Month: May 2017

ECPN Interviews: International Training, Textile Conservation at the University of Glasgow

 This blog post series will look at United States citizens who trained abroad and are currently practicing conservation in the US. The goal of these interviews is twofold: to provide pre-program students with a starting point for understanding international training through a range of student perspectives and to bring awareness of overseas conservation training programs to conservators practicing in the United States. It is the hope that the discussion of international training will answer questions and start an open dialog of the challenges and benefits of training abroad.

 This blog series takes the form of interviews with established and emerging conservators who have trained abroad. Each interviewee offers their personal and professional perspective. So, while themes are apparent throughout these interviews, no single interview can summarize all the challenges and rewards of international training.

These interviews do not reflect the opinions of AIC or the training programs being discussed. The series has been created to reflect a range of experiences, and the personal accounts will not reflect the views of all students from any specific program.

Our first interviewee is Emma Schmitt, a 2014 graduate of The University of Glasgow, Centre for Textile Conservation and Technical Art History.

 

What is Your Name, Specialty and Current position?

Emma Schmitt, Textiles, Mellon Fellow at Denver Museum of Art

Why did you pick your specialty?

I chose textiles because I come from a family of fiber crafters. My mother taught me embroidery when I was eight, starting a life-long passion for what could be done with needle and thread. I did everything from making clothes to quilts, and dabbled in tatting and knitting. In college, I made costumes for theatre productions and was recruited to work for a resident opera company, where I eventually managed the costume shop for a summer. Fibers and textiles are part of who I am; I cannot imagine working in any other specialty.

The University of Glasgow, main building

Can you describe your training pathway?

In 2006, I began working at the Buffalo Museum of Science in Buffalo, New York where I assisted with inventory, collections management, integrated pest management, and exhibit installation. I helped to install objects treated by the Buffalo State conservation students and learned about the field of conservation. That fall I began my undergraduate degree in Archaeology and continued to work at the Buffalo Museum of Science.. In additional to completing more coursework to prepare for graduate school, I worked at ICA-Art Conservation (5 months) and the Museum of Fine Arts Boston (11 months) before I began my training in Glasgow at the Centre for Textile Conservation and Technical Art History.

My decision to go to Glasgow was not an easy one. I admit that I am first a Buffalo Girl, and while there is an art conservation program in my hometown, I found the idea of training there limiting. The Centre for Textile Conservation and Technical Art History opened in Glasgow in 2010, the year I graduated from college. It caught my attention when I was researching conservation training programs for textiles.

I applied to the graduate programs at Buffalo, WUDPAC, and Glasgow. I was accepted to the program in Glasgow, but was rejected from both American programs. This forced me to decide between going abroad for a specialty I knew I wanted or wait another year and continue pre-program training. The conservators I worked with and who I looked up to advised American training which followed their own experience. I eventually chose to attend the Glasgow program because it was well-respected within the specialty and I wanted to begin school, to reduce the financial burden of volunteering, and advance my career. While I felt I would need to work hard to maintain my contacts in the US, I hoped I had a strong enough network from my pre-program work to help with reintegration after my graduate training.

The Duke of Wellington, with a cheeky Glaswegian addition

To ensure I had a strong base to return to the US, I worked on projects in graduate school that were multi-media in nature which helped to enhance my skills in research and networking with the international conservation community. My major summer placement was at Oxford’s Pitt Rivers Museum where I worked with organic and ethnographic collections. As my primary placement, it lasted 8 weeks and took place in the summer between my first and second year. I also made sure to maintain contact with American conservators. A supplementary placement that same summer at the Cleveland Museum of Art allowed me to go to the 2013 AIC annual conference to strengthen my network of American colleagues

I was incredibly lucky to have met a private conservator before my departure to the UK who was thrilled by my choice to train across the pond, as she had. She encouraged me to contact her when I finished school. This relationship, which I fostered throughout my training via email and updates, led to me coming back to the US with a job. After graduation, I spent nine months working under her, which was invaluable for my transition into the American conservation community by working with a European-trained American practitioner. Before the end of my first year back in the US, I moved Denver to take my current position as the Andrew W. Mellon Fellow in Textile Conservation at the Denver Art Museum.

What were the advantages of your program of choice: Personal/Professional 

I am a proud alumna of the University of Glasgow Centre for Textile Conservation and Technical Art History. My time abroad gave me incredible opportunities and helped me to grow both personally and professionally in ways that would have not been possible had I stayed within the US.

Professionally, the training program’s committed focus in textile conservation means students have the opportunity to work with a number of different objects within the medium. The textile specialty is surprisingly all encompassing since metal, paper, and plastics are often incorporated. While Glasgow only taught textiles, there were times when materials showed up that forced me to consult outside the Centre and do expansive research into materials. The interdisciplinary nature of the objects encouraged networking, discussion, and research to ensure a treatment was safe and effective. It has made me much more self-driven to find answers as they were never right down the hall.

Wet cleaning practical at the Centre

My time in Glasgow gave me the opportunity to meet colleagues from Japan, Australia, Poland, and around the UK. We approached things differently, whether that came from experiences, culture, or past training. Seeing how other people react to the same object makes you think a bit more broadly and helps keep an open mind. These subtle cultural differences don’t always make a conference paper; they are softer aspects of approach that enhance my thought process and evolve my practice. Despite international distances, we still remain in contact, and they help keep my mind open to different approaches and traditions.

Personally, studying abroad was one very effective way to take this small-town girl out of her comfort zone. As a rather extreme introvert, this move was double the challenge: it took away my ability to drive home every day or on a long weekend, and it stripped away my support system completely. I now know that embracing the challenge to move and meet new people can form wonderful relationships. At the same time, I also know what I can do alone, and that is incredibly empowering.

Being abroad has advantages. I travelled in Spain, Germany, the Netherlands, and throughout the UK. Seeing the world is a wonderful thing, and I learned so much from spending time in other countries, struggling with language barriers, seeing art I’d only seen in books, and  . I have become more aware of this upon my return to the US and working with European curators and colleagues. I was surrounded by the British ways of speaking and writing and absorbed them into my own approach. I am aware of how sometimes a desire or goal can be stated in a very indirect way. It is an incredibly subtle shift that, until you are immersed in it, is rather difficult to comprehend or even recognize until you are placed back into the blunt American world.     Knowing this and learning how to temper

The Pitt Rivers Museum, Oxford UK

yourself and gauge the world that you are in is an invaluable skill.

I lived my first year in the dorms in Glasgow, which was a strangely brilliant decision that has led to wonderful friendships with English and Business students from India and Pakistan. These women opened my eyes and challenged my thinking, which truly broke me out of my American bubble. It also helps to have someone look at you as if you were crazy and laugh hysterically when you explain that you just spent the day washing Baron Lister’s underpants. It was a good reminder that 100% conservation focus is not 100% healthy.

 

What were the disadvantages of your program of choice: Personal/Professional

The US and the UK training programs are different; this is a fact and should not be overlooked. In overly general terms when American schools are discussed, Winterthur is seen as more scientific, Buffalo excels at bonding students to objects, and NYU teaches the conservator as an Art Historian. In Glasgow, I was bound to textiles and that tradition from day one. Old repairs and work on these objects was often undertaken because they were utilitarian, or the ‘skill’ needed to make the repair was something most women had. While this aspect permeates other specialties, in textiles it is the norm. They require extensive knowledge and skill in that base craft to conserve. A single specialty program, though it produced a conservator with a narrow focus, crafted the defined skill set that is needed for the work

The greatest challenge professionally is coming back to the US with a limited network. I cannot tell you how many times I have picked up my phone and wished I could call on a classmate for their opinion or to draw from a shared experience. The other disadvantage is that Glasgow’s program is two years, which really cannot be compared to American training programs. I did not have the generalized first year nor the final-year internship. I have been told I was not looked at as a candidate until after I was in the US for a year, which was considered the equivalent of filling out my training. This was my experience and not everyone’s, so there are cases where that lack of internship is a non-issue.

The hardest aspect of coming back to the US is the reproach I have felt for my choice to train abroad. I have been questioned as to why I chose Glasgow and not a US program. It can be incredibly shocking when someone questions your training choice, and I have often taken this personally, for good or for bad. As I said earlier, I stand behind my training decision: it fit me and my background and challenged me in areas that I see as my most obvious weaknesses. I find explaining that to someone is difficult, and it’s often hard to avoid appearing defensive.

Personally, I found the disadvantages came in the form of the time difference and distance. Being abroad for two years meant that I did not go home often. I was in the US for 6 weeks one summer, and I spent 48 hours with my family during those six weeks. I missed my family, I lost contact with friends, I missed a number of major life events. While we live in a global environment today, knowing what’s happening in your home country is different than living in your home country.

Financially, the decision to go abroad was not easy. Admittedly I had a lot of help from my family, which is not something everyone has. European programs are not funded in the same way as most American training programs and a $30,000 – $50,000 debt is not something that should be taken on lightly. I was able to get assistance through the University and the Centre’s Foundation, which paid for about half of my tuition. As an American, I was not eligible for many of the funds that my classmates were, which made it harder for me to find outside sources of funding. However, I did not exhaust all avenues in that search because I had support. I know there are financial opportunities out there, but the deadlines are easily missed, and many just did not apply to foreign students.

What advice do you have for pre-programmers considering a similar path?

My choice to study abroad was a deeply personal one. It was not undertaken lightly or without knowing the challenges that could arise. I strongly believe that this choice should not be judged or considered as a way to get out of the requirements of the American programs, and it should not be thought of as an easy way into the field. I feel my choice to attend a foreign program in conservation is a testament to my strength, perseverance, and knowledge of myself and my goals.

My advice is simple: Know what you want and be confident in your choice. Self-doubt is inevitable in this field as we struggle to find jobs or make ends meet, so don’t add your own distrust of your training. You need to know or expect the cost—monetary and personal—and be sure you are set to carry that weight. Don’t rush, it will feel like the end goal is grad school, but enjoy your pre-program experiences. Explore things; don’t block yourself off out of fear or lack of knowledge. Be your best advocate; form relationships and maintain them. You will struggle, no matter the choice, because graduate school is meant to be challenging and the first few years working in the field offer their own trials. However, if this is your passion, if you wake up and cannot imagine yourself doing anything else, then those challenges and struggles are completely worth it.

 

 

 

ECPN’s Follow-Up to the Spring Webinar on Accepting, Preventing, and Learning from Mistakes – Survey Results

During the month leading up to ECPN’s webinar “Picking Up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional,” which took place on April 7, 2017, ECPN disseminated a survey over various conservation listservs and the ECPN Facebook page. The purpose of this survey was to increase transparency regarding mistakes and inspire a dialogue on this subject in the field. Responses were requested for the following prompts:

  • “Please describe a conservation-related mistake or setback you have experienced, and how you responded to, managed, and ultimately resolved this issue.”
  • “What did you learn from this experience?”
  • “How have you taken precautions to avoid the reoccurrence of this mistake?”

Sincere thanks to the individuals who participated in this survey! Twelve responses were received, with the majority of respondents choosing to remain anonymous. These answers contained some incredibly valuable pieces of advice and words of wisdom. If we look at these submissions through the lens of different categories of error, as webinar presenter Michele Marincola discussed, one response fit into the category of rule-or knowledge-based error, an “error of ignorance”; two responses fit into the category of “setback”; and nine responses fit into the category of “errors of execution – errors of planning or performance.”

An “error of ignorance” is a type of mistake that involves the lack of knowledge or skill required to complete a task, often complicated by a bias towards what has worked in the past. The case recorded in the survey described inappropriately transferring a treatment procedure learned from textile dry-cleaning methods to a birchbark basket. The author noted that this incident occurred approximately thirty years ago and pointed to the danger of becoming over-confident in one’s knowledge. As Michele mentioned during the webinar, this is precisely the sort of mistake that tends to happen more commonly in the early stages of one’s career, but the rapidly expanding knowledge base in conservation can make us all susceptible to this type of error.

For the two setbacks, the first response described multiple attempts applying to conservation graduate schools, and the second addressed difficulty with managing client expectations. Both of these examples stress the importance of communication, having a realistic perspective, and staying mentally flexible.

The rest of the responses dealt specifically with mistakes made during treatment. “Errors of execution” is a category that indicates a situation where the conservation professional knew how to execute a treatment step, but failed to do so for whatever reason. Of these types of responses, two involved instances of misplaced tacks damaging paintings, and two involved damage to artwork due to impact from nearby equipment (a microscope in one case, and a camera setup in the other). Another involved failing to properly secure the artwork itself. These are not uncommon errors and could all be considered errors of planning, in which proper precautions would have mitigated the risk of damage occurring. Isabelle Brajer states in her article “Taking the Wrong Path,” that “collective errors often have more impact on our profession, largely because of increased exposure.”[1] It is acknowledging the prevalence of this sort of mistake that allows us to develop preventive rules of thumb: for example, collecting tacks in a jar, or always tying paintings to an easel. Some of the other mistakes took the form of errors of execution: a chisel slipping when removing plaster from a stone relief; unintentionally dissolving part of a paper artifact weakened by mold; or grabbing the wrong bottle when preparing an epoxy.

One respondent mentioned feeling stressed at the time of the error and subsequently developed strategies for slowing down, focusing, and mentally preparing to approach a treatment. Individuals generally described themselves as “devastated” or “horrified” when these instances occurred, but it was acknowledged that the mistakes were valuable learning experiences.

Other thought-provoking and impactful excerpts from the responses are listed below:

“You may think you won’t drop that tool, spill a solvent, or lose track of your tacks. I believe it’s safer to assume you will do all of those things and more. Anything that can go wrong probably has gone wrong for someone and it could easily go wrong for you. It’s not defeatist to acknowledge the commonality of human error and take appropriate preventive measures.”

“Sadly, one remembers one’s mistakes more vividly than one’s successes.”

“I think many of us have a strong inner voice we hear or a feeling that we have right before something goes wrong. This incident made me learn to listen to that voice, and know that when I ‘hear’ it, I need to put down my tool and stop for a moment.”

“We put so much effort into avoiding mistakes that sometimes we forget to acknowledge they exist. I think that can lead to an unfortunate dichotomy between the theory and reality of how we will react to those situations.”

“I spent many, many years focusing on my treatment work, and neglected to get out there and meet colleagues, write, speak, share. I regret that for many reasons. So I would say that an important part of your professional life is to reach out, in whatever way feels right for you. Mentoring, outreach, committee involvement. There may be periods in your life when you are sidelined from treatment work, and you will be glad for the other avenues.”

As Tony Sigel, another of the webinar presenters, mentioned in his response to a question about reluctance to discuss mistakes, both individuals and the profession must be willing to change for this attitude to shift. Redefining the culture in conservation to enable free discussion of mistakes and setbacks can only happen one conservation professional at a time, and I would like to commend these individuals who were willing to share their experiences!

Please visit ECPN’s post on Conservators Converse following up on the webinar for Q&A and Further Resources.

 

[1] Brajer, Isabelle. 2009. “Taking the wrong path: learning from oversights, misconceptions,failures and mistakes in conservation. Examples from Wall Painting Conservation in Denmark.” CeROArt 3: L’errer, la faute, le faux. Accessed 2017.

 

ECPN’s Follow-Up to the Spring Webinar on Accepting, Preventing, and Learning from Mistakes – Q&A and Further Resources

ECPN’s webinar “Picking Up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional” took place on April 7, 2017 and featured presentations by Ayesha Fuentes, Geneva Griswold, Michele Marincola, and Tony Sigel. 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. Many thanks to the speakers, my fellow ECPN officers, and the AIC board and staff who made this program possible!

Several questions from viewers could not be addressed during the webinar due to time constraints; however, the panelists have generously answered them here. This post also includes an extended bibliography and further resources. A supplemental blog post will discuss the responses to the survey ECPN disseminated requesting stories of mistakes and setbacks.

Q&A

How would you suggest opening a dialogue with your supervisor about mistake-making at the outset of a pre-program or graduate internship? How can you initiate a discussion about how to respond and what sort of institutional protocol to follow in the case of an accident?

Michele Marincola: Since this can be an unfamiliar or even awkward topic to broach, I suggest mentioning/describing the webinar and how it prompted you to think about mistake-making in an internship. Then ask if the company or institution has a preferred protocol to follow in the event an accident with an artwork occurs. Most museums have an Accident Report form that the security department initiates – this form may or may not be sufficient. In addition, not all mistakes cause visible damage, and the ideal protocol to follow might be a discussion rather than a form to fill out. Your question could be a great way to open the dialogue and effect positive change!

Doctors long ago instituted what are called M&Ms (Morbidity and Mortality reviews) after a patient in their care dies. They admit failure to their colleagues in order to teach and learn. Over the decades of my career conservators have shown consistent resistance to the discussion of treatment failures. I think there must be some powerful forces acting upon us that we haven’t discussed. What might they be? Could one possibility be that there is a kind of profession-wide fear of shaming that has prevented individual conservators from doing what this webinar attempted, to learn from failure? 

Tony Sigel: I think “shaming” is both too harsh, and too simple a term to describe the issue. The reasons why conservators are reluctant to discuss and acknowledge mistakes are many, and start with simple human nature—when your job is to preserve and protect works of cultural property, it is very difficult to admit that you have caused harm. An unwillingness to confront and admit mistakes is true of most people–in all professions. Modern science and ethics-based art and artifact conservation is relatively young as a profession, and from birth has fought to create its own identity separate from the disdained practice of restoration, and the depredations of unlettered previous restorers.

The conservator is the standard bearer of a new profession, and the pressure is great to be an authority, translating modern “science-based” conservation to owners, curators, archaeologists, to be able to answer all questions and consistently carry out treatments, to create safe environments, and the myriad other duties that are involved. Add to that normal human ego, the fear of possibly losing one’s position and livelihood, and, within the profession, the lack of a culture and organized structures that allow examination and discussion of setbacks and errors, and you have a broader view of the situation.

Error is an unavoidable and normal consequence of human endeavor, but is essential to its development. To solve our particular problem, both individual conservators, and the profession must be willing to change our culture and restructure itself, perhaps by creating appropriate venues to acknowledge these valuable lessons, learn from them, and encourage discussion.

The examples of mistakes we’ve discussed have generally centered around treatment, but one of the mistakes/sestbacks submitted to ECPN dealt with not having adequately managed the expectations of the owner of a cultural heritage object. Another spoke about the regret of having focused disproportionately on treatment and neglecting to engage with writing, speaking, and meeting others in the field. Could you comment on what other sorts of non-treatment mistakes we tend to encounter as conservation professionals?

Ayesha Fuentes: I’m not sure these are mistakes so much as they are part of professional development. Communicating our decision-making processes and limitations should be part of our expertise. In both of these challenges, the conservators learned how to manage the expectations of both the clients and themselves. Our professional contribution is often our technical skills and knowledge, and that’s been the emphasis in education, but I think there is an increasing awareness of how conservation relies on a larger skill set that includes consultation, communication and project management.

Have you ever had to describe a mistake that you’ve made in an interview? If so, how did you broach the subject?

Geneva Griswold: I have been asked in several interviews to describe how I overcame a situation that did not go as planned. The topic has never been presented as a “mistake,” however the intention of the question is the same: to illustrate how you think and to assess your ability to adapt. I find that juxtaposing two situations can be helpful; the first defines the challenge, and the second shows how you applied lessons learned in the first. Being aware of your mistake, setback, or failure is the important part, as is thinking reflexively about how to improve. If you feel uncomfortable broaching a mistake made during treatment, instead consider setbacks that occur in communication between team members, poor time estimation, or failing to meet a deadline. There are many ways to illustrate your ability to think critically, so prepare your best response prior to the interview and be confident in broaching the subject when it arises.

Thank you once again to Michele, Tony, Ayesha, and Geneva! ECPN is grateful to the speakers for their participation in the webinar and for sharing their research and thoughts on this topic. If you have additional comments or questions on this subject, please email ECPN.aic.webinar@gmail.com.

Please see the following resources for more information on this subject.

Extended Bibliography

Brajer, Isabelle. 2009. Taking the wrong path: learning from oversights, misconceptions,failures and mistakes in conservation. Examples from Wall Painting Conservation in Denmark. CeROArt 3: L’errer, la faute, le faux. Accessed 2017.

Fuentes, Ayesha and Geneva Griswold. 2012. The ‘Dead-Bucket’: An Inexperienced Conservators Guide for Evaluating Setbacks. 2012 Association of North American Graduate Programs in Conservation Conference, the Conservation Center, Institute of Fine Arts, NYU.

Marincola, Michele. 2010. Blink Twice: Making Mistakes in Conservation. Paper Presented at the 38th Annual Meeting, Milwaukee Wisconsin, May 13, 2010.

Marincola, Michele and Sarah Maisey. 2011. To Err is Human: Understanding and Sharing Mistakes in Conservation Practice. ICOM-CC Triennial Conference, Lisbon 19-23 September, 2011: preprints. 

Mancusi-Ungaro, Carol. 2003. Embracing Humility in the Shadow of the Artist. In Personal Viewpoints: Thoughts about Paintings Conservation, edited by Mark Leonard. Los Angeles: The Getty Conservation Institute.

Recent Setbacks in Conservation 1, 3, 4. 1985. Ottawa: International Institute for Conservation-Canadian Group, 1985.

Related Resources

AdmittingFailure.org

Brown, Brené. “The Power of Vulnerability.” TEDxHouston, 2010.

Brown, Brené. “Listening to Shame.” TED2012.

Goldman, Brian. “Doctors Make Mistakes. Can We Talk About That?” TEDxToronto, 2010.

“Making Mistakes,” TED Radio Hour Podcast, 2013.

 

Scholarly Writing for Conservation Pre-Session at AIC’s Annual Meeting in Chicago

Attention, Emerging Conservation Professionals!  Before making your way to ECPN’s Poster Session Lightning Round at AIC’s Annual Meeting in Chicago, be sure to stop by the pre-session Scholarly Writing for Conservation and learn how to whip your articles into shape for peer-reviewed publication!
 
Scholarly Writing for Conservation
Monday, May 29 • 2:00pm – 3:30pm

Haymarket Concourse Level, West Tower

Does your conservation project need some exposure at the national and international scale? Would you like to get the word out about the conservation work you do, but do not know how to begin to write a paper for a journal? Then this pre-session is for you. This informative session will help you organize and summarize your work in order to meet the strict requirements of a peer-reviewed journal article.
The JAIC editorial board wants to encourage and provide guidance to potential authors wishing to submit articles to our journal. Our goal is to assist in the development of skills needed to write and submit journal manuscripts to improve the dissemination of research, treatments, and enhanced knowledge sharing. Scholarly communication, at both the national and international levels, is a skill that is not often prioritized by conservation programs, while the ability to publish in peer-reviewed journals is an essential part of communicating research and results, which is necessary for professional development.

Within this framework, the pre-session will take participants through the process of planning, preparing, and writing a manuscript for submission to a journal in the conservation field, with a clear emphasis on JAIC.

The session will consist of short presentations, a roundtable discussion with Q&A, and practical exercises with feedback from speakers. Attendees can bring research ideas and/or basic outlines to share for discussion by the editors.

Planned speakers also include Michele Derrick (former JAIC editor-in-chief), Robin Hanson, and Ellen Pearlstein.  The panel will be moderated by Julio M. Del Hoyo-Meléndez, Research Scientist, National Museum in Krakow.

Jobs, Internships & Fellowships Digest: May 5, 2017

  1. Archive Conservator, Berkshire Record Office
  2. Photo Conservator, Smithsonian Institution, National Museum of African American History and Culture
  3. Senior Photograph Conservator, Center for Creative Photography
  4. Book and Paper Conservator (Two-Year Term Position), Smithsonian Institution, National Museum of African American History and Culture
  5. Conservation Internship (Stage Restaurateur), L’institut national du patrimoine
  6. Senior Conservation Officer, Swindon Borough Council
  7. Professional Conservators and Conservation Teams, Los Angeles County Arts Commission
  8. Kress Fellowship in Textile Conservation, George Washington University Museum and the Textile Museum
  9. Internship, New-York Historical Society
  10. Conservator, University of Hawaii at Manoa Library
  11. Digital Collections Librarian, University of South Carolina
  12. Project Conservator, Objects (Temporary Position), Fine Arts Museums of San Francisco
  13. Cemetery Conservation Technician, City of Savannah Georgia, Dept. of Cemeteries
  14. Senior Architectural Historian, Commonwealth Heritage Group
  15. Assistant Planner (Historic Preservation), City of Houston
  16. Architectural/ Sculpture Conservator, Rosa Lowinger & Associates Conservation Inc.

1. ARCHIVE CONSERVATOR, Berkshire Record Office (Reading, UK)

  • Application closing date: May 14, 2017
  • Interview date: TBC
  • Ref CSS0151
  • RG4 (SCP22-28) GBP20,661 – GBP24,964 pa (qualified applicants will be appointed to SCP 22, GBP20,661pa)
  • Fixed term contract for 9 months

Berkshire Record Office is looking for a qualified book or paper conservator to undertake treatments to the archive of the Coleshill Estate. Work will include book, map and paper repair as well as cleaning and packaging.

Coleshill House was one of the most influential domestic buildings in 17th century England. Its Model Farm, built in the 1850s, was similarly important. The archive relates to the estate’s ownership by the Pleydell-Bouverie family, Earls of Radnor, and spans from the early 19th to 20th centuries. Items to be repaired include a number of estate maps and plans on paper and parchment, some lined with linen, and a variety of cloth, calf and vellum bound books.

The post has been funded by the National Manuscripts Conservation Trust, and is designed to provide a wide-ranging internship for a newly-qualified conservator. There is the opportunity to practice a number of different techniques as well as supervise volunteers working on other aspects of the project.

Apply online: https://tinyurl.com/ku9jdem.

If you would like an informal discussion about the post, please contact Sue Hourigan, Senior Conservator on +44 0118 937 5135, or email sue.hourigan@reading.gov.uk.

 2. PHOTO CONSERVATOR, Smithsonian Institution, National Museum of African American History and Culture (Landover, MD, USA)

  • Job applications until May 15, 2017
  • Full-Time, Two- year Term with possible extension up to four years
  • Salary range: $64,650.00 to $84,044.00 / Per Year
  • Announcement No. 17R-YH-302777-DEU-NMAAHC; and Announcement No. 17R-YH-302777-MPA-NMAAHC
  • Series and Grade: GS-1001-11 / Promotion potential: 11
  • Job open to all US citizens

You must apply through USAjobs to be considered: www.usajobs.gov/GetJob/ViewDetails/468895500; www.usajobs.gov/GetJob/ViewDetails/468896400.

We encourage applicants to apply as soon as possible to ensure their applications are submitted before the announcement closes. We will not consider applications which are late due to the announcement closing or once the maximum number of applications is reached.

This position is located in the Smithsonian’s National Museum of African American History and Culture (NMAAHC) offsite facility. The National Museum of African American History and Culture is the largest national museum for the study and exhibition of African American history and culture. Its primary purposes are to acquire, maintain and preserve objects which document social, cultural, political, military, technological and scientific developments in the United States related to the African American experience; to conduct scholarly research designed to make significant contributions to the body of knowledge in the field of African American history, to publish findings for both scholarly and general audiences; and to interpret historical developments through public exhibits and programs as well as digital content.

Works under the supervision of the Supervisory Conservator to:

  • design, propose, document, and complete proposed conservation treatments on a wide variety of photographic materials within the collection;
  • provide care, preservation and research on all photographs within the Museum’s collections;
  • research photographs and negatives within the collection, explore photographic processes, artist’s methods and generate scientific data on the properties of the materials;
  • provide preventative care measures such as monitoring and evaluating environmental controls, integrated pest management, and emergency preparedness, response and recovery of collections, product testing and quality control; and
  • provide training of staff, allied professionals, interns, fellows, volunteers and the general public.

Agency contact: Yvonne Humphries, Human Resources, Tel: +1 202-633-7448, Fax: +1 571-258-4052, TDD: 202-633-6409, humphriesy@si.edu.

 3. SENIOR PHOTOGRAPH CONSERVATOR, Center for Creative Photography (Tucson, AZ, USA)

  • Review begins on May 15, 2017
  • Postin No. A21566

The University of Arizona’s Center for Creative Photography is seeking a dynamic individual as the Arthur J. Bell Senior Photograph Conservator.

The successful candidate is expected to advance the vision and mission of the Center’s internationally-recognized collections, scholarship, and outreach programs by: a) overseeing a comprehensive preservation program to ensure the longevity of Center’s photographic collections; b) managing the Arthur J. Bell Endowment along with securing and managing external funding in support of preservation program objectives and projects; c) actively contributing to new scholarship on photographic materials, and conservation science; and d) engaging with students and the public through outreach programs that enhances Center’s visibility and reinforces the University of Arizona’s position as an arts/culture destination.

Established in 1975, the Center for Creative Photography is the premiere research collection of American photographic fine art and archives, promoting creative inquiry, dialogue, and appreciation of photography’s enduring cultural influence. The Center’s collections include some of the most recognizable names in 20th century North American photography: Ansel Adams, Wynn Bullock, Harry Callahan, Aaron Siskind, Frederick Sommer, W. Eugene Smith, Lola Alvarez Bravo, Edward Weston, and Garry Winogrand.

For a complete position description visit: https://uacareers.com/postings/17551, or contact Nancy Odegaard, Chair of the Search Committee, +1 (520) 621-6314, odegaard@email.arizona.edu.

4. BOOK AND PAPER CONSERVATOR (TWO-YEAR TERM POSITION), Smithsonian Institution, National Museum of African American History and Culture (Landover, MD, USA)

  • Application deadline: May 16, 2017
  • Full-Time, Two- year Term with possible extension up to four-years
  • Announcement No. 17R-YH-302774-DEU-NMAAHC; Announcement No. 17R-YH-302774-MPA-NMAAHC
  • Series and Grade: GS-1001-11 / Promotion potential: 11
    Salary range: $64,650.00 to $84,044.00 / Per Year
  • Job open to all US citizens

You must apply through USAjobs to be considered: www.usajobs.gov/GetJob/ViewDetails/468896400, www.usajobs.gov/GetJob/ViewDetails/468935900.

We encourage applicants to apply as soon as possible to ensure their applications are submitted before the announcement closes. We will not consider applications which are late due to the announcement closing or once the maximum number of applications is reached.

This position is in the Smithsonian’s National Museum of African American History and Culture (NMAAHC) offsite facility. The National Museum of African American History and Culture is the largest national museum for the study and exhibition of African American history and culture. Its primary purposes are to acquire, maintain and preserve objects which document social, cultural, political, military, technological and scientific developments in the United States related to the African American experience; to conduct scholarly research designed to make significant contributions to the body of knowledge in the field of African American history, to publish findings for both scholarly and general audiences; and to interpret historical developments through public exhibits and programs as well as digital content.

The book and paper conservator works under the supervision of the Supervisory Conservator to:

  • design, propose, document, and complete proposed conservation treatments on a wide variety of books and paper materials within the collection;
  • provide care, preservation and research on all books and paper within the Museum’s collections;
  • provide preventative care measures such as monitoring and evaluating environmental controls, integrated pest
  • management, and emergency preparedness, response and recovery of collections, product testing and quality control; and
  • provide training of staff, allied professionals, interns, fellows, volunteers and the general public.

Agency contact: Yvonne Humphries, Human Resources, Tel: +1 202-633-7448, Fax: +1 571-258-4052, TDD: 202-633-6409, humphriesy@si.edu.

5. CONSERVATION INTERNSHIP (STAGE RESTAURATEUR), l’Institut national du patrimoine (Paris, Ile-de-France, France)

  • Applications must be addressed before May 22, 2017

The Institut national du patrimoine welcomes international professionals and students in cultural heritage. The internship will take place from September 4, 2017 to July 13, 2018.

For more information, visit: www.inp.fr/en/International/International-students.

6. SENIOR CONSERVATION OFFICER, Swindon Borough Council (Swindon, UK)

  • Application closing date: May 31, 2017
  • Job reference 002874
  • Salary £30,151 to £39,882 p.a. pro rata

This is an exciting opportunity to join our vibrant Masterplanning, Design and Conservation team at Swindon Borough Council.

If you are a team player looking to accelerate your career within a highly supportive and friendly working environment with other specialists in Planning, Urban Design and Ecology, this could be the role for you. We are seeking an enthusiastic and knowledgeable historic environment specialist to bring skills and innovation to help us conserve the Borough’s wealth of heritage assets, whilst supporting sustainable regenerative development.

Swindon Borough has 28 Conservation Areas, over 1,000 listed buildings and 52 Scheduled Monuments. We are home to Brunel’s Railway Works and Workers Village, an area of international heritage renown, which is being restored as part of the wider regeneration of Central Swindon. We have also been shortlisted for a number of awards including the RTPI Excellence in Planning for Heritage category related to the regeneration of the Old Railway Quarter.

The successful candidate will be involved in proactive work across a variety of projects as well providing conservation and design support to areas of the Council, Members and the general public.

You will have a strong appreciation of all aspects of built conservation and design, including architectural history, traditional building construction, urban design and related Town and Country Planning legislation and policy. You should have a relevant post-graduate qualification and eligibility for IHBC Membership and you will need to have the ability to travel around the Borough on site visits. Candidates must be fluent in the English language (as a requirement of Part 7 of the Immigration Act – for the effective performance of a customer-facing role).

We feel a work life balance is important for our team members. As such Swindon operates flexible working and you will have the opportunity to work from home. The working hours and pattern for this role are also negotiable.

View role profile

7. PROFESSIONAL CONSERVATORS AND CONSERVATION TEAMS, Los Angeles County Arts Commission (Multiple locations, CA, USA)

  • Applications due by 5:00 p.m. on May 31, 2017
  • Request for Qualifications (RFQ)

The Los Angeles County Arts Commission (LACAC) seeks professional Conservators and Conservation teams and/or firms for a Resource List of Prequalified Art Conservators to advise on maintenance and preventative care, and examination and conservation of artworks in the Los Angeles County Civic Art Collection. Once selected to the Resource List, conservators, teams and firms on the list will be invited to bid on specific conservation projects on an as-needed basis. The list will remain active for three years with an option to renew for another three years.

Background: The Civic Art Program was established in 2004 after the Los Angeles County Board of Supervisors adopted the County’s first Civic Art Policy, which allocates one percent of design and construction costs of new County capital projects to a Civic Art Special Fund. The program provides leadership in the development of high-quality civic spaces by integrating artists into the planning and design process at the earliest possible opportunity, encouraging innovative approaches to civic art, and providing access to artistic experiences of the highest caliber for the residents of Los Angeles County. The Civic Art Policy mandates that the Arts Commission document, preserve and conserve County-owned artworks, which includes both artworks commissioned since the policy was adopted and historic artworks created before the establishment of the Civic Art Program.

Scope of Work

  • Advise on maintenance and preventative care of public artworks
  • Examine and photo document artworks and prepare condition reports
  • Assess artworks and prepare treatment reports and cost estimates for cleaning and/or conservation
  • Clean artworks
  • Conserve artworks

Eligibility: This RFQ is open to applicants residing in Southern California, including the counties of Los Angeles, Orange, Riverside, San Bernadino, San Diego, Ventura, and Santa Barbara.

Categories of Artwork Materials

  • Metal
  • Wood
  • Plant material
  • Tile/ceramic
  • Concrete/masonry
  • Stone
  • Glass
  • Paper/photography
  • Paint
  • Textile/fiber art
  • Plastic/fiberglass

Selection: A selection panel will review all applications received in response to this RFQ, and select conservators, conservator teams and conservation firms for the 2017-20 Resource List of Pre-Qualified Art Conservators. Successful applicants will be chosen based upon, but not limited to:

  • Demonstrated experience in assessing public artworks, preparing treatment proposals, cleaning and conserving artworks and advising on artwork maintenance
  • Past work examples that conform to the standards established by the American Institute for Conservation of Historic and Artistic Works (AIC) as well as the United States Department of the Interior’s Standards for the Treatment of Historic Properties.
  • Material specialty and scope/range of past work
  • Professionalism and thoroughness of application materials
  • Record of success with other public agencies and/or corporate clients

To Apply: Complete applications shall be delivered via Dropbox. Send a link to civicart@arts.lacounty.gov. Incomplete applications and any applications submitted after the deadline will be deemed ineligible and not be considered. A complete application must include:

  1. Contact name for Conservator including full name and firm name (if applicable), physical address, mailing address, telephone number and email address. Teams and firms must list all members/staff and have one primary contact person.
  2. Letter of Interest (PDF, no more than two pages) indicating your interest, experience, and area(s) of materials specialization.
  3. Curriculum Vitae (PDF, no more than four pages per CV) for Conservator and for all team members and/or staff if applying as a team or firm.
  4. Fee Schedule (PDF): Standard hourly rates for Conservator and team members/staff (if applicable).
  5. Past Work Samples: List three conservation project work samples within the last three years. Describe how the treatment adhered to AIC standards and/or the US Department of the Interior’s Standards for the Treatment of Historic Properties.
  6. Sample Conservation Report: Provide one sample of a conservation report document: either a condition report, treatment proposal with budget or a final report prepared for a client for each material specialty in which you would like to be considered.
  7. Up to Ten Images (JPGs): Provide “before and after” shots of each of the three past conservation project work samples. The images should reflect work from each of the areas of specialization in which you would like to be considered. All image files should be titled and labeled with artwork title and year of conservation. 

Additional Information: For questions about the 2017-20 Resource List of Prequalified Art Conservators RFQ, please contact Clare Haggarty, Civic Art Collections Manager, at +1 213-202-3986 or mhaggarty@arts.lacounty.gov. For additional information about the Civic Art Program, please visit the Civic Art Program online at www.lacountyarts.org/civicart.htm.

If applicants are applying as a team or firm, the team members or firm staff must be declared at the time of application in the letter of interest.

While every effort will be made to carefully handle applications, the Arts Commission cannot be held responsible for lost or damaged materials. The Arts Commission reserves the right to accept or reject any and all responses received, or contract with a conservator through another process.

All applicants who submit their materials for review will receive written notification of the results of the selection process, including identification of the selected conservators, conservation teams or firms.

This request for qualifications does not constitute an offer to contract or a promise for remuneration, recognition, or any other thing. Submission of any materials in response to this request for qualifications will not constitute an express or implied contract. The information contained and/or any program or event described herein may be changed, amended, modified, canceled, revoked or abandoned without notice at any time and for any reason in the sole discretion of the Arts Commission or the County of Los Angeles.

Once selected, prequalified conservators, teams and/or firms will be eligible to develop proposals as conservation projects are initiated by the Arts Commission. Upon receiving a conservation project each conservator, conservator team or conservation firm will be required to enter into a contract with the County of Los Angeles.

Selected prequalified conservators, teams and/or firms will be required to have commercial general liability insurance, automobile insurance and be a registered vendor with the County of Los Angeles.

8. KRESS FELLOWSHIP IN TEXTILE CONSERVATION, George Washington University Museum and The Textile Museum (Washington DC, USA)

  • Deadline to apply: May 31, 2017

Kress Fellowship in Textile Conservation at the George Washington University Museum and The Textile Museum, 2017-2018

The George Washington University Museum and The Textile Museum are accepting applications for a 9-month Kress Fellowship in Textile Conservation. The fellowship will focus on exhibition and textile collections care. The Textile Museum’s collections include over 20,000 rare and historic textiles spanning 5,000 years, and include representation from Africa, Latin America, the Middle East, and Asia. The Textile Museum’s recent $5 million gift from the Avenir Foundation has allowed the conservation department to equip two new lab facilities as well as increase the conservation department’s staffing. The fellow will be supervised by the Chief Conservator and two Associate Conservators.

The fellow will undertake a combination of exhibition and collection care tasks in order to advance their development in all practical areas required for institutional staff work. Under supervision, the fellow will take on primary duties for a small collection rotation during their term to include treatment and mount preparation of textiles. This project will allow for the development of high-level skills in coordinating preparation aspects and in project management. They will also work as a part of the larger department to complete other exhibition tasks such as installation and de-installation, as well as preparation of textiles for later exhibitions.

Exhibitions being prepared during the fellow’s term will include Chinese minority group costume and jewelry, Anatolian kilims, and Byzantine and Medieval Islamic archaeological textiles.

Collections care tasks will include re-housing of incoming textile accessions and undertaking other collection based re-housing projects. The fellow will also assist associate conservators in monthly environmental monitoring and Integrated Pest Management duties. The fellow will be encouraged to pursue research studies as their interest and time allows.

The museum’s affiliation with the George Washington University allows for access to the university’s chemistry and forensic science departments, and collaborations with these and other departments will be encouraged.

Qualified candidates must have a master’s degree from a recognized conservation program, and training should be completed prior to the commencement of the fellowship. Per Kress guidelines, candidates must be a resident or citizen of the United States or Canada, or a recent graduate from a U.S. or Canadian conservation program; the candidate must also be authorized to work in the United States. The term of the fellowship is anticipated to begin in October 2017 and be completed in June 2018, with 4-day weeks to facilitate visits to peer institutions. A $30,000 stipend will be provided for the fellow. The fellowship will also include $2,500 for travel expenses to attend conferences and/or to support travel to visit peer institutions and establish contacts within the conservation community. Work will take place at both the Foggy Bottom facility in downtown Washington, DC and at the Avenir Foundation Conservation and Collections Resource Center in Ashburn, Virginia.

To apply, please submit a CV, three letters of professional reference and a letter of intent outlining interest in the position. Applications should be submitted by email to kressfellowship@gwu.edu using the subject heading: “Kress Fellowship in Textile Conservation.”

The deadline for applying is May 31, 2017 though applications will be reviewed on a rolling basis.

9. INTERNSHIP, New-York Historical Society (New York, NY, USA)

  • Application deadline: June 15, 2017

The New-York Historical Society, New York’s oldest museum, is a repository of one of the nation’s finest American art collections.  It consists of highlights such as Hudson River landscapes, genre paintings, and 17th – 19th century portraiture along with 19th European paintings. It also has rich holdings of sculpture and decorative arts.

The Museum is offering a part-time pre-program internship in the conservation studio. The internship is for 21 hours a week for 50 weeks beginning in the late summer 2017. Intern will assist with gallery condition checks, loan examinations and work with social media. The candidate will also work with the conservator on museum conservation projects. Applicants should preferably have some conservation experience and plan to pursue a graduate degree in conservation. Though the focus of the department is on the painting collection we are equally responsible for the wellbeing and maintenance of the all the museum collections.

Please contact stephen.kornhauser@nyhistory.org for additional information or to apply.

10. CONSERVATOR, University of Hawaii at Manoa Library (Honolulu, HI, USA)

  • Application closing date: June 16, 2017
  • Position No. 0079366

The University of Hawaii at Manoa Library is seeking applicants for the position of conservator who works for the paper based materials from the Library’s collections. This is a permanent full-time position.

For the complete posting with information on how to apply, please see: http://workatuh.hawaii.edu/Jobs/NAdvert/24916/4346077/1/postdate/desc.

The University of Hawaii is an EEO/AA institution.

11. DIGITAL COLLECTIONS LIBRARIAN, University of South Carolina (Columbia, SC, USA)

University of South Carolina Libraries, Columbia, SC invites applications for the position of Digital Collections Librarian. See full description: http://uscjobs.sc.edu/applicants/Central?quickFind=80922.

Join an exciting and growing department in an ARL member academic library where you will be encouraged and supported to continually learn new technologies and special collections. Reporting to the Digital Initiatives Librarian, the Digital Collections Librarian will manage digitization projects for the six special collections within the University of South Carolina Libraries, one of the oldest libraries in the country with rich collections including renowned history and literature collections as well as government documents, maps, etc. He/she will manage a small staff and collaborate with curators and librarians across campus as well as with other external partners, such as USC’s Center for Digital Humanities and the South Carolina Digital Library, a service hub for the Digital Public Library of America.

12. PROJECT CONSERVATOR, OBJECTS (TEMPORARY POSITION), Fine Arts Museums of San Francisco (San Francisco, CA, USA)

  • Application Deadline: Open until filled

The Fine Arts Museums of San Francisco are seeking a temporary Project Conservator in Objects Conservation. Reporting to the Head of Objects Conservation, this position will work directly with the Curators of the Arts of Africa, Oceania, and the Americas, as well as with the Exhibitions, Technical Production, and Registration Departments.

This four-month position will focus on preparing collections for the reinstallation of the Art of the Americas galleries at the de Young Museum. The Project Conservator performs highly skilled work in connection with the conservation of these collections and implementing preventative conservation in their display.

Typical Duties:

  • Assesses and documents individual objects to determine condition and need for treatment, as well as exhibition readiness. Proposes methods of conservation and researches cultural context and conservation technology to assist in evaluation and treatment.
  • Performs skilled work connected with technical examination and the conservation of objects as required.
  • Conducts preventative conservation in conjunction with the registration, conservation, exhibitions, and technical production staff. Monitors environmental conditions, consults on exhibitions case materials, and supervises installation as necessary.

Education, Training and Experience:

  • A master’s degree in conservation or equivalent program that includes major course work in objects conservation.
  • At least 4 years of progressively responsible museum experience in the field of conservation, or an equivalent combination of training and experience, are required.

Knowledge, Abilities and Skills:

  • Expert knowledge of object conservation methods, techniques and procedures involved in the maintenance and care of a museum collection.
  • Strong computer skills and knowledge of standard computer software and collection management systems.
  • Ability to achieve and sustain the highest standards of conservation practice.
  • Mature level of judgment and decision-making in a fast-paced, changing, forward-thinking, customer service environment.
  • Ability to perform a wide variety of conservation procedures with manual dexterity and sensitivity to materials.
  • Experience in preventative conservation, including experience and knowledge of climate issues.

This temporary position is not eligible for the museums’ health and other employee benefits.

For more information, and to apply online, please visit: http://famsf.snaphire.com/home.

13. CEMETERY CONSERVATION TECHNICIAN, City of Savannah Georgia, Dept. of Cemeteries (Savannah, GA, USA)

  • Position open until filled
  • Job No. 1604866

This position is responsible for leading and participating in the conservation of the architectural and cultural resources of the city’s cemeteries.

Essential Job Functions:

  • Performs masonry conservation treatments for various types of historic stone and brick structures. This involves, but is not limited to mortar mixing, repointing, stone repair, plaster & stucco repair, bricklaying and brick repair.
  • Performs welding treatments of wrought or cast metal structures, including fences, gates, posts, rails, panels, arches, trellises, ornaments, lot markers, and sculptures.
  • Conserves, repairs, restores, repositions, and refabricates metal cemetery structures and equipment, including pre-heating, cleaning, stripping, treating, brazing, soldering, priming, and painting, and patination of iron, bronze, copper, zinc, steel, aluminum, and other metal surfaces.
  • Develops metal preservation and construction standards and welding safety standards for the department; provides safety training in welding, cutting, and electrical hazard awareness.
  • Inspects and maintains arc welding and cutting equipment in safe, working condition; makes minor repairs as needed.
  • Performs carpentry tasks using both hand and power tools.
  • Assists with documentation of conservation treatments.
  • This includes photographic and written assessments along with measured drawings of assigned projects.
  • Assists in all aspects of cemetery conservation and preservation.
  • Performs cemetery services, including lot sales, lot diagrams, interments, and on-call duties.
  • Serves on the critical workforce team.
  • Performs other duties as assigned.

For a full job description, visit: https://tinyurl.com/k9l5nhw.

Complete application online for questions contact Erin McCune in human resources at 912-651-6484, or by email to: emccune@savannahga.gov.

14. SENIOR ARCHITECTURAL HISTORIAN, Commonwealth Heritage Group (Tarboro, NC, USA)

Commonwealth Heritage Group desires to fill the position of Senior Architectural Historian in our Tarboro, North Carolina, office. This is a senior-level position that requires extensive experience in CRM project management.

Candidates must be able to demonstrate at least five years’ relevant work experience and experience in managing in-house staff, operating self-sufficiently and produce high quality work in a timely manner. Knowledge of computers and GPS equipment is critical and knowledge of GIS is a plus.

Applicants should have a minimum of a Master’s degree in Architectural History, History, Historic Preservation, American Studies, or related discipline from an accredited U.S. academic institution. We desire an individual with an advanced understanding of American architectural history, including historical periods, and significant themes and trends. Candidates with prior experience with the architecture of the Mid-Atlantic and/or Southeast regions are preferred. Areas of expertise are open, but demonstrated ability to conduct detailed analyses and excellent writing ability is a must.

Salary range for this position is competitive and dependent on experience with opportunities for advancement and higher salary; we seek a candidate who wishes to grow within the company. Commonwealth offers an excellent range of benefits (health, dental, life, and disability insurance, 401(k) plan, paid leave, etc.).

Send letters of interest, curriculum vitae, writing sample, and a list of three professional references with contact information via email to Andrew J. Weir, President at ajweir@chg-inc.com or by post mail at: Andrew J. Weir, President, Commonwealth Heritage Group, Inc., 3225 Central Ave., Dexter, MI 48130, USA.

Commonwealth is an EEO/M/F/D/V Employer.

15. ASSISTANT PLANNER (HISTORIC PRESERVATION), City of Houston (Houston, TX, USA)

  • Posting Number: PN# 17789
  • Department: Planning & Development
  • Division: Development Services
  • Section: Historic Preservation

The City of Houston Planning & Development Department is looking for a professional to fill an entry level planner position within the City of Houston’s Historic Preservation Office.

The Assistant Planner position will coordinate and conduct technical reviews, research and analyze planning data for activities relating to the Historic Preservation Ordinance. Planning activities include but are not limited to certificates of appropriateness, landmark designations, historic districts, design guidelines, historic tax exemptions, technical assistance and consultation, and educational outreach.

General Responsibilities:

  • Reviews, or assists in reviewing, development proposals of limited complexity for compliance with applicable regulations
  • Provides technical assistance and professional support in the administration of specific planning programs, regulations, or ordinances.
  • Performs routine administrative tasks in designated planning program areas; including data entry, file management, and responding to customer inquiries.
  • Researches and compiles information on a variety of planning issues from multiple sources.
  • Prepares maps and other graphical representations of data of varying complexity.
  • Works closely with the public on basic planning programs, requirements, or ordinances.

The position occasionally requires stooping or bending. Occasional very light lifting, such as three or four reams of papers or books (up to 20 pounds or an equivalent weight) may be required. There are occasional minor discomforts from exposure to less-than-optimal temperature and air conditions.

Minimum Educational Requirements:

  • Requires a Bachelor’s degree in Urban Planning, Transportation Planning, Civil Engineering, Geography, Public Policy or an equivalent in-depth specialized training program that is directly related to the type of work being performed.

Minimum License Requirements: Valid Texas driver’s license and compliance with the City of Houston’s policy on driving (AP 2-2).

Preferences:

  • Knowledge of Historic Preservation principles and practices; Excellent written & verbal communication skills; Strong attention to detail; Proficient in Microsoft Office; Demonstrated time management & organizational skills; Excellent problem-solving and analytical skills; Demonstrated ability to manage multiple projects under tight deadlines; Adapts well to changes; Demonstrated success working with diverse clientele.

APPLICATION PROCEDURES
Only online applications will be accepted for this City of Houston job and must be received by the Human Resources Department during posting opening and closing dates shown. Applications must be submitted online at: www.houstontx.gov. To view your detailed application status. Please log-in to your online profile by visiting: http://governmentjobs.com/houston/default.cfm.

For a full job description and requirements, visit: https://houston.careerarc.com/job-listing/city-of-houston-jobs-assistant-planner-22336113.

If you need special services or accommodations, please call +1 832.393.0051; TTY 7-11

The City of Houston is committed to recruiting and retaining a diverse workforce and providing a work environment that is free from discrimination and harassment based upon any legally protected status or protected characteristic, including but not limited to an individual’s sex, race, color ethnicity, national origin, age, religion, disability, sexual orientation, generic information, veteran status, gender identity, or pregnancy.

16. ARCHITECTURAL/ SCULPTURE CONSERVATOR, Rosa Lowinger & Associates Conservation Inc. (Miami, FL, USA)

RLA Conservation, Inc. seeks to hire a career-oriented, full-time Architectural/ Sculpture Conservator to be based in our Miami, Florida studio. The ideal candidate will hold a postgraduate degree (M.A. or M.S.) in conservation and have a strong background and interest in modern and contemporary art as well as other disciplines of architectural conservation. We are looking for an enthusiastic professional with excellent hand skills, critical thinking abilities, and verbal and written communication abilities, who works well as part of a team and can manage time and meet deadlines. This position also requires overnight travel.

Founded in 2008, RLA Conservation, Inc draws upon its founder Rosa Lowinger’s 30 years in private conservation practice and is considered a national leader in conservation of public art, buildings, contemporary three-dimensional art and sculpture. We have offices in Los Angeles and Miami but work throughout the United States, with some work also in the burgeoning markets of Latin America and the Caribbean. We are an equal opportunity employer with a uniquely high level of diversity amongst our team of 5 professionally trained conservators, 12 technicians, and 3 office staff. We pride ourselves on being known as a great place to work and a firm that supports the personal and professional growth of its employees.

Key Responsibilities:

  • Preparation of condition reports, treatment proposals, surveys, work schedules, and additional related documentation
  • Hands-on treatments of a wide range of collections, with a specialty in modern and contemporary
  • Construction site supervision, as needed
  • Outdoor sculpture conservation and maintenance, including supervision of skilled technicians.
  • Conducting of collections surveys
  • Liaising with museum and private clients, including preparation of cost estimates in conjunction with lead conservators
  • Triage and on-site collection recovery as needed
  • Additional responsibilities as directed and supervised by the Lead Conservator

Qualification Requirements:

  • Postgraduate degree in Conservation, specializing in architecture or objects
  • Equivalent experience will be considered if the individual is a professional level member of AIC
  • Ability to work independently and contribute as an effective member of a team
  • Strong verbal and written communication skills in English
  • Digital photography proficiency, computer proficiency
  • S. work permit
  • Active driver’s license and auto insurance
  • Ability to work outdoors, on ladders, lifts, scaffolding, and be physically capable of carrying tools and equipment

Desired but not required:

  • Spanish language proficiency
  • Strong background in modern and contemporary art

RLA offers a competitive salary and excellent benefits that includes:

  • Contribution towards health insurance
  • Contribution towards smart phone plan
  • Free eye exams and discounted eyeglasses
  • Two weeks paid vacation to start and a third week after 3 years of employment
  • 7 paid holidays
  • Annual contribution towards conference attendance
  • Continuing Education opportunities
  • Paid sick leave
  • Participation in retirement plan

Please send a resume and cover letter to: ltelford@rosalowinger.com.

Is it easier to find multiple small donors? Or is this really a PR campaign?

The former Payne Whitney Mansion on 5th Avenue near 79th Street in New York City (now the Cultural Services of the French Embassy) built in 1906 contains a small “Venetian Room” which has a cornice of metal lattice entwined with dozens of porcelain flowers. The room is in a very fragile condition and plans have been made to stabilize and restore the decorations . To raise money for the restoration, individuals are being asked to donate $500 to “Adopt-A-Flower”. [I was in the building yesterday for a lecture and was handed a very small pamphlet about the project.] I wonder if finding multiple “small” donors to raise the cost of the restoration is easier than finding one or two large donors, or if this is a public relations campaign designed to catch the eye of large donors.

Call for speakers at MuseumNext in Europe

MuseumNext Europe
June 26-28, 2017

Open Stage – Wednesday, June 28, 2017

The MuseumNext Open Stage is a high-speed mix of smart ideas, bright insights, project demos and brave stories. In the past we’ve seen art pushed through wifi networks, Twitter robots, the intimate details of Hieronymus Bosch, keyboard drumming, museums without electricity and tons of other short presentations. The line up consists of your fellow participants and usually involves lots of audience participation.

Do you have a radical idea but your boss won’t listen? Did you do an amazing project the world needs to know about? Have you always wanted to speak at an international conference? This is your chance to share your story! We’re looking for quick-fire 5-minute presentations, send us your title and 200-word description before 4 May.

Please note, you must have a ticket to attend the conference.

Info: https://tinyurl.com/mlj2jzq.

Webinar: Fulbright Scholar Program Opportunities for Professionals

The Institute of International Education (IIE) would like to invite AIC members to participate in our “Fulbright Scholar Program Opportunities for Professionals” webinar. This event will provide a general overview of the Fulbright U.S. Scholar Program and showcase opportunities available to professionals outside of academia.

The webinar will take place on May 5, 2017 at 2:00 p.m. EDT. This event is free. Register to participate at: www.cies.org/event/fulbright-scholar-program-opportunities-professionals.

Opportunities include:

Find additional opportunities in the 2018-19 Catalog of Awards: https://awards.cies.org/.

About CIES
The Council for International Exchange of Scholars (CIES), the scholar division of the Institute of International Education (IIE), is well known for its expertise and extensive experience in conducting international exchange programs for scholars and university administrators. For nearly seventy years, CIES (www.cies.org) has administered the Fulbright Scholar Program, the United States flagship academic exchange effort, on behalf of the United States Department of State, Bureau of Educational and Cultural Affairs  (ECA).