The Willem de Kooning Foundation is seeking a highly organized, discreet, and detail-oriented individual to fill the position of Digital Assets Manager. The position will direct the processing of all digital assets—comprised of images of Willem de Kooning, his studio and artworks, as well as other archival materials—within the Foundation’s existing specialized systems. The position will also work with the Foundation’s research and archives staff on digitization projects, facilitate access to digital materials, and manage image rights. Specific responsibilities include:
- direct acquisition, description, organization, and migration of born-digital and converted digital assets.
- maintain the digital asset infrastructure and codify related standards and protocols.
- develop the Foundation’s digital asset management system.
- develop and manage metadata tools, standardization solutions, and controlled vocabularies to ensure accuracy and consistency.
- ensure the long-term storage of the Foundation’s digital assets, monitor system hardware, and administer digital asset software including license contracts, upgrades, etc.
- plan and direct digitization projects and perform ad-hoc digitization as required.
- respond to rights and reproductions requests.
- work with institutions and scholars on image requests for upcoming publications.
- procure images of works of art from outside sources and manage related rights and license agreements.
- oversee new photography of works in the Foundation’s collection as necessary, and monitor color-correctness.
- manage the growth of the Foundation’s website, including the addition of new components and images.
Master’s Degree in library and information science, archives management, museum studies, art history or a related field, or equivalent combination of education and experience; five or more years of practical experience in a museum, archive, library, or other institution demonstrating expertise in the tasks listed above; experience managing large-scale projects and organizing extensive collections of information; thorough knowledge of field-wide metadata standards; strong understanding of digital file processing (capture, formats and codecs, color profiling, file conversion, dissemination, etc.); proven expertise with digital asset management systems, Filemaker Pro, and Adobe Photoshop suite.
The winning candidate must demonstrate: an aptitude for complex analytical work with strong attention to detail; an ability to work collaboratively in a team-oriented environment; ability to communicate effectively on technology issues with technical and non-technical staff; strong writing and proofreading skills; fastidious work habits; self-starter with the ability to take direction; strong visual acuity as it relates to color-correctness.
Candidates may submit their resume, cover letter, writing sample, and three references to firstname.lastname@example.org.
Fordham University seeks a Visual Resources Curator with expertise in digital pedagogy. A successful candidate will maintain the Art History Department’s significant digital image collections, performing curatorial duties required to support Art History faculty in their teaching and research. S/he will develop, promote, and support new digital-based pedagogies primarily among faculties in Art History, Music, and Visual Arts, as well as provide support for the use of digital platforms for research. Experience with relevant software for image database management necessary, as is knowledge of Photoshop and Adobe Creative Suite. Required also is engagement with current practices in digital scholarship and pedagogy, as well as the ability to train faculty in their use and implementation in the classroom. Depending on the candidate’s qualifications and expertise, s/he may have opportunities to teach departmental courses.
The Curator reports to the Chair of Art History and Music. The position is split between our Rose Hill and Lincoln Center campuses, and the Curator would be expected to divide the work week between campuses.
This is a part-time 40-week/year position, with benefits
Work hours per week: 25
- BA or higher in Art History
- MA/MLS in library science or related field
- At least three years experience with visual resources management and digital pedagogy
- Intermediate knowledge of Mac and PC environments required
- Must be able to adapt to and master new technologies in digital image management and pedagogical support
- Excellent communication skills, ability to work with colleagues, attention to detail
Start Date: Monday, January 12, 2015
Deadline for Application: Monday, November 24, 2014
Applicants should send a résumé and letter of interest to Nina Rowe, Chair of the Department of Art History and Music, Fordham University ( email@example.com). The letter should detail your training and work experience. Also explain your conception of the role of a Visual Resources Curator within an Art History program today and your vision for the future. Finally, please address your capabilities with digital pedagogies pertaining to Musicology and Visual Arts.
Fordham University is committed to excellence through diversity and welcomes candidates of all backgrounds. Fordham is an Equal Opportunity Employer.
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 position isn’t something I’d usually post, but it looks like it could be great for someone who started out in photography and/or design and then moved into visual resource management:
The Digital Asset Specialist works within the Content Team assisting with the development and maintenance of digital web content to help drive customer acquisition and engagement. This Colleague is an expert at image production and manipulation to achieve the highest image quality and creative goals in the digital realm, including photography, retouching, post production work on digital photography, Data Asset Management, and a variety of design studio elements. This Colleague must demonstrate a positive, professional attitude and have the ability to work under pressure, within extremely tight deadlines.
• Oversees and updates online digital content that is customer facing, product-specific;
• Works with internal teams, external partners and third-party agencies to identify digital asset requirements including creative direction and technical requirements;
• Creates digital assets using in-house equipment which includes cameras, lightbox and relevant software.
• Develops creative direction for website photography, styling, lighting, angle of each digital assets whether producing the digital assets in house or providing direction to external vendors, managing overall quality;
• Secures digital assets from internal Loblaw systems and external partners as required; .
• Modifies both created and secured digital assets as required. Modification includes clipping path, retouching, colour masking, colour correction or other as required; Responsible for maintaining eCommerce digital assets and metadata within the company’s Digital Asset Management System;
• Responsible for producing best in class creative solutions across company website including establishing and maintaining standards for design and production best practices;
• Suggests new ideas; identifying the possibilities of new initiatives, processes and innovative programs.
• B.A . in Graphic Design or related field
• 2-5 years photography experience preferred
• 1-3 years of related experience
• Possess a strong sense of design fundamentals including color, composition, typography, and in-depth knowledge of web design principles
• An entrepreneurial attitude, who is self-motivated, independent, able to deftly multi-task, and work in a fast paced environment.
• Exceptional verbal, written and visual communication skills to work with cross-functional teams to plan, collaborate, develop and refine ideas
• A dedicated team player with strong interpersonal skills and commitment
• Strong portfolio that demonstrates creative skills (provide examples)
Rogers has a full-time regular position opening at their 1 Mount Pleasant headquarters in Toronto.
- Manage ingesting of all original footage for Sportsnet production at the CBC location
- Manage Sportsnet’s section of the Avid production system at CBC location
- Coordinate transfer of material designated for archiving from Avid back to Quantel production system
- Enforce naming conventions, retention dates and other policies on Avid production system
- Regular analysis of stoarge usage, movement and capacity in Avid system
- Provide input / reccomendations on the management of storage devices, workflow, policies & procedures, and additional storage requirements based on growth rates
- Communicate and interact with existing staff to clarify needs and priorities in managing the storage of media assets, as well as to reinforce the business rules and workflow.
- Provide on-going training to staff on all production-related systems.
Solid broadcasting experience with an aptitude for information technology.
Experience working within a Media/Archive Library organizing and cataloguing the media, either tape based or preferably, in a digital file format.
Extremely detail oriented
Good communication skills
Ability to problem solve
Ability to multi-task
Ability to work under pressure in a dynamic environment
Ability to work within short timeframes
Experience with Quantel, Ardome, DART, Volicon, Avid and Qtube a definite asset.
Guest Post: Alison Verplaetse on the Summer Educational Institute for Visual Resources and Image ManagementPosted: July 26, 2013
Alison Verplaetse took part in the most recent Summer Educational Institute on June 18-21, 2013. Find out more about this program at http://sei.vrafoundation.org/index.html
The Summer Educational Institute (SEI) is an excellent learning and networking opportunity for anyone currently involved or interested in a career in image management. As a fairly recently degreed librarian, I found SEI incredibly valuable: it not only taught immediately applicable skills, but also provided me with insight into future avenues of the profession. I would recommend SEI to anyone considering pursuing a career in Visual Resources as it provided a perfect opportunity to gain a broad perspective on what people are accomplishing in this area of librarianship.
SEI provided a unique opportunity to learn about the core aspects of image management –namely, metadata, imaging, copyright, and outreach–from top experts in their respective fields. I am incredibly grateful to have been a participant at SEI, and I feel I gained knowledge and professional connections that will benefit me throughout my career. Here is a quick run-down of the workshop sessions and speakers:
Our first afternoon at the institute included a lecture on Intellectual Property Rights given by the University of Michigan’s Associate General Counsel Jack Bernard. Mr. Bernard’s presentation was thoroughly engaging and informative, providing compelling copyright case studies that illustrated the essential tenets of copyright law in an accessible and useful way for library professionals.
The second day of SEI was the Metadata Intensive part of the workshop. The first session began with a Metadata Overview by Jenn Riley, the Head of the Carolina Digital Library and Archives at The University of North Carolina at Chapel Hill Library. We discussed the most popular metadata schema currently used by cultural institutions and participated in completing sample metadata records in VRACore. In the afternoon’s session, Greg Reser, the Metadata Specialist at University of California, San Diego, introduced the group to the concept and application of embedded metadata for image professionals.
The third day at SEI was an Imaging Intensive taught by Alex Nichols, the Academic Technology Coordinator at the Visual Resources Library at Michigan State University. His sessions spelled out the best practices and standards for digital imaging in terms of equipment, image quality, and workflow. In conjunction with the late afternoon session regarding the “Tools of the Trade,” in the Visual Resources field, this day introduced me to a number of relevant and useful applications for managing digital images.
The final day of the conference was organized in an “unconference” style, allowing us to interact and hear the ideas of our colleagues regarding collaboration, project management, keeping current in the field, and several other areas of visual resources management. In a similar vein, the afternoon’s session, entitled “Expanding Your Role,” presented us with great ideas for reaching out to the community, both the people we serve in our profession and other professionals.
Whew! A lot happened in a just a few days at SEI. The best part, though, was getting to know my fellow participants. I met an excellent group of like-minded individuals whom I look forward to working with again in the future, and I was able to bring back a wealth of knowledge germane to both my current and aspirational professional endeavors.
“What do I do with all these Images?”
Getting Started with Digital Image Collections
Instructor: Beth Knazook
Dates: August 5-30, 2013
Credits: 1.5 CEUs
This course is primarily aimed at librarians who are new to managing special image collections and who wish to learn more about beginning a digitization program. Through readings, individual exercises, and class discussions, students will develop an understanding of the following key components of digitization project planning: evaluation and preparation of resources, building sustainable workflows and storage environments, and usability assessment. In the first part of the course, students will become familiar with current research into the behaviours and attitudes of image-seekers, and they will develop a broad understanding of how different metadata standards for libraries, archives and museums record and present information to the end user. In the following weeks, we will discuss basic steps for creating and preserving digital images, such as choosing an appropriate scanning resolution, file naming, and devising scale-appropriate storage methods. Students will evaluate various strategy and planning documents in order to develop goals for their projects, and will be given examples of workflows that can be customized for their own use. The focus will be on providing access to collections that are being digitized from analogue materials, but will also have applications to born-digital collections.
• Increase understanding of current environment for digital images
• Experience digital collections from the user perspective, evaluating their goals and needs
• Learn planning techniques and strategies for implementing a digitization program
• Evaluate various approaches and standards to metadata, understand metadata interoperability
• Learn the standard sizes, formats and techniques for scanning images
This course is followed by Beth Knazook’s Describing Photographs for the Online Catalogue, for those who are interested.
Beth Knazook holds an MA in Photographic Preservation and Collections Management from Ryerson University/ George Eastman House International Museum of Photography and Film. She has previously worked as the Curatorial Specialist for Ryerson University Archives & Special Collections and as the Photo Archivist for the Stratford Festival of Canada. She has presented at library and archives conferences on topics of digital access and cataloguing methods for image-based resources, and she will begin her doctoral studies in Art History and Art Conservation at Queen’s University in September 2013 with a focus on the history, use and care of nineteenth century photographically-illustrated books.
Interview with Beth Knazook: http://libraryjuiceacademy.com/news/?p=199
Bridgeman Art Library
About the Library
The Bridgeman Art Library is the world’s leading source of fine art images. Based in London, New York, Paris and Berlin, the Library represents thousands of museums, private collections and artists throughout the world in licensing their images for reproduction. Our clients worldwide include publishers, designers, advertising agencies and other image-using creative professionals.
About the Internship
We are offering a work experience placement for this summer as an Administrator at the New York office based in Manhattan. This role will involve supporting the Picture Research, Licensing, Marketing and Bridgeman Education departments. The successful intern will have varied responsibilities in a small office, providing a good opportunity for hands-on experience. Travel and some food expenses will be reimbursed.
Any degree discipline is suitable, although an interest in Art, Art History or Marketing would be
START DATE IMMEDIATELY : Monday-Friday, 9:30am – 5:30pm
Compensation: Lunch and a Metrocard
Please send your resume and cover letter to
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 <firstname.lastname@example.org>
We look forward to seeing you!