A Success Story: Interview with new art librarian Ashley Peterson

Our awesome Student Liaison, Ashley Peterson, has been in her position at the School of the Museum of Fine Arts, Boston for a little over a year and has offered to share some her job seeking/post-MLIS survival advice!

APheadshot

Can you tell us a little bit about your background and your current position?

I have a BA in Art History, and focused on art librarianship and visual resources-related courses in my MLS program. Upon graduation, I had designs on a job in reference in some sort of academic or museum art library, but it being 2008 I was grateful to land even a non-reference, non-art related full-time professional position. After five years of working in access services at a teeny-tiny women’s liberal arts college and a slightly less tiny college focused on early childhood education and social work, last October I finally snagged my dream job: instruction, research, and visual resources librarian at the School of the Museum of Fine Arts, Boston.

 

How did you get your current job? Do you have any job-hunting advice?

Do I ever! During my grad program, in addition to seeking out courses that would prepare me for art librarianship/VR, I was a member and then co-chair of an art library student interest group. We had a close relationship with the local ARLIS/NA chapter, which provided lots of great networking opportunities. When I didn’t find an art library job immediately after graduation, I used a few strategies to stay current with the field and the local professional community: incorporating elements of art librarianship into my non-art-related job, and volunteering. I was fortunate to work for institutions with small staffs, as this afforded me the opportunity to take on some reference and instruction responsibilities in addition to my day-to-day in access services. In both of my post-graduation professional jobs I positioned myself as the art history and studio art subject specialist (never mind that there were only about two or three such classes taught during any given semester!), which entailed creating subject guides, teaching library instruction sessions, meeting with students working on art/art history-related assignments, and selecting resources for the library’s collection.

Drawing on contacts I made during my graduate program, I also volunteered with the library at the SMFA Boston. I mostly worked remotely, helping to create and maintain subject guides, and had lots of great conversations with the librarians there about their work. After a few years a new position was created, I applied, and here I am today!

This is, of course, eliding all of the times I unsuccessfully applied and interviewed for art librarian jobs over the five years between graduation and landing my current position. For most job seekers this is a part of the landscape, and I think it’s important to see each position you don’t get as a learning opportunity (difficult to do when you’re in the trenches, I know). On some occasions when I was not a successful candidate, I even contacted search committee members to ask what sort of qualifications or skill sets would better-prepare me for future job opportunities. I got some excellent feedback!

So in sum, my advice is: maintain and grow your professional contacts, try to incorporate elements of art librarianship into whatever work you’re currently doing, be willing to work for free if necessary, and keep applying!

 

What are your main roles/duties at your current position? What is a typical day like for you?

I am one of three full-time staff members at my library, and as you’d imagine our positions overlap a great deal. My primary areas of responsibility are information/visual literacy instruction, research assistance, and visual resources collection development. Over the summer and into this fall semester, I have mostly been focused on building a website for the library using LibGuides, developing foundational information literacy sessions for the first-year English program, and populating our library’s instance of Artstor Shared Shelf with images from our print holdings in contemporary art. A typical day doesn’t really exist, but I can always count on stumbling across some piece of treasure from our artist book, rare book, or even circulating collections and having some great conversations with students and colleagues.

 

What were/are some challenges for you as a new art librarian? Are these related to larger challenges in art librarianship?

This is not at all unique to art librarianship, and is true of all library jobs I’ve had: communicating a library’s value to stakeholders is incredibly essential. Speaking from an academic setting, it’s fantastic to have the support of the students and faculty whose work is directly impacted by library services, but it can be challenging to convey this to the people who control the budgets. I am incredibly fortunate to work with some very passionate, talented, and dedicated people and for a director who is a tireless advocate for our library, and yet we still run into the occasional “Why do we even HAVE a library? It’s all online!” I think fighting the good fight entails doing excellent work and then communicating the heck out of it, in whatever way suits your institutional and personal style.

 

What are the most important things emerging art librarians should know?

Bits & books! Tech skills are of course important, though I do think the recent “Every librarian should learn to code!” mantra is a bit overstated. Instead I am an absolute believer in technological literacy: be fluent in the technologies you use day to day, and be aware of technologies that may help you in the future, or are useful elsewhere in the field. This is where keeping up-to-date with library blogs and professional literature comes in handy!

One thing that surprised me about art librarianship is the vagaries of the art book market and the importance of buying print volumes before their value explodes (which doesn’t always happen, of course– but better to not take the chance!). Print is still important to an art library collection to an extent that is no longer the case in most general collections. The ebook issue is no less present, but at least for the time being print is still queen when it comes to lavishly illustrated monographs, exhibition catalogs, catalogues raisonnés, and other such essential components of a quality collection.

Finally, get out there and immerse yourself in the local arts scene! I’m always thrilled when something I’ve encountered or someone I’ve met at a show, performance, exhibition, etc. sparks my thinking about a project at work, or comes in handy when I least expect it.

 

What do you do in your spare time?

No one ever tells you this, but being a relatively settled adult in your early 30’s without kids, and especially when most of your friends also don’t have kids, is kind of like a second adolescence (uhh, in a good way). My husband and I love meeting friends for crafty cocktails & beers, going to shows, taking leisurely bike rides to places that serve hot dogs with ridiculous toppings, traveling, taking on overly ambitious cooking projects, and watching intense and/or goofy TV shows with our cat. I’m also an occasional knitter and a voracious reader, lest I lose my librarian cred.

 

Have questions for Ashley or want to hear more? Join us for our virtual conference, Visualizing the Future: New Perspectives in Art Librarianship, on January 17th when she will be featured on the roundtable session of new professionals!

This is a part of the “Success Story” series of interviews. If you would like to share your story, please contact the discussion team.


Digital stewardship and art librarianship

In the vein of “Hack your MLIS program: Art Librarianship,” we want to gage the interest of those of you who are working with digital collections (including visual resources) and those of you who want to work with digital collections in art librarianship.

For me, I knew I wanted to work with digital collections and digital projects, and luckily there was a digital librarianship track in my MLIS program. Integrating art librarianship into my track was not difficult with numerous digitization projects happening at museums, libraries, and archives. My current position involves cataloging digital collections (the visual resources collection included) and supervision of digitization projects.

Metadata is a big part of my job and there are a lot of opportunities to learn more about it outside of your MLIS program. However, it’s not just about understanding the multitude of different schemas/standards/vocabularies/ontologies/taxonomies/etc. but understanding crosswalks and how to represent the data in different languages. Currently, my workplace is migrating to Linked Open Data (LOD) and much of the field (both “traditional,” MARC-focused metadata and metadata for digital objects) is moving toward functionality with the semantic web. In order to keep up, I’m taking the Certificate in XML and RDF-Based Systems from Library Juice Academy. There is also the Mechanics of Metadata Series for those of you who might be interested.

Coursework preparation

What are you learning about managing/cataloging digital collections in your classes (or outside of your program)? What do you want to learn? Do you have a digital librarianship track or similar coursework requirements?

I only had one metadata class in my MLIS program but all of my other classes supplemented that knowledge with hands-on practice. There were also a variety of classes that dealt with cataloging items of cultural heritage or data management for larger data gathering projects. Most of what I know about metadata and managing digital collections came from my internships and jobs, however, where institutional standards and practices were also important considerations.

“Real world” preparation

What are you working on in your internships and/or positions? Do you feel prepared to enter the professional field? Or, were you prepared?

Also, many metadata and digital initiatives positions are requiring more technical knowledge, as well as experience with MARC and RDA cataloging. What do you think about this? My coursework and professional experienced has been geared towards management of digital objects with little experience cataloging books and other monographic items. Also, my IT classes were focused on web publishing and design rather than markup languages, which are necessary skills for metadata librarian positions!

Thoughts? Please let us know your experience and share any advice you have!


Information and Visual Literacy, Academic Rigor, and Professional Skepticism: some conference cogitations

This summer I had to cancel a job interview. (Sacrilege, I know!) It was especially unfortunate because the interview would’ve required a presentation and a web-tool showcase, which I was excited to perform — it’s nice to have a structured interview that you can prepare for practically. The presentation would have been on essential information-literacy skills for first-year college students, and I was planning on using a bit of humour and cultural reference as an attack plan.

Specifically, I think students (and web-users at large) would benefit from holding up Sherlock Holmes as their spirit animal: use a bit of skepticism and plenty of attention to detail, and work hard to connect all the dots, no matter how disparate things seem at first [1]. Context is everything, and reading (everything — new stories, academic studies, and statistics-laden infographics) needs to be analytic and critical. I won’t offer any contemporary examples, for fear of digressing into those discussions, but let’s all be aware of the general state of misinformation and gullibility in the world (or, I dunno, trusting the “true story” claim at the beginning of Fargo?).

You thought I was going to put up Cumberbatch, didn’t you.

Lots of people have been discussing information literacy online lately, and I’ve been mulling on it as well. I  missed the visual literacy session at ARLIS/NA this year, because I was at the information literacy MOOC session next door, where I brainstormed some alternative MOOC models (universal design, anyone?). Perhaps those of you who attended the visual-lit session can fill me in on which “real-world [library] examples of how ACRL’s visual literacy guidelines have been implemented” were shared, and whether any suggestions were made as to how to supplement the ACRL guidelines with library-specific instructions (is there a forthcoming ARLIS/NA occasional paper on this? There should be).

One question I’ve been pondering since then is how to incorporate research methods and scientific rigor lessons into information and visual literacy — how to make Sherlocks of us all. I’m sure we all took a (strenuous / boring) research methods class in the MLIS program; for me it was a repetition of the undergraduate research methods I learned as part of a psych minor. Every time you consult a data-collection study, you still have to ask: did they use a control group? Did they control for conflating variables? Are they making assumptions about causation, or drawing one of many possible conclusions? Was there a replicating study? Were the survey questions priming, or compound? Did they set their sights on statistical significance? My MLIS-level research course didn’t really enforce these obvious questions, although we all tried our hand at evaluating a study or two for rigor.

I thoroughly enjoyed the "criticisms" section of my article-evaluation assignment.

I thoroughly enjoyed the “criticisms” section of my article-evaluation assignment.

It’s being generally acknowledged that LIS / GLAM scholarly work has a relatively low standard of scientific rigor: we don’t replicate studies, we generally only survey an easily-accessible demographic (i.e. college students), and our studies are designed less to further intelligent work in our field and more to push academic librarians into tenure. We could point to a number of problems: peer reviewers with no skills in research analysis, the general left-hand/right-hand divide in LIS between practitioners and academics, and professional associations that don’t push hard enough for presentations and publications that span our full profession. If we’re no good at research methods, how will we impart these skills to our patrons?

The contemporary debate has scared me off using the word “rigor” at all, for fear of it being taken for the opposite of “diversity,” as it seems to have been co-opted lately. Rigor in a strict statistical sense transcends demographics; “rigor” used in reference to higher-education skill-sets could absolutely use some work, but that’s really more of a bad-teachers problem in my thinking. Universities have plenty of resources for academic writing, tutoring, disability accommodations, ESL upgrading, computer lessons, etc., if only students were being made aware of their shortfalls through teacher interaction and feedback.

Libraries are doing essential work in both supplementary education for students with shortfalls and in instructional design for teachers, which should include some basic lessons in how to assess students for these problems, and get them working up to speed before final marking. Is there space for librarians to provide supplementary instruction in not just information literacy and research rigor, but in visual and media literacy as well — and to target students who need that training most?

The number of high-school grads that go to post-secondary tends to hover around the 68% mark in recent years, meaning that, if we can educate every college student in basic info- or visual-literacy, we can put a huge dent into general gullibility and increase the knowledge of intelligent research methods. (I couldn’t begin to imagine how to insert this education into secondary school, but if you have suggestions or resources to share, I’m all ears.) And the sooner we plant the seeds of good scientific design, the sooner we’ll see a general improvement in scholarly output — or at least more articles admitting their limitations and mistakes from the get-go.

But this is all, literally, academic. How do we get information-literacy education out into the public, especially when most popular news outlets seem to benefit directly from a lack of critical thinking? More specifically, how do arts librarians working in visual literacy and media literacy help to educate both their patrons and the public at large — especially if visual literacy skills are universally important but we only get access to arts students?

If you haven’t read the ACRL Visual Literacy Standards, here they are (2011). ARLIS/NA has also put out standards and competencies for information literacy competencies (2007) and instruction (2002). As it stands, it’s our job to (not only teach basic info-lit, but also) hand out lessons on copyright and plagiarism, good design and accessibility, data visualization (and how it can mislead!), image-editing detective work (which invariably leads to an addiction to Photoshop Disasters), and everything from technical evaluation (“how true is the digital colour to the original?”) to art-education evaluation (“what period/genre is this from?”) and semiotics / semantics / cultural theory diversions. Skepticism and rigor in visual literacy could, I predict, lead to everything from a higher interest in art and design among the general populace, to better body image (“Nobody is that beautiful without airbrushing!”) and consumer ethics (“I’d better not buy this plagiarizing pillow“). And sometimes it’s just about getting the joke.

Let’s play “name the reference.”

Information literacy might need a bit of a rebrand: like taking a technology class at your library, lots of people aren’t willing to admit they could use a refresher or don’t really get the underlying principles behind their daily use. As usual, the best policy seems to be “Get ’em while they’re young,” and making digital / media literacy and scientific rigor a base part of public education — a required seminar for all first-year college students, at least.

Can art librarians design a quick, fun, painless way to lay out the pitfalls and consequences of being design-dumb? Are the threats of bad website navigation, low-resolution printing, inadvertent copyright infringement, and lack of accessibility important enough to get bureaucratic and financial support? Or will the information-literacy MOOCs fall by the wayside, underused and unacknowledged?

[FYI: ARLIS/NA has an Academic Division (who worked with the ACRL VL Taskforce), a Visual Resources Committee, and a Teaching SIG, but no ongoing groups working on visual literacy specifically, or any published plans to update the 2007 info-lit guidelines. I have yet to hear about collaborations with the International Visual Literacy Assocation, or similar bodies, but if you know of any, post a comment! Maybe it’s time for a little ARLIS/NA visual literacy focus … ]

 

1: I have always been confused by Sherlock’s use of “deduction” — isn’t he using induction, to take the clues in front of his face and construct a narrative, rather than beginning from a premise and eliminating possible outcomes? If someone can give me a mnemonic or something, I would greatly appreciate it. Says he:

“Let me run over the principal steps. We approached the case, you remember, with an absolutely blank mind, which is always an advantage. We had formed no theories. We were simply there to observe and to draw inferences from our observations.”

– Sherlock Holmes, The Adventure of the Cardboard Box


Interview: Life as The Banff Centre’s Library Work-Study

For those of you thinking about spending six months in gorgeous Banff, Alberta (yes, international applicants are encouraged!):
Here are some words of wisdom from last year’s Library Work-Study, Jaye Fishel, who spent her tenure working to promote and display the Banff Centre’s insane collection of artists’ books. Jaye kindly answered my questions about being an American book-nerd in Alberta, the projects she worked on, and the application procedures to get into one of Canada’s prettiest cultural institutions.

The Banff Centre Library

The Banff Centre Library

ArLiSNAP: Can you start with a bit of your background?

Jaye Fishel: I was an artist before I got my MLIS degree, which I in-part pursued to professionalize my interest in artists’ books in particular. I worked in the rare books library during my undergraduate studies (at Emory University) and was introduced to artists’ books in processing collections. That led me to move to San Francisco in 2005 to study at the Center for the Book there, where I learned letterpress printing and other techniques. Since then, I’ve expanded my artistic repertoire but books and works on paper still figure largely into what I’m interested in engaging with, both professionally and as an artist.

ArLiSNAP: What were you doing previous to taking the work-study position?

JF: I was living in Oakland, unable to find a professional position suitable for me. I only realized after graduating with my MLIS that any job, let alone a job dealing with artists’ books, was very difficult to come by.

ArLiSNAP: What was the application process like?

JF: The application process was straightforward — I submitted a project proposal in addition to a standard cover letter that outlined a project I would produce while at the Centre. Since the work-study position is an educational program, like an internship, I stated some learning objectives. Applying to work in Canada from the US seemed to have little bearing on the application process, although once I accepted the position, I had to secure a student visa, which did not show up until the day before my flight to Banff, causing more than a little anxiety.

ArLiSNAP: A student visa?

JF: I needed a student visa because the work-study program is considered an educational program, so technically I was a student in the eyes of the Canadian government. Work-study participants receive a stipend, not a salary, and are generally treated differently than staff at the Centre.

ArLiSNAP: What attracted you to the position?

JF: The job description was like a dream! Working fairly exclusively with the artists’-books collection in an international art residency centre? I was attracted to everything about that. Plus, I needed a change in my life, so I felt ready to move to remote Banff from the Bay Area, which was changing rapidly before my eyes into a place that felt less and less accommodating to artists and craftspeople. I was also attracted to the adventure.

ArLiSNAP: What period of time were you there? What was it like moving to Banff and settling in?

JF: I arrived in Mid-May and I left at the end of February, so I was there for nine months. It was an adventure the entire time — living in the middle of the Canadian Rockies in an art residency center was unlike my life in the Bay. I hadn’t lived through a snowy winter since I was a child, so that was definitely an adjustment, as was living in a very small tourist town. I had a sometimes quiet, simple existence — sometimes filled with lots of art and parties and people from all over the world.

ArLiSNAP: What was a typical work day like?

JF: I worked four days a week, nine to five, with one day away from the library to work on outside research or projects. Typical days usually included working on artists’-book catalog records, planning upcoming events, and working with patrons. Then I’d walk home and see at least one deer or elk, on average.

ArLiSNAP: You started a few neat initiatives while you were there. Can you tell us about getting those programs going?

JF: I had a lot of freedom to create new initiatives and work on a variety of projects. The bulk of what I did at times was cataloging, or improving the very basic cataloging of the artists’ books collection, which is extensive at over 4,300 items. I would pull items from a particular press or artist at once to make comprehensive improvements to parts of the collection that relate to one another. I also initiated a public program series of artists’ books showcases, where I would pull random items from the collection and invite the resident artists and the public to engage with the items. I also started a several-year-long project to display every item in the artists’ books collection in a case in the library, as well as online via documentary images. (http://banffcentrelibraryandarchives.tumblr.com/)

I had wonderful support from my mentor, Suzanne Rackover, to do whatever I wanted with my time to enhance use of the collections. So I just came to her with my ideas and she supported my process. For the artists’ books showcases, I would loosely try to pull items that would be of interest to visual artists on residencies. I would make sort of weird promotional fliers and hand them out and post around campus. Setting up the Tumblr project required simply creating a randomized spreadsheet of the collection, creating the new display every Monday of fifteen items, photographing the works, and posting to the Tumblr. It’s a fairly simple process, so now almost anyone who works in the library can continue the weekly changes.

Artists'-Book Showcases

Artists’-Book Showcases

ArLiSNAP: Do you have any advice for someone looking to apply to the Banff Centre Library, or things to do while working there?

JF: I’d advise anyone interested in working with an outstanding artists’ books collection to apply. It is truly an amazing collection that I feel so lucky to have worked with every day. I know I’m a great deal more knowledgeable about artists’ books than I was before working at the Centre. Working at The Banff Centre is very special because artists across media from around the world come to make and show work. I encourage any future library work study to go to every show, performance, artist talk, party, dinner, bingo night, hike, and outing possible. There is a lot to experience in a very short time.

Applications for the Library Work-Study are due on June 15th!


Extracurricular activities?

Shortly into my MLIS program I realized that, while school and internships would no doubt provide me with indispensable knowledge and experience, it was important that I was not relying only on these things to help prepare me for a career in art librarianship.   I assume I’m not alone on this that most of you are following blogs, reading journals, watching webinars or doing various other activities that you believe will help you to land your dream job or stay relevant in the field.

For this discussion post, I was hoping that we could share some of these resources that we rely on.  I thought it might be interesting and helpful to see what other people are doing outside of work and school to sharpen skills or to learn more about the world of art librarianship.  Please be encouraged to join the conversation and share any readings, websites, activities, or anything else that you feel has helped you.

Below are some of the things that I do, read, etc. that I think will help me in the long run, a few of these I have suggested on earlier blog posts but thought I might as well share them again.  Enjoy!

Duolingo – It has been a few years since I’ve taken any language classes so my skills have started to get a little rusty.  I wanted to re-familiarize myself with both Spanish and French for a number of reasons.  First, I think that having a working knowledge of French, Italian, German, and to a lesser degree Spanish, can help a great deal in working with art historical publications since those seem to be the major research languages.  Also, proficiency in more than one language is definitely a desirable skill and something that can set you apart from other job candidates.

Art Documentation – I read this journal to keep up to date on any important research, trends, or issues surrounding art librarianship.  Plus, if you are a member of ARLIS/NA a subscription of the journal is included in your membership!

w3schools – In the past year or two, I have really been focusing on building my tech skills to help me compete in the job search, the tutorials on this website are free and really great.

That’s it for now, I wanted to first get the discussion started and then I’ll definitely join in and share some more.


Job postings

Library Assistant (Full Time & Part Time openings), Academy of Art University, San Francisco

PT LibrarianArt Institute of Fort Worth, Fort Worth, TX 

 


ARLIS/NA Canada Call For Proposals: Book Chapters on Art Libraries in Canada

Attention all Canadian art-librarian hopefuls! Here’s a great project to be involved in, if you have worked at, or are interested in, one of the many art libraries our country has to offer. If you’d like to get published, do an interesting research project, and support the efforts of Canadian ARLIS members, take a look.

The first edition of the History of Art Librarianship in Canada: Essay in the History of Art Librarianship in Canada came out in 2006; the second edition would ideally come out in 2015, and needs to be expanded to include more libraries as well as recent developments. Some discussion about the project, and a short list of art libraries to be profiled, is in the 2013 Annual Report.

There are two deadlines for proposals: April 25th (if you’d like to have your proposal discussed in Washington next month), and May 30th (the extended deadline). I encourage you to send a query before April 25th, even if you can’t complete a full proposal by that day.

The full CFP has more details, but here are some excerpts:

This initial project was generously sponsored and funded by the National Gallery of Canada Library and

Archives and first made available online in 2006. We would like to continue this tradition of excellence by

publishing a second edition that will include additional essays on libraries, institutions and related resource centres not profiled in the original publication.

 

We have compiled a list of libraries that could be included, but realize that logistically some may not be able to commit to a full research project of this nature at present. So the committee is eager to hear from you directly and encourages you to submit proposals for the second edition of the History of Art Libraries in Canada. Our hope is that your input will help us build the structure for this anthology of library histories.

 

….

 

It is understandable that histories will vary in length and include diverse types of documentation, so we

encourage any potential contributors to apply, even if primary supporting sources for your library’s story

would be oral histories, memoirs, or other unpublished ephemeral information sources. As was the case with the first edition, the History of Art Libraries in Canada vol.2 will profile the establishment and evolution of collections, spaces, visual and information literacy services, as well as the profession of art librarianship in Canada.

 

The working committee is eager to profile as many libraries as possible, so we encourage you to submit

a proposal if you are capable of researching, documenting, and writing an essay within roughly the next year. Although an official publication date has not been finalized, we hope to have a clear picture of the libraries to be included by Spring 2014 and begin compiling and editing the publication by 2015.

 

….

 

If you are interested and can realistically work within this timeframe, please consider submitting a

proposal (Microsoft Word document preferable) that includes:

Institution name;

Primary author(s) name and job description or professional connection to the institution;

Estimated length of text and a general overview of the content for the entry (roughly 250 words; a bulleted list of topics is acceptable);

Whether rights-cleared images will be included for reproduction;

General bibliography of sources.

 

Submit all applications by email to:

Daniel Payne dpayne@ocadu.ca

Canadian Member-at-Large, ARLIS/NA Canada; Head Reference & Instructional Services, Dorothy H. Hoover Library, OCAD University

Application Deadline:

Please endeavor to have proposals submitted by:

Friday 25 April 2014 (so that results can be presented on Sat. 3 May at the ARLIS/NA Canada Chapter meeting at the 42nd annual ARLIS/NA Conference in Washington DC).

The committee realizes, however, that this leaves little time for preparation of materials and planning for research allowances, so an additional deadline will be offered for those that need an extended preparation time period, set at:

Friday 30 May 2014 


Getty Foundation Multicultural Undergraduate Summer Internship–Library, Art Center College of Design, Pasadena, CA

Please circulate this posting to any undergraduates who might be interested in art librarianship! 

In order to increase diversity in the professions related to museums and the visual arts, the Getty is offering a summer internship in the Library at Art Center College of Design to undergraduate students of culturally diverse backgrounds.

The James Lemont Fogg Memorial Library at Art Center is a visual arts library designed for the aspiring practicing artist and designer. The Library intern will work in all departments of the Library, gaining experience in librarianship, archives, digital image curatorial work, public services and mentoring students. The intern will spend time in reference services, circulation, archives, cataloging, and digital imaging. The intern will develop a special project, such as choosing a subject for collection development, curating a display in the Library, or planning a special program for Art Center students.

All interns will attend a day-long gathering sponsored by the Getty Foundation and will submit a report to the Foundation at the end of program. A stipend of $4,000 will be provided for a full-time, ten-week period beginning in June and ending no later than August 22, 2014.

The internship is a full-time (40 hours/week) position, with a salary of $4,000 for a consecutive ten-week work period beginning no sooner than June 2 and ending no later than August 22, 2014.

Qualifications Eligibility 

Students must:

  • Be of African American, Asian, Latino/Hispanic, Native American, or Pacific Islander descent;
  • Be currently enrolled undergraduates who have completed at least one semester of college by June 2014 (students who are enrolled in a second BA or BS program are not eligible);
  • Reside or attend college in Los Angeles County; and
  • Be a United States citizen or permanent resident.

Full post here.


PT Library Aide– Fashion Institute of Technology

About Fashion Institute of Technology:

The Fashion Institute of Technology (FIT), an internationally renowned college of art and design, business and technology of the State University of New York, invites applications for the position of Part-Time Library Aide for the Library at FIT.

Job Description:

The Library Aide is responsible for providing general and specialized circulation assistance and services of a to the FIT/SUNY community in a courteous and efficient manner and in accordance with the Library’s policies and procedures.

PURPOSE OF THE JOB
Provide public service desk coverage and support the Unit’s mission and daily operations:

Customer Service

  • Answer patron queries in person or on the phone, regarding library resources, services and campus information
  • Page materials requested by library patrons and communicate access policies
  • Assist patrons with the use of print and online catalogs
  • Request technology assistants to support patrons upon request
  • Responding to queries regarding photocopiers, scanners, microfilm readers

Collections / Access

  • Maintain organization in reading rooms by shelving materials, shelf reading and inventory
  • Provide assistance to the Inter-library Loan aides when necessary. Including, but not limited to managing incoming and outgoing interlibrary loan requests, generating requests using the ILLiad Interlibrary Loan system
  • Work alongside with student workers, provide guidance in workflows and instruct them on unit processes
  • General ALEPH (the Library’s integrated library system) maintenance, including, but not limited to linking, editing, or creating items in ALEPH. May also include troubleshooting ALEPH technical questions.
  • Compiles, edits, and manages metadata and scanning for the Library’s Designer Files Collection
  • Adding, creating, weeding images from the Library’s Picture File

Administrative

  • Perform duties such as filing, answering telephone and email inquiries, photocopying, scanning, and data entry
  • Compiles statistics, maintains records on library integrated online software, processes materials daily and provides support to the Unit and its functions
  • Maintain collection of Library handouts by service desk
  • Responsible for opening or securing the closing of the Library as scheduled
  • Special projects as assigned
  • Schedule may change based on the needs of the department

Requirements:

Associate’s degree and one year of related experience year in an academic library or environment. Work experience must include not less than one year in a fast paced, customer-oriented service work environment.

KNOWLEDGE, SKILLS AND ABILITIES
Fundamental knowledge of the operation of an integrated library management system, with ALEPH experience desirable. Experience using technology applications such as ILLiad and Odyssey, Banner, or similar systems highly preferred. Ability to work quickly and accurately with detailed data. Ability to keyboard at least 25 wpm and proficiency in utilizing word processing and database software, preferably Microsoft Office Suite, including Excel.
Knowledge of computer graphics programs such as Adobe Photoshop and Illustrator a plus. Ability to trouble-shoot basic computer problems.

Must possess the ability to work with a diverse community, while exercising good judgment and common sense. Excellent customer service skills, including professional and courteous telephone communication and electronic mail correspondence. Must possess excellent conflict resolution skills, strong communication skills, tact, resourcefulness and the ability to identify and solve problems. Proven ability to work independently and effectively in a collegial manner in a changing environment.

Additional Information:

WORKING CONDITIONS
Work is performed under typical library conditions with requirements for frequent sitting and standing for long periods of time, as well as frequent lifting and carrying of heavy library materials and maneuvering carts full of books. Ability to sit or stand for long intervals. Ability to lift up to 50 pounds and push and pull 100 or more pounds.

Salary 88/0 $22.62 per hour (24 hours per week)
Work Schedule:Tues 11:00am?5:00pm; Wed, Thur 11:00am?6:00pm; Fri 12:30pm?6:30pm Occasional Saturday shifts may be expected

Application Instructions:

Application Instructions:
Applicants interested to apply MUST submit the following documents online.
* Resume/CV
* Cover letter
Returning Applicants – Login to your FITNYC Careers Account to check your completed

 

Apply here.


Art and Architecture Librarian– University of Oregon

The University of Oregon Libraries seeks a knowledgeable, creative, and user-oriented colleague for the position of Art and Architecture Librarian.  This position provides the opportunity to participate in a wide range of services and professional responsibilities in a dynamic environment.

The Architecture and Allied Arts (A&AA) Library’s collections primarily support the diverse academic programs associated with the School of Architecture and Allied Arts.  The library’s holdings are complemented by collections of art and architecture titles in Knight Library and the UO Portland Library and Learning Commons.  Important collections of architectural archives and drawings are housed in the UO Libraries’ Special Collections & University Archives.  In addition to its 86,000 volumes, the A&AA Library holds unique collections of rare books, architectural drawings and models, and artists’ books.  The A&AA Library has 4.0 FTE staff members, and several student assistants.

Duties and Responsibilities:

The Art and Architecture Librarian has responsibility for developing collections and services to support scholarly users of information, serving as the primary liaison with the Department of Art, the Department of the History of Art and Architecture, and the Arts and Administration, Product Design, and Digital Arts programs.  This position provides reference and research consultation, collection development, and instructional and outreach services in art history, architecture, fine arts, and related disciplines.  Service on library and campus committees is expected.  Other related duties and projects will be assigned.  Library faculty members are also encouraged to be professionally active through involvement in regional and national associations, research, or publication.  This position is located in the A&AA Library, and reports to the head of that department.

Qualifications:

Required:  ALA-accredited MLIS degree in hand by start date; strong academic background in art history, architecture, or visual arts; knowledge of art and architecture information resources; excellent oral and written communication skills; and ability to work collaboratively in a team environment.  The successful candidate will support and enhance a diverse learning and working environment.  Desired: Academic library experience; reading knowledge of a foreign language; graduate degree in art history, fine arts, arts administration, or design discipline; and experience with technology used in design disciplines.

Salary and Benefits:

Salary will be commensurate with rank and experience.  The UO offers a generous benefits package (see:http://hr.uoregon.edu).

Employment Conditions:

This is a full-time, 12-month position, located in Eugene, OR.  Librarians hold academic faculty status with rank, Career Non-Tenure Track.  Contracts are fixed-term, renewable (two or three years) depending on rank.  Professional growth and service in keeping with university and library standards for promotion, retention, and merit is expected.  This position is represented by United Academics (http://uauoregon.org/).  Appointment to the position will include successful completion of a criminal background check.

Application Deadline:

To ensure consideration, please submit all application materials by April 14, 2014.  Position will remain open until filled.

To Apply:

Please submit a Word or PDF document that includes a cover letter, résumé, and list of four professional references addressed to: Ms. Laine Stambaugh, Human Resources Librarian, 1299 University of Oregon Libraries, Eugene, OR 97403-1299 atlibapps@uoregon.edu.  (541) 346-1895; (541) 346-3485 (fax).

Full post here.


Part-Time Librarian – The Modern Museum, Fort Worth, TX

Original job posting by the TLA available here.

Position Starts:3/17/2014 Listing Closes: 2/21/2014 Listing Submitted: 1/13/2014
Position Description: The Modern Art Museum of Fort Worth seeks a part-time (2 days per week) librarian to assume cataloging and organizational duties for the Museum’s library. Candidates should possess knowledge of art history and/or visual arts; knowledge of Library of Congress System and OCLC; knowledge of bibliographic cataloging; knowledge of RDA standard; and knowledge of stacks management.

Candidates should be able to research and evaluate materials for collection development; provide reference and research consultation to staff members; assist with reciprocal material situations; and assist with other duties as needed.

Institution: Modern Art Museum of Fort Worth
Type of Library: Other
City: Fort Worth, Texas
Annual Salary: Commensurate with experience
Salary Comment:
Telephone: Fax:
Email Address: bmitchell@themodern.org
Website Address: www.themodern.org
Required Education: Master’s degree in Library/Information Science from an ALA accredited program
Required Experience:
Contact: Brent Mitchell
Send Resume to: Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, TX 76107
Special Instructions:
Interviews will not be conducted at the conference placement center. Please contact directly.

Arts and Architecture Librarian– University of North Carolina at Charlotte-Atkins, Charlotte, North Carolina

Arts and Architecture Librarian
J. Murrey Atkins Library at UNC Charlotte is seeking an Arts and Architecture Librarian to serve as the subject librarian for the College of Arts and Architecture and the Hight Architecture Library.

Required:

  • Master’s degree in Library Science or equivalent from an ALA-accredited program

Preferred:

  • Academic and/or library experience in a field or subfield of fine arts or architecture
  • Two or more years of instructional or liaison experience in an academic research library

For a full job description and additional information visit our Web site at http://library.uncc.edu/jobs/.

ONLY ELECTRONIC APPLICATIONS WILL BE ACCEPTED: https://jobs.uncc.edu/  (Search Faculty Vacancies – Position #8995)

Applications will be reviewed upon receipt. Candidates are encouraged to apply as soon as possible to receive full consideration.

Members of minority groups and persons with disabilities are encouraged to apply. AA/EOE


Part-time Cataloger- The Frick Art Reference Library

Full posting here.


Assistant Librarian and Archivist – American Textile Museum, Lowell, MA

via INALJ, see original posting here.

Institution: American Textile History Museum, Lowell, Mass.
Job Title: Assistant Librarian and Archivist
Duties/Description: Search Re-opened: The American Textile History Museum
(ATHM) seeks a creative, motivated team-player for the part-
time position of Assistant Librarian and Archivist in the
Osborne Library. Reporting to the Librarian, this position
is responsible for assisting with recording, maintaining
and conserving ATHM’s library holdings. The collection
includes books, pamphlets, manuscript collections,
photographs, prints, insurance maps, and trade literature,
all relating to some aspect of the textile industry. The
Osborne Library serves researchers through on-site visits,
telephone, and email inquiries; researchers include in-
house staff, national and international researchers, the
local community, students, teachers, and families.The Assistant Librarian and Archivist will assist the
Librarian in all aspects of library work, including
processing manuscript collections using appropriate
archival techniques; providing services to researchers;
cataloging and processing books, photographs, etc. into the
museum database; identifying materials needing repair and
conservation; ensuring the use of proper preservation
techniques; storing/reshelving materials; helping to
prepare information and collections for web-based use; and
performing any other functions necessary to the operation
of a special collections library.Primary responsibilities include: process incoming and
backlogged manuscript collections by accessioning them into
the museum’s database, organizing the materials, re-housing
documents in acid-free folders and boxes, creating an
inventory and/or finding aid, and cataloging into OCLC if
warranted; assist on-site researchers at the Osborne
Library by explaining library and archival policy,
conducting interviews, identifying and retrieving research
materials, photocopying documents, and monitoring
researchers; answer in-house, telephone, and e-mail
requests by searching for the materials, producing required
reproductions, corresponding with researchers, and mailing
materials; collaborate with the Librarian in setting policy
to determine preservation practices, reproduction and usage
fees, research use of the collections, and copyright issues
involved in digitization; assist the Librarian in
maintaining the library’s website, the Chace Catalogue, and
other digitization projects; accession newly acquired books
and pamphlets into the museum’s database; supervise student
interns and volunteers in various library and archival
tasks; handle daily library duties including answering
visitor’s reference questions, shelving books, maintaining
the stack area, and ordering supplies; provide
collaborative support to the museum curator in museum
exhibit research and preparation, and work with museum
staff in developing library exhibits that highlight the
library’s collections.
This position is 20 hours/week with no benefits.
Qualifications: MLS/MLIS with concentration in archival studies from an ALA-
accredited program; at least two years’ experience
supporting library and archives operations, including
collection preservation, online migration, maintenance and
digitization of collections. Proven track record of
coordinating and completing projects with limited
resources, working in a collaborative culture, and being
able to manage a changing and varied workload. Must be
able to work independently as well as part of a team. The
candidate possessing skills that include computer data
management, collections’ marketing, ability to communicate
with a wide range of audiences, strong research interests
in American history and willingness to assist researchers,
attention to detail, and a sense of humor will have the
edge.
Salary:
Closing Date: February 5, 2014
Send: To apply: Please submit cover letter, resume, and
three professional references to Jane E. Ward,
Librarian, at jward@athm.org (please put
Assistant Librarian in subject field) or mail to
Jane E. Ward, Librarian, American Textile History
Museum, 491 Dutton Street, Lowell, MA 01854.

Are you Library Management Material?

role-of-Managers

Although it might seem to many of us, while students, that library management is something to consider years from now, if ever, it might be worth a second thought during your MLIS program. If you have been in library school any length of time, you are bound to have picked up on something like “a shortage of qualified library leaders is coming, so get ready!” While this may or may not be true, it is entirely within the realm of possibility that some of us will eventually be library managers. With the proliferation of educational tracks and certificate programs, choosing one is sometimes a daunting prospect. What would entice you to choose a Library Management emphasis over others?

Maybe the answer lies in taking stock of your personality, skills, abilities, and goals. For me personally, Management Studies is ideal. I LOVED 5300: Library and Information Center Management. I reveled in topics like Strategic Planning, Organizational Culture, Human Resource Management, Ethics, and Development/Fundraising. Of course, maybe this has something to do with the fact that I have had some management experience and can envision myself in a leadership role readily. Or maybe it’s simply that I like being in charge!

What about you? Can you picture yourself in a management role of some kind? Do you think the administrative side of the job would perhaps overshadow your primary objectives as a librarian? Yes or no?

 

 


Job Posting: Head of Library Services – Ringling Museum of Art

To apply, find original posting here.

Department

The John & Mable Ringling Museum of Art, in its affiliation with Florida State University, is one of the largest museum/university complexes in the nation. Located on an impressive 66-acre Sarasota bay front estate, it preserves the legacy of John and Mable Ringling, educating and enabling a large and diverse audience to experience and take delight in a world-renowned collection of fine art and special exhibitions; Ca d’Zan, the Ringling historic mansion; the Circus Museums; the Tibbals Learning Center; the Historic Asolo Theater; and historic architecture, courtyard, gardens and grounds overlooking the Sarasota Bay. An Education Building houses our library, conservation facility, classrooms, and staff offices and The Visitors Pavilion serves some 350,000 guests annually.

Anticipated Salary Range

High $40,000’s to low $50,000’s, commensurate with experience

Schedule

If not otherwise specified, schedule is M-F, 8-5.

Responsibilities

The Ringling Art Library seeks an enthusiastic Head of Library Services to serve as Head Librarian and lead the expansion of the Library’s services and collections. This individual will spearhead the conceptualization and implementation of policies, programs, and long-range planning.

Collections Development: In collaboration with Ringling staff, establishes a collections development plan aligned with institutional initiatives. Analyzes the Library’s collections for strengths, weaknesses, and relevance to current information needs. Responsible for purchasing new acquisitions. Selects rare books for conservation.

Research & Program Development: Performs research on all aspects of the Ringling legacy and collections as well as other topics pertaining to the visual arts and cultural history to assist staff, faculty, and public in research, curriculum development, and exhibitions and programming. As member of the library team, assists with reference, circulation, public services, and promotes the use of current and emerging technologies. Promotes the services, and expands the awareness of the collection and resources, regionally and nationally. Leads and participates in library public programming. Handles requests from outside scholars for information relating to the Package exhibitions. Assists with grant proposal preparation.

Professional, Community, and Donor relations: Represents the Ringling Library by participating in professional associations, and regional library partnerships/programs related to the Museum’s mission or initiatives. Monitors developments in the profession as well as best practices to encourage innovation and ensure excellence. In conjunction with Development Department, works with donors and constituents, such as Friends of the Library, to build strong partnerships. Promotes the services, and expands the awareness of the collection and resources, regionally and nationally.

Supervisory and Administrative: Provides dynamic leadership to staff, interns, and volunteers: Assigns, trains, reviews, and/or approves work and special projects. Works with staff to determine goals and objectives; makes recommendations regarding employee hiring, salary adjustments, staff development, discipline, and termination, or performance evaluations. Defines needs, sets priorities, develops policies, identifies possible grants, and prepares the annual budget to ensure effective management and development of services and collections. Monitors budget throughout the year. Provides adhoc reports as requested. Submits annual report of acquisitions and activities.

– See more at: http://careers.naspa.com/jobseeker/job/15857086/Head%20of%20Library%20Services/The%20Ringling/?vnet=0&str=5401&max=100#sthash.0M35znPB.dpuf


Job Posting: Part Time Librarian – Art Institute, Fort Worth, TX

To apply, find the original job posting here.

Job Summary:

Under the supervision of the Dean of Academic Affairs and in collaboration with the Director of Learning Resources and Centralized Library Services Team, the Librarian ensures school library functions and services are appropriate and properly planned, implemented, and managed.  The Librarian assists the school community in use of the library materials and resources through appropriate and meaningful information literacy and instruction programs as well as reference and research support. The librarian assists the school community with use of academic support services and technology including tutoring, assessments, student portals, learning management systems, and others.

Incumbent must assure that the EDMC philosophy: quality services to clients; development, growth, involvement, and recognition of employees; sound economic principles; and environment which is conducive to innovation, positive thinking and expansion – is considered in carrying out the duties and responsibilities of this position.

Key Job Elements:

  • Plan, coordinate, conduct, and assess library and information literacy instruction sessions and programs.
  • Provide reference and research assistance to school community.
  • Assist school community use of academic support and technology platforms and services including tutoring, student portal and others.
  • Author, implement, evaluate and update school library policies and procedures in close collaboration with the school Dean of Academic Affairs, system Director of Learning Resources, and Centralized Library Services Team.
  • Maintain library in an orderly manner; perform regular inventory, weed materials, and engage in minor catalog updates when requested by Centralized Library Services Team.
  • Process and maintain print periodicals, tracking receipt and filing claims for missing issues.
  • Receive, inspect and oversee shelving of materials purchased through Centralized Library Services Team.
  • Inform Centralized Library Services Team of school community suggested library purchases.
  • Collaborate with School Dean of Academic Affairs, Institutional Effectiveness staff, and Centralized Library Services Team in compiling and submitting information and reports for both internal and external (accreditation) purposes.
  • Serve on school committees in order to promote, share, and gather information regarding library and related support services.
  • Collaborate with school IT to oversee library hardware and software, including AV equipment.
  • Aid Dean of Academic Affairs in selecting, training, and supervising Library Assistants and Student Library Assistants when applicable.
  • Administer academic placement and certification tests when applicable.
  • Conduct long range planning related job function.
  • Other duties as assigned.

Reports To:
Dean of Academic Affairs
Supervises:
Library Assistants, Student Library Assistants (No. # of Direct Reports varies by school)
Interacts With:
System Director of Learning Resources, System Centralized Library Services Team, faculty, students, administration and staff

Job Requirements:

Knowledge:

  • Master’s Degree in Library, Information Science, or related from an ALA accredited school
  • At least one year experience working in a post-secondary institution library
  • Previous experience delivering instruction preferred
  • Knowledge of subjects taught by Art Institute system
  • Knowledge of library and educational technologies

Skills:

  • Strong interpersonal skills
  • Excellent written and verbal communication skills
  • Strong presentation skills
  • Superior organizational, prioritization, and self-motivation skills
  • Strong computer skills

Abilities:

  • Work effectively a team member to insure that system and school goals are met
  • Ability to effectively teach information literacy skills
  • Comfort level with expanding and contracting sphere of influence as required at times by the role
  • Ability to frequently lift up to 15 pounds
Work Environment & Notice

Work Environment
The work environment characteristics described here are representative of those an employee encounters while performing the essential functions of this job. Reasonable accommodations may be made to enable qualified individuals with disabilities to perform the essential functions. The term “qualified individual with a disability” means an individual with a disability who, with or without reasonable accommodation, can perform the essential functions of the position. While performing the duties of this job, the employee is regularly required to communicate professionally in person, over the telephone, through email and other electronic means, move about the office or school, handle various types of media and equipment, and visually or otherwise identify, observe and assess. The employee is occasionally required to lift up to 10 pounds unless otherwise specified in the job description.

Notice
The intent of this job description is to provide a representative and level of the types of duties and responsibilities that will be required of positions given this title and shall not be construed as a declaration of the total of the specific duties and responsibilities of any particular position. Employees may be directed to perform job-related tasks other than those specifically presented in this description. Education Management Corporation is an Equal Opportunity Employer and embraces diversity as a critical step in ensuring employee, student and graduate success. We are committed to building and developing a diverse environment where a variety of ideas, cultures and perspectives can thrive.


Job Posting: Project Manager, William J. Hill Texas Artisans and Artists Archive, Bayou Bend

via Careers@MFAH.org

To apply, visit the original job posting here.

Responsibilities:

• Works with the Director of the Kitty King Powell Library and Study Center and the Curator of the Bayou Bend Collection to establish and implement vocabulary and metadata standards for the Texas Artisans & Artists Archive (TAAA)

• Contributes to the selection and implementation of appropriate systems to manage and distribute data, documents, and images in the Archive

• Coordinates the collection of documents, data, and images for the Archive and their entry into the appropriate systems

• Works closely with MFAH staff in the Hirsch Library, Information Technology, Archives, and Photographic and Imaging Services in the selection, implementation, and maintenance of the systems

• Supervises the Project Associate and future Project staff when hired, including Field Researchers

• Coordinates permissions for the use of any copyrighted data or images in the Archive.

• Works with the Director in exploring possible cooperative contributions of data and images with other institutions

• Reads primary documents with accuracy and comprehension in order to add new information to the Archive

• Enters data, images, subject descriptors, and metadata into the system

• Coordinates communications with the TAAA Advisory Board and their meetings

• Develops and coordinates the Archive´s digital and printed communications

• Assists in promoting scholarly awareness and utilization of the Archive and dissemination of related research

• Performs other duties as assigned


Skills, Knowledge, and Abilities:

• Must have excellent skills in dealing with the museum staff, docents, researchers, and public visitors

• Knowledge of digital content management systems, metadata schema, and controlled vocabularies required

• Knowledge of American art and decorative arts and appropriate library resources desirable

• Able to prioritize, work with minimum supervision and deal with both public and staff in a professional manner

• Dependability, strong communication skills and great attention to detail are essential

• Excellent organizational skills

• Must be physically able to lift heavy books, climb ladders, and work at a computer terminal for extended periods of time


Education and Experience:

• B.A. degree in a Humanities field required

• Masters in Library and Information Science from an ALA-accredited program or archival certification preferred

• Thorough knowledge of archival management principles and methodologies preferred

• Relevant work experience in a library or archive is required

• Experience with digitization and database development required

• Supervisory experience preferred


Job Posting: Library Technician (Circulation) – National Gallery of Art

via University of Maryland’s BlogMLS

The National Gallery of Art Library is seeking applicants for a student assistant position in the Circulation Section of the Reader Services Department. The primary purpose of this position is to assist with a wide variety of circulation and reader services for Gallery staff and outside readers.

Duties include retrieving materials from the stacks and reshelving returned materials, providing information and instruction on circulation procedures governing use of the Library collection, and maintaining automated and manual departmental files.

Applicants should have a basic knowledge of library collections, online catalogs, and circulation desk procedures, familiarity with using personal computers, an ability to type and file accurately, and an ability to work cooperatively with other staff members and library patrons. Reading knowledge of a Western European language (French, German, or Italian) is desirable.

In order to qualify for this position, an applicant must be registered at least as a half-time student, and be able to provide certification of student status, including a current class schedule. Work schedules will be determined to accommodate the student’s class schedule and the Library’s work requirements. The position is limited to 20 hours per week while classes are in session; full-time employment is available during semester and summer breaks. The incumbent earns sick and annual leave based on the amount of hours worked.

Those interested this position should send a résumé and any inquiries by email to:

Lamia Doumato, Head of Reader Services
National Gallery of Art Library
email: l-doumato@nga.gov


Job Posting: Library Technician (Vertical Files/Non-Print Materials) – National Gallery of Art

via University of Maryland’s BlogMLS

The National Gallery of Art Library is seeking applicants for a student assistant position in the Vertical Files/Non-Print Materials office of the Reader Services Department. The primary purpose of the position is to assist with the maintenance, development, and consultation of the vertical files and non-print collections.

Duties include preparing newly acquired materials for the vertical files and non-print collections, preparing bibliographic records using an online catalog, and assisting with the organization and use of both collections by Gallery staff and outside readers.

Applicants should have a general knowledge of manual and automated library procedures, a familiarity with using personal computers and online catalogs, an ability to type and file accurately, and an ability to work cooperatively with other staff members and library patrons. Reading knowledge of a Western European language (French, German, or Italian) is desirable.

In order to qualify for this position, an applicant must be registered at least as a half-time student, and be able to provide certification of student status, including a current class schedule. Work schedules will be determined to accommodate the student’s class schedule and the Library’s work requirements. The position is limited to 20 hours per week while classes are in session; full-time employment is available during semester and summer breaks. The incumbent earns sick and annual leave based on the amount of hours worked.

Those interested this position should send a résumé and any inquiries by email to:

Lamia Doumato, Head of Reader Services

National Gallery of Art Library
email: l-doumato@nga.gov