Daguerreian Society 2017-2018 Call for Papers

$2000 in Awards for Writers

The Daguerreian Society invites authors to submit original papers that address and advance the understanding and appreciation of 19th century photography. Possible topics include the art, history, social impact, and practice of the daguerreotype and other photographic processes of this period.

All submissions will be considered for publication in the 2017 Daguerreian Annual.

Award for New Contributors
A $500 award will be given to the paper selected as best submission from an author who has not previously published in The Daguerreian Annual.

The Julian Wolff Awards for Student and Graduate Student Authors
The author of the highest-scored paper accepted for publication from a student or graduate student will receive $1,000, and second-highest scored paper will receive $500.  The two winners will also receive complimentary registration to the 2018 Daguerreian Society Symposium in New York City.  The prizes for student and graduate student authors are offered in memory of the late Julian Wolff, an educator, collector and dealer whose love for the daguerreotype contributed to many private and institutional collections.

Requirements

  • Authors are responsible for securing all necessary rights and releases for images used as illustrations
  • Authors must grant permission for both one-time print publication and for future electronic access
  • Papers must be in English and may range in length from 500 to 8,000 words

Selection Process
Juror Keith F. Davis (Senior Curator of Photography at the Nelson-Atkins Museum ) and the Society’s Publications Committee will use a blind peer review process to select papers for publication and to choose New Contributors and Julian Wolff awards. Authors will be eligible for only a single award. The decisions of the Publications committee will be final.  Judging criteria include:

  • Scope and Quality of Research
  • Contribution to Existing Knowledge
  • Potential for Future Development/Seeding New Research
  • Clarity of Writing
  • Use of Original Historical Sources
  • Use and Interpretation of Photographs As Primary Source Documents

Timeline

  • Submission of a 300-word abstract by January 15
  • Review and notification by February 1
  • Submission of completed manuscript with illustrations by March 1
  • Review process and notification of final selection by April 1

Submissions

Send electronic submission to: Diane Filippi diane_dagsoc@comcast.net

Questions: Please contact Jeremy Rowe Jeremy.rowe@asu.edu

Please include in the subject line: Submission for 2017 Daguerreian Society Call for Papers

ECPN Interviews: Electronic Media Conservation with Brian Castriota

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) is conducting a series of interviews with conservation professionals in these specialties. We kicked off the series with Chinese and Japanese painting conservation, and now we are focusing on practitioners in AIC’s Electronic Media Group (EMG). These conservators work with time-based media, which can include moving components, performance, light or sound elements, film and video, analog or born-digital materials. We’ve asked our interviewees to share some thoughts about their career paths, which we hope will inspire new conservation professionals and provide valuable insight into these areas of our professional field.

Previous posts in ECPN’s EMG blog series include interviews with Yasmin Dessem, Alex Nichols, and Nick Kaplan. In this installment we hear from Brian Castriota, a conservator specialized in the conservation of time-based media and contemporary art. Brian holds a Master’s degree in Art History and a Certificate in Conservation from the Institute of Fine Arts at NYU where he graduated in 2014. He worked as a contract conservator for time-based media artworks at the Smithsonian American Art Museum, and was a Samuel H. Kress Fellow in Time-Based Media Conservation at the Solomon R. Guggenheim Museum in New York. He is currently a Research Fellow in the Conservation of Contemporary Art at the Scottish National Gallery of Modern Art and is pursuing a doctoral degree at the University of Glasgow within the research program “New Approaches in the Conservation of Contemporary Art” (NACCA) – a Marie Skłodowska-Curie Innovative Training Network.


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Brian Castriota documenting the artist-modified turntables used in Susan Philipsz’s installation “Seven Tears” (2016) at the Scottish National Gallery of Modern Art. [Photo: B. Castriota]
ECPN: Please tell us a little bit about yourself.

Brian Castriota (BC): My name is Brian Castriota, I’m a conservator of time-based media and contemporary art. I’m currently working on a Ph.D. at the University of Glasgow within the EU-funded research initiative “New Approaches in the Conservation of Contemporary Art” (NACCA).

ECPN: How were you first introduced to conservation, and why did you decide to pursue conservation?

BC: Both of my parents are art historians and my mother worked as a museum curator and director for many years, first at Duke University and later Amherst College. I spent a lot of my childhood backstage in museum storage around artworks and artifacts from all periods, which I think was probably a very formative experience for me. Something resonated with me in the kinds of interactions I observed conservators have with museum objects, their unique expertise about the material fabric and production history of these objects, as well as their profound sense of responsibility in ensuring their continuity.

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Backing-up and verifying file integrity of audiovisual material on artist-supplied carriers in the collection of the Scottish National Gallery of Modern Art. [Photo: B. Castriota]
ECPN: Of all specializations, what contributed to your decision to pursue electronic media conservation?

BC: I think I have always felt a draw towards “obsolete” equipment, media and technologies; I was an avid record collector in my adolescence, studied color darkroom photography in college, and I have a small collection of vintage analog synthesizers. I first became aware of electronic media conservation as a sub-specialism of art conservation after starting in the conservation masters program at NYU’s Institute of Fine Arts. Christine Frohnert was of course a big inspiration for me – her enthusiasm and passion for time-based media conservation was absolutely contagious, and she really gave me the confidence to pursue this pathway and specialization. Joanna Phillips was also instrumental in providing me with the practical training to become a time-based media conservator in my fourth-year internship and subsequent fellowship at the Solomon R. Guggenheim Museum.

ECPN: What has been your training pathway?  Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

BC: My training pathway has by no means been straight and narrow. I concentrated in studio arts at Sarah Lawrence College where I did my Bachelor’s degree. During my junior year abroad in Florence, Italy I took a year-long course on painting conservation which confirmed my interest in pursuing master’s-level training in conservation. Upon returning to New York I interned in the Photographs Conservation department of the Met for a summer. After I graduated from Sarah Lawrence in 2009 I worked for a paper conservator in private practice for a year while I completed the rest of my lab science requirements for grad school. During my time at the IFA I specialized in the conservation of objects and archaeological materials. I took every opportunity to work on their affiliated excavations, including three consecutive summers with the Harvard-Cornell Archaeological Exploration of Sardis, and NYU’s excavations at Selinunte and Abydos.

After taking Christine Frohnert’s seminar “Art With a Plug” in my third year I devoted my thesis research to examining the significance of CRT video projectors in Diana Thater’s early video installations. I then split my fourth year internship between the Artefacts Conservation section of the National Galleries of Scotland and the Time-Based Media Conservation Lab at the Solomon R. Guggenheim Museum in New York. Upon graduating I was fortunate to work for a few months at the Smithsonian American Art Museum on their time-based media art collection, and afterwards returned to the Guggenheim for a Samuel H. Kress Fellowship in Time-Based Media Conservation before I started my Ph.D. at the University of Glasgow.

ECPN: Are there any particular skills that you feel are important or unique to your discipline?

BC: I find that time-based media art conservation requires a very unique combination of skills: a sound knowledge of modern and contemporary art history and conservation theory, a sensitivity for contemporary artistic working practices, a broad technical knowledge of historic and current audiovisual technologies, a knack for interfacing with many groups of people with diverse skillsets and backgrounds, and an ability to think critically and reflectively.

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One of seven synchronized record players used in Susan Philipsz’s installation “Seven Tears” (2016), installed at the Scottish National Gallery of Modern Art. [Photo: B. Castriota]
ECPN: What are some of your current projects, research, or interests?

BC: In my doctoral research I am taking a critical look at how contemporary conservation theory and practice grapple with works of art whose authenticity doesn’t inhere through a fixed or finite physical assemblage, or even a fixed set of rules, parameters, conditions, or properties. There are in existence works whose creation continues after the work is acquired by a museum, works whose rules or conditions change over time or are seen as being variable among stakeholders. This in turn leads to questions about how the continuity of the work’s authenticity can be ensured. I am developing a framework and language to characterize these phenomena and account for them in our practical workflows and protocols.

In conjunction with my doctoral research I am working part-time at the Scottish National Gallery of Modern Art where I wear two hats. As a researcher, I’ve been examining some of the theoretical and practical challenges posed by particular artworks in and entering the collection. Right now I’m working on an exhibition that includes a number of Susan Philipsz’s complex sound installations involving custom equipment and wireless transmission, which are serving as case studies. I’ve also been lending my expertise as a time-based media conservator to help review their collection care practices around their growing time-based media art collection. Following an initial collection survey and risk assessment we have begun backing-up and condition assessing audiovisual material in the collection, as well as revising and expanding documentation records and acquisition protocols for time-based media artworks.

ECPN: In your opinion, what is an important research area or need in your specialization?

BC: I think one that deserves a bit of focus is terminology. There are a lot of terms that we use in our field, not always with the most consensus about what we mean: emulation, replica, copy, version, authenticity, fidelity, iteration, just to name a few. Some of these terms are borrowed from or have particular lineages within academic discourses in philosophy, ethnography, performance studies, or computer science. In some cases these terms may also have particular meanings in particular industries. These terms also have colloquial usage and connotations. And these are just the English terms. Our field is so international, and there are many terms in other languages that do not have direct translations in English. I have joked for a while that we need to have a “Term Focus” conference – perhaps there will be one on the horizon!

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Receiver aerial mounted on the roof of the Scottish National Gallery of Modern Art, relaying Susan Philipsz’s wirelessly-transmitted sound installation “You Are Not Alone” (2009/2017). [Photo: B. Castriota]
ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

BC: Do it, because the need is certainly there. If you are pre-program, the Institute of Fine Arts has developed the first dedicated stream in time-based media conservation training in North America. Also be on the lookout for short Mellon-funded courses and workshops geared towards established conservators wishing to pursue greater specialization in time-based media. Attend digital archiving conferences and workshops, join the AMIA listserv, make use of some of the online resources like Code Academy to learn some programming languages, get a Raspberry Pi or a kit for building a little synth or a guitar pedal. The best way to understand the technical underpinnings of time-based and electronic media is to play around with some yourself. Make something!

Summer 2018 Internships: Outdoor Sculpture Conservation (New York, NY, USA)

Central Park Conservancy (CPC) with a grant from The Charles Evans Hughes Memorial Foundation is offering five full-time summer internship positions in outdoor sculpture conservation. CPC is a private, not-for-profit organization dedicated to the maintenance and preservation of Central Park. For more information, visit the Central Park Conservancy website at www.centralparknyc.org.

Monuments conservation technicians (MCT) will be involved in the annual program of examination, documentation, preservation and conservation of the bronze and stone sculpture in Central Park in New York City and select special projects.

Eligibility requirements:

  • Applicants must be active graduate students or recent masters-level graduates in historic preservation, objects conservation or equivalent.

Please note: Pre-program (conservation) and exceptional undergraduate candidates intent on pursuing a Master’s degree in Historic Preservation, object conservation or closely related field will be considered.

  • Candidates must be eligible to live and work in the US before applying and for the duration of this placement.
  • Applicants must possess a current United States issued driver’s license or equivalent. They must be physically able to lift 50 lbs and to wear a respirator for up to 4 hours per day.

The summer conservation program will begin on Monday, June 4th and concludes on Friday, August 10, 2018. Pay is $14 dollars per hour. Interested applicants should respond with a cover letter and C.V. or resume no later than March 30, 2018 to: mctprogram@centralparknyc.org.

IMPORTANT: Applicants must include 2018 MCT Program in the subject line of email correspondence.

 

Pre-program Mellon Internship in Preservation and Conservation (San Marino, CA, USA)

Andrew W. Mellon Foundation Internship in Preservation and Conservation
Supported by an endowment established in 1981, The Huntington annually offers a Mellon Internship in Preservation and Conservation. The internship, offered in the preservation and conservation of either books and/or works on paper, is for individuals who have a Bachelor’s degree and can demonstrate a commitment to entering a graduate program in conservation. The intern will work with the Preservation Department’s conservators, who will make use of The Huntington’s collections materials in providing instruction. Through training in conservation treatment techniques and readings from the conservation literature, the intern will advance their knowledge of the underlying principles of conservation, and the tools and techniques used in the conservation of library collections materials. Mellon interns are encouraged to document their work and make a short presentation to Huntington staff upon completion of their internship term.

The term of the internship is 10 weeks. Stipend amount: US $5,000.

To apply for the Mellon Internship beginning June 1, 2018, please send application materials between December 1, 2017 and January 31, 2018. Include cover letter, resume, and contact information for three references to:

Holly Moore
Lloyd E. Cotsen Head of Preservation and Conservation
Huntington Library, Art Collections, and Botanical Gardens
1151 Oxford Road
San Marino CA 91108
Tel: 626-405-2197
Fax: 626-405-3444
hmoore@huntington.org

Applications must be received no later than January 31, 2018.

Emergency Assessments for Museums in Disaster Areas

The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) and the Institute of Museum and Library Services (IMLS) announce availability of Emergency Collections Assessment for Preservation support. Based on the existing Collections Assessment for Preservation (CAP) program, the Emergency CAP will help collecting institutions in federally declared disaster areas receive post-disaster collections care recommendations from conservation and building professionals on an expedited basis.

Emergency CAPs follow the general guidelines of the Collections Assessment for Preservation program, with the following exceptions:

  • Only museums affected by recent major federally-declared disasters are eligible.
  • Museums of any size are eligible for an Emergency CAP. Small and mid-sized museums will receive a general conservation assessment. Larger museums will receive a review of preservation/conservation plans for the structure and/or those parts of their collections which have been damaged by the emergency or disaster.
  • Assessor allocations for Emergency CAPs range from $3500-$4900 per assessor, based on institutional budget, need, and available funds.
  • Applications for Emergency CAPs are reviewed immediately upon receipt. Applicants are typically notified of their status within two weeks of application.
  • Program schedules and deadlines are determined by each institution and its team of assessors, subject to approval by FAIC. All program activities must occur within one year of notification of program acceptance.

Limited funding is available. Eligible museums interested in receiving an Emergency CAP assessment should contact Tiffani Emig, CAP Program Coordinator, at 202-750-3346 or temig@conservation-us.org for additional information.

Read or download the full press release: www.conservation-us.org/docs/default-source/default-document-library/CAP/emergency-cap-release.pdf?sfvrsn=2.

Conservation Internship at the University of Edinburgh, Scotland

  • Closing date for applications: Friday 8 December 2017

The Centre for Research Collections (CRC) has developed a program of internships to teach and extend core skills in the archive, conservation, and research disciplines.

An 8-week conservation internship is available with a stipend of GBP2,500 attached. This internship is designed for those who have recently completed (or are close to the completion of) a relevant professional qualification but are yet to gain paid or permanent employment in the sector: the internship will offer the successful candidate valuable work experience in their chosen career to enhance future employability. The intern will be well supported by CRC staff and offered extensive opportunities to develop their skills.

The intern will be based within the Centre of Research Collections, working on the Thomson-Walker Collection. This collection includes some 2500 prints bequeathed to the University of Edinburgh by Sir John William Thomson-Walker (1871-1937), a surgeon and print collector. This internship is the fourth in a series of placements to conserve this prestigious print collection. The first intern to take part in this project commented that “This [internship] has greatly improved my self-worth, and I now feel ready to make the important leap from education to employment.”

Wider experience of working in the special collections and higher education sectors will also be offered.

To apply, provide the following:

  1. your CV of no more than 2 sides of A4 (to include contact details, information on your qualifications and any previous voluntary or work experience, and contact details for two referees),
  2. a supporting statement of 500 – 1000 words detailing why you are interested in the internship and describing how participation in the program would benefit your future career,
  3. confirmation that you are eligible to work in the UK (a statement in either your CV, covering e-mail, or supporting statement will suffice at application stage.)

Please note that applications without 1-3 above will not be considered.

More information on the CRC can be found here: www.ed.ac.uk/information-services/library-museum-gallery/crc. More information on the CRC internships can be found here: www.ed.ac.uk/information-services/library-museum-gallery/crc/volunteers-interns.

Applications may be sent via email or post to Emily Hick (emily.hick @ed.ac.uk; Centre for Research Collections, Edinburgh University Library, 30 George Square, Edinburgh, EH8 9LJ). Applicants will be shortlisted, and selection will be based on a subsequent, informal, interview at the CRC. Please note that expenses to attend the informal interview will not be paid.

  • Closing date for applications: Friday 8 December 2017
  • Informal interview date: Tuesday 19 December 2017
  • Proposed start date: Monday 8 January 2018

For further information, please contact Emily on emily.hick@ed.ac.uk.

ECPN’s Follow-Up to the Fall Webinar on Preparing and Maintaining a Conservation Portfolio—Q&A and Other Resources

ECPN’s webinar “Showcasing Your Work: Preparing and Maintaining a Conservation Portfolio,” took place on November 14, 2017 and featured presentations by Susan Heald and Gwen Manthey. Please see the previous blog post announcing the webinar for more extensive biographies of our speakers, and visit AIC’s YouTube Channel for the full recording of the webinar.

Several questions from viewers could not be addressed during the webinar due to time constraints; however, the panelists have generously answered them here.

Q&A

Should you adapt portfolios for your audiencefor example, academic institutions, nonprofits, museums, private practice?

Susan Heald: I would keep a full portfolio of your work for yourself in whatever method you chose to save it, but I would adapt the portfolio for a target audience when you’re submitting an application for an internship/fellowship/job.

Gwen Manthey: Absolutely. Doing research about the collections will help you in choosing what projects to share. For museums and academic institutions (interviews or even a lab visit), I tend to review three to five past annual reports  to see the size of the conservation department, who is working there, if conservation is promoted in the report, and what is actively being conserved. Annual reports provide information on what they are actively acquiring, and this research helps me develop my portfolio. In addition to related artists, time periods, and materials, I like to make sure my portfolio represents every facet of conservation: research, technical analysis, innovative treatments, and the strengths of my hand skills. If I’m lucky, these facets overlap on selected projects, even if the object itself isn’t a direct reflection of their collection. When it comes to my private work and from my experience working with other private conservators and regional centers, it’s about time-management, problem-solving, flexibility in working on-site, effective communication when working solo or on a team, and efficient report-writing.

Is there an ‘expiration date’ on your previous work? For example, is there a certain point at which you would recommend excluding pre-program or program course work to feature more recent but perhaps less-relevant work? 

Susan Heald: That’s a good question. I don’t think there should be an expiration date—sometimes earlier work can still be advantageous to include, especially if it is more relevant to a project than more recent work that’s not relevant.

Gwen Manthey: For things that are several years in the past, I might still include the treatment reports and the critical images, but not focus on them when preparing a presentation or guiding someone through your portfolio. If a past project comes up in the conversation, I find it can be useful to discuss what I might do differently at this stage in my career or inquire how my colleagues and mentors may have approached it. Big projects, even many years past, have developed your knowledge and skills.

If you are seeking to showcase your experiences in a digital format, would you recommend building an online presence through platforms such as LinkedIn or Academia.edu in addition to a digital portfolio, or do you find it’s more worthwhile to focus efforts on one comprehensive website? Gwen, do you have thoughts on the logistics of potentially maintaining and coordinating multiple online profiles? And Susan, what is your perspective on this as a reviewer?

Susan Heald: As a reviewer, I would just want the portfolio to be easily accessible in whichever format was chosen, and a password-protected site would be just fine—as long as the password is provided.

Gwen Manthey: Yes. The benefit of the LinkedIn profile is that the end-user does not necessarily need to have their own account to view your profile, as it is free; if you ever let your paid website expire, the LinkedIn profile can live on. It may be easier for someone early in their conservation career to develop a LinkedIn profile and have a digital portfolio at hand and ready to share in a cloud-based service, rather than creating and maintaining a paid website. My LinkedIn profile serves as a digital master C.V. It is directly accessible from my website; in fact, this question prompted me to make sure it was also accessible from the “Conservator” page, where my background information lives. I feel it is prudent to have at least one profile that is dedicated to my entire conservation career, independent of the website, developed with my private practice in mind. If my website served solely as an e-portfolio, I might have the entire C.V. accessible. I want to make it clear that museums where I have been employed were not “clients,” but naturally, my private work has benefited from the exposure to skilled colleagues at those museums. Conservation is a big part of my life, so it naturally leaks into my other social media presences. Some of my peers have accounts dedicated to their private practices and I salute that initiative; I do not myself, since my professional career is still quite fluid. I do not have an Academia.edu profile.

What makes a bad online portfolio? Are there any specific things to avoid like too much information, too many images, poor organization, difficult navigation, etc.? Do potential supervisors prefer brief summaries or lengthy text entries with detail?

Susan Heald: As a reviewer, I just need to be able to find the information easily—so difficult navigation and poor organization would drive me nuts. I like the idea of having summaries with overall images up front (as Gwen showed in one example during the Webinar), with the longer, complete report format and additional detail images available for review if desired.

Gwen Manthey: I think the biggest concern is poor organization. You can put nearly an unlimited amount of information on your personal website, constrained only by the file size imposed on the specific plan you select from your provider. You should think about your intended audience, who may not have the same technological savvy you do. Clear tabs, a legible font, and smart navigation through text and images are key. I don’t even like scrolling down through long entries myself, so those preferences influenced the design of my website.

On average, how long would a potential supervisor spend looking at an online portfolio before an interview?

Susan Heald: That’s a really hard question to answer because it depends on how many applicants are in the pool, how many interviews are conducted, and how much time the reviewer might have in addition to other work responsibilities. I try to spend a minimum of 30 minutes looking at a portfolio submission containing 3-4 examples of work, and that is after I have reviewed that candidate’s letter of introduction, CV, writing samples, and the 3 letters of recommendation. I always take notes as I do this. Sometimes as a panel of 3-5 reviewers, we might divide the portfolio into sections with each reviewer taking a particular section most relevant to their area of expertise, reading that section thoroughly, and then briefing the other panelists on the review committee. Good organization of the text, images, and supporting materials within the portfolio is crucial—it must be easy to review and consume.

One of my concerns as I start making my own website is having a design that is both easy to use and distinguishable from my peers who may be using similar templates. How customizable is the platform that you’ve used, and how easy did you find it to make those changes?

Gwen Manthey: Squarespace is a very, VERY smart website builder. Even if you select one of their templates, the customization is virtually unlimited. The first website I ever had a hand in building was my own, so it was a trial by fire, since I personally found the breadth of customization and its design tools were not intuitive to me. It was quickly overwhelming until I forced myself to be patient and practice. It might have been more difficult than Wix or Weebly, both of which I had also considered at the time, but a graphic design friend strongly suggested it, as it was more customizable at the time. I like using gray backgrounds, big images, and limited text when developing PowerPoint presentations, so my website is an extension of that design preference. While it may look similar to the websites of my colleagues, my experiences are pretty singular and that is what tends to stick out.

What is the best iPad or MacBook program that can be used to set up a digital portfolio? 

Gwen Manthey:  As always, “best” is subjective. Best will depend on how you want to prepare and present your digital portfolio, so spend some time thinking that. I believe I left out one key format in presenting a digital portfolio in my presentation: compiling your documents into a single PDF package. Doing that can be accomplished through a variety of software applications. Your digital portfolio does not need to live scattered across multiple apps in a tablet, as mine did (and still does). I use an iPad because I am familiar with it, and that ease works to my benefit during its presentation. I prefer to use some of the heavier-hitting and integrated applications (such as Dropbox, Adobe-based programs, iBooks, and the iPhotos apps) since I trust they will be continually updated as time progresses. As such, I can only confidently speak about Mac-based software and iPads, and lack experiences with other platforms and operating systems.

Thank you to Susan and Gwen! ECPN is grateful to the speakers for their participation in the webinar and for sharing their expertise on this topic. Thank you also to my fellow ECPN officers, and the AIC board and staff who made this program possible. If you have additional comments or questions on this subject, please email ECPN.aic.webinar@gmail.com.

Here are links to a few key AIC resources that our speakers mentioned during their presentations:

And here are other ECPN resources on the topic of portfolios in the conservation field:

 

JAIC: Call for Papers

JAIC welcomes the submission of technical studies, research papers, treatment case studies, and ethics and standards discussions relating to the broad field of conservation and preservation of historic and cultural works.

JAIC encourages the submission of short practical or technical notes, topical reviews, material studies, and longer submissions on subjects of interest to preservation and conservation professionals. Manuscripts are reviewed for their interest and overall suitability for the Journal, as well as for accuracy, clarity, and uniqueness.

The JAIC editorial board would like also to encourage articles that tackle broader issues in the conservation field (i.e., articles that discuss ethical considerations, history of conservation, history of teaching conservation, the changing nature of our jobs as conservators in museums and other institutions); collaborative articles between conservation and allied professionals; review-type articles that investigate a particular under-studied material or long-term results of particular treatments; and short technical notes or clinical practice submissions.

In addition, the journal welcomes submissions for book reviews. If you are interested in submitting a review of a recently published book related to the subject of conservation or preservation, please contact Cybele Tom, Book Review Editor.

If you have questions about whether your topic or manuscript is a good fit for the Journal, you may send a query to either Bonnie Naugle, JAIC managing editor.

For more details about the Journal and guidelines, visit: www.conservation-us.org/resources/our-publications/journal-(jaic).

Objects Conservator ( Atlanta, GA, USA) – POSITION FILLED

*** APPLICATION DEADLINE HAS PASSED – PLEASE DO NOT APPLY FOR THIS POSITION ***

ATLANTA ART CONSERVATION CENTER (AACC) 

The Atlanta Art Conservation Center, a non-profit regional laboratory serving over 12 member museums in the south, invites applications from qualified conservators for the full-time position of Objects Conservator. Duties include the examination, treatment, and documentation of a wide range of three-dimensional materials; collections assessments and conservation planning; consultation and workshops; and research. Travel for on-site projects is an integral part of the work, including collections surveys, historic interiors, outdoor sculpture and individual treatments.

A graduate degree in objects conservation is required, at least 2 years of post-graduate conservation experience and/or regional lab experience is preferred. Applicants should have a demonstrated ability in the examination and treatment of decorative arts, sculpture, historic artifacts, and contemporary art including both organic and inorganic materials. The physical ability to work outdoors on large sculptures is required. Collaboration on projects with other departments (paintings, paper, objects, and analysis) is common, and the applicant should have good supervisory, communication and team skills.

Applications should include a letter of interest, résumé, and contact information from three references. Please send applications to Thomas J. Branchick, Director, WACC, 227 South St., Williamstown, MA 01267, USA, or email application to thaskins@williamstownart.org.

2018 Summer Internships (Toronto, Canada)

The Art Gallery of Ontario
Application deadline: November 27, 2017

The Art Gallery of Ontario (Toronto, Canada) is pleased to offer up to three internships for the summer of 2018 in paper conservation, painting conservation, and an internship split between Sculpture/ Decorative Art and Contemporary Art.

The AGO is committed to recruiting a diverse and collaborative workforce, who exemplify our mission, vision and values and will thrive in a dynamic environment. The goal of the AGO Internship program is to provide opportunities for non-traditional training to students who are continuing their studies. We hope that the position provides an intern with the opportunity to learn more about their chosen career path and offers a real opportunity to introduce new and exciting ideas to the Gallery.

Our ideal candidate will be a 2nd year Conservation Master’s Degree Student seeking a summer internship in fulfillment of their program. The candidate must also be a Canadian citizen or currently eligible to work in Canada.

This internship provides advanced training in Conservation that is necessary for a young professional to successfully pursue a career in Conservation. Close mentoring by AGO conservation staff will help supplement conservation training and refine skills at a high level. The successful candidate will receive a $5000 (CAD) stipend for the 12-week placement.

Please apply by visiting the Internship Opportunities page on our Jobs site at www.ago.net/jobs. Please include the following application materials in your submission:

1. CV
2. Statement of interest, including the applicant’s interest in working at the AGO and what the applicant hopes to gain from the internship
3. Two reports, including one treatment report with documentation
4. Names of three references

In accordance with the Ontario Human Rights, Accessibility for Ontarians with Disabilities Act & the AGO’s Recruitment & Selection Policy for Staff, a request for accommodation will be considered throughout the hiring process.

Please note the application deadline of November 27, 2017.