, learning and the pursuit of knowledge now and into the future.”

For the University of Texas Libraries, and for the broader community of research libraries, preservation is not an afterthought. It is the very heart of the mission: to ensure that the past remains as accessible, complete and meaningful as possible – for today, and for generations to come.

From Counterculture to the Classroom

A growing number of University of Texas faculty are turning to zines – self-published, often handmade works of art and expression – as a powerful tool for learning, collaboration, and research. Once viewed primarily as underground artifacts of DIY culture, zines have become a bridge between creative expression and academic inquiry, and the Libraries are helping to broaden their application in study and research.

Zines aren’t a new phenomenon – these self-published, staple-bound  booklets emerged in the 1930s as fan-productions (fanzines) and, in the 1960s and 70s, evolved into self-published outlets for activism, punk rock, feminism, and subcultural voices. In the last 20 years, libraries started collecting these ephemeral publications, finding them valuable to researchers and students.

Most of the zine collections are housed in the Fine Arts Library, the UT Poetry Center at the Perry-Castañeda Library and the Nettie Lee Benson Latin American Collection. Librarians at the Fine Arts Library identified zines as a strategic acquisition area in 2012 because of their crossover appeal in fine arts and communications study. This effort aligned with the existing materials from the Latin American and poetry collections, but librarians collected  those earlier zines as a matter of course rather than as a deliberate strategy. Zines are attractive as a collection development prospect – they are a generally a low-cost resource, often produced in limited runs and they exist in a variety of forms. And due to their low barrier to entry and DIY ethos, they have currency with a global audience of creators.

“Although many of the students we teach are unfamiliar with zines at first, they immediately gravitate towards this medium because of the collection’s creative and original content,” says Tina Tran, Liaison Librarian for Visual Arts. “With their daily lives becoming increasingly digital, these students find it refreshing to explore accessible, physical media that’s uninfluenced by algorithms and ads.”

Over the past few years, interest in the zine format has surged on campus. The Libraries’ zine holdings have inspired 46 workshops (and counting) during a relatively short amount of time, spanning 14 distinct course types across three colleges. The format’s accessibility, activism roots and personal voice make it a compelling vehicle for students to explore ideas and identities.

The workshops helped to introduce students to the history and practice of zine-making, rooted in movements for social change and self-empowerment, while also emphasizing their value as primary source materials for research. Sessions are tailored to individual courses and typically include an overview of zine culture, a hands-on tour of the collection and a collage-based creative activity that encourages students to engage directly with the medium.

These workshops not only teach students how to make zines but also how to analyze them – connecting artistic practice with academic rigor. Faculty have incorporated zines and zine-making as an alternative to traditional written assignments, encouraging group projects that blend scholarship and creativity. Use of the collection has increased in recent years, with roughly a quarter of all 800 cataloged zines being used in 2022 and 2024. Additionally, eight students have curated exhibits featuring zines since 2014, illustrating how the exposure to the collection is fueling independent scholarship.

“Professors are incorporating zines in the classroom, often as a creative assignment and alternative to the traditional research paper,” says Humanities Liaison Librarian Gina Baston. “Zines are a flexible medium – students can include writing with their own drawings or collaged images made from old magazines, and they are great for group projects, too.”

The Libraries’ zine collection features hundreds of titles covering topics as varied as individual identity, mental health, music, art, environmental justice and cultural heritage. Each zine provides a unique snapshot of lived experience, community knowledge or political activism – making the collection an invaluable resource for both creators and researchers.

The zine initiative also underscores the Libraries’ commitment to practical learning and research, creating a welcoming entry point into library spaces and collections. For many students, it’s their first introduction to archives, primary research or self-publishing – an experience that often sparks new creative or academic pursuits.

“While some students embrace the creative possibilities that come with zine-making, others are intimated. Many have never heard of zines, or they don’t consider themselves artistically talented,” says Bastone.

“It’s a remarkable moment to see a reluctant student find their creative spark after looking through our zine collection.”

The medium’s historic roots in empowerment and self-expression remain potent today.


Learn more about the Libraries’ Zine Collections at the LibGuide: https://guides.lib.utexas.edu/zines

Support Knowledge, Inspire Futures: Year-End Giving to UT Libraries

As the calendar readies its turn toward a new year, it’s the perfect moment to reflect on the causes that inspire us—those that ignite curiosity, foster innovation, and unite communities. The University of Texas Libraries stand as a pillar of these values, shaping lives and driving academic excellence.

Your year-end gift to the Libraries is more than a donation; it’s a profound investment in education, discovery, and the transformative power of knowledge. Contributions help sustain vital resources, from state-of-the-art technology to groundbreaking collections, ensuring students and scholars can achieve their potential.

Why Give?
Giving is more than generosity; it’s about creating meaningful impact. A tax-deductible year-end gift to UT Libraries aligns your philanthropic vision with your financial goals while making a lasting difference.

This year we are thrilled to welcome Senior Vice Provost Robert McDonald to UT Libraries. His passion for innovation, student support, and accessibility is inspiring as we continue to grow and ensure that our libraries are critical resources for all our students. To welcome this new era of UT Libraries leadership, consider donating to the Libraries Tomorrow Fund.

A Legacy of Inspiration
The Tomorrow Fund provides crucial support for UT Libraries, from collection preservation to student programming. The fund is a necessary resource for both new initiatives and unexpected needs.

Your contribution to this fund ensures that Senior Vice Provost McDonald will have the support needed to sustain and UT Libraries, and meet the needs of our evolving student body and scholarly community. It has been said that the library is the soul of the university, and your gift will sustain UT Libraries tomorrow and for generations to come.

Be Part of Something Bigger
Join us in supporting a legacy of learning and discovery. Whether you’re reflecting on the libraries’ impact on your life or investing in a brighter future for others, your year-end gift can help UT Libraries thrive.

Visit the UT Libraries Giving Page to make your contribution today. Together, we can support UT Libraries now and in the future.

Read, Hot and Digitized: The Clothes We Wear and the Stories Behind Them

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


We Wear Culture was started in 2017 as a global initiative that brings together the stories of fashion evolution in one place. This digital project is a global initiative that brings thousands of stories together, delving into apparel that we wear now and how it relates to costume history, culture, and trends. It was produced by Google Arts & Culture in collaboration with existing digital and physical collections worldwide. “We Wear Culture” partners with more than 180 museums and similar institutions including prestigious names like The Kyoto Costume Institute and The MET. The research ranges from iconic pieces that have grown to wardrobe staples, such as Coco Chanel’s little black dress, or broad fashion movements, like the evolution of shoemaking as a craft.

A map depicting the locations of global collections in collaboration with “We Wear Culture”.

The digitized research contents of “We Wear Culture” are separated into four different themes:

  • The icons – The famous faces and designers that changed the way we dress
  • The movements – From the court at Versailles to the streets of Tokyo
  • The making of – The craft and stories behind what you wear
  • The arts (my personal favorite) – Fashion’s long-term relationship with the arts

The platform allows me to explore curated themes through a vibrant interface. Each theme acts as a gateway to a variety of resources—articles, videos, digital exhibits, and archival images—organized into subcategories that encourage engagement. The layout is designed to foster curiosity, with visuals and clear text that make navigation easy and discovery accessible.

For example, within the Fashion + Arts theme, the story “Journeys into Textile and Identity” offers a compelling look at South African contemporary artists (example demonstrated in the image above) who conceptualize works that marry their heritage with fashion materials. Their work draws on South African textiles and techniques, reinterpreting them in ways that portray a visual historical narrative, drawing on personal and collective experiences of the present and past.

At the very bottom of the main homepage is a section that has pre-made lesson plans, targeted towards teachers and parents of future fashionistas who may want to learn more information about the fashion industry, its history, and related heritage. These plans serve as open education resources and each individual lesson encourages students to immerse themselves in the subject and view design from different perspectives.

Whether you’re browsing for inspiration or conducting focused research, “We Wear Culture” makes it effortless to connect with stories that span creative visual disciplines, geographies, and generations.

Want to learn more about fashion in relation to art history or global studies? Check out these resources from the UT Libraries:


Bellet, A. (2024). New approaches to decolonizing fashion history and period styles : Re-fashioning pedagogies. (1st Ed.). Routledge.

Geczy, A. & Karaminas, V. (2021). Fashion and art. (1st Ed.). Berg.

Hill, C. (2021). Reinvention & restlessness : fashion in the nineties. Rizzoli Electa

Steele, V. (2023). Shoes A-Z : The collection of the museum at FIT. Taschen.

Way, E. (2024). Africa’s fashion diaspora. Yale University Press.