Chief Conservator (Evanston, IL, USA)

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

NORTHWESTERN UNIVERSITY LIBRARIES

  • Work group: Preservation
  • Reports to: Marie A. Quinlan Director of Preservation

Northwestern University Libraries seek a skilled, creative, and collaborative Chief Conservator to lead a comprehensive conservation program for all library collections, including general circulating materials and non-circulating rare books, manuscripts, and archival documents in many formats. Under the supervision of the Director of Preservation, the Chief Conservator is the primary manager of the libraries’ conservation program, with responsibility for setting policy, managing workflows, supervising staff, and developing outreach programs. The Chief Conservator brings extensive experience in the care and treatment of library materials and has a demonstrated aptitude for managing complex workflows. Excellent communication skills and the ability to collaboratively set priorities are essential to these endeavors.

KEY RESPONSIBILITIES:

  • Manages the libraries’ conservation lab; hires, trains, and supervises conservation staff; develops procedures and systems for evaluation, treatment, and housing of collections; establishes priorities and monitors workflow; prepares written planning documents and reports.
  • Performs circulating collection repairs on a regular basis and trains conservation lab staff in repair techniques. Performs and documents complex treatments for rare and other non-circulating materials, including books, flat paper, and archival materials in accordance with AIC Guidelines.
  • Keeps abreast of new techniques, procedures, and developments in the conservation field. Oversees the post-graduate conservation fellowship program and other training programs for emerging professionals.
  • Provides consultations to curators and subjects specialists on matters related to conservation. Coordinates assessment and treatment of items going through the digitization workflow.
  • Develops and implements policies, standards, and procedures for the physical care of libraries’ collections; oversees the research, evaluation and selection of goods and services that impact the longevity and continued serviceability of all collections.
  • Works closely with the Exhibits Team in evaluating and preparing items for exhibit; advises on planning and installation of exhibits throughout the libraries. Collaborates with Library Registrar to facilitate lending of materials for exhibition to Northwestern’s Block Museum of Art and other institutions.
  • Works collaboratively with preservation staff on environmental monitoring and pest management programs. Actively participates in disaster response planning and recovery initiatives; consults on technical and service specifications for commercial binding and mass deacidification.
  • Designs and presents workshops and training seminars; offers orientation for new library staff; prepares flyers, guides and exhibits as needed; presents lectures and tours for the general public.
  • Identifies and evaluates private conservators for outsourced treatments as needed.
  • Conducts research to further libraries and departmental goals; proposes new services, analyzes resources and implements projects, including collection surveys and multi-divisional and multi-institutional grant-funded projects.
  • Represents the libraries at regional, national and international meetings of conservation professionals.

MINIMUM QUALIFICATIONS:

  • Master’s degree in librarianship, conservation, or related field, including training in conservation, or equivalent combination of education and relevant experience.
  • Extensive knowledge of current conservation principles and practices, materials science, the history of bookbinding and a demonstrated commitment to life-long learning.
  • Demonstrated ability to perform high quality conservation treatments on general and special collections materials, primarily books and paper, and to communicate effectively about treatment options and decisions.
  • Capability to manage budgets, staff, and other resources responsibly and in accordance with priorities of the libraries and university.
  • Experience training others in conservation practices.
  • Record of professional engagement and contribution, such as research, publication, and involvement in pertinent professional and scholarly organizations.

MINIMUM COMPETENCIES:

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

PREFERRED QUALIFICATIONS:

  • Professional Associate or Fellow membership in the American Institute for Conservation.
  • Experience managing contract conservation services.
  • Experience working with photographs, audiovisual formats, and ephemera.

ENVIRONMENT
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 7 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: http://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 November 27, 2017 will receive first consideration. Please click here to fill out an application https://facultyrecruiting.northwestern.edu/apply/Njc.

Apply here: http://www.Click2Apply.net/7x94gjwtv2q3q2qh

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ECPN Interviews: Electronic Media Conservation with Yasmin Dessem

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

This is the third post from ECPN’s EMG blog series, for which we first interview Nick Kaplan and more recently, Alex Nichols. For our third interview from the EMG series, we spoke with Yasmin Dessem, currently Head of the Audiovisual Preservation Studio at UCLA Library where she serves as the technical lead as the library continues to develop its program of preservation, digitization and access of its moving image and sound holdings. Previously she managed archive deliverables for new feature releases at Paramount Pictures. She has experience working with a wide variety of moving image and sound formats, as well as pre-film animation devices, silent-era cameras, costumes and paper collections. Yasmin holds Master’s degrees in Art History and Moving Image Archive Studies from UCLA.


Yasmin Dessem (left) and Allie Whalen (right) cleaning and relubricating a Betacam deck. [Photo: Walter Urie]
Yasmin Dessem (left) and Allie Whalen (right) cleaning and relubricating a Betacam deck. [Photo: Walter Urie]
ECPN: Please tell us a little bit about yourself and your current position.

Yasmin Dessem (YD): I oversee the preservation of moving image and recorded sound materials at the UCLA Library’s Preservation Department. For nearly 90 years, the UCLA Library has collected audiovisual materials with content such as home movies, oral histories, and radio broadcasts. Examples are home movies of Susan Sontag’s parents sailing to China in the 1920s and field interviews with Watts residents after the 1965 riots. Audiovisual preservation (AV) at the library is a relatively young unit—a dedicated AV preservationist first came on board in 2011. We offer a number of in-house digitization and preservation services and are currently focusing on increasing our capacity and launching a survey.

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

YD: The 1996 re-release of the restored version of Vertigo first made me aware of film restoration and preservation as an actual practice. Later, as I was finishing my Masters in Art History at UCLA, I took a wonderful class on restoration, preservation, and conservation with Professor David A. Scott. The course covered the material care issues and decision-making ethics for a wide breadth of cultural heritage materials. The class struck a deep chord with me, but I was eager to graduate and start working. After graduation, I ended up working in the film industry for about six years. I was tracking down historic stock footage at one job when my mind circled back to the preservation field as I considered how the films were stored and made available. I had entertained the idea of potentially returning to graduate school to study art conservation some day, but around that time the idea of film preservation as a possible career path began to fully materialize for me. As a result, I began exploring potential graduate programs.

ECPN: Of all specializations, what contributed to your decision to pursue electronic media conservation?

YD: My longtime love for film and music intersected with my curiosity for all things historical and technology-related. These were topics that in one form or another always interested me, but I don’t think I had a full grasp on how to combine them meaningfully into a profession. Preservation was the missing key. My exposure to preservation and conservation while studying art history and my later experience working at film studios both helped direct me towards the specialization.

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

YD: I pursued my studies in the Moving Image Archive Studies (MIAS) Program at UCLA—which persists today as a Master of Library and Information Science (M.L.I.S.) with a Media Archival Studies specialization. While in the program, I completed internships with Universal Pictures and the Academy of Motion Pictures Arts and Sciences, and volunteered at the Hugh Hefner Moving Image Archive at the University of Southern California. Throughout the two-year MIAS program, I also worked as a fellow at the Center for Primary Research and Training program at UCLA Library Special Collections, where I learned archival processing. My experiences weren’t limited to preserving moving image and sound media, but included paper-based collections, costumes, and film technology. After graduating I attended the International Federation of Film Archives (FIAF) Film Restoration Summer School hosted by the Cineteca di Bologna and L’Immagine Ritrovata.

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

YD: Digital preservation will continue to be a key area of expertise that’s needed in museums and archives. Preserving the original source material and digitizing content is not enough. There are more resources than ever for strategies and tools for digital preservation, and it’s important to seek them out. Another valuable skill is developing a level of comfort with handling and understanding the unique characteristics of a wide variety of physical analog formats  such as film, videotape, audiotape, and grooved media (LP, 78s, lacquer discs, wax cylinders, etc.). Similarly, it’s helpful to have a familiarity with playback devices for these obsolete media formats (equipment like open-reel decks or video decks.) Lastly, metadata can be an unsung hero in media preservation. Often, we’re the first to see or hear a recording in decades, so capturing metadata around the point of transfer is critical. Metadata standards can be a rabbit hole of complexities, especially when it comes to describing audiovisual media, but understanding their application is an essential skill.

Lacquer disc cleaning and transfer workshop at the Instituto de Historia de Cuba in Havana, Cuba [Photo: Yasmin Dessem]
Lacquer disc cleaning and transfer workshop at the Instituto de Historia de Cuba in Havana, Cuba [Photo: Yasmin Dessem]
ECPN: What are some of your current projects, research, or interests?

YD: We’re just wrapping up digitization of materials from the Golden State Mutual Life Insurance Company (GSM), an African American-owned and operated insurance firm established in Los Angeles in 1925 in response to discriminatory practices that restricted the ability of African American residents to purchase insurance. GSM operated for 85 years and their collection is a vibrant resource documenting Los Angeles and the empowerment of a community. We received grants from the National Film Preservation Foundation and the John Randolph Haynes and Dora Haynes Foundation to support this work. The digitized collection is now available on Calisphere. We’ve just started a crowd sourcing project working with former GSM staffers to describe any unidentified content. It’s been one of the most rewarding experiences of my career, hearing everyone’s stories and seeing how much it means to everyone involved to have this collection preserved and made available.

We’ve also been in preparation to launch a large-scale survey that will help us gather data on the Library’s audiovisual collections that can be used for long term-planning. Outside of UCLA, we’ve been involved with ongoing work with cultural heritage institutions in Cuba. Last February, I set up equipment and held a workshop on the digitization of radio transcription discs held at the Instituto de Historia de Cuba (IHC) in Havana. I’m heading back there next week to begin a project to transfer IHC’s open reel audio collections.

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

YD: It’s crucial to preserve the expertise related to the operation and repair of playback equipment. Playback equipment will become more and more difficult to source in the future. Engineers, whose entire careers are dedicated to the use and care of this equipment, are some of the best resources for this knowledge. Their knowledge is shared through conversation, YouTube videos, social media, and professional workshops. Documenting the skills required to handle, maintain, calibrate, and service this equipment in a more formalized way and sharing that knowledge widely will ensure that the preservationists can keep their equipment viable for longer.

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

YD: Try everything. Media preservation requires a wide variety of skills from computer coding to soldering decades-old circuit boards. Depending on where your career takes you, it’s good to have at least a passing familiarity with the full range of skills you may need to call upon. Apply for internships or fellowships with organizations, like the National Digital Stewardship Residency. Volunteer at community-based archives that need help getting their collections in order. Join professional organizations, like the Association of Recorded Sound Collections (ARSC) or the Association of Moving Image Archivists. Attend conferences like code4lib, the Preservation and Archiving Special Interest Group (PASIG), or the Digital Asset Symposium (DAS). Network with engineers or preservation professionals to continue to grow your own expertise, but also share your own skills when you can. Collaboration and knowledge-sharing are a fundamental part of the profession.

Perforation repair of 16 mm film [Photo: Yasmin Dessem]
Perforation repair of 16 mm film [Photo: Yasmin Dessem]
ECPN: Please share any last thoughts or reflections.

YD: One thing to be aware of, if you’re a woman in the field of audiovisual preservation, is that you may occasionally run into people who are surprised to see a woman working with technology (much less wielding a screwdriver!). This response persists to some degree despite the presence of many successful female professionals in the field. What’s encouraging, however, is seeing the growth of groups like the Women in Recorded Sound collective at ARSC providing support.

Audiovisual preservation is such a gratifying profession. Having the opportunity to make historic content available is incredibly meaningful work that I feel lucky to be a part of everyday. On an even more basic level, figuring out a new workflow or getting a piece of equipment to finally work is just so viscerally satisfying. I’m part of an amazing team whose passion, humor and willingness to try out new things inspires me every day and makes me feel so lucky to be doing this work.

Summer 2018 internships at INSTAP SCEC (Crete)

Two internships in archaeological conservation are available at the Institute for Aegean Prehistory Study Center for East Crete (INSTAP SCEC) during the summer of 2018. These internships are available for 6-8 weeks between May 1st and July 30th.

The INSTAP SCEC conservation lab is responsible for material excavated by several American and Greek teams, including those working at Mochlos, Azorias, Petras and Gournia. Most of the work this summer will focus on the treatment of archaeological ceramics. Interns participate fully in the work of the lab, which includes lifting fragile artifacts on site, examining and treating priority finds, discussions with material specialists and the full reconstruction of selected artifacts for the new Agios Nikolaos Museum. The lively INSTAP Study Center offers interns the chance to meet students and experts in a variety of fields from many different universities. It also hosts a summer lecture series, has an excellent library and is a good base for exploring the archaeology of Crete.

Applicants must be recent graduates of, or currently enrolled in, a conservation degree program.

They should also be able to communicate, and carry out conservation documentation, in English.

Please email a letter of interest, a CV and a letter of recommendation to Kathy Hall at kathyh@otenet.gr.

Application deadline: December 31st 2017.

Additional information: Past interns have often combined this internship with the FORTH OPTO-CH workshop in laser-based techniques in Cultural Heritage http://al5801.wixsite.com/lasersforartsake/training-courses.

We are very sorry that we have no funding to support the internships. We hope that interns can support themselves through funding from their school, or from scholarships such as the Zibby Garnett Travel Fellowship. We can help you to find low cost housing (around 120 Euros per month).

Please contact Kathy if you need any more information on the internships.

Pre-Graduate Program Conservation Internship (Washington, DC, USA)

Smithsonian Institution, National Museum of the American Indian

Six-Month Pre-Graduate Program Conservation Internship

This internship is for individuals interested in entering conservation graduate program specializing in Native American ethnographic and archaeological objects:  organic and inorganic materials.  Undergraduate degree in art, history, anthropology, or other field related to Native American ethnographic and archaeological material and a 3.0 GPA or better required.  Organic chemistry highly recommended.  Internship carries a stipend and commences fall 2018. The location is the NMAI Cultural Resources Center in Suitland, MD (8 miles southeast of Washington, DC).

Deadline: Online applications, including reference letters, must be submitted no later than February 15, 2018.

Notification by April 30, 2018.

For additional information about how to register and apply via the Smithsonian Online Academic Appointment system, please visit http://nmai.si.edu/explore/collections/conservation/training/#ctpi.

2018 Summer Internships in the Conservation of Art and Historic Works at the Smithsonian’s Museum Conservation Institute

The Smithsonian’s Museum Conservation Institute (MCI) is offering short-term opportunities to work on conservation and conservation research projects with conservators of art and historic works. These internships are intended mainly for the summer of 2018, but consideration will be given to projects at other times during the year. Preference will be given to applicants interested in a career in conservation, those currently enrolled in conservation training programs, and graduate students in related subjects. A stipend may be offered for a period of up to 10 weeks.

Successful applicants will contact the following potential supervisors in advance of application and specify them in the application:

  • Mary Ballard, Senior Textiles Conservator, 301-238-1210, ballardm@si.edu
  • Shannon Brogdon-Grantham, Photo and Paper Conservator, 301-238-1241, brogdon-granthams@si.edu
  • Carol Grissom, Senior Objects Conservator, 301-238-1236, grissomc@si.edu
  • Jessica S. Johnson, Head of Conservation, 301-238-1218, johnsonjs@si.edu
  • Rebecca Kaczkowski, Preventive Conservator, 301-238-1242, kaczkowskir@si.edu
  • Dawn Rogala, Paintings Conservator, 301-238-1255, rogalad@si.edu
  • Jia-Sun Tsang, Senior Paintings Conservator (modern and contemporary paintings treatment and research), 301-238-1231, tsangj@si.edu

Applications must be made on line through SOLAA (https://solaa.si.edu)  by February 25, 2018; select the option for the Smithsonian Museum Conservation Institute Conservation of Art and Historic Works Intern Program. Special skill sets and experience relevant to conservation should be indicated on the application, such as fiber art skills for an internship in textile conservation. Selected candidates will be interviewed by telephone, although MCI visits are welcome.

Those interested in working under the supervision of scientists at MCI may apply separately through SOLAA for a different MCI internship, 2018 Smithsonian Museum Conservation Institute Analytical Studies Intern Program, and should specify that program on the application.

2018 Smithsonian Museum Conservation Institute Analytical Studies Intern Program (Suitland, MD, USA)

The Smithsonian Museum Conservation Institute (MCI) is offering short-term opportunities for undergraduates to work on research projects with staff members of its technical studies and research group.  MCI is the center for specialized technical collections research and conservation for all Smithsonian museums, collections, and research centers.  MCI combines state-of-the-art instrumentation and scientific techniques to provide technical research and characterization of objects.

Internships are intended mainly for summer 2018, but consideration will be given to projects at other times of the year.  Acceptable majors include, but are not limited to:  museum studies, conservation studies, art history, anthropology, archaeology, paleontology, chemistry, biochemistry, biology, ecology, earth sciences, chemical engineering, and materials science engineering.  Basic courses in chemistry and math are preferred; lab experience is not required.  A stipend will be offered for a period of 10 weeks.

Applicants should contact potential advisors in advance of application and should specify preferred advisors in their application. Applications must be made on line at https://solaa.si.edu  – apply for the Museum Conservation Institute Analytical Studies Intern Program.  Those interested in working under the supervision of conservators at MCI may apply separately through SOLAA for a different MCI internship:  Museum Conservation Internship Program.  Application deadline is February 25, 2018.  Selected candidates will be interviewed by telephone, although MCI visits are welcome.  Projects will be supervised by one of the following staff members:

Elena Charola, Research Scientist, 301-238-1213, charolaa@si.edu – Deterioration and conservation of stone and other inorganic materials.

Timothy Cleland, Physical Scientist, 301-238-1208, clelandtp@si.edu – Characterization and quantification of proteinaceous material in bone, tissue, and other museum collections.

Christine France, Research Physical Scientist, 301-238-1261, francec@si.edu – Analyses of human and animal remains using stable isotope mass spectrometry.

Gwénaëlle Kavich, Conservation Scientist, 301-238-1265, kavichgm@si.edu – Analyses of organic and inorganic materials in cultural heritage using py-GC-MS, FTIR, Raman, and XRF.

Thomas Lam, Physical Scientist, 301-238-1232, lamt@si.edu – Materials characterization of cultural heritage using SEM, cathodoluminescence, XRF, and microfadometry.

Nicole Little, Physical Scientist, 301-238-1243, littlen@si.edu – Provenance studies of museum objects and analysis of biologic remains using ICP-MS, XRD, and SEM.

Asher Newsome, Physical Scientist, 301-238-1223, newsomeg@si.edu – Biomolecular and ambient mass spectrometry of surfaces, coatings, residues, ink, paint, metabolites, and chemical adulterants.

Caroline Solazzo, 301-238-1284, solazzoc@si.edu – Proteomics applications to cultural heritage; characterization and species identification of keratin-based tissues and artefacts; degradation of ancient proteins.

Keats Webb, Digital Imaging Specialist, 301-238-1212, webbekeats@si.edu – Advanced imaging of museum objects using 2D- and 3D-imaging techniques as well as optical imaging beyond the range of human vision.

Edward Vicenzi, Research Scientist, 301-238-1215, vicenzie@si.edu – Determining the origin and history of natural and manufactured materials via spectroscopic imaging in the SEM, including micro XRF imaging and spectrometry.

2018 Winter Jeff Metcalf Smart Museum Conservation Intern (Chicago, IL, USA)

The David and Alfred Smart Museum of Art
Expires: December 5, 2017

**This internship is part of the University’s Jeff Metcalf Internship Program. Please review the Metcalf Interns’ Responsibility Notice to learn more about program requirements for Metcalf interns.

Students are responsible for independently finalizing the logistics of their internship, including transportation and lodging. If you are considering an internship in Los Angeles, Miami, NYC, San Francisco, Washington, D.C., or abroad, please reference these helpful city guides.**

This position assists the Campus & Public Art Collections and Conservation Manager (located within the Registrar’s office at the Smart Museum) in documenting, researching, and caring for objects within the Campus & Public Art Collection and loans to the University.

Duties:

  • Assist with performing and documenting conservation and maintenance treatments on works of art.
  • Assist with integrated pest management.
  • Assist with condition reporting of objects.
  • Assist with researching materials.
  • Other duties as necessary

Qualifications: Applicant must be a University of Chicago undergraduate student. This position requires considerable technical hand skills, a familiarity with or interest in materials science, and the ability to work outdoors and indoors with chemicals. Applicant must be highly sensitive to the necessity of confidentiality and accurate record keeping and be familiar with database management, networking and image processing. S/he must be extremely detail-oriented, have excellent written and verbal communication skills, possess the ability to see projects through to completion, and be able to work well both with others and independently.

An interest in art, art history, or art conservation—along with office or museum experience—is preferred, in addition to a familiarity with the University of Chicago campus. Experience with Microsoft Word and Excel is essential; ability to go between PCs and Macs appreciated; familiarity with Adobe Photoshop CC and Bridge,
scanning software, and an interest in museum database systems (The Museum System) is desirable.

Physical demands include considerable documentation and handling of art objects, including careful handling, lifting, and photographing. Some office work, including typing, data entry, and phoning. Ability to navigate the entirety of campus. Background check is required.

Hours: Applicant must be available to work 8-10 hours a week during the school year.

Info: https://careeradvancement.uchicago.edu/content/2018-winter-jeff-metcalf-smart-museum-conservation-intern-smart-museum-art.

nanotechnologies for conservation- workshop at Pratt Institute

NANOTECHNOLOGIES FOR CONSERVATION OF CULTURAL HERITAGE AT PRATT INSTITUTE : A hands-on workshop available to midcareer conservators

Professors Piero Baglioni and Rodorico Giorgi from the University of Florence Center for Colloid and Surface Science (CSGI) will present nanostructured dispersions such as nanoparticles for consolidation, micellar solutions, microemulsions, and responsive gel formulations including chemical gels, physical gels and organo gels. Through lectures and lab demonstrations participants will learn the chemistry, theory and application of each system. Participants will carry out various excercizes using mockups, sculptures, paintings and works on paper. Participants are also encouraged to bring their own objects and materials for tests and discussion during the last day of review and open labwork. (A daily outline for the workshop is available upon request).

PIERO BAGLIONI received his PhD from the University of Florence in 1977 and is a Full Professor of Physical Chemistry at the Department of Chemistry and CSGI of the University of Florence. He is the author of over 250 publications in the field of colloids and interfaces and pioneered the application of soft matter to the conservation of cultural heritage. He has lectured world wide and he has produced several innovative methodologies

RODORICO GIORGI received his PhD from the University of Florence in 2000 and is currently a Permanent Researcher at the Department of Chemistry and CSGI of the University of Florence. He is the author of 60 publications in the field of conservation of cultural heritage materials. His background is in the physical chemistry of colloid and interface science and in the last decade he extended his activity on the application of nanotechnology to the conservation of cultural heritage.

WORKSHOP DATES: February 12-19, 2018

WORKSHOP HOST: Department of Math and Science, Pratt Institute

LOCATION: Pratt Institute, 200 Willoughby Avenue, Brooklyn, NY, Department of Math and Science

ORGANIZERS: Cindie Kehlet ckehlet@pratt.edu
Sarah Nunberg snunberg@pratt.edu
Soraya Alcala soraya.alcala@gmail.com

ADMISSION: Applicants are requested to submit a statement on the applicability of the course to their work, and a brief cv listing their relevant education and employment background.

Please e-mail your application to snunberg@pratt.edu and enter CSGI Workshop 2018 in the subject line.

APPLICATION DEADLINE: December 1, 2017

WORKSHOP COST: $500.00

TRAVEL AND HOUSING: Participants are responsible for their own travel, meals, and housing arrangements. Recommendations for moderately priced accommodations are included with acceptance packets.

Project Specialist (Los Angeles, CA, USA)

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

The Getty Conservation Institute (GCI), located in Los Angeles, California, and one of the operating programs of the J. Paul Getty Trust, works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage.

The Buildings and Sites department, as one of the core program areas of the GCI (with Science and Collections), undertakes and applies research on real projects to develop, trial, and demonstrate conservation approaches that advance practice. Buildings and Sites also works to build the capacity of partner organizations and the broader conservation community through the creation and dissemination of information and training and capacity building activities.  For additional information please see: www.getty.edu/conservation/about/field_projects/overview.html.

The GCI is seeking a Project Specialist to work on the Earthen Architecture Initiative (www.getty.edu/conservation/our_projects/field_projects/earthen/).

Responsibilities will include research and fieldwork for developing and implementing practical conservation solutions at built heritage, archaeological or urban sites. The position will work across a number of projects within Buildings and Sites, requiring versatility, creative thinking and a sound understanding of and experience in the physical conservation of buildings and sites.

Master’s degree preferred in architecture, engineering or other relevant discipline. Post-graduate qualifications in cultural heritage conservation or equivalent experience working in cultural heritage conservation, preferably in architectural conservation. Minimum of 3-7 years of project and construction site management experience.

Experience in architectural conservation projects including carrying out of documentation, assessments, design, development and implementation of conservation projects on historic buildings and sites. Interest in training activities. Architectural design experience and material and structural knowledge in relation to earthen historic sites and buildings and designing and implementing management policies and actions on sites, is preferred. Experience and ability to conduct research and analysis and synthesize it into conservation programs and actions.

Excellent interpersonal and verbal skills and the ability to work in small interdisciplinary teams. Excellent writing skills and ability to contribute to and write reports and papers. Working knowledge of AutoCAD is mandatory and InDesign and Photoshop preferred. Good organizational and time management skills needed. Must be available for frequent international travel. Foreign language, such as Spanish or French, preferred.

International candidates welcome. An excellent benefits package and salary commensurate with experience will be provided.  The Getty is an equal opportunity employer.

To apply, please visit: https://jobs-getty.icims.com/jobs/3047/gci-project-specialist/job. When prompted, select “Create with Resume” or “Create with Online Form”.  Be prepared to upload your cover letter and curriculum vitae in one PDF file (when prompted to “Upload Resume”/”Submit Resume”). Candidates who successfully complete the online application process will receive an automated message from “autoreply@icims.com”.  If you have specific questions about the Project Specialist position, please email gcistaffing@getty.edu.

The deadline for applications is November 30, 2017.