Copyright Services Librarian, Centennial College, Scarborough, ON
•Develops and communicates College copyright policies, guidelines, and procedures to the College community
•Responds to queries on copyright, fair dealing, licenses, permissions, intellectual property, and related matters from members of the College community
•Prepares library copyright policies and procedures, advising library personnel on copyright matters specific to library collections, services, and projects
•Provides guidance and advice on copyright as it relates to all aspects of academic delivery (classroom, learning management system, and instructional technologies)
•Educates faculty, staff, and all College employees in copyright and related issues, designing and delivering instruction (in close collaboration with the Centre for Organizational Learning and Teaching) through various modes of delivery such as websites, workshops, consultations, and online tutorials
•Negotiates and/or facilitates copyright permissions, clearances, licenses to ensure compliance with legislation
•Leads the planning, operation, delivery, and enhancement of Copyright Services for the College, working in close collaboration with the Senior Library Technician for Copyright & Special Projects to ensure timely logging, processing, and tracking of queries, clearances, and licenses; compilation and analysis of data and statistics
•Promotes best practices and an integrated approach to copyright compliance through close collaboration with College departments and with third parties such as the bookstore and printing services
•Monitors, and remains current on legislative developments in copyright, fair dealing, intellectual property, licensing, open access and related matters
Librarian / Archivist, UBC, Vancouver
Overview of the position:
Working in collaboration with the RBSC Head and the Archivist, this position is responsible for the management of important rare books and archival collections in support of the core collection areas of RBSC. This position provides reference, instruction and outreach of RBSC’s archival and book collections. Additional responsibilities include, but are not limited to: archival appraisal, creation of finding aids, CCPERB applications and preservation of archival materials.
1. Provides reference and research services to students, staff, faculty and members of the public.
2. Organizes and teaches classes in the use of Rare Books and Special Collections resources, including the Library’s catalogue, print resources and e-resources.
3. Provides instruction/presentations to faculty and students (in the library, online and in the faculty departments).
4. Evaluates, acquires, accessions, arranges and describes archival fonds. Prepares, or supervises the preparation of finding aids for current and backlog archival fonds and maintains, upgrades and updates existing finding aids
5. Provides information/reference training for support staff and supervision for UBC iSchool student librarians.
6. May be assigned coordination of reference or instruction services in Rare Books and Special Collections: reference, teaching and instruction, web presence, subject guides and/or information guides, etc.
7. In co-operation with other RBSC staff ensures the physical security, preservation, and conservation of RBSC collections.
8. Prepares handouts, research guides and informational brochures in appropriate formats.
9. May be required to supervise staff in the absence of the supervisor(s).
10. Liaises with librarians and archivists in other areas of the library system
Senior Coordinator, Special Collections, Toronto International Film Festival Library, Toronto
This is a shared position between Library (75% and Exhibitions 25%), reporting to the Manager, Special Collections.
To register all incoming items for FRL and Exhibitions using the Collections Management System (MIMSY)
To ensure all appropriate documentation for intake collection items meets museum standards and the requirements and high standards of TIFF, including but not limited to loan agreements, contracts, and condition reporting the Senior Coordinator will enter the items/collection when it is received and add it to the accession register with any accompanying documentation. After receipt the collection will be assigned for archival description by the Manager, Special Collections to the appropriate staff.
To ensure that the care and presentation of Special Collections meets museum standards and the requirements and high standards of TIFF when artifacts are presented in exhibitions by advising on presentation and display and producing condition reports, under the direction of the Special Collections Manager.
Act as an international courier on behalf of TIFF for the tour of Special Collections, in particular the David Cronenberg exhibition, as required. (This responsibility will be shared with the Senior Coordinator, Exhibitions.)
- Three years experience in exhibitions registration at a museum, art gallery or cultural institution, preferably including work on travelling exhibitions
- Proven in-depth knowledge of registration practices, museum standard conservation and international shipping
- Broad knowledge of a variety of moving-image formats
- Broad knowledge of the history of cinema and the moving image
- Proven exceptional written and verbal communication skills
- Excellent administrative, organizational, time-management and research skills
- Proven ability in database management
- Proven ability to work effectively under pressure
- Proven ability to oversee and direct the work of others
- Adaptable to a flexible work schedule including some evenings and weekends
Fine Art and Antique Auction Assistants (2), A.H. Wilkens Auctions & Appraisals, Toronto and Oakville
We are looking for an intern (or interns) to assist with day to day operations of the auction house. This includes unpacking inventory, helping customers during auction and post auction, filing paperwork, assisting with research of goods.
Graphic design, social media and good computer skills are an asset.
Art Preparator, City of Regina
- Installs and de-installs two and three dimensional artwork in various areas.
- Prepares labels, and signage for display with the respective art object.
- Maintains all records, inventories and files related to the Civic Art Collection.
- Picks up and delivers artwork to various civic facilities and other locations in Regina.
- Researches various installation procedures.
- Organizes special projects and public art installations as required.
- Maintains art storage area and supply inventory.
- Provides conditions reports of art works.
- Develops and prepares forms required for Collection records.
- Packs, ships, and receives artwork for loans or out-of-town shipping.
- Performs other related duties as required.
Senior Reference Assistant and Cataloguing Editor, Duchow Music Library, McGill University, Montreal
Undergraduate and graduate degrees in music are assets. In-depth knowledge of classical music and jazz performance and history. Reading knowledge of German, Italian, Russian, and other foreign languages. Proven knowledge of North American cataloguing standards and experience cataloguing and acquiring music materials including scores, sound, and video recordings. Experience managing the day to day operations of an area and supervising staff. Client focused and service oriented. Ability to work as a member of a team in a networked environment. Strong attention to detail. Ability to work in a PC environment using word processing, spreadsheets, databases, and e-mail and presentation software. English and French spoken and written.
Heritage Specialist, City of Ottawa
The Heritage Specialist is responsible for interpretive and educational program development as well as delivery at the city’s historic sites and museums. The HS I is also responsible for ongoing work on heritage projects such as the Oral History project and historical research for educational use. The HS I assists with ongoing promotional activities; liaises with volunteers, community groups and facility user groups; assists in the supervision and training of summer staff; receives and directs visitors, answers public inquiries (such as genealogy research) and dispenses public information; performs reception and clerical duties as needed.
Digital Media Coordinator, Art Gallery of Alberta
The Digital Media Coordinator plays the primary role in the design, development and maintenance of the Art Gallery of Alberta’s (AGA) online communications and marketing, including the website, e-news and in-gallery digital media. The Digital Media Coordinator collaborates on the planning and execution of the AGA’s social media. Reporting to the Director of Marketing and Communications, this position contributes to marketing planning for exhibitions, events and programs, and is a central support in communicating the AGA’s vision of connecting people with art, ideas and each other.
Director of the Copyright Office, University of Alberta, Edmonton
The University of Alberta seeks a dynamic and innovative Director of the Copyright Office to provide leadership and work collaboratively with Faculties and departments, the Libraries, and other units across the University of Alberta to support effective decisions in copyright, intellectual property rights, fair dealing, and other use rights. Other activities related to these areas of expertise include building awareness and understanding of legislation and developing policies and procedures to support best practices in research and publishing, teaching, and use of resources and services.
Collections Assistant, Dentistry Museum, University of Alberta, Edmonton
This is a three month position with a start date of January 5, 2015 and end date of March 31, 2015.
Museums and Collections Services, University of Alberta, seeks a Collections Assistant in a term position to assist with the assessment, inventory, and review of the Department of Dentistry Museum collection. Reporting to the Collections Management Assistant, Museums and Collections Services, the Collections Assistant will work in a team environment.
(reposted from the MCN listserv; no link, sorry!)
Title: Imaging Services Specialist
Reports to: Digital Asset Manager
The Menil Collection seeks a qualified individual to support the Registration Department with Rights and Reproductions requests as well as Imaging and Cataloguing duties.
The Imaging Services Specialist processes internal and external requests for images of objects in the collection to be reproduced, seeing requests through from initial contact through to providing deliverables. The Imaging Services Specialist also assists with special projects such as ARTstor image contributions, a large-scale museum-wide digitization initiative, and implementation of digital asset management software.
Specific Rights & Reproduction Duties:
* Respond to public requests for photographic material to be reproduced.
* Initiate rights and reproductions contracts and invoices, establish rates for usage.
* Maintain databases (transparencies, CDs, contacts, etc.), process agreements and invoices, and track receipt of copies of publications.
* Assist with research and resolve copyright permission issues related to the reproduction and filming of collection objects for print, website, and press use.
* Update licensing and photography agreements, as needed.
* Work with various museum departments (including Curatorial, Membership, and Publications) to secure copyright permission for reproductions featured in Menil Collection publications.
Specific Imaging Duties:
* Scan and/or photograph transparencies, negatives, slides, and documentation.
* Assess digital image files for quality assurance purposes and identify images that need to be rescanned or photographed from their original formats.
* Organize, maintain, and properly store all Menil Collection visual resources, including transparencies, photographic prints, and digital images.
* Assist with new photography of collection objects as well as photography of objects borrowed for temporary exhibitions, as needed.
* Maintain the Imaging Services studio space, image library, and supplies.
Specific Cataloguing Duties:
* Research, vet, enter, and update credit lines and photography credits in the collection management database (TMS).
* Research, vet, enter, and update image metadata into the digital asset management software.
* Organize, archive, and file images in the image library.
* Thorough knowledge of intellectual property law, including “fair use” and similar copyright issues is required, as well as the ability to interpret and communicate copyright information to the layperson.
* Ability to professionally and diplomatically correspond with artists, artist foundations and estates, museums, artist rights societies such as ARS and VAGA, and the general public.
* Thorough understanding of digital still image file creation including image sizing, bit depth, color profiling, image resolution, compression, and creating derivatives.
* Working knowledge of digital archiving standards and best practices including file naming and embedding and extracting metadata from and into digital image files according to standards and workflows.
* Basic knowledge of The Museum System (TMS) and digital asset management software.
* Moderate skill level with Photoshop and Acrobat.
* Familiarity with Microsoft Office Suite, particularly Excel and Word.
* Ability to work both on the Mac and PC.
* Knowledge of digital cameras, scanners, lighting, and light tables.
* A minimum of three to five years’ experience in a Rights & Reproduction role is highly desired, preferably at a museum, image archive, or other arts-related or non-profit organization.
* Digital imaging experience in an Imaging studio at a museum, photo archive or agency preferred, but not required.
* Expertise in cataloguing and archiving, media conservation, and knowledge of developments in the digital field required.
* A BA in an arts-related field such as Media Studies, Museum Studies, Art History, etc. with knowledge or appreciation of art and architecture including modern and ancient art is preferred.
* Experience working in a fast-paced, results-driven environment with tight deadlines.
* Must enjoy working both collaboratively and independently.
Salary and benefits competitive and commensurate with experience. Please send resume and cover letter with salary expectations to: Human Resources, the Menil Collection, 1511 Branard Street, Houston, Texas 77006. Application materials may also be emailed to: firstname.lastname@example.org<mailto:email@example.com>.
Having recently completed a thesis on copyright for cultural heritage, and started an archiving contract with a law firm, I felt reasonably confident about my grasp of most aspects legal of the GLAM field. (I have also read the Canada Evidence Act. A lot.)
Boy, was my face red when I discovered there is a Center for Cultural Heritage Law, that had somehow eluded all my research attempts. And similar think tanks, under various names, like the Institute for Art and Law. There is a very real legal sub-field, just for us!
The Center and the Institute have their respective blogs (mostly promotional, sometimes informative), issuing opinions and decrees on everything from: how Detroit’s bankruptcy relates to their art collections, the return of looted cultural property, tax exemptions and receipts for art, theft and forgery, copyright and originality, technology and privacy …. it’s all there.
The Center also publishes the Journal of Art, Technology, and Intellectual Property Law, which I am now bulk-downloading before I graduate and lose my database access. They’re even hosting a debate competition on changes to the Visual Artists’ Rights Act, in February 2015.
The American Bar Association has a committee (loosely associated with the Center) on Art and Cultural Heritage Law, and the Center also collaborates with the Lawyers’ Committee for Cultural Heritage Preservation (I’ve linked to their list of art-and-law courses offered by American universities, just in case you need an elective).
It looks to be an emerging field, and I question whether there is space within information-science programs to incorporate the numerous lessons that cultural heritage law can offer. In my experience, legal compliance was mentioned ambiguously in my records-management class, and copyright was alluded to in the introductory “information and society” course. But pursuing a more in-depth course of study on legal issues was left to independent credits.
Besides the legal angles of running a cultural heritage group / institution / consultancy / what-have-you, we obviously have an interest in questions such as whether Vivian Maier’s phenomenal photos are considered “property” in the case of defaulting on a storage locker (and whether copyright is a “property” included in a storage contract):
“… not only will a lot of Maier’s work be tied up in litigation for years, it may not be able to be reproduced in books or shown in art galleries until everything is said and done. This is beyond unfortunate, and, in many ways, not what copyright law was intended to do.”
Or how to deal with art forgeries in our collections:
“… the former registrar of the Cincinnati Art Museum, Matthew Leininger, one of the first museum professionals to latch on to Landis’s faked donations, but whose obsession with his nemesis led to his eventual dismissal and whose young daughter can readily identify the subject of her father’s crusade with a disturbing familiarity.”
The Equal Employment Opportunity Commission (EEOC), Minneapolis Area Office, issued a Determination that the Minneapolis Public Library subjected librarians employed by the library to a “sexually hostile work environment” in violation of Title VII of the Civil Rights Act of 1964 for maintaining a policy of unrestricted Internet access.
(I also zipped through this long-form about rare book theft last week, which has some hilariously botched sting operations, among other things.)
Let me know about your program in the comments — does your project management class discuss insurance, appraisals, and liability? Do you talk about salaries and working conditions in the field, and delve into issues of gender parity and harassment, workplace health and safety (like breathing mould), or academic rights and freedoms? Could you write an acceptable term paper on the issues surrounding the indexing and return of looted art (and how linked data could aid this work in the future)? Or the contract issues around hiring an independent conservator? Or what happens when collections merge, as in the Corcoran, or the Glenbow? Or a comparative look at legal environments for cultural heritage work across the world?
The Dallas Museum of Art is seeking a Rights & Reproductions Coordinator for a full-time position. Working within the Digital Media department, the Rights & Reproductions Coordinator secures permissions for images and other digital content, resolves issues surrounding copyright and intellectual property, and retains appropriate documentation. The activities are primarily pertaining to the museum’s collections, but extend to related Museum exhibitions, publications and programs. This staff position spends equal time administering DMA-owned object photography requests and securing appropriate permissions for exhibition and publications projects.
Ideal candidates will thrive in a fast-paced environment and enjoy working as part of a dynamic and active team.
The successful candidate will have a Bachelor of Laws (LL.B) or a Juris Doctor (J.D.). Required qualifications include demonstrated experience regarding copyright, intellectual property laws, and fair dealing in the Canadian context as well as highly developed oral, written, and presentation skills. Applicants must also possess a proven ability to work collaboratively with diverse stakeholders and excellent organizational and problem solving skills.
In accordance with the Administrative and Professional Officer (APO) Agreement, this full-time continuing position offers a comprehensive benefits package found at www.hrs.ualberta.ca and annual salary range of $78,136 to $130,232. The position is located in the Cameron Library on the main campus of the University of Alberta (T6G 2J8).
When applying please include your curriculum vitae and the names of three references. Review of applications will begin August 1, 2014, however, the position will remain open until a suitable candidate is found.
Apply Online at http://www.careers.ualberta.ca/Competition/A101724061/
Reporting directly to the Vice-Provost (Learning Services) and Chief Librarian, the successful candidate participates in the strategic development of Learning Services which includes the Libraries, Museums and Collections, Bookstore, University Press, and Technology Training Centre, as well as the Copyright Office. The Director of the Copyright Office establishes mechanisms to assist the university community in complying with copyright laws and best practices in their research and publishing, their teaching and use of resources and services.
Specific responsibilities include but are not limited to:
Managing the operations of the Copyright Office, including the receipt of requests and evaluation of compliance requirements
Participating in the strategic development of Learning Services and advising the Vice-Provost and Chief Librarian on compliance and risk
Ensuring the development of internal policies, guidelines and standards for copyright compliance
Supporting ongoing training in the appropriate use of copyrighted resources in an institutional setting
Advising on copyright issues related to scholarly communication, authors rights and publishing agreements, open access and use of a wide variety of materials, including digital formats.
Webinar: Identifying and Acquiring New Skills: The Key to Career Growth and Advancement
Title: Identifying and Acquiring New Skills: The Key to Career Growth and Advancement
Presenters: Deb Hunt and David Grossman
Date: Tuesday, July 10, 2012
Start Time: 12 Noon Pacific
This webinar will last approximately one hour. Webinars are free of charge. Registration is ONLY done on the day of the event on the WebEx server starting 30 minutes before the start of the webinar. No Passwords are required. For Tips and Registration Information, please go to http://infopeople.org/training/webcasts/tips.html
For more information and to participate in the July 10 webinar, go to http://infopeople.org/training/identifying-and-acquiring-new-skills
In these tough times, how can library staff:
· Leverage their existing skills to their best advantage?
· Learn how to acquire new skills critical for career advancement, career change, or solidifying their current position?
· Determine which of their skills are most marketable and transferrable to other positions?
· Learn how to package their most transferrable skills to maximize career growth and advancement?
This webinar offers practical advice for library staff seeking to expand their existing skill sets and develop new areas of expertise to broaden their career potential, maximize their earnings in their current position or gain that competitive edge for landing their next job. The presenters will identify and discuss more than 30 of the hottest skills in greatest demand in the library world.
Webinar attendees will be encouraged to determine which skills are most important to them and to assemble a customized skill set most likely to yield the highest payback for career growth and advancement.
At the end of this one-hour webinar, participants will:
· Understand why expanding their skill set is the most important first step in boosting marketability and facilitating career growth and advancement.
· Learn about the 33 most sought after skills, in greatest demand in the current library work environment and understand why these are the most important skills to acquire.
· Have a firm grasp on six foolproof strategies for acquiring new skills.
· Learn how to conduct a self-assessment of their existing skill set as a prerequisite to formulating a plan to acquire the new skills they need for career advancement.
This webinar will be of interest to library staff contemplating the next job opportunity or career change and those seeking to identify their current skills and acquiring new ones.
If you are unable to attend the live event, you can access the archived version the day following the webinar. Check our archive listing at: http://infopeople.org/training/view/webinar/archived
EDUCAUSE Live! Webinar
July 12—The Direction of Fair Use for Education: New Law and New Possibilities
Speakers: Kenneth D. Crews, Director, Copyright Advisory Office, Columbia University Libraries, and faculty member at Columbia Law School and Munich Intellectual Property Law Center
Date: July 12, 2012
Time: 1:00–2:00 p.m. ET (UTC-4); convert to your time zone
Topic: This free hour-long webinar, “The Direction of Fair Use for Education: New Law and New Possibilities,” will examine a few recent court cases involving fair use as applied to video streaming and digital books. It will focus chiefly on a court decision handed down in May 2012 regarding the digitizing of copyrighted books at Georgia State University for electronic reserves and for student use through course management systems.
Reserve your seat now—virtual seating is limited.
Register here: http://net.educause.edu/content.asp?PAGE_ID=1031973&bhcp=1
Free Webinar Series for new librarians!
“New Librarians Global Connection: best practices, models and recommendations“ is a series of free quarterly webinars on issues of interest to new librarians, models of library associations and library schools working with new professionals, and groups by and for librarians. The free webinars are presented by IFLA Continuing Professional Development and Workplace Learning and IFLA New Professionals Special Interest Group in partnership with ALA.
Below, the date and time of the next webinar. Save the date and register!
July 17, 2012
2:00 p.m. CST
3:00 p.m. EST
8:00 p.m. CET
7:00 a.m. EDT (next day)
World Clock http://www.timeanddate.com/worldclock/
Registration link: https://ala.ilinc.com/register/cjchmcs
Webinar length: one hour
Barbara Ford, Director and Distinguished Professor, Mortenson Center for International Library Programs at the University of Illinois at Urbana-Champaign Library. President of the American Library Association in 1997-1998 where her theme was “ Libraries: Global Reach – Local Touch”. Speaking about: How to develop leadership skills as a New Professional: programs, mentoring, learning by doing. Working abroad, leaving your home country.
Sandy Littletree, Knowledge River Program Manager, and Jessica Hernandez, Co-Chair of the Knowledge River Alumni Network. Speaking about Knowledge River, a model of a library school working with new professionals and students. http://sirls.arizona.edu/kr/
Rachel Bickley, Assistant Librarian, University of the West of England, and LISNPN Co-manager. Featuring a group by and for librarians. http://lisnpn.spruz.com/
Next quarterly webinar scheduled for October 2012.
The series explore useful topics to help new professionals at various stages of their career, including:
LIS school curriculum, gained skills and degrees vs. “the reality” at work. Bridging the gap between theory and practice. How to deal with generational differences at work?
Mentoring and best practices including pros and cons of different approaches like peer-to-peer, and classical mentor-mentee relationships.
How to develop leadership skills as a new professional: programs, mentoring, learning by doing. Working abroad, leaving your home country.
Continuing Professional Development for new professionals, how to stay up to date from the very start even if conditions at work (funding/permission to attend conferences, support with writing articles, etc.) are not the best.
Questions and requests for information:
Coordinator of the series
Free E-Forum: Brittle Book Strategies for the 21st Century
July 11-12, 2012
Hosted by Kara McClurken and Kimberley Peach
Please join us for an e-forum discussion. It’s free and open to everyone!
Registration information is at the end of the message.
Each day, sessions begin and end at:
Pacific: 7am – 3pm
Mountain: 8am – 2pm
Central: 9am – 5pm
Eastern: 10am – 6pm
The Brittle Book Program landscape has changed with the growing acceptance of digital surrogates as replacements for the printed book and the increasing scarcity of microfilming programs. Different options are available to Preservation Librarians than were available ten years ago. This e-Forum will facilitate the discussion of best practices, workflow tools, and decision making criteria used by those responsible for brittle and heavily damaged books in their libraries. We also invite those considering the start of such a program to bring their questions and ideas to the conversation.
Topics will include:
- Reformatting options
- Use of decision trees and evaluation flags
- The role of copyright in decision-making
- The role of the Bibliographer/Selector in decision-making
- Use of digital copies already available through HathiTrust, Internet Archive, and Google Books
- Decision to withdrawal or limit use of the original
- Cataloging procedures for digital or print surrogates
- Use of the 583 field for preservation action and retention commitment notes
- Costs and benefits associated with reformatting
Kara McClurken is the Head of Preservation Services at the University of Virginia Libraries. She has a degree in Library Science from the University of Maryland with a specialization in Archives and Preservation. Kara worked as an Archivist and Preservation Specialist at Smith College before working at SOLINET as a Preservation Services Librarian from 2006 – 2009. Kara recently conducted a survey of how various institutions address the problem of heavily damaged materials in their collections and presented the results at the ALA 2012 Annual Conference. Kara is an active teacher and consultant on a variety of preservation topics and currently serves on the Steering Committee of the Preservation Section of the Society of American Archivists.
Kimberly Peach has a degree in Library Science from the Catholic University of America and a Certificate in Preservation Management from The Preservation Management Institute at Rutgers University. Kim worked in the Binding and Collections Care Department at the Library of Congress before being selected for the IMLS Preservation Administration Fellowship at Yale University Library in 2010. From there she joined George Blood Audio and Video as Registrar and then went on to work on the American Archive Inventory Project at WXPN Public Radio. Kim has just completed two years of services as co-chair for the PARS Program, Planning, and Publications Committee, and has served as a preservation consultant on the Save Our African American Treasures Team of the National Museum of African American History and Culture since 2008.
*What is an e-forum?*
An ALCTS e-forum provides an opportunity for librarians to discuss matters of interest, led by a moderator, through the e-forum discussion list. The e-forum discussion list works like an email listserv: register your email address with the list, and then you will receive messages and communicate with other participants through an email discussion. Most e-forums last two to three days. Registration is necessary to participate, but it’s free. See a list of upcoming e-forums at: http://bit.ly/upcomingeforum.
Instructions for registration are available at: http://bit.ly/eforuminfo. Once you have registered for one e-forum, you do not need to register again, unless you choose to leave the email list. Participation is free and open to anyone.
Fundamentals of Collection Assessment Online Course
Session: August 13 – September 21, 2012
Description: This six-week online course introduces the fundamental aspects of collection assessment in libraries. The course is designed for those who are responsible for or interested in collection assessment in all types and sizes of libraries. The course will introduce key concepts in collection assessment including:
– the definition of collection assessment
– techniques and tools
– assessment of print and electronic collections
– project design and management
Learning Outcomes: At the end of this course, you will be able to:
– describe the fundamental aspects of collection assessment
– understand the various collection assessment methods and tools, including both qualitative and quantitative analysis
– design and implement a collection assessment project
– perform a collection assessment of print resources
– complete a collection assessment of electronic resources
Who should Attend: This is a fundamentals course that will appeal to anyone interested in the topic with no previous experience.
Registration Fees: $109 ALCTS Member and $129 Non-member
How to Register: For additional course details and registration information please go to: http://www.ala.org/alcts/confevents/upcoming/webcourse/fca/ol_templ
Contact: For questions about registration, contact ALA Registration by calling 1-800-545-2433 and press 5 or email firstname.lastname@example.org. For all other questions or comments related to the web courses, contact Julie Reese, ALCTS Events Manager at 1-800-545-2433, ext. 5034 or email@example.com.
Bridgeman Art Library
About the Library
The Bridgeman Art Library is the world’s leading source of fine art images. Based in London, New York, Paris and Berlin, the Library represents thousands of museums, private collections and artists throughout the world in licensing their images for reproduction. Our clients worldwide include publishers, designers, advertising agencies and other image-using creative professionals.
About the Internship
We are offering a work experience placement for this summer as an Administrator at the New York office based in Manhattan. This role will involve supporting the Picture Research, Licensing, Marketing and Bridgeman Education departments. The successful intern will have varied responsibilities in a small office, providing a good opportunity for hands-on experience. Travel and some food expenses will be reimbursed.
Any degree discipline is suitable, although an interest in Art, Art History or Marketing would be
START DATE IMMEDIATELY : Monday-Friday, 9:30am – 5:30pm
Compensation: Lunch and a Metrocard
Please send your resume and cover letter to
Artists’ Records in the Archives: A One Day Symposium – Call for Participation
The archives of many institutions contain artists’ records—documents created by artists that often bear witness to the creative process, as evinced by sketches, doodles, and other notations. Artists’ records differ from other types of records due to their inherent connection to the art object and the art market. In recent years there has been a plethora of symposia and conferences dedicated to artist archives, art history and “the archive,” as well as to the use of archival materials by contemporary artists. While crucial, these investigations have been driven almost entirely by art historians and have not included the perspectives of archivists and special collections librarians. As part of an effort to broaden the discussion surrounding artists’ records, the Archivists Round Table of Metropolitan New York has organized a one day symposium, “Artists’ Records in the Archives,” to be held on October 11, 2011 in conjunction with the New York Public Library. Focusing on the perspective of the information professional, this symposium will address how contemporary artists use artists’ records in their work, the significance of artists’ records in archives for scholars and curators, and how archivists and special collections librarians manage artists’ records in their repositories.
Possible topics or areas of interest include, but are not limited to, the following:
*Artists’ use of other artists’ records
*How archivists manage artists’ records and how this might differ within a museum, estate, gallery, and university setting
*Collecting artists’ records
*Appraisal of artists’ records
*Underdocumented artists and the archives
*Exhibitions and artists’ records
*Artists’ records and the digital environment
*Born digital artists’ records
*Copyright, moral rights, and the artist
*Conversations between archivists, artists, and art historians regarding archives
Date: October 11, 2011
Location: New York Public Library
All individual presentations will be 20 minutes long (10 page paper).
Submissions must include a title, name of author and institutional affiliation, abstract (250 words max), and indication of technological requirements.
Individual papers or entire panel proposals accepted.
A small travel stipend is available. If interested please indicate in the submission.
Deadline for Proposals: Proposals should be emailed to firstname.lastname@example.org by August 15, 2011.
Via ACRL College Libraries listserv. Note that this course is being taught by the legal counsel for RISD, so expect some discussion of copyright policy as it pertains to artwork and art-centric institutions. It is offered by the Center for Intellectual Property and can be taken as a stand-alone course or towards CIP certification.
Institutional Copyright Policies
January 14-29, 2010
Instructor: Steven McDonald, J.D., General Counsel, Rhode Island School of Design
This online workshop will help you evaluate & answer some of the many questions that flow from the process of policy development within the arena of higher education. Who owns the work? And who can do what with the work? Is cyberspace a separate jurisdiction with a different set of rules than the physical world? Does the institution need a new policy and resource, or is a current policy sufficient and applicable-or adaptable-to the technologies, opportunities, and demands of academic life, both online and offline, in the digital era?
Goals for the course:
In this course, participants will:
1. Gain a practical understanding of basic copyright principles as they apply in and to higher education generally;
2. Learn how to evaluate institutional copyright policies and discuss the development and modification of those policies;
3. Understand the policies and technical steps your institution will need to implement in order to take full advantage of the opportunities that copyright law allows;
4. Gain a greater understanding of Internet law and policy;
5. Be encouraged to think about how copyright policies can serve the educational mission.
Advance your career. The new certification program Copyright Leadership in Higher Education requires that participants take one elective workshop in addition to the core course Foundations in Copyright Management and Leadership. This foundations course will be offered March 29 – May 21, 2010. Register for certification today and receive this elective workshop for free. Learn more at http://www.cipcommunity.org/certification.
Please see linked website for more information-
SIGN UP TODAY: http://tinyurl.com/nuw58g [Secured Server]
Last week, Amazon remotely deleted copies of George Orwell’s 1984 and Animal Farm from users’ Kindles. As it turns out, the ebook publisher selling the editions didn’t actually own the rights for these works. As one could imagine, the blogospheric reaction to this event has been a mixture of smirking irony, outrage, confusion, and lots of I-told-you-so. (See the first link above for an excellent overview of the reaction.)
I had a quick succession of thoughts while reading about the deletions:
- ZOMG! Jeff Bezos is stealing your stuff!
- Um, you bought an unauthorized ebook from a shady publisher. Why are you so surprised?
- Wait, how were you supposed to know the publisher was shady?
- Huh, remote deletion wasn’t in the terms of service. But who reads those anyway?
- How can consumers avoid this in the future?
Any ideas for how to address this event with our users? It seems like a great opportunity to talk about DRM, reading legalese before you buy/agree, copyright terms, applying information literacy beyond books, etc.
And as librarians, how can we use news items like this to our advantage? What knowledge and services do we provide that could be particularly relevant in situations like this?
Another recent NYTimes article of interest:
“In a pre-emptive strike, the street artist Shepard Fairey filed a lawsuit on Monday against The Associated Press, asking a federal judge to declare that he is protected from copyright infringement claims in his use of a news photograph as the basis for a now ubiquitous campaign poster image of President Obama.”
Who Owns This Image?
Art, Access, and the Public Domain after Bridgeman v. Corel
Public Panel Discussion
Art Law Committee, New York City Bar Association
College Art Association
Dr. Theodore Feder, President, Art Resource, Artists Rights Society
Christopher Lyon, Executive Editor, Prestel Publishing
William Patry, Senior Copyright Counsel, Google
Hon. Richard A. Posner, United States Court of Appeals, 7th Circuit
Maureen Whalen, Associate General Counsel, J. Paul Getty Trust
Virginia Rutledge, Chair, Art Law Committee, New York City Bar
Association; Vice President and General Counsel, Creative Commons
When: Tuesday, April 29, 2008, 6:30 – 8:00 pm
Where: The Great Hall, New York City Bar Association, 42 W. 44th Street, New York City
Who owns the Mona Lisa? In Bridgeman Art Library Ltd. v. Corel Corp. (S.D.N.Y. 1999), Judge Lewis A. Kaplan ruled that exact photographic copies of two-dimensional public domain works of art are not copyrightable under U.S. law, because such images are not original. Yetnearly a decade after that decision, copyright in many such images continues to be asserted.
This program addresses questions currently debated across the worlds of art, publishing, and the law:
Should access to public domain artworks control uses of images of thoseworks? When and how should custodians of public domain artworks exercise control over reproductions of them? How does contract intersect with copyright in the control of image uses? Does the image permissions hurdle play a role in the decline of art publishing, or are the complaints of critics overwrought? What is the nature of the public domain with respect to works of art?
This program is free and open to the public; no reservation required. Seating is limited.
You Don’t Tug on Superman’s Copyright
April 2, 2013
In an unexpected move, a federal court today declared Superman a free agent. After decades of legal wrangling among DC Comics and the estates of Superman co-creators Jerry Siegel and Joe Shuster, a judge ruled that he would simply release the Man of Steel from any and all agreements, making him the first free agent in the high-stakes world of comic book superheroes.
Speaking from the Fortress of Limited Media Access in Nunavut, Canada, Superman said that he was “pleased” with the ruling.
“Frankly, all this legal nonsense was just giving me headaches,” said Superman, his deep, resonant voice rattling the shelves even over the speakerphone. “My supermind is as fast as a TRS-80 computer, but even I couldn’t keep track of all the rights everyone was claiming.”
more at Wired.com . . .
“After nearly three years of intensive work, the independent Section 108
Study Group has issued its report and recommendations on exceptions to
copyright law to address how libraries, archives and museums deal with
copyrighted materials in fulfilling their missions in the digital
The full report & the executive study are available @ http://www.section108.gov/
“Nailing Down Bits: Digital Art and Intellectual Property” is the latestaddition to the Canadian Heritage Information Network’s (CHIN) IntellectualProperty Series. Authored by Richard Rinehart, Digital Media Director atthe Berkeley Art Museum, this unique publication breaks new ground byexploring the legal issues surrounding the emerging field of digital art inNorth America.
CHIN offers open access to both the HTML and PDF versions of thepublication through the CHIN Web site’s Intellectual Property section at
You can also listen to a short interview with the author in the CHIN Website’s Knowledge Exchange at
.An agency of the Department of Canadian Heritage, CHIN has for 35 yearsenabled Canada’s museums to engage Canadian and worldwide audiences throughthe use of innovative technologies.
To learn more about CHIN’s IntellectualProperty Series – a valuable resource for any heritage institution seekingto adequately protect and leverage the assets they hold in trust – visit
Source:Canadian Heritage Information Network(819) 994-1200 or 1 800 520-2446 (from Canada and the U.S.) email@example.com
It will be interesting to see the effects of Digital Rights Management (DRM) within art libraries. Libraries who subscribe to ARTstor are quite familiar with the limitations of ARTstor’s proprietary image viewer (especially in those cases where other, more flexible alternatives are available).
As convenience, disagregation, and broadband connections increase within our information-based society, the video collections of some art libraries may be replaced with on-demand video (hey, I’d love to get Art21 electronically delivered to my house with a couple of clicks). Yet, if the information is not made convenient and simple to obtain, will our patrons bother? Should we expect them to?
from the Chronicle for Higher Education (Tuesday, November 28, 2006). . .
Professors and Librarians Win Narrow Exemptions to Rules in Digital Copyright Act
The U.S. Copyright Office has issued a handful of exemptions to the Digital Millennium Copyright Act that may benefit media professors, archivists, and other academics. Under certain circumstances, they will now be allowed to circumvent access-control technologies on various electronic media.