Art Library Students and New ARLIS Professionals (ArLiSNAP) seeks candidates for its next Co-Moderator.
To learn more about this exciting opportunity, read this post, and comment to apply. The deadline is Wednesday, March 11th.
Éditeur Photo et archiviste (Photo Editor and Archivist), OSA Images, Montreal
Sous la responsabilité de la direction et de la coordination de production, l’éditeur photo et archiviste a un double mandat ; la postproduction des fichiers numériques photographiques et vidéos de l’agence ainsi que la gestion de toutes les archives audiovisuelles.
Reference Librarian, Canadian Centre for Architecture, Montreal
The responsibility of this job is to provide timely general and advanced reference service on CCA’s Collection. The incumbent participates in the establishment, development and dissemination of Reference and Reader Services programs, policies, and procedures. The tasks also include reaching out to the researchers, welcoming and orienting them in the CCA’s Reading Room, helping with Reading Room supervision and maintenance. The incumbent manages interlibrary loan services and document delivery for internal and external researchers.
Summer Program Assistant (Music Department), Banff Centre, AB
- Creating and editing all summer house programs, ranging from 3 to 8 concerts per week
- Relaying of information to The Banff Centre community on concert events and happenings, including the Box Office, the Program Coordinator, Music and the Marketing Officer
- Acting as the summer Music Librarian to distribute and track all rented music
- Assisting the programming and production staff in the organization of events, front-of-house duties, and special performing opportunities for program participants.
Photographic Technician, Friends of the Alberta Archives Society, Edmonton, AB
- Providing photo reproduction and preservation services according to PAA policies, procedures, and operational requirements;
- Completing “public order” services using digital processes within established timelines;
- Preserving photographs and negatives by implementing standards based on the PAA’s strategic preservation plan and associated procedures;
- Providing occasional photographic support for Provincial Archives programs and outreach activities; and,
- Ensuring that necessary supplies are stocked to complete public orders and preservation work.
Can you tell us a little bit about your background and your current position?
I went from pre-med to Art History in college because that is what I liked – life is short. My dad told me most people change careers seven times in their life, but I have stuck with Art History this whole time – though in three different capacities (as museum educator, art museum librarian, and now academic art librarian). My current position is as a subject librarian that serves the Art History and Classics department at Emory University.
What drew you to this position and art librarianship in general?
When getting my Masters degree in Art History at George Washington University, I got a paid internship at the National Gallery of Art’s modern prints and drawing dept. I loved classifying and researching artworks. I worked additional jobs in the photo archive and then in the 20th century department (now known as Modern & Contemporary). It wasn’t until I was working in the High Museum of Art education department during the Atlanta Olympic RINGS exhibit that a library position to presented itself. The High Museum of Art part-time librarian left and they began looking for her replacement. With a friend’s advice – don’t hide your lamp under a bushel – in my ear, I marched into the head curator’s office and said, “Give me the job; I’ll get the MLA.” And I got the degree and the job.
What are your main roles/duties at your current position?
The more typical roles are collection development and management (which is my favorite part of my job) instruction, and research consultation. The more recent developments in my duties include Digital Humanities, Scholarly Communications, data management (ex. Digital Images), special collections, and marketing.
What is a typical day like for you?
My favorite part of my job is collections development, purchasing materials for the library, and collections management, figuring out how to fit all of our materials in the stacks. It’s the beginning of the semester, so I am also creating web guides and trying to work with faculty to set-up library instruction for classes that need it. I have taken to making a weekly To Do list that includes all my Subject Librarian stuff balanced with Humanities Team leader stuff and Service to the Library (task force on events/exhibitions, Comm for LSC, Blog Oversight Group, O&E) and professional development (ARLIS/SE is planning NOLA 2017, getting ready for Ft. Worth). There is never northing to do in this field. I also spend a lot of time mentoring other subject librarians on my team, as well as graduate student fellows.
What were/are some challenges for you as a new art librarian? Are these related to larger challenges in art librarianship?
It used to bother me (when I was a one-man show at HMA) that we do much behind-the-scenes work, and yet patrons only appreciate the tip of the iceberg. But it’s great when patrons appreciate the library in any capacity, so I learned not to mind too much.
What do you think are the most important issues facing art librarians today?
Permissions/Copyright – our IP Librarians likes to say, “Copyright kills dreams.” Students who are writing theses or dissertations cannot use images without permissions, but the cost of permissions is prohibitive.
Data Management – digital image metadata, etc.
Digital Art History – how does it become just another tool art historians use? How to guide students in this endeavor? It will become more mainstream so we need to teach people the skills and how to utilize new tools in their research and teaching.
Marketing – tell your story, the age of assessment and data.
What are the most important things emerging art librarians should know?
Relationships are HUGE – across your library, across your campus, across your field. Art Librarianship is a pretty small world. It helps to know colleagues (as well as faculty and students) who you can ask questions of or collect data from.
Just for fun – what is your favorite library? Work of art or artist?
I like IM Pei’s National Gallery of Art library reference library, mainly because of fond memories of the people who worked there when I was a library user. I also have fond memories of the Smithsonian’s Archives of American Art Library when it used to be housed in the Old Patent Building. But, if I have to pick just ONE library – I’ll say the Library at Villa I Tatti, The Harvard Center for Italian Renaissance Studies, outside of Florence. Its founder, Bernard Berenson (1865–1959), described I Tatti as a library with a house attached, which I love.
As far as artists, I like conceptual artists who employ word-play and irreverence – Ed Ruscha, Bruce Nauman, and Jenny Holzer.
ArLiSNAP is offering a dedicated space at the 2015 Annual Conference for students and new professionals to discuss current events and issues that matter to us.
Library Assistant (P/T)—Libraries and Archives
(Part-time, temporary, non-union position)
Requirements: The ideal candidate must have experience working in a museum library setting; excellent and accurate communication and computer skills; the ability to perform detailed work such as creating, entering, and searching bibliographic data; and knowledge of library automated systems, such as OCLC and MARC formats. M.L.S. student preferred.
Responsibilities: The Library Assistant’s main responsibilities include ordering acquisitions and recording them into a shared Library Online Catalog; maintaining financial records and processing invoices; maintaining the stacks, including labeling, shelving, and shifting the collections; packaging and mailing interlibrary loans and other library projects; circulating materials to Museum staff; assisting both the Museum staff and the public onsite and via phone, letter, fax, and email; and photocopying, scanning, and other general office work.
Work schedule: 20 hours a week, Wednesday through Friday, 9 a.m. to 5 p.m., first Saturdays of the month from October to June, and possible late hours on Thursdays
To apply: Please send a résumé and cover letter via email to email@example.com.
Job link here.
The ARLIS/NA Conference Mentoring Workshop, which matches first-time conference attendees with veterans, is currently accepting applications! Fill out this form to make the most of your first ARLIS/NA conference.
We’re also hoping to find one more roomie to join our thrifty group at the Motel 6!
Read more about the alternative lodging option here.
20 more days until ARLIS2015! Looking forward to meeting more of you there.