Month: August 2017

Harvey Updates 8/29

As we learn more about Harvey’s impact on the cultural institutions in southeast Texas, we will share updates on conditions and our plans for response.

Until we have information to share, please consider referring to these sites for updated posts:

National Oceanic and Atmospheric Administration’s National Hurricane Center: http://www.nhc.noaa.gov/graphics_at4.shtml?cone#contents

New York Time’s Harvey Live Updates: https://www.nytimes.com/2017/08/29/us/hurricane-harvey-storm-flooding.html?mcubz=1

ArtNews Updates on Texas Art Museums: http://www.artnews.com/2017/08/27/as-harvey-hits-texas-museums-shutter-082717/

 

REMINDER: please encourage all local contacts to spread the word about our National Heritage Responders and their free 24/7 hotline for impacted institutions at 202.661.8068.

45th Annual Meeting – Workshops, May 28-29, “Reading Between the Lines: Understanding Construction and Exhibit Design Drawings” – Collections Care Network

I participated in the “Reading Between the Lines: Understanding Construction and Exhibit Design Drawings” workshop along with 12 other conservators. During the introductions, we learned that the participants come from all over the country and as far away as Taiwan and Australia. Many had signed up in order to prepare ourselves for upcoming major renovations or new construction in our institutions. The workshop was taught by four instructors: Jeff Hirsh (Architect, Principal, Director of Cultural Practice at EwingCole), Bill Jarema (Principal, Mechanical Engineer at EwingCole), Angela Matchica (Principal, Electrical Engineer and Lighting Designer at EwingCole), and Mike Lawrence (Chief of Design at the Smithsonian National Museum of Natural History). EwingCole, an architecture, engineering, interior design, and planning firm, has worked extensively with museums and other cultural and research institutions. They recently collaborated with Mike Lawrence and Cathy Hawks (Museum Conservator at the NMNH and a participant and organizer of this workshop) on building the Q?rius Learning Space at the Smithsonian National Museum of Natural History, a permanent exhibition space in which visitors can engage with the museum collections through hands-on interactions. Much of the materials that were used in the workshop – drawings, specs, images, and group exercises – are documents from the Q?rius project.

The workshop covered a lot of ground, filling two full days during which we plunged into the complex world of construction projects. The workshop utilized a mixture of powerpoint presentations, tabletop exercises, and both planned and impromptu Q&A sessions to guide us through each step of the renovation process and help us to understand different types of construction and exhibit design documentation.

Day 1: Introduction to stakeholders, phases of design, basic terminology, reading mechanical and electrical drawings

We began with an overview of the stakeholders in a given construction project and the progression of projects from start to finish. I found it very helpful to learn about the types of documentation created during the various phases of planning and what level of detail can be expected from each phase. For example, a project starts from a concept report, which narrates the scope, timeline, and intent, progress to schematic designs, then to more detailed design development drawings, and finally to construction documents, which will go out to contractors for bidding. This lesson was supplemented by a tabletop exercise that asked the participants to find light temperature information among documentation from various phases of Q?rius design process. The exercise helped to drive home the importance of becoming a stakeholder and communicating preservation priorities at an early stage of the project, since it is becomes increasingly more costly and difficult to make revisions as the project progresses.

In the morning, we also learned basic terminology and symbols found in drawings. Because depicting the numerous things that are happening in a space – both inside and outside of the walls – is so complex, multiple drawings representing various levels of detail, multiple perspectives (elevation, plan, section), and specific categories of information are necessary. These drawings are supplemented by written documentations such as indices, keynotes, and specifications to convey the full scope of information. A reviewer must understand the system of symbols used as shorthand to indicate important information such as past edits, recent changes, the location of detail drawings, and demarcations of areas slated for demolition. At the start of the workshop, Jeff Hirsch had introduced the building as “a tool for preventive conservation”, and as the session progressed, I found it increasingly more helpful to think of the drawings as a set of instructions for using a very complex tool – in our case we are looking for ways to maximize the building’s ability to support collections preservation.

In the afternoon, we delved deeper into the different types of construction drawings by examining the general, architectural, mechanical, and electrical drawings, which each come with their own system of symbols that are used to communicate a wealth of meaning. Despite the sometimes daunting complexity of the drawings, it became clear that they follow a very specific and consistent order. I learned that when reviewing the drawings, it helps to understand them as both a set of instructions for the contractors and a legally binding contract for all stakeholders. As the latter, edits and revisions are closely tracked from version to version. Successful drawings clearly, thoroughly, and accurately communicate the scope of the project, including what is being demolished, what is being built, and what materials are being used for construction. Since each drawing can contain an overwhelming amount of information, approaching them with specific questions in mind makes them easier to navigate.

Some examples of information a conservator may need include: Do the edges of a demolition space impinge on existing collections? What are the fire ratings of the partitions slated for use in collections storage spaces, and will the fire rated partitions be fully enclosed (they must be in order to be successful)? Are there flammable materials sharing a wall with collections storage? Are smoke detectors and sprinklers located in appropriate areas? Are there enough outlets reserved for housekeeping, and are they readily accessible? What types of light sources are being used and how will they be controlled? If a new HVAC system is being installed, look to the mechanical schedules for the system’s ability to provide humidification/dehumidification and filtration information, and to the control chart for set points. Finally, with all systems that require maintenance and upkeep, it’s important to consider their proximity to collections materials, the frequency of maintenance, as well as space needs of associated personnel and equipment.

Day two: preventive conservation, exhibition design, and Q&A session

On day two, instructors began with an example in which the design team and conservators collaborated to identify an optimal pathway to move collections between the freight elevator and the Q?rius exhibit at the Smithsonian NMNH. An ideal pathway was not available, so the team mapped various options on the floor plan and used color coding to identify areas with issues such as security, access, and cleanliness. The drawing was supplemented by a filmed walk through of the actual path, which communicated potential issues with a clarity and immediacy that was difficult to convey through other media. I liked the way this example underscored the ways in which preventive conservation often relies on collaboration among parties with specializations beyond conservation, and that it focussed on an aspect of the environment – pathways – that is often overlooked when thinking about preventive conservation.

This followed with a tabletop exercise to find the outlets in the the drawings for the Q?rius space, which drove home how sometimes the little things can make a big impact on the maintenance of a finished space. In this case, it was important for us to consider the amount and location of outlets designated for a new space to make sure that enough are available for both display cases and for housekeeping use. In addition, we had to consider the accessibility of outlets for housekeeping and deduce from the drawings whether staff had to crawl into the base of display cases to reach outlets, for example. Through this exercise, we also learned that it was often necessary to switch between different sets of drawings (in this case, between electrical and exhibitions) because the information we needed was covered by overlapping specializations.

Moving further into the world of exhibition design drawings, we examined ways in which an existing space can be slightly modified to provide better climate collections objects. For example, Mike discussed an instance in which he built a vestibule as a means of limiting air exchange to an exhibit space that is located close to exterior walls and windows. In these instances the contractor schedule would be the place to look for information regarding the types of doors that are designated for use in a space.

Mike also walked us through the ins and outs of looking at drawings of custom exhibit cases, which provide detailed information on what can and cannot be done. I took a lot of notes here of factors that are important in the final product, such as: glass size (may be swapped to a different type without notice), acceptable deflection amount, potential need for levelers, desiccant chamber capacity (consider the climate of space that the case is going into), presence/type of lighting inside the cases, type of gasket used (does it actually press against the other side?), presence and composition of adhesives inside case. Getting custom cases sounded like a taxing process that was further complicated by the case builder’s use of proprietary materials.

The workshop concluded with a lively Q&A session that was populated by both questions that were pre-submitted by participants and by impromptu questions. Instructors and participants discussed questions relating to fire coding in collections and user spaces, condensation in air diffusers, preparing for a new building to be added to a museum, and considering the efficacy of using inhouse vs. outside consultants on construction projects. All in all, the workshop covered a lot of ground in two day period and offered a wealth of information that I was happy to bring back to share with my colleagues in preparation for our own renovations. I certainly felt more prepared and informed when our own construction drawings arrived at my desk several weeks later.

Assistant/Associate Conservator of Furniture (Winterthur, DE, USA)

  • Review of applications will begin as of September 15, 2017 and continue until the position is filled
  • Scheduled days/hours: Full Time- 35 hours/week
  • Department: Conservation

Winterthur Museum, Garden & Library in Winterthur, DE seeks candidates for the position of Assistant/Associate Conservator of Furniture in a dynamic furniture conservation laboratory whose mission is the preservation and enhanced understanding of wooden objects through collection preservation (documentation, treatment, and implementing storage strategies), exhibition, education and outreach, and object-based research and analysis. This position offers a unique and exciting opportunity for a highly motivated individual to engage the history, craft, conservation, and material science of nearly 15,000 examples of early American furniture and architectural elements in a world-class museum and library comprising 89,000 objects made and used in America from 1630 -1860; 20th century Winterthur Estate materials; and 500,000 documents, books, manuscripts, and images. The successful candidate will collaborate with colleagues across the institution to exhibit furniture in both gallery settings and furnished rooms of the former du Pont home. In addition to the above, responsibilities will include teaching and advising in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC) and engaging in public and professional outreach.

In addition to furniture, the Conservation Department includes eight other laboratories staffed by leading professionals in: paper, textiles, objects, library and archival materials, preventive and collection care, and paintings conservation; conservation photography; and scientific research and analysis.

 Job Requirements: A Master’s degree in conservation combined with a minimum of two/seven years conservation experience is required. Applicant must possess strong hand skills applicable to furniture making and wood manipulation. The successful candidate will undertake the care, treatment and study of furniture and wooden objects in the Winterthur collection. Familiarity and facility with allied materials as they relate to furniture is a preferred. Experience with power and hand tools required. The applicant must demonstrate treatment achievement, teaching and scholarly potential, and evidence of professional engagement. Support of the museum’s overall conservation efforts are an integral component of the position and the candidate must be committed to extensive collaboration with museum conservators and scientists; curators; exhibition, registration, development and other related staff; and WUDPAC faculty and students. In addition to care of the Winterthur Collections, the Furniture Conservator may also supervise documentation and treatment of archaeological, ethnographic, modern and contemporary artwork/objects through WUDPAC student projects. The successful candidate will demonstrate (1) excellent interpersonal and communication skills with staff, students, museum and university colleagues, donors, and the general public (2) creative thinking and solutions-based problem-solving, and (3) superior organizational abilities with a high attention to detail. A proven ability to work both collaboratively and independently while managing multiple tasks simultaneously is required.

This position reports to the Senior Conservator of Furniture.

Salary will be commensurate with experience. To apply, send a letter of interest, curriculum vitae, writing sample, and contact information for three professional references familiar with your furniture conservation experience to: jobs@winterthur.org. Please reference Job #1135 – Furniture Conservator in the subject line. Review of applications will begin as of September 15, 2017 and continue until the position is filled.

Conservator (Princeton, NJ, USA)

*** PLEASE DO NOT APPLY FOR THIS POSITION AS IT HAS BEEN FILLED ***

The Princeton University Art Museum, one of the nation’s preeminent cultural institutions in an academic setting, seeks applications for the position of Conservator. The successful candidate will have the opportunity to work within the setting of an art museum that is intimate in scale yet expansive in scope, overseeing the care and preservation of a highly-regarded, globe-spanning collection representing 5,000 years of world history.

Under the supervision of the Associate Director for Collections and Exhibitions, the Conservator oversees the Museum’s conservation laboratory and has responsibility for the physical care of the Museum’s extensive collections. The Conservator supervises, schedules, and/or performs conservation and preservation of the Museum’s collections, including examination, documentation, analysis, research, preventative maintenance, and treatment. The Conservator also manages all contract conservators, student interns, and volunteers who participate in conservation activities, and coordinates with the Director, curators, registrars, and other staff members to establish procedures and priorities for safe handling, storage, exhibition, and loan of the collections. Moreover, the Conservator collaborates with Museum educators to inform the campus and community about conservation and preservation initiatives. The position requires the ability to develop and oversee faculty and student collaborations and innovative art-science partnerships, and may require the ability to plan and oversee a substantial expansion of the Museum’s conservation activities and facilities at a future date. Working with the Director, the Associate Director for Institutional Advancement, and others, the Conservator assists in the stewardship of donors, prepares grant documents, and advances funding strategies.

The Museum is a fast paced, team-based environment, producing multiple projects that range in scale and complexity and are subject to demanding timetables. An ability to balance multiple projects simultaneously and to communicate effectively and regularly with many members of staff, including the Museum Director, is essential to the position.

Required qualifications include an advanced degree in art conservation. A concentration in painting conservation is preferred, although a background in the conservation of three-dimensional objects may be considered. A minimum of five to ten years of conservation laboratory work beyond the internship level, including administrative or supervisory experience, is essential. Candidates with additional experience will be prioritized.

With collecting origins dating to the 1750s, the Princeton University Art Museum is one of the finest art museums in the country. Formally established in 1882, its collections feature over 100,000 works of art ranging from ancient to contemporary art and spanning the globe. Its collections of Chinese painting, the art of the ancient Americas, and photography are widely regarded as being among the world’s richest. A private institution serving the public good, the Museum is committed to serving the University, local and regional communities, and beyond through a dynamic program of temporary exhibitions, new scholarship, and innovative programming. By collaborating with experts across many disciplines, fostering sustained study of original works of art, and uniting scholarship with broad accessibility, the Museum contributes to the development of critical thinking and visual literacy at Princeton University and enhances the civic fabric of our nation.

To learn more about the Princeton University Art Museum, please visit http://artmuseum.princeton.edu.

To apply for this position, please submit a cover letter, a CV, and contact information for three references to https://www.princeton.edu/acad-positions/position/682.

Appointment to this position is subject to the University’s background check policy.

Princeton University is an Equal Opportunity/Affirmative Action Employer and all qualified applicants will receive consideration for employment without regard to age, race, color, religion, sex, sexual orientation, gender identity or expression, national origin, disability status, protected veteran status, or any other characteristic protected by law.

The Possibility of an Afterlife for a Disgraced Artwork

According to an article by Zephira Davis in the August 13, 2017 issue of The New York Times (“An Icon of Communism is Restored in England” ), due to the efforts of artist Phil Collins who is using it in a project, a statue of Friedrich Engels has been erected in Manchester, England where Engels conducted his research on the working class. The statue, originally erected in the eastern Ukraine, had been torn down and cut in half after the breakup of the Soviet Union. Now it is restored and sitting in front of the HOME Theater. What does this say about the possibility of an afterlife for a disgraced artwork?

Jobs, Internships & Fellowships: August 14, 2017

  1. Senior Photographer, Digitization Project, Department of Parliamentary Services
  2. Archivist (Part Time), Anglican Church SQ, Corporate Services
  3. Studio Manager: Frames, Royal Museums Greenwich, Kidbrooke
  4. History and Heritage Coordinator, Glen Eira City Council
  5. Principal Heritage Officer (Archaeology), Heritage, Environmental Policy & Planning
  6. Senior Digital Archivist, National Library of New Zealand
  7. Conservation Internship, National Library of Ireland
  8. Academic Associate in Paper Conservation, State Academy of Art and Design Stuttgart
  9. Research Assistant, Non-Invasive Analysis of Illuminated Manuscripts, Fitzwilliam Museum, University of Cambridge
  10. Conservation and Restoration Coordinator, Museu de Arte De São Paulo
  11. Painting Conservator, Q Art Conservation

1. SENIOR PHOTOGRAPHER, DIGITIZATION PROJECT, Department of Parliamentary Services (Australia)

  • Applications deadline: August 20, 2017 by 11:30 p.m. AEST
  • Salary: salary range for this position is $80,020 – $89,937
  • Required ID 19121
  • Classification: Parliamentary Service Level 6
  • Employment Type: Non-Ongoing (Specified Term)
  • Branch: Parliamentary Experience
  • Section: Art Collection & Exhibitions
  • Immediate supervisor:  Assistant Director, Art Collections and Exhibitions
  • Security assessment:  Baseline Vetting (Protected/Restricted)

The Department of Parliamentary Services (DPS) is recruiting for a PSL6 Senior Photographer within the Art Collection and Exhibitions section, Parliamentary Experience Branch.

Australian Parliament House (APH) is the meeting place of our nation and is one of our nation’s most important buildings. The Department of Parliamentary Services (DPS) supports the functions of the Australian Parliament and the work of parliamentarians through the provision of professional services, advice and facilities. The digitization project reflects the new and evolving technologies used to control and access collections and will introduce new means in which to share and protect the Parliament House Art Collection (PHAC). The PHAC contains over 6,500 works across a broad range of media and includes several sub collections of historic works, gifts; commissioned art, craft, and photography; significant constitutional documents and contemporary Australian art and craft.

The successful candidate will work within Art Collection and Exhibitions managing the photography program ensuring innovative, best practice museum digital capture standards for the entire collection and associated activities. The role requires a highly motivated, creative and professional individual with extensive experience working in a museum and/or gallery environment.  The successful candidate will have excellent communication skills and the ability to work collaboratively in a small team.  Demonstrated knowledge and experience of professional photographic equipment and software is a key requirement of the position. This non-ongoing position will be offered for a specified term of up to 18 months, with the possibility of extension up to 3 years.

Eligibility and/or Job Specific Requirements: Professional qualifications in the field of Digital Photography and/or extensive experience in a museum environment. A high level of expertise with Photoshop is required. Candidates selected for interview will be asked to submit a portfolio of recent work and undertake a practical exercise as part of the selection process.

The successful applicant will be required to obtain and maintain a Baseline Vetting (Protected/Restricted) security clearance.

DPS welcomes applications from Aboriginal and Torres Strait Islander people, mature age people, people from diverse backgrounds and people with a disability.

How to apply: Based on the duties, qualities, and selection criteria outlined, please tell us in no more than 800 words how your skills, knowledge and experience make you the best person for this job.

Your application is a chance to tell us why you are the right person for the job. We want to know why you want to work at DPS, why you are interested in the role, what you can offer us, and how your skills, knowledge, experience, and qualifications are applicable to the role.

If proof of qualifications, licenses or certificates are required as part of the application process, please incorporate these documents into your resume or within your applicant response before you submit your application.

Contact Person: Samantha Pollock, +61 (02) 6277 5329, samantha.pollock@aph.gov.au.

2. ARCHIVIST (PART TIME), Anglican Church SQ, Corporate Services – ICT (Brisbane, QLD, Australia)

  • Applications close on August 20, 2017
  • Job No: S2985
  • Fixed Term

The Anglican Church Southern Queensland provides much needed services for the community, including parishes, schools, theological education and financial services, and residential aged care facilities, community care and social service programs through Anglicare SQ.

All services within Anglican Church SQ are strengthened by our ICT team who support over 2500 users across 75 sites and are currently looking for a part time Archivist to manage the Records and Archives Centre, based in Brisbane’s CBD for a contract period of three months.  This may be extended.

The role of the Archivist encompasses the management of the Archives of the Anglican Church SQ, including the appraisal, transfer, retention, disposal, accessioning, storage, arrangement and description, preservation and conservation, and reference and access, of records created by the Anglican Church SQ. The position supervises one-part time Archives Assistant, reports to the ICT Director and is supported by a Records and Archive Committee in an advisory capacity.

About you: With a well-established career in records management, your previous experience will include:

  • High level competencies in archiving, record-keeping and document management in all formats
  • Robust understanding of current legislation requirements
  • Previous experience in the development, maintenance and implementation of policies and procedures, particularly in relation to digital records
  • Demonstrated knowledge of risk management, cost-effectiveness and efficiency practices
  • Capabilities in the provision of both strategic and operational advice and guidance to staff
  • Writing and editing skills and maintenance of Archives web pages
  • Experience in budget and resource management, including annual reviews

Offering a high level of integrity and the ability to maintain confidentiality, you will also be:

  • Organised with excellent time management and the ability to prioritise effectively
  • A problem-solver who offers innovative solutions within organisational frameworks
  • Able to develop and maintain positive working relationships with both internal and external stakeholders
  • Experienced in a leadership role and comfortable with the supervision and training of staff and volunteers
  • Good at listening and interpreting the needs of clients while supporting their learning

You will be required to hold relevant tertiary qualifications, a National Police Certificate and current membership with the Australian Society of Archivists (or be eligible to join).

What we offer: Anglican Church SQ is committed to building a highly skilled workforce, assisted by a dedicated management team. We also offer:

  • Working within a team of dedicated professionals in an environment of continuous improvement
  • A chance to support one of Queensland’s largest and well-respected non-profit organizations
  • Part time hours, in a short-term contract, enabling work/life balance
  • A centralized location, next to St John’s Cathedral in Ann Street
  • Easily accessible public transport options, including bus, train and ferry
  • Plenty of choice for coffee and lunch with numerous cafes, restaurants and a local Woolies

Show your interest: Apply now and be rewarded with a position that directly and positively influences the quality of life for our clients; working with an organization that values your professional contribution and personal well-being.  People of Aboriginal and Torres Strait Island heritage are strongly encouraged to apply.

To submit an application and to view a copy of the Position Description, visit www.anglicanchurchsq.applynow.net.au/  and refer to job number S2985.

For further information please contact Mathew Tibbett on +61 07 3838 7780.

Shortlisted applicants will be asked to complete a Pre-Employment Assessment that requires disclosure of pre-existing injuries, illnesses or conditions that could reasonably be aggravated by performing the duties of this position.

3. STUDIO MANAGER: FRAMES, Royal Museums Greenwich, Kidbrooke (London, UK)

  • Applications closing date: August 20, 2017
  • Interview date: August 29, 2017
  • Salary: GBP30,000 – 37,000 per year

With sound frames conservation experience, you’ve a proven track record of managing and motivating teams working on complex conservation projects as well as undertaking challenging treatments yourself.

Bring your talents to Royal Museums Greenwich and get hands on with our frames collection, which includes historic carved and gilded frames as well as modern ones. All of which house one of the most significant art collections in Britain telling fascinating stories of the sea, ships, astronomy and time.

As well as an inspiring new role, you’ll enjoy working in a brand-new conservation studio at the Prince Philip Maritime Collections Centre. This purpose-built studio will provide unique opportunities to work alongside the collection and enhanced potential to develop and grow staff expertise.

Leading all aspects of the conservation and preservation of our frame collections, you’ll plan and allocate the work of the studio to undertake treatments and support the Museum’s busy exhibition program. Your role will be to provide leadership for the studio for staff and volunteers, provide expert advice across the museum, carry out high-level conservation treatment alongside developing an understanding and knowledge of the collections.

With considerable experience in frame conservation, you should have wood working machine qualifications and a strong awareness of H&S. The ability to delegate and prioritize across multiple projects is also essential and you should be able to work collaboratively with colleagues across the museum. A flexible approach and a good knowledge of collections management systems is also key.

For a full job description and details of how to apply, please visit www.rmg.co.uk/jobs.

4. HISTORY AND HERITAGE COORDINATOR, Glen Eira City Council (Australia)

  • Applications close on August 27, 2017 
  • 12 Month Term Appointment until 1 October 2018 (Parental leave replacement)
  • Full Time
  • $80K + super

We are seeking an enthusiastic and experience person for a 12-month parental leave replacement to join our Arts & Culture team.

The role includes strategically developing and managing significant Council material to enhance the preservation and promotion of the history of Glen Eira.

You will have:

  • Tertiary qualification in history, museum studies, archives management or relevant related discipline
  • Experience in reviewing and managing historical material, including its preservation, access and promotion
  • Experience in historical collection development, assessment and recording, together with knowledge of archival principles and practices, including digital and hard copy practices
  • Demonstrated strong writing skills for documentation of research, preparation of reports, correspondence, and project documentation

For further enquiries please call Tori on +61 9524 3371.  For a copy of the position description please click here: History and Heritage Coordinator Position Description.DOCX.

All applications must quote “Ref 17/128” and address the key selection criteria. Applications are preferred online via www.gleneira.vic.gov.au/careers, or mail to People and Culture, PO Box 42 Caulfield South 3162.

 Glen Eira City Council is an equal opportunity employer and encourages applications from all sectors of the community. 

5. PRINCIPAL HERITAGE OFFICER (ARCHAEOLOGY), Heritage, Environmental Policy & Planning (Brisbane Inner City, Australia)

  • Application closing date: August 28, 2017
  • Job reference: QLD/250463/17
  • Classification PO4
  • Yearly salary: $89321 – $96230

This position in the Heritage Branch provides high-level professional advice implementing the state’s strategic approach to identify, conserve and protect significant historic heritage places, shipwrecks and aircraft throughout Queensland. The position is located within the Strategy Heritage Projects team – a highly-skilled, multidisciplinary team responsible for administering the assessment of Queensland Heritage Act 1992 including the discovery and protection of archaeological artefacts and underwater cultural heritage artefacts in Queensland.

Responsibilities – Specifically, you will:

  • Lead & manage the development & coordination of strategic programs and protocols to promote the appropriate management of the state’s historic archaeological heritage.
  • Assess & advise on potential archaeological issues with development on State heritage-listed places including reported discoveries & development within Priority Development Areas.
  • Lead the delivery of the Historic Shipwreck Program for the whole of Queensland.
  • Represent EHP at forums & in negotiations creating strategic links within the department, with other government agencies, local government, universities, communities & the private sector.
  • Contribute to the recording & management of data relating to heritage places in Queensland including archaeological state heritage places.
  • Provide strategic support & advice to the registration team on the archaeological potential of places nominated to the Queensland Heritage Register.
  • Provide advice to the Queensland Heritage Council, other Government agencies, local governments, industry & the community on heritage policy, conservation procedures & the legislation governing heritage, particularly historical heritage.
  • Build the capacity of the community & local government in the identification, understanding and conservation of places of historical heritage significance.
  • Lead & manage highly qualified, multi-disciplinary & innovative teams in the delivery of heritage projects (maritime & terrestrial archaeology).
  • Oversee all permitting, maintenance & contract management associated with the management of departmental maritime mooring infrastructure.
  • Prepare Ministerial & other correspondence, reports, submissions, presentations & briefing papers relating to the management & protection of heritage places.
  • Develop & maintain constructive working relationships with clients, stakeholders & multi-agency/disciplinary project teams & represent the Department when required.

The person we are looking for – Within the context of the duties described above, the ideal applicant will be someone who has:

  • High level knowledge of the Queensland Heritage Act 1992, the Historic Shipwrecks Act 1976, the Planning Act 2016, Economic Development Act 2012 & other relevant Acts, & of technical requirements and assessment procedures for the development of places in the Queensland Heritage Register.
  • High level ability to analyze development documentation & assess the impact of changes cultural heritage significance of State heritage places, particularly those with archaeological values.
  • Knowledge of or the ability to acquire the knowledge of Heritage Branch operations, practices & procedures relating to the administration & management of historic archaeological heritage values.
  • High level ability to manage complex heritage projects, business processes & lead and manage multi-disciplinary teams.
  • Please refer to role description for further information.
  • Applications to remain current for 12 months.

Before applying for this vacancy please ensure you read the documents below:

Contact person: Nicole Mulholland, +61 (07) 3330 5856.

6. SENIOR DIGITAL ARCHIVIST, National Library of New Zealand (New Zealand)

  • Applications close at 5:00 p.m. on Thursday, August 31, 2017
  • Type: Permanent
  • Hours: Full time
  • Location: Wellington
  • Business Group: National Library
  • Branch: Information and Knowledge Services
  • Salary: $70,661 – $95,600

The Senior Digital Archivist is a significant role that supports and improves the Library’s efforts to collect and manage the born digital documentary heritage and taonga that is important to research in New Zealand.

In this role, you will act as subject matter expert for the systems and processes used to acquire and manage born digital collections. You’ll lead efforts to assess, test, and improve workflows, processes, access and use of born digital collections. You will also manage the work of the Digital Archivist, perform ingest and technical appraisal, and lead or coordinate efforts to resolve complex born digital ingests. You will work collaboratively with the curatorial, arrangement and description, and digital preservation teams within the Library on issues relating to born digital collecting, preservation, and access.

To succeed in this role, you will need to have:

  • Post graduate qualification in the field of library and information science, archival studies, or related field or demonstrated relevant experience
  • Strong command of archival theory and practices
  • At least 5 years’ experience in a research library, archive, or cultural heritage organization
  • Experience processing and working with analogue and born digital or electronic archives and records

For this role, you will be:

  • An excellent communicator and influencer, with the ability to work independently, as a team member, and across organisational boundaries
  • A problem solver and critical thinker
  • Highly organised and able to manage multiple projects and deadlines

If this sounds like you, we would like to hear from you!

For more information please contact: Jessica Moran on +64 04 460 2862 or jessica.moran@dia.govt.nz.

7. CONSERVATION INTERNSHIP, National Library of Ireland (Dublin, Ireland)

  • Applications deadline: 3:00 p.m. on Friday, September 1, 2017
  • Stipend: €27,000 (subject to normal statutory deductions)
  • Applicants should ensure that they are eligible to live and work in Ireland
  • Applications from non-conservation graduates will not be considered

The National Library of Ireland offers a one-year Conservation Internship, jointly funded with the Heritage Council of Ireland. The internship is part of the Heritage Council’s commitment to the promotion of best practice for conservation in Ireland. The intern will work alongside experienced conservators in the NLI’s busy conservation studio. The internship will combine studio practice and research and preservation, and will develop and broaden the intern’s knowledge and experience. He/she will work on a variety of collections from the manuscript, printed and visual collections of the National Library of Ireland, as well as assisting in the preparation and installation of exhibitions and loans. The intern will be encouraged to publish and present their work to different and diverse audiences.

Requirements:

  • Recent graduates of a recognized book &/or paper conservation training program (2015-2017)
  • Theoretical understanding and practical experience of conservation treatments (paper and/or book or parchment)
  • Experience in surveying/ dealing with large collections
  • Ability to work independently and as part of a team
  • Excellent written, verbal & IT communication skills

To apply, post 3 hardcopies of completed application form to Human Resources, National Library of Ireland, 4 Kildare Street, Dublin 2, Ireland.

Deadline for receipt of completed applications is 3:00 p.m. on Friday, September 1, 2017.

8. ACADEMIC ASSOCIATE IN PAPER CONSERVATION, State Academy of Art and Design Stuttgart (Stuttgart, Germany)

  • Application deadline: September 28, 2017

The State Academy of Art and Design Stuttgart is seeking to fill the permanent position of academic associate for the conservation of works of art on paper, archives, and library materials (pay scale 13TV-L) optimally by January 1, 2018.

Responsibilities: The BA and MA study program is focused on the conservation of works of art on paper and includes archives- and library materials. The academic associate will support students in practical and theoretical education modules, guide them towards independent scholarly work, contribute in the guidance of students in BA-, semester- and MA-projects and contribute in projects of the study program. An interest in cooperating also within the institute for conservation sciences of the Academy and external partners is expected.

Prerequisites: successful completion of a diploma- or masters-level education in paper conservation and specialized skills in conservation practice and didactics, creative initiative, willingness for team work, planning and organizational talent, participation in events, contribution to internal administration of the academy, fluent German language proficiency, good IT- and English language knowledge.

The equal opportunity act requires the Academy to increase the employment of women in artistic/scientific positions. The university therefore welcomes respective applications.

Individuals with disabilities are treated preferentially providing equivalent qualifications.

Applications including CV and information illustrating the professional career (e.g. professional projects, focus areas, etc.) must be received by postal service at the Akademie der Bildenden Künste Stuttgart, Sachgebiet Personal, Am Weißenhof 1, D-70191 Stuttgart, Germany; or by email at bewerbung@abk-stuttgart.de by September 28, 2017. If you have any questions, please use this email.

Further information about the study program can be found at: www.abk-stuttgart.de, and www.papierrestaurierung.abk-stuttgart.de.

 9. RESEARCH ASSISTANT, NON-INVASIVE ANALYSIS OF ILLUMINATED MANUSCRIPTS, Fitzwilliam Museum, University of Cambridge (Cambridge, UK)

  • Applications closing date: October 20, 2017 at midnight
  • Planned interviews: w/c 13 November 2017
  • Zeno Karl Schindler Foundation, MINIARE Fellow
  • GBP 25,298 – 29,301
  • Twelve-month contract starting January 2018

The Fitzwilliam Museum houses the principal collections of art and antiquities of the University of Cambridge, and holds over half a million objects in its care. The Department of Manuscripts and Printed Books (MSSPB) preserves one of the finest collections of illuminated manuscripts in the world, dating from the tenth to the sixteenth century.

The successful candidate, supported by the MINIARE Fellowship of the Zeno Karl Schindler Foundation, will join the cross-disciplinary team of the research project MINIARE (Manuscript Illumination: Non-Invasive Analysis, Research and Expertise, www.miniare.org). Based at the Fitzwilliam Museum, University of Cambridge, MINIARE focuses on the non-invasive analyses of the materials and techniques used in medieval and Renaissance illuminated manuscripts.

Under the supervision of the Fitzwilliam Museum’s Research Scientist and the Keeper of Manuscripts and Printed Books, the Zeno Karl Schindler / MINIARE Fellow will analyze medieval and Renaissance illuminated manuscripts with a combination of non-invasive analytical tools. He/she will be trained in the combined, mutually complementary use of different imaging and analytical methods. He/she will become fully aware of the conservation needs of unique and exceptionally fragile manuscripts, as well as of the broader cultural and historical questions that the Museum’s cross-disciplinary research endeavors to clarify.

Candidates should hold a Bachelor’s or Master’s Degree in physics, chemistry, materials science or cultural heritage science. Those who have recently completed a PhD in any of these fields will also be considered. They should be familiar with a range of analytical and technical imaging methods.

A collaborative, supportive and flexible team working style is essential. The ability to deal with people at all levels and in a professional manner is crucial. A high degree of IT literacy, preferably including the use of software for data acquisition and analysis and image processing, is required. A strong interest in art and art conservation would be an advantage.

To submit an application for this vacancy, please click on the link in the “Apply online” section of the advert published on the University’s Job Opportunities pages www.jobs.cam.ac.uk/. This will route you to the University’s Web Recruitment System, where you will need to register an account (if you have not already) and log in before completing the online application form.

Any queries should be directed to recruitment@fitzmuseum.cam.ac.uk or Tel: +44 01223 764840.

Offers of employment will be conditional upon the satisfactory outcome of a Security check. Whether an outcome is satisfactory will be determined by the University

10. CONSERVATION AND RESTORATION COORDINATOR, Museu de Arte de São Paulo (São Paulo, Brazil)

The Conservation and Restoration coordinator will be responsible for the preservation, conservation, and restoration of artworks belonging to the MASP collection.

Main assignments:

  • Conservation and care of the museum collection.
  • Perform restoration treatments, keeping proper documentation.
  • Evaluate artworks utilizing stereo-microscope, infrared reflectography, X-ray fluorescence analyses, among other techniques.
  • Write condition reports of the collection.
  • Design and execute micro-climate vitrines for display of paintings and sculptures.
  • Travel as a courier accompanying works of art nationally and internationally.
  • Support the loan department regarding conservation topics.
  • Evaluate and record the condition of paintings being considered for acquisition.
  • Develop conservation projects in partnership with other international museums.
  • Consult with and oversee the shipping companies regarding the proper packing requirements and safe shipping of artworks.
  • Support temporary exhibitions: check incoming and outgoing artworks, write condition reports when necessary, work with the collection and exhibition staff regarding safety of exhibiting works, lighting, temperature, and relative humidity requirements.
  • Oversee the preventative conservation of the collection, advising colleagues on the care, storage, and conservation of the collection.
  • Provide assistance to the staff regarding the fragility of artworks when handling the works for framing, mounting, attaching backing boards, etc.
  • Periodically monitoring the condition of the collection.
  • Collaborate with other museum staff and curators, offering orientation regarding the condition, conservation and care of the collection.
  • Carry out anoxic treatment of insect infested artworks.
  • Monitor and control insect infestation and problems with mold, when necessary.

Background, Knowledge, And Previous Experience Required

  • Postgraduate degree in arts conservation with specialization in paintings conservation from an internationally recognized institution.
  • Five years minimum previous practical experience in painting conservation, preferably in art museums;
  • Experience in examination and treatment of paintings;
  • Basic knowledge of imaging techniques for record keeping: digital photography including UV, infrared reflectography, X-ray, etc.
  • Experience in both the treatment of old masters and modern paintings is desirable.
  • Digital photography for making condition reports. Basic knowledge of chemical and technical methods of analyses of art works
  • Basic knowledge of biology of microorganisms found in museum collections.
  • Fluency in writing, speaking, and reading Portuguese and English; knowledge of other languages desirable.
  • Availability for frequent domestic and international travels.
  • Professionalism, management and teamwork experience, proactivity

Write to rh@masp.org.br, adriano.pedrosa@masp.org.br

11. PAINTING CONSERVATOR, Q Art Conservation Pte Ltd (Singapore)

Q Art Conservation Pte Ltd is part of Q Framing Group in Singapore. Q Framing Group provides Fine Art Framing and Conservation Services to Singapore’s Museums, Galleries and Private Collections.

We provide local transportation, crating and packing, installation, Fine Art Custom Framing, and conservation services to museums, galleries, auction houses, private and corporate collections.

As part of our growth, we now have a vacancy for the position of Conservator of Paintings. Qualified candidates will have academic credentials from a recognized conservation training program and specialized experience beyond the degree in the study, care, and treatment of paintings. This position is responsible for carrying out the examination, documentation, and treatment of paintings on behalf of Q Art Conservation Pte Ltd. This position requires experience in the typical range of conservation activities involved in optimal preservation and presentation of a large and varied range of paintings originating in South East Asia.

The Conservator of Paintings has direct responsibility for conservation of paintings spanning many cultures across South East Asia. Candidates must possess outstanding visual and manual aptitudes, strong written and oral communication skills, a sound art-historical and technical knowledge of painting, and demonstrates ability to deal with the complexities and dynamic pace of a private conservation studio.

Duties include:

  1. Carry out physical examination and documentation of paintings on behalf of Q Art Conservation by:
  • carrying out surveys of the physical condition of paintings to assist in the planning of treatment proposals
  • performing detailed examination of the materials, structure, and condition of paintings;
  • prepares written reports on the materials, structure, and condition of paintings, and on treatments proposed for those works and estimated costs
  • performing slide and digital photography as well as image processing
  • adhering to accepted professional standards in all aspects of examination and documentation
  1. Carry out complete conservation and restoration procedures of minor to major complexity on paintings, by:
  • performing such treatments as solubility testing, consolidation, reduction of deformation, facing, lining, lining removal, surface cleaning, varnish removal, overpaint removal, infilling, inpainting, and surface coating application
  • implementing preventive conservation measures, provide feedback and assist in frame modification, re-framing, and others, to prepare paintings for display, exhibition, loan, photography, or storage
  • operating specialized equipment such as the heated suction table during paintings conservation treatment
  • recording photographically the various stages of treatment to create a permanent documentary record
  • maintaining accurate records and preparing written final reports of the treatments carried out
  • maintaining an awareness of hazardous materials and performing duties in accordance with accepted standards of health and safety; ensuring that junior staff and interns follow safe procedures
  • adhering to accepted professional standards in all aspects of conservation treatment
  1. Contribute to the safe display, storage, and movement of paintings, by:
  • recommending framing and hanging systems to ensure the physical safety of paintings
  • recommending safe environmental levels of light, temperature, and relative humidity
  • recommending safe packing methods for art works being stored or transported
  • advising on safe handling procedures
  1. Perform other related duties, as required, including but not restricted to:

participating in periodic inspections of works of art

  • collaboration on projects with other conservators, proposal writing, and site-visits
  • assisting other conservators in the examination and/or treatment of works of art
  • assembling specialized equipment such as humidity chambers, temporary stretchers, work surfaces, and maintaining laboratory equipment and tools as required

The ideal candidate will possess the following as minimum qualifications:

  • Master’s degree in Art Conservation, or equivalent combination of conservation training and experience.
  • Three or more years’ experience in the examination and treatment of paintings,
  • Advanced skills in: examining paintings to establish their physical condition; distinguishing between original materials and later additions, recommending conservation measures and carrying through to completion restoration operations of minor to major complexity.
  • Comprehensive knowledge and understanding of the materials and techniques of traditional easel paintings on canvas, wood, and related supports.
  • Thorough understanding of the mechanisms of physical, chemical, and biological deterioration of materials making up paintings
  • Sound knowledge of the principles, processes, and practices involved in the preservation and treatment of paintings, both traditional and the most recent developments
  • Understanding of safe handling, framing, crating, and shipping practices
  • Ability to adhere to deadlines.
  • Ability to perform the physical labor as required for specific treatments.
  • Previous experience in private practice is an advantage.

If you feel that you possess the experience and qualifications outlined, please submit your cover letter, resume and salary history/requirements to our HR department at qframing@qframing.com.sg for consideration.

This is a full-time salaried position, which requires relocation to Singapore. Compensation will commensurate with qualifications and experience – benefits include medical insurance and annual paid leave.

 

45th Annual Meeting – Objects Session, June 1, “Well That Didn’t Work, Now What? Stain reduction on a 10th-century Iranian ceramic” by Claire Cuyaubère and Ellen Chase

Claire’s talk highlights a topic that I’m glad we conservators are beginning to talk about more openly – treatments that didn’t necessarily work.  This subject also fit in nicely with the overall conference theme of treatment and innovation.  Although some of her treatment steps did not bring about the desired results, Claire was successful in safely and aesthetically preparing the ceramic so that it can be exhibited at the Freer Gallery of Art.

The earthenware dish features a reddish-buff ceramic body, off-white slip, and transparent glaze, with minimal brownish-black and red inscription decorations.  The ceramic was previously broken into about 40 pieces and restored, with multiple campaigns of adhesive and overpaint. The museum has records of one treatment in 1964, and while removing old repairs, Claire found evidence of at least two previous restorations which likely occurred before the object was acquired in 1954. The major condition issue was various types to staining, including general yellow and gray stains.  Additional disfiguring stain lines were present a few millimeters in from the edges of the sherds, including some areas with two or three separate rows of parallel staining.

Claire carried out analysis in an effort to determine the cause of the staining.  Using SEM-EDS, among other tools, she determined that the staining contained little iron and was primarily organic in nature, meaning it is likely not from burial but from the various restoration campaigns.  Adhesive identification was inconclusive, likely because multiple types are present; however, Claire noted the presence of hide glue, some type of acetone-soluble adhesive, and possibly shellac.  During testing, the staining did not appear to be soluble in a range of solvents, likely because of crosslinking.  Soluble salts were also identified with a microchemical test for chlorides, although no salt efflorescence was visible.  An iron-containing accretion on the back within the footring was likely from burial and was mechanically reduced to avoid transfer to other areas of the ceramic during stain reduction treatment.

Claire proceeded with stain reduction tests, following Bruno Pouliot, Lauren Fair, and Richard Wolbers’ method of three rounds of poulticing using a chelator, bleach, and a final rinse.* She ultimately chose sodium citrate (2% at pH 8) as the chelator because it was mild yet effective, and she used carbamide peroxide (20% at pH 8) as the bleach.  For both of these steps, she used agarose gel (2%) as the poultice material, favoring its ability for controlled, localized application.  The gel poultices were only applied to stained areas on the front surface of the ceramic.

Agarose gel is made by mixing the powder with water, heating to a low temperature, pouring the mixture out to cast, and then cutting into blocks when cool.  The gel blocks can then be soaked in solution; for instance, Claire soaked blocks in the chelator for one hour before applying to the ceramic.  Plastic wrap was used to cover the gel blocks while on the ceramic to reduce evaporation.  For the final rinse, the sherds were soaked in baths of deionized water, which served to clear the chelator and bleach as well as desalinate the ceramic.

To complete the treatment, the sherds were joined using Paraloid B-72, which was also bulked with microballoons and fumed silica to fill gaps and losses.  These areas were inpainted as the dish will be displayed in an art museum, as opposed to an archaeological context, and the curator preferred to have the losses integrated.

Although the staining was somewhat lightened, its appearance was not sufficiently reduced by the poulticing steps.  Claire carried out many poulticing trials, but the staining proved tenacious and she did not want to take the treatment so far as to risk causing damage to the object.  Although improvements were made, the curator still did not find the dish to be in exhibitable condition, since the staining lines were still visible and particularly distracting against the overall stark, white appearance of the ceramic.  At this point, Claire decided to try painting out the stains, over a barrier layer of B-72.  Although she did not like the idea of painting over the original ceramic surface, this seemed to be the only reasonable option for preparing the object to be exhibited and accessible to public.  Painting light over dark and matching the surrounding off-white glazed slip must have been a challenging task.  But in the end, conservators and curators were both pleased with the results!

Overall, I think Claire’s treatment was a success, and I look forward to seeing the dish on display when the Freer Sackler reopens their newly renovated galleries this fall.

 

* For more information, I recommend: Bruno Pouliot, Lauren Fair, and Richard Wolbers. “Re-thinking the Approach:  Techniques Explored at Winterthur for the Stain Reduction of Ceramics,” 2013 in Recent Advances in Glass, Stained-Glass, and Ceramics Conservation, pre-prints of the ICOM-CC Glass and Ceramics Working Group Interim Meeting and the Forum of the International Scientific Committee for the Conservation of Stained Glass, Amsterdam. pg. 211–223.

Jobs, Internships & Fellowships Digest: August 4, 2017

  1. Time-Based Media Conservation Fellow, The Art Institute of Chicago
  2. Conservation Officer (Planning Policy), Cheltenham Council
  3. Assistant Conservation Officer (2 Positions), Warwick District Council
  4. Conservator of Works of Art on Paper, Philadelphia Museum of Art
  5. Senior Conservator of Paper, The Balboa Art Conservation Center
  6. Professional Fellow: Managing Collection Environments Initiative, The Getty Conservation Institute
  7. Collections Assistant, Baylor University
  8. Assistant Conservator, Los Angeles County Museum of Art
  9. Objects Conservator, Academy Museum of Motion Pictures

1. TIME-BASED MEDIA CONSERVATION FELLOW, The Art Institute of Chicago (Chicago, IL, USA)

For the first time at the Art Institute of Chicago, the Conservation and Science Department is pleased to offer a two-year fellowship (may be renewable for an additional year) for a dedicated time-based media conservation fellow.

An encyclopedic museum committed to the art of all time, the Art Institute has long made a practice of collecting, exhibiting, and preserving film, video, and time-based media art, with acquisitions in this area going back five decades and spanning three main curatorial departments (Architecture and Design, Modern and Contemporary Art, and Photography). The museum has a dedicated gallery, the Donna and Howard Stone Film, Video, and New Media Gallery in the Modern Wing, and more than fifty moving image installations have been presented to the public in recent years throughout the museum.

The full-time time-based media (TBM) conservation fellow will have the opportunity to assist in setting up conservation strategies, workflows, and procedures for the preservation and documentation of the museum collection.

The fellow will work as part of a cross-departmental team under the leadership of the Grainger Executive Director of Conservation and Science and the Deputy Director and Chair and Curator of Modern and Contemporary Art. External consultants will also be brought in as needed for additional mentorship.

Specifically, the fellow will:

  • Assist with the development and implementation of institutional policies and best practices for preservation of TBM works with the goal of achieving a sustainable cross-departmental approach to managing, storing, accessing, and preserving them.
  • Engage the expertise and coordinate the activities of various constituents both inside and outside the museum, including conservation, registration, curatorial, information technology, and others, with the goal of preserving TBM works.
  • Establish and execute acquisition protocols and collection management workflows for TBM works across departments.
  • Perform technical examination and document TBM works, including film, video, multimedia software, html interactives, and any digital formats that may emerge.
  • Assist with collection care activities, such as proper documentation for new acquisitions and installation, collecting information from artists and other authorities on TBM works, and cataloging equipment to develop plans for their maintenance, replacement, stockpiling, and updating.
  • Develop individualized preservation plans for TBM works.
  • Employ digital preservation methods, including migration, encapsulation, emulation, software archiving, and hardware archiving.
  • Review digital files and enter files into the museum’s digital asset management system.

The incumbent will be encouraged to share findings with colleagues pursuing similar endeavors in Chicago, the Midwest, and the broader conservation field. The fellow will also assist with efforts to secure additional funding to establish a Time-Based Media Conservation Lab Initiative.

While the fellow’s home department will be Conservation and Science, fellowship activities will be performed in collaboration with many departments at the museum, including curatorial departments (Modern and Contemporary Art, Architecture and Design, and Photography), Exhibitions, Registration, Information Services, Digital Experience, and Academic Engagement and Research.

Qualifications:

  • A Master’s degree from an accredited institution in time-based media, fine arts conservation, or a related discipline, such as audiovisual archiving and preservation, computer science, film/television production, or information science.
  • Some experience working with TBM collections required; as well as knowledge of the best practices for condition assessment, documentation, installation, and preservation of TBM works in a range of analog and digital formats. The incumbent must be familiar with the AIC code of ethics and standards of practice, and possess good IT skills, including experience with digital asset management systems.
  • Given the diffuse nature of preserving time-based media art, excellent project management, problem-solving, and communication skills are required.

Candidates should submit their resume, two letters of recommendations, and a cover letter detailing the candidate’s interest in applying for the fellowship and what skill set the candidate would bring to the position, along with a portfolio with two or three examples of projects (please attach all as one document). Apply here: www.artic.edu/employment.

Fellowship start date: September 18, 2017, or at earliest convenience.

For inquiries about the position, please contact Francesca Casadio, A.W. Mellon Sr. Conservation Scientist, fcasadio@artic.edu.

This is a temporary special projects position.

2. CONSERVATION OFFICER (PLANNING POLICY), Cheltenham Council (Cheltenham, UK)

  • Application closing date: August 20, 2017
  • Interview date:  TBC
  • Minicom: 01242 264264
  • Fixed term for 1.5 years
  • Salary: Grade F (£23,398 – £25,591 pa)

Cheltenham has a wide range of heritage assets ranging from formal Regency terraces to an interwar garden suburb. It has 2,600 listed buildings and seven conservation areas, one of which is the largest conservation area in Europe at just over 600 hectares. It is an exciting place for heritage professionals.

We are looking for a conservation officer to fill a vacancy in a small but busy team to help with the re-appraise of the town’s conservation areas and development of conservation policy.

The town is currently a thriving place to work, with a number of urban growth proposals, emerging local and strategic plans and a significant town center transport and public realm project.

You will be based right in the heart of the conservation area on in a Grade II* Regency Terrace located on Cheltenham’s Promenade, with its bustling retail offer and open spaces.

You will be skilled and self-motivated, ideally with experience in offering advice to the community, planners and the council generally on conservation area, listed building and related planning work.

You will be keen, knowledgeable and able to fit easily into the team. If you think you can help, we are interested to hear from you.

For an informal discussion call Philip Stephenson on +44 01242 264379.

To apply download the application form and job description and person specification. Please email completed applications to jobs@cheltenham.gov.uk and please quote reference PED006 after the post title.

We are working towards equal opportunities

 3. ASSISTANT CONSERVATION OFFICER (2 POSITIONS), Warwick District Council (Warwick, UK)

  • Closing Date: August 28, 2017
  • £21,268 – £23,398 per annum
  • 37 hours per week

Warwick District Council is looking for two enthusiastic and self-motivated team players, committed to heritage protection, good design, and excellent customer service.

With over 30 conservation areas, around 2000 listed buildings, and national treasures such as Warwick Castle, Kenilworth Castle, and Stoneleigh Abbey, we can provide you with a unique opportunity to work in an exciting heritage environment.

a) Assistant Conservation Officer – Permanent Post: The successful candidate will provide advice and guidance on heritage matters to a wide range of customers, advise on applications, compile a local list of historic buildings, and co-ordinate the annual Heritage Open Days event.

b) Assistant Conservation Officer – 12 Month-Fixed Term Contract: Project Manager for a New Canal Conservation Area: the successful candidate will manage a major conservation project to establish a new canal conservation area. This will require the assessment of the district’s canal network and its setting, the identification of potential development sites, public consultation and production of a management plan.

For both positions, you will need to have some knowledge of historic building and conservation area principles, practice and law, along with work experience in protecting the historic built environment.

For further information about either post, please contact Nick Corbett, Principal Conservation and Design Officer, on +44 01926 456545.

To apply for this vacancy please complete all sections of the application form located at the bottom of the job vacancies page and return your completed application to vacancies@warwickdc.gov.uk.

Job application form and guidance notes:

4. CONSERVATOR OF WORKS OF ART ON PAPER, Philadelphia Museum of Art (Philadelphia, PA, USA)

  • Application Deadline: August 31, 2017

As a member of the Paper Conservation Department of the Museum’s Conservation Division, the Conservator reports to the Senior Conservator of Works of Art on Paper and shares responsibility for conservation of a major and growing collection of works on paper spanning many cultures and curatorial departments. Candidates must possess outstanding visual and manual aptitudes, strong written and oral communication skills, a sound art-historical and technical knowledge of art on paper, and demonstrated ability to deal with the complexities and dynamic pace of a large cultural institution.

Specifically, you will:

  • Examine, perform technical and historical study, document, and treat works of art on paper in the collection
  • Assess the condition of works requested for loan or being considered for acquisition, and document the condition of incoming or
  • outgoing loans
  • Advise on installations, storage, handling, packing, and transport of works on paper
  • Work with conservation scientists in chemical and instrumental analysis and characterization of materials and construction of works
  • of art
  • Supervise and instruct conservation junior staff, post-graduate fellows, interns, and technicians
  • Promote awareness of the role and work of the museum’s Conservation Division, in part through developing content for public
  • outreach

Your diverse background includes:

  • Academic credentials from a recognized conservation training program and five or more years of experience beyond the degree in the
  • study, care, and treatment of works on paper
  • Significant museum experience in the typical range of conservation activities involved in optimal preservation and presentation of
  • a large and varied collection
  • Involvement in the support of active loan and exhibition programs
  • Experience working cooperatively with staff at large to meet departmental and institutional goals

Apply at: www.philamuseum.org/jobs/.

5. SENIOR CONSERVATOR OF PAPER, The Balboa Art Conservation Center (San Diego, CA, USA)

  • Applications deadline: September 25, 2017

The Balboa Art Conservation Center (BACC) seeks a senior conservator to head the Center’s paper conservation department. In addition, the department is staffed by an Assistant Conservator of Paper, is supported by BACC administrative staff, and shares a conservation technician with the Paintings Conservation Department.

BACC is an active, nonprofit, regional conservation center located in the heart of the beautiful and historic Balboa Park in San Diego, California. The Park is home to a campus of cultural institutions such as the San Diego Museum of Art, Timken Museum of Art, and San Diego History Center. Since its founding in 1975, BACC has been devoted to the preservation of material culture held in both public and private collections. The Center’s services cover a wide spectrum including the formulation and implementation of treatments for paintings, frames, and paper artifacts, technical examinations using microscopy, infrared reflectography, and x-radiography, preventive conservation assistance, and environmental, general, and collection specific surveys. Types of paper artifacts treated by BACC reflect the broad range of collections served and are of all periods and constructed with a broad array of materials.  As the Center offers internships and fellowships on a regular basis, the working environment emphasizes an atmosphere of learning, collegiality, and cooperation.

The ideal candidate will have an excellent background in paper conservation with a minimum of 7 years of post-graduate experience. They will have highly developed practical skills with ability to accurately assess deterioration and damage, formulate appropriate treatment protocols, and undertake treatments not only independently but as a team leader.  Other characteristics of the ideal candidate are that they are collaboratively-minded, conservation treatment-oriented, and prepared to be an integral part of the Center’s conservation staff.

Innovative thinking is required for challenging projects as are good analytical and problem solving capabilities. Strong attention to detail while working to project deadlines and sound project management experience are essential strengths sought. As the Senior Conservator will head the paper conservation department, they must have solid experience managing workflow, overseeing conservation treatments, managing and supervising staff, and supervising fellows or interns.

Position requirements include a Master’s Degree from an accredited conservation program or its equivalent in paper conservation, excellent writing ability, and good communication and interpersonal skills. Compensation is commensurate with experience while benefits are excellent and comprehensive. Interested applicants should apply in writing with a letter of interest, resume, three letters of professional reference, and three examples of treatment experience.

Please submit applications by Monday, September 25, 2017 to: Janet Ruggles, Executive Director, Balboa Art Conservation Center, PO Box 3755, San Diego, CA 92163.

Digital applications should be submitted to info@bacc.org with the title “Senior Conservator of Paper Application.”

6. PROFESSIONAL FELLOW: MANAGING COLLECTION ENVIRONMENTS INITIATIVE, The Getty Conservation Institute (Los Angeles, CA, USA)

  • Application deadline: September 29, 2017

The Getty Conservation Institute (GCI) Professional Fellowship is a three-year program designed to provide in-depth opportunities for practitioners to build and strengthen their skills and experience as conservation professionals, while working under the guidance of experienced GCI staff. For additional information about the GCI: www.getty.edu/conservation/index.html.

The GCI Professional Fellow for the Managing Collection Environments Initiative (MCE) will work closely with both the MCE project team of conservators and scientists as well as external consultants and partners who include architects, engineers, conservators, scientists and other museum personnel. MCE is a collaboration of the Collections and Science departments and currently organized around two core areas of work: scientific research that aims for a better understanding of the response of hygroscopic materials to climatic fluctuations at both the micro and macro scale, and a program of educational activities for conservators and related professionals. In the next year, the initiative will also be embarking on a number of field activities that will allow the testing of new research and/or practical methodologies in museum settings.

While the fellow will be assigned to the Collections department and will be engaged primarily in education and field activities, he/she will be exposed to all areas of initiative’s work and may participate in aspects of research. The fellow will also join with other members of the team in producing and disseminating articles and didactic resources that present MCE’s work to the profession. For additional

Information about MCE: www.getty.edu/conservation/our_projects/education/managing/index.html.

Major Job Responsibilities: The fellow will assist the MCE project manager in a variety of activities including: design and implementation of field activities, courses and short workshops. This will require carrying out background research pertaining to a particular issue or venue, assisting in planning activities, applying expertise in carrying out conservation projects in the field, and writing internal reports and other documents related to the projects.

The fellow will have the opportunity to serve as co-author on MCE-related articles and conference presentations. Professional development will be encouraged and assisted through participation in professional meetings, conferences or workshops.

Qualifications: Applicants should have a graduate degree in conservation, and 3–5 years of work experience relating to the conservation of museum collections. Candidate should have a strong interest and experience in preventive conservation and managing museum environments.

Knowledge, Skills and Abilities: Must be able to demonstrate technical knowledge and past experience working in the area of preventive conservation in museums, historic houses, or related cultural organizations. Candidate should be familiar with current research and issues relating to the management of collection environments and should have some knowledge of the concepts of risk assessment and management. Candidate must be familiar with sound conservation methodology in general and with ethical practice.

Good interpersonal and verbal skills and the ability to work in small interdisciplinary groups are required. Excellent writing skills and the ability to contribute to and to write reports and papers for both professional and more general audiences are needed. Good organizational and time management skills are required. Must be available for international and national travel; some trips may be of several weeks’ duration. Fluency in English is required and an additional language, particularly Spanish, is preferred.

The fellowship is for a three-year period that begins from the starting date. An excellent benefits package and salary commensurate with qualifications and experience will be provided.

All interested applicants must apply for this job online (when prompted, select “Create with Resume” or “Create with Online Form”) and upload the following documents in one PDF file (when prompted to “Upload Resume”/”Submit Resume”).

Required Documents:

  • Statement of Interest: Each application must include a statement of interest (not to exceed two pages, typed and double-spaced).
  • Curriculum Vitae
  • Writing Sample: Each applicant must submit one writing sample of not more than 15 pages.
  • Confirmation Letter: Applicants must submit confirmation from their academic institution that their graduate degrees have been awarded (please do not send by mail).

To apply, please visit: https://jobs-getty.icims.com/jobs/2882/gci-professional-fellow%2c-managing-collection-environments-initiative/job. Completed application materials must be received on or before September 29, 2017.

If you have specific questions about the GCI Professional Fellowship, please email gcistaffing@getty.edu.

7. COLLECTIONS ASSISTANT, Baylor University (Waco, TX, USA)

Baylor University is seeking a Collections Assistant with deep appreciation for art and its cultural & educational value. This position is responsible for assisting the assisting the Collection Manager with conducting inventories of the collection, arranging and organizing collection items to facilitate care and management, and input collection data to keep computerized records up-to-date.

The successful candidate for this position will:

  • Possess a love for artwork and thrives in a quiet work environment
  • Experience working with cultural and natural history collections
  • A strong interested & understanding of natural science
  • Possess good computer and interpersonal skills
  • Ability to work independently
  • Is detail oriented and strives for accuracy in their work
  • Have excellent oral and written communication skills
  • Have an interest in and understanding of cultural history as well as natural science

Qualifications: A Bachelor’s Degree, one year of relevant work experience, and a Christian faith are required.  A Bachelor’s Degree and two years of direct work experience are preferred.  Prior art museum experience is desirable.

Working at Baylor is so much more than simply having a job!  As part of the Baylor family, employees not only receive a comprehensive benefits package that includes medical and dental insurance, generous time off, and fantastic automatic retirement contributions*, they also get to experience Baylor.

  • Experience the culture of working for an institution consistently ranked as a “Great College to Work For” by The Chronicle of Higher Education
  • Experience a mission driven organization based on a strong Christian commitment (edu/about)
  • Experience Baylor academics with outstanding tuition remission for staff and qualified dependents*
  • Experience our beautiful campus with access to libraries, museums, and recreational facilities such as our fitness center, athletic courts, an indoor swimming pool, and the Baylor marina to name a few
  • Experience our great dining facilities and enjoy an employee discount
  • Experience Baylor athletics with reduced admission or free access to athletic events
  • Experience Baylor through many more wonderful events and programs that take place on campus each year

*For more details and eligibility requirements, please visit www.baylor.edu/hr.

To apply view the full position description: Collections Assistant. Please submit an on-line application at https://jobs.baylor.edu along with a cover letter and resume.

Baylor University is a private Christian university and a nationally ranked research institution, consistently listed with highest honors among The Chronicle of Higher Education’s “Great Colleges to Work For.” Chartered in 1845 by the Republic of Texas through the efforts of Baptist pioneers, Baylor is the oldest continuously operating university in Texas. The university provides a vibrant campus community for over 16,000 students from all 50 states and more than 80 countries by blending interdisciplinary research with an international reputation for educational excellence and a faculty commitment to teaching and scholarship. Baylor is actively recruiting staff who support our mission as we pursue our bold vision, Pro Futuris.

8. ASSISTANT CONSERVATOR, Los Angeles County Museum of Art (Los Angeles, CA, USA)

Reporting to the Project Manager, Watts Towers, the Assistant Conservator participates in the conservation of Watts Towers of Simon Rodia -a national historic monument located in South Los Angeles consisting of seventeen interconnected structures, two of which reach heights of over 99 feet. Watts Towers was built by Sabato Rodia, in his spare time over a period of thirty-three years. The armatures of the structures are constructed from steel pipes and rods, wrapped with wire mesh, coated with mortar that is embedded with pieces of glass, tile, porcelain, and sea shells.

Some duties include: assists with condition assessment and photographic documentation of the sculptures; performs treatments using techniques and procedures previously developed and tested by LACMA staff for the repair of cracks and spalls in the cement mortar and the securing of loose decorative elements; collects data for various monitoring programs; provides administrative tasks including (but not limited to) office organization and supply sourcing.

The qualified candidate must have a Master’s degree in art/architectural conservation from a recognized training program, and three to five years of related experience/employment in conservation. Experience with working on building materials (architecture) or large-scale sculpture constructed from reinforced masonry is desirable.  Familiarity with the use of power tools and ability to work at high elevations (100 feet) on scaffolding is essential. The successful candidate must be conversant with standard software for writing reports and processing images such as Adobe Photoshop, MS Excel, and FileMaker Pro.

An Equal Opportunity Employer: It is the policy of the Los Angeles County Museum of Art to provide all persons with equal employment practices and opportunities without regard to race, color, religion, ancestry, sex, sexual orientation, national origin, disability, age, veteran or marital status or any other characteristic protected by federal, state or local law.

Please follow this link to apply: https://workforcenow.adp.com/jobs/apply/posting.html?client=museasstes&jobId=126737&lang=en_US&source=CC3.

9. OBJECTS CONSERVATOR, Academy Museum of Motion Pictures (Los Angeles, CA, USA)

The Objects Conservator for the Academy Museum of Motion Pictures will be primarily responsible for the treatment of objects in the Museum’s permanent collection. The ideal candidate must have experience with examination and treatment of a wide variety of contemporary and modern art objects. Experience with contemporary and historic film-related objects including historic film technology equipment is desirable. This is a permanent full-time position.

Reports to the Head of Registration and Collections Management.

Responsibilities:

  • Examines and treats a broad range of objects, often composed of unorthodox or unusual materials with appropriate photographic and written documentation, adhering to the AIC’s Code of Ethics. This includes but is not limited to: identifying structure and components, classifying condition issues and determining treatment plans. These processes may include cleaning, structural consolidation and compensation procedures, and recommendations for appropriate preventative conservation measures as well as storage solutions.
  • Assists with the development of preservation policies and helps establish appropriate conservation methods for storage, handling, technical examination, identification, display, and transport for all artifacts in the Museum’s collections or care.
  • Advises other staff as necessary including curators, collection processors, registrars, preparators and installation crew on the safe care, handling and storage of artifacts.
  • Examines collection material and makes recommendations regarding condition of the material for display and travel. Collaborates with other departments to safely prepare, install, and exhibit objects for internal or external museum exhibitions.
  • Ensures environmental conditions of collection vaults and exhibition galleries are monitored and recorded. Works with the department head, facilities, security and building managers to troubleshoot issues as needed.
  • Other duties may include condition checks for objects from incoming and outgoing loans, technical examination of objects considered for purchase, de-installation, transport, unpacking and packing of crates and other movement requiring proper handling. May act as courier of collection objects when necessary.
  • Supervises fellows, assistants and other contract conservators.
  • Collaborates with conservators in other Academy departments. May also collaborate with film industry experts.
  • Manages and maintains the conservation laboratory in the Museum building as well as organizes and sustains supply inventories for the laboratory in accordance with appropriate health and safety guidelines.
  • Determines need for new and additional equipment and recommends their purchase.
  • Maintains awareness of current conservation techniques by reading current literature, attending lectures/workshops, etc. Contributes to the field by publishing research. Regularly networks with professional colleagues and actively participates in professional organizations concerning the conservation of art and archives.
  • Other duties as assigned.

Education and experience:

  • Master’s degree in art conservation or equivalent with a specialization in object conservation. A minimum of 5 years of object conservation experience is required, additional education, training and experience in conservation highly desirable. A portfolio of relevant work is required.
  • Knowledge of and experience with the care and maintenance of a variety of modern and contemporary art objects that may include painted and unpainted objects made of metal, wood, stone, ceramic, plastic, rubber, wax, mixed media, or other unique materials and installations that include electrical components and that are both small and oversized.
  • Experience with the use of various examination aids such as ultra violet light, I-R reflectography and beta-radiography and knowledge of analytical instrumentation and its applications.
  • The position requires work performed in the galleries and in a normal laboratory environment, including long periods of standing, recurring bending, stopping, stretching, reaching or similar activities.
  • Physical strength and manual dexterity in handling and treating objects is a requirement.
  • The incumbent works in a laboratory environment containing moderately hazardous to hazardous chemicals and flammable solvents, and is required to be aware of and to use special safety precautions to prevent exposure to such agents.
  • Must have a valid passport and driver’s license and be willing to travel domestically and internationally as necessary. Travel between local Academy buildings is required.
  • The incumbent will have strong project management, organizational, interpersonal, and communication skills and will collaborate with contract conservation staff when necessary.
  • Demonstrated computer and related technology skills; proficiency with library/museum databases, word processing, spreadsheets, and digital photo editing.
  • Must possess excellent written and oral communication skills and work collaboratively with other Academy staffs.
  • Membership and participation in major conservation associations such as AIC or IIC.

To apply please visit, www.oscars.org/careers.

Any questions about the position may be directed to Sonja Wong Leaon, Head of Registration and Collections Management, swongleaon@oscars.org.

A glimpse into conservation for people who probably knew nothing about the subject

In New York City every day, free newspapers are given away by the hundreds of thousands in subway stations and in free- standing newspaper boxes on the street. Small (no more than 20 pages with many advertisements), their contents can be (and are) read from cover to cover on a short commute to work. An article in any one issue reaches a large and varied audience. I was therefore very pleased to read Lisa Colangelo’s “Monumental Mission” about the Citywide Monuments Conservation program overseen by the NYC Parks Department in the July 31, 2017 issue of amNewYork. Discussing kinds of damages to and treatments for outdoor monuments, it provided a glimpse into conservation for many people who probably knew nothing about the subject .