Job Posting: Copyright and Open Access Assistant (YCW Position), Ryerson University Library and Archives, TorontoPosted: June 18, 2015
Ryerson University Library and Archives is currently seeking a Copyright and Open Access Assistant to aid with the creation of two subject specific LibGuides and well as the updating of Scholarly Communication and Copyright webpages. As well the successful candidate would expected to assist with updating transactional permissions in the University copyright database. The primary objective of this project is to create two new detailed, rich and informative LibGuides, one that focuses on Copyright and one that focuses on Scholarly Communication issues. Both will act as a core resource for information about copyright and scholarly communication at Ryerson University, and be useful for both faculty and students. These are new resources. The Copyright LibGuide will deal with issues of: instructor copyright compliance at the University including E-Reserves, student copyright information, copyright basics, fair dealing and other copyright exceptions, copyright exceptions, and copyright-free and Creative Commons resources that can be used in teaching and by students (open educational resources). The Scholarly Communication LibGuide will include an overview of Open Access, information of the Ryerson Digital Repository, the Open Access Author Fund, self-archiving strategies, predatory open access journals, basics of bibliometrics, author publishing agreements, the Tri-Council Open Access policy, open access journals (green versus gold), and an Open Access Resource reading list. As well the student will also work in the ARES database (the university copyright system for E-Reserves and the Bookstore).
Duties are performed under the direction of the Copyright and Scholarly Engagement Librarian and in consultation with various subject librarians including the Digital Initiatives Librarian.
The successful candidate will work with subject librarians and the copyright technician to create two subject specific, dense, and multifaceted research guides using LibGuides. The successful applicant will use their communication, writing, research, editorial and organizational skills to create these guides. As well the student will assist in updating permission records in the University permission database.Qualifications:
Applicants will be in an upper year student in a professional librarian program or a student in their 2nd year of a Library Technician program.
They should know the Microsoft Office suite and Google applications.
Some familiarities with the creation of research guide, preferably LibGuides would be an asset. Permission management experience would also be desirable in the candidate.Compensation:
$21.00/hour plus benefitsAdditional information :
This is a temporary full time position with the duration of 10 weeks ending on Sept. 4th, 2015.
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: email@example.com<mailto:firstname.lastname@example.org>.
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.
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 email@example.com 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]