The Association of Moving Image Archivists Student Chapter at New York University and Independent Media Arts Preservation invite submissions for…
Archiving the Arts: addressing preservation in the creative process.
This symposium will explore the relationship between media artists and audiovisual archivists. Archiving the Arts allows for a dialogue that can enhance mutual understanding between both constituencies. By exposing these communities to best practices, working methods, and the technological and industrial realities faced by members of each group, we hope to foster a discussion, improve the current conditions, and widen awareness of preventative preservation for the long term.
The combined problems of born-digital works and media obsolescence intensify the urgency of preemptive preservation practices. Film and video archivists know all too well the risks media artworks face. At the same time, artists face the same concerns—not just with completed works, with the raw materials of film, video, audio, digital objects—that are essential to their ongoing creative process. But often these two groups lack a common language and a way for their communities to interact and develop tools that serve all parties. Archivists don’t necessarily understand the creative process. Artists don’t always think about their work in terms of its preservation.
Archiving the Arts promotes dialogue between working professionals, artists, students, and other interested parties whose goal is to prevent avoidable loss of creative works by integrating preservation strategies into moving image creation and production.
The day-long symposium of panels, screenings, and workshops will tackle the practical, theoretical, and technical issues that affect the artist and the archivist. Working across disciplines will result in a dynamic conversation and create a deeper understanding of the importance of preventative preservation.
Please see the Call for Papers below and join us on October 13th, 2012 during Archives Week in New York City.
CALL FOR PAPERS — ARCHIVING THE ARTS
The AMIA (Association of Moving Image Archivists) Student Chapter at New York University invites presentation proposals forArchiving the Arts, to be held jointly with IMAP (Independent Media Arts Preservation) in New York City on Saturday, October 13th, 2012 as part of Archives Week organized by Archivists Roundtable of New York – www.nycarchivists.org.
Please submit a 250-word proposal to Kathryn Gronsbell at NYU.AMIA@gmail.com
Priority will be given to submissions received by Friday, May 4, 2012.
Papers, presentations, workshops, and posters are welcome on all issues concerning artists and audiovisual archivist. Possible topics include:
How do we integrate preservation strategies into creation? What are the benefits? What are the disadvantages?
Technically Speaking – creating & ingesting born-digital objects
What are the technical issues/specs regarding metadata crawling, signal problems, and the application of preventative preservation in production?
How does ephemeral art act as a counterargument to preservation? How do conservators work with artists who wish to intentionally destroy or abandon their own work? How do artists who restrict their work to a single format exist for posterity?
From the Studio to the Archive
How do artists’ intentions affect collection development? Archive policies and practices?
Growing an “Organic” Archive
“Organic” archives are repositories that develop from the intentions and desires of the contributing artist(s). How are artists and archivists working (or not working) together to create this type of archival system? What is known about existing “Organic” archives and what methods can be used to expand their potential?
Put Your Best Fail Forward
Share your unique collection/archival challenges that were not resolved, and why. Artists – what attempts have you made to ensure the welfare of your work? What is the disconnect between theory and practice?
The Smithsonian Institution seeks a summer digitization intern for the
Field Book Project, a joint initiative by the Smithsonian National Museum
of Natural History (NMNH) and the Smithsonian Institution Archives (SIA).
Internships are 10-12 weeks and must take place between June 1 and August
PROJECT DESCRIPTION: The Field Book Project is seeking an intern to work
with the primary source field book collections in the Department of
Botany. The Field Book Project is a collaborative initiative between the
Smithsonian Institution Archives and National Museum of Natural History
and works to improve access to primary source field notes, expedition
journals, photographs, and other materials documenting field work for
scientific research and discovery. The field book collection spans more
than 150 years of scientific field work and contains manuscripts and other
materials that document information on specimen collections that may not
be available on the specimen labels or in published literature. Interns
will reproduce original works in digital format for a myriad of imaging
QUALIFICATIONS: The intern must be able to handle delicate manuscripts
carefully, should have a healthy respect for historic collections, and
should be interested in learning about best practices and techniques for
digital imaging in an archival repository. Attention to detail for quality
control purposes is a must. Any previous experience with digitization
and/or knowledge of digital image file formats, settings, embedded
metadata and naming conventions should be mentioned in the application.
AWARD PACKAGE: None
DEADLINE: February 25, 2012.
2012 ACRL Image Resources Interest Group Midwinter Virtual Meeting:
“Current Trends in Public Domain Image Policies”
How accessible are your “public domain” digital collections? Please join the ACRL Image Resources Interest Group (IRIG) for a conversation about the range of usage policies for public domain digital image collections. To what extent do new open access decisions reflect a shift in the way academic libraries and archives treat access to digital reproductions of public domain materials in our stewardship? Speakers from Cornell and Yale will talk about the recent open access policies at their institutions, and there will be a discussion and Q&A opportunity. Following the program, there will be IRIG updates and announcements.
About the speakers:
Peter Hirtle is a Senior Policy Advisor at Cornell University Library. Read his bio.
Melissa Gold Fournier is Associate Museum Registrar and Manager of Imaging Services at the Yale Center for British Art, where she oversees the operation and production of the digital imaging studio as well as rights-related collection information. Melissa works closely with Yale’s Department of Digital Assets and Infrastructure on shared projects and serves as the lead for the Center’s participation in Yale’s shared digital asset management system. She also works closely with the Center’s Department of Collections Information and Access both administratively and technically in providing access to the Center’s collections online. Melissa has held successive positions of responsibility in museum registration and collections imaging at the YCBA since 1998, and is a graduate of Yale College.
Date: Tuesday February 14th, 2:00-3:30 pm Eastern time
- Presentations and discussion
- Peter Hirtle, Senior Policy Advisor, Cornell University Library
- Melissa Fournier, Associate Registrar and Manager of Imaging Services, Yale Center for British Art
- IRIG business meeting
- Visual Literacy Competency Standards update
- Programming updates
Advance registration is not required to participate. Click join the meeting at the appointed time.
The Frick Collection is an art museum consisting of over 1,100
works of art from the thirteenth to nineteenth century, displayed
in the intimate surroundings of the former home of Henry Clay
Frick. The residence, with its furnishings and works of art, has
been open to the public since 1935. It is one of the world’s
most perfect museums. The Frick Art Reference Library, one of
the world’s leading centers for research in the history of art,
was founded in 1920 by Miss Helen Clay Frick (1888-1984) to
further the goals of “encouraging and developing the study of the
fine arts and of advancing the general knowledge of ‘kindred
The Scanning Technician is responsible for operating a Zeutschel OS 12000
HQ book and document scanner at the Frick Art Reference Library. Tasks
include handling fragile library collections, scanning each page of each
book or other library item, monitoring scanning operations, ensuring scans
meet quality standards, and tracking scanning progress. Responsibilities
• Proper operation of Zeutschel scanning equipment. No previous experience
necessary, training will be provided.
• Careful handling of fragile books and other library material for
• Evaluating scanned material to establish that scanning has been carried
• Ensuring that the scanning operation is running smoothly and efficiently.
• Managing, tracking, and reporting of scanning progress.
• Troubleshooting basic scanning or PC (Windows 7) issues.
The Scanning Technician reports to the Digital Project Manager and works
21 hours per week. Work hours take place between Monday and Friday
9:00-5:00. Schedule may be flexible, but must be consistent.
Successful candidates must be well organized, self-motivated, and capable
of handling library collections with care. The position requires standing
for long periods of time. Experience working in a library is preferred but
not required. Successful candidate will be trained by the conservators in
proper procedures for handling library materials and by the Digital
Project Manager in operation of the scanning equipment. Basic proficiency
with Windows 7 required. Proficiency with Adobe CS5 and Adobe Acrobat
Benefits in Employment with The Frick Collection
All employees of the Frick Collection may access free or discounted
admission to most of New York’s finest museums. Additionally, we provide
employees and volunteers with an extremely affordable lunch in our
employee dining room and a discount on Museum Shop purchases. The Frick
Collection offers a beautiful and pleasant work setting and an excellent
opportunity to appreciate some of the world’s finest works of art.
Compensation: $15 per hour.
This temporary position is expected to continue for 6 months or longer.
Chief, Collections Preservation
Email résumé and schedule (days and hours available).
No phone calls please.
The Frick Collection is an Equal Opportunity Employer. The Collection does
not discriminate because of age, sex, religion, race, color, national
origin, disability, marital status, veteran status, sexual orientation or
any other factor prohibited by law. Qualified candidates of diverse ethnic
and racial backgrounds are encouraged to apply for vacant positions at all
levels. This description shall not be construed as a contract of any sort
for a specific period of employment
Visual Resources Librarian for Islamic Art and Architecture, Aga Khan Program for Islamic Architecture
Harvard College Library
Reporting to the Public Services Librarian, this position is responsible for research support, collaboration, and outreach for visual materials in the field of Islamic art and architecture to faculty, students, and researchers. Visual materials collections include digital images and slides for teaching as well as other formats documenting all aspects of Islamic art and architecture in the Fine Arts Library including historic photographs, postcards, and ephemera. Additional responsibilities include implementation of appropriate and forward-looking image metadata schemes, digital access, and participation in collection development and management. Works closely with the Bibliographer in the Aga Khan Program for Islamic Architecture and the Photographic Resources Librarian in the Fine Arts Library and the faculty and staff of the Aga Khan Program.
Typical Duties and Responsibilities:
Collection Management, Development, and Access
- Identifies, evaluates , and acquires images, digital resources, historic photographs, and other visual materials for the library’s teaching and research collection
- Assesses and selects historic photographs and other visual materials in the Fine Arts Library’s collection for digitization and preservation (in consultation with the AKPIA Bibliographer and FAL Photographic Resources Librarian)
- Works with AKPIA and other faculty members, students, fellows, and visiting scholars to set collection priorities based on research and curricular needs
- Coordinates and prioritizes production of different digital products (scanning, uploading, cataloging); tracks workflows and timely service to users
- Provides intellectual control for Islamic visual materials in OLIVIA, ARTstor Shared Shelf project, and other catalogues including collaboration to establish best practices and authority control
- Participates in planning and implementing projects involving visual materials
- Develops long-range planning for Islamic visual images collection in consultation with AKPIA faculty and staff
Reference and Instructional Support
- Provides research services for visual materials in Islamic art and architectural history for faculty, students, and researchers
- Selects and provides teaching images in appropriate formats and other visual resources for classroom lectures and course websites
- Provides individual and group research support including in-class workshops and personalized instruction
- Assists faculty and students in integrating GIS, Prezi , and other visual tools in lectures, course websites
- Prepares online research guides, reference tools, and finding aids for Islamic visual materials
- Assists with image research and provides images, as needed, for Muqarnas and other Harvard and MIT AKPIA publications
Collaboration and Outreach
- Collaborates with diverse Harvard colleagues including the Loeb Design Library, NELC, CMES, and Prince Alwaleed Bin Talal Islamic Studies Program
- Collaborates with AKPIA Documentation Center at MIT, Archnet, and other external initiatives on the creation and sharing of metadata, content, and services for users of visual materials on Islamic art and architecture such as SAHARA
- Works with other Harvard groups supporting interdisciplinary and digital scholarship such as academic departments and programs, DASH, CGA, and the Library Lab Initiative to develop content and research/teaching opportunities
- Supervises year-round student employees and temporary/project staff (as needed) in the creation of item level and collection-level cataloging and indexing for Islamic visual materials in all formats
- Working together with other stakeholders, develops special projects for access to and dissemination of Islamic visual culture
- Master’s degree in library and/or information science or equivalent experience
- Advanced degree at the master’s level or higher in the history of art and architecture related to the study of the Islamic world, or the equivalent combination of education, experience and/or background etc.
- 3-5 years related professional library experience required
- Knowledge of at least one Middle Eastern language (Arabic, Persian, Turkish)
- Expertise in image metadata standards and online data creation and access
- Computer skills including databases and digital image file management, required
- Excellent interpersonal, communication, and organizational skills required
- Working knowledge of western European languages, especially French and German
- Knowledge of the contemporary field of Islamic art and architecture historical study and its constituents
- Knowledge of other archival collections projects related to visual culture and history of the Middle East
- Ability to use a computer, monitor, keyboard, and mouse
Please apply with a cover letter and resume at the Harvard Employment Site.
Apply Here: http://www.click2apply.net/wy6zy39
THE NORTHERN AND SOUTHERN CALIFORNIA CHAPTERS OF THE VISUAL RESOURCES ASSOCIATION cordially invite you to the California Visual Resources Association Conference, also known as CAVRACON, which will be held Thursday, June 16th and Friday, June 17th, 2011 at the University of California, Santa Barbara.
CaVraCon will provide workshops, presentations and demos dealing with the many aspects of creating, managing and maintaining digital image collections, as well as the opportunity to network with both emerging professionals and veterans of the field.
The conference will be open to any interested parties regardless of organizational or institutional affiliation. Check the above site for registration information.
Patricia Harpring (Managing Editor Getty Vocabulary Program)
Developing local authority files for the CCO/CDWA categories and a discussion of CONA
Megan Marler (ArtSTOR, Senior Analyst for Strategic Initiatives)
ArtSTOR?s Shared Shelf
George Helfand (Luna Imaging, Inc., Account Manager)
Expanding Your Scope: A Workflow for Adding Books to a Digital Image Collection
Greg Reser (UCSD, Metadata Specialist) and Sheryl Frisch (CalPoly, San Luis Obispo, Visual Resource Specialist)
The VRA Custom XMP Info Panel: How do I use it?
Jan Eklund (UC Berkeley, Business Systems Analyst, IST Data Services) and Chris Hoffman (UC Berkeley, Manager of Informatics Services, IST Data Services)
Deploying CollectionSpace for a VR Collection
Tom Moon (UCSB Library, Digitization Unit Manager)
Structuring Workflows: implementing new procedures without disruption
Lois McLean and Rick Tessman (McLean Media, Content Clips)
Content Clips, An Online Tool for Teaching with Digital Images
Dr. James Bartholomay Kiracofe (Director, Inter-American Institute for Advanced Studies in Cultural History)
Images for Education, On the road with an academic photographer
As well as a Plenary by the Visual Resources Association President, Maureen Burns (IMAGinED Consulting), Case Studies, tours and more!
Things to bring: flip-flops, laptops and business cards.
Please send questions to John Trendler <email@example.com>
We look forward to seeing you!
BOOK HISTORY WORKSHOP
Lyon, 1 – 4 September 2008
For the sixth edition of its Book History Workshop, organised in
collaboration with the Rare Book School (University of Virginia),
the Lyon-based Institut d’histoire du livre is offering four
advanced courses in the fields of book and printing history.
Courses on offer this year are:
GOTHIC ILLUMINATED MANUSCRIPTS IN THE HISTORY OF THE BOOK
(new course, in English)
PRINTED EPHEMERA UNDER THE MAGNIFYING GLASS
(course in French)
TYPE, LETTERING AND CALLIGRAPHY: PART TWO 1830-2000
(existing course, for the first time in English)
INTRODUCTION TO THE STUDY OF INCUNABULA
(course in English)
The Book History Workshop is aimed at book and printing
historians and at the many other specialists who encounter
questions related to book and printing history in the course of
their work: researchers, teachers, archivists, librarians, museum
curators, antiquarian booksellers, collectors, designers, etc.
The four-day courses offered by the Institut d’histoire du livre
cover various aspects of the history of the book and graphic
communications. Subjects are dealt with from both theoretical and
practical points of view through illustrated lectures,
discussions and close study of original documents. The courses
make abundant use of the collections of Lyon City Library and
Museum of Printing.
The courses will take place in Lyon from the 1st to the 4th
September 2008. Classes will be held at the Ecole normale
supérieure – lettres et sciences humaines (Lyon) with sessions at
the Lyon City Library and Printing Museum.
Tuition fee: 490 euros (mid-day meals included).
In order to facilitate access to collections of original
documents the number of participants is limited to twelve per
For further information see:
Bibliothèque de la Part-Dieu
30 boulevard Vivier-Merle
alcollomb at bm-lyon dot fr
Don’t miss this New York Times article, and perhaps consider renaming your special collections section:
Summer Seminars Available in Oxford, Prague and
If you would like to learn first-hand about libraries and library services in a different culture and gain a global perspective on issues facing libraries around the world, you will want to consider enrolling in the University of North Carolina at Chapel Hill School of Information and Library Science’s international summer seminars. Registration is now open to anyone interested in being part of the summer seminars in Ljubljana,
Slovenia; Prague, Czech Republic; or
Oxford, England. The seminars can either be taken for academic credit or on a non-credit basis and are enjoyed by both professional librarians and library science students. More information about all three seminars including dates and tentative schedules is available on the web at Summer Seminars Available in Oxford, Prague and Ljubljana
If you would like to learn first-hand about libraries and library services in a different culture and gain a global perspective on issues facing libraries around the world, you will want to consider enrolling in the University of North Carolina at Chapel Hill School of Information and Library Science’s international summer seminars. Registration is now open to anyone interested in being part of the summer seminars in Ljubljana, Republic of Slovenia; Prague, Czech Republic; or Oxford, England. The seminars can either be taken for academic credit or on a non-credit basis and are enjoyed by both professional librarians and library science students. More information about all three seminars including dates and tentative schedules is available on the web at http://sils.unc.edu/programs/international/index.html
The University of London’s Institute of English Studies announces the first
London Rare Books School (LRBS), a series of four-day, intensive courses on
a variety of book-related subjects. The courses will be taught by
internationally-known scholars associated with the Institute’s Centre for
Manuscript and Print Studies, using the unrivalled library and museum
resources of London, including the British Library, the British Museum, the
Victoria and Albert Museum, the University of London Research Library
Services, and many more. All courses will stress the materiality of the book
so you can expect to have close encounters with remarkable books from some
of the world’s greatest collections.
Read the rest of this entry »