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.

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.

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
products.

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

TO APPLY:  Send a resume, two references, and a cover letter detailing how
the internship relates to your academic or career goals to Carolyn
Sheffield at sheffieldc@si.edu<mailto:sheffieldc@si.edu>.

DEADLINE:  February 25, 2012.

The City College of New York

New York, New York

Closes 10/28/2011

Curator and Manager, Visual Resources Library

Maintain Architecture Visual Resources Library.  Catalogue and update the slide and digital collection.  Provide tutorial services in using the library collection and equipment.  Supervise staff.  Evaluate digital image collection in order to maintain quality and overall balance.  Provide reference services for faculty and students.  Provide research and obtain images for faculty symposia and publications.

QUALIFICATIONS

BA -Liberal Arts, 5 years experience as same or as assistant Curator required. Must be familiar with metadata standards and proficient with cataloging software, particularly Embark Cataloger and ARTstor Shared Shelf.

HOW TO APPLY

Attn: Peter Gisolfi, Chair, Architecture
The City College of New York
141 Convent Avenue,
New York, NY 10031

EQUAL EMPLOYMENT OPPORTUNITY

We are committed to enhancing our diverse academic community by actively encouraging people with disabilities, minorities, veterans, and women to apply.  We take pride in our pluralistic community and continue to seek excellence through diversity and inclusion. EO/AA Employer.

http://www1.ccny.cuny.edu/jobs/MP-141101.cfm

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)

Website: https://sites.google.com/site/cavraconference/

CaVraCon will provide workshops, presentations and demos dealing with the many aspects of creating, managing and maintaining digital image collections, as well as the opportunity to network with both emerging professionals and veterans of the field.

The conference will be open to any interested parties regardless of organizational or institutional affiliation.  Check the above site for registration information.

HIGHLIGHTS INCLUDE: 

Patricia Harpring (Managing Editor Getty Vocabulary Program)
Developing local authority files for the CCO/CDWA categories and a discussion of CONA

Megan Marler (ArtSTOR, Senior Analyst for Strategic Initiatives)
ArtSTOR?s Shared Shelf

George Helfand (Luna Imaging, Inc., Account Manager)
Expanding Your Scope: A Workflow for Adding Books to a Digital Image Collection

Greg Reser (UCSD, Metadata Specialist) and Sheryl Frisch (CalPoly, San Luis Obispo, Visual Resource Specialist)
The VRA Custom XMP Info Panel: How do I use it?

Jan Eklund (UC Berkeley, Business Systems Analyst, IST Data Services) and Chris Hoffman (UC Berkeley, Manager of Informatics Services, IST Data Services)
Deploying CollectionSpace for a VR Collection

Tom Moon (UCSB Library, Digitization Unit Manager)
Structuring Workflows: implementing new procedures without disruption

Lois McLean and Rick Tessman (McLean Media, Content Clips)
Content Clips, An Online Tool for Teaching with Digital Images

Dr. James Bartholomay Kiracofe (Director, Inter-American Institute for Advanced Studies in Cultural History)
Images for Education, On the road with an academic photographer

As well as a Plenary by the Visual Resources Association President, Maureen Burns (IMAGinED Consulting), Case Studies, tours and more!

Things to bring: flip-flops, laptops and business cards.
Please send questions to John Trendler <john.trendler@scrippscollege.edu>
We look forward to seeing you!

Trevor Owens, Digital Archivist with the National Digital Information Infrastructure and Preservation Program (NDIIPP) at the Library of Congress, will give a lecture titled “From Records to Data: Seeing and Sharing Digital Cultural Heritage Collections Differently with Recollection” at Brooklyn Public Library’s Dr. S. Stevan Dweck Center for Contemporary Culture on Thursday, May 19th from 3-4:30pm.

Owens will introduce and demonstrate the utility of Recollection, a free open source platform for generating and customizing views (interactive maps, timelines, facets, tag clouds) that allow scholars, librarians and curators to explore digital collections in novel and intuitive ways. This demonstration will show how content stewards can ingest collections from spreadsheets, sets of MODS records, or RSS and Atom feeds and then generate a range of interactive visualizations, including charts and maps, as well as sophisticated faceted browser interfaces for users of their digital collections.

We especially invite students and professionals interested in cultural heritage, digital curation and preservation, information visualization and other similar fields to attend.

Brooklyn Public Library
Central Library
10 Grand Army Plaza
718-230-2762
www.brooklynpubliclibrary.org

Deadline for receipt of proposals: May 31st, 2011

The IAWA invites architects, scholars, professionals, students, and researchers to honor IAWA founder Milka Bliznakov through research on women in architecture and related design fields. This research, in concert with the preservation efforts of the IAWA, will help fill the current void in historical knowledge about women’s professional achievements. The archive encourages such research in addition to the goal of preserving archival materials related to the work of women who shaped the designed environment, thus preserving for posterity a record of their achievements.

The Board of Advisors of the International Archive of Women in Architecture Center (IAWA) presents this Annual Prize of $1000 (with an additional $500 available for travel) following a two-stage process:

STAGE ONE: PROPOSAL SUBMISSION
In Stage One, applicants submit their proposal, which outlines the work they plan to complete at the Archive, and should include the following elements:

1. Outline of research to be completed
2. Proposed schedule for residency to include a talk open to the university community and the general public
3. Intended product of research, a copy of which is to be donated to the archive upon completion.

Examples of the product of research may include, but is not limited to, the following:
• Research paper
• Self-published book documenting the activities and work of the residency
• Notebook or sketchbook produced during the residency
• Visual or physical original work that references or utilizes research from the Archive

A 500-word proposal with curriculum vitae must be received or postmarked by May 31st, 2011. The proposal should be submitted both electronically as a PDF, and as a hardcopy by mail.

Proposals may include an original project, research, or scholarly work that contributes to and advances the recognition of women’s contributions in design.

The proposal shall draw upon and expand the IAWA collections to reflect upon the broader context of women’s contributions in the field of design. The product of the work should be specified in the proposal.

STAGE TWO:
The IAWA Jury awards the Bliznakov Prize for the research proposal that best demonstrates an important advancement to the recognition of women’s contributions to architecture and the related design fields while encouraging the use and growth of the International Archive of Women in Architecture. The winner will be announced by June 15th. The final project must be completed by Dec. 15th, 2011. The final project will become a part of the Archive to contribute to the historical record.

The prize money will be awarded in two installments: the first $500 will be made available to the recipient upon arrival at the IAWA for the residency period, and the second $500 will be paid upon receipt of the final product. Up to $500 will be
available to support travel and residency expenses.

If further information is required, please contact Helene Renard, helene@vt.edu.

Proposals should be sent to:

IAWA Center Executive Committee
ATTN: Helene Renard, RA
Chair, Milka Bliznakov Prize
School of Architecture + Design
201 Cowgill Hall (0205)
College of Architecture + Urban Studies
Virginia Tech
Blacksburg, VA 24061
helene@vt.edu

ARTstor is providing five travel awards in the amount of $1,500 each to help support the educational and scholarly activities—such as flying to a conference—of graduate students, scholars, curators, educators, and librarians in any field.

The deadline is Monday, April 4, 2011.

Learn more here: http://www.artstor.org/news/n-html/travel-awards.shtml

Gretchen Wagner, Curatorial Assistant, Department of Prints and Illustrated Books.

For more information please visit http://www.moma.org/modernwomen.

Images courtesy of Kathleen Hannah, Bratmobile and The Museum of Modern Art Library, New York.

Created by Plowshares Media
www.PlowSharesMedia.com
© 2010 The Museum of Modern Art, New York

employs a browser plugin to allow users to tag people in photos anywhere on the web. The startup uses those photos to construct a 3D image of the person, and then make educated guesses as to who is in untagged photos. The new version of Polar Rose will notify that friend on Facebook who has been tagged in a Flickr photo that they’ve been named in your photos. Your friends can decide if they want their name in public or not (until they sign up and decide for themselves, Polar Rose keeps their identity them private).

Megan Macken (Univ. of Chicago) conducted an interesting interview with Marshall Breeding last year.  Towards the end of the interview, Breeding discusses his involvement with automated metadata in the realm of video.

Via: TechCrunch

Spotted by: Dilvie

Artist Sues The A.P. Over Obama Image

“In a pre-emptive strike, the street artist Shepard Fairey filed a lawsuit on Monday against The Associated Press, asking a federal judge to declare that he is protected from copyright infringement claims in his use of a news photograph as the basis for a now ubiquitous campaign poster image of President Obama.”

Check out the multicolor search, as well as others, at:

http://labs.ideeinc.com/

The University of Texas School of Architecture’s Visual Resources Collection has produced five short videos (ranging from 1 to 2 minutes long) available via YouTube:

• Digital Images: http://www.youtube.com/watch?v=1EMwTEHNIw4
• Blog and RSS Feed: http://www.youtube.com/watch?v=ilvI3EHVQVo
• Power Point Tip: http://www.youtube.com/watch?v=4_o1fKli3pg
• Slide Scanning: http://www.youtube.com/watch?v=Y2Qd7jLUqF8
• Web Resources: http://www.youtube.com/watch?v=VCuS9boaZHM

The following link will bring up all videos in this series: http://www.youtube.com/results?search_query=soa+visual+resources&amp;search_type=&amp;aq=f

[We need replicate their Web Resources functionality on our ArLiSNAP Resources page!!]

Via: Slate

Found on: PSFK

Hmm…

Via: Springwise

Congress also plans to certify searchable databases for visual works like photographs, graphic arts, and textile designs that will collect information about works and contact information for the related copyright owners.

Certification? Really? Congress? Well, the Register of Copyrights doesn’t want to take it on.

Here’s what Marybeth Peters said in March, 2008 (The Register of Copyrights, before the Subcommittee on Courts, the Internet, and Intellectual Property, Committee on the Judiciary)

As a side bar, we believe that the Copyright Office’s role in technology should be limited to reviewing best practices that are submitted to us. For example, we would not want to certify databases or other technological tools because we do not have the technical expertise to undertake such tasks. Moreover, we are not persuaded that certification should be a central concern. A user should take advantage of all reasonable tools likely to lead him to the copyright owner, regardless of whether the government has blessed that tool. [Emphasis added]

EFF – Release the Orphan Works!

Marybeth Peters – US Copyright Office

From the PicLens site:

Think beyond the browser

PicLens instantly transforms your browser into a full-screen, 3D experience for viewing images on the web. Photos will come to life via a cinematic presentation that goes well beyond the confines of the traditional browser window. With PicLens, browsing and viewing images on the web will never be the same again.

David Troy, master of the mashup, has created two very addicting sites–Twittervision and Flickrvision.

In both cases, the mashup is between Twitter/Flickr + Google Maps.  Because it is animated, it gives it a feel of immediacy and dynamism.

De-lurking here. Finishing up my semester at Pratt, student project due on Cataloging Cultural Objects. If you can take a few minutes to answer as many of the questions as you can, maybe even add some comments, I’ll be very grateful. (Any responses you wish kept off the record will be honored.)

Thanks, Louis in Brooklyn.

1-Do you/your institution use CCO? If so, for how long? If not, any particular reasons?

2-If you don’t use CCO, how familiar are you with it? Self-study, or from other work/interests?

3-How effective are the CCO content standards? Also, do you find it easy to use/implement?

4-What are your favorite/least favorite features? (What do you like best/least about it?)

5-BIG one for my project: Have you seen users’ image searches improve with CCO? Why or why not?
(Any anecdotes, examples, will be extremely appreciated.)

6-CCO: Wave of the future? Or not enough to achieve goals?

7-How easy is CCO to use with other descriptive standards tools & metadata element sets?

8-Whether you use CCO or not, does your work entail more of documenting cultural objects or describing images of objects?

If there is anything you’d like to add that I haven’t addressed, please feel free to include.

Thanks in advance for everyone’s help! Hope I can either return the favor and/or pay it forward, and have a great holiday season, all!

Louis Munoz
louismunoz@yahoo.com