The Visual Resources Librarian, embedded within the Department of Art, coordinates the creation, management, and use of Visual Resources for art history and studio art instruction at Lafayette College, as well as for faculty and students from other academic departments. Manages digital imaging lab within the Department of Art. Participates in the Library’s instruction program, serving as campus lead for visual literacy education. Contributes to the development of disciplinary image collections to support the curriculum, including image production, using and displaying digital assets, and consultation on best practices for daily use of digital resources.
Short notice, but the Twitter-advice-fest that is #SLATalk is happening tomorrow, August 19th at 3:00 pm EDT – 4:00pm EDT. As it’s pursuant to some of the other content [I made] on this blog, I thought I’d pass it along!
#SLAtalk: Trailblazing! Info Pros and the Entrepreneurial Spirit
Join @SLAhq and the Association of Independent Information Professionals (@AIIP) for an hour-long Twitter chat about what it takes to be a trailblazing information professional. Whether you are already an independent info pro, looking for a career change or are leading the pack from within your company, share how you exemplify an entrepreneurial spirit within your industry.
Tuesday, August 19th from 3:00 pm – 4:00 pm EDT
What time is that where you are? http://time.is/compare
► New to doing a Twitter chat? Take a look at “How to #SLAtalk” http://www.sla.org/slatalk-plus-slatalk-archives/
Q1 (first 15 minutes) Talk about an entrepreneurial break-through moment in your career. If you own your own research business, how did you win your first client? If you provide in-house services to a company, how did you “sell” your services to an important member of the organization? Or, how did you gain the support needed to undertake an important project?
Q2 (second 15 minutes) Personal branding. Whether you work independently or in-house, how do you make yourself known? More than just marketing, how do you be a self-starting, risk tolerant and just an all-around go-getter in order to be a trailblazing info pro?
Q3 (third 15 minutes) If you’re thinking about making the leap into the independent info pro world, what tips or advice would you like to know? If you are already independent, what would you tell someone new to your professional community?
Q4 (fourth 15 minutes) What are some best practices to having an entrepreneurial spirit? What are some skills, mantras or attitudes one can create and maintain for themselves in order to keep the spirit alive?
Can’t join us live on Twitter? Check the SLA Blog’s #SLAtalk category for the recap which will be posted following the session.
≪ Professional Development Reading List Klaxon ≫
Brush up on what it means to be an entrepreneur with some of these articles below:
The Entertainment Content team is seeking an extremely organized person with records management experience for the position of Digital Media Librarian. The main focus of this position is to manage and expand a digital asset management system which will drive efficiencies and allow better asset sharing across the company. We need an enthusiastic individual who loves working as part of a team and who will take ownership over the whole DAM system. PS – did we say you get to watch movies for free?
Duties and Responsibilities include:
- Maintain the current library for all of Cineplex’s digital creative assets.
- Work in conjunction with the production team to create life cycle management strategy, including cataloguing, storage, retrieval, distribution, and disposal of digital assets.
- Use, monitor and optimize metadata schema to enhance discoverability of digital assets.
- Fulfill requests for assets and deliverables from internal stakeholders as well as external clients.
- Roll out Digital Asset Management system to other Cineplex offices in Toronto and Waterloo.
- Monitor data migration/synchronization tasks using CatDV software, integrated with the Cineplex information architecture.
- Train producers, editors, creative artists and other stakeholders in digital asset management procedures.
- Assist stakeholders with day-to-day duties including ingesting and shot listing of raw shoot footage, transcoding media, organizing assets, adding metadata, sourcing and posting assets, etc.
- Other duties as required.
Desired Skills and Experience:
- High level of accuracy and attention to detail.
- Superior organizational and time management skills.
- Strong written and verbal communication skills.
- Exceptional work ethic.
- Capacity to learn constantly and quickly.
- Must be flexible and be able to work under pressure.
- Able to work independently.
- Knowledge of French (written and verbal) is an asset.
Hard Skills / Experience:
- Three years’ experience in a film or video library setting.
- Experience with digital archive strategies, records management, library and information management, or archive management.
- Experience with DAM systems; knowledge of Cat DV is an asset.
- Strong familiarity with video and graphic design file formats.
- Familiar with Microsoft Office.
- Fluent with FTP programs.
- Must be Mac proficient.
- Media transcoding experience; knowledge of Digital Rapids Transcode manager is an asset.
There is no deadline for applications, and no given salary information.
For those of you thinking about spending six months in gorgeous Banff, Alberta (yes, international applicants are encouraged!):
Here are some words of wisdom from last year’s Library Work-Study, Jaye Fishel, who spent her tenure working to promote and display the Banff Centre’s insane collection of artists’ books. Jaye kindly answered my questions about being an American book-nerd in Alberta, the projects she worked on, and the application procedures to get into one of Canada’s prettiest cultural institutions.
ArLiSNAP: Can you start with a bit of your background?
Jaye Fishel: I was an artist before I got my MLIS degree, which I in-part pursued to professionalize my interest in artists’ books in particular. I worked in the rare books library during my undergraduate studies (at Emory University) and was introduced to artists’ books in processing collections. That led me to move to San Francisco in 2005 to study at the Center for the Book there, where I learned letterpress printing and other techniques. Since then, I’ve expanded my artistic repertoire but books and works on paper still figure largely into what I’m interested in engaging with, both professionally and as an artist.
ArLiSNAP: What were you doing previous to taking the work-study position?
JF: I was living in Oakland, unable to find a professional position suitable for me. I only realized after graduating with my MLIS that any job, let alone a job dealing with artists’ books, was very difficult to come by.
ArLiSNAP: What was the application process like?
JF: The application process was straightforward — I submitted a project proposal in addition to a standard cover letter that outlined a project I would produce while at the Centre. Since the work-study position is an educational program, like an internship, I stated some learning objectives. Applying to work in Canada from the US seemed to have little bearing on the application process, although once I accepted the position, I had to secure a student visa, which did not show up until the day before my flight to Banff, causing more than a little anxiety.
ArLiSNAP: A student visa?
JF: I needed a student visa because the work-study program is considered an educational program, so technically I was a student in the eyes of the Canadian government. Work-study participants receive a stipend, not a salary, and are generally treated differently than staff at the Centre.
ArLiSNAP: What attracted you to the position?
JF: The job description was like a dream! Working fairly exclusively with the artists’-books collection in an international art residency centre? I was attracted to everything about that. Plus, I needed a change in my life, so I felt ready to move to remote Banff from the Bay Area, which was changing rapidly before my eyes into a place that felt less and less accommodating to artists and craftspeople. I was also attracted to the adventure.
ArLiSNAP: What period of time were you there? What was it like moving to Banff and settling in?
JF: I arrived in Mid-May and I left at the end of February, so I was there for nine months. It was an adventure the entire time — living in the middle of the Canadian Rockies in an art residency center was unlike my life in the Bay. I hadn’t lived through a snowy winter since I was a child, so that was definitely an adjustment, as was living in a very small tourist town. I had a sometimes quiet, simple existence — sometimes filled with lots of art and parties and people from all over the world.
ArLiSNAP: What was a typical work day like?
JF: I worked four days a week, nine to five, with one day away from the library to work on outside research or projects. Typical days usually included working on artists’-book catalog records, planning upcoming events, and working with patrons. Then I’d walk home and see at least one deer or elk, on average.
ArLiSNAP: You started a few neat initiatives while you were there. Can you tell us about getting those programs going?
JF: I had a lot of freedom to create new initiatives and work on a variety of projects. The bulk of what I did at times was cataloging, or improving the very basic cataloging of the artists’ books collection, which is extensive at over 4,300 items. I would pull items from a particular press or artist at once to make comprehensive improvements to parts of the collection that relate to one another. I also initiated a public program series of artists’ books showcases, where I would pull random items from the collection and invite the resident artists and the public to engage with the items. I also started a several-year-long project to display every item in the artists’ books collection in a case in the library, as well as online via documentary images. (http://banffcentrelibraryandarchives.tumblr.com/)
I had wonderful support from my mentor, Suzanne Rackover, to do whatever I wanted with my time to enhance use of the collections. So I just came to her with my ideas and she supported my process. For the artists’ books showcases, I would loosely try to pull items that would be of interest to visual artists on residencies. I would make sort of weird promotional fliers and hand them out and post around campus. Setting up the Tumblr project required simply creating a randomized spreadsheet of the collection, creating the new display every Monday of fifteen items, photographing the works, and posting to the Tumblr. It’s a fairly simple process, so now almost anyone who works in the library can continue the weekly changes.
ArLiSNAP: Do you have any advice for someone looking to apply to the Banff Centre Library, or things to do while working there?
JF: I’d advise anyone interested in working with an outstanding artists’ books collection to apply. It is truly an amazing collection that I feel so lucky to have worked with every day. I know I’m a great deal more knowledgeable about artists’ books than I was before working at the Centre. Working at The Banff Centre is very special because artists across media from around the world come to make and show work. I encourage any future library work study to go to every show, performance, artist talk, party, dinner, bingo night, hike, and outing possible. There is a lot to experience in a very short time.
BIRMINGHAM MUSEUM OF ART
Status: Full time
The Birmingham Museum of Art seeks an experienced Librarian, who will be responsible for all aspects of the Library’s management. The Clarence B. Hanson, Jr. holds more than 35,000 titles and is among the most comprehensive art research libraries in the Southeastern United States. The Library holds a broad range of research materials including general art reference works, auction catalogues, artist files, periodicals, indexes, exhibition catalogs, and databases.
The Birmingham Museum of Art has a collection of more than 26,000 objects within six collecting areas: Africa and the Americas, American Art, Asian Art, European Art, European Decorative Arts, and Modern and Contemporary Art. The BMA provides inspirational cultural and educational art experiences to diverse communities while constantly evolving and enhancing our visitors’ interactions with our Museum and interests in the visual arts.
For more information and to apply on line go to http://www.artsbma.org/opportunities/librarian/
Review of applications will be ongoing until the position is filled.
The Birmingham Museum of Art is an equal opportunity employer.
Dumbarton House, a Federal period historic house Museum in Georgetown, seeks an Archivist/Librarian Intern to work with the rare book and manuscript collection during the fall 2011.
Dumbarton House, headquarters of The National Society of The Colonial Dames of America, offers visitors an opportunity to enhance their appreciation of early American history. Dumbarton House strives to inform and educate the public, about life in Washington during the early days of the Republic (circa 1800) and about Federal Period decorative arts and architecture.
Dumbarton House’s collection of decorative and fine art consists primarily, but not exclusively, of objects dating from the Federal period of U.S. history (approximately 1790-1830). The Dumbarton House manuscript and book collection includes an original copy of the Articles of Confederation, as well as papers, journals, account books, ledgers and letters documenting nearly 300 years of Nourse family life. In addition to our permanent exhibition, we also offer a series of temporary exhibits that feature topics relevant to the museum. The Archivist/Library Intern works directly with and reports to the Museum Curator.
The fall 2011 intern will work closely with the rare book and manuscript collection, re-housing, conditioning, numbering, scanning, and assisting with accessioning the over 1000 pieces in the manuscript collection as well as the nearly 150 rare books.
Working with the Museum Curator and the Collections Assistant, the intern will be responsible for ensuring that the manuscript and book collection is stored, handled, and cared for according to museum standards. The Archivist/Library Intern will write a policy and procedures document outlining best practices in care, handling, and storage of the collection. In addition, the intern will prioritize the conservation needs of this specific collection. Finally, the intern will assist in moving this collection forward to become accessible online along with aiding in the process of making the museum’s research library of roughly 1,000 books accessible online.
The internship program is designed to provide practical, hands-on experience to students pursuing a graduate-level or PhD degree in Library Sciences, American History, Museum Studies, Material Culture Studies, or related field. Applicants with a recent degree, working toward a degree, and/or comparable work experience will be considered. Applicants must be able to work independently with minimal supervision, and be willing to assist with all aspects of working in a small, historic house museum.
- Available 8-12 hours/week for a total of 150 hours over the course of the semester.
The Archivist/Librarian Intern will:
- Propose, research, develop, and write procedures for the care of the rare book and manuscript collection
- Scan and condition report manuscript collection
- Re-house those pieces that are not currently housed properly
- Assess conservation needs of collection and create a priority list
- Catalogue, condition report, and accession Rare Book Collection
- Create online catalogue of current research library for public access
- Excellent organizational skills and attention to detail;
- Excellent research and written and oral communication skills;
- Familiarity with proper terminology in field and a particular interest in the Federal period a plus;
- The ability to work both independently and as part of a team;
- Experience with MS Office applications (Word and Excel), knowledge of databases and office equipment;
- Experience with Past Perfect 4.0 and 5.0 a plus; and
- Strength, dexterity, and mobility to perform all duties.
Academic credit may be arranged in cooperation with a sponsoring college or university. A stipend may be available.
- Send position-focused cover letter, resume or CV, and 2 professional/academic references to:Archivist/Librarian Intern c/o Education Director, 2715 Q Street, NW, Washington, DC, 20007-3071;email@example.com; FAX: 202-337-0348.
- Qualified applicants will be contacted to schedule an interview. Please do not contact Dumbarton House to inquire about your application status.
For more information about the Museum and our programs, please visit www.DumbartonHouse.org