In this second part of my interview Erinn Paige and Laura Damon-Moore of The Library as Incubator Project we talk about makerspaces and more.
Tell me about your involvement with makerspaces and the class that you teach on the subject.
Laura: We came to the conversation about maker spaces pretty early on, and I would say that our main function was and continues to be as a clearinghouse for stories ABOUT maker spaces in libraries. We are by no means the only clearinghouse/info-sharing hub out there on that topic. I think the makerspace discussion fits really well with the LAIP’s focus on hands-on, self-directed, participatory learning, and we consider maker programs a key part of the “arts-incubating” library. Our online course, the Makerspace Mindset (which runs through University of Wisconsin-Madison School of Library and Information Studies Continuing Ed), operates in a similar way that the LAIP does as a whole–it’s a place for story sharing, practical how-to’s, professional development, and lots of discussion about how to approach maker programs and resources in a way that makes sense for your library and your community. Scalabilty is a big thing that we talk about–how a small library can make meaningful maker programming happen without space, time, or extra money.
Erinn: I think the exciting thing about makerspaces in libraries is that it definitely fits into the basic mission of providing access to information, but there aren’t a lot of best practices set in stone yet. Makerspaces are an exciting service model because they really push libraries toward that platonic ideal of information life cycle– people don’t just consume information in a makerspace, they create new information in the form of new stuff. They learn skills by applying them directly to a project. I think Laura’s point about scalability speaks directly to the idea that this is new-ish territory for libraries (though the conversation about active learning models has been raging for awhile in education)– there are hundreds of ways to create a space for this kind of information exchange in a library setting.
Are maker programs finding their way into academic art libraries? Which should we take note of?
Laura: They definitely are happening. We’ve published some neat examples on our website. I LOVE the Hatchery, a web resource published by the Glasgow School of Art Library which documents the myriad ways that the GSA Art Library incubates the work of artists at GSA and beyond. We also were lucky enough to visit the Rakow Research Library at the Corning Museum of Glass in Corning, NY this January. This amazing research library is doing a lot to support hands-on learning and making.
These examples said, I’d love to hear MORE from academic art libraries about maker programs that they’re hosting–I know there’s a lot happening and we’d love to share it, of course!
What do you think are the most important issues facing the arts in libraries today?
Erinn: Communication. Both libraries and arts organizations need a crash course in advocacy and PR. Essentially, you take what you do, and you re-phrase it in the language that politicians speak. This is a no-brainer, and it clearly works, and yet libraries and arts orgs seem to perpetually struggle with it. If you’re only talking about what you believe in in terms that make sense to you, you’re preaching to the choir. You have to communicate it to others in the context that means the most to them.
Just for fun – what is your favorite library? Work of art or artist?
Erinn: My favorite library is the Carnegie Library of Pittsburgh – Main, which is in the Oakland neighborhood in Pittsburgh and is in this fabulous, monolithic building along with the Carnegie Museums of Art and Natural History. The windows in the upper level stacks look out onto the dinosaur exhibits. Plus, the people who work there are incredibly smart and are doing great things.
Laura: I will always have a soft spot for the library in my hometown, Mount Vernon, Iowa. It is a funky library; the Mount Vernon Public Library collection is housed in the basement of Russell D. Cole Library, the academic library on the Cornell College campus. Growing up I thought it was totally natural to be going to watch a puppet show or to check out picture books in the same library where college students were checking out their books and writing research papers.
Is there anything else you’d like to add?
Erinn: Follow us! We have a small social media empire and we share great content and ideas from arts-incubating librarians all across the country and the world. We’d love to talk to you and find out more about what you’re excited about at the intersection of art and libraries.
Laura: Definitely that we want to hear from you and work with you to tell your arts + library stories!
Erinn Paige (left) and Laura Damon-Moore (right) are at the helm of The Library as Incubator Project. I recently talked with them about LAIP and their other endeavors.
What is Library As Incubator Project and what motivated you to embark on this adventure?
Laura: At this point, the Library as Incubator Project is a multifaceted information sharing machine. We continue to exist online, through our primary website and in social media neighborhoods. We’ve been lucky enough to publish a book based on and extending the work we do online. We also exist in “real life” through public presentations, professional development workshops, and in-person programs that we do for libraries and other cultural institutions.
At the most basic level, the LAIP began as a way to explore the connection between libraries and creative people. Erinn and I came to Library and Information services with backgrounds in the humanities and creative arts. So the LAIP started as a way to explore the connection of creativity, information, and community, to see how it happens formally and informally in the library setting, and then, because we were hearing so many great stories, we knew we had to share them with a wider audience.
What were/are some challenges and rewards in running Library As Incubator Project?
Erinn: It is a constant challenge to juggle a full time job and the LAIP, which could easily be a full time job in and of itself. We’re both also artists in our own right (hence our interest in the library-arts connection), and supporting a creative life while sharing stories of other people’s creative lives can be a challenge too!
But the place that the whole project sprang from is an elegant support– it’s that egalitarian, helpful library space, AND it’s that hands-on creative space that you find in a studio environment. We’re very project oriented, and so Laura and I and our team will take on individual LAIP projects that interest us, and when we hit obstacles, we have a whole team who can offer critique, just like you get in a studio: what’s working, what isn’t, techniques that could help, skills and resources to apply. By the same token, we also really support one another in our creative pursuits.
Laura: I wish we had more time and more resources to do more, more, more! It was definitely a challenge to settle into a routine as we all graduated and juggled job stuff plus the LAIP. For a while it felt like there were a lot of balls up in the air and we were sort of scrambling to sort out who would catch which one as they fell.
Rewards have got to be the community that has developed around the LAIP. This ranges from our teammates, Katie and Holly, to our awesome site post contributors (cough cough, Rebecca, cough) to the people that we connect with on social media and in person at programs and conferences. When we go visit institutions and talk with people, people are generally excited to talk with us, but WE get so much MORE excited hearing about the amazing programs and partnerships people have going on. It’s the best and absolutely why I keep working on this.
What are your “day jobs” and how do they integrate with managing Library As Incubator Project?
Erinn: I’m the Programing Librarian at New Canaan Library in New Canaan Connecticut, which is a relatively new position for me– I just started in 2014.
Although the actual work of running the Library as Incubator Project ( web building, editing, writing, social media, presentations and conferences, etc etc) all happens on my own time, the philosophical underpinnings that guide our work on the LAIP transfer directly to programming librarianship– namely, that information isn’t always something that you can collect and slap a barcode on in order to provide access. There’s a very real body of “creative information” (for lack of a better term) that can only be accessed in real-world connections: conversations with experts, hands-on learning opportunities, etc. Learning by doing. Apprenticeship.
Working on the Library as Incubator Project has proven, again and again, that Libraries are central to not just an information exchange (resource –> person), but an information life cycle— people learn, people use what they learn to make something new; that new thing sparks conversation and more learning and more making and more sharing. Through the Incubator, I’ve seen proof that we can be the alpha and omega of that life cycle, and I bring that ideal to work every day. That’s what I want my library to be.
Laura: I am the Assistant Director at a small public library in Evansville, Wisconsin, just outside of Madison. My position focuses on Programming and Outreach, mainly with families and youth. I do everything from facilitating early literacy programs to running after school activities to planning and hosting special community programs on weekends, inside and outside of the library.
From a practical standpoint, I am able to integrate LAIP work into my routine pretty easily – I am 80% in my position at the library, so I have one weekday off where I can focus on other things, and luckily, at this point, the LAIP has become a natural part of my weekly rhythm and routine.
Like Erinn, the LAIP has done a lot in terms of directing the way that I approach my job philosophically. It’s about making a space where people feel welcome to explore, learn something new, experiment, fail, try it again, share their work, help others. From another practical standpoint, the LAIP means that we hear about a lot of awesome new initiatives and program ideas. It’s like a smorgasboard of creative arts programming that I get to pick and choose from, depending on what will work best for my community.
Be sure to catch part two of our conversation here tomorrow!
Job Posting: Cape Dorset Archives Collections Assistants (paid internship), McMichael Gallery, Kleinburg, OntarioPosted: January 16, 2015
Cape Dorset Archives Collections Assistant (internship)
5-month contract, with possibility of extension
February – June 30, 2015
The McMichael Canadian Art Collection ranks among Canada’s top public galleries in size and significance…. Over 6,000 distinctively Canadian works of art comprise the permanent collection, and the gallery welcomes on average more than 110,000 visitors annually.
The McMichael Canadian Art Collection also houses the Cape Dorset Archive of the West Baffin Eskimo Co-operative, which forms an important visual record of Inuit life, including folklore, material culture, and personal accounts. The McMichael has housed the Archive since 1990, but it has been primarily accessible only through occasional exhibitions, loans, and on-site research.
As part of an ongoing Aboriginal Internship program, Making Culture Visible, the McMichael is recruiting for a 5-month Intern in our Collections departments, with the possibility of extension. The Intern will focus on making the Cape Dorset Archives collection more accessible by undertaking research, and supervising the cataloguing, digitization and housing of works on paper according to museological standards.
The position of Cape Dorset Archives Collections Assistant is funded under an ongoing Museums Assistant Project (MAP) initiated in 2014.
Under the supervision of the McMichael Head of Collections/Registrar, the Cape Dorset Archives Collection Assistant will be responsible for the overall documentation, care and development of the Archive, including the following:
• ensuring individual artworks within the Archive are catalogued, digitized and housed according to standard museum practices, and supervising student workers assigned to execute these tasks;
• researching individual artworks in order to update existing records or create new ones;
• tracking individual works as they are used for exhibitions, loans, or publications;
• researching individual artists with the goal of creating a “family tree” that clearly demonstrates the artistic and familial relationships amongst various artists within and across generations in the Cape Dorset community;
• corresponding with the West Baffin Eskimo Co-operative and other community stakeholders for the purposes of developing a program to make the Archive available remotely;
• organizing the addition to the Archive of print drawings and print proofs on an ongoing basis as they become available, and addressing existing gaps from recent decades so that the Archive can become a true reserve
• working with researchers and other content users accessing the Archive on site or remotely;
• with the McMichael Head of Collections, identifying other McMichael resources that would enrich—and in turn be enriched by—the Archive, and developing a program to access and link these resources and include them within the overall program of the planned Centre for Inuit Art at the McMichael.
Qualified candidates will have minimum three years experience in registration /collections management, with the completion of post-secondary Education in museum studies and/or collections management.. As a condition of MAP funding for the position, applicants must be of aboriginal decent and possess a strong understanding of Aboriginal traditional knowledge. Experience using collection databases, particularly The Museum System (TMS), and PhotoShop and other imaging software are an asset.
If you are interested in applying for this position, please email, mail or fax your resume along with a covering letter to Human Resources by January 31, 2015.
InterAccess is a public gallery, educational facility and production studio dedicated to the creative use of technology, electronic art and new media culture.
Our programs support art forms that integrate new technologies from conception and development to exhibition and discussion. We explore the impact of technology on the social, political and cultural aspects of contemporary life, and encourage audiences to see anew their relationships with interactive artworks.
InterAccess seeks a motivated arts professional to step into the role of Programming Coordinator. This is a renewable 1-year contract.
The Programming Coordinator reports to the Manager, Education and Outreach and the GM. The Programming Coordinator is responsible for coordinating year-round exhibition programming, art events, and special projects. This is a full-time position.
Public Programs (50%)
- Develop and communicate a dynamic vision for the annual exhibitions program to support and enhance InterAccess’ strategic priorities and goals
- Implement all aspects of the art program, including but not limited to:
- producing a schedule of exhibitions from local, national and international artists
- conducting artist studio visits
- facilitating annual and special calls for submissions
- coordinating public events and receptions; talks, tours and screenings
- coordinating installation and shipment of artworks
- ensuring adherence to technical rider specifications and health and safety regulations
- producing written materials for web and print related to art programs
- Under GM direction, seek sponsorship opportunities for exhibitions and related programming, in-kind donations, and special programs
- Contract artists, curators, writers, designers and technicians (with approval of GM)
- Maintain communication with artists and programming partners
Publicity and Design (25%)
- Develop and implement a web and social media strategy to promote exhibitions and related programming
- Coordinate production of exhibition signage, didactic materials, and publications (web and print)
- Coordinate seasonal calendar of activities for publication; generate copy and images, work with designer
- Responsible for visual branding of organization (with GM approval)
- Produce press releases and maintain up-to-date media list for exhibition promotion
Financial and Administration (20%)
- Track exhibition and event attendance
- Maintain up-to-date statistical records
- Keep files on past programming and publicity
- Assist with the programming portion of funding applications
- Track and monitor budget components related to program expenditures
- Maintain gallery and office in good state of cleanliness and repair
- Track gallery equipment and supply inventory
Other duties as assigned.
- BA/BFA/BDes sought, MA/MFA/MDes an asset, commensurate experience considered
- Understanding of contemporary art practices
- Excellent written and verbal communication skills in English (knowledge of a second language an asset)
- Strong organizational skills; detail oriented
- Brings a high level of self-direction and initiative with strong time-management abilities
- Ability to provide direction and work with a diverse staff, board and membership
- High capacity to meet deadlines and work under pressure
- A clear understanding of contemporary art practices, galleries, and the public and non-profit sector
- Knowledge of managing publications and print projects
- Basic graphic design abilities
- Experience installing a variety of exhibitions
- Experience making or presenting new media art
A technician will support activities. Professional development and on-site training is provided. An ability in at least some of the following is required:
- Experience with MySQL and FTP programs
- Knowledge of common CMS systems, Drupal, WordPress
- Knowledge of Internet Protocols, setting up local networks, setting up Internet connections for artworks
- Working knowledge of common programs such as Arduino, Processing, Pure Data, and Max/MSP
- Basic understanding of electronics and electronic fabrication
- Advanced experience in Mac OSX and Windows (Linux an asset)
- Experience with Adobe CS
- Understanding of video codecs, resolutions, and projector/monitor requirements
- Knowledge of Final Cut Pro, FFMPEG (Other conversion and production programs an asset)
- Experience installing and routing cabling
- Basic construction and fabrication abilities
- Experience working with sound and P.A. systems
Hours of Work:
This position is based on a standard 35-hour work week, Tuesday – Saturday. Some evenings and overtime may be required.
This position is salaried. The salary range is $30,000-35,000 commensurate with experience. The Programming Coordinator may be requested to take on additional hours to support special projects and compensation for this work is to be negotiated separately from this contract.
Holidays and Benefits:
The Programming Coordinator is entitled to a basic health and dental package.
How to Apply:
Apply with cover letter, resume, and 3 references (as a single PDF) to firstname.lastname@example.org with the job title as the subject heading.
Canadian Art Foundation
Established in 1991, the Canadian Art Foundation has grown to deliver numerous educational programs in addition to publishing Canadian Art magazine and Canadianart.ca. This diversity now makes the Canadian Art Foundation the ultimate portal for the exposure of the visual arts in Canada. All our efforts are dedicated to providing a destination for artists and art enthusiasts to connect to and be inspired by art, in turn creating greater local, national and global visibility for the extraordinary artistic talent in Canada. Our mission is to promote the understanding and appreciation of the visual arts in Canada by providing an informative, provocative and lively forum for audiences to engage with artists and their works.
The Canadian Art Foundation Internship Program this winter provides four months (from January to May) of mentorship and practical experience in arts administration to upper-level undergraduate and graduate students and beginning professionals. As a foundation intern, you will work closely with members of our foundation team on various long- and short-term projects, including public programming, event planning and communications and marketing. You will assist in research, coordinate event details, contribute to program brochures and marketing materials, liaise with program participants, maintain databases and spreadsheets, help develop programs and collaborate on future program development.
The foundation intern will predominantly assist with the development and administration of key foundation programs, including the Reel Artists Film Festival as well as the Gallery Hop events in Vancouver and Montreal, gaining experience and developing practical skills from within programming, communications and events.
The ideal candidate is organized, has the ability to multi-task, displays a high attention to detail and is able to successfully execute both administrative and research-oriented projects. The intern should be motivated, self-directed and able to collaborate. In addition, solid writing, research and computer skills are preferred.
The internship will run for four months, with two full days per week. A $2,000 honorarium is provided.
How to Apply:
Please submit a cover letter and resumé attached as a PDF by 12 noon on January 14, 2015, by email only to email@example.com. (Note: At this time, we do not accept submissions via cloud-hosting or file-sharing programs.)
The Art Gallery of Ontario (AGO), is one of the most distinguished art museums in North America. The AGO is a centre of exhibition production, art-based education, exhibitions, gallery tours, dining, and retail that is committed to delivering an incredible experience to our visitors. If you are seeking a dynamic, multi-faceted work environment and would like to contribute to the Gallery’s success then bring your skills and experience to the position of
Artist in Residence Intern
February 2, 2015 – April 17, 2015
10 hours per week
Under the direction of the Manager, Artist in Residence and Adult Programs this position will research art fairs, past and present feminist organizing strategies, alternative cultural economies, local and national feminist events taking place in 2015, and will identify potential collaborators, curators, spaces and artists to participate in a an event planned by Feminist Art Gallery late 2015.
* Provide a comprehensive research report that includes a timeline, mapping and summary of fairs and events and individuals in development of new artwork by the spring’s artists in residence;
* Draft a new model for an art fair informed by feminist practices;
* Attend relevant meetings to learn about the collaborative working processes of the AGO, and its institutional history of public programming.
Our Ideal Candidate:
* Currently enrolled in a post-secondary fine art studies, curatorial or museums program
* Demonstrated organizational skills
* Demonstrated knowledge of contemporary art practice and theory
* Excellent communication and interpersonal skills
* Attention to detail, research and writing skills
* Knowledge of MS Office, especially MS WORD and MS EXCEL.
* Experience using a CMS (Content Management System) an asset
* All applicants will be required to be enrolled in a post-secondary or graduate educational program in order to be considered;
* The successful applicant will be required to coordinate the approval of a completed Work / Education Agreement Form provided by the Ministry of Education from their educational institution.
* The learning objectives of this position relate to the school program you are currently registered for.
* You will not be paid for your time.
Jan 14 2015
CFP: Smithsonian Archives of American Art Symposium on Mixed-media Archives and Contemporary Art HistoryPosted: December 29, 2014
The Archives of American Art announces an upcoming symposium, “The Multi-Media Archive: Stewardship and Use of Audiovisual Media Documenting Contemporary Art History,” to be held at the Donald W. Reynolds Center for American Art and Portraiture, in Washington D.C., on Friday, March 27.
This symposium is a culminating event for the Archives of American Art’s 3-year project Uncovering Hidden Audiovisual Media Documenting Postmodern Art. The project collections document a period of contemporary American art when ephemeral and dynamic new art forms and means for documenting art were emerging in art communities and spaces across the country. The audiovisual materials in these collections are rare archival resources that uniquely document this recent art history, but gaps in archival standards and best practices for documenting audiovisual media found in archival repositories have often left this material hidden and unavailable to Archives users.
The symposium will bring together the two sides of the archival repository’s community — archivists and people who use archives — to consider the complexities and possibilities of audiovisual recordings that form part of the archival record of contemporary American art history.
We seek proposals for participation in two roundtable discussions:
- an archivists’ roundtable, discussing strategies for providing access to mixed-media archival collections
- a researchers’ roundtable, featuring voices from a variety of disciplines – art or cultural history, fine art, journalism, conservation, or higher education, to name a few possibilities – on the significance of historical sound, video, and film to their work
Roundtable participants will present brief remarks individually to introduce their work and thinking on this subject, to be followed by a moderated discussion. How do the keepers of mixed-media archives ensure their obsolete audiovisual recordings are discoverable and accessible to those who want to use them? What is the potential impact of reliable access to these unique archival sound recordings and moving images for researchers?
The roundtables will be followed by a reception and a special screening of film and video works discovered in the project collections.
More details of the event will be announced on a forthcoming symposium website. See theproject website for more information about the Archives’ “Hidden Collections” project, including descriptions of project collections. A small stipend and travel reimbursement is available for accepted speakers.
Please send a proposal relating this subject matter to your own work in an abstract no longer than 250 words to AAAsymposium@si.edu. The deadline for submissions is January 23, 2015. Questions can be sent via e-mail to project archivist Megan McShea firstname.lastname@example.org.
This symposium is generously funded by the Council on Library and Information Resources’ “Hidden Collections” grant program.
If you’re like me, you’re working over the holidays. Beyond my few in-office days this week, I’ve got a handful of volunteer projects to complete or plan before the new year, some conference presentations to start on (hello pie charts!), and multiple folders of PDFs to read on my desktop. I might even spend a few hours tweaking the ArLiSNAP redesign! (More about this later.)
If you’re not like me, you’re probably visiting with family and friends, flipping the channels on the TV, sleeping in, and otherwise loafing. Lucky you. But you might still want to catch up on your reading, do something professional-development-related, or polish off a personal project. With most regularly-publishing websites on a hiatus until the end of the year, allow me to recommend some media archives to check out if you want to keep your head in librarian-land:
The Digitization Age: Mass Culture is Quality Culture. An overview of EU digitization initiatives and their impact on cultural access. (PDF)
A Season of Life in the LAC. A speech by the relatively new head of cultural heritage in Canada, Guy Berthiaume, discussing the
pitiful state of our priorities challenges and opportunities we face.
An interview with Sarah Thornton, author of a new book of collected interviews with artists. Full disclosure: I got both of her books from the library and couldn’t get into either of them. But you might succeed where I have failed!
Do we really need a Whole Foods of contemporary art? And does commercialization ever equate to democratization?
You can use your ARLIS/NA membership to access the webinar recording on library advocacy from a few weeks back.
I’ve only recently become a convert to Twitter, and have found it surprisingly great for networking. I didn’t take my LIS in Toronto, although I work here now, so it’s been pretty good for meeting colleagues and filling the support gap where my classmates might’ve been. I’ve been following public chats like #critlib, #SLAtalk, and #snapRT, and looking for good art-related conversations as well. (Feel free to suggest some if you know of any.) Most of these chats will be suspended over the holidays, but it’s a good time to go back and read older discussions on topics of interest (especially if someone was nice enough to storify them!).
The Public Domain Class of 2015. Several artists entering the public domain, including Kandinsky, Mondrian, and Munch.
And, when you’re in the midst of holiday-related stress, don’t forget you can punch a Monet.
This position is located in Archives of American Art at the Smithsonian Institution. The employee applies current archival principles, concepts, standards, best practices, and methodologies to identify and assess the Archives’ archival audiovisual recordings….
Must have knowledge of American art and cultural history, particularly contemporary art and artists that employed audiovisual technologies into their artwork or documented contemporary art events, happenings, exhibitions, and artists’ interviews.
This isn’t a great time of year for art-librarianship jobs, but there are always ongoing opportunities in research, publishing, curation, and administration:
Curator, Historic O’Keefe Ranch, Vernon, BC
The position will involve all aspects of the curatorial function at this heritage site, including accepting, documenting and accessioning artifact donations; researching, developing and installing exhibits; monitoring and recording conditions in living history exhibits, museum displays and storage areas; monitoring heritage buildings and other structures and advising on programs of conservation and restoration; researching and preparing publications, signage and interpretive information on the history of ranching in British Columbia and on the O’Keefe family occupancy of the O’Keefe Ranch (1867-1977); overseeing the heritage interpretation program at the O’Keefe Ranch; and other aspects of the care, conservation, presentation and documentation of the O’Keefe Ranch collection.
Editorial Assistant, Historica Canada, Toronto
The Editorial Assistant for The Canadian Encyclopedia will be an individual who is passionate about Historica Canada’s work, has had experience working with a team to achieve deliverables in a timely fashion and is enthusiastic about creating a legacy for all Canadians. The successful candidate is creative, driven and connected with like-minded organizations in the public, private and non-profit sectors.
The responsibilities of the Editorial Assistant include:
– Providing support to Managing Editor and Subject Editors, researching topics, anniversaries and commemorations, and gathering information.
– Coordinating the editorial calendar.
– Coordinating and reviewing all translation; assisting with minor translations.
– Coordinating copy-editing and fact-checking.
– Assisting Subject Editors in inputting changes and updates to articles.
– Running reports, under direction of Managing Editor, to create lists of articles needing update, missing translations, etc.
– Selecting, obtaining and uploading Maclean’s articles for inclusion.
– Monitoring news media and adding entries to Encyclopedia timelines.
– Other duties as assigned.
Festival Curator, Subtle Technologies, Toronto
(Disclosure: I volunteered for this festival last year, and they have some great workshops and presentations, including librarians discussing open-access and privacy, and other humanities-meet-science endeavours.)
The Festival Curator is responsible for implementing events that are already planned (Collide event with Continuum Contemporary Music) as well as developing a speakers’ series and other potential programming (such as workshops) within the limits of the budget, keeping to the Festival’s mission and objectives.
The Festival Curator will work with the outgoing Founding Director of Programs whenever appropriate to ensure a smooth artistic transition and continuation. In addition, the Curator will work closely with the General manager and Festival assistant who are responsible for budgeting, planning, marketing, administration and logistical coordination.
Curatorial Research Assistant, the Gardiner Museum, Toronto
The Museum seeks a part-time curatorial research assistant with strong research and writing skills to contribute to the reinstallation of the 18th and 19th-century porcelain galleries display and to assist with research related to upcoming temporary exhibitions.
Reporting to the Chief Curator, the curatorial research assistant is a key member of the curatorial team, and works closely with the Collections Manager, the Curatorial Installations Manager.
Librarian, Textile Museum of Canada, Toronto
This position is seven hours a week, one year in length with possibility of extension.
The Museum is initiating a project to provide web access to the library’s catalogue. The Librarian’s primary responsibility will be to lead this project, working with museum staff and library volunteers to plan and implement the migration of the catalogue to a new software system. This will include reviewing and selecting appropriate software, working with the vendor on customizations, and coordinating data migration, volunteer training and other aspects of the project. Once the migration project is completed, the librarian will be responsible for maintaining the catalogue and may also take on a variety of supervisory responsibilities such as volunteer staffing and scheduling, library policy development, management of journal subscriptions, and other tasks as needed.
Registrar & Curatorial Assistant, Thunder Bay Art Gallery, Thunder Bay, ON
The Registrar & Curatorial Assistant is accountable to the Director of the Gallery for the management of the Thunder Bay Art Gallery’s permanent collection of 1600+ pieces of work by contemporary Aboriginal artists and artists from Northwestern Ontario. The Registrar works with the Curator in the development of the collection and provides support to the Curator in the organization, development and presentation of the exhibition program and extension services. Occasionally, s/he also supports the Gallery’s fundraising activities.
Also, this job search has been extended until October 14th (that or they’re hiring multiple temp librarians this term):
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?
OCAD University needs an intern in their makerspace: $15 an hour, 10-15 hours per week, preferably someone completing or having completed their Library Technician diploma. Applications are due September 10th.
The University of Saskatchewan needs a Library Assistant for the Education & Music Library. This is a full-time position with a monthly salary of $3,906.93 to $5,268.90. The position is heavy on reference and instruction, and there is no stated deadline for applications.
The Yukon Arts Society is looking for a Gallery Administration Assistant in Whitehorse. The position is for 15-22 hours a week, paid at $18 an hour, and the deadline was posted as yesterday (oops!) but the job post is still up…..
This Archivist position at the The Morris and Helen Belkin Art Gallery at the University of British Columbia (UBC) is a 40% FTE ongoing position. The posted salary range is $57,417.00 – $68,929.00 — so, $22,966 – $27,571 when pro-rated. It asks for a minimum of five years’ relevant experience, but work in a gallery or museum or participation in a contemporary arts scene would be applicable, so I think our readership probably qualifies. Just an FYI, I would totally apply for this job.
The deadline for applications is September 2nd, and the position is slated to start October 1st. You’ll need a cover letter and resume to apply.
The Morris and Helen Belkin Art Gallery at UBC is mandated to research, exhibit, collect, publish, educate and develop programs in the field of contemporary art. The Belkin Art Gallery houses the University’s permanent collection of over 3,500 works of art, one of the largest public collections of art in British Columbia. Complementing its collections of art, the Belkin houses an archival collection relating to the post-war history of art in Vancouver and the avant-garde narratives of the 1960s and 1970s. The Belkin’s holdings provide a resource for exhibitions, teaching, and learning, and scholarly research.
Reporting to the Director of the Morris and Helen Belkin Art Gallery, the Archivist oversees the Gallery’s archives, a repository for records relating especially to contemporary art since the 1960s, including papers of artists, art historians and collectors, and material in multiple media (textual, graphic, moving image and sound), which is used as a research facility for researchers, staff and students. The Archivist is responsible for managing the archive’s day-to-day operations, developing long-term plans, and implementing records management for the Gallery, and oversees the registration, conservation,
appraisal, loans, travelling exhibitions, access, security, and storage related to the archives collection.
The Archivist presents lectures to undergraduate and graduate classes in the School of Library, Archival,
and Information Studies and Departments of Anthropology and Art History, Visual Art and Theory. The Archivist works closely with the Gallery’s Registrar and cooperatively with all staff. The position contributes to the policy and priorities of the Gallery’s Archives and record management practices and procedures.
. A Masters of Archival Studies is required for this position.
. A minimum of five years related professional experience, or an equivalent combination of education and experience is required.
. Knowledge of archival arrangement, description, and creating finding aids according to the Canadian Rules for Archival Description (RAD).
. Knowledge of standards and practices for preventative conservation of archival materials, and preservation techniques and treatments.
. Knowledge of records management policies and procedures.
. Knowledge of BC’s Freedom of Information and Privacy Act.
. Knowledge of art history, contemporary art and contemporary art practices.
. Experience hiring, training, and supervising staff, work-study students, and professional experience students.
. Experience working in a professional gallery or museum.
Volunteer (?) Opportunity: American Theatre Archive Project, New York City (also across America and Canada)Posted: August 19, 2014
The following was sent out on the SLA Arts / Design / etc listserv re: the NYC team, but I had never heard of the American Theatre Archive Project before. If you visit their website you can see all their initiatives in various cities, and probably join in, if you’re so inclined.
American Theatre Archive Project (ATAP) NYC Team Wants You!
Want to be part of a troupe of New York City archivists and librarians with a passion for theatre?
Do you have a knowledge of basic archival principles, the ability to survey collections, some familiarity with theater terminology; are you able to attend at least half of our monthly meetings the first Monday of each month at the New Amsterdam Theatre? Then ATAP is an organization where your talents will truly make a difference.
Founded in 2009, the American Theatre Archive Project supports theatre makers in archiving records of their work for the benefit of artists, scholars, patrons, and the public.
An initiative of the American Society for Theatre Research (ASTR), ATAP is a nationwide network of archivists, dramaturgs and scholars dedicated to preserving the legacy of the American theatre.
Thanks to a generous grant from the Lucille Lortel Foundation, ATAP teams (usually an archivist and documentarian) have completed surveys and developed plans for the archives of Roundabout Theatre, Atlantic Theater Company, Cherry Lane Theater, and New York Theatre Workshop (with more to come).
- To preserve records of current theatrical process and product for future generations.
- To employ theatre legacy to develop theatres’ fiscal health and support new work.
- To promote a better understanding of theatre as a vital element of cultural history.
- To encourage scholarly research in contemporary American theatre.
- To increase funding for establishing and maintaining theatre archives.
- To support collaborations among theatre archivists, practitioners, and scholars.
ATAP holds training sessions and has developed a manual and brochure for theater companies.
To learn more and see our manual and brochure, please visit our website:
Please join us for the love of theater!
Next Meeting: Monday, Sept. 8th at 6:30 New Amsterdam Theatre Lobby
to Set Goals and Plans for the Coming Year
The Ryerson Image Centre (RIC) is an international centre of excellence at Ryerson University, dedicated to the public exhibition, research, study and teaching of photography and related disciplines, including new media, installation art and film.
To ensure the efficient operation of the unit, we are currently seeking an Administrative and Curatorial Assistant to provide administrative and curatorial support to the Director, Ryerson Image Centre (RIC). This position will support the Director in the research, writing, and editing of essays, fundraising proposals, speeches, press and advertising materials, and other forms of written communication designed to build the profile and reputation of the Ryerson Image Centre and generate public interest. The successful candidate will also support and coordinate the Director’s relations with RIC staff, the Provost’s Office, the RIC Advisory Committee and Sub-Committees, University partners and stakeholders, and fundraising prospects, collectors, and professional colleagues. The selected candidate will also assist in the planning and coordination of RIC programs and events in support of exhibitions, collection, and research.Qualifications:
•Successful completion of a post-secondary degree program in Art History or related discipline is required, with a specialization in history of photography, cultural management/administration, history, literary studies or visual arts. With a minimum of three (3) years of relevant administrative work experience, preferably within the setting of a cultural institution. Experience coordinating various activities, and conducting research, writing and editing is required. An equivalent combination of education and experience may be considered.
•Demonstrated experience providing front of the house administrative support in order to carry out complex administrative tasks such as developing and implementing internal administrative processes and guidelines to facilitate efficient operations.
•Excellent written communication skills are required in order to draft and edit curatorial and scholarly texts, essays, speeches, media releases and advertising materials in support of the director.
•Strong analytical and financial skills in order to monitor and review revenues and expenses, as well as identify and investigate any discrepancies or trends and recommend actions to address variances accordingly.
•Excellent organizational skills are required in order to assist the Director in managing interaction, reporting and relations with the Office of the Provost and Vice President, Academic, Office of the President, and other significant University partners such as colleagues, Advisory Committees and Sub-Committees.
•Demonstrated experience in event planning in order to support the Director’s fundraising activities as well as coordinate gallery functions such as receptions and other public and private events.
•A demonstrated commitment to client service, specifically students, staff, faculty and external contacts. Excellent interpersonal and technical skills required when assisting students and faculty and when assisting in the production of special events and centre initiatives.
•Working knowledge and demonstrated experience with various software applications (Word, Excel, Access, PowerPoint). Experience with ORACLE would be considered an asset.
•Ability to work independently with minimal supervision using sound judgment, excellent creative skills as well as utilizing problem solving/troubleshooting skills to identify and find solutions to administrative issues and conduct post-activity assessments in order to identify opportunity areas for development.Additional information :
•Candidates may be asked to demonstrate qualifications through occupational testing as a first step in the evaluation process prior to being granted an interview.
•Candidates must have a demonstrated record of dependability/reliability and a commitment to maintain confidentiality.
Ryerson University is strongly committed to fostering diversity within our community. We welcome those who would contribute to the further diversification of our staff, our faculty and its scholarship including, but not limited to, women, visible minorities, Aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. Please note that all qualified candidates are encouraged to apply but applications from Canadians and permanent residents will be given priority.
Aug 25 2014
This Archivist position is permanent / full-time, with a salary range of $75,621 to $98,305. It requires five years of progressively responsible experience, so it’s at the max experience of the ArLiSNAP mandate, but I would (personally) encourage art-oriented archivists to apply anyways. I’d apply myself if it weren’t so adamant about US citizens only ….
This is a permanent private funded position that does not incur federal status, but does affords the complete federal benefits package including the Federal Employees Retirement (FERS) program. Located in the Gallery Archives (GA)Division of The National Gallery of Art.
The purpose of this position is to perform professional archival duties in the Gallery Archives of the National Gallery of Art, especially in working with electronic records, digital information systems, and internet technologies and in describing and analyzing Gallery history and records in various media. The incumbent also is responsible for supporting the Gallery Archives program in preserving records in every physical form, and interpreting Gallery history and records through various communication channels, including internet. The incumbent participates in the full range of archival activities, including understanding and managing traditional architectural and institutional records as well as electronic record-keeping systems. The incumbent also is responsible for providing records guidance to Gallery offices; for appraising records; for identifying preserving and organizing complex bodies of historical records; and for advising the Chief Archivist concerning policies for archival management of digital images.
Implements policies for ingest, preservation and use of digital records and management of the Gallerys digital archival repository based on best archival practice and published standards.
Prepares complex descriptions of Gallery records and interprets institutional history for various audiences via electronic and traditional systems.
Oversees projects for records conservation and digitization.
Serves as liaison with records-creating offices and oversees all steps in transfer of records.
Appraises records for permanent evidential or informational values and manages acquisition activities.
Works with on-site researchers and coordinates responses to complex reference inquiries, including specialized inquiries relating to architectural records or Gallery history.
Writes articles, texts, captions and exhibition narratives based on archival records and history.
This requires at least one year of specialized experience equivalent to the GS-11 level in the Federal service or a Masters degree in archival science or with a major that includes at least 18 hours in archival science, history and /or political science or government. Specialized experience is experience working as an archivist in a cultural institution and working with institutional records.
In addition to a minimum of one years experience equivalent to the GS-11 level as required by the GS-12 qualification standards, candidates must have a minimum of five years of progressively responsible independent professional experience as an archivist in a cultural institution and working with institutional records.
Academy of Certified Archivists Archival Certification is preferred. Please provide information on the date and term of certification.
More details and the application form at the link above.
If you’re in school and would like to get internship or practicum credit at THE big art museum, the application process is now open. There are separate applications for each internship period (the earliest, linked above, is October – December of this year, the deadline for which is September 1st). The other internships are posted here:
Interns are given a once in a lifetime opportunity to acquire valuable work experience in a museum environment under the direction of specialists. Duties and content are chosen to suit the intern’s academic background, interests, career plans and to fit with the projects underway at the Gallery at the time. Interns may work in the official language of their choice.
As an intern, you will work under the supervision of a National Gallery of Canada staff member who specializes in your field of interest. You will be introduced to the daily activities of the section and be responsible for a specific project.
The internship is non-remunerated and the intern is responsible for their own living costs (housing, meals, travelling costs, etc.).
The internships, vary in length and format, depending on the program of study of each candidate and the ongoing projects at the Gallery. It is essential to verify what are the requirements of your academic institution for the granting of credits.
I don’t know anyone personally who has completed this internship; if anyone reading has done it, or would be interested in reading an interview about the experience, let me know in the comments!
Detroit Public Library, Mark Twain Branch, Detroit, Michigan
This image to me, is by far the scariest thing I have seen this Halloween season. The demise of the Detroit Public Library, Mark Twain Branch is not new news. More upsetting images can be found on flickr at http://www.flickr.com/photos/bpdphotography/sets/72157626713779604/
It closed for renovations in 1996 and unfortunately, never re-opened.
But there’s no blood and gore! No skeletons, no creepy spiders, no boiling cauldrons of smelly goo…. How can I think this is scary? Take a good long look at it. Make it your wallpaper, stare at it, and try not to be terrified. I dare you. From the viewer’s perspective, you might be at the entrance to this large, nearly vacant room. A misplaced couch and two armchairs dwarfed by the enormous windows and fireplace bemoan a solitary torment. There are no books, and no other vestiges of a library. The silence, the loneliness, and the emptiness disturbs. I am getting very uncomfortable. Are you?
What do you see? What does this image “say” to you?
I hope “Soliloquy” is a misnomer for a discussion blog, but it does alliterate well with “Sunday”, right?
By this point in Fall semester 2013, I hope those of us in graduate school have gotten into somewhat of a routine and are conquering the wonderful world of art librarianship one assignment, presentation, group project and term paper at a time! This is my first semester of classes at University of North Texas’s MLIS program and I was a bit worried that my time management skills would be put to the test early and I might give up on this before I really got started. So far, so good though, and honestly, I am loving it! I am one of those folks who has come to art librarianship by a circuitous route. How about you? I wonder how many of us ArLiSnappers were born with a burning desire for this career path or did you sort of discover it along the way? So, basically, why are you doing this? What are your degrees and in what order did you pursue them? What were the influential factors in your life that led you to this point? Did you attain your advanced degrees concurrently or spread them out? What do you see as the benefits and/or drawbacks to the degrees you have and/or are working on? For those new professionals with degrees in hand, do you see yourself returning for a PhD? Or do you already have one? Discuss!