Job, Internships & Fellowship Digest: June 30, 2017

  1. Conservation Assistant, Petworth House and Park
  2. Music Research and Instruction Librarian, Northwestern University
  3. Collections Care Conservator, Science Museum
  4. Assistant Paintings Conservation Adviser, National Trust for England, Wales and Northern Ireland
  5. Book and/or Paper Internship, Chester Beatty Library
  6. 2017-2018 Book and Paper Conservation Internship, The Heritage Council and The Library of Trinity College Dublin
  7. Phd Studentship On 19th Century Papermaking and Raw Materials, University of London, In Partnership with The Royal Botanic Gardens
  8. Lecturer Positions for Academic Year 2017-18, UCLA/Getty Conservation of Archaeological and Ethnographic Materials (CAEM) Interdepartmental Degree Program (IDP)
  9. Assistant Frames Conservator, Harvard Art Museums
  10. Assistant Paintings Conservator, Harvard Art Museums
  11. Associate Paintings Conservator, Harvard Art Museums
  12. Head, Rare Book Section, Harvard College Library
  13. Research Data & Collections Librarian, Knowledge and Library Services, Harvard Business School

1. CONSERVATION ASSISTANT, Petworth House and Park (West Sussex, UK)

  • Application deadline: July 3, 2017
  • Ref: IRC53434
  • Salary: 8,475 pa – Permanent p/t (20 hrs pw)

Change is taking place at Petworth House and Park and the team are looking for innovative people to join them. The team is currently working to update the property’s visitor offering and highlight its internationally-renowned collection of pictures and sculpture as well as its Capability Brown designed historic park and pleasure grounds. If you have lots of ideas, energy and ambition, then Petworth House could be the place for you.

As a Conservation Assistant, you’ll be working with a great housekeeping team in an incredible place, helping with the day-to-day cleaning and care of the collections. No detail will go unnoticed, and you’ll keep a keen eye on everything from the environmental conditions in a room, to signs of wear and tear. You’ll keep accurate records too.

In this visitor facing role, we’d love you to talk to visitors about the work you’re doing, and the collections we have. You’ll also be part of the wider team of employees and volunteers, helping to cover where necessary.

Who we’re looking for:

  • A keen interest in history, historic properties and conservation of their collections
  • Previous experience as a Trainee Conservation Assistant or equivalent
  • A good understanding of preventive conservation
  • Knowledge of the approach required when working with fragile historic collections as well as Health & Safety and emergency procedures
  • Good manual dexterity and eye-to-hand skills and ability to work from ladders and tower scaffold

And it will be helpful if you can demonstrate that you:

  • Have an understanding of the volunteer journey in the Trust including being able to support volunteers to perform at their best
  • Are a good team player with good interpersonal and communication skills
  • Are willing to undertake continuing professional development and personal skills development and have an enthusiasm to learn

For a full description and to apply, visit: https://careers.nationaltrust.org.uk/OA_HTML/a/#/vacancy-detail/53434.


2. MUSIC RESEARCH AND INSTRUCTION LIBRARIAN, Northwestern University (Evanston, IL, USA)

  • Application deadline: July 7, 2017
  • Reports to: Curator of the Music Library

Summary: The Music Research and Instruction Librarian actively engages students and faculty as partners in the integration of information literacy concepts into the teaching and learning mission of the university. He or she will provide leadership for reference, instruction, web presence, and other research and instructional service functions of the Music Library. This position supervises one full-time non-exempt staff member, and assists in the overall management of the Music Library. Additionally, the Music Research and Instruction Librarian will share collection development responsibilities under the direction of the Curator of the Music Library. As a member of the Distinctive Collections group, the Music Research and Instruction Librarian will work across all units of Distinctive Collections on collaborative workflows and projects that support the mission of the workgroup in particular, and of the Northwestern University Libraries in general.

Key responsibilities:

  • Provides music-related reference and information services to students and faculty of the Bienen School of Music and broadly to all academic disciplines, including direct reference service, research consultations, and classroom instruction
  • Develops and maintains instructional guides for the Music Library website and manages Music Library’s web presence
  • Assigns and supervises the work of one full-time staff member with primary functions in public services
  • Assists the Curator in the promotion and use of rare and unique music materials
  • Participates in the collection management of music materials for assigned formats and subject areas
  • Assists the Curator of the Music Library in general management of the library
  • Serves as key contact and collaborator with other public-services units of the University Libraries and represents the Music Library and Distinctive Collections on relevant committees
  • Engages in appropriate professional development, continuing education, professional service, and research activities

Minimum qualifications:

  • Master’s degree from an ALA accredited program in library science
  • Bachelor’s degree in music
  • 3 to 5 years of relevant experience in an academic library supporting music
  • Extensive knowledge of music history and literature
  • Expertise with print and electronic information sources
  • Supervisory experience
  • Aptitude for teaching and training

Minimum competencies:

  • Good Communicator – demonstrates excellent interpersonal communication skills
  • Customer focused – strives for high customer satisfaction with a proven record of successful faculty engagement
  • Collegial – desire to work in a collaborative team based environment
  • Adaptable – ability to work effectively in a changing environment
  • Takes the Initiative – takes ownership of work, completes what is needed without being asked, follows through
  • Efficient – plans ahead, manages time well, is resource conscious, finds better ways to achieve personal and departmental goals

Preferred qualifications:

  • Advanced degree in music
  • Record of professional service and research activity
  • Reading knowledge of Western European languages.

Environment: Among the largest music collections in the U.S., the Northwestern University Music Library has an unmatched strength in 20th century and contemporary classical music. Its more than 300,000 volumes of books, scores, sound recordings, and journals also include collections of original manuscripts, archives and other primary sources. The Music Library is an integral part of the Distinctive Collections workgroup, which also includes the Art Library, the Transportation Library, the Herskovits Library of African Studies, the University Archives, the Charles Deering McCormick Library of Special Collections, and the Archival Processing team.

Northwestern University is a highly selective private university with campuses in Evanston and Chicago, Illinois and in Doha, Qatar. One of the leading private research libraries in the United States, Northwestern University Library serves the educational and information needs of the NU community as well as scholars around the world. Its collection contains more than 6 million volumes, a full array of digital resources, and collections of distinction in Africana, transportation, and 20th-century and contemporary music. Northwestern is a member of the Association of Research Libraries (ARL) and the Big Ten Academic Alliance (BTAA). See more information about University Libraries at: www.library.northwestern.edu.

Northwestern University is an Equal Opportunity, Affirmative Action Employer of all protected classes, including veterans and individuals with disabilities. Women, racial and ethnic minorities, individuals with disabilities, and veterans are encouraged to apply. Hiring is contingent upon eligibility to work in the United States.

TO APPLY: Send PDF-formatted file containing letter of application, resume or vita, and names of three references to the attention of Jan Hayes, Director of Organizational Development, to libsearches@northwestern.edu. Applications received by July 7, 2017 will receive first consideration.


3. COLLECTIONS CARE CONSERVATOR, Science Museum (London, UK)

Working mainly at the storage site Blythe House in Kensington Olympia, but also at the Science Museum in South Kensington, you will deliver all aspects of collections care to minimize the risk of damage to the Science Museum’s historic collections.

Working three days per week, you will job-share with a colleague, and must enjoy close and co-operative team-working. You will be responsible for all aspects of collections care including environmental monitoring, collection hazard management, accelerated ageing tests, Integrated Pest Management (IPM), conducting Object Handling and Awareness training sessions and supporting volunteer collection care projects.

You will work on loans, acquisitions, exhibitions and supporting the Masterplan galleries by providing collections care and preventive conservation advice and so ensure that cultural outcomes are delivered on time and to budget. We also ask you to carry out interventive conservation on objects when required to support gallery development, temporary exhibitions and loans.

You will ensure that these tasks are carried out in a safe and secure manner to comply with current legislation and following best professional practice. This role is based within the Conservation & Collections Care team of the Collection Services Department.

We will offer the position near the lower end of the advertised range. This is a fixed-term contract to December 2019.

Apply at: https://group.sciencemuseum.org.uk/careers/.


4. ASSISTANT PAINTINGS CONSERVATION ADVISER, National Trust for England, Wales and Northern Ireland (London, UK)

  • Closing date: July 16, 2017
  • Ref: IRC53347
  • Interviews on July 25, 2017 at Ham House, Richmond, London
  • Fixed term, part-time (22.5 hrs per week for 24 months)
  • Salary GBP22,128 pa

We look after one of the largest collections of paintings under single ownership in Great Britain and we want everyone to enjoy, appreciate and engage in supporting our conservation work. Caring for our paintings is an enormous privilege as we want to ensure that they will be enjoyed for years to come. We continually seek to improve conservation methods and standards through involvement in the wider conservation community; further our understanding of paintings and artists through research; and develop innovative approaches to providing sustainable access to our work through activities at properties and the use of digital and social media channels. We also look for new ways to develop our staff and volunteers’ knowledge, skills and confidence to engage our visitors in stories about the discoveries we make during conservation and technical research.

This is a two-year part time (3 days per week) project post to support the Paintings Conservation Adviser. It is an opportunity to gain experience working with a varied paintings collection within diverse historic environments and to develop conservation managerial skills.

This role can be based at any of our regional hubs across the UK and will include substantial travel to our properties.

  • Location: Flexible within England
  • Requirements: Eligibility to work in the UK

For further details, role profile and to apply, visit: www.nationaltrustjobs.org.uk/find-your-place/conservation or  https://careers.nationaltrust.org.uk/OA_HTML/a/#/vacancy-detail/53347.


5. BOOK AND/OR PAPER INTERNSHIP, Chester Beatty Library (Dublin, Ireland)

  • Application deadline: July 21, 2017
  • Interviews will be held on September 6, 2017

The Heritage Council and the Chester Beatty Library are pleased to announce a twelve-month internship in book and/or paper conservation.

The scheme is co-funded by the Heritage Council and the generous support of the Library’s Contributing Members. The internship offers the possibility of professional workplace experience within a prestigious institution.

The successful candidate will gain experience working in the Library’s busy Conservation Laboratory. He/She will work under the supervision of the Library’s Senior Conservator, Kristine Rose Beers. Practical projects will be assigned to fit in with the Library’s on-going treatment, exhibition and loan programs and include the preparation of manuscripts and single folios for digitization from across the collections.

The internship is for a period of one year only and will be funded at a rate of Euro 26,700 per annum (subject to PRSI and PAYE). The start date is flexible and can be adjusted to fit the successful candidate’s existing commitments; however, he/she would ideally start in November/December 2017.

To apply, candidates should send a letter of interest, current curriculum vitae, and the contact details of two referees to: Kristine Rose Beers, Senior Conservator, Chester Beatty Library, Dublin Castle, Dublin, DO2 AD92, Ireland; or by email to: krose@cbl.ie with “Internship in Conservation 2017” in the subject line.

The deadline for applications is Friday, July 21, 2017; interviews will be held on Wednesday, September 6, 2017.

If you are interested in joining the CBL conservation team, then further information and details on how to apply are available to download on the Vacancies page of the cbl.ie website.


6. 2017-2018 BOOK AND PAPER CONSERVATION INTERNSHIP, The Heritage Council and The Library of Trinity College Dublin (Ireland)

  • Application deadline: July 21, 2017
  • Stipend: 20,000 (subject to normal PRSI and PAYE deductions)

The Heritage Council and The Library of Trinity College Dublin are pleased to offer a nine-month internship in book and paper conservation. The internship will be based at Trinity College Library, and will begin in October 2017.

The successful candidate will work under the supervision of the Library’s Keeper of Preservation & Conservation and will be involved in many aspects of the work carried out by the Department. The internship will be based around the conservation of manuscripts and books held in the Library’s special collections, as well as exhibition preparation, and housing projects. The intern will be encouraged to carry out a short research project, which will be determined once the internship has begun.

Candidates should be recent graduates (within two years) of a recognized book or paper conservation training program or have equivalent experience. The applicant must be eligible to work in Ireland, and should demonstrate an interest in conservation in Ireland.

The deadline for applications is Friday, July 21, 2017; interviews are expected to be held during the week commencing August 14, 2017.

Candidates should send a letter of interest addressed to the Keeper of Preservation and Conservation, describing their conservation training and practical experience and why they wish to take up this internship. They should also confirm their eligibility to work in Ireland, and describe their interest in conservation in Ireland and Trinity College Library in particular. A curriculum vitae and two references must be included in the application, which is to be emailed to: neliganc@tcd.ie.


7. PhD STUDENTSHIP ON 19TH CENTURY PAPERMAKING AND RAW MATERIALS, University of London, in partnership with the Royal Botanic Gardens (UK)

  • Application deadline: August 4, 2017
  • Interviews are scheduled to be held at Kew on August 16, 2017

A Paper World: The Collection & Investigation of Plant Materials for Paper Making, c.1830-1914 AHRC PhD Studentship

Applications are invited for a fully-funded PhD studentship on the history of collections of plant materials for paper making at Royal Holloway, University of London, in partnership with the Royal Botanic Gardens, Kew. This award, tenable for three years and covering both fees and an enhanced maintenance grant, is made by the TECHNE AHRC Doctoral Training Partnership under the National Productivity Investment Fund Partnership Award scheme. The project, due to begin in September 2017 or as soon as possible thereafter, will be supervised by Professor Felix Driver (at Royal Holloway) and Dr. Mark Nesbitt (RBG Kew).

The Project: Innovations in the technology of print and the vast expansion of publishing during the nineteenth century stimulated the global search for new sources of paper. A wide variety of natural sources for paper-making were experimented with prior to the large-scale mechanization of papermaking using wood pulp from the 1880s. While the economics of papermaking attracted the attention of industrialists and botanists, there was also a longstanding ethnographic interest in techniques of indigenous papermaking, stimulated by the accounts of overseas travelers and explorers. This combination of economic and ethnographic interest inspired the assembling of collections of different types of paper, analogous to collections of indigenous textiles in the period. Focusing on the unrivalled collection of plant materials and manufactured papers from many parts of the world held in the Economic Botany Collection at Kew, the studentship provides an opportunity to explore the economic, cultural, and technical significance of the search for alternative sources of material for paper making during the Victorian era. The PhD thesis is likely to take the form of a series of well-chosen case studies, raising wider questions concerning the formation of knowledge about raw materials, technologies, and commodities. In addition to work with the Economic Botany Collection at Kew, the project will involve archival research in official, business, and private papers at Kew and elsewhere in the UK. There will also be opportunities within the public programs of RBG Kew to present this research to wider audiences. The project forms part of an ongoing research collaboration between Royal Holloway and Kew Gardens, including a large AHRC project led by the co-supervisors (‘The Mobile Museum: Economic Botany in Circulation’).

The Studentship: The studentship includes a stipend of GBP16,553 (plus fees at home/EU rates) for three years. There is an additional NPIF ?550 per year to facilitate engagement with the Partner, and students can apply for an additional six months stipend to engage in extended development activities such as work placements. As a TECHNE student, the successful candidate will have full access to the TECHNE Doctoral Training Partnership development activities and networking opportunities, joining a cohort of about 50 students per year from across seven universities in London and the south-east. TECHNE students can apply for additional funding to support individual or group training and development activities.

Applicants should have a good undergraduate degree in history, geography, anthropology, or other relevant discipline. Preference may be given to candidates with prior experience in working with material culture, museum, and/or archival collections, though others are encouraged to apply. Applicants must meet the UK/EU residency requirements as described in paragraphs 43-46 of the ‘Conditions of Research Council Training Grants’ and comply with conditions set out in the AHRC Training Grant Funding Guide.

How to Apply: Applicants should submit (1) a two-page curriculum vitae, including contact details of one academic referee, and (2) a 1-2-page letter outlining your qualification for the studentship to: Professor Felix Driver, Dept. of Geography, Royal Holloway, University of London, Egham, Surrey, TW20 0EX (f.driver@rhul.ac.uk) no later than August 4, 2017.

Further Information and full project details, visit: https://www.rhul.ac.uk/geography/documents/pdf/newsarticles/ahrc-techne-partnership-award-full-description.pdf.


8. LECTURER POSITIONS FOR ACADEMIC YEAR 2017-18, UCLA/Getty Conservation of Archaeological and Ethnographic Materials (CAEM) Interdepartmental Degree Program (IDP) (Los Angeles, CA, USA)

  • Application deadline: August 15, 2017

The UCLA/Getty Conservation of Archaeological and Ethnographic Materials (CAEM) Interdepartmental Degree Program (IDP) at the University of California Los Angeles (UCLA) invites applications for one or more temporary lecturer positions in archaeological and ethnographic conservation to teach the following courses during academic year 2017-18:

Winter 2018 – Conservation Laboratory: Ceramics, Glass, and Glazes: CAEM 230
Laboratory 4 hours. Enforced requisite: course CAEM 260. Recommended: course CAEM M215. Hands-on study in deterioration and conservation of ceramics and glass. Evaluation of use of conservation materials in joining, gap-filling, and restoration of ceramics and experience in their use provided.

Winter 2018 – Structure, Properties, and Deterioration of Materials: Metals: CAEM 263
Lecture 2 hours. General introduction to different types of ancient and ethnographic metals. Relationship between composition (chemistry), structure (crystals, molecular arrangement, and microstructure), and properties of metals explained using basic concepts from physics and chemistry. Chemical, optical, and structural properties. Deterioration phenomena, defects, and products of alteration of metallic artifacts. Hands-on examination of variety of samples and artifacts.

Spring 2018 – Conservation Laboratory: Metals I: CAEM 234
Laboratory 4 hours. Recommended: course CAEM M215 and course CAEM M210. Designed for graduate conservation students. Hands-on work to study deterioration and conservation of metallic artifacts and composite objects containing metals (copper and copper alloys, and silver). Corrosion of ancient metals and their deterioration processes, conservation, problems in stability, issues with composite objects, their deterioration and stabilization, cleaning, joining, and gap-filling.

Appointments will be at the lecturer level and will be located in Los Angeles. Duties include preparation and delivery of lectures and laboratory practical sessions and supervision of conservation treatments related to the course taught.

Candidates should hold a graduate degree in conservation from a recognized academic institution, with at least five years of experience in the conservation of archaeological and ethnographic materials; particularly, metals and/or ceramic and vitreous materials. Preference will be given to candidates who have previous academic teaching experience both in delivering theoretical lectures and seminars and developing and supervising object treatments in the laboratory.

For the full listing of courses during academic year 2017-18, please visit: http://conservation.ucla.edu/content/class-schedule.

To apply go to: https://recruit.apo.ucla.edu/apply/JPF03109. The application deadline is August 15, 2017. Successful candidates will be notified by September 15, 2017.

The University of California, Los Angeles is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy, see: UC Nondiscrimination & Affirmative Action Policy at: http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct.


9. ASSISTANT FRAMES CONSERVATOR, Harvard Art Museums (Cambridge, MA, USA)

  • Ref No. 42787BR
  • Salary Grade: 056
  • Appointment End Date: June 30, 2019
  • Pre-Employment Screening: Criminal, Education, Identity
  • Schedule: Part-time, 17.5 hours per week
  • Reports to the Paintings Lab Head, Straus Center for Conservation and Technical Studies
  • Please note: This is a part time, two-year term position with the possibility of renewal

Collections:

  • Performs condition reports, surveys, examinations, and treatments for frames for the Harvard Art Museums and University Loans. Priorities are determined by the Museum Approvals Process and directed by the Paintings and Paper Lab Heads.
  • Prepares accompanying written and photographic documentation, estimates, correspondence, and condition reports for exhibitions, loans, and acquisitions.
  • Manages and executes preventive care for frames, including advising on and researching housing, framing, handling, storage, and environmental needs.
  • Participates in advising on and monitoring appropriate environments for frames, including environmental parameters, travel, and security needs.
  • Participates in collections emergency response.
  • Accompanies frame-related collections on courier trips as necessary.

Administrative:

  • Assists in planning and preparing budgets for frame conservation, exhibitions, and special projects.
  • Tracks time spent on all projects.
  • Collaborates with and maintains good working relations with conservation scientists, conservators, curators, and other museum staff.
  • Along with other conservators, maintains lab and photo studio, including supplies, records, and equipment.
  • Attends weekly lab and quarterly all-staff meetings.
  • Practices and promotes the Guidelines for Practice and Code of Ethics as established by the AIC.

Research: Stays current with professional philosophies, procedures, and practices in the conservation field through membership in professional organizations, publications, and attendance at meetings, workshops, and seminars.

Teaching: May participate in teaching, including undergraduate and graduate courses on the materials and techniques, and the technical examination of art.

Institutional:

  • Works with and provides content for Communications, the Division of Academic and Public Programs, Curatorial, and Institutional Advancement, and other departments as needed.
  • Presents occasional public gallery talks.

Basic Qualifications: Candidates MUST meet the following basic qualifications in order to be considered for this role:

  • A minimum of three years restoring frames in a museum setting and MA, MS, or Certificate in Conservation from a university program or equivalent (three years) work experience.

Additional Qualifications:

  • Experience restoring frames in a museum setting strongly preferred.
  • Demonstrated strong verbal and written communication skills.
  • Demonstrated experience with casting missing molding, gilding, inpainting, and structural work on frames.
  • Proficient computer skills, including image editing and management using Adobe Photoshop and other imaging software, and experience with The Museum System (TMS).
  • Ability to work while standing, and on occasion in non-studio, on-site locations. Ability to climb and work on a ladder and scaffolding.

Additional Information: This position works at the Museums’ two sites to carry out all duties and responsibilities. For a full job description and to apply, visit: https://tinyurl.com/y7nhmv2p.

We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.


10. ASSISTANT PAINTINGS CONSERVATOR, Harvard Art Museums (Cambridge, MA, USA)

  • Ref No. 42891BR
  • Salary Grade: 056
  • Pre-Employment Screening: Criminal, Education, Identity
  • Schedule: Full-time
  • Reports to the Head of Paintings Lab at the Straus Center for Conservation

Collections:

  • Performs conservation surveys, examinations, and treatments for paintings, murals, and certain polychromed objects for the Harvard Art Museums and occasional outside clients.  Collections span a broad range of cultures, focusing on European and American, and time periods from ancient to contemporary.
  • Prepares accompanying written and photographic documentation, estimates, correspondence, and condition reports for exhibitions, loans, and acquisitions.
  • Performs preventive care for paintings, including light level monitoring and environmental needs.
  • Performs treatment and care of University Loans and Portrait Collection.
  • Accompanies artworks as courier when needed.

Carries out minor treatment of frames.

Administrative:

  • Participates in planning and preparing budgets for lab activities, exhibitions, and special projects.
  • Manages special projects related to conservation and preservation as needed.
  • Collaborates with and maintains good working relations with conservation scientists, conservators, curators, and other museum staff.
  • Assists Conservator of Paintings with selection, supervision, and instruction of conservation fellow.
  • Directs and instructs casual employees, contractors, or students as appropriate.
  • Assists in the maintenance of the lab and photo studio, including supplies, records, and equipment.
  • Uses and monitors the safe use of certain controlled or hazardous substances.
  • Practices and promotes the Guidelines for Practice and Code of Ethics as established by the AIC.
  • Works in a two-site model, most often at 32 Quincy Street.
  • Works independently, as appropriate.

Teaching:

  • May participate in assisting the Conservator of Paintings in teaching, including undergraduate and graduate courses on the materials and techniques, and the technical examination of art.
  • Advises and trains museum staff in the best practices for the care, handling, display, storage, and packing and shipping of paintings.

Research:

  • Responsible for staying current with professional philosophies, procedures, and practices in the conservation field through membership in professional organizations, publications, and attendance at meetings, workshops, and seminars.
  • As time permits, conducts technical research relevant to the collection as assigned and is strongly encouraged to publish and present findings at national and international conferences.

Institutional:

  • Works with and provides content for Communications and other museum departments as needed.
  • May prepare and present content for museum departments including Division of Academic and Public Programs, Curatorial, and Institutional Advancement, as requested.
  • Supports Collections Management’s operation of Art Study Centers and Curricular Galleries.
  • Leads and participates in tours for various interest groups.

Basic Qualifications: Candidates MUST meet the following basic qualifications in order to be considered for this role:

  • MA, MS, or Certificate in Conservation from a university program.
  • A minimum of 2 years’ museum or other professional experience with skilled examination and treatment of paintings and painted surfaces from a broad range of cultures and time periods.

Additional Qualifications:

  • Demonstrated experience with state-of-the-art imaging tools used for conservation documentation including: digital photography, x-radiography, infrared reflectography (IRR).
  • Excellent computer skills, including image editing and management; high level of proficiency/expertise using Adobe PhotoShop and other software.
  • Excellent communication, writing, interpersonal, project management, and leadership skills.
  • Publications and presentations in professional forums.
  • Proficiency with the Museum System (TMS).
  • Has or is eligible for Professional Associate or Fellow membership status in AIC.
  • Ability to lift up to 50 lbs and work while standing, and on occasion in non-studio, on-site locations.  Ability to climb and work on a ladder and scaffolding.
  • Precise attention to detail and manual dexterity.

Please also see Requisition #42892BR. We will fill only one of these positions. Please read both descriptions carefully, and submit an application for the position most appropriate to your qualifications through Harvard’s Recruitment Management System, ASPIRE.

For a full job description and to apply, visit: https://tinyurl.com/yc8sr9wb.

We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.


11. ASSOCIATE PAINTINGS CONSERVATOR, Harvard Art Museums (Cambridge, MA, USA)

  • Ref No. 42892BR
  • Time Status: Full-time
  • Salary Grade: 057
  • Pre-Employment Screening: Criminal, Education, Identity
  • Reports to the Head of Paintings Lab at the Straus Center for Conservation

Collections:

  • Performs conservation surveys, examinations, and treatments for paintings, murals, and certain polychromed objects for the Harvard Art Museums and occasional outside clients.  Collections span a broad range of cultures, focusing on European and American, and time periods from ancient to contemporary.
  • Prepares accompanying written and photographic documentation, estimates, correspondence, and condition reports for exhibitions, loans, and acquisitions.
  • Manages and executes preventive care for paintings, including light level monitoring and environmental needs.
  • Manages and executes treatment and care of University Loans and Portrait Collection.
  • Accompanies artworks as courier when needed.
  • Carries out minor treatment of frames.

Administrative:

  • Participates in planning and preparing budgets for lab activities, exhibitions, and special projects.
  • Manages special projects related to conservation and preservation as needed.
  • Collaborates with and maintains good working relations with conservation scientists, conservators, curators, and other museum staff.
  • Assists Conservator of Paintings with selection, supervision, and instruction of conservation fellow.
  • Directs and instructs casual employees, contractors, or students as appropriate.
  • Assists in the maintenance of the lab and photo studio, including supplies, records, and equipment.
  • Serves as Paintings Lab point person for health and safety issues. Uses and monitors the safe use of certain controlled or hazardous substances.
  • Practices and promotes the Guidelines for Practice and Code of Ethics as established by the AIC.

Teaching:

  • Assists the Conservator of Paintings in teaching, including undergraduate and graduate courses on the materials and techniques, and the technical examination of art.
  • Advises and trains museum staff in the best practices for the care, handling, display, storage, and packing and shipping of paintings.

Research:

  • Responsible for staying current with professional philosophies, procedures, and practices in the conservation field through membership in professional organizations, publications, and attendance at meetings, workshops, and seminars.
  • Conducts technical research relevant to the collection as assigned and is strongly encouraged to publish and present findings at national and international conferences.

Institutional:

  • Works with and provides content for Communications and other museum departments.
  • Prepares and presents content for museum departments including Division of Academic and Public Programs, Curatorial, and Institutional Advancement.
  • Supports Collections Management’s operation of Art Study Centers and Curricular Galleries.
  • Leads and participates in tours for various interest groups.

Basic Qualifications: Candidates MUST meet the following basic qualifications in order to be considered for this role:

  • MA, MS, or Certificate in Conservation from a university program.
  • A minimum of 5 years’ museum or other professional experience with skilled examination and treatment of paintings and painted surfaces from a broad range of cultures and time periods.

Additional Qualifications:

  • Demonstrated experience with state-of-the-art imaging tools used for conservation documentation including: digital photography, x-radiography, infrared reflectography (IRR).
  • Excellent computer skills, including image editing and management; high level of proficiency/expertise using Adobe PhotoShop and other software.
  • Excellent communication, writing, interpersonal, project management, and leadership skills.
  • Publications and presentations in professional forums.
  • Proficiency with the Museum System (TMS).
  • Has or is eligible for Professional Associate or Fellow membership status in AIC.
  • Ability to lift up to 50 lbs and work while standing, and on occasion in non-studio, on-site locations.  Ability to climb and work on a ladder and scaffolding.
  • Precise attention to detail and manual dexterity.

Please also see Requisition #42891BR. We will fill only one of these positions. Please read both descriptions carefully and submit an application for the position most appropriate to your qualifications through Harvard’s Recruitment Management System, ASPIRE.

For a full job description and to apply, visit: https://tinyurl.com/ydbfmqcs.

We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.


12. HEAD, RARE BOOK SECTION, Harvard College Library (Cambridge, MA, USA)

  • Application deadline: Position will remain posted until filled; however, applications will be reviewed beginning August 7, 2017
  • Ref 42894BR
  • Time status: Full-time
  • Salary Grade: 058
  • Pre-Employment Screening: Criminal, Education, Identity

Reporting to the Associate Librarian for Technical Services, the Head of the Rare Book Section leads, manages, and supports Houghton Library’s efforts to catalog, preserve, and provide access to rare books, graphics, and other printed holdings in all formats and across Houghton’s curatorial areas. The incumbent will bring a progressive, flexible, and innovative approach to this work and will be responsible for developing and/or implementing strategies, technologies, and standards that facilitate researcher access to Houghton’s holdings.   The Head of the Rare Book Section supervises section staff, plans and manages projects, and collaborates with staff and departments throughout Houghton Library, and participates actively within the broader Harvard special collections and cataloging community.

Typical duties and responsibilities (include the following. Other duties may be assigned):

  • Provides leadership and management for the Rare Book Section by developing and articulating strategic vision, building and maintaining a team spirit, managing day-to-day operations and special projects, collaboratively establishing priorities, and coordinating work within the unit and with other library units.
  • Supervises a current staff consisting of 4.5 regular and project employees through delegation of tasks and projects, establishment of goals, performance reviews, and provision of training.
  • In collaboration with the Associate Librarian for Technical Services, Curatorial, Public Services, and Rare Book Section staff, sets cataloging priorities for Houghton print collections.
  • Trains staff and reviews catalog records and other descriptive output to ensure quality and adherence to standards.
  • Supports the creation, enhancement, and maintenance of authority metadata, both for local use and to contribute to the Name Authority Cooperative Program (NACO).
  • Collaborates with Houghton, Harvard, and/or external colleagues to explore, propose, and implement new technologies that promote and facilitate discovery and use of rare printed material.
  • Works collaboratively with the Harvard Library’s Information and Technical Services on cataloging projects, best practices and policies, and implementation of new tools and standards such as BIBFRAME and other linked data initiatives.
  • In concert with colleagues, develops and implements a long range and comprehensive plan to effectively process and catalog Houghton backlog collections.
  • Participates in grant writing efforts, creating work plans and developing budgets for cataloging projects.
  • Oversees the development and maintenance of documentation for cataloging, and other Section activities.
  • Working with the Head, Manuscript Section and the Technical Services Librarian, assists in planning and policy creation for the Technical Services Department.
  • Catalogs rare books, graphics, and other printed material.
  • Represents Houghton within the Harvard cataloging and library community, both informally through communication and collaboration, and formally by serving on committees and working groups.
  • Maintains an active presence in local and national professional organizations.

Basic Qualifications:

  • A., M.L.S. from an ALA-accredited academic program required.
  • Five years of professional experience with increasing responsibility in special collections, preferably in an academic or research library.
  • Extensive experience cataloging rare books and printed materials, including graphics.
  • Demonstrated knowledge of cataloging standards and principles, including but not limited to: RDA, DCRM, MARC21, LCSH, Library of Congress/PCC rules and authority control practices. Demonstrated knowledge of integrated library systems and bibliographic utilities (OCLC).  Experience with Aleph/Alma and Aeon preferred.
  • Supervisory and managerial experience required, with the ability to communicate complex ideas to others of varying skill sets.
  • Demonstrated project management experience.
  • Demonstrated knowledge of descriptive bibliography and book history is essential.

Additional Qualifications:

  • Experience implementing new technologies and other techniques to improve work processes.
  • Knowledge of BIBFRAME and the principles of linked data.
  • Reading knowledge of one or more Western European languages required.
  • Exceptional interpersonal and communication skills and the ability to work creatively, collaboratively, and effectively as a section leader, team member, and independently.
  • Understanding of current developments within the Special Collections profession and demonstrated commitment to engage in ongoing professional development and service to the profession.
  • Capacity to thrive in a changing working environment.
  • Record of engagement with professional groups and activities and/or contributions to professional or scholarly literature.
  • Appreciation and understanding of the issues involved in the preservation and use of digital collections.

Physical Demands:

  • This position requires lifting and moving of materials weighing up to 40 pounds and pushing heavily loaded book trucks.
  • Work is performed in an area with library materials that may contain allergens or irritants such as paper dust and/or mold.

Work Environment: The work is performed in an office setting within a library.

At the Harvard Library, our work is enriched by our diverse campus community. Our unique and wide-ranging abilities, experiences, and perspectives are integral to achieving Harvard University’s mission of excellence in research, teaching, and learning for our patrons, our collections, and our workplace. We believe that an inclusive environment that cultivates and promotes understanding, respect, and collaboration across our diverse workforce enables our success.

We encourage individuals with diverse backgrounds, experiences and abilities to apply to be a part of our community of over 700 staff members.  Our work with faculty, students and researchers to explore answers to intellectual questions, enduring and new, and to seek solutions to the world’s most consequential problems, requires that we not only reflect, but also champion our diverse society. Learn more about our contributions to the academic enterprise by visiting us at http://lib.harvard.edu/about-us and about the Harvard University community at http://hr.harvard.edu/why-harvard. The Harvard Library is a proud member of the ACRL Diversity Alliance.

For a full job description and to apply, visit: https://tinyurl.com/ycwnblk8.

We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.


13. RESEARCH DATA & COLLECTIONS LIBRARIAN, KNOWLEDGE AND LIBRARY SERVICES, Harvard Business School (Cambridge, MA, USA)

  • Ref No. 42947BR
  • Time Status: Full-time
  • Salary Grade: 058
  • Pre-Employment Screening: Education, Identity

Duties & Responsibilities: As one of the 15 schools at Harvard University, Harvard Business School (HBS) is located just across the river in Boston, a short walk from Harvard Square in Cambridge. HBS educates leaders who make a difference in the world.

With a team of librarians, researchers, educators, statisticians, journalists, information management professionals, product designers, and archivists, Knowledge and Library Services (KLS) offers unparalleled resources and services to the HBS community. The Research Data Program was created to help Harvard Business School faculty evaluate, acquire, use, manage and archive data for their research.

This position manages the Research Data Program and is a key member of the Baker Library Collections team, ensuring that Harvard Business School and Harvard University have access to premier library collections and information resources.

The Research Data and Collections Librarian works closely with a cross-departmental team, providing collaborative coordination to meet the goals of both the Baker Research Data Program and Baker Library collections. Understanding the research landscape, the role of campus partnerships, and the capabilities and limits of library support will be essential to the success of the role. This position reports to the Senior Director of Baker Research Services and also supports the Manager of Business Information Resources.

About the Research Data Program: https://www.library.hbs.edu/Services/Research-Data-Program. About Baker Library Collections and Archives: https://www.library.hbs.edu/Find/Collections-Archives.

In leading the newly developed Research Data Program, this position is responsible for:

  • Partnering with the Baker Research Services team to identify and acquire licensed and publicly available datasets critical to supporting research at HBS.
  • Negotiating favorable terms, conditions, and pricing for content licenses and tracking special data sets and other research materials on behalf of HBS faculty and doctoral students
  • Ensuring legal, compliance, and re-use issues around HBS-licensed datasets are appropriately addressed
  • Recruiting and coordinating faculty data deposits into HBS Dataverse, our repository for faculty and doctoral student research data
  • Collaborating with the HBS archival program in meeting University requirements for research records and data retention and ensuring long-term preservation and access of essential data
  • Building relationships across Harvard University, particularly with the Harvard University Research Data Program and Library Collection Development community
  • As a member of the Baker Library Collections team, this position supports the Manager, Business Information Resources in:
  • Playing a leading role the ongoing  assessment and analysis of the Baker Library’s collecting strategy vis-à-vis  current faculty research interests, HBS initiatives and priorities, changing curriculum needs, and broader trends in scholarship
  • Developing creative and innovative methods to measure, analyze and report the impact of collections and content on HBS teaching and learning
  • Ensuring licensed and purchased content is discoverable and accessible through the Baker Library web site, HOLLIS + and the Harvard Library.
  • Providing input for the development of the annual Baker Library collection budget, reviews budget forecasts, tracks expenditures.

Basic Qualifications:

  • BA/BS and 7+ years of experience
  • Experience in collection development including contract negotiations and management.

Additional Qualifications:

  • Successful implementation and growth of a new service initiative
  • Demonstrated ability to exercise maturity and good judgment in dealing with priority customers and vendors.
  • Advanced degree in information management, library science, or business or related field or equivalent experience.
  • Demonstrated ability to exercise maturity and good judgment in dealing with priority customers and vendors
  • Fundamental understanding of intellectual property issues
  • In-depth understanding of scholarly communications and the information industry, preferably in the field of contemporary business and/or social sciences
  • Exceptional communication and interpersonal skills
  • Strong quantitative, analytical, and critical thinking/problem-solving skills
  • Demonstrated ability to influence without authority

Additional Information:

  • Our expectations are that employees of HBS adhere to and represent our Community Values.
  • Respect for the rights, differences, and dignity of others
  • Honesty and integrity in dealing with all members of the community
  • Accountability for personal behavior
  • Candidates with less than 7 years applicable experience will be considered in the grade 57 salary band.
  • Cover Letter is required
  • Harvard Business School is unable to offer visa sponsorship for this opportunity.

For a full job description and to apply, visit: https://tinyurl.com/y8gav7h6.

We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.

45th Annual Meeting – Book and Paper Session, “Less is More/Recapturing the Subtleties” by Adam Novak

For the first BPG Session of a treatment-themed AIC Conference this year, Adam Novak, a paper conservator at Daria K. Conservation, LLC in New York gave his presentation on a topic that is very important but not often discussed in the field: using one’s senses to determine the appropriate treatment for an item. With a multitude of treatment options available, the conservator is (ideally) able to control the outcome and intensity of the treatment by understanding the effects of time, moisture, conductivity, and expansion on the item. Adam referred to the thorough research and presentation at last year’s AIC meeting by Amy Hughes and Michelle Sullivan on minimally invasive treatments using gels as an example of how the conservator can control the treatment.

The primary concern in conservation is obviously the effectiveness of a treatment, but the possible repercussions of the treatment on an object in the future is a concern. Adam spoke of how every treatment carries with it both risks and benefits, and as conservators we can control how invasive (and how effective) we would like a treatment to be. Drawing from conservation’s relatively short past, it is apparent that reversibility is key and often “less is more.” The less invasive the treatment, the better the longevity for the object. This is of course balanced with the efficacy of the treatment as well, which Adam mentioned.

Adam gave a few examples of different paper treatments involving different kinds of media in excellent detail, describing how he approached each object with the idea that one’s “senses are as important as the science.” Which is to say, if you can detect the subtleties of the paper surface, quality of the ink, etc. then you are more able to control your treatment in such a way to retain the integrity of the work. Ideally, if the conservator is honed in on the subtleties of the item being treated, then the overall outcome of the treatment will have little trace of invasion. This quote was integral to the message of the presentation, and appeared twice(!):

As the treatment “toolbox” grows and changes moving in to the future, taking a closer look at qualities of an item to be retained after its treatment and cleaning will become more important and certainly more achievable.

AIC Presents Forbes Medal to Representatives Royce and Engel

Photo credit: U.S. Foreign Affairs Committee

 

On June 22, 2017, U.S. House Committee on Foreign Affairs Chairman Ed Royce (R-CA) and Ranking Democrat Eliot Engel (D-NY) were presented with the American Institute for Conservation’s highest honor, the award of the Forbes Medal, for their bipartisan efforts that resulted in the creation of the “Protect and Preserve International Cultural Property Act.”

Now passed into law, this act imposes new, stronger import restrictions on antiquities that are trafficked out of Syria. By reducing trade in looted artifacts and the profits from looting, historic sites in the Middle East and the cultural material they contain are better shielded, and, by extension, knowledge of our past, of our shared humanity, is saved.

During the presentation on Capitol Hill, Chairman Royce said, “I want to thank the American Institute for Conservation for all of its important work. We are witnessing a cultural devastation in the Middle East. ISIS, Assad and other parties to the conflict are decimating the region’s Greek, Roman, and Byzantine heritage, and sites and artifacts of importance to all three major faiths, from Sufi Shrines to Jonah’s tomb. The U.S. must always lead in supporting those in conflict zones who are risking their lives to preserve the world’s history for future generations.”

Recent turmoil in the Middle East – particularly in Syria and Iraq – led to a thriving trade in looted artifacts, benefiting organization such as ISIS. AIC is pleased to celebrate these U.S. Congressmen who recognized the dangers of such looting, and worked across the aisle to protect precious cultural heritage from exploitation.

“On behalf of the board of directors of the American Institute for Conservation, I extend our thanks to Representatives Engel and Royce for their individual efforts and for their guidance of the House Committee on Foreign Affairs that has both established a precedent for and emphasized the necessity of protecting cultural heritage,” said AIC Executive Director Eryl Wentworth.

“This award is a fitting way to recognize their bipartisan work on behalf of the American and global community to preserve objects and sites of cultural heritage.”

The AIC Forbes Medal celebrates those whose work on national and international platforms has significantly advanced the preservation of cultural heritage.  Prior to honoring Congressmen Engel and Royce, only eight recipients had received this honor since its inception in 1994.

The Forbes Medal is named for Edward Waldo Forbes (1873-1969), who served as director of the Fogg Museum at Harvard University from 1909 through 1944. He founded the country’s first fine arts conservation treatment and research center, and was dedicated to technical research of artworks. Four years after retiring from the Fogg, he founded and served as director of the American Research Center in Egypt.

45th Annual Meeting – Luncheon, May 30, “Protecting the World’s Cultural Heritage: Identifying and Protecting Looted Artifacts” by Oya Topçuoglu, L. Burgess, and Dawn Rogala

Looted or stolen artifacts are a concern all over the world. The speakers at this luncheon focused on looting in the middle east, cases of illicit imports, and notable museum thefts. As a curator and conservator of Native American artifacts, however, I found much of the talk was relevant to the looting that happens right here in the U.S., albeit on a smaller, less industrial scale.

The first talk, by Oya Topçuoğlu, was riveting. For one thing, the demonstration of the sheer scale of looting happening in the middle east was incredible (see photo below).

  

On 4 August 2011 (left ), the soil at Dura-Europos is relatively undisturbed both inside and outside the walled city. On 2 April 2014 (right), however, very high-density looting is present inside the ancient city wall, while portions of the archaeological site beyond the city wall have been covered with thousands of individual pits. A number of vehicles (circled in red) are visible within the walls of the site. Coordinates: 34.74 N, 40.73 E. Image ©DigitalGlobe | U.S. Department of State, NextView License | Analysis AAAS. -https://www.aaas.org/page/ancient-history-modern-destruction-assessing-status-syria-s-tentative-world-heritage-sites-7#Dura-Europos

The scale of looting and tracking of antiquities is virtually impossible to quantify, partly due to the dangers of getting people on the ground in areas of conflict, but Oya and her colleagues have begun to address some key questions in the quest to put an end to such activities, including: Where does the looting happen? How do we identify it? Who is involved in looting, trafficking and sale of antiquities? Where do looted artifacts go, how do they get there? Who are the buyers? Where do sales take place? What is sold for how much? What can we do from the safety of our offices, universities, museums, etc.?

She noted that the so-called Islamic State (IS) is not the only party doing the looting but that such activities are most prevalent in IS controlled areas. Sales are conducted through online auction sites and the dark web. Documents are often falsified and regularly contain a stock phrase such as “Property of (or from the collection of) a London (German, Swiss, etc.) gentleman. Acquired in the 1980’s.”

The question I was really interested in was “What can we do?”. For tracking artifacts stolen from museums, for example, new substances are becoming available like “smart water,” an invisible polymer than can be traced back to a certain batch. She notes it is also important to adequately train law enforcement, both local and international, to recognize antiquities. Finally she discussed a project called MANTIS (Modeling the Antiquities Trade in Iraq and Syria) about which more details can be found here: https://oi.uchicago.edu/research/projects/mantis

Looting at American archaeological sites is on a much smaller scale and probably does not fund major terrorist organizations but this talk made me think about how important it is to track the sales of antiquities and do whatever we can, including training law enforcement, to halt the illicit trade of the world’s cultural heritage.

The next speaker L. Burgess, was a lawyer who discussed issues that lawyers deal with like title, authenticity, and provenance. She highlighted some of the more famous art heist and illicit import cases. Again she pointed out the issue of falsified documents such as in the Steinhart case from the mid 1990’s in which a million dollar 3rd-4th century BC Sicilian gold phiale from Italy was claimed to be from Switzerland and worth only $150,000. She also talked a bit about repatriation and mentioned that she feels institutions are moving toward long term loans rather than transfers of ownership.

Finally, Dawn Rogala talked about some of the things to think about if you are approached to work with legal cases dealing with repatriation, art theft or forgery. She discussed what it means to be a subject matter expert, for example, you must be willing to testify. She mentioned questions you should ask yourself like, are you even allowed to testify or do job restrictions, for example, prevent it? Are you actually qualified? She says you must ask agents what is expected of you. And of course, ask yourself do you have time to do this? She also went over what language to use, how to write reports, and general things to be cognizant of.

Overall the themes of the luncheon were crucial for many people in our field. It was odd to juxtapose the discussion of war-zone looting with the delicious lunch we were eating in the comfort of a plush conference room but the luncheon format did allow some good open discussion and, frankly, kept me from getting too depressed when thinking about the vast scale and impenetrability of the illicit antiquities trade.

 

 

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PhD Studentship, University of Leeds and Tate (UK)

PhD STUDENTSHIP, University of Leeds and Tate (UK)

  • Application deadline: July 3, 2017

AHRC Collaborative Doctoral Program PhD studentship “Pigment-additive interactions in synthetic emulsion materials and implications for the conservation of modern and contemporary art.”

The University of Leeds, in partnership with Tate, is seeking to appoint a suitably qualified applicant for a full-time PhD studentship investigating pigment-additive interactions in synthetic emulsion materials. Of particular interest is the relationship between surfactants and the pigments used in artists’ paints and the implications for artwork condition appearance and conservation. Artists’ materials based on emulsions of synthetic polymers became available in the 1950s and 1960s and are used ubiquitously today. The most popular example remains acrylic emulsion (dispersion) paints. Other related materials such as emulsion-based varnishes and coatings, paint mediums, polyvinyl acetate paints, water-miscible oil paints, as well as related conservation materials are also widely used. Materials characterization will be across several length scales. Surface and interface analysis will form a key component of the work and is likely to include XPS, FTIR, electron microscopy and mass spectrometry. Surfaces will also be assessed for macroscopic changes in gloss and color saturation. The studentship is based at Leeds. However, some travel to Tate will be required.

Funding: AHRC Collaborative Doctoral Partnership PhD studentship including 3 years tuition fees (for UK or EU residents) plus annual maintenance grant of approximately GBP15,000 (UK residents only). Start October 1, 2017.

Supervisors: Dr. Elizabeth Willneff (Leeds) and Dr. Bronwyn Ormsby (Tate). Mentoring in Fine Arts by Dr. Judith Tucker (Leeds – School of Design), and in characterization of molecular materials by Prof. Sven Schroeder (Leeds – School of Chemical and Process Engineering).

Application: The successful candidate will have a degree in a relevant scientific or engineering discipline. It is desirable to have experience using a range of analytical tools appropriate for the bulk and surface analysis of emulsion materials including at least one of the following: spectroscopy, mass spectrometry and/or imaging techniques obtained via further study (e.g. Master’s degree) and/or work experience. An interest in the visual arts and experience working across a range of sectors including the heritage sector are desirable. Applicants with experience or interest in synchrotron-based analytical tools are encouraged to apply.

Request full project details and requirements for the position by contacting Dr. Willneff, e.a.willneff@leeds.ac.uk; or download from http://scholarships.leeds.ac.uk/.

To apply, send the following documents in one email to designpgr@leeds.ac.uk with the subject line: “AHRC CDP PhD application – Willneff Leeds/Tate.”

  1. Transcript and certificate from your Bachelor’s degree
  2. Transcript and certificate from your Master’s degree (if applicable)
  3. IELTS score of 6.5 overall with no less than 6.0 in any skill area, or equivalent (if applicable)
  4. two academic references (name and contact details)
  5. CV
  6. A covering letter including a 500-word statement on how you will approach the research topic and what you would like to achieve during the project.

Job, Internship & Fellowship Digest: June 26, 2017

  1. Coordinator of Collections and Exhibits, Aanischaaukamikw Cree Cultural Institute
  2. Conservator – Library Coordinator 2, The University of Florida George A. Smathers Libraries
  3. Painting Conservation Fellowship, The John & Mable Ringling Museum of Art
  4. Junior Conservator of Photographic Materials, Rijksmuseum
  5. Junior Paper Conservators, Rijksmuseum
  6. Postdoctoral Fellowship, Northwestern University Art Institute of Chicago Center for Scientific Studies in The Arts (Nu-Access)
  7. Phd Studentship, Center for Research on Conservation, National Museum Of Natural History, and The Laboratory of Physico-Chemistry of Polymers and Interfaces, University Of Cergy-Pontoise
  8. Objects Conservator, Christchurch
  9. Postgraduate Fellow in Paper Conservation, The Colonial Williamsburg Foundation
  10. Fellowship in Archaeological Materials Conservation Lab, The Colonial Williamsburg Foundation
  11. Frame Technician Conservation, The National Gallery of Art

1. COORDINATOR OF COLLECTIONS AND EXHIBITS, Aanischaaukamikw Cree Cultural Institute (Quebec, Canada)

  • Application deadline: July 7, 2017 at 5:00 p.m.

Aanischaaukamikw is the cultural center for the nine Cree communities of Eeyou Istchee in Northern Quebec. This major new facility is located in Oujé-Bougoumou, QC, a community of 700 persons. Aanischaaukamikw is a multi-purpose cultural entity, bringing together regional cultural programming for the Cree Nation for all to share on-site and throughout the communities.

ACCI is seeking an enthusiastic and dedicated individual for the position of Coordinator of Collections & Exhibitions. The Coordinator of Collections & Exhibitions is responsible for coordinating Aanischaaukamikw Cree Cultural Institute’s Collections Department, related programs and assists with administrative duties. The Coordinator of Collections & Exhibitions supervises all staff in the Collections Department and ensures the proper and efficient running of the department. The Coordinator participates in establishing, organizing and promoting Aanischaaukamikw Cree Cultural Institute’s collections and exhibits programs through on site, off site and online projects. The Coordinator of Collections & Exhibitions will take as his or her main goal, the organization of excellent collections programming with a commitment to raising Aanischaaukamikw’s profile regionally, nationally and internationally, and excels in managing relationships with both internal and external stakeholders and partners.

The Coordinator of Collections & Exhibitions will assign work to the Library, Archives and Museum and support staff and may be asked to make hiring recommendations. The Coordinator will ensure that policies and procedures relating to Collections are followed as well as maintain complete and accurate collections related information for Aanischaaukamikw and provide feedback in the form of reports for Aanischaaukamikw management and Board about Collections activities.

Qualifications, abilities and experience:

  • A Bachelor’s or Master’s Degree in Museum Studies, Museum Education, History, Education, or related field
  • Experience in collections department administration in a museum setting, in a role related to collections management, registration or exhibitions
  • Demonstrated knowledge of collections management policies and procedures and the ability to implement these and adapt to the needs of an emerging museum
  • Cultural understanding of issues related to the display, storage and development of Cree collections (particularly sensitive and sacred collections)
  • Experience in supervising staff, volunteers and interns
  • Two years of experience working on a collections management database, preferably as a systems administrator or super user
  • Excellent skills in team leadership in a complex environment
  • Excellent organizational and interpersonal skills
  • Ability to assemble and evaluate budgets and statistics
  • Ability to organize and express information in clear, logical sequence
  • Knowledge of James Bay Cree history and familiarity with Cree culture an asset
  • Excellent speaking and writing skills in English, with French being a definite asset
  • Fluency in Cree with the ability to communicate in both of Canada’s official languages is a significant asset

Principal responsibilities:

  • Supervises staff in the Collections and Exhibitions department section of the Programs Department
  • Organize workloads, develop work plans, effectively prioritize, project budgets and schedules.
  • Assist the Director of Programs in the development and maintenance of budgets
  • Coordinate the work of the curator, conservator, archivist, librarian, collections officer/ registrar and other temporarily contracted employees
  • Coordinate editing, design, and production of Exhibition related interpretive materials with other museum departments
  • Develop, in collaboration with Director of Programs and Education staff, lectures, symposia, film, visual art, and music series and other public programs in conjunction with temporary exhibitions and permanent collections displays
  • Acts as systems administrator for the collections management system and supervises staff in its use, writes procedures and work flows relating to the collections management system, develops reports
  • Ensures the proper management of the collections including acquisitions, accessioning, cataloguing, exhibit rotation and other related duties
  • Responsible for management of loans to the museum from museums, organizations and individuals.
  • Responsible for management of loans out
  • Responsible for overseeing the work of the Conservator to ensure the overall care and maintenance of the museum collections
  • Oversees the development of the schedules for bi-annual exhibition rotations
  • Holds regular team meetings and ensures that team workplans are updated on a quarterly basis.
  • Works with Facilities Manager and Conservator to monitor the conditions of the collection items on exhibit and the environmental conditions of the exhibits and the technical areas
  • Works with the Facilities Manager to ensure the security of the collections in storage and on display.
  • Coordinates access to collections as required for workshops, visitors or other educational programming that require access to the collection and the exhibitions
  • Coordinating orders of supplies for collections activities
  • In collaboration with Programs staff, assists with developing collections related research plans and proposals for programs, grants and activities
  • Preparation of operational reports to communicate performance and activities related to Aanischaaukamikw’s collections for the ACCI annual report and Board
  • Attends staff meetings and make collections related presentations to the management team and Board of Directors as required
  • Conducts training, as needed for staff and community members on collections related subjects.
  • Assists with career development and mentoring opportunities for Collections and Exhibitions staff.
  • Collaborates with other cultural organizations on joint projects and works to develop effective partnerships within the region, province, country and internationally
  • Writes collections related grant applications and seeks external sources of funding for collections based projects
  • Any other responsibilities and tasks assigned by the Director of Programs as they relate to Collections and Exhibitions

Personal characteristics:

  • Self-confidence, optimism, persistence, and stamina
  • A disciplined, multi-faceted and organized individual with the personal flexibility to deal simultaneously with a variety of situations
  • Commitment to working in a participatory, team-based environment
  • Strong attention to detail
  • Ability to work under tight deadlines
  • Strong editorial and writing skills and an understanding of different audiences
  • Excellent computer skills, including familiarity with digital formats, and collections database systems administration
  • Basic graphic design skills
  • Ability to build positive relationships with the organization?s partners and supporters
  • An open, friendly communicator with superior interpersonal skills

Salary and working conditions:

  • Full Time: 35 hours per week
  • 1-year contract position, with the possibility of extension
  • Salary based on ACCI salary scale, relevant experience and education

Please send your application and curriculum vitae via regular mail, fax or email by Friday July 7, 2017 at 5:00 p.m. to the following address:
Rob Imrie, Director of Programs
Aanischaaukamikw Cree Cultural Institute
205 Opemiska Meskino
P.O./C.P. 1168
Ouje-Bougoumou, Quebec G0W 3C0 Canada
Tel: +1 (418) 745-2444 Ext. 2101
Fax: +1 (418) 745-2324
Email: rob.imrie@creeculture.ca

We thank everyone that applies, but only the chosen candidates for an interview will be contacted.


2. CONSERVATOR – LIBRARY COORDINATOR 2, The University of Florida George A. Smathers Libraries (Gainesville, FL, USA)

  • Closing deadline: July 18, 2017
  • Job No. 502691
  • Salary: $48,500 annually. Actual salary will reflect selected professional’s experience and credentials

The University of Florida George A. Smathers Libraries seeks an innovative and knowledgeable conservator. The position is part of the Preservation and Conservation Department and reports directly to the Head, Preservation and Conservation Unit. The conservator is responsible for evaluating collection materials for treatment in consultation with curators and librarians; assessing document treatments in accordance with AIC Guidelines; managing conservation treatment of library and archival collections; managing the Libraries’ conservation lab; and supervising lab staff. Essential responsibilities include the conservation treatment and housing of special collections materials; designing collections care workflows for circulating materials; hiring, training, and supervising the work of other employees in the conservation lab; participating in emergency preparedness and response; and ensuring that the conservation lab is supplied and equipped to ensure continued access to the Libraries’ collections.

To support all students and faculty and foster excellence in a diverse and global society, the conservator will be expected to include individuals of diverse backgrounds, experiences, races, ethnicities, gender identities, sexual orientations, and perspectives in work activities.

The search will remain open until July 18, 2017. For a full description of the position and instructions on how to apply, please refer to the George A. Smathers Libraries staff recruitment webpage at http://library.ufl.edu/pers/StaffPositions.html.

The University of Florida is an equal opportunity employer and is strongly committed to the diversity of our faculty and staff. Applicants from a broad spectrum of people, including members of ethnic minorities and disabled persons, are especially encouraged to apply.

Address inquiries to Bonnie J. Smith, Smathers Libraries Human Resources Office, at: bonniesmith@ufl.edu.


3. PAINTING CONSERVATION FELLOWSHIP, The John & Mable Ringling Museum of Art (Sarasota, FL, USA)

  • Application deadline: July 20, 2017
  • 12-month fellowship
  • Anticipated start date is September 2017

The Ringling is a preeminent center for the arts, history, performance, and learning that is dedicated to bringing the past and contemporary culture to life through extraordinary visitor experiences. From its inception, The Ringling has joined the diverse visual traditions and theatrical spectacle of yesterday with the genre-defying global practitioners of today. A place of exploration, discovery and respite, The Ringling’s campus in Sarasota, Florida—which includes the Museum of Art, Circus Museum, a historic home, an 18th-century theater and bayfront gardens—is listed on the National Register of Historic Places. As the State Art Museum of Florida and part of Florida State University, The Ringling fulfills an important educational mission. The Ringling offers formal and informal programs of study serving as a major resource for students, scholars and lifelong learners of every age across the region, country, and around the world. For more information, please visit www.ringling.org.

For detailed job description and to apply, visit: https://tinyurl.com/yckwwvgg.


 4. JUNIOR CONSERVATOR OF PHOTOGRAPHIC MATERIALS, Rijksmuseum (The Netherlands)

  • Application deadline: no later than July 31, 2017

The Rijksmuseum is the museum of the Netherlands. The collection includes 1.1 million (art) objects from and related to the Netherlands from the Middle Ages to the 20th century. In 2013, a completely renovated Rijksmuseum was opened to the public, with 2,000,000 visitors a year, a breath-taking building, an innovative permanent installation, beautiful exhibitions, a dynamic events program and many fun facilities for young and old.

The Paper Conservation Studio of the Conservation Department of the Rijksmuseum Amsterdam seeks a junior conservator of photographic materials, 36 hours per week starting October 1, 2017.

To support the registration and digitization project Print Room Online the conservation department is looking for a junior conservator of photographic materials. The main purpose of this project is to catch up with the conservation and registration backlog in the varied collections of the print room. The principal goal of this position is to efficiently and effectively maintain the physical condition of the collection of 20th century Netherlandish photography and contribute to research of this collection. The head of the paper conservation department is the supervisor of the junior conservator. A coordinator keeps track of the project and its progress on a daily basis and a conservator photographic materials advises on conservation decisions.

The main tasks of the candidate are:

  • To assist in monitoring the physical condition of the collection in order to recognize (possible) decay in a timely manner and to take remedial action accordingly
  • To perform conservation and restoration following instructions, including keeping written and photographic conservation documentation following professional standards
  • To mount photographs in protective housings for storage, use in the study room and exhibitions
  • To contribute to the development of methods and research for the conservation and restoration of photographs in all forms
  • To contribute to projects by attending meetings and participating in development, execution and related administration

Requirements:

  • An academic degree in the conservation of photographs
  • A minimum of one year of practical treatment experience in the conservation and restoration of photographs from a variety of periods
  • Knowledge of current methods of the conservation of photographs
  • A spoken and written command of the Dutch language (or a willingness to learn Dutch in the short term) and a command of two modern languages, of which one is English
  • Familiarity with MS Office and Collection Management Systems

Profile:

  • good social and communication skills
  • a pro-active, analytical and problem-solving attitude
  • a focus on the development of the profession
  • integrity in regards to conservation ethics and aesthetic issues
  • a focus on service and flexibility

The salary for this category 10 position will range from a minimum of EUR 2.912 up to a maximum of EUR 3.810 monthly (gross) for a full-time working week (36 hours/week), depending on education, training and experience, and is exclusive of holiday allowance (8%) and end-of-year bonus .The position is initially for the length of one year, however, depending on its success, a continuation of the contract for a successive year is possible. The Museum CAO applies.

For more specific information about the position, contact Idelette van Leeuwen, Head of Paper Conservation, by phone at +31 (0)20-6747113. For questions regarding the application procedure, contact Lieke Boers, HR Advisor, by phone at +31 (0)20-6747304.

Please e-mail your application (letter and cv) mentioning the job title to vacatures@rijksmuseum.nl no later than July 31, 2017. We plan to have interviews in the week of the August 21, 2017.


5. JUNIOR PAPER CONSERVATORS, Rijksmuseum (The Netherlands)

  • Application deadline: no later than July 31, 2017

The Rijksmuseum is the museum of the Netherlands. The collection includes 1.1 million (art) objects from and related to the Netherlands from the Middle Ages to the 20th century. In 2013, a completely renovated Rijksmuseum was opened to the public, with 2,000,000 visitors a year, a breath-taking building, an innovative permanent installation, beautiful exhibitions, a dynamic events program and many fun facilities for young and old.

The Paper Conservation Studio of the Conservation Department of the Rijksmuseum Amsterdam seeks 2 junior paper conservators, 36 hours per week, starting October 1, 2017.

The two junior paper conservators work in the team of the paper conservation studio that is responsible for the conservation and restoration of objects in the collection in such a way that they remain of the desired quality now and in the future.

The first junior paper conservator is responsible for the conservations of prints and drawings, the preparation of exhibitions and maintenance of and research on the collection of the print room. The conservation of recent acquisitions of the print room collection is another important task.

The second junior conservator will work within the registration and digitization project Print Room Online. The main purpose of this project is to catch up with the conservation and registration backlog in the varied collections of the print room. The principal goal of this position is to efficiently and effectively maintain the physical condition of prints and drawings from the 20th century.

The head of the paper conservation department is the supervisor of the junior conservators. The paper conservation team consists of the head of paper conservation, two paper conservators, two conservators of photographic materials and three conservation technicians, with other conservators and interns being employed on a project basis. A coordinator keeps track of the PK Online project and its progress on a daily basis.

The main tasks of the candidate are:

  • To assist in monitoring the physical condition of the collection to recognize (possible) decay in a timely manner and to take remedial action accordingly
  • To perform conservation and restoration following instructions, including keeping written and photographic conservation documentation following professional standards
  • To mount prints and drawings in protective housings for storage, use in the study room and exhibitions
  • To contribute to the development of methods and research for the conservation and restoration of photographs in all forms
  • To contribute to projects by attending meetings and participating in development, execution and related administration

Requirements:

  • An academic degree in the conservation of paper
  • A minimum of one year of practical treatment experience in the conservation works of art on paper
  • Knowledge of current methods of the conservation and conservation documentation
  • Knowledge of developments in the field of paper conservation
  • A spoken and written command of the Dutch language (or a willingness to learn Dutch in the short term) and a command of two modern languages, of which one is English
  • Familiarity with MS Office and Collection Management Systems

Profile:

  • Integrity in regards to conservation ethics and aesthetic issues
  • Good social and communication skills
  • A pro-active, analytical and problem-solving attitude
  • A focus on the development of the profession
  • A focus on service and flexibility

The salary for this category 10 position will range from a minimum of EUR 2, 912 up to a maximum of EUR 3,810 monthly (gross) for a full-time working week (36 hours/week), depending on education, training and experience, and is exclusive of holiday allowance (8%) and end-of-year bonus .The position is initially for the length of one year, however, depending on its success, a continuation of the contract for a successive year is possible. The Museum CAO applies.

For more specific information about the position, contact Idelette van Leeuwen, Conservation & Restoration department, by phone at +31 (0)20-6747113. For questions regarding the application procedure, contact Lieke Boers, HR Advisor, by phone at +31 (0)20-6747304.

Please e-mail your application (letter, cv and list of publications) mentioning the job title to vacatures@rijksmuseum.nl no later than July 31, 2017. We plan to have interviews in the week of August 15, 2017.


6. POSTDOCTORAL FELLOWSHIP, Northwestern University Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS) (Chicago, IL, USA)

  • Deadline: August 14, 2017

The Northwestern University-Art Institute of Chicago Center for Scientific Studies in the Arts (NU-ACCESS) is seeking a Postdoctoral Fellow to undertake objects-based and objects-inspired scientific research in the arts. Reporting to the Center’s Senior Scientist, the postdoctoral fellow would support the research agenda of the Center that includes collaborative research projects with institutions of cultural heritage in the United States, Europe, and around the world. For information about the type of projects at the core of the Center please see

The appointment will be for one year through funding from the Andrew W. Mellon Foundation.

Primary duties:

  1. Perform scientific research: (a) to characterize materials, structures and components of artworks either in their original state or after aging or deterioration; (b) to broaden ways of studying works of art, and (c) to synthesize scientific findings to address art historical and archaeological questions. Conduct applied research to support broader areas of inquiries as delineated in project proposals.
  2. Maintain working relationships with curators and conservators at participating institutions as well as with Northwestern faculty and technical staff to foster collaborative research projects and publications centered on cultural heritage science.
  3. Work with the Center’s Senior Scientist to foster understanding and assimilation of results and approaches of scientific research in the arts among curators, conservators, university professors and their students, administrators, other staff, the general public and other AIC and NU support groups.
  4. Operate analytical instruments after required training.
  5. Maintain records of research and analysis and sample archives. Compile final reports for all completed projects.
  6. Contribute to the preparation of reports to funding agencies.
  7. Travel to attend conferences, present papers and confer with colleagues in the US and internationally.
  8. Contribute to the production of high-level scientific research publications in the field of cultural heritage science and technical art history.

Minimum qualifications: Doctoral degree in Chemistry, Materials Science and Engineering, Physics, related disciplines, or in Conservation Science/ Archaeological Science is required.

Application materials consisting of a CV and cover letter along with names and contact information of three references should be uploaded to the NU-ACCESS online application by August 14, 2017 for full consideration. To support the application up to three recent peer reviewed publications can also be uploaded as PDFs.

Northwestern University is an equal opportunity, affirmative action employer. Qualified women and minorities are encouraged to apply. It is the policy of Northwestern University not to discriminate against any individual on the basis of race, color, religion national origin, sex, sexual orientation, marital status, age, disability, citizenship, veteran status or other protected group status. Hiring is contingent upon eligibility to work in the United States.


7. PHD STUDENTSHIP, Center for Research on Conservation, National Museum of Natural History, and the Laboratory of Physico-Chemistry of Polymers and Interfaces, University of Cergy-Pontoise (France)

  • Application deadline: September 1, 2017

Collaborative Doctoral Program PhD studentship ‘Strengthening and deacidification of cellulosic objects of the cultural heritage using polyaminoalkylalkoxysilanes. Application to library collections’

Research will be carried out at CRCC (Center for Research on Conservation, National Museum of Natural History, CNRS), and LPPI (Laboratory of Physico-Chemistry of Polymers and Interfaces, University of Cergy-Pontoise)

Project: Acidity is a major problem for the preservation of paper based collections. Late 19th and early 20th century paper collections are sometimes of mediocre quality, especially newsprint paper. Because of their acidity and brittleness their access is often very restricted. CRCC and LPPI have developed novel treatments based on the use of copolymerized aminoalkylalkoxysilanes (AAAS) that allow the simultaneous deacidification and strengthening of paper. The PhD shall pursue this work by studying the interactions between the treatment and its substrate using solid state NMR, SEM-EDX and nano-FTIR spectroscopy. In order to adapt the treatment formulation to a large variety of materials often present in library collections, the chemical and time stability of the document-treatment system will be investigated. Adapted artificial ageing methods will be developed to that purpose. A large range of naturally aged previously treated papers is available as well for evaluation. The formulation of the treatment will be optimized to adapt to other materials present in library collections in association with paper such as bindings, adhesives, inks and other graphic media. The use of antioxidants will be evaluated in relation to the treatment efficiency (mechanical testing, chemical properties). In order to test the treatment on real documents with varied and complex composition, items from the French National Library, our project partner, will be treated and evaluated.

Requirements: The preferred candidate has recently finished a Master’s degree in chemistry (organic chemistry, polymer chemistry, material science, analytical chemistry). A strong interest for cultural heritage preservation issues will be an asset. Language skills (French and English) are essential. Being highly motivated and the ability to work in a team will also be important prerequisites. Work will be equally divided in both laboratories (CRCC, LPPI) and a few trips to the French National Library will be planned. The candidate will be enrolled in the Doctoral School of Sciences and Engineering of the University of Cergy-Pontoise.

Supervision: Anne-Laurence Dupont (CRCC), Odile Fichet (LPPI), Isabelle Fabre-Francke (LPPI)

Funding: PhD studentship 3 years; Start October 1, 2017.

General conditions:

  • CV
  • Cover letter
  • Transcripts (MSc and BSc) and copy of the diploma if available

Contacts: Anne-Laurence Dupont (anne-laurence.dupont@mnhn.fr), Odile Fichet (odile.fichet@u-cergy.fr), Isabelle Fabre-Francke (isabelle.fabre-francke@u-cergy.fr).


8. OBJECTS CONSERVATOR, Christchurch (Christchurch, New Zealand)

This is a temporary full time position for 6 months working for a tiny but busy private conservation practice working on a large number of different types of objects. Involves both practical treatment and documentation of objects from archaeological items to modern sculpture. The position will involve working on site in various locations in Christchurch. Training opportunities will be given.

The position is only open to New Zealand or Australian Citizens or those holding a valid New Zealand work permit (this may include a working holiday visa).

The position will be allocated to the first suitable candidate. The position would be to start August 2017.

Essential Requirements:

  • Recognized graduate qualification in conservation
  • Must be qualified to become a full member of New Zealand Conservators of Cultural Materials (NZCCM), and willing to adhere to their code of ethics
  • Experience working as an objects conservator in a Museum or Lab environment
  • Familiarity with OSHA regulations and Health and Safety
  • Reliable and responsible
  • Full, Clean Driving License
  • No criminal convictions
  • Ability to work at heights and in small spaces and wear a mask if required
  • Must be able to lift and carry
  • Excellent English both written and spoken
  • Excellent color vision and manual dexterity
  • Confident in the use of Microsoft Word, Excel and PowerPoint

For further information or to apply please send a CV and covering letter to Emily Fryer Conservation Ltd., +64 3 9812598, emily@emilyfryer.co.nz.


9. POSTGRADUATE FELLOW IN PAPER CONSERVATION, The Colonial Williamsburg Foundation (Williamsburg, VA, USA)

Position will remain open until filled

Full-time: 37.5 hours/week, Monday – Friday

The Colonial Williamsburg Foundation offers a full-time, one year fellowship, with the possibility of renewal, for the conservation of library and archive materials. The fellow will be responsible for the care and treatment of objects in the John D. Rockefeller Jr. Research Library Special Collections and the Colonial Williamsburg Foundation Corporate Archive. Special Collections material includes 18th-century issues of the Virginia Gazette which document the transition of Virginia from colony to state and the founding of the United States of America; correspondence between multiple period political figures; regional playbills; numerous household inventories; and rare books. The Corporate Archives include 20th Century scrapbooks, photographs and paper materials related to the establishment and history of the Foundation.

Primary tasks: Under the guidance of the Senior Paper Conservator, the fellow will undertake tasks to include conducting surveys, examination, appropriate research and analysis, documentation, designing and implementing treatments, re-housing and formulating recommendations for optimal preservation. The fellow will assist in maintaining the workspace and ordering supplies.

Required qualifications: Candidates will have a Master’s degree in conservation and a minimum of 3 years of experience, including educational experience, with works on paper. The successful candidate will demonstrate excellent skills in verbal and written communication, critical thinking and problem solving, time-management and organization.

Preferred qualifications: Digital photography and photo editing competency. Specialized training and experience with library and archive materials, and photographs.

Starting salary: Salary commensurate with experience. Benefits package eligibility.

For more information, and to apply please visit https://www.hrapply.com/cwf/AppJobList.jsp.

Colonial Williamsburg is an equal opportunity employer.


10. FELLOWSHIP IN ARCHAEOLOGICAL MATERIALS CONSERVATION LAB, The Colonial Williamsburg Foundation (Williamsburg, VA, USA)

Assists with functions of the archaeological conservation lab in supporting Colonial Williamsburg’s a very large archaeological materials collection and a number of active sites. The internship will focus primarily on two components of the collection:

First, treatment of the Archaeological Materials Conservation lab’s numerous iron objects, which require mechanical cleaning to remove concretions followed by desalination. Here, the intern will be responsible for the weekly monitoring of the desalination tanks, help with taking and processing x-rays, and will be involved in the review process to help select iron for treatment.

Second, the internship will focus on preparing the study collection for an upcoming move to a new storage facility and preparing objects for exhibit. Activities associated with this component may include survey work, constructing housings and supports, and treatment.

Major job duties:

  • Carry out established conservation procedures, including examination and treatment of iron artifacts.
  • Maintain detailed records of conservation treatments.
  • Identify conservation problems, initiate requests, implement solutions under established conservation guidelines, and make recommendations for resolving difficult or unusual problems.
  • Laboratory upkeep and assisting in the ordering of supplies and equipment and maintenance and inventory of materials.
  • Outreach activities including lab tours, children’s programs.
  • Work with conservation volunteers to achieve conservation goals and objectives.

Job description:

  • A Master’s degree in conservation or a related field.
  • A minimum of three years specialized conservation experience, including work on archaeological materials.
  • Familiarity with a wide variety of materials including organics and metals; knowledge of the manner in which archaeological materials deteriorate in the burial environment and in storage.
  • Working knowledge of acceptable practices for conservation and maintenance of objects.
  • Attention to detail and accuracy.
  • Familiarity with accepted practices for achieving workplace safety.
  • Working knowledge of computers and databases.
  • Experience with digital photography, photo-editing.

Preferred job requirements:

  • Experience with digital X-ray operation.
  • Experience working with objects from historic period sites and contexts.
  • Experience working with archaeological materials on-site.
  • Familiarity with EMu as a collections database.

For more information, and to apply, visit: https://tinyurl.com/ybdmv7lm.


11. FRAME TECHNICIAN CONSERVATION, The National Gallery of Art (Washington DC, USA)

  • Full-Time, Permanent

Frame Technician in the Conservation Division at the National Gallery of Art, Washington, DC. This position is within the Office of the Deputy Director and specifically working for the Preventive Conservation Department. The primary purpose of the position is to perform minor treatments on frames owned by the National Gallery of Art, including the preparation of frames for the permanent collection, exhibitions and travel.

Primary Responsibilities:

  • Assists with the administration of outgoing loans and performs minor treatments to the finish and structure of frames owned by the National Gallery, or on loan to the Gallery with the permission of the lender
  • Treatments include establishing structural stability, or making modifications to fit and secure the painting within the frame
  • Maintains departmental facilities and supplies ensuring that materials are stocked, workrooms are kept clean, and equipment is in working order
  • Assists with the administration of temporary exhibitions and the maintenance of the files and digital files created in the department

Please visit the USAJOBS website address to apply for this position: https://www.usajobs.gov.

Search for the National Gallery of Art and find the Technician position in the Gallery’s job postings.

Please read all of the instructions that are posted for the official job announcement. Detailed, specific steps are required to complete an application for this position and are only provided in the USAJOBS website describing this position. Please do not apply or send any required material to the name and address in this Distlist posting. Contact Information listed here is only to direct interested applicants to the job posting and to address questions potential applicants might have that are not answered in the comprehensive USAJOBS website posting for this position. Please act promptly due to time limits and the number of applicants who may be accepted for a review of their credentials.

45th Annual Meeting – Collection Care Session, “Evaluation of climate control in Yale Peabody Museum of Natural History–energy consumption and risk assessment” by Lukasz Bratasz et al

 

Lukasz Bratasz et al presented about a risk assessment and recommendations made for storage of the collections at Yale’s Peabody Museum of Natural History.  Trying to get away from flat-lined standards, they are taking a risk management approach to most effectively spend their preservation resources in a pragmatic and sustainable way.  By doing a risk analysis and gathering data on current energy use across the campus (and comparing with some far-flung peers), a pretty stark result was revealed.  What struck me most about the presentation, the active question and answer period notwithstanding, was the confirmation of my gut feeling that chemical degradation is the most serious preservation risk that many collections face.  Yes, fires can be catastrophic and leaks happen frequently, but chemical degradation happens constantly and quietly at human-comfort temperature storage with extreme relative humidity swings, until one does an analysis like this and bring it to everyone’s attention.

In their relatively quickly assembled risk assessment, the notion of item value was disregarded and every item was assumed to have the same value.  This is appropriate for collections that are of value in the aggregate.  Some audience members found this to unrealistically skew the data, but I don’t have a problem with it.  It is always possible to add on the variable of value later, when one is ready to address multiple risks of similar likelihood and severity.  But to get the big picture, I think this kind of assessment is a good first step.  The most significant risks identified included mold growth, pest damage, chemical degradation, and mechanical damage.

The scope of the project was to analyze energy consumption and current environmental conditions, assess the preservation condition of the collections and determine the risks.  The risk assessment revealed that chemical degradation was two orders of magnitude above any of the other risks.  They found they could both address the most significant risk and save energy at the same time, so they prioritized on improving the climate for the collections.

Some of the comparisons for energy use seemed like apples and oranges (i.e. comparing a multi-use, aging building in New Haven with a relatively new passive-environment storage facility in Denmark).  However, it was clear that the aging building was wasting money and energy compared to other buildings at Yale.  This was due primarily to a high ventilation rate and constricted set points that did not allow for any floating.  In other words, they were bringing in too much fresh air, and keeping such a tight set point that they were constantly running the equipment to either heat or cool.  The rigid temperature set point combined with the uncontrolled humidity brought in by unnecessary fresh air meant that the indoor humidity ranged from 10-80%, extremes which cannot be safely tolerated by natural history collections without risk of mechanical damage.

They made the point that the collections had weathered temperature and humidity changes for years before the current flat-lined temperature was implemented, and thus the collections have been “proofed” and don’t require the flatlining.  Among my library conservation colleagues the proofing concept is not fully embraced…just because the mechanical damage hasn’t happened in the past, once chemical degradation has progressed to a certain point, mechanical damage due to the shock of a temperature or RH spike could still happen even to an aged object.  However, within a moderate range I suspect the Yale authors are right that some variation of temperature and humidity is not likely to cause damage.

The recommendations made were to move the most vulnerable ethnographic collections to cool storage, reduce the ventilation rate, adopt dual set point control (i.e. minimum and maximum rather than single point) for both temperature and relative humidity, control the relative humidity to eliminate the extremes, and evaluate the conditions according to long term temperature and relative humidity values.  While the recommendations at the end of this presentation did not emphasize energy savings, I’m guessing this was a selling point and was part of the bargain with facilities and administration, who juggle multiple priorities and are more likely to embrace a win-win solution.

45th Annual Meeting- Paintings Specialty Session, June 1, 2017- “Mapping a Way Forward: Bringing an artwork back from self-destruction, by Per Knutås and Samantha Springer”

Confession time. Having done my third-year intern in the Cleveland Museum of Art (CMA), I was already familiar with the artwork and treatment involved in this presentation. The first time I heard about it, I was shocked, then curious, then awed. The complexity of the problem and solution never ceases to impress me and make me question my previous opinion, a feeling familiar to those who specialize in the conservation of modern and contemporary art.

Mapa estelar en árbol. Image courtesy of the Cleveland Museum of Art.

Per Knutås, Paintings Conservator and Chief Conservator at the CMA, and Samantha Springer, Conservator at the Portland Art Museum and former Objects Conservator at the CMA, gave a joint presentation on the issues and treatment process of Gabriel Orozco’s Mapa estelar en árbol (Stellar Map in Tree). Their presentation was a drastic change of pace from the previous two lectures that dealt with 15th-16th century European altarpieces (the Ayala and the Monopoli altarpieces), both of which coincidentally had problems with the formation of insoluble oxalates on the surface (a possible topic for a future symposium?). Although a three-dimensional object, the thought here was to look at Mapa estelar en árbol as a modern panel painting which is how the artist conceived the piece. The treatment crossed traditional conservation specialty boundaries and required collaboration between conservators and the artist.

The artwork

Mapa estelar en árbol is a 30-40 cm thick cross-section of a salvaged mango tree trunk, 70 cm in diameter. Mexican artist Gabriel Orozco wanted to resurrect the tradition of panel painting and used the tree trunk as a modern and unconventional panel. He prepared the end-grain surface in the classical manner by covering it with fabric and layers of gesso. The geometric sgraffito design was created by applying graphite all over the gesso and then incising into it with a compass, another tool that has fallen out of use. The back (other end-grain surface) was sealed with a waxy material. The work debuted at the Kurimanzutto Gallery in Mexico City in 2009. A CMA curator bought the work on opening night.

Detail of the damaged surface. Image courtesy of the Cleveland Museum of Art.

The problem

Mapa estelar en árbol arrived to the CMA months after its debut in Mexico City. The work had already developed hairline cracks and delamination in that short amount of time. It was unexhibitable within a year. The wood had shrunk with changes in RH, the canvas buckled, and the gesso/graphite layers were severely cracked and lifting from the surface. No conservation treatment, however extraordinaire, would be able to mask the damage and restore the pristine surface. It would leave a scarred surface and the viewer would only see the hand of the conservator. From the CMA’s point of view, the piece was dead.

 

The meeting

Hoping to get a replacement or get the work re-made, the CMA team got in contact with the gallery and the piece was sent back to Mexico City to be examined by the artist and his team. The Mexico City meeting included Per Knutås, Reto Thüring (Curator of Contemporary Art at the CMA), Gabriel Orozco, his fabricator (who also happens to be a conservator), and the Kurimanzutto Gallery. While the artist initially said he didn’t mind the changes as they spoke to history of the piece, he then suggested his fabricator/ conservator carry out a restoration treatment to fix it. The CMA reserved the right to reject the restored work if the appearance didn’t meet their standards and expectations as this was an option they had previously discussed and rejected in-house. After a failed attempt by the Mexico City fabricator/ conservator, a new arrangement was reached.

The Solution

Refusing to have the work remade in the same way as the original, the CMA staff proposed the addition of a new layer to the original stratigraphy: an inert substrate that would serve as an interleaf of sorts between the dimensionally unstable wood and the fabric. After several rounds of mock-ups and testing back in the Conservation Department at the CMA using green cuts of Mulberry trees (no mango trees to be found in Cleveland) to mimic the original, they settled on the use of a stainless-steel plate that would be adhered to the wood with a custom-made silicone adhesive that could be flexible enough to move with the wood. The canvas would be wrapped around the stainless steel and adhered with BEVA Film. Per traveled to Mexico City where he adhered the canvas-wrapped stainless-steel plate to the original tree trunk. Gabriel Orozco and his team completed the rest of the recreation.

Samantha Springer doing materials testing. Image courtesy of the Cleveland Museum of Art.
Per Knutås in the artist’s studio adhering the fabric to the stainless-steel plate with BEVA Film. Image courtesy of the Cleveland Museum of Art.

 

Conclusion

Mapa estelar en árbol as it is currently displayed in the CMA galleries. Image courtesy of the Cleveland Museum of Art.

The second iteration of Mapa estelar en árbol returned to the CMA months later, where it was left under watch in the Conservation Department for several months (this is when I first met the piece). The new inert layer worked perfectly and no changes or damages have since been observed on the piece, which is now happily displayed in the Modern and Contemporary galleries. The original creation date was kept as they deemed it to be too confusing to list a new intervention date. Also, the artist created another version of this piece (now in a private collection), and he wanted both to be a pair with the same dates.

While the artist retained the traditional conceptual role, this treatment put the conservators in the unusual role of producers driving the process and pushing ethical boundaries. Most would question if it even is the same work of art. Many in the audience struggled to come to terms with it. The Q&A session was dominated by questions on whether they tried to do any consolidation or transfer techniques before deciding to scratch the original surface. An audience member brought up an interesting point. Where Per and Samantha acting as conservators or collaborators? They were not using their technical information as conservators. They were collaborators and technical resources for the artist and as such, the ethics of our profession didn’t apply. This was one of the longest Q&A sessions I have been in, a clear sign that the presentation provided much food for thought.

45th Annual Meeting – Paintings Session, June 1, “What the Folk Happened to Kitty James and other Folk Tales” by Nina Roth-Wells

Nina Roth-Wells’ talk focused on a treatment that best embodies that crashing realization that you have much more work ahead of you than you’d planned on.

The misadventures of Kitty James started out innocently enough. The portrait, an 1822 work by Ezra Ames, was one of twenty-some early nineteenth century New England folk paintings which needed treatment before inclusion in an exhibition: Colby College Museum of Art’s A Useable Past: American Folk Art. Nina begins her talk by going through some more rote treatments from the same collection, a typical smattering of mends, cleaning, inpainting, and the occasional lining. With great pleasure, she explains how she was able to reverse a drastic restoration, thereby getting as close to the conservator’s dream of time-travel as we’re likely to reach: a canvas painting which had been attached to Masonite was removed and given a strip-lining instead.

Those treatments comprised the group of paintings Nina had selected on the criteria of needing both structural and aesthetic work. The rest were determined to be less complicated treatments and were scheduled to be completed onsite at the museum. She had initially categorized Kitty James in this second set, as it appeared to be an untreated 19th century work, requiring primarily surface cleaning.

Upon beginning surface cleaning, though, things started to go awry. The child’s hair was awfully soluble for how old the paint should have been, her sleeves seemed to be revealing different sleeves when cleaned, and the background was also coming up. The curator was quickly summoned. Artist revision was ruled out as it became clear the overpaint was done by a different, less experienced hand. In search of answers, Nina and the Colby College Museum of Art dragged Kitty James to the local hospital: specifically, the radiography department. This is where the audience learned that small town Maine x-ray technicians have experience working with art because they (or perhaps just this one curious soul) have experimented on duck decoys! The whole experience was both useful and joyful it seemed, as Nina expounded on the ease of digital x-rays compared to the analog procedures of her early training. There were lots of radiography tips, both in the talk and in the Q&A afterwards: suggestions to achieve the best low contrast results included setting the machine for a finger scan (2mAs at 60 KV), or to simply go straight to the mammography department. Nina, the equestrienne, reminded us city dwellers that large animal vets are also a good resource.

Of course, an x-ray is only as useful as the information it gives the conservator, and here it revealed that Kitty James had in fact been altered at some point, and the repainted image differed in the bodice and hairstyle, just as Nina had run into. Given this image of the original to work from, and with the agreement of the curator, a campaign to return poor Kitty to her initial visage was undertaken. A fair amount of overpaint removed cleanly, revealing original details and rewarding the conservator’s effort. The rest proved intractable—and frankly harmful to the original paint to try to remove—over parts of the sleeves and on her forehead where the overpaint hid her side-swept bangs. Thus, Nina’s job became to reconstitute both the original pageboy haircut and some semblance of period-appropriate sleeves from areas which included both original paint and overpaint. A happy medium for the sleeves required some research into 19th century baby clothes, and getting her hair right required several frustrated attempts which Nina characterized as ‘Justin Bieber’ and ‘Peppermint Patty.’ Though she expressed unease with how much of her own artistic interpretation was going into the final painting, the UV after treatment photo really demonstrated her restraint despite the extensive work needed to bring the painting together visually.

Thanks to research done while this painting was in treatment, there’s a possible explanation for Kitty’s new hairdo and wardrobe. In summary: there have been two Kittys in the James family, one (Catherine Margaret James) who would have been the right age for this 1822 portrait, and one (Katherine Barber James) who would have been the right age for the 1840’s fashion and hairstyle that were added in overpaint. The second Miss James was a prominent society lady, so the theory is that the family had the portrait altered to represent to more well-known relative.

All in all, the treatment was a wild ride, but Kitty James emerged safely with the original Kitty James reinstated.

45th Annual Meeting – Book and Paper Session, June 1, “Re-engineering Broken Book Spines” by Emily Hishta Cohen

Emily Hishta Cohen presented a technique for repairing case bindings, where the case has detached from the textblock along one or both board joints. This technique was developed in the MIT Libraries Preservation Department, and continues to be used there frequently in the repair of books belonging to both special and (more recently) circulating collections.

The technique is essentially a modification of a hollow tube repair, except that the tube is gradually constructed on the book using layers of tengucho (or other very thin Japanese paper), adhered with a mixture of wheat starch paste and methylcellulose. Silicone-coated Mylar is used to prevent the tube from adhering to itself as the repair dries. After the spine hollow is reconstructed, internal hinges of tengucho are adhered along the inner board joint(s) to reinforce the repair. Notably, this technique preserves all existing spine linings. Rather than cleaning them off, as with traditional re-backing techniques, here they are left in place and re-adhered as necessary. The best way to understand how this repair is executed is to watch a very thorough step-by-step video created by the MIT Preservation Department, available at this link: http://bit.ly/MITRBBS.

This technique is reversible, minimally interventive, and preserves all existing components of a binding, all of which are admirable qualities in a conservation treatment.  It appears perfectly suited to cloth covered case bindings of a relatively small size (such as the one that appears in the video). The abstract mentions that the technique can be modified for larger, heavier books by using cloth in place of Japanese paper. I would be interested in seeing how this would be done without removing existing spine linings to make room for the extra bulk of the repair cloth, which would be significantly thicker than tengucho.

Regardless of how it might be adapted to more substantial books, this “re-engineering” technique is a reminder that sometimes, the weaker repair material is the ideal choice. I’ll certainly keep this technique in mind.  A conservator can never have too many tricks up her sleeve.