The following is an essay I completed about my experience at this year’s Summer Educational Institute (SEI), an annual joint venture by VRA and ARLIS/NA. This essay was a condition of my Kress Scholarship award, which made it possible for me to attend the event. Anyone with an interest in digital image management– from students to seasoned professionals– should seriously consider enrolling for the 2015 session!
It was a scene that could have happened anywhere: four people, drinking beers, talking about the Insane Clown Posse. More specifically, about the phenomenon of Juggalos and ICP fandom and the desire to know more about this fascinating subculture (the four people not being Juggalos, or even casual ICP fans, themselves).
Now, it so happens that this scene took place in Champaign, Illinois, at the 2014 Summer Educational Institute. The four people didn’t know each other very well, but were quickly bonding over their shared passion for goofy internet videos and preserving cultural heritage. We wondered: what are the authoritative sources on Juggalo culture? Are scholars or social scientists studying the socioeconomic underpinnings of ICP fandom? Is anyone saving the ephemera of that fandom, or documenting events like the annual Gathering of the Juggalos? “Where are all the Juggalo archivists?!,” we wondered.
This conversation happened in the midst of four rather fascinating and intense days. First off, the setting: for someone who’s always lived on a coast, the immense flatness of the midwest is always a bit jarring. It was a perfect frontier-like setting, though, for exploring relatively new-to-me topics. I found the sessions well-structured, as intellectual property flowed logically into metadata into digitization into preservation into advocacy– a nice framework for getting down & dirty with specifics while keeping sight of the larger visual resource landscape. The instructors were engaging, friendly, and scary knowledgeable about their fields. My favorite part, though (besides eating at Woorijib restaurant– seriously, the best Korean food i have EVER had) was the chance to meet colleagues from all over the U.S. Spending time with dozens of smart, passionate, and downright awesome people is high on my list of likes, and the fact that we all share a profession is pretty wonderful.
The overall excellence of the week aside, it was still the Juggalo conversation that crystallized for me powerful shift in how I think about my work that was influenced by my SEI experience. When I began my current job, it was clear that one of my first orders of business was VR housekeeping. There were files to sort (both digital and physical), workflows to design, and a lot of baseline visual resource management principles to learn. While I was able to give myself a few crash courses on that last issue, it wasn’t until SEI that I was able to systematically, and holistically, think about the task at hand. Following my return I have improved our file organization practices, put some baseline preservation methods in place, began to think more carefully about the metadata I apply to image files when cataloging, and doubled down on my efforts to comply with digitization standards (an uphill task for someone without a photography or image editing background!).
More vital, though, is that shift I mentioned. Now that I’ve been in my position for almost a year, I am beginning to feel more confident in work I’m doing and the decisions I’ve made regarding our VR collection. Essential to this is the way I learned to think about creating, managing, sharing, and preserving the collection. Rather than envisioning mythological figures with shovels and stables or boulders and hills, I am now able to see my work in VR as more elegantly integrated with the other half of my job: research assistance and information/visual literacy instruction. Managing an image collection isn’t a goal in itself. It’s a means of providing our students with tools to improve their practice and learn how to be successful consumers, users, and creators of information both textual and visual. And someday, when I do find that Juggalo archive, I’ll know that the reason those archivists work so hard to preserve the cultural artifacts of ICP fandom is for the users who will study them, and analyze them, and create information that will enlighten those who care to find it.
-Ashley Peterson, Librarian at the School of the Museum of Fine Arts, Boston
This is a one-year fellowship, 20-25 hours per week, paid but with no specific salary information.
The Bay Area Video Coalition (BAVC) is accepting applications for its Preservation Educational Resources Fellowship. The Fellow will work for a period of one year within the Preservation Department, assisting with the development of a suite of educational resources designed to assist individuals and organizations alike in taking initial steps to assess and establish a preservation plan for their audiovisual materials….
We wish to work with a library, archives, film production or history student/recent graduate who aspires to learn about preservation planning and archival audiovisual formats and who demonstrates the strong desire to help us advance the field of moving image preservation.
Duties will include:
Researching existing audiovisual preservation tools and educational resources
Assisting with the research and acquisition of various samples of audiovisual formats
Assisting with the identification and documentation of conditions that can impact the well-being of audiovisual materials (during both storage and also playback)
Participating in, and providing support for, the production of educational resources (including print materials, instructional videos, and web content).
Skills acquired will include:
Knowledge of audiovisual preservation best practices and familiarity with the field of media preservation. A thorough understanding of the preservation of audiovisual materials (including equipment, format identification, proper care and handling and cleaning techniques, and playback and storage best practices).
Video or audio production or post-production
Training in preservation or archives (particularly video or audio preservation), library education/ experience or current training in audiovisual archives or museum studies.
If interested, please send a resumé and cover letter to the BAVC Preservation Department at email@example.com
Bay Area Video Coalition
2727 Mariposa Street, 2nd Floor
San Francisco, CA 94110
We’ve talked before about the value of having professional-association student chapters on campus, whether it’s just general awareness of career options and extracurriculars or the impact on your resume of helping to manage and plan events, fundraisers, field trips, etc. There are no ARLIS/NA student chapters (yet), but that doesn’t mean you can’t start one! (I guess ArLiSNAP is sort of your virtual student chapter.)
During my MLIS these past two years, I watched some fellow McGill students start up a student chapter of the Association of Moving Image Archivists. As media preservation is a pretty important topic to arts-librarianship students, I thought I would ask a few questions about the process, the need, and the benefits of bringing special-interest representation to your school. Justin Mckinney kindly agreed to answer my questions about his work founding the chapter.
(Photos by Fiona Mak.)
ArLiSNAP: Let’s start with student chapters generally – were you members of other student chapters to start?
Justin Mckinney: During my first year of library school, I was a member of the Association of Canadian Archivists student chapter at McGill. I started out keen and not knowing what I was doing and imagining all the great things we would accomplish, but nothing really happened all year and I wasn’t exactly as active as I could have been.
ArLiSNAP: What’s the value of having local representation of professional associations?
JM: I think it has the potential to help raise awareness about the organization. Also, it can educate student members about issues in the field and maybe even lead to practical opportunities to do stuff. I think it probably varies from year to year and association to association, and is really dependent on the group of people involved at any given time.
ArLiSNAP: Why the Association of Moving Image Archivists specifically?
JM: I became really interested in film history and film preservation after my undergrad, which led me down the path to library school. I was already an AMIA member before starting library school, and my main interest in the archivy/LIS world was and is film preservation. After a sort of underwhelming experience of my first year at library school (which included a complete absence of film archiving content), I was determined to take more of an active role in my own learning. Fortunately, I had a couple of great friends in the program who had similar interests and were very supportive, and it snowballed from there.
ArLiSNAP: What was the process for starting a student chapter?
JM: I started emailing (and harassing) the fine people at AMIA about how to start a student chapter and they explained what was needed, which was mainly a constitution and that the executive members all be members of AMIA. They put me in touch with the folks at the NYU AMIA student chapter, and they were kind enough to send me their constitution, which I basically amended to change any mention of NYU to McGill — from there, we were off and running.
As for McGill, I just emailed people at the School of Information Studies (SIS) and let them know what I was doing and they got us a table at the student chapter fair at the start of the school year. Throughout the year they were generally helpful about any questions I had and they also helped us get connected with the Masters of Library and Information Science Student Association (MLISSA), and the Post-Graduate Student Society (PGSS), which both provide funding for SIS student groups.
In general, though, it was mostly a lot of me emailing and badgering people and then getting information as needed. It’s not really a clear process to setting up a chapter, and I think it would be beneficial if there were more guidance or upfront information given about the process of starting one.
In regards to gauging student interest, we really had no idea what would happen. To start it was just the executive (myself, Mark Haydn as vice-president, and Nicholas Avedisian-Cohen as secretary and treasurer). My main goal was to make the student chapter viable enough for someone to take over for a second year, once we all graduated. At the aforementioned student chapter fair, we were pleasantly surprised to get over 20 students to sign up for our email list, and we held our first meeting, which had over ten people, including first- and second-year students. This was a pleasant surprise and I think demonstrated that many people are interested in the field and also frustrated with the lack of film/media archiving content in library school.
The main paperwork was getting the constitution ratified. We also had to apply for funding for various events through PGSS and MLISSA. A lot it was just learning on the fly, as none of us had ever done anything like this before. So it involved a lot of asking questions of people at McGill and AMIA, and remaining persistent.
Probably the biggest challenge was forging a relationship with the Moving Image Research Laboratory (MIRL) at McGill, a research project which houses a wonderful cinema space and collection of 16mm films. Pretty much all of the Fall 2013 semester was spent sending emails, stalking professors, and showing up unannounced, just trying to get our foot in the door. Finally in January, we got access and that proved to be our greatest success, as it allowed us to start handling film, cataloguing the collection, and providing real hands-on experience in the field.
ArLiSNAP: You also organized a one-day symposium, which brought in guest speakers and gave students a chance to present their research. Why did you choose a symposium as your first event? How did that organizational process work?
JM: Technically, our first event was a field trip to the National Preservation Centre at Library and Archives Canada in Gatineau. We had 20 people come along and we got a great tour of the facilities there, and met a bunch of professionals in the field. Mark Haydn and I also attended the AMIA Conference in 2013 and met a bunch of the students at the Eastman House in Rochester, NY. Thanks to these friendships, we were able to organize a trip down there as well, where we got to tour their facilities and participate in a film-handling workshop.
As for the symposium, I heard that all the other groups were doing one, so we just copied them. The process of organizing it wasn’t that difficult. We booked the space at SIS and just sent out a call for papers and presentations to members of our email list. I also contacted David Stevenson, the conservator at the Canadian Centre of Architecture, whom I met on a class field trip, about presenting. I also contacted Phil Spurrell, the proprietor of CineClub Film Society, who I’ve known for several years and volunteered with. He is very knowledgeable about the medium of film and had a lot of interesting experiences working with film.
ArLiSNAP: Have you found someone to hand off the reins to? Do you have any thoughts on the sustainability of the group, long-term?
JM: One of the really encouraging things about our membership was that we had a lot of first-year students who were incredibly eager and motivated. So by the time we started cataloguing the MIRL collection, we were regularly getting 15 to 20 people out to volunteer. So we knew we had a solid base of people who might be able to take over next year. From there, we asked for nominations and were able to come up with a four-person executive committee for another year.
My hope is that some of the connections we made with the folks at LAC, and the folks at Eastman House, will continue and allow for more educational opportunities and networking. Also, the MIRL collection is really outstanding and needs a lot of work to catalogue, plus the cinema space allows for screenings and projections of the collection. This hands-on practical experience is invaluable and I think should be a major factor in the success of the group long-term.
ArLiSNAP: Do you have any ideas or recommendations about how to improve LIS curricula to contain more of the useful things your AMIA chapter is trying to do? Or do you think it’s better off as extracurricular activity?
JM: I feel like the major deficit of the MLIS program is the lack of hands-on experience of working with materials regardless of type. Particularly in the archival end of things, where the theoretical felt very abstract and weird to me. I found my understanding only started to come together through some of the volunteering I was doing at the Jewish Public Library Archives, where I was handling documents, creating finding aids, and writing accession numbers on folders.
Obviously, because of the broad focus of the program, it would be hard to have a dedicated film archiving course, but it is certainly something that could be touched on. Maybe a course dealing directly with the preservation of objects, rather than the theoretical preservation of objects would be useful.
Unfortunately, I think everything is becoming so focused on digital objects and becoming “information specialists” to the detriment of acquiring actual tangible physical skills, which I fear is leaving a lot of graduates ill-equipped to manage the physical aspects of library and archive work. Maybe it’s for the better, as having a broader and more transferable set of skills could help grads deal with the job market, but I can’t help thinking something valuable is being lost in the transition.
We’d love to hear about your experiences with professional associations, and if you’re thinking about starting a student chapter at your school (ARLIS/NA or otherwise). It’s not too late to plan something for the coming school year. Let us know in the comments!
The Lamar Dodd School of Art seeks a curator of visual resources who possesses a solid knowledge of technology and an acute interest in providing new proactive services and support to faculty and students. This position reports to the Director of the School of Art. The curator will be responsible for developing, managing, and delivering visual resources, and for managing and overseeing additional digital teaching materials. Essential functions of the Visual Resources Curator include administration of the collection and training student staff. The successful candidate will work within the Lamar Dodd School of Art with a community of over 900 undergraduate students in Studio, Art History, and Art Education, 100 art history undergraduate majors and minors, 100 graduate students, and more than 45 tenured faculty in these three disciplines.
It is anticipated that the future projects for this increasingly dynamic position will require multiple skills, including the ability to manage complex, multi-year projects, to work in close collaboration with the faculty, administration, and staff of the Lamar Dodd School of Art, and to build relationships with the UGA. Libraries and with faculty and students across campus who may be investigating the visual arts. Projects may include digitizing the Lamar Dodd School of Art’s significant historic art slide collections, and collaborating with the UGA Libraries to develop print and digital resources and services on site in the Lamar Dodd School of Art. This challenging and rewarding opportunity requires both creative flexibility and independent individual initiative.
M.A. or B.A. in art history, architecture, visual studies or a related field. Substantial experience working with visual resources collections with knowledge of the issues around the creation, maintenance, and access of a visual resources collection, including familiarity with standards for visual materials. Experience working with digital imaging technologies and library management. Reading knowledge of multiple languages, ideally including one Romance language and German. Excellent interpersonal and communication skills, and ability to work in a collaborative setting. Strong organizational and management skills, including the ability to initiate, track, and manage complex, multi-year projects successfully.
MLIS or course work leading to an MLIS degree. Experience with image collection management and presentation software. Knowledge of digital images best practices. Familiarity with Macintosh operating system and proficiency with PowerPoint, PhotoShop, and web content and learning management systems (eLC). Understanding of copyright issues related to image collection management. Previous supervisory experience or team leadership.
We will receive applications for this position through the University of Georgia employment website, under the position title “Program Coordinator II” (https://www.ugajobsearch.com ).
Review of applications will begin on May 19, and will continue until the position is filled.
Candidates must be extremely detail-oriented and quick learning new technologies. Working knowledge of Microsoft Excel is a must; basic knowledge of photo-editing (Photoshop or Photoshop replacement software) is a plus. Candidates must be able to work under the pressure of a deadline without sacrificing attention to detail.
This is a unique opportunity for the right person: you will gain valuable experience working with a customized photography database, learn the business of maintaining a photography archive, interact with the fine arts and publishing industries, and get to work with vintage images of celebrities and political figures from one of the most exciting decades in American history. You can learn more about the photographer here: http://www.lawrenceschiller.com.
Archival experience or degree preferred but not required.
Our studio/office is located on Columbus Circle. The position pays a stipend. 40 hours per week for a 6 month period.
• Formal training and/or experience with archival processing and preservation, and theories and procedure in archives
• Advanced proficiency in Microsoft Office suite and Windows operating systems
• Knowledge of systems and software needed to manage and process archives and manuscript collections, create electronic finding aids, and digitize and make collections accessible digitally
• Knowledge of Filemaker Pro database systems and programming strongly preferred
• Knowledge of Adobe Photoshop and Adobe InDesign strongly preferred
• Ability to safeguard confidential information and perform with a high level of discretion, professionalism, and integrity
• Excellent planning and organizational skills
• Ability to lift boxes of documents
IPI is seeking a 12-15 month intern to assist in developing content for an online print identification resource, Graphics Atlas, www.graphicsatlas.org. The internship will begin in spring/summer 2014, depending on availability of the selected applicant. The Graphics Atlas internship is a paid position sponsored by a grant from The Andrew W. Mellon Foundation, with a monthly stipend of $1200.
IPI’s Graphics Atlas is a sophisticated, online print identification and characterization resource, www.graphicsatlas.org. The intern’s primary responsibilities will be to conduct research on photographic processes, history and technologies and to develop written content for Graphics Atlas. The intern will also help prepare outreach materials to extend the audience of the website. The intern will gain thorough knowledge of documentation and imaging techniques, the history and techniques of photographic processes, types and mechanisms of deterioration associated with each process, and will come away with a deep understanding of print identification through hands-on interaction with IPI’s prolific study collection, library and microscopy facilities.
Bachelor’s degree minimum education is required. Applicants should be working towards or considering a career in archives, library sciences, photograph conservation, preservation, history, or related fields. Applicants should have excellent research and writing skills, an interest in photographic processes and technology, be self motivated and able to work independently as well as collaboratively. Some knowledge of photographic history and processes is preferred, but not required.
Application Deadline and Requirements
Application deadline is March 1, 2014. Applicants must submit a resume, cover letter, and three references (names and contact information only). Please email application materials to Alice Carver-Kubik at firstname.lastname@example.org.
Allana Mayer is an MLIS student at McGill University in Montreal. She recently gave a presentation at the ARLIS/NA-MW Virtual Conference titled From Commons to Open Content: New Perspectives on Visual Resources in the Public Trust. You can see our post about the conference here.
An art and media focus is hard to incorporate into your MLIS classwork, especially if you want to do more than re-hash ideas that are in the literature but outside of the lecture materials. I’ve found ways to incorporate my interests in photography, multimedia, and digital art as best I can — but I’m finding that the things I’m most passionate about are the hardest to reconcile with my curriculum.
I wrote a first-year paper about archival materials posted online via the Flickr Commons, which was a great initiative that fell short in a few specific ways. I was rewarded for this effort with a scholarship to the SLA conference in June, and I think that this positive feedback made me a bit more passionate for projects that make digitized visual resources freely available online. So, of course I paid attention when I started hearing about open content initiatives over the summer, via listservs like ARLIS. This was also how I heard about the ARLIS/NA Mountain West virtual conference, when they sent out a call for proposals.
I find the hardest thing to adapt to is the pace of academia: submitting a proposal two to six months in advance of an actual presentation means lots of time to get bored with an idea, fail, watch an emerging field die, go off on a tangent, get distracted by other things …. It’s nothing like the wham-bam of a three-month semester. This conference presentation happened almost by serendipity — I had just started reading about open-content releases online when the CFP went out, and I was sure there was some potential in the idea, so I kind of went out on a limb.
Instead of some polite rejections to learn from, I got a very welcome acceptance. I don’t regret taking the chance to move outside of scholarly publications and tackle an emerging field. The majority of my sources are new initiatives (e.g. the Open Knowledge Foundation), videos, blogs, and press releases by institutions themselves, far from academia.
There were few people interested in open content around me, and I didn’t have a visual-arts-librarian perspective to work from. If I could give my presentation again, I’d definitely think more about my ARLIS audience: I did well to present on a topic that wasn’t yet being covered in academic research, but I was speaking as though I was trying to convince institutions to participate, when I should have been talking about how to find, use, and provide these resources to students and patrons.
Luckily, a week after my presentation, I volunteered at a museum-technology conference here in Montreal, and attended multiple sessions dedicated to opening up cultural content. I used that opportunity to discuss making a multi-institutional repository where users can easily access open content. I also had a chance to advocate for the Getty and other open-content instigators to publish their processes and case studies, so that other institutions can follow suit and expedite their projects. This sort of confirmation and involvement can really beget itself early on in a career: after being validated like this, I feel a lot more confident about my future work interests.
As always, you can also see what’s coming up through the Educational Opportunities Calendar. Keep reading for details about all the great webinars, CFPs, and more opportunities below!
Adventures in International Librarianship: Living and Working Outside of the United States
Are you interested in finding a job in library and information science outside of North America? Are you curious about what it’s like to live and work in a different culture? If so, please join us for a ELIME-hosted online panel discussion on Tuesday 6 November! Our panelists represent an incredible variety of experiences, and have worked all over the world from Switzerland to Azerbaijan to Japan.
You have two opportunities to attend. The first session will take place at 9am EST, and the second at noon EST. Note that the panelists are different for each session, so you could even attend both for a wider perspective. For more information:http://elime.web.unc.edu/interlib/
Call for Proposals: ACRL Image Resources Interest Group ALA Mid-Winter Meeting (held online)
The Association of College and Research Libraries Image Resources Interest Group is accepting proposals for our Mid-Winter meeting, to be held online (using Adobe Connect) on Thurs. Feb. 14, 2013, at 1:30 p.m. CST.
We are seeking proposals for presentations, of about 30 minutes in length, to be followed by questions/answers. Suggested topics include:
Project planning with images
Image collections across systems and platforms
Collaboration with academic departments/community outreach
Visual literacy standards implementation
We are interested in all aspects of image resources and look forward to varied presentations and creative projects.
Please submit proposals or questions to email@example.com. Proposal deadline is Nov. 30, 2012. Proposals need to include:
Brief proposal description (150 words or less)
Submitters will be notified by the week of Dec. 10th, 2012.
Please visit https://sites.google.com/site/acrlirig/ for additional information.
The ACRL Arts Section is seeking contributors for the Seattle ArtsGuide for the upcoming 2013 ALA Midwinter Conference! The ArtsGuide is a semi-annual guide and customized Google Map developed by theACRL Arts Section’s Publications & Research Committee to help ALA conference attendees find arts-related venues and events in and around host cities. You do not have to be a member to be a contributor, but it’s a great opportunity to get involved with the ACRL Arts Section. It’s also a fun way to contribute your knowledge of the area to enhance everyone’s conference experience! You can see previous ArtsGuides here:
Please let me know which section you’re interested in contributing to:
Visual Arts & Museums
Submissions would be due by December 3, 2012. If you’re interested please contact me as soon as possible.
Chair, ACRL Arts Section’s Publications & Research Committee
“Introduction to Spatial Literacy and Online Mapping”
You may use tools like Google Maps in your personal life all the time for locating restaurants and local businesses, driving directions or planning trips via public transportation, but have you considered how this same technology could be used at your library to improve library services? RUSA’s online course “Introduction to Spatial Literacy and Online Mapping” is the perfect opportunity for librarians and library staff from public and academic libraries to gain a basic understanding of Geographic Information Systems (GIS) technology and learn about specific technologies they may be exposed to at the library. Registration for this course, which runs Nov. 5-25, ends on Thursday, Nov. 1.
If you’ve already taken this introductory course or have a good working knowledge of GIS and want to go further, consider enrolling in “Spatial Literacy II: Incorporation of Maps and GIS”, which shows you how to harness these technologies for reference work, library projects, library administration, collection delivery, instruction, outreach and library promotion. The next session of this course begins Dec. 3.
Wouldn’t it be awesome if several of your staff could take this course and your library could reap the benefits in improved library services? Group discounts are available! Rates for two or more registrants from the same library, library network or library system start at $110 per person.
Learn more about all of our courses and webinars at the RUSA online learning page: http://www.ala.org/rusa/development/onlinece
Register online now for this and other upcoming RUSA courses:
Questions about registration? Contact firstname.lastname@example.org or (800) 545-2433, option 5.
Digital Media Librarian Academic Services/ Decker Library, Maryland Institute College of Art
Division: Academic Affairs FLSA Status: Exempt Reports to (Position Title): Director, Decker Library Work Schedule: 8:30 am -4:30 pm (M-F), one day a week 11am -7 pm Job Code & Description: S7200, Librarian The Digital Media Librarian is responsible for the operation of the Media Resources Collection (MRC), including digital images, the slide collection, material collection, videos and films; and for providing leadership with the on-going integration of analog and digital media technology and services. This includes establishing departmental polices and procedures, budget management, database administration and implementing collection initiatives in collaboration with the Director of the Decker Library.
Summary of Essential Functions:
• Manage the daily operations of the Media Resources Collection and services
• Plan and allocate budget in collaboration with the Director of the Decker Library
• Manage the digital asset portion of the Integrated Library System (SirsiDynix Portfolio)
Supervise digital image and collections cataloging • Participate in collection development and outreach for still and moving image collections
Essential Duties & Responsibilities:
• Manage MRC staff and oversees daily departmental operations, including hiring and evaluating staff.
• Develop collection of still and moving images for instruction, research and preservation purposes.
• Select, acquire and maintain collections.
• Explore new technologies and provide innovative ways to offer digital materials in support of teaching and learning.
• Oversee processing and cataloging for the image collection. • Establish polices and ensure best practices are followed for cataloging, creation and storage of analog and digital media, in coordination with the Catalog Librarian as necessary.
• Manage and oversee the organization and appearance of the digital asset management system. Coordinate with the Systems Specialist to manage the related portion of the ILS system.
• Work with librarians and staff responsible for online resource collection development, acquisition, maintenance and user discovery.
• Provides reference, instruction and one-to-one research appointments, including participation in the Personal Librarian program.
• Coordinate the acquisition and inclusion of institutional archive materials in the MRC collection.
• Provide reference and circulation services to patrons.
• Participate in local and national professional organizations as well as library related projects and institution-wide committees as needed.
• Perform other related duties as assigned. Knowledge, Skills, and Abilities: • Demonstrated knowledge of current and emerging metadata and cataloging standards including MARC, METS, MODS, VRA core, Dublin core, XML, TEI, and best practices for digital collections. • Familiarity with integrated library systems and relational database management. • Knowledge of, and interest in relevant analog and digital media formats and experience with computer
technologies, digitization protocols and digital copyright.
• Familiar with proper handling of archival materials, photographic media and fragile special collections.
• Excellent technical and interpersonal skills, including the ability to foster a collegial work environment that encourages change and innovation.
• Ability to interact effectively and work productively, cooperatively, and collaboratively with a variety of individuals and groups in a complex and rapidly changing environment.
• Demonstrated ability to plan, coordinate, and implement complex projects and services.
• Ability to solve problems and prioritize work effectively.
• Masters degree in Library or Information Science
• Budget management and collection development experience with still and moving images
• Knowledge of art and the use of visual resources in an academic context
• 3-4 years visual resources experience in an academic or museum setting
• 1-2 years supervisory experience
• Bachelors, or Masters degree or strong educational background in Studio Art, Art History or related field
• Experience supervising digital projects
• Experience managing a visual resource center including supervision of student workers
Reporting to this position: 2.5 FTE (Media Coordinator, Patron Services Assistant, Media Resources Collection Assistant)
Conditions of Employment:
• Conditions: Background Check
• Must work at least one evening a week
Physical demands and work environment:
The physical demands and work environment characteristics described here are representative of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.
• Physical Demands: While performing the duties of job, the employee is occasionally required to stand, walk; sit; use hands to finger, handle, or feel objects, tools, or controls; reach with hands and arms; balance; stoop; talk or hear. The employee must occasionally lift up to 40 pounds. Specific vision abilities required by the job include close vision, distance vision, color vision, peripheral vision, depth perception, and the ability to adjust focus. • Work environment: While performing the duties of the job, the employee is exposed to weather conditions prevalent at the time. The noise level in the work environment is usually minimal to moderate.
• Required training: Handbook orientation, Anti-Harassment, Hazard Communication, Emergency Plans & Fire Prevention, Personal Protection Equipment. (additional training may be added, SEE: EHS Manager training schedule)
To apply online please visit: http://mica.interviewexchange.com AA/EOE
Library Relations Associate
New York City
ARTstor is a not-for-profit organization that assembles and makes available a Digital Library of images and associated data for noncommercial educational and scholarly uses, and an image management platform called Shared Shelf. The Digital Library and Shared Shelf are made available online through site licenses with educational and other not-for-profit institutions. ARTstor is headquartered in New York, NY.
The Library Relations Associate will share responsibility for expanding the ARTstor Digital Library and Shared Shelf participation within the educational community. Additional duties will involve billing, invoicing, and other special projects. The ARTstor community of potential participants consists of not-for-profit institutions in the United States and other countries. This position will require some travel (approx. 25%), and will demand a self-motivated, flexible, organized team player who thrives in an environment of constant change.
The LR Associate will report directly to the Associate Director for Library Relations.
Duties and Responsibilities
1. Working to meet and exceed participation and revenue goals on an annual basis;
2. Communicating ARTstor’s mission, messages, and participation fee rationale to potential participants;
3. Identifying and managing new participation opportunities in the academic community;
4. Facilitating participation in ARTstor Digital Library at the institutional level by demonstrating ARTstor, its services and tools, and providing librarians and faculty members with useful information and strategies for promoting ARTstor as a campus-wide resource and platform;
5. Shepherding potential participants through the sales pipeline, including:
- Responding, via email and telephone, to participation inquiries via the ARTstor website
- Tracking contact information and “pipeline” status in our customer relationship management software
- Negotiating basic terms of License Agreements
- Working with other units to establish institutional access to the ARTstor Digital Library
- Giving remote demonstrations of ARTstor via GoToMeeting or other live conference software
- Setting up trial access for interested institutions
6. Representing ARTstor at conferences and other events deemed appropriate for this community;
7. Working closely with the Associate Director and other Library Relations team members on research projects, including market research;
8. Assisting with updating and maintaining the Talisma customer relationship management tool;
9. Contributing to internal reports;
10. Participating in all Library Relations and ARTstor staff meetings;
11. Keeping up-to-date on various ARTstor initiatives and developments and being able to communicate these initiatives to potential participants;
12. Additional special projects as assigned by the Associate Director and other senior staff members.
- Excellent communication skills in a variety of settings;
- Attention to detail and accuracy;
- Ability to work well as a team member;
- Strong technology skills, including familiarity with metadata structures, trends and web development as well as project management experience;
- Exceptional organizational skills;
- Ability to perform independently, be self-motivated, adapt to constant change and able to juggle multiple tasks with a positive attitude;
- Strong commitment and interest in the use of images in an educational setting;
- Bachelor’s Degree;
- 3-4 years of experience in academic library or web/software development fields.
- Familiarity with the ARTstor Digital Library;
- Art, art history, or architectural background;
- Business development, marketing, and/or academic library experience;
- Working knowledge of image management software and database technology;
- Experience with customer relationship management software (Talisma, Sales Force or other);
- Master’s Degree.
ARTstor is an equal opportunity employer. ARTstor offers a competitive salary and excellent benefits. Applications for the position should be submitted to: email@example.com
Applicants must submit a cover letter with salary requirements along with their resume. No phone calls please.
The Smithsonian Institution seeks a summer digitization intern for the
Field Book Project, a joint initiative by the Smithsonian National Museum
of Natural History (NMNH) and the Smithsonian Institution Archives (SIA).
Internships are 10-12 weeks and must take place between June 1 and August
PROJECT DESCRIPTION: The Field Book Project is seeking an intern to work
with the primary source field book collections in the Department of
Botany. The Field Book Project is a collaborative initiative between the
Smithsonian Institution Archives and National Museum of Natural History
and works to improve access to primary source field notes, expedition
journals, photographs, and other materials documenting field work for
scientific research and discovery. The field book collection spans more
than 150 years of scientific field work and contains manuscripts and other
materials that document information on specimen collections that may not
be available on the specimen labels or in published literature. Interns
will reproduce original works in digital format for a myriad of imaging
QUALIFICATIONS: The intern must be able to handle delicate manuscripts
carefully, should have a healthy respect for historic collections, and
should be interested in learning about best practices and techniques for
digital imaging in an archival repository. Attention to detail for quality
control purposes is a must. Any previous experience with digitization
and/or knowledge of digital image file formats, settings, embedded
metadata and naming conventions should be mentioned in the application.
AWARD PACKAGE: None
DEADLINE: February 25, 2012.
New-York Historical Society – Print Room Reference Librarian
The Department of Prints, Photographs, and Architectural Collections holds more than 250 collections, including 500,000 photographic prints and negatives, over one million historical prints and ephemera, approximately 100,000 architectural drawings, and the records of such noted American architects as Cass Gilbert and McKim, Mead and White. These collections are used daily by in-house and external researchers, including historians, art historians, architects, preservationists, filmmakers and the general public.
The New-York Historical Society is seeking an experienced reference librarian to work in its Department of Prints, Photographs, and Architectural Collections. Public service is the primary focus of this position. Specific aspects of public service and other responsibilities include:
• Conducting in-depth reference interviews prior to scheduling of appointments; coordinating and providing reference service on-site and by telephone, letter, and e-mail to all those interested in the department’s collections. Occasional provision of reference service in the library’s departments of manuscripts and printed collections.
• Educating researchers about rules and procedures for proper handling of the collections; monitoring researchers’ use of the collections
• Providing photocopies for researchers and coordinating image requests with the Department of Rights and Reproductions
• Keeping monthly statistics on collections usage
• Working with the Department Head and other staff to set processing and cataloging priorities for the Department, including the selection and organizing of collections for digitization.
• Coordinating the retrieval and return of collections for researchers, maintaining collections, and tracking the flow of collections in and out of the Print Room
• Assisting in record keeping of acquisitions
• Education and outreach activities, such as group presentations
M.L.S. from an A.L.A. accredited library school. Three years’ experience in a busy reference setting, preferably in an academic or research library. Experience identifying and working with visual materials collections, and familiarity with their care, organization, and arrangement. Ability to work independently and as part of a team in an environment of frequently shifting projects and responsibilities. Good attention to details and organizational skills. Excellent oral and written communication skills. Subject specialty in art history, American history or New York history is preferred.
For consideration please send cover letter, resume, salary requirements and the names and contact information of three references to firstname.lastname@example.org. In the subject line please reference the job title. The New-York Historical Society is an Equal Opportunity Employer.