The University of Texas at Austin: The Harry Ransom Center’s Preservation and Conservation Division, The University of Texas at Austin, announces an opening for the Bollinger Conservation Fellowship in paper conservation. This fellowship is a temporary one– year, full-time position with a possible three-month extension. As an integral member of the Ransom Center’s preservation and conservation staff, the Bollinger Fellow will perform the full spectrum of paper conservation treatment activities including written and photographic documentation; identification of historical materials, structures, and their condition; technical research; dialog with curators about treatment choices; and, the completion of minor and complex single item treatments and housings. The fellow will also develop and execute a conservation research project based on the Ransom Center’s holdings. During the fellowship, the Bollinger Fellow will have the opportunity to undertake treatment projects in the book and photograph laboratories, as well as design and coordinate a manuscripts or art on paper collection re-housing project. This position reports to the Senior Paper Conservator.
The fellowship provides an annual salary of $43,000, plus benefits, and $2,500 to support travel to professional workshops and meetings.
Required Qualifications Master’s of Arts or Science degree in art conservation or Master’s degree in art or art history plus a certificate of advanced study in conservation. Must have received Master’s degree in 2016 or after. Instruction and/or experience should be primarily in paper conservation. Excellent written and oral communication skills.
Preferred Qualifications Demonstrated ability to conduct research and to write for presentation and publication.
Application procedure Please go to https://utdirect.utexas.edu/apps/hr/jobs/nlogon/search/0/ and refer to posting number 180125010621. Applicants must upload a resume, submit a letter of interest and contact information for three references.
This position is security sensitive; conviction verification conducted on applicant selected.
The retirement plan for this position is Teacher Retirement System of Texas (TRS), subject to the position being at least 20 hours per week and at least 135 days in length.
The University of Texas at Austin is an Equal Opportunity/Affirmative Action Employer committed to diversity.
***UCLA IS NO LONGER ACCEPTING APPLICATIONS FOR THIS RECRUITMENT – PLEASE DO NOT APPLY FOR THIS POSITION ***
The UCLA/Getty Conservation Interdepartmental Degree Program (IDP) seeks candidates for a tenure-track faculty position to begin Fall, 2018 or thereafter. The appointment will be split 50:50 between the UCLA/Getty Conservation IDP and an appropriate home department. Appointments would be at the assistant, associate or full professor level and will be located in Los Angeles. Faculty duties include teaching at the graduate and undergraduate level, research, and supervision of student research and other academic activities, across both the Conservation IDP and the home department.
Candidates should hold a Ph.D. or equivalent in the conservation of material culture or a related field and should have teaching experience at the college level. We welcome candidates whose experience in teaching, research, or community service has prepared them to contribute to our commitment to diversity and excellence.
The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy see: UC Nondiscrimination and Affirmative Action Policy, http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct.
Statement of Contributions to Diversity – Statement addressing past and/or potential contributions to diversity through research, teaching, and/or service.
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We request that each candidate list two individuals along with their contact information. They will receive an automatic request to complete a letter of reference.
Questions should be addressed to Teresa Sanchez, Chief Administrative Officer, at tmsanchez@ioa.ucla.edu. Responses received by TBD (60 days) will be given priority. UCLA is an Equal Opportunity/Affirmative Action employer. UCLA is committed to diversity in education, research and practice, and we especially encourage minorities to apply.
The Menil Collection is pleased to offer an advanced training fellowship in painting conservation supported by the Andrew W. Mellon Foundation. The term of the fellowship is one year with the possibility of renewal for up to three years. The fellowship will provide an opportunity for the conservator to participate in all departmental activities associated with a diverse and distinguished collection that includes significant holdings of 20th century and contemporary art. As an integral part of the department, the candidate must have an interest in the variety of issues associated with the study, documentation, and care of such a collection.
The fellowship will commence in the fall of 2018. The successful applicant will receive a stipend of $42,000 and a comprehensive benefits package which includes medical and dental insurance, paid vacation, and a 401(k) plan. Generous travel funds are available. Candidates should be recent graduates of a recognized training program or have equivalent experience, a demonstrated interest in the conservation of modern and contemporary artwork, and excellent communication skills. Applications should include a curriculum vitae with e-mail address and telephone number(s), a letter of intent, and three letters of recommendation. These should be sent to Suzanne Maloch, Director of Human Resources, The Menil Collection, 1511 Branard St., Houston, Texas 77006 USA, or smmaloch@menil.org.
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.
What is Your Name, Specialty and Current position?
My name is Sean Belair. I am an Assistant Conservator in the Metropolitan Museum of Art’s Department of Arms and Armor. I am an objects conservator, but I have primarily specialized in the conservation of arms, armor, and related material.
Why did you pick your specialty?
My specialty picked me. Since I was a child, I have always had an interest in the Middle Ages, material history, and archaeology in general. I also loved making things and working with my hands. Until I discovered conservation, I always thought those would be separate pursuits. Arms and armor conservation combines my greatest passions into a single profession.
Can you describe your training pathway?
I went to college to study Medieval and Renaissance history. While searching for history internships for my sophomore summer, I came across a pre-program internship in the conservation of arms and armor at the Higgins Armory Museum in Worcester, Massachusetts. On day one of this internship, I knew conservation was the career for me.
The conservator I worked with at the Higgins had started twenty years prior and trained on the job; many people he had worked with during that time had not gone through a conservation program, either. Believing the ‘apprentice’ route was the best way to achieve my goals, I continued to pursue pre-program internships. By the time I realized that you could no longer become a conservator without an MA, I was already into my junior year. As a history major, there was no way I could meet the course requirements for the US programs without essentially getting another BA. Another conservator, who now happens to be the Met’s Armorer and my direct supervisor, recommended I look into programs abroad, as he had received an MSc in archaeological conservation from University College London.
When I was looking at programs in England, the University of Lincoln jumped out. Lincoln focuses on the conservation of historic objects, as opposed to archaeology or fine arts, and they take hands-on training very seriously. Students start treating objects their first week.
The general philosophy of the program is that graduates will probably go on to work in, or for, the historic houses of the UK and should be prepared to work on every type of material inside the house, including the building itself. Lincoln has a commercial wing that specializes in historic interiors. While I wanted to focus on metal objects specifically, arms and armor, like many museum objects, are mixed-media. All programs address mixed-media, but I felt that at Lincoln it was a major part of the curriculum.
The University of Lincoln’s library, which was converted from the Great Central Warehouse (b 1907)
The Lincoln program was also a two year program. Lincoln has a BA program, so the MA is only one additional year if you have done the undergraduate training. For people who received a BA in other fields, like me, they offer a one year Graduate Diploma course to catch you up with the MA. So, in two years (1 year GD + 1 year MA) I walked away with an MA in objects conservation, whereas similar programs required three years. In my mind, I was able to enter the workforce a year earlier, with a year’s less tuition. As I had hands-on pre-program experience and had taken the “Chemistry for Conservators” correspondence course, I didn’t feel like I would be overwhelmed by the condensed program or unprepared after graduation.
After Lincoln, I worked on outdoor sculpture for the New York City Parks Department, first as a summer intern, then staying on for another major project. It was during this time I applied for a Summer Graduate Internship in Arms and Armor Conservation at the Met, which I was awarded.
After a year of semi-employment and volunteering, I was awarded a Met Fellowship in Arms and Armor Conservation, which was subsequently renewed for another year. Just before the end of my second fellowship, our senior conservator (The Armorer) announced his retirement after 43 years with the museum. His retirement created an opening in the department, which I gratefully filled.
What were the advantages of your program of choice: Personal/Professional
I feel the ‘historic house’ approach, stressing mixed-media objects, has thoroughly prepared me for my career. In my work I have come across some very unusual combinations of materials and conditions, and I have never felt unprepared. I can’t say I’ve always known the right treatment or course of action, but I’ve always known where to start, and more importantly, when to stop.
While Lincoln wants you to be prepared for everything, they are very accommodating of specialties. One student, for example, chose to specialize in restoring ship models, and the lecturers found models for him to treat; another classmate decided she wanted to focus on textiles, so one of the lecturers built her a suction-table out of Cor-X, duct tape, and a vacuum. Both students went on to work in their chosen specialty.
Lincoln Cathedral photographed from the ramparts of Lincoln Castle
The program did a particularly good job of preparing students to deal with display and storage environments. The course anticipates students will be working in unideal conditions with limited resources and teaches the students to find creative solutions to stabilizing environments. To reinforce the lectures and readings, all MA’s must do a survey of a historic structure in Lincoln including monitoring temperature, humidity, and light-levels through changing seasons, and make recommendations on improving the stability of the environment.
While I attended Lincoln, we were in an 18th century former hospital turned seminary, turned lab. It was atmospheric, but cramped and poorly laid out. The program has since moved into a brand new building shared with the art department. The lecturers were able to custom design the conservation space before construction even began. I was able to visit a couple of years ago, and it is a beautiful facility. The students also have access to the new art studios and have designated times where they are encouraged to practice manufacturing techniques like jewelry making and carpentry.
The tuition for the program is less than at other universities, and the cost of living in Lincoln is low. Additionally, Lincoln is only a two-year program instead of three, further reducing cost.
What were the disadvantages of your program of choice: Personal/Professional
I would say that one disadvantage is that Lincoln is a young program. Most conservators have heard of it, but it does not yet carry the cache of University College London or New York University. Being a young program also means there are fewer Lincoln alumni to network with, particularly in the US; where, to my knowledge, I am the only Lincoln alum.
Sean buffing a cuirass by Kolman Helmschmid prior to publication photography.
While the two-year program worked for me, it might not be right for everyone. The structure only provides the summer between the GD and the MA to have a placement/internship before graduation. If you do not have any pre-program experience, then you are putting a lot of pressure on that one summer for building your resume and portfolio.
Of course, two years studying in England is two years away from friends and family. I was fortunate to have a very supportive girlfriend, now wife, and things like Skype and FaceTime make the distance easier, but it is still distance. That said, away is away, regardless of the country. I can’t say attending Buffalo, at the opposite end of my home state, would have been much easier than Lincoln.
There is, of course, the financial component. Going to school in England is not free and flights are expensive. It made sense for me because I wouldn’t have been eligible for the endowed American programs without spending significant time and money continuing to take undergraduate classes.
What advice do you have for pre-programmers considering a similar path
Picking a program is an important decision; you will spend several years there, after all, but it will not make or break your career. Your career will be defined by equal of parts hard work and dumb luck – comforting, I know. So my advice isn’t about picking a program, but planning ahead.
Start working on your portfolio as soon as possible. This will be what defines you to a potential employer. Get a good camera if you can and learn to take well-lit, in-focus pictures (though I’ve gotten good pictures with just my iPhone). Take lots of photos of everything you work on, and have other people take photos of every type of activity you perform. A portfolio or website is only as strong as the images it contains, and it is very easy to forget to take them or inadvertently get bad photos; either way, you will be pulling your hair out when you’re trying to put your material together.
A potential employer will Google you, so having a website and/or a ‘curated’ social media feed is a great way to promote yourself. I never made a website, but I believe it will be a must-have going forward.
The Cincinnati Art Museum seeks a conservation training program student this summer to assist in preparing our collection of Nabatean works of art for exhibit. Under the supervision of the Associate Objects Conservator the intern will survey, condition and treat archaeological objects from the ancient city of Petra.
Cincinnati is located in the scenic Ohio River valley at the intersection of Ohio, Indiana and Kentucky. Founded in 1881, the Cincinnati Art Museum has an encyclopedic collection that spans over 6000 years. Our Conservation Department is an integral part of the CAM team and includes conservators specializing in paintings, objects, paper and textiles.
The applicant should be a student in a recognized conservation training program, with a specialization in objects conservation. An interest in archaeological objects is preferred. The successful candidate will possess good hand skills, a basic understanding of the field of archaeological conservation and a willingness to learn about museum practice.
The internship is 10 weeks during the summer of 2018. The start date is negotiable. The successful candidate must arrange her/his housing. In the past, accommodation has been available at two local universities. The stipend is $8,000.00, paid bi-weekly. The application deadline in March 1, 2018.
To apply, please send a letter of interest along with curriculum vitae, a list of coursework and if available, a sample treatment report. Please include the contact information for one or two references. Send the application to:
Cincinnati Art Museum
ATTN: Human Resources
953 Eden Park Drive
Cincinnati, OH 45202-1596
Fax: (513) 639-2932
Email: internships@cincyart.org
The University of Virginia Library is pleased to offer the opportunity of a six-week internship for the summer of 2018 in their Preservation Services Department, working with the two Book Conservators on staff. The purpose of the internship is to perform conservation treatment on a selection of plates from the “Moon Atlas” http://search.lib.virginia.edu/catalog/u6821780 and also a possible rehousing project involving the Virginia Gazette http://search.lib.virginia.edu/catalog/u3514532.
The intern will develop treatment plans in collaboration with the Book Conservators and maintain the written documentation throughout the treatment process. Likely flat paper treatments include dry cleaning; adhesive and pressure sensitive tape removal; paper mending; and humidification and flattening. Book treatments could include board tacketing and other binding stabilization techniques. Pre-treatment photo documentation will be performed by the Library’s Digital Services Department prior to the intern’s arrival. It is expected that the intern will participate in the after-treatment photo-doc at the end of the six week internship. The intern will be required to give a presentation to library staff at the end of the internship, describing the project overall and highlighting a few specific details from the treatments.
Treatment will be performed in the UVa Library Conservation lab, a small but well-equipped facility with a 4’x6’ treatment sink, de-ionized water system, fume trunk, suction platen, and the usual tools. The treatment will be performed under the supervision of the Book Conservators for Library Collections and in consultation with Librarians from the Small Special Collections Library.
The Library is offering a $4000 stipend to support the internship. The internship can be scheduled for any consecutive six-week period between June 11, 2018 and August 24, 2018 (the Fall semester at UVA begins August 28, 2018). We will be accepting applications until the position is filled but priority will be given to applications received prior to March 9, 2018. The ideal candidate will have some prior treatment experience and be working toward a career in library conservation.
Applicants should send a resume, letter of interest and the contact information for three professional references via email to Eliza Gilligan, Book Conservator for University Library Collections at emg3b@virginia.edu. Applicants must be a US citizen.
The Preservation Services Department is grateful to Margery Lee for her continued support of this internship.
On Friday February 2, 2018, when I opened The Wall Street Journal to the second page, I saw a photograph of Rhona McBeth at the Museum of Fine Arts Boston looking into a microscope as she examined a Rembrandt painting (“Great Artwork Gets Careful Cleaning at the Museum”). There was no article; only a caption that noted that, over the next year, paintings will be cleaned at the museum in the view of visitors. To find information (however little) about conservation in such a prominent location is a good thing.
This job announcement was previously advertised on September 11, 2017. To see that ad, click here.
Carolina Conservation is seeking a dedicated and career-oriented Assistant Paintings Conservator for its private practice. Ideal candidates are enthusiastic team players with strong critical thinking and applied problem solving skills. Time management and the ability to meet deadlines while working under pressure will be necessary. Carolina Conservation provides on-site disaster response for fine art collections that have suffered severe damage as the result of a fire, flood, or catastrophic disaster. Applicants please send a cover letter, resume, professional references, and salary requirements to info@carolinaconservation.com.
General responsibilities of the Assistant Paintings Conservator will include the following:
Assessment and evaluation of incoming collections
Preparation of condition reports, treatment proposals, treatment records, and additional documentation as necessary
Execution of treatments under the direction and supervision of the Lead Conservator
Perform conservation treatments to easel paintings & other works as directed by Lead Conservator, including, but not limited to: surface cleanings, varnish removals, varnish applications, consolidation, tear repairs, reversible fills, retouching, linings, and related tasks
Triage and on-site collection recovery
Client consultations and collection reviews
Additional responsibilities as directed and supervised by the Lead Conservator
Applicants are expected to meet the following education and work experience criteria:
BA or BS in related field (Art History, Fine Art, Chemistry, etc.)
Postgraduate degree in Conservation of Fine Art, specializing in the conservation of paintings, or equivalent training and work experience
Private practice experience is a plus, but will consider entry-level conservation professionals
Ability to work independently and contribute as an effective member of a team
Strong verbal and written communication skills
Digital photography proficiency
Computer proficiency
Essential Skills & Personality Traits: We have identified a number of skills and abilities that are critical to success in this position. The following are non-negotiable qualities we are looking for in a candidate:
An energetic, positive & optimistic attitude
Strong personal and professional ethics and conduct
Strong verbal communication skills
Ability to build rapport & develop strong interpersonal relationships
Professionalism, assertiveness & confidence
Meticulous, precise, & detail oriented
A team player that enjoys working with others
An enthusiastic commitment to excellence
Pro-active, responsible, motivated self-manager
Enjoys working with their hands
Processes new information quickly with a passion for learning
A passion for using their knowledge & skills to help others
Benefits include:
Comprehensive Health, Dental, and Vision insurance. Carolina Conservation pays 60% of all employees insurance premiums
Two weeks paid vacation + holidays
Volunteer and Angel Project opportunities
Continuing Education opportunities
About Carolina Conservation Family owned and operated, Carolina Conservation has specialized in fine art conservation for fire and water damaged collections since 2005. We service major national accounts and companies within the property insurance industry. Due to the high level of service quality we provide to our clients, we have built strong industry relationships that have fueled the rapid growth of our studio operations. Over the past twelve years, we have grown to become the largest conservation studio in the nation exclusively specializing in fire and water damaged fine art and specialty collections. Salary will be competitive and commensurate with education and work history. Carolina Conservation employees are given the potential for strong career growth within our organization. We believe in providing our staff access to ongoing education, training, fieldwork experience, and volunteer conservation opportunities.
The Greater Hudson Heritage Network
NYSCA/GHHN Conservation Treatment Grant Program
Greater Hudson Heritage Network is pleased to announce it has been awarded 5 years of funding from the New York State Council on the Arts (NYSCA) for the continuation of the NYSCA/GHHN Conservation Treatment Grant Program! GHHN has managed the NYSCA/GHHN Conservation Treatment Grant Program since 2000 and has regranted approximately $2.3 million on behalf of NYSCA to eligible organizations around New York State. Additionally, we are delighted to share the amount of money available to regrant in 2018 has increased to approximately $106,675.
What we fund: Support of up to $7500 is available for conservation treatment of paintings, works on paper, textiles, furniture, frames, sculptures, historical, ethnographic, and decorative objects owned by eligible organizations. Funding is also available for treatment costs for supports, frames, stands and mounts that are integral to the treatment of the object.
What we do not fund: Grant will not support treatment of archival collections. Grant will not support staff salaries. Funds are not available for preventative care, re-housing or re-formatting of objects, purchases of storage furniture, or upgrading environmental systems.
Application deadline: Friday, June 1, 2018, 11:59 PM
Important reminder: Our application process is PAPERLESS. You will apply using an online portal located on our website – the portal opens on Thursday, March 1, 2018 and will remain open until 11:59 PM on Friday, June 1, 2018. You may log in and work on your application at any point during this time period.
*** APPLICATION DEADLINE HAS PASSED – PLEASE DO NOT APPLY FOR THIS POSITION ***
September 2018 – August 2020
The David Booth Conservation Department at The Museum of Modern Art is pleased to offer a two-year fellowship in sculpture conservation, starting September 2018. The fellowship provides an opportunity to acquire comprehensive training in sculpture and objects preservation, conservation, and restoration in a museum setting. Working as part of the sculpture and objects conservation team, the fellow will assist conservators with all facets of the preservation, conservation, and restoration of three-dimensional sculptures and objects, including acquisition, exhibition, treatment, collection care, and research, related to sculpture and objects conservation. Fellowship activities will involve collaboration with Museum departments, including curatorial, Exhibition Design and Production, Exhibition Planning and Administration, Information Technology, and Collection Management and Exhibition Registration. Besides developing and refining advanced techniques in sculpture conservation, the fellow will have the opportunity to collaborate with MoMA’s conservation scientists; to develop and carry out research projects; and to have their work disseminated or published through blogs, conferences, and peer-reviewed journals.
REQUIREMENTS
Education
Graduate from a recognized training program; candidates with equivalent training will be considered.
Experience
Internship in treatment of three-dimensional sculptures, works of art, and objects. No more than three years experience past graduation.
Qualifications
Examination and treatment of sculptures, works of art, and objects at an advanced intern level.
Some experience with treatment of modern and contemporary works preferable.
Familiarity with condition photography, including ultra-violet, infrared, and photomicrography.
Use of analytic instruments, including microscopes, X-ray equipment, and other instruments for the examination and technical analysis of works of art and their constituent parts.
Excellent speaking, reading, and writing skills in English.
Proficiency with computer software, including image editing and Adobe Photoshop.
Responsibilities
Writes condition reports and installation instructions (when needed) for works of art. Recommends and executes treatment of works of art and their optimal storage and exhibition conditions in consultation with associate/conservators, scientists, other higher conservator titles, and curators. Keeps full photographic and written documentation of original condition and all stages of treatment of works of art.
Assists in advising curators, registrars, and exhibitions staff on conservation requirements to ensure protection of works of art during exhibition, packing, and shipping. Assists in advising curators on the condition of works of art as related to exhibition, loans, and acquisition.
Examines and interprets the physical structure of works of art and liaises with scientists on the interpretation of scientific data.
Carries out courier trips as needed.
Assists in supervising seasonal (three-month) interns and conservation program trainees as requested.
Investigates, evaluates, and tests new materials used by contemporary artists. Researches, develops, and tests materials and techniques for conservation use. Keeps abreast of new technical and material developments in the art historical and conservation fields through attendance at meetings and readings of conservation, technical, and art historical literature.
Adheres to the AIC Code of Ethics and Standards of Practice.
Performs any other duties reasonably related to the functions described above.
REPORTS TO: Sculpture Conservators, Associate Conservators, and higher.
Stipend: $45,000 plus benefits and vacation, with $3,775 for research and travel.
Candidates must submit a statement of interest, a current CV, and a list of references to jobs@moma.org no later than March 1, 2018. Please reference the position title in the subject line.
The Museum of Modern Art is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation or political affiliation.
The Museum of Modern Art’s Sculpture Conservation Initiative is made possible through the David Booth Conservation Center Endowment Fund.
