Job Posting: Assistant Conservator – Natural History Museum of Los Angeles County (Los Angeles, CA)

Assistant Conservator

The Natural History Museum of Los Angeles County is looking for a well-qualified Assistant Conservator with a specialization in the conservation of objects. The Assistant Conservator provides support to the Head of Conservation to perform conservation activities related to the preservation of the cultural and natural science collections on exhibit and in storage. We seek an experienced individual who demonstrates professionalism, sound judgment, flexibility, and excellent attention to detail to effectively implement conservation treatments and other tasks as directed.
Responsibilities for this position include, but are not limited to:

  • Examine objects, prepare conservation assessments, and propose treatments as required under the supervision of the Head of Conservation
  • Perform conservation treatments on objects as required under the supervision of the Head of Conservation
  • Prepare conservation documentation, including photography, condition reports, treatment proposals, and treatment reports
  • Enter conservation information in the KE EMu collections database system and maintain conservation records
  • Construct custom boxes and other housing for objects to help prevent damage during handling, storage, or transport
  • Assist in installation and de-installation of exhibit material under the supervision of the Head of Conservation, Registrar(s), and/or Collection Manager(s) as required
  • Assist in the crating, packing, moving, and storage of collections under the supervision of the Head of Conservation, Registrar(s), and/or Collection Manager(s) as required
  • Other conservation duties as assigned, such as mount making, environmental monitoring, integrated pest management, collections emergency preparedness, and purchase of laboratory supplies

This position has the following requirements:

  • Master’s degree in art conservation or equivalent with a specialization in objects conservation; additional education, training, and experience in conservation highly desirable
  • Minimum one (1) year of experience handling art, artifacts, or specimens, preferably working in a museum environment
  • Thorough knowledge of the ethics, best-practice standards, techniques, materials, and equipment used in the conservation of objects
  • Applicable fine art, craft, or fabrication skills and experience, including excellent hand skills
  • Excellent attention to detail and strong writing skills required for condition reporting and other documentation
  • Proficiency in digital photography and image processing software (e.g., Adobe Photoshop)
  • Strong computer skills (Microsoft Office Word and Excel) and demonstrated experience with museum collection databases; experience with KE EMu database highly desirable
  • Strong organizational skills for managing conservation records
  • Must have excellent team work, interpersonal, and communication skills to work closely with Museum Professionals (this includes but is not limited to Conservators, Registrars, Exhibits personnel, Technicians, Curators, Collection Managers, and Operations Staff) to ensure that all work is executed in a safe, proper and timely manner
  • Must be pro-active with strong problem solving skills
  • Work is at times very physical, requiring extended periods of standing, stooping, walking, lifting, pulling, pushing, reaching, object handling, and tool use
  • Required to wear a respirator when necessary

Salary is commensurate with experience plus excellent benefits. This is a permanent, full time, non-exempt position.
Review of applications begins immediately. Deadline for receipt of applications: Monday, November 30, 2015.
Interested candidates please visit www.nhm.org/jobs and click the link of the position for which you are interested or go directly to the online application by clicking https://home.eease.adp.com/recruit/?id=7144171. Please be sure to submit a letter of interest, a resume or short CV, and two professional references with your application.
The Natural History Museum of Los Angeles County is an Equal Opportunity Employer. Please, No Phone Calls, No Fax.

If only Sheldon Keck's name had been mentioned

In the November issue of “W Art”, a supplement to “W” fashion magazine, there is a feature on women who are transforming American museums (“Who’s Who”, photographed by Peter Ash Lee). Each woman is pictured with a quote. The quote for Anne Pasternak, Director of the Brooklyn museum is: “Every day on the job is a day of discovery. I mean, who knew one of the original Monuments Men was the first conservator.” While her quote makes conservators sound exciting  and any positive mention of conservation in a mainstream publication is a good thing, it’s a shame that she didn’t mention Sheldon Keck by name.

Becoming a Professional Associate: ECPN Interviews Molly Gleeson

This post follows up on a previous ECPN blog post from 2012 by Molly Gleeson titled “I’m not a PA, but I want to be” (http://www.conservators-converse.org/2012/01/i%E2%80%99m-not-a-pa-but-i-want-to-be/).
Professional Associate status is granted through a peer review system whereby the applicant submits evidence of their “sustained high-quality professional skills and ethical behavior that adheres to the AIC Code of Ethics and Guidelines for Practice.” (1) This usually means submitting treatment reports and other conservation documentation, as well as recommendations from other conservators. The AIC Membership Committee is tasked with reviewing the applications, which may be submitted at deadlines throughout the year. PAs make up almost 30% of the AIC membership for 2015 (2). To be eligible you must be 3+ years out of grad school.
In Molly’s original post (3) she pointed out five great reasons why Emerging Conservators might want to achieve Professional Associate status:
1. Inclusion in the “Find a Conservator” tool on the AIC website
2. Voting privileges within AIC
3. Make yourself stand out when applying for jobs, contracts and grants
4. Eligibility to apply for Individual Professional Development Scholarships
5. Recognition among your peers and colleagues
Now that Molly has completed the process of becoming a PA, Jessica Walthew (ECPN Professional Education and Training Co-officer) asks her to reflect on the experience by answering a few questions (4) :
JW: What was the most difficult part of the process of becoming a PA? Did you run into any surprises about how difficult or easy it would be?
MG: The most difficult part was committing to applying and actually contacting the people that I was asking to support my application, because that meant that I had to follow through with my part. Once I did that, I really do think the rest fell into place pretty easily. Since all application materials can be shared and submitted online now, I think the process is fairly simple and straightforward.
JW: What materials did you include demonstrating your skills and abilities? Just treatment reports or documentation of other types (outreach, blog posts)?
MG: I submitted 4 examples of work. At the time I applied, my work was not heavily focused on treatment, so I definitely wanted to demonstrate the range of activities that I had been involved in. In addition to submitting two treatment reports, I also submitted materials related to a long-term research project on Native Californian featherwork and from a workshop that I taught for a group of Native Californian basketweavers on the care of baskets, including images from the workshop. I also made sure that my CV was updated and mentioned other outreach I was involved in, publications, presentations, blogging, committee work, etc.
JW: Do you see any additional benefits now compared to those you identified in your blog post?
MG: Sure. First, I might order the benefits I originally listed in a slightly different order – probably bumping voting privileges within AIC and eligibility to apply for Individual Professional Development Scholarships to the top of the list. Another benefit I now see is that the process of applying for PA status is a great professional development activity. It allowed me to share my work with former mentors who didn’t know all the details of what I had been doing since graduation, and led to some meaningful professional exchanges. It was also a nice way to reconnect with some important people who have provided great support for me. And another benefit that I didn’t think of before is that now I can act as a sponsor for other conservators seeking PA status!
JW: For current ECP’s, do you have any advice on preparing for applying for PA status down the road? For example, in the application it states “Professional contributions to the field should be emphasized and must be documented.” (5)
MG: If you feel like you’re not as involved as you’d like to be in professional activities, then make an effort to get involved. I was encouraged to apply to be on the ECPN committee the year after I finished graduate school, and I am very happy that I did, because being on an AIC committee is a terrific way to contribute to the field. I recommend looking for ways to be involved on any committee of interest (and not just applying for committee positions, but also volunteering for specific projects, blogging at the AIC meeting, etc.) and also looking beyond AIC to local/regional groups and getting involved in those. There are so many ways to become involved and to contribute to the field, and these don’t have to be big time commitments either.
The takeaway is that applying for PA status can allow you to be more involved with AIC and gives you the opportunity to benefit from grants specifically restricted to PAs and Fellows. For those of us not yet eligible to apply, Molly’s advice is to make sure to stay involved.
References
(1) AIC, “Who Can join.” (http://www.conservation-us.org/membership/who-can-join#.VcF1_0VEyLo)
(2) Ruth Seyler, Personal communication, via email.
(3) Molly Gleeson for ECPN blog, “I’m not a PA but I want to be” (http://www.conservators-converse.org/2012/01/i%E2%80%99m-not-a-pa-but-i-want-to-be/).
(4) Edited and condensed interview with Molly Gleeson. Personal communication, via email.
(5) AIC. Professional Associate application. http://www.conservation-us.org/membership/peer-reviewed-status/professional-associate-status#.Vd8T7c5EyLp
Acknowledgements
Our thanks to Molly Gleeson, Project Conservator, Penn Museum and author of In the Artifact Lab. (http://www.penn.museum/exhibitions/special-exhibitions/in-the-artifact-lab)


About the Author
Jessica Walthew holds a BA in Art History and Biology from Williams College (2009), with an MA in the History of Art and Archaeology with an Advanced Certificate in Conservation from The Conservation Center, Institute of Fine Arts, New York University (2015). She has worked in the conservation departments of the American Museum of Natural History, Brooklyn Museum, The Frick Collection, the Philadelphia Museum of Art, and the Penn Museum. Her research interests include theory and practice in archaeological and ethnographic conservation, best practices in documentation, and technical research in art history and archaeology. In fall 2015 she will begin an Andrew W. Mellon Fellowship at The Metropolitan Museum of Art researching the intersection of textiles and objects conservation practices in the Department of Arts of Africa, Oceania and the Americas.

Job Posting: Senior Conservator – Organic Material/Ethnographic Objects

SENIOR CONSERVATOR
ORGANIC MATERIALS/ ETHNOGRAPHIC OBJECTS

Permanent, Full time

The Royal Ontario Museum is seeking a skilled and experienced Senior Conservator specializing in the treatment of organic materials, particularly ethnographic objects, to join the museum’s multi-disciplinary conservation team.
The ROM’s ethnology collection is comprised of more than 50,000 artifacts representing indigenous communities around the world including from Africa, North and South America, Asia, and Oceania. The diverse organic and composite materials and techniques presented are broad in scope with artifacts ranging from early 20th century canoes; to feathered Kayapo headdresses; to Tuareg leathers; to beadwork from the Blackfoot Nation.
Conservation care of the collections at the ROM is largely program driven and includes conservation assessment and treatment, research, documentation, and work with curators and collections technicians on preventive conservation measures.
Participation in the full range of Museum activities including public consultation, programming, the training of interns and engagement in social media are also important aspects of the job.

Qualifications

  • Master’s degree in Conservation and a minimum of eight years of experience with organic materials, including ethnographic objects conservation OR an acceptable equivalent in education and experience. At least three years work in a museum setting is preferred. The ability to work in Canada must be secured by the commencement of the contract.
  • Proven knowledge of and experience with the wide range of organic materials, including ethnographic materials and techniques as outlined above; their physical, chemical and biological deterioration; and current practices in their examination, treatment and preservation in storage and on display.   Awareness of the significance of cultural and historical contexts and sensitivities.  Extensive experience in assessment and treatment of these materials.
  • Knowledge of “Code of Ethics and Guidance for Practice” of the Canadian Association for Conservation (CAC) and the Canadian Association of Professional Conservators (CAPC).
  • Good judgement, initiative, creativity, analytical and problem solving skills.
  • Demonstrably excellent hand skills in ethnographic conservation treatment techniques.
  • Demonstrated ability to work independently and as a member of a team, to enlist the cooperation and involvement of others, and to
  • provide supervision when required.
  • Excellent leadership and interpersonal skills.
  • Excellent oral and written communication skills.
  • Proven time and resource planning management abilities.
  • Photographic and computer skills are required.

How To Apply

For full information on deadlines, salary and how to apply visit the ROM website.

Job Posting: Assistant/Associate Paintings Conservator – Solomon R. Guggenheim Foundation (NY, NY)

ASSISTANT / ASSOCIATE PAINTINGS CONSERVATOR
FOR WORLD-RENOWNED MUSEUM
The Solomon R. Guggenheim Foundation is seeking an Assistant / Associate Paintings Conservator for a three-year project. As a member of the Conservation Department, the Assistant / Associate Paintings Conservator is responsible for the care and preservation of the Solomon R. Guggenheim Museum’s paintings collection. Work is primarily related to the conservation of paintings, however, the candidate should have a reasonable comfort level to supervise complex installations and 3-dimensional objects. This position requires significant travel related to an active loan and exhibition program.
Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum. More information about the foundation can be found at guggenheim.org.
Key Responsibilities:

  • Examination, documentation and treatment of artworks as needed, as well as evaluation of new acquisitions and materials research
  • Work with fellow conservators in the Conservation department to determine treatment approaches and priorities
  • Work together with colleagues from the Curatorial, Registrar, Exhibition Design, and Art Services & Preparations departments, to advise on the art’s suitability for travel, recommend and perform treatment, and establish safe packing and handling procedures
  • Travel as a courier is required, as is supervision of installation and deinstallation of exhibitions at international venues
  • Length of position term: approximately three years.

Qualifications and Requirements:

  • Graduate degree in Conservation (Masters or Certificate/Masters) from an accredited university, including course work in chemistry and material science.
  • Minimum of five years professional conservation experience, preferably in a museum conservation laboratory
  • Demonstrated knowledge of packing, transport, and environmental requirements for travel of complex and fragile artworks
  • Ability to work effectively, both independently and as part of a team
  • Excellent manual skills
  • Problem-solving, time management, and written/ verbal communication skills

The Guggenheim offers a competitive salary and excellent medical, dental, life, disability, and retirement plan coverage.  Our staff also enjoys generous vacation, sick leave and personal days, access to a variety of cultural institutions, discounts to museum stores, and a stimulating and collegial work environment.
Qualified applicants please send your resume and cover letter, including salary expectations, to employment@guggenheim.org.  Indicate the job title “Assistant / Associate Paintings Conservator” in the subject line. Only those applicants who meet our requirements for this position will be contacted.
The Solomon R. Guggenheim Foundation is an equal opportunity employer.

Ultimately, was this a wise thing to do?

In an interview in the November 2015 issue of Harper’s Bazaar (“The Private World of Patti Smith”, by Joan Juliet Buck), the composer/musician/poet/author Patti Smith spoke about visiting Assisi in 2012 while she was composing “Constantine’s Dream”. “…so I went to Assisi, and the monks took me way up high inside the basilica where they were restoring some of the Giottos. I had to wear a hard hat. They were working on the sky, and they gave me a brush and some paint and said, ‘Please.’ I said, ‘I can’t touch Giotto’s painting.’ They said, ‘It’s watercolor.’ I said, ‘I’m so sorry, Giotto. It’s not my fault…’” Not having heard at the time of this conservation encounter, I checked the contemporary news accounts and saw photos of Smith brush and palette in hand. Smith was sincere in her trepidation about touching the work and this sounds like it was done to gain publicity for the project. Ultimately, was it a wise thing for conservation to imply that a non-professional can be brought in at a moment’s notice to help restore a work of art.

Where are the men?

In a long article about how construction projects in Istanbul have been held up for years because of the spectacular archaeological finds that have turned up during the initial excavations (“Letter from Turkey: The Big Dig”, The New Yorker, August 31, 2015), Elif Batuman writes: “In Yenikapi, I visited the makeshift lab where all of these objects are processed by the Istanbul Archaeological Museum. In one trailer, a group of conservators, all women, were restoring small wooden objects.” This all-female conservation lab is far from unique. Where are the men who could be/used to be working in conservation?

Job Posting: Conservator (2-year Project) – The Henry Ford (Dearborn, MI)

Conservator for a 2-year Project

The Henry Ford, Dearborn, MI.

The Henry Ford has been awarded a grant from IMLS for a two-year project to conserve, rehouse, and create fully digital catalog records for approximately 900 items from THF’s considerable holdings of electrical production, distribution, and transmission-related artifacts (about 15% of THF’s total electrical collections).
For this project, THF’s electrical collections will include artifacts related to the production, transmission, and distribution of electricity. The core of THF’s electrical collections is four seminal collections acquired by Henry Ford in the 1920s and 1930s from Thomas Edison, Westinghouse, General Electric, and the Edison Pioneers, with artifacts tied to Thomas Edison, Nikola Tesla, Elihu Thompson, Frank Sprague, and others. This project represents an excellent opportunity for an emerging conservator to engage with a very wide range of 20th century materials that include many modern materials, modern metals and plastics.  It is an ideal project for candidates with experience and interest in industrial design and challenging unique collections care issues.
The successful candidate will be responsible for the execution and supervision of artifact conservation activities including treatments, handling, re-housing and documentation. The project focuses on storage upgrades, digital imaging and the overall care of assigned collections. Reporting to the assigned Senior Conservator, the Project Conservator will also provide training and supervision for project specialists, technicians, volunteers as assigned.
For more see: http://www.thehenryford.org/about/jobposting.aspx?category=HISTORICAL+RESOURCES
Contact:
Workforce Development
20900 Oakwood Boulevard
P.O. Box 1970
Dearborn, MI 48121-1970
Employment Hotline: 313.982.6090
Fax: 313.982.6226
E-mail: employment@thehenryford.org

Job Posting: Head, Book Conservation Section – Library of Congress (Washington, DC)

The Book Conservation Section is responsible for all work related to the assessment, stabilization, and conservation treatment of book artifacts in the Library’s special collections. The Section Head is responsible for managing work conducted in this section, which includes assessments, surveys, evaluations, treatments, documentation, and housing of book artifacts and book collections; stabilization work for exhibitions and digital projects; research into optimizing book conservation treatment methods and protocols; participation in the division’s intern program and other teaching and training programs; and creation of  publications, reports, and guidelines.
See posting at: https://www.usajobs.gov/GetJob/ViewDetails/418574200
Job Announcement Number: 150212
Salary range: $90,823.00 to $118,069.00 / Per Year
Closing date: Monday, November 16 2015
Series and grade:   GS-1410-13
Position Information:  Full-Time, Permanent

In the future: Detecting forgeries using DNA

According to The New York Times (“Eyeing DNA as a Tool to Ensure Art’s Authenticity, by Tom Mashberg, October 13, 2015), the artist Eric Fischl is one of about three dozen artists, foundations and museums who are advocating an art authentication system that uses specks of synthetic DNA to tag and identify works of art. While this system could be quite useful for works created from here on in, the authentication of older works will still have to rely upon provenance research, subjective expertise, and knowledge about and analysis of materials.