Conservators Converse http://www.conservators-converse.org the blog of the American Institute for Conservation Mon, 25 Sep 2017 14:27:45 +0000 en-US hourly 1 https://wordpress.org/?v=4.6.7 Art preservation and natural disasters, a letter to the NYTimes editor http://www.conservators-converse.org/2017/09/art-preservation-and-natural-disasters-a-letter-to-the-nytimes-editor/ http://www.conservators-converse.org/2017/09/art-preservation-and-natural-disasters-a-letter-to-the-nytimes-editor/#respond Fri, 22 Sep 2017 15:59:55 +0000 http://www.conservators-converse.org/?p=17660 In response to the recent New York Times article by Paul Sullivan, Protecting Andy Warhol From Flood, Fire and Quake, published online September 15, 2017, the AIC board of directors (through Treasurer Sarah Barack) has submitted a letter to the editor of the Times. The letter is printed in full below.

 

To the Editor,

The recent article, Protecting Andy Warhol from Flood, Fire and Quake, was commendable in that it brought to the forefront the need to protect art collections when disasters are looming. As the professional association for art conservators in North America, the American Institute for Conservation of Historic and Artistic Works (AIC) has long been concerned with mitigating such damage, and aiding those museums, institutions and collectors whose collections have thus been impacted. AIC has resources available on its website (https://www.conservation-us.org/resources/disaster-response-recovery) for the general public, and also provides a Find a Conservator digital database, which allows any individual looking for professional conservation advice to be matched with an appropriate, professional conservator. Further, AIC is able to activate a nation-wide network of conservators trained to respond to emergencies following such events. 

As we all know, an ounce of prevention is worth a pound of cure— however this benefit requires proper prevention which can be provided by trained art conservators. Should these measures prove insufficient, prompt conservation attention can help offset complete property loss.

Sarah Barack

Treasurer of the Board, 

American Institute for Conservation of Historic and Artistic Works

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Assistant Painting Conservator, Stella Art Conservation, Inc. (West Palm Beach, FL, USA) http://www.conservators-converse.org/2017/09/assistant-painting-conservator-stella-art-conservation-inc-west-palm-beach-fl-usa/ http://www.conservators-converse.org/2017/09/assistant-painting-conservator-stella-art-conservation-inc-west-palm-beach-fl-usa/#respond Thu, 21 Sep 2017 17:11:28 +0000 http://www.conservators-converse.org/?p=17648 Stella Art Conservation, Inc. located in West Palm Beach, Florida, seeks a full-time collaboratively-minded and conservation treatment-oriented conservator of paintings to become an integral part of the staff. The Assistant or Associate Conservator’s principal responsibility will be to collaborate with the chief conservator on the conservation of Art-works.

The ideal candidate must have the following qualifications and skills: Ability to examine paintings; perform treatments of paintings; versatility in performing other duties that may be assigned; complete work skillfully in a timely matter; have experience with digital photography; extremely fine manual skills in retouching; working knowledge of materials, techniques and ethics of painting conservation; developed practical skills with the ability to accurately assess deterioration and damage; sound judgement and strong work ethic; ability to work effectively with colleagues and clients as a positive and productive team member; innovative thinking is required for challenging projects; experience in carrying out on-site examinations; good analytical and problem solving capabilities and a strong attention to detail is a must; ability to provide written condition reports, treatment recommendations, and post-treatment reports is a plus.

Experience: Painting Conservator or equivalent training and work experience.

This is a Full-time contract position. Compensation will be commensurate with qualifications and experience.

Stella Art Conservation, Inc. is an equal opportunity and affirmative action employer.

Professional References and Examples of Treatment Experience: Provided upon request.

To apply to this position, please email your resume and cover letter to the attention of Barbara Stella, Senior Conservator and President, at info@stellaartconservation.com.

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Textile Conservator (York County, PA, USA) http://www.conservators-converse.org/2017/09/textile-conservator-york-county-pa-usa/ http://www.conservators-converse.org/2017/09/textile-conservator-york-county-pa-usa/#respond Thu, 21 Sep 2017 16:15:55 +0000 http://www.conservators-converse.org/?p=17646 Jeff R. Bridgman American Antiques, Inc.

Leading authority in antique American flags and political textiles, who also operates a very busy textile conservation business, seeks full-time, on-site conservator. Applicants should have an advanced degree in art conservation with an emphasis in textiles and should be highly skilled at sewing and exceptional at color matching. Persons with strong skills in detailed painting preferred for creating underlay patches behind printed textiles with loss. This is an on-site position with daytime hours, but with a limited amount of occasional overtime and weekends.

We are the largest dealers in antique flags and for going on 18 years have conserved and framed thousands of examples.

This position offers competitive pay, based upon experience, health insurance, paid vacation time, and paid holidays. Located in the greater Gettysburg/Harrisburg area of South-Central Pennsylvania (USA), just over an hour from Baltimore, less than 2 hrs. from DC, 2 hrs. from Philly, and 3 hrs. from NYC.

We may be hiring another staff person in the near future, so if you encounter this posting after you presume it to be filled, always feel free to make contact with us.

Contact Jeff Bridgman at (717) 676-0545, or email us at info@jeffbridgman.com.

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45th Annual Meeting – Paintings Session, June 1, 2017 – “Using Butvar® B-98 as a Consolidant for Friable Matte Paint by Claire Winfield” http://www.conservators-converse.org/2017/09/45th-annual-meeting-paintings-session-june-1-2017-using-butvar-b-98-as-a-consolidant-for-friable-matte-paint-by-claire-winfield/ http://www.conservators-converse.org/2017/09/45th-annual-meeting-paintings-session-june-1-2017-using-butvar-b-98-as-a-consolidant-for-friable-matte-paint-by-claire-winfield/#respond Tue, 19 Sep 2017 01:50:00 +0000 http://www.conservators-converse.org/?p=17636 Covering a pair of practical case studies, Claire Winfield’s presentation on her recent uses of Butvar® B-98 was clear and informative. Winfield, the Associate Painting Conservator at Saint Louis Art Museum (SLAM), featured two artworks that share the characteristic of having friable matte paint, but the process and purpose for consolidation of each one varied. Her ability to modify her approach for each situation was guided by research and first-hand tests with Butvar® B-98.

Molecular structure of Butvar®. Image taken during presentation.

Butvar® B-98 is one of a series of trademarked polyvinyl butyral resins, which are valued for their clarity, adhesion to varied surfaces, rheology, toughness, flexibility, and aging characteristics. Butvars® are available in a range of molecular weights (MW) and can be applied in a variety of solvents by brush or spray. They are typically used in objects conservation for materials such as deteriorated wood, stone, plaster, bone, fossils, and baskets, because they can retain a matte surface and cause little color saturation.

In both of Winfield’s featured treatments, she needed to stabilize paint without altering its optical properties – a steep challenge given their powdery surfaces. Winfield focused on the energy relationships between Butvar® B-98 and the painted surfaces, reducing the adhesive’s particle size (B-98 is the lowest MW Butvar® available) and spray applying it in multiple dilute coatings to promote penetration. Keeping the spray tip completely clean and pre-wetting the surface with solvent were helpful in this process.

Historic information about Fabspray. Image taken during presentation.

The first case study was Enforcer (1962) by Larry Poons, composed of Liquitex acrylic paint and Fabspray on canvas. The Fabspray, a spray paint for fabric with vinyl and alkyd resin binders, unfortunately aged very poorly, having deteriorated to the point of actively shedding pigment. The goal of treatment was to keep the paint in place for safe dusting of the surface. Adhesive tests included Butvars® of varying weight, gelatin, and methylcellulose. Due to its small particle size, low viscosity in ethanol, strength, and minimal visual effect, a 1% Butvar® B-98 in ethanol was chosen as the consolidant. Since the Liquitex and Fabspray were applied to the painting in discrete areas, it was possible to mask the Liquitex areas while spray applying six coats of dilute consolidant to the Fabspray. The results were successful in that the paint no longer actively sheds and remains visually matte; however, the surface still cannot be safely dusted, and there was a slight but acceptable saturation of the color.

Photomicrograph of problematic paint. Siegfried Reinhardt, Micenic, 1942, oil, Siegfried Reinhardt. Image taken during presentation.

Micenic (c. 1942) by Siegfried Reinhardt, an oil painting on pressed board, was the second case study. The paint layer was locally cracked and lifting away from the board, and it was also lacking in cohesive strength: the lifting paint crumbled from brush contact and could not withstand heat. Following tests, the surface was pre-wet with 60:40 toluene:ethanol then then sprayed overall with 2% Butvar® B-98 in the same solvent mix to give the paint cohesive strength. Ethanol helped lower the viscosity of the adhesive, and toluene prevented tidelines caused by the paint’s slight ethanol sensitivity. BEVA® 371 in naphtha with heat assistance could then be applied to readhere the lifting paint to the board without undermining the cohesion provided by the B-98. This two-layer consolidation process successfully preserved both the structure and appearance of this painting.

Winfield’s work provided two responsible and creative examples for how Butvar® B-98 can be a useful addition to a paintings conservator’s toolkit.

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45th Annual Meeting – Paintings Session, June 1, 2017 – “Conserving the Paintings of Romaine Brooks by Tiarna M. Doherty” http://www.conservators-converse.org/2017/09/45th-annual-meeting-paintings-session-june-1-2017-conserving-the-paintings-of-romaine-brooks-by-tiarna-m-doherty/ http://www.conservators-converse.org/2017/09/45th-annual-meeting-paintings-session-june-1-2017-conserving-the-paintings-of-romaine-brooks-by-tiarna-m-doherty/#respond Tue, 19 Sep 2017 01:20:03 +0000 http://www.conservators-converse.org/?p=17631 On the final day of specialty group presentations at AIC’s Chicago meeting, Tiarna Doherty, Chief of Conservation at the Lunder Conservation Center, Smithsonian American Art Museum (SAAM), rewarded attendees with a lovely presentation about the singular artist Romaine Brooks. The Smithsonian Renwick Gallery mounted the exhibition “The Art of Romaine Brooks” in 2016, and Doherty examined over 30 paintings by Brooks in preparation, many of which were featured in the show. Weaving into a captivating story Brooks’s biography, aesthetic preferences, and technical practices, Doherty also conveyed the rationale for her practical conservation approach in response to how the paintings have altered over time.

Still image from presentation. Painting show in detail (left), overall normal light (center), and ultraviolet illumination (right). Romaine Brooks, Una, Lady Troubridge, 1924, oil, Smithsonian American Art Museum, Gift of the artist, 1966.49.6.

Romaine Brooks (1874-1970) is known for her stunning portraits, often featuring friends who were leading figures in the arts and humanities at the time. Born in Italy but raised in New York, Brooks’s father left when she was young, and her mother was not supportive of Brooks’s artistic pursuits. From 1890-1900, she lived in Capri with many other ex-patriots with non-traditional lifestyles; the location was a refuge following Oscar Wilde’s 1895 trials in London. Brooks met her husband in Capri, but their marriage was unsuccessful in no small part because he disapproved of her preference for masculine attire. She eventually settled in Paris in 1905. Her unpublished autobiography, which she illustrated with drawings, was titled “No Pleasant Memories.”

Brooks recorded very little about her aesthetic preferences or artistic technique, leaving only her artistic output and a few historic photographs to fill in the blanks. Her painting technique reveals some academic knowledge, though she may not have had formal training. Chalk lines and colored ground layers, such as the salmon orange preparatory layer in The Charwoman (1904), were followed by thin washes of paint and numerous glazes composed of her own mixture of oil and resin. She often used oil paint to reinforce contours on top of natural resin varnish layers to create the final surface. Painted black dashes, and in one case silver dashes, define the outer boundaries of many paintings.

In addition to painting and drawing, Brooks demonstrated an innovative attentiveness to interior design. Frame design and surface finish were clearly a consideration in her pursuit of Whistler-influenced harmony of color and tone. In one example from Doherty’s presentation, Brooks had a particular frame with a large rabbet in mind when planning a painting’s composition, as she painted the canvas only where it would show within the frame window. In another example, both the painting and the frame had a black ground layer visible beneath the finished surface – such efforts earned the accolades of “reigning in harmony” in a 1910 exhibition review.

Not surprisingly, the natural resin-containing layers of Brooks’s paintings have darkened over time. Brooks herself may even have seen the changes begin, as she chose to keep most of her paintings until her death. The presence of glazes and varnish in alternating layers with original oil paint make conservation especially challenging. In addition, conservators at SAAM observed that later applications of Paraloid® B-72, now getting cloudy, were difficult to remove safely due to sensitivity of the original materials beneath. Treatment goals leading up to the Smithsonian’s exhibition were therefore a combination minimal intervention and passive technology. When possible, degraded varnishes were reduced and surfaces resaturated. To restore some of the original cooler tonality, gallery lighting was employed to virtually compensate for some of the current altered appearance.

Doherty reminded us of Oscar Wilde’s relevant words from The Portrait of Dorian Gray, that “some things are more precious because they don’t last long.” But a conservator does what she can. This careful study of an artist and her technique led to both a thoughtful approach for displaying Brooks’s paintings, aged but still striking; as well as this transmission of her harmonious original vision.

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Nominations for Jan Merrill-Oldham Professional Development Grant http://www.conservators-converse.org/2017/09/nominations-for-jan-merrill-oldham-professional-development-grant/ http://www.conservators-converse.org/2017/09/nominations-for-jan-merrill-oldham-professional-development-grant/#respond Thu, 14 Sep 2017 19:13:40 +0000 http://www.conservators-converse.org/?p=17626 Nominations Sought for Jan Merrill-Oldham Professional Development Grant (American Library Association-Association for Library Collections and Technical Services)

The Jan Merrill-Oldham Professional Development Grant was established to honor Jan Merrill-Oldham, distinguished leader, author and mentor in the field of library and archives preservation. The grant provides the recipient the opportunity to attend the American Library Association Annual Conference in order to contribute to his/her professional development.

The recipient will attend meetings and programs, and will be required to submit a short essay on their conference experience to the ALCTS News. The grant consists of a $1,250 cash grant donated by the Library Binding Council, BMI and a citation to be presented at the ALCTS Awards ceremony. The grant is applicable toward airfare, lodging and registration fees related to ALA Annual Conference attendance.

Send nominations or applications, including the following name, address, phone number and email address of the nominee and nominating party or applicant; letter of application or nomination; two letters of recommendation from professional colleagues who know the candidate and his/her work; resume or curriculum vitae; short essay (up to 500 words) on the following theme: “How would receiving the Jan Merrill-Oldham Professional Development Grant further your professional development goals?,” to Beth Doyle, chair, grant jury.

For more information, visit the Jan Merrill-Oldham Grant page at: www.ala.org/alcts/awards/grants/jmogrant.

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It’s the time of the season…for submitting abstracts! http://www.conservators-converse.org/2017/09/its-the-time-of-the-seasonfor-submitting-abstracts/ http://www.conservators-converse.org/2017/09/its-the-time-of-the-seasonfor-submitting-abstracts/#respond Thu, 14 Sep 2017 16:43:30 +0000 http://www.conservators-converse.org/?p=17623 Yes, there is still time to submit that paper idea you’ve been kicking around in your head! You can do it (!!!), and this post aims to provide answers to your most pressing abstract questions, such as “How do I write a good one?” And, “What the heck happens after I submit it?”

For help with the first question, check out this blog post. It walks you through the process of writing an abstract and also helps you choose sessions for its submission.

As for the second, this document provides information on how the annual meeting’s review committees are formed, as well as the questions they consider when reviewing and selecting abstracts. You can also find this information on the AIC annual meeting’s Call for Submissions webpage.

I look forward to reading your talk abstract soon! And yes, I was listening to the Zombies’ Odessey and Oracle album when I wrote this post.

 

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The Bibliographical Society of America: 2018 Fellowship Program http://www.conservators-converse.org/2017/09/the-bibliographical-society-of-america-2018-fellowship-program/ http://www.conservators-converse.org/2017/09/the-bibliographical-society-of-america-2018-fellowship-program/#respond Wed, 13 Sep 2017 19:22:23 +0000 http://www.conservators-converse.org/?p=17618 The BSA Fellowship Committee wishes to remind our broad community that BSA awards are open to any member of the scholarly community engaged in bibliographical scholarship, including: academics, librarians, conservators, ​faculty, graduate students, booksellers, collectors, and scholars studying the materiality of books, manuscripts, and other cultural documents and artifacts.

The Society invites applications for its annual Katharine Pantzer Senior Fellowship in Bibliography and the British Book Trades as well as its annual short-term fellowships, all of which support bibliographical inquiry and research in the history of the book trades and in publishing history. Eligible topics may concentrate on books and documents in any field, but should focus on the book or manuscript (the physical object) as historical evidence. Such topics may include establishing a text or studying the history of book production, publication, distribution, collecting, or reading. Thanks to the generosity of donors, certain special fellowships support research in particular areas of study. Applicants should therefore read the fellowship titles and guidelines here to determine project eligibility and fit. Please note: these fellowships do not support enumerative bibliography (i.e. the preparation of lists). Individuals who have not received support in the previous five years will be given preference. All fellowships require a project report within one year of receipt of the award, and a copy of any subsequent publications resulting from the project, to be sent to the BSA.

FELLOWSHIPS

The BSA-Harry Ransom Center Pforzheimer Fellowship in Bibliography (two awards at $3,000 each) supports the bibliographical study of early modern books and manuscripts, 1455-1700, held in the Ransom Center’s Pforzheimer Library and in related collections of early printed books and manuscripts, including the Pforzheimer Gutenberg Bible. For more information on this fellowship click here.

The BSA-Pine Tree Foundation Fellowship in Hispanic Bibliography ($3,000) supports the bibliographical study of printed and manuscript items 1) in the Spanish language produced during any period and in any country; or 2) in any language provided they were produced in Spain, or in its overseas dominions during the time of Spanish sovereignty; or 3) the bibliographical study of book and manuscript collections in Spain, or in its overseas dominions during the time of Spanish sovereignty; or 4) the bibliographical study of Spanish-language book and manuscript collections during any period and in any country.

The BSA-Pine Tree Foundation Fellowship in Culinary Bibliography ($3,000) supports the bibliographical study of printed and manuscript cookbooks (once commonly known as receipt books); medical recipe books that also contain culinary recipes; other types of books, manuscript, and printed material that include a substantial body of culinary recipes; treatises on and studies of gastronomy; or memoirs, diary accounts, or descriptions of food and cooking. Projects may cover any period or country.

The Katharine Pantzer Senior Fellowship in Bibliography and the British Book Trades ($6,000) supports research in topics relating to book production and distribution in Britain during the hand-press period as well as studies of authorship, reading and collecting based on the examination of British books published in that period, with a special emphasis on descriptive bibliography.

The BSA-ASECS Fellowship for Bibliographical Studies in the Eighteenth Century ($3,000). Recipients must be a member of the American Society for Eighteenth-Century Studies at the time of the award.

The Charles J. Tanenbaum Fellowship in Cartographical Bibliography ($3000) supports projects dealing with all aspects of the history, presentation, printing, design, distribution and reception of cartographical documents from Renaissance times to the present, with a special emphasis on eighteenth-century cartography. Funded by the Pine Tree Foundation of New York.

The Katharine Pantzer Fellowship in the British Book Trades ($3,000) supports bibliographical inquiry as well as research in the history of the book trades and publishing history in Britain.

The McCorison Fellowship for the History and Bibliography of Printing in Canada and the United States ($3,000). Funded by a gift of Donald Oresman.

The Reese Fellowship for American Bibliography and the History of the Book in the Americas ($3,000). The fellowship may be awarded to any scholar, whether academic or independent, whose project explores the history of print culture in the Western Hemisphere. There will be two Reese Fellowships awarded in the 2017 competition.

BSA Short-term Fellowships ($3,000). The Society also offers a number of unnamed, short-term fellowships supporting bibliographical research as described above.

Application Guidelines
Applications are due December 1st of each year. Applications should include the following components:

–Application form
–Project proposal of no more than 1000 words
–Applicant curriculum vitae
–Two signed letters of recommendation on official letterhead submitted independently by referees. The two letters of recommendation must be signed and submitted independently by referees (in PDF or MS Word format) via the BSA Fellowship recommendation submission form. No other documentation will be considered by the committee.

Please format all attachments as PDF or Microsoft Word (.docx) documents, and use this form to submit your application: http://bibsocamer.org/awards/fellowships/application/.

You may direct your referees to the following online form for submitting recommendations: http://bibsocamer.org/awards/fellowships/recommendation/.

The application package and two supporting letters of recommendation must be received by 1 December. We regret that we cannot consider late or incomplete applications. Applicants are advised to request recommendation letters well in advance and to direct referees to the BSA site (http://www.bibsocamer.org/fellows.htm) for guidance.

For more information, please contact the chair of the Fellowship Committee at bsafellowships@bibsocamer.org.

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Coral Rehousing Project Intern (New York, NY, USA) http://www.conservators-converse.org/2017/09/coral-rehousing-project-intern-new-york-ny-usa/ http://www.conservators-converse.org/2017/09/coral-rehousing-project-intern-new-york-ny-usa/#respond Wed, 13 Sep 2017 15:43:56 +0000 http://www.conservators-converse.org/?p=17615
  • Closing date for applications: Sunday, September 24, 2017 by midnight
  • The Division of Invertebrate Zoology at the American Museum of Natural History seeks to fill a part-time (30 hours per week), 1.3-year internship with opportunity for 1 year renewal for a graduate or undergraduate student (or recent graduate) in invertebrate zoology, life sciences, taxonomy, museum studies or related fields. The intern will work with collection management staff to clean, update taxonomic names of, tag, database, and image approximately 3500 pieces of dry coral as part of a project funded by a grant from the Institute of Museum and Library Services. The start date is October 30, 2017.

    Required Qualifications: Minimum Bachelor’s Degree in Science or Fine Arts in a related field. Applicants must be meticulous and extremely careful, as many of the specimens are now endangered and fragile, and label data must always be associated with the specimens. Some pieces are quite heavy and the applicant should be able to lift 25 lbs with relative ease. Candidate must know MS Word and Excel exceptionally well, be able to learn other software relatively easily and be able to take reasonably good digital images. The applicant must know or be able to learn the idiosyncrasies of taxonomic nomenclature. The applicant must be committed to working 30 hours a week, be able to work independently and have good time-management skills. Experience in the life sciences, taxonomy, conservation, museum studies will be looked upon favorably.

    Online Application Process:

    Applicants will only receive notification of application status if they qualify for an interview. The high volume of applications precludes responding to application status inquiries.

    The American Museum of Natural History is one of the world’s preeminent scientific and cultural institutions. Since its foundation in 1869, the AMNH has advanced its global mission to discover, interpret and disseminate information about human cultures, the natural world and the universe through a wide-ranging program of scientific research, education and exhibition. The AMNH is renowned for its exhibitions and scientific collections, which serve as a field guide to the entire planet and present a panorama of world cultures.

    The American Museum of Natural History is an Equal Opportunity Employer. The Museum does not discriminate due to age, sex, religion, race, color, national origin, disability, marital status, veteran status, sexual orientation, or any other factor prohibited by law. Qualified candidates of diverse ethnic and racial backgrounds are encouraged to apply for vacant positions at all levels. Please be advised that due to the high volume of applicants, we are only able to contact those candidates whose skills and background best fit the needs of the open position.

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    Digital Archivist (Evanston, IL, USA) http://www.conservators-converse.org/2017/09/digital-archivist-evanston-il-usa/ http://www.conservators-converse.org/2017/09/digital-archivist-evanston-il-usa/#respond Tue, 12 Sep 2017 18:10:36 +0000 http://www.conservators-converse.org/?p=17611
  • Applications received by September 22, 2017 will receive first consideration
  • Reports to: Head of Archival Processing
  • Northwestern University Libraries seek a Digital Archivist to coordinate the accessioning, arrangement, and description of born-digital archival collection materials, including websites, in the Archival Processing unit, part of the Libraries’ Distinctive Collections workgroup. Along with Archival Processing, Distinctive Collections encompasses the Northwestern University Archives, Charles Deering McCormick Library of Special Collections, Melville J. Herskovits Library of African Studies, Art Library, Music Library, and Transportation Library. Core responsibilities include collaborating with Distinctive Collections staff to acquire, appraise, describe, preserve, and provide access to born-digital records and resources. The Digital Archivist also works with the Head of Archival Processing and other colleagues to plan and execute workflows for the incorporation of born-digital and hybrid collections into the Libraries’ archival collection management system. He/she will also supervise the activities of interns and work study students. This position collaborates with the Head of Archival Processing in the planning and implementation of unit priorities.

    Key responsibilities

    • Establish policies, plan workflows, and set priorities for processing born-digital archival collection materials, working collaboratively and responsively with Distinctive Collections staff, Repository and Digital Curation staff, and other key partners from across the Libraries.
    • Manage ingest of selected campus websites and other web content and born-digital materials transferred or donated by members of the university community or selected by curators and librarians.
    • Evaluate and implement specialized tools that characterize, describe, and/or transform born-digital content as needed.
    • Coordinate the transfer of digital materials from a variety of current and legacy media formats such as tapes, floppy disks, CDs, and hard drives, and implement mechanisms for ensuring the authenticity, preservation, and access of this material.
    • Develop processes for the routine acquisition, preservation, and access of born-digital materials given to Distinctive Collections units, including email, websites, social media, and other electronic records.
    • Arrange and describe archival and manuscript collections in both paper and digital format. Collections could be a combination of paper records, born-digital materials, audiovisual items, and objects.
    • Assist donors with the transfer of born-digital collections.
    • Collaborate with campus units working on related problems in digital records retention, and research data archiving.
    • Maintain and promote awareness and understanding of developments and trends in the field of digital preservation.
    • Supervise and train student assistants through effective communication and a fostering of shared goals that yields knowledge, productivity, and dependability.
    • Manage and promote the Libraries’ efforts to identify and preserve key university web content.
    • Serve as a member of relevant committees.
    • Represent the Libraries and the University through conference participation and other activities relevant to the profession and Northwestern.

    Minimum qualifications

    • Graduate degree in librarianship or related field.
    • Extensive knowledge of current trends in digital preservation theory and standards and technologies that enable effective preservation of permanent digital records.
    • Knowledge of various methods of digital preservation, including the use of file packing formats and comprehensive software programs, as well as the OAIS reference model.
    • Ability to plan, coordinate, and implement effective programs, and complex projects and services.
    • Experience generating checksums, preservation metadata, and working with tools that verify file authenticity and tools that identify potentially restricted content.
    • Experience working with legacy media.
    • Knowledge of metadata schemas such as Dublin Core, METS, MODS, PREMIS, VRA core, and TEI
    • Record of professional engagement and contribution, such as research, publication, and involvement in pertinent professional and scholarly organizations.
    • Excellent oral and written communication skills.
    • Experience working with donors.

    Minimum competencies

    • Ability to work in collaborative team-based environment
    • Excellent communication skills
    • Adaptable, ability to adjust to changing environment
    • Customer-focused

    Preferred qualifications

    • Five years of progressively responsible experience in the field of digital archives and digital preservation.
    • Coursework in archives, digital curation, or digital preservation.
    • Experience with one or more of the following technologies: ArchivesSpace, Aeon, BitCurator, BagIt, Preservica.
    • Knowledge of electronic records management techniques and best practices.
    • Knowledge of current best practices related to copyright and access issues for born-digital collections.
    • Experience using web archiving applications.
    • Working knowledge of email archiving applications and workflows.
    • Working knowledge of historical research methodology, and strong grounding in social sciences or humanities.
    • Strong understanding of digital forensics tools and workflows; experience maintaining hardware and specialized equipment for access to legacy media (Kryoflux)

    Northwestern University is a highly selective private university with campuses in Evanston and Chicago, Illinois and in Doha, Qatar. One of the leading private research libraries in the United States, Northwestern University Library serves the educational and information needs of the NU community as well as scholars around the world. Its collection contains more than 5 million volumes, a full array of digital resources, and collections of distinction in Africana, transportation, and 20th-century and contemporary music. Northwestern is a member of the Association of Research Libraries (ARL) and the Big Ten Academic Alliance (BTAA). See more information about University Libraries at: www.library.northwestern.edu.

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

    To Apply: Applications received by September 22, 2017 will receive first consideration. You can apply for the position here: https://facultyrecruiting.northwestern.edu/apply/MTg.

     

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    Art Handler (Columbia, SC, USA) http://www.conservators-converse.org/2017/09/job-opening-art-handler-columbia-sc-usa/ http://www.conservators-converse.org/2017/09/job-opening-art-handler-columbia-sc-usa/#respond Tue, 12 Sep 2017 13:32:22 +0000 http://www.conservators-converse.org/?p=17603 Carolina Conservation is seeking a dedicated and career-oriented professional who is passionate about helping others as a full-time Art Handler. We provide on-site disaster response for fine art collections that have suffered severe damage as the result of a fire, food, or catastrophic disaster. As a key client facing position, the role of the Art Handler is an extremely important and integral part of the services that we offer.

    Our Art Handlers do more than just handle artwork. They are Client Specialists responsible for meeting on-site with clients, contractors, and insurance adjusters for the purpose of conducting initial evaluations of damaged collections. While on-site, the Art Handler is responsible for documentation, inventory, packaging, and removal of collection items for transport and/or shipping to our facility. Items may include, but are not limited to: fine art, paintings, art on paper, prints, art objects, collectables, antiques, heirlooms, and other high value contents. Packing strategies range from the use of basic packaging materials to custom configured travel frames, crates, and other advanced methods of housing and transport.

    Our primary service area is located within the Southeast, but we regularly respond to collections nationwide. This job requires occasional overnight and long-distance travel. This position requires physical work. De-installation, packaging, transportation and installation require that candidates be able to lift 50 lbs. The Art Handler will work regularly scheduled hours, but some projects require long days that frequently start with early mornings and may span several days.  More often than not, job sites are without power and climate control, and require the use of personal protective equipment, including a respirator. Unlike a traditional gallery or institutional role, this is not a position for those afraid to get their hands dirty.

     Client Relationships & On-Site Responsibilities

    • Jobsite communication with current & prospective clients
    • Jobsite communication with contractors & insurance adjusters
    • Basic on-site evaluation, documentation, & inventory of specialty contents
    • Discussion, consultation, & explanation of company processes, policies, & common treatments with clients, contractors, & adjusters
    • On-site packaging of art & specialty contents for transport
    • Transportation of client collections to and from studio location

    Studio Responsibilities

    • Planning & preparation for scheduled jobs and on-site work
    • Accurate completion of job & client related paperwork/documentation
    • Accurate & complete documentation of collection inventories
    • Preparation of collections for loading, unloading, storage, & delivery
    • Maintenance and upkeep of job related supplies, materials, & fleet vehicles

    Essential Skills & Personality Traits
    We have identified a number of skills and abilities that are critical to success in this position. The following are non-negotiable qualities we are looking for in a candidate:

    • An energetic, positive & optimistic attitude
    • Strong personal and professional ethics and conduct
    • Strong verbal communication skills
    • Ability to build rapport & develop strong interpersonal relationships
    • Professionalism, assertiveness & confidence
    • Meticulous, precise, & detail oriented
    • A team player that enjoys working with others
    • An enthusiastic commitment to excellence
    • Pro-active, responsible, motivated self-manager
    • Enjoys working with their hands
    • Processes new information quickly with a passion for learning
    • A passion for using their knowledge & skills to help others

    Preferred Knowledge & Skills

    • Studio and/or Gallery Experience
    • Understanding of media types and studio process
    • Art History and/or working knowledge of the fine art world
    • Basic knowledge of power/hand tools
    • Ability to construct and build things from a plan
    • Digital photography & Mac based computer skills

    Education & Experience

    • BA or BS (A major in Studio Art, Art History, or related study is preferred)
    • Sales, Marketing, Business Development or related experience is preferred
    • Art handling, installation, packing, and shipping experience is preferred

    Compensation & Benefits

    • Full-Time
    • Salary: Hourly + Overtime
    • 60% of Comprehensive Health, Dental, & Vision insurance premiums paid by Carolina Conservation
    • Two weeks paid vacation + select holidays
    • Continuing Education & volunteer opportunities

    About Carolina Conservation
    Family owned and operated, Carolina Conservation has specialized in fine art conservation for fire and water damaged collections since 2005. We service major national accounts and companies within the property insurance industry. Due to the high level of service quality we provide to our clients, we have built strong industry relationships that have fueled the rapid growth of our studio operations. Over the past twelve years, we have grown to become the largest conservation studio in the nation exclusively specializing in fire and water damaged fine art and specialty collections. Salary will be competitive and commensurate with education and work history. Carolina Conservation employees are given the potential for strong career growth within our organization. We believe in providing our staff access to ongoing education, training, fieldwork experience, and volunteer conservation opportunities.

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    Conservation Technician, Paintings Focus (Columbia, SC, USA) http://www.conservators-converse.org/2017/09/job-opening-conservation-technician-paintings-focus-carolina-conservation-columbia-sc-usa/ http://www.conservators-converse.org/2017/09/job-opening-conservation-technician-paintings-focus-carolina-conservation-columbia-sc-usa/#respond Tue, 12 Sep 2017 13:30:10 +0000 http://www.conservators-converse.org/?p=17601 Carolina Conservation is seeking a dedicated and career-oriented Conservation Technician for its private practice. Ideal candidates are enthusiastic team players with strong critical thinking and applied problem solving skills. Time management and the ability to meet deadlines while working under pressure will be necessary. Carolina Conservation provides on-site disaster response for fine art collections that have suffered severe damage as the result of a fire, flood, or catastrophic disaster. Applicants please send a cover letter, resume, professional references, and salary requirements to info@carolinaconservation.com.

    The Conservation Technician, Easel Paintings’ role is to provide valuable assistance to conservation staff by performing conservation treatments for easel paintings under the direction of the Lead Conservator. This assistance includes, but is not limited to evaluations, condition reports, conservation treatments, collection triage, packaging works for transport, and general conservation studio and supply maintenance. Due to the differing nature of each collection, insofar as condition and media types, the daily work scope and duties may be wide-ranging and will require flexibility with regards to job priorities.

    The potential career track for a Conservation Technician within the organization includes the opportunity for conservation bench training, apprenticeship, and continuing education.

    The Conservation Technician is expended to demonstrate proficiency and skill when handling collection items. This includes the ability to physically handle and move objects, as well as the execution of assigned tasks and treatments regarding the collection within reasonable timeframes.

    General Responsibilities of the Conservation Technician will include the following:

    • Assist Lead Conservator in treatment of various easel paintings & painted works
    • Perform conservation treatments to easel paintings & other works as directed by Lead Conservator, including, but not limited to: surface cleanings, varnish removals, varnish applications, consolidation, tear repairs, reversible fills, retouching, linings, and related tasks
    • Assist with the examination and completion of condition reports for incoming collections
    • Basic research, data collection, and documentation
    • Contribute to studio maintenance, material and supply inventory management

    Applicants are expected to meet the following education and work experience criteria:

    • BA or BS in related field (Art History, Fine Art, Chemistry, etc.)
    • Optional postgraduate degree in Conservation of Fine Art, specializing in the conservation of paintings, or equivalent training and work experience
    • Private practice experience is a plus, but will consider entry-level conservation professionals
    • Ability to work independently and contribute as an effective member of a team
    • Strong verbal and written communication skills
    • Digital photography proficiency
    • Computer proficiency

     Essential Skills & Personality Traits
    We have identified a number of skills and abilities that are critical to success in this position. The following are non-negotiable qualities we are looking for in a candidate:

    • An energetic, positive & optimistic attitude
    • Strong personal and professional ethics and conduct
    • Strong verbal communication skills
    • Ability to build rapport & develop strong interpersonal relationships
    • Professionalism, assertiveness & confidence
    • Meticulous, precise, & detail oriented
    • A team player that enjoys working with others
    • An enthusiastic commitment to excellence
    • Pro-active, responsible, motivated self-manager
    • Enjoys working with their hands
    • Processes new information quickly with a passion for learning
    • A passion for using their knowledge & skills to help others

    Benefits Include:

    • 60% of Comprehensive Health, Dental, and Vision insurance premiums paid by Carolina Conservation
    • Two weeks paid vacation (accrual based) + holidays (back dated to start date)
    • Volunteer opportunities
    • Continuing Education Opportunities

    About Carolina Conservation
    Family owned and operated, Carolina Conservation has specialized in fine art conservation for fire and water damaged collections since 2005. We service major national accounts and companies within the property insurance industry. Due to the high level of service quality we provide to our clients, we have built strong industry relationships that have fueled the rapid growth of our studio operations. Over the past twelve years, we have grown to become the largest conservation studio in the nation exclusively specializing in fire and water damaged fine art and specialty collections. Salary will be competitive and commensurate with education and work history. Carolina Conservation employees are given the potential for strong career growth within our organization. We believe in providing our staff access to ongoing education, training, fieldwork experience, and volunteer conservation opportunities.

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    Assistant Paintings Conservator (Columbia, SC, USA) http://www.conservators-converse.org/2017/09/job-opening-assistant-paintings-conservator-carolina-conservation-columbia-sc-usa/ http://www.conservators-converse.org/2017/09/job-opening-assistant-paintings-conservator-carolina-conservation-columbia-sc-usa/#respond Tue, 12 Sep 2017 13:27:44 +0000 http://www.conservators-converse.org/?p=17598 Carolina Conservation is seeking a dedicated and career-oriented Assistant Paintings Conservator for its private practice. Ideal candidates are enthusiastic team players with strong critical thinking and applied problem solving skills. Time management and the ability to meet deadlines while working under pressure will be necessary. Carolina Conservation provides on-site disaster response for fine art collections that have suffered severe damage as the result of a fire, flood, or catastrophic disaster. Applicants please send a cover letter, resume, professional references, and salary requirements to info@carolinaconservation.com.

    General responsibilities of the Assistant Paintings Conservator will include the following:

    • Assessment and evaluation of incoming collections
    • Preparation of condition reports, treatment proposals, treatment records, and additional documentation as necessary
    • Execution of treatments under the direction and supervision of the Lead Conservator
    • Perform conservation treatments to easel paintings & other works as directed by Lead Conservator, including, but not limited to: surface cleanings, varnish removals, varnish applications, consolidation, tear repairs, reversible fills, retouching, linings, and related tasks
    • Triage and on-site collection recovery
    • Client consultations and collection reviews
    • Additional responsibilities as directed and supervised by the Lead Conservator

    Applicants are expected to meet the following education and work experience criteria:

    • BA or BS in related field (Art History, Fine Art, Chemistry, etc.)
    • Postgraduate degree in Conservation of Fine Art, specializing in the conservation of paintings, or equivalent training and work experience
    • Private practice experience is a plus, but will consider entry-level conservation professionals
    • Ability to work independently and contribute as an effective member of a team
    • Strong verbal and written communication skills
    • Digital photography proficiency
    • Computer proficiency

    Essential Skills & Personality Traits
    We have identified a number of skills and abilities that are critical to success in this position. The following are non-negotiable qualities we are looking for in a candidate:

    • An energetic, positive & optimistic attitude
    • Strong personal and professional ethics and conduct
    • Strong verbal communication skills
    • Ability to build rapport & develop strong interpersonal relationships
    • Professionalism, assertiveness & confidence
    • Meticulous, precise, & detail oriented
    • A team player that enjoys working with others
    • An enthusiastic commitment to excellence
    • Pro-active, responsible, motivated self-manager
    • Enjoys working with their hands
    • Processes new information quickly with a passion for learning
    • A passion for using their knowledge & skills to help others

    Benefits include:

    • Comprehensive Health, Dental, and Vision insurance. Carolina Conservation pays 60% of all employees insurance premiums
    • Two weeks paid vacation + holidays
    • Volunteer and Angel Project opportunities
    • Continuing Education opportunities

    About Carolina Conservation
    Family owned and operated, Carolina Conservation has specialized in fine art conservation for fire and water damaged collections since 2005. We service major national accounts and companies within the property insurance industry. Due to the high level of service quality we provide to our clients, we have built strong industry relationships that have fueled the rapid growth of our studio operations. Over the past twelve years, we have grown to become the largest conservation studio in the nation exclusively specializing in fire and water damaged fine art and specialty collections. Salary will be competitive and commensurate with education and work history. Carolina Conservation employees are given the potential for strong career growth within our organization. We believe in providing our staff access to ongoing education, training, fieldwork experience, and volunteer conservation opportunities.

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    Do we give the public a wrong message when we call ourselves “dry cleaners”? http://www.conservators-converse.org/2017/09/do-we-give-the-public-a-wrong-message-when-we-call-ourselves-dry-cleaners/ http://www.conservators-converse.org/2017/09/do-we-give-the-public-a-wrong-message-when-we-call-ourselves-dry-cleaners/#respond Tue, 12 Sep 2017 12:56:00 +0000 http://www.conservators-converse.org/?p=17594 Alexandra S. Levine’s article about the conservation of maps in the New York City Municipal Archives (“Delicate Job for ‘Dry Cleaners’: Revitalizing the Maps that Bind the City to its Past” , The New York Times, September 12, 2017) is very informative about the processes and procedures that the conservators use to treat fragile maps which have been rolled up and stored in less than ideal conditions for decades. However, she chose to use the conservators’ in-joke that they are “dry cleaners” in her opening paragraph and the headline writer followed suit. Should we be more careful about how we describe ourselves and our work to non-conservators? Do we give the public a wrong message when we call ourselves “dry cleaners”?

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    Harvey Updates 9/8 http://www.conservators-converse.org/2017/09/harvey-updates-98/ http://www.conservators-converse.org/2017/09/harvey-updates-98/#respond Fri, 08 Sep 2017 19:35:45 +0000 http://www.conservators-converse.org/?p=17591 FAIC’s Emergency Programs have been working in high gear to gather information about damage from Hurricane Harvey. Our National Heritage Responders have been fielding calls on their hotline (202.661.8068) and directing resources as appropriate. Steve Pine, an NHR team member and leader of the TX-CERA Alliance for Response group,  has been conducting assessments of Houston-area institutions that sustained damage. Today the first team of responders is arriving to assist with the stabilization of a mold-damaged mural and the flooded collection of props at a prominent local theater.

    Many thanks to the Houston-area AIC members who have volunteered their homes for team members to stay in during future NHR deployments. We will keep the membership informed about additional opportunities to assist with recovery efforts.

    Today, on a call organized by the Heritage Emergency National Task Force, FAIC shared updates on damage reports and our plans for action. We look forward to future collaborative efforts with our fellow task force members and representatives from Texas state agencies.

    The next hurricane, Irma, is almost upon Florida. Our thoughts are with our members in Florida, Georgia, and the Carolinas as they finalize preparations for this historic storm. We will plan to continue to update this blog with information about our response to Irma as well.

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