Nominations & applications are now being accepted for ARLIS/NA Research Awards

Nominations & applications are now being accepted for these ARLIS/NA Research Awards:

Worldwide Books Awards for Publications

Worldwide Books Awards for Electronic Resources

Given in recognition of outstanding publications/electronic resources by ARLIS/NA Individual members in the fields of librarianship, visual resources curatorship, and the arts.

The form of recognition may range from a certificate of merit to a cash award of up to $1,500.

Nominated works must have been published during the 2010 or 2011 calendar year.

Separate applications for each format.

Publications: Guidelines   /   Application Form (pdf)

Electronic Resources: Guidelines   /   Application Form (pdf)

H.W. Wilson Foundation Research Award

This award of up to $3,000 supports research activities by ARLIS/NA members in the fields of librarianship, visual resources curatorship, and the arts.

The award seeks to promote research which benefits the professions of art librarianship and visual resources as well as the broader library profession.

Proposals may address the compilation and dissemination of information, translation of original scholarship, analysis of the professions, or the enhancement of access to information.

Eligible projects include those which result in original scholarship in the arts (performing, architectural, visual, etc.) or aspects of visual and material culture.

Guidelines   /   Application Form (pdf)

Applications and accompanying material for all awards must be postmarked by February 3rd, 2012.

Winners will be notified by February 24, 2012. Awards will be presented at the annual conference convocation in Toronto, in March.

Questions? Please contact the Research Award Committee Co-Chairs
Kathy Edwards, Clemson University, kathye@clemson.edu
Cara List, University of Oregon, clist@uoregon.edu


Job Posting: Project Assistant Archivist at Museum of Modern Art

The Museum of Modern Art is currently seeking a Project Assistant Archivist to survey, process, and preserve the recently acquired Seth Siegelaub and Herman and Nicole Daled Archives.  This project is a top priority for the Museum’s Archives due to the collection’s great research potential and the desire of the curatorial staff to access the materials quickly to enhance the understanding of the Museum’s new acquisitions.  Processing these archives entails appraising and organizing the collections, which includes correspondence, unique items created by artists, financial records, and photographs, among other materials.  Descriptive information will then be assembled to create an electronic finding aid.   This is a grant funded position that is expected to last for 12 months.

Specific responsibilities, following professional archival standards, are as follows:

·         Surveys the collection.  Conducts preliminary research on the materials.  Drafts a processing plan, in conjunction with Museum Archives staff.

·         Determines and acquires necessary archival supplies.  Performs simple preservation tasks.  Implements necessary conservation measures.

·         Compiles and revises existing descriptions of the material.

·         Re-files and re-boxes the collection in acid-free housing.

·         Writes and codes detailed finding aid including information on context and related collections as well as description of the material.

·         Assists with reference activities of the Department.

·         Item-level cataloguing of photographic images, and coordinating their digitization and the creation of analogue print copies.

We require an archivist with solid experience, who can work independently.  The archivist must possess a Bachelor’s degree in Art History or 12 semester hours of modern art since 1880, a Master’s degree in Art History with a Certificate in Archival Studies or National Archives Modern Archives Institute Certification strongly preferred.  1-3 years’ experience processing archival collections according to standard archival procedures and research in art history is also required.  Reading knowledge of French required.  Strong verbal and writing skills. Computer literacy and knowledge of Encoded Archival Description (EAD).  Demonstrated knowledge of twentieth-century art, art historical reference sources and other related research materials is also required.

Please submit resume and cover letter, which must include salary requirements, to jobs@moma.org.  Please reference the position title in the subject line.

The Museum of Modern Art is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation or political affiliation.


Job Posting: Visual Resources Librarian for Islamic Art & Architecture, Harvard College Library

Visual Resources Librarian for Islamic Art and Architecture, Aga Khan Program for Islamic Architecture

Harvard College Library

Cambridge, MA

Reporting to the Public Services Librarian, this position is responsible for research support, collaboration, and outreach for visual materials in the field of Islamic art and architecture to faculty, students, and researchers. Visual materials collections include digital images and slides for teaching as well as other formats documenting all aspects of Islamic art and architecture in the Fine Arts Library including historic photographs, postcards, and ephemera. Additional responsibilities include implementation of appropriate and forward-looking image metadata schemes, digital access, and participation in collection development and management. Works closely with the Bibliographer in the Aga Khan Program for Islamic Architecture and the Photographic Resources Librarian in the Fine Arts Library and the faculty and staff of the Aga Khan Program.

Typical Duties and Responsibilities:

Collection Management, Development, and Access

  • Identifies, evaluates , and acquires images, digital resources, historic photographs, and other visual materials for the library’s teaching and research collection
  • Assesses and selects historic photographs and other visual materials in the Fine Arts Library’s collection for digitization and preservation (in consultation with the AKPIA Bibliographer and FAL Photographic Resources Librarian)
  • Works with AKPIA and other faculty members, students, fellows, and visiting scholars to set collection priorities based on research and curricular needs
  • Coordinates and prioritizes production of different digital products (scanning, uploading, cataloging); tracks workflows and timely service to users
  • Provides intellectual control for Islamic visual materials in OLIVIA, ARTstor Shared Shelf project, and other catalogues including collaboration to establish best practices and authority control
  • Participates in planning and implementing projects involving visual materials
  • Develops long-range planning for Islamic visual images collection in consultation with AKPIA faculty and staff

Reference and Instructional Support

  • Provides research services for visual materials in Islamic art and architectural history for faculty, students, and researchers
  • Selects and provides teaching images in appropriate formats and other visual resources for classroom lectures and course websites
  • Provides individual and group research support including in-class workshops and personalized instruction
  • Assists faculty and students in integrating GIS, Prezi , and other visual tools in lectures, course websites
  • Prepares online research guides, reference tools, and finding aids for Islamic visual materials
  • Assists with image research and provides images, as needed, for Muqarnas and other Harvard and MIT AKPIA publications

Collaboration and Outreach

  • Collaborates with diverse Harvard colleagues including the Loeb Design Library, NELC, CMES, and Prince Alwaleed Bin Talal Islamic Studies Program
  • Collaborates with AKPIA Documentation Center at MIT, Archnet, and other external initiatives on the creation and sharing of metadata, content, and services for users of visual materials on Islamic art and architecture such as SAHARA
  • Works with other Harvard groups supporting interdisciplinary and digital scholarship such as academic departments and programs, DASH, CGA, and the Library Lab Initiative to develop content and research/teaching opportunities

Supervisory Responsibilities

  • Supervises year-round student employees and temporary/project staff (as needed) in the creation of item level and collection-level cataloging and indexing for Islamic visual materials in all formats
  • Working together with other stakeholders, develops special projects for access to and dissemination of Islamic visual culture

 

Basic Qualifications:

  • Master’s degree in library and/or information science or equivalent experience
  • Advanced degree at the master’s level or higher in the history of art and architecture related to the study of the Islamic world, or the equivalent combination of education, experience and/or background etc.
  • 3-5 years related professional library experience required
  • Knowledge of at least one Middle Eastern language (Arabic, Persian, Turkish)
  • Expertise in image metadata standards and online data creation and access
  • Computer skills including databases and digital image file management, required
  • Excellent interpersonal, communication, and organizational skills required

Additional Qualifications:

  • Working knowledge of western European languages, especially French and German
  • Knowledge of the contemporary field of Islamic art and architecture historical study and its constituents
  • Knowledge of other archival collections projects related to visual culture and history of the Middle East
  • Ability to use a computer, monitor, keyboard, and mouse

 Please apply with a cover letter and resume at the Harvard Employment Site.  

Apply Here:  http://www.click2apply.net/wy6zy39


Save the Date: Contemporary Artists’ Books Conference in NYC

Contemporary Artists’ Books ConferenceSeptember 30 – October 1, 2011
in conjunction with the Printed Matter New York Art Book Fair
MoMA PS1, Long Island City, New York

This dynamic, two-day program focuses on emerging practices and debates within art-book culture. This year’s sessions feature a keynote by artist Tauba Auerbach, and sessions on an array of topics, including: artists’ books from Latin America, non-commercial distribution practices, contemporary criticism, and the pedagogical use of artists’ books in the juvenile justice system.

Thanks to generous funding by David Teiger and Phillip Aarons, the conference is free to the public for the first time.  

[Editor's note: I've attended this conference/fair twice and it's a wonderful event--engaging panels, amazing opportunity to interact with artists and booksellers, plus a lovely social atmosphere.  I highly recommend it, even more so now that it's free.  RKJD]


Job Posting: Curator in the Office of Art Properties, Avery @ Columbia

The Avery Architectural and Fine Arts Library seeks a knowledgeable, experienced, and collaborative individual for the position of Curator in the Office of Art Properties. Reporting to the Director, the Curator is responsible for the management, use, preservation, and development of Columbia University’s art holdings: paintings, sculpture, drawings, prints, photographs, decorative arts, and other objects. Specific duties:

  • plans and establishes policies, working in collaboration with the  Director and the Committee on Art Properties
  • oversees the operation of the unit; hiring and supervision of staff, ensuring sound fiscal management and budgetary compliance
  • serves as spokesperson for the unit in relations with university departments, and with the public
  • assesses works of art for possible acquisitions, ensures safe handling and storage, and coordinates conservation
  • oversees the management of collections, evaluating the proper uses of works of art, making decisions about lending art objects and responding to requests for reproducing art objects
  • works to achieve maximum awareness and accessibility of the collection for research,  teaching, and exhibition; will develop and manage a digitization plan for documenting art works and for making them accessible via web-based access and exhibition portals
  • cultivates relations with donors, alumni, arts colleagues at other institutions, and community representatives

Required:

  • M.A. (Ph.D. preferred) in art history; MLS or graduate-level degree or certification in cultural object-oriented collections management or equivalent experience.
  • Experience in a leadership position managing an art collection;
  • Excellent verbal and written communication skills, strong organizational and problem-solving capabilities;
  • Demonstrated project management experience;
  • Experience in fund-raising, grant preparation, and donor cultivation.
  • Ability to work as part of a staff team, with a broad range of university colleagues, with students and with donors.
  • Should have knowledge of collection management and museum practices;
  • Interest in fostering fresh and interdisciplinary approaches to presenting and interpreting art and making the collection accessible for study and research.

Preferred:

  • Experience in records and collection management, instructional uses of cultural objects, and exhibit and digital project development.

For immediate consideration, please apply online at: https://academicjobs.columbia.edu/applicants/Central?quickFind=54991

Columbia University is an Equal Opportunity/Affirmative Action Employer


Call for Papers: Artists’ Records in the Archives symposium

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 artistsymposium@gmail.com by August 15, 2011. 


Job Posting: Senior Image Cataloger and Support Specialist, Princeton

Senior Image Cataloger and Support Specialist

Visual Resources Collection, Department of Art and Archaeology, Princeton University

The Visual Resources Collection in the Department of Art and Archaeology Department seeks an energetic and detail-oriented individual.  This position is responsible for cataloging, collection development, public service, and maintenance of the image collection under the general supervision of the Director of Visual Resources, Department of Art and Archaeology.  The senior cataloger works closely with the faculty to determine and fulfill their image needs for teaching and research. This involves researching and acquiring new images, cataloging images, enhancing the cataloging system and the revision, correction, and reorganization of existing image metadata.  The senior cataloger works on all aspects of making images available including uploading digital images and data and supporting users of images in multiple software applications (Almagest, PowerPoint, ARTstor).  The position takes primary responsibility in offering support for scanning instruction and technical aspects of image use.

Qualifications:

  • BA in Art History or equivalent with significant Art History background
  • Experience in a Visual Resources Collection or Library or related facility.
  • Reading ability of at least one European language, knowledge of the history of art, and familiarity with literature in the field
  • Knowledge of image cataloging standards and practices
  • Research skills using print and electronic resources
  • Experience with technologies for digital imaging and presentation
  • Knowledge of photographic processes and ability to evaluate analog and digital image quality
  • Excellent communication, organization, interpersonal, and customer service skills
  • Attention to detail and accuracy
  • Ability to work in environment with frequent interuptions
  • Ability to take initiative, solve problems and prioritize work effectively
  • Demonstrated ability to work flexibly, independently and collaboratively with colleagues, faculty and students in a rapidly changing service-oriented environment

Prefer

  • Masters degree in Art History or library and information science preferred
  • Familiarity with databases, preferably image databases
  • Demonstrated skill with Microsoft Office applications
  • Knowledge of digital image technology

For further details or to apply for the position, please visit “Jobs at Princeton”

https://jobs.princeton.edu/applicants/jsp/shared/Welcome_css.jsp

(Requisition number 0110341)


Internship: Jasper Johns Catalogue Raisonné of Drawings

The Jasper Johns Catalogue Raisonné of Drawings seeks an art history major or grad student who is interested in obtaining hands-on experience in preparing a catalogue raisonné of this important twentieth-century artist.

Candidates must be motivated, highly organized, possess advanced research skills, and pay meticulous attention to detail. You will work closely with the Project Director and Project Coordinator conducting exhibition/literature research in NYC museums, libraries, and archives. A position is also available for data entry/organization of object records.

Interested candidates should email a cover letter, CV/resumé, and the names and contact information of two professional references to: jasperjohnswork@gmail.com. This is an unpaid internship for an average of 16hrs/week.


CALL FOR PRESENTERS: ACRL ARTS SECTION’S DISCUSSION FORUM

Are you doing research in the arts that you would like to share with fellow librarians? Is there something you’re doing at your library dealing with the arts that you think others should know about? Do you have a presentation you’d like to float by a group of friendly colleagues for some benevolent critique?

If so, the ACRL Arts section invites you to submit a presentation proposal for our Discussion Forum held on Saturday, June 25th from 10:30-12noon during the ACRL Annual Conference in New Orleans, LA.

Details:

–Proposals can be about any topic dealing with the visual or performing arts and design (see list of possible topics below).
–Everyone is welcome to submit a proposal. Students are also encouraged to make a submission.
–Each presentation will have 15-20 minutes with a 5 minute Q&A. We anticipate being able to accept 4-5 proposals for presentation.
–Proposals will be reviewed by a committee drawn from the Arts Section Executive Board and Publications & Research Committee.

Deadline: Please submit your proposals to Yen Tran (nttran@callutheran.edu), chair of the Arts Section’s Publications & Research Committee no later than May 27th. Those submitting proposals will be notified by June 3rd, as to whether or not your proposal was accepted for presentation.

Possible topics:

–Research of any topic related to the arts
–Developments in the display and/or preservation of arts materials
 –Innovative information literacy or visual literacy techniques with arts students
–Emerging technologies in arts libraries
–Inventive collection management and development in the arts
–Strategies for reaching out to arts users (students and faculty)
–Copyright and fair use in the arts environment
–Evaluating the needs of arts users
–Use of images in information literacy instruction
–Creative physical or online/virtual exhibits

The possibilities are endless; please consider submitting a proposal.


Pritzker Prize Awarded to Peter Zumthor

See the story at the New York Times:

He is not a celebrity architect — not one of the names that show up on short lists for museums and concert hall projects or known outside of architecture circles. He hasn’t designed many buildings; the one he’s best known for is a thermal spa in an Alpine commune. And he has toiled in relative obscurity for the last 30 years in a remote village in the Swiss mountains, out of the limelight and away from the crowd.

But on Monday, the Swiss architect Peter Zumthor, was to earn the highest recognition of his profession: the Pritzker Prize.


Identy of the Mona Lisa discovered

The director of the library at Heidelberg University has uncovered a manuscript that seems to end the age old question… who was the real “Mona Lisa”.  (But I guess we still have to wonder what she’s smiling about…)

http://www.spiegel.de/international/europe/0,1518,528664,00.html


The Sistine Chapel Reaches Second Life

Steven J. Taylor, director of academic computing at Vassar College, has recreated the interior of the Sistine Chapel in the virtual world Second Life. On the college’s Second Life island, visitors can step inside a pale-yellow building and view a replica of the frescoes that adorn the 15th-century chapel in Vatican City. They can even fly up to the ceiling to get a close up of the nine stories from the Book of Genesis painted by Michelangelo. The purpose of the project is to help students learn about art and architecture, says Mr. Taylor, who created the interior from photographs. –Andrea Foster

http://chronicle.com/wiredcampus/article/2186/the-sistine-chapel-reaches-second-life


Hockney vs. iPod

David Hockney argues that the rise of portable music is causing the demise of visual culture. Are we shuffling our way to an artless society?

Read the article…


Notes on Atlanta 2007, Session 2, Communicating and Collaborating: Working with Faculty for Information Fluency

Moderator: Jennifer Parker, Asst. Professor/Art and Architecture Librarian, University of Colorado at Boulder

Speakers

  • Jennifer Parker: Working with Faculty to Create Credit Courses and other Instruction for Art and Art History Students

  • Jeanne Brown, Head, Architecture Studies Library, Univ. of Nevada, Las Vegas: Comm. & Collab.: Faculty and Core Information Competencies

  • Claudia Covert, Readers’ Services Librarian, Rhode Island School of Design, Work in Progress: Foundation Building with Art and Design Students

  • Lucie Stylianopoulos, Art and Architecture Librarian, Univ. of Virginia: Developing Organic Instruction for Incoming Architecture Students

Jennifer Parker:

They have a required course for incoming art history students, a credit course.

The Colo. Univ. Lib. has a long time collab. with the CU Program for Writing and Rhetoric. The lib. does a tutorial and instruction session with the students in those classes, but it is not subject- or discipline-specific. The result is that 75% of freshmen come into the libraries in the 1st year, but the library rarely sees them after that. She’s a believer in subject/assignment specific library instruction.

She tried several things to get this instruction going and it’s taken four years to get it adopted. She had to be persistent and try different things for different groups. She knocked on doors. She set up web pages for each course [using Dreamweaver]. She created an exhibit space for artists’ work to be displayed, but that didn’t work to bring in students. She says it was harder to reach the studio classes’ students. They have a ‘Foundations’ class for studio art, so she started with that.

For Foundations, they have to write a 3-4 pg. paper on a contemporary artist that the student has learned about in class. The paper must include a bibliography and the assignment requires that the student visit the library. The bib. must include one book, one database, one website about the artist. Plagiarism is also discussed. http://ucblibraries.colorado.edu/art/ARTS1010.htm

She includes steps for searching the catalog and searching databases such as ArtBibliographies Modern and Lexis/Nexis Academic for articles.

For art history graduate students, she proposed library instruction at an art history faculty meeting. They now have a one-credit library course taught in conjunction with the art theory course. The library course is required for all incoming graduate students. It’s also recommended for advanced undergrads. The library course is now listed in the course offerings for this Fall 2007.

They reached 700 students through the Foundations classes. The library’s art/architecture section has high visibility now.

Jeanne Brown, 2nd speaker:

Persistence and repetition has been the key for her. She’s had problems with faculty turnover, even though people are receptive and positive when approached about library instruction.

She uses plagiarism as a topic to convince instructors that lib. instr. is worthwhile.

She offers to grade the lib. assignment for the instructor and return it to them.

There’s an assessment 2-3 mos. after the class to see if the students remember anything or if they thought it was helpful. She also collab. with a faculty member to create an image copyright tutorial on the architecture website. She’s done something with using wikipedia to teach. She was a member on a mini-grant, which she said was useful for forcing them to get something done.

She recommended that people capitalize on opportunities to talk with faculty because this can lead to collaboration.

Evaluation: for each competency, she asked

- how important do you think it is, on a scale of 1-5?

- how competent do you feel, how confident, on a scale of 1-5?

-

Claudia Covert, 3rd speaker:

Restructuring of art history 101-102. A mandatory library session, incorporates ACRL information literacy standards. It’s 15 sessions of 90 minutes each. The faculty asked to meet with the librarians: they brought over a really bad bibliography with inappropriate citations that a student had done and asked for help in improving things. So the librarian changed it around a little and removed identifying information and now they use that in the class as an example of what not to do. They break into groups in class and discuss why each source is unacceptable and say what they’d use instead.

They also use a picture of an artwork and have them use library resources to get information on it.

In the class, they give a handout of the slides they’ve discussed. All documents are kept on a shared drive that faculty and librarians can see. Components include a walking tour, a presentation with a handout, an exercise/scavenger hunt, and an evaluation with a candy treat. She said it’s funny but people really like the candy part.

Evaluation: They found that evaluation for students are best done on paper right after the session. For faculty, they do surveys/assessments by email, later in the semester, because faculty members prefer it this way.

She’s happy to send sample power points. Her email is ccovert at risd.edu (using the @ symbol).

Lucie Wall Stylianopolous, 4th speaker:

The embedded librarian. She said universities are very interested in outcomes. You have to evaluate/survey students and faculty at the end of instruction and post the results for all to see.

A required graduate course for incoming students. All lib. instruction is mandatory at their school. Key for her in designing instruction were scalability and location.

She says architecture students are studio people, like artists. They went to the classroom where the architecture students met, instead of having lib. instr. in the library. They looked at the syllabus to see where library instruction could fit in.

They have a required Refworks class and a class in using Artstor. They also teach about searching and using images on the web, copyright, and plagiarism. She said their BI involves a progression of using Google, then the online catalog, then the databases, then … Google was her main research tool, especially the international pages and learning how it is structured. She said it can be more useful than Google scholar.

Their mantra was ‘keep it to the curriculum; keep it to the syllabus.’

Students have to be able to do credible research on images and on topics for research. They have the hardest time making their research relevant to their topic.

Now student requests for acquisitions have increased greatly, so their collection is picking up.

They plan to continue teaching in the classrooms where the classes already are and they’re going to require that students bring their laptops to class.


Video Art Online

Slate.com, Art: The big picture.
YouTube for Artists: The best places to find video art online.


UbuWeb: Avant-garde Videos

Check out UbuWeb’s collection of streaming videos. From the website:

UbuWeb is a completely independent resource dedicated to all strains of the avant-garde, ethnopoetics, and outsider arts.

All materials on UbuWeb are being made available for noncommercial and educational use only. All rights belong to the author(s).

UbuWeb is completely free.

Their materials are searchable, plus they have an artist index.


Cool Websites

Cool Websites

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Timeline of Art History (MET)
http://www.metmuseum.org/toah/splash.htm


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