Call for Nominations: J. Franklin Jameson Archival Advocacy Award (Society of American Archivists)

The J. Franklin Jameson Archival Advocacy Award Subcommittee of the Society of American Archivists seeks nominations for the 2015 award.
http://www2.archivists.org/governance/handbook/section12-jameson
Established in 1989, this award honors an individual, institution, or organization that promotes greater public awareness, appreciation, or support of archival activities or programs.  The individual’s or institution’s contributions may take the form of advocacy, publicity, legislation, financial support, or a similar action that fosters archival work or raises public consciousness of the importance of archival work.  Contributions should have broad, long-term impact at the regional level or beyond. Up to three awards may be given each year.
Recent Winners:

  • 2014: LGBT Center of Central PA History Project and National History Day
  • 2013:  Dr. Warren Stewart
  • 2012:  Eve Kahn, Bebe Miller, Phillip Stewart
  • 2011:  “Who Do You Think You Are?” (NBC)
  • 2010:  The Gladys Krieble Delmas Foundation
  • 2009:  Ross King (Georgia Historical Records Advisory Board)
  • 2008:  Data-Intensive Cyber Environments (DICE)

 
Eligibility: Nominees must be from outside the archives profession.  Individuals directly involved in archival work, either as paid or volunteer staff, or institutions or organizations directly responsible for an archival program are not eligible for this award.
Mailed materials must be postmarked by February 28, 2015 and should be sent to:
J. Franklin Jameson Archival Advocacy Award Committee
Society of American Archivists
17 North State Street, Suite 1425
Chicago, IL 60602-4061
Nominations may be submitted electronically; please see the nomination form for details.  For more information on SAA awards and the nominations process, please go to: http://www.archivists.org/recognition/index.asp

Job Posting: Associate Paintings Conservator – HARVARD ART MUSEUMS, Straus Center for Conservation and Technical Studies (Cambridge, MA)

HARVARD ART MUSEUMS, Straus Center for Conservation and Technical Studies
Associate Paintings Conservator
The Straus Center for Conservation and Technical Studies at the Harvard Art Museums is seeking an Associate Paintings Conservator. The Harvard Art Museums have long played a leading role in the development of art history, conservation, and conservation science, and in the evolution of the art museum as an institution. The museums’ collections of approximately 250,000 objects number among the largest in the United States. The conservation department plays an integral role in the museums’ mission to advance knowledge about and appreciation of art and art museums. Conservators and conservation scientists work collaboratively with all departments within the museums and with the greater Harvard University community to preserve, document, present, interpret, and strengthen the collections and resources in the museums’ care.
Duties & Responsibilities
Reports to the Conservator of Paintings, Straus Center for Conservation.
Collections

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

 Administrative

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

 Teaching

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

 Research

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

Institutional

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

 
Required Education, Experience, and Skills
Basic Qualifications

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

Additional Qualifications

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

Application Instructions
A complete application includes a cover letter and curriculum vitae. All application materials must be in English. Deadline for receipt of application materials is March 2, 2015.  Preferred start date is June 1, 2015.
This is a 2 year term position, with the possibility of extension depending on departmental needs and funding.
Please apply online: http://hr.harvard.edu/search-jobs.
Search by School/Unit: Harvard Art Museums.
We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, or any other characteristic protected by law.

In the end, it’s about feeling and perception

On December 14, 2014 the architecture critic Martin Filler wrote in the New York Review of Books blog of his horror at seeing the restoration work in Chartres Cathedral during a visit in the fall (“A Scandalous Makeover at Chartres” ). He said that the trompe l’oeil marble painting on the limestone surfaces was like something found in “some funeral parlor in Little Italy” —a strong indictment of what will have been when it is completed in 2017, an $18.5 million, eight year restoration project. Filler maintained that since little is known of the church’s original appearance and since for most of the church’s eight century history, the walls were not painted, the walls should not have been repainted– especially since the lighter walls feel wrong and change one’s perception of the stained glass windows. Although he quoted architectural historians and medievalists to bolster his case, in the end whether Filler’s view prevails or that of Frederic Didier, the restoration architect in charge of the project, for the individual viewing a restored work of art or architecture it always comes down to feeling and perception.

After more than a decade, will this be the time when it's restored

According to Kristina Peterson writing in the online edition of the Wall Street Journal on December 25, 2014 (“Calder Sculpture Triggers Heavenly Debate in Washington”), there is a debate going on among U.S. senators over whether the sculpture that fills the atrium of the Hart Senate Office Building– “Mountains and Clouds” fabricated after a design by Alexander Calder— should be restored so that its mobile elements will once again be operational. This situation raises a number of thoughts about the factors that go into making the decision to conserve a work of art. Among them: What has to change for a work to get treatment if it has been left in a damaged condition for more than a decade? If many of the people who will involved in making the decision about appropriating money for its treatment dislike a work, will it have a chance of being treated? Would it make a difference if the work were thought of as being “by Calder” rather than being “after a design by Calder”?