Carmina Lamare-Bertrand – Page 5 – AIC Blog Archives: Conservators Converse

Sculpture Technician ( Kansas City, MO, USA)

SCULPTURE TECHNICIAN
(Part-time, non-exempt)

WHO WE ARE
The Nelson-Atkins Museum of Art is dedicated to the enjoyment and understanding of the visual arts and the varied cultures they represent. At the core of the museum’s vision of the future is the goal of playing a central role in Kansas City life by catalyzing connections to neighbors; an ever-expanding range of visitors; and community, civic and cultural partners in the city and the larger region. In short, the Nelson-Atkins is “where the power of art engages the spirit of the community.”

POSITION FUNCTION
To provide daily maintenance of thirty-three sculptures in the Donald J. Hall Sculpture Park and others in the museum collection donated by the Hall Family Foundation primarily during the spring, summer and fall seasons.

PRIMARY RESPONSIBILITIES

To clean, wax and repair coatings on the sculptures.
To report and document damages as required in written and photographic forms
To assist the Conservator of Objects, Associate Conservator and Conservation Associate in performing treatments or other duties as needed in the sculpture park
To perform additional duties as assigned.
Maintain Noguchi sculptures and fountain and monitor and adjust water chemistry.
Survey, monitor and document condition of W. De Maria sculpture.
Must be able to work with many different departments and personalities across the institution to achieve desired results.
Other duties as assigned.

QUALIFICATIONS

Prefer an undergraduate degree in studio art, art history and/or chemistry or equivalent experience.
Must have manual dexterity and the patience of a craftsperson.
Must be comfortable lifting heavy equipment (up to 50lbs.) and working on scaffolding.
Must have the ability to do strenuous work in hot and humid conditions and exposure to sun.
Must be detail oriented and able to interact with staff members and the general public in a polite and courteous manner.
Digital photography skills and familiarity with related software programs (Photoshop) are essential.
Must be self-motivated with the ability to work independently and prioritize the positions daily schedule.
The sculpture collection consist of bronze, stone, wood, glass, gilt and painted fiberglass and metals. Broad knowledge of materials is beneficial.

PHYSICAL DEMANDS
While performing the duties of this job, the Sculpture Technician is occasionally required to stand; walk; sit; use hands; reach with hands and arms; climb stairs; climb ladders; balance; stoop, kneel, crouch or crawl. The worker must occasionally lift and/or move up to 50 pounds. Specific vision abilities required by the job include close vision, distance vision, color visions, peripheral vision, and depth perception. Must also be physically capable of operating a motor vehicle and have a current driver’s license.

If interested, apply online at https://nelson-atkins.org/careers-internships/.

Inventory, Maintenance/Conservation & Assessment (Arizona, USA)

REQUEST FOR PROPOSALS (RFP)
Inventory, Maintenance/Conservation and Assessment of Tucson’s Public Art Collection

RFP Public Art Assessment PDF Document

The Arts Foundation for Tucson and Southern Arizona (Arts Foundation) is soliciting written proposals from qualified firms or individuals to inventory the City of Tucson’s existing public art collection and to evaluate the integrity of each art work, determine a triage list for maintenance or conservation, and assess the value of the work.

The project scope, content of proposal, and vendor selection process are summarized in the RFP. Proposals must be received no later than 5:00 pm, on Tuesday, May 15, 2018. All responses must be in a PDF and have “Public Art Inventory and Conservation Assessment” in the saved file name and in the subject line of an email, submitted to info@artsfoundtucson.org. Please submit one PDF that includes a response to the RFP, as well as three professional references that are directly relevant to this proposal.

Proposals will not be accepted after the date and time stated above. Incomplete proposal or proposals that do not conform to the requirements specified herein will not be considered. Issuance of the RFP does not obligate the Arts Foundation to award a contract, nor is the Arts Foundation liable for any costs incurred by the proposer in the preparation and submittal of proposals for the subject work. The Arts Foundation retains the right to award all or parts of this contract to several bidders, to not select any bidders, and/or to re-solicit proposals. The act of submitting a proposal is a declaration that the proposer has read the RFP and understands all the requirements and conditions.

For questions concerning the anticipated work, or scope of the project, please contact Jeff DaCosta, Public Art Manager, via email at jdacosta@artsfoundtucson.org no later than April 18, 2018. Answers to questions will not be provided by telephone or email. Rather, answers to all question or any addenda will be posted on the Arts Foundation for Tucson and Southern Arizona site at artsfoundtucson.org/opportunities – under the requisite opportunity. It is the vendor’s responsibility to check this site for any updates.

I. BACKGROUND /SUMMARY/or INTRODUCTION

In spring 2018 the City of Tucson allocated funds from the Transient Occupancy Tax for maintenance of the City of Tucson’s current public art collection. The Arts Foundation for Tucson and Southern Arizona now seeks to engage a conservator to inventory the City’s existing public art collection and to evaluate the integrity of each art work.

II. SCOPE OF SERVICES

Tasks: The scope of services will include (but is not limited to) the following:

Examine each of the approximately 150 pieces of art in the City’s collection and assess its current condition. (The Arts Foundation for Tucson and Southern Arizona will provide a list of pieces of art and their )
Develop a list of recommendations for any necessary repairs, including an assessment of the materials required and whether the art work should be sent to an outside conservator lab or if the repairs can be made on site by another consultant at a future
Estimate the repair cost for each art work in materials and conservator
Identify the preferred location or conditions for siting the artwork (e.g., out of direct sunlight, ).
Contact the artists, when needed, to confirm structural materials of the art work. (The Arts Foundation for Tucson and Southern Arizona will provide contact information for each artist when possible.)
Assess and document the general value of each piece.
Make recommendations on which repairs should be
Establish a list of art works that need to be decommissioned or that cannot be
Provide deliverables including:
- An updated inventory (in spreadsheet format) of the City of Tucson’s Public Art Collection including all findings regarding existing condition, maintenance and repair requirements, preferred locations for best viewing, value, and any other relevant
- Entry of data about each piece into the Public Art Archive http://www.publicartarchive.org/content/about-public-art-archive
- A presentation to staff and the Public Art Community Design Committee on the

III. SUBMISSION REQUIREMENTS

All proposals shall include the following information, organized as separate sections of the proposal. The proposal should be concise and to the point.

Contractor Identification: Provide the name of the firm or contractor, the firm or contractor’s principal place of business, the name and telephone number of the contact person and company tax identification number.

Client References: Provide a minimum of three (3) client references. References should be cities or other large public sector entities. Provide the designated person’s name, title, organization, address, telephone number, and the project(s) that were completed under that client’s direction.

Project Understanding and Approach: Provide a narrative demonstrating understanding of the requirements of this RFP, including but not limited to proposed approach to completing the work, a project plan identifying major tasks, task owners, durations, and dependencies, and key success factors and potential challenges. Respondents are encouraged to demonstrate their expertise in performing the work required herein.

Price Proposal: The proposal shall include pricing for all services. Pricing shall be all inclusive unless indicated otherwise on a separate pricing sheet. The proposal shall itemize all services, including hourly rates for all professional, technical and support personnel, and all other charges related to completion of the work shall be itemized.

Contract Terminations: If your organization has had a contract terminated in the last five (5) years, describe such incident. Termination for default is defined as notice to stop performance due to the vendor’s non-performance or poor performance and the issue of performance was either (a) not litigated due to inaction on the part of the vendor, or (b) litigated and such litigation determined that the vendor was in default.

Submit full details of the terms for default including the other party’s name, address, and phone number. Present the vendor’s position on the matter. The Arts Foundation will evaluate the facts and may, at its sole discretion, reject the proposal on the grounds of the past experience.

If the firm or contractor has not experienced any such termination for default or early termination in the past five (5) years, please indicate this in the proposal.

IV. SELECTION CRITERIA

Proposals will be evaluated in accordance with the selection criteria below:

Client References – 20%
Costs – 30%
Project understanding and approach. – 50%

The Arts Foundation reserves the right to consider information in the selection process that is independently derived. Proposal responses will be evaluated, rated and ranked by committee. The selection will be made based on the proposal offering the best overall value, and that which is most advantageous to the Arts Foundation and City of Tucson.

The Arts Foundation reserves the right to reject any and all submissions.

V. PAYMENT

Invoices: Invoices must be fully itemized, and provide sufficient information for approving payment and audit. Invoices must be accompanied by receipt for services in order for payment to be processed. Email invoices to the Project Manager and reference the contract number: jdacosta@artsfoundtucson.org

Payments: The Arts Foundation will make payment to the vendor within 30- days of receipt of a correct and complete invoice.

VI. ARTS FOUNDATION REQUIREMENTS

A. Non-Discrimination Requirements:

Fair Labor Standards
All professionals related to or supporting this project without subsequent deduction or rebate on any account, not less than the minimum compensation as determined by the Secretary of Labor to be the prevailing minimum compensation for persons employed in similar activities.

No part of any project or production which is financed in whole or in part under the grant will be engaged in or performed under working conditions which are unsanitary or hazardous or dangerous to the health and safety of the employees engaged in such project or production. Compliance with the safety and sanitary laws of the State in which the performance or part thereof is to take place shall be prima facie evidence of compliance.

Civil Rights
All contracts and awards from The Arts Foundation for Tucson and Southern Arizona are in accordance with Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and Title IX of the Education Amendments of 1972.

No person in the United States shall on the grounds of race, color or national origin, be excluded from participation in, be denied the benefits of, or be subject to discrimination under any education program or activity receiving Federal financial assistance section (601). No person in the United States shall on the basis of sex be excluded from participation in, be denied the benefits of, or be subject to discrimination under any education program or activity receiving Federal financial assistance. No otherwise qualified handicapped individual in the United States, as defined in Section 7 (6) shall, solely by reason of his/her handicap, be excluded from the participation in, be denied the benefits of, or be subjected to discrimination under any program or activity receiving Federal assistance.

In addition, Arts Foundation contract recipients must also follow guidelines laid about by The Equal Employment Opportunity Commission (EEOC), which enforces the prohibitions against employment discrimination in Title VII. The EEOC has held that discrimination against an individual because that person is transgender (also known as gender identity discrimination), and also held that discrimination against an individual because of that person’s sexual orientation is discrimination because of sex and therefore prohibited under Title VII of 1964.

B. Conflict of Interest:

In the sole judgment of the Arts Foundation, any and all proposals are subject to disqualification on the basis of a conflict of interest. The Arts Foundation may not contract with a vendor if the vendor or an employee, officer or director of the proposer’s firm, or any immediate family member of the preceding, has served as an elected official, employee, or Public Art Community Design committee member who influences the making of the contract.

Furthermore, the Arts Foundation may not contract with any vendor whose income, investment, or real property interest may be affected by the contract. The Arts Foundation, at its sole option, may disqualify any proposal on the basis of such a conflict of interest. Please identify any person associated with the firm that has a potential conflict of interest.

VII. OTHER REQUIREMENTS

A. Insurance:

The selected contractor will be required to maintain general liability insurance in the minimum amount of $1,000,000, automobile liability insurance in the minimum amount of $1,000,000 and a professional liability insurance policy in the amount of $2,000,000 to cover any claims arising out of the performance of the contract. The general liability and automobile insurance must name the Arts Foundation, its officers, agents, volunteers and employees as additional insureds.

B. Worker’s Compensation Insurance:

A selected contractor who employs any person shall maintain workers’ compensation insurance in accordance with state requirements. Sole proprietors with no employees are not required to carry Worker’s Compensation Insurance. (Worker’s Compensation Insurance cannot be waived for any person who employs others.)

VIII. SCHEDULE (dates are subject to change)

Issue RFP to potential bidders: April 6, 2018
Questions Due April 18, 2018
Proposals due from potential bidders May 15, 2018
Complete Selection Process June 15, 2018
Interviews with Finalists June 17-30, 2018
Award of Contract July 1, 2018
Notice to proceed August 1, 2018

Thank you for your interest in working with the Arts Foundation for Tucson and Southern Arizona for this service. We look forward to receiving your Statement of Qualifications.

For a full job description and attachments, please visit: https://artsfoundtucson.org/rfp-inventory-maintenance-conservation-and-assessment-of-tucsons-public-art-collection/.

Assistant Professor Artifact Conservation (Kingston, ON, Canada) – PAST DEADLINE

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

The Department of Art History and Art Conservation in the Faculty of Arts & Science at Queen’s University invites applications for a one-year Non-renewable appointment at the rank of Assistant Professor with specialization in Art Conservation, with a preferred starting date of July 1, 2018. The position involves the teaching and supervision of graduate students in theoretical and laboratory courses covering the history, technology, and conservation of artifacts and artworks from historic, archaeological and ethnographic contexts. Applicants must have in-depth knowledge and expertise covering a wide range of organic and inorganic materials including ceramics, glass, metals, stone, bone, ivory, textiles and wood.

Candidates must have a PhD or equivalent degree completed at the start date of the appointment. The main criteria for selection are academic and teaching excellence. The successful candidate will provide evidence of high quality scholarly output that demonstrates potential for independent research leading to peer assessed publications and the securing of external research funding, as well as strong potential for outstanding teaching contributions at both the undergraduate and graduate levels, and an ongoing commitment to academic and pedagogical excellence in support of the department’s programs. Candidates must provide evidence of an ability to work collaboratively in an interdisciplinary and student-centered environment. The department is committed to strengthening further the collaboration between its Art History and Art Conservation programs in teaching and in research, for example, through the joint PhD steam that was recently introduced and through Queen’s University’s Mobile Laboratory for Technical Art History. The successful candidate will be required to make substantive contributions through service to the department, the Faculty, the University, and/or the broader community. Salary will be commensurate with qualifications and experience. This position is subject to final budgetary approval by the University. Also, pending approval, we hope to follow this appointment with an advertisement for a proposed tenure-track position to start 1 July 2019.

The University invites applications from all qualified individuals. Queen’s is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, Aboriginal peoples, persons with disabilities, and LGBTQ persons. All qualified candidates are encouraged to apply; however, in accordance with Canadian immigration requirements, Canadian citizens and permanent residents of Canada will be given priority.

To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens / permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen / permanent resident of Canada”; OR, “I am not a Canadian citizen / permanent resident of Canada”. Applications that do not include this information will be deemed incomplete.

A complete application consists of:

a cover letter (including one of the two statements regarding Canadian citizenship / permanent resident status specified in the previous paragraph);
a current Curriculum Vitae (including a list of publications);
a statement of research interests;
a statement of teaching interests and experience (including teaching outlines and evaluations if available); and,
Three letters of reference to be sent directly Prof. Joan Schwartz

The deadline for applications is May 6, 2018. Applicants are encouraged to send all documents in their application packages electronically as PDFs to Joan Schwartz at schwartz@queens.ca, although hard copy applications may be submitted to:

Prof. Joan M. Schwartz
Head
The Department of Art History & Art Conservation
Ontario Hall, Room 318C
67 University Avenue
Queen’s University
Kingston, Ontario
CANADA K7L 3N6

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Diane Platt in the Department of Art History & Art Conservation, at Queen’s University, by emailing plattd@queensu.ca or calling +1 613-533-6000, ext. 77354.

Academic staff at Queen’s University are governed by a Collective Agreement between the University and the Queen’s University Faculty Association (QUFA), which is posted at http://queensu.ca/facultyrelations/faculty-librarians-and-archivists/collective agreement and at http://www.qufa.ca.

Conservation Technician (Atlanta, GA, USA)

Emory University Woodruff Library Preservation Office

Reporting to the Conservator, the Conservation Technician performs a wide variety of repair and conservation treatments on research materials in collections in all Emory libraries. Treatments range from simple paper mends, to complex book repairs, as well as production of custom-made protective enclosures to house rare and unique items within the libraries’ collections. This position participates in training Conservation Unit student assistants and other decentralized library staff, as well as interns and volunteers.

KEY RESPONSIBILITIES AND DUTIES

Conservation:

Performs a range of conservation treatments for books, paper-based items, and other materials in the general and special collections of Emory Libraries -Treatments include spine repair, re-casing, rebinding, and other book repair; paper repair; construction of custom-fit protective enclosures for fragile or special items; construction of supports for exhibits; and other similar treatments -Maintains quality and quantity standards set for the Conservation Unit -Keeps and reports monthly statistics on work completed and time allocated

Equipment and Supplies:

Assists in maintenance of bookbinding tools and equipment, ensuring that authorized individuals use safety precautions when using tools and equipment -Assists in securing library materials and equipment, ensuring against loss or inappropriate use of the facility by unauthorized persons -Maintains the conservation facility with clean-up activities, monitoring inventory, restocking precut materials and other conservation supplies

Training:

Assists conservation staff in training activities of the unit -May include instructing library staff, librarians, student assistants, interns, or volunteers in the various Emory libraries -Performs collection maintenance procedures, disaster recovery, and salvage techniques in one-on-one and workshop training

Disaster Preparedness and Recovery:

-Assists in monitoring and preparing supplies for disaster recovery -Assists in disaster recovery operations, generally for salvage of water-damaged materials

Other Responsibilities as Needed:

Performs related duties as required
Participates in the work of Library committees -In the absence of the Conservation staff, assumes responsibility for the Conservation Unit

LIBRARY REQUIRED QUALIFICATIONS

Three (3) years of preservation, conservation, bookbinding, or related experience
Demonstration of superior manual dexterity skills and ability to perform delicate, exacting tasks with a high level of productivity
Candidates will be asked to submit examples of their work and/or demonstrate certain hand skills during the interview process
Ability to build and sustain effective interpersonal relationships with library and campus staff, faculty and students
Evidence of organizational, communication, project, and time management skills; demonstrate ability to set priorities, meet deadlines, and complete tasks or projects on time, within budget, and in accordance with task/project parameters
Demonstrated proficiency and capabilities with personal computers, software, and library-relevant information technology applications
Working knowledge of standard computer office applications such as Microsoft Outlook, Word, Excel, Access, PowerPoint, or other productivity software
Commitment to fostering a diverse educational environment and workplace; an ability to work effectively with a diverse faculty and student population
Capacity to thrive in an ambiguous, future-oriented environment of a major research institution and to respond effectively to changing needs and priorities

LIBRARY PREFERRED QUALIFICATIONS

Ability to work successfully in a team environment, coordinate work with others, focus on set priorities, and be flexible in an ever-changing environment
Experience providing preservation or bookbinding services with evidence of progressively increasing scope of skills, knowledge, and responsibility in a large academic or research institution library; evidence of successful record of leadership and ability to foster an organization-wide perspective that ensures effective stewardship of available resources.

MINIMUM QUALIFICATIONS
A bachelor’s degree in a related field. Three years preservation or related experience.

JOB DESCRIPTION

Performs preservation services for the conservation and reformatting of library materials.
Maintains supplies and equipment.
Provides administrative support to department.
Requires some knowledge of preservation issues.

Please follow this link to apply for the position: https://staff-emory.icims.com/jobs/17883/conservation-technician/job

Kim Norman
404-727-8244
Head of Library Conservation
Emory University Libraries
Atlanta, GA 30322
kim.norman@emory.edu

Textile Conservation Intern (Norfolk, UK)

Salary for the role is GBP 23,375 per year for this 2 year internship

The National Trust is Europe’s leading conservation charity. Its textile collections, located in over 300 historic houses open to the public in England, Wales and Northern Ireland, are of outstanding importance. Textiles are an enormously valuable asset in the presentation of historic properties and the Trust’s collections amount to over 100,000 items which includes 650 tapestries, 20 state beds and 31,000 pieces of costume.

Using an interdisciplinary approach, we work with our colleagues to utilise and adapt current research and new techniques in imaginative ways. We have completed some challenging projects over the years, ranging from large scale textiles such as tapestries and state beds, to costume. We are committed to training through internships and student placements. Textile conservation also offers great opportunities to engage the public, through interpretation of our work at our properties. We have a committed, enthusiastic and dedicated team we’d like you to be a part of.

What you’ll be doing
You’ll be a recent conservation graduate looking to build on your practical skills in the specialist area of textile conservation. Under supervision, you’ll undertake practical treatments both in the studio and on site. You’ll assist and support studio staff with the organisation and maintenance of equipment and undertake environmental and pest monitoring within the studio.

You’ll be passionate about conservation, and will bring drive, commitment and a willingness to learn to this role. To facilitate this, you will have the opportunity to attend specialist training courses and conferences as well as choosing to undertake a placement in another studio, institution or historic property. It is a great place to develop your career.

Who we’re looking for

To be successful in this role, you’ll need to have:
A recognized conservation qualification at degree level or higher
Excellent needlework skills and an understanding of textile techniques
Understanding of conservation science
Demonstrable knowledge and interest in textile history, historic properties and the care of their collections
Good team working with a flexible approach
Ability to multi-task and work in collaboration with other teams
Work experience within in the conservation field
Ability to organize own time, plan ahead and meet deadlines
Good written and verbal communication skills, including public presentations
Good IT skills
Ability to work at height from scaffolds and ladders (training will be given)
Driving licence and access to your own vehicle, due to the location of the Studio

How to Apply

Applications Open: April 12, 2018. To apply for these vacancies to go www.ntjobs.org.uk.
Closing Date: May 3, 2018
Interviews: June 19, 2018

For an informal discussion about this post, you are welcome to contact Maria Jordan at maria.jordan@nationaltrust.org.uk, and on +44 (0)1263-735-878.

Preservationist Frame Fitter (Houston, TX, USA)

Sarah Balinskas Fine Framing, LLC in Houston, Texas is seeking an experienced preservationist frame fitter for a full-time position. Applicants must have technical experience in all aspects of matting, museum hinging, and glazing along with more specialized solutions for safely securing artwork with preservation methods. Prefer 5 years experience fitting matted and floated works on paper, paintings on canvas and panel, textiles and objects with custom armatures. Sarah Balinskas Fine Framing’s collaborative staff is respected in the art world as a provider of period appropriate frames and preservation framing for collectors, museums, curators, galleries and consultants.

Job requirements:

Experience in preservation frame fitting
Use of computerized mat cutter
Use of glass and acrylic cutter
Museum hinge (rice paste and washi) application
Hand sewing
Use of hand tools
Meticulous attention to detail and perfection in work
Careful and conscientious handling of work
Able to lift up to 50 pounds, stand while working, bend and climb ladder

Please send your cover letter, resume and 3 references via email to info@sarahbalinskas.com.

Daniel Han, Fitting Manager
Sarah Balinskas Fine Framing, Display Alternatives, Art Services
1114 Taft
Houston, Texas 77019
Tel: +1 (713) 630-0030
www.sarahbalinskas.com

Compensation and benefits will be given job offer.

Full-time 8:00 a.m. to 5:00 p.m., Monday – Friday.

Guest Lecturer ( Buffalo, NY, USA) – PASSED DEADLINE

Guest Lecturer, Library and Archives Conservation Education (LACE) Garman Art Conservation Department, SUNY Buffalo State

The Garman Art Conservation Department at SUNY Buffalo State seeks a qualified, experienced lecturer to travel to Buffalo three times each semester (2.5 days each visit) to lecture, lead seminar/studio exercises, and supervise graduate student treatment projects on bound materials. Compensation includes honorarium plus travel, accommodations, and expenses. The guest lecturer position will begin Fall Semester, August – December 2018.

Responsibilities
Lecturer supervises the book conservation treatments of second-year students specializing in library and archives conservation (1-3 students), and introduces all ten first-year students to the history, technology, and conservation of the book.

The lecturer visits Buffalo for two-and-a-half days, three times each semester. These visits are designed to fit within the existing curriculum and course schedule, and must occur on a Thursday-Friday-Saturday sequence. On Thursdays, the lecturer works with second-year students specializing in book conservation to supervise their book treatment projects and Master’s projects (in conjunction with the professor of paper conservation). On Fridays, the lecturer presents to first-year students for 1.5 hours in the morning, followed by a 3-hour lab or studio exercise in the afternoon. On Saturday morning, the lecturer generally consults with students from both classes. On the third visit each semester, the lecturer works primarily with the second-year students on all three days. The 3 visits will be scheduled in advance of each semester, at the lecturer’s convenience.

The lecturer will have considerable leeway in the structure of lectures, presentations, and workshops. Past successful programs have included a lecture on the history of bindings coupled with a visit to the rare book room of the University at Buffalo or the Buffalo and Erie County Public Library; a lecture on the history of sewing styles, with a lab on the sewing of pamphlets and simple textblocks in case bindings; a lecture on the major damages that occur in books, and how to best support them on display, with a studio exercise on building book cradles or custom boxes; making historical book models from kits; “medium-rare” and circulating collection repairs such as fan adhesive rebinding for paperbacks and rebacking; book identification exercises, etc. Over the course of the lectures and studios, students learn the specific terminology used for describing books, and the special care books require. Ethics and standards of practice are stressed. Second-year book conservation students rely on the guest lecturer for primary supervision of their book conservation projects and may consult the lecturer between visits via phone or email. Between visits, supervision is provided by the paper conservation professor. The guest lecturer and paper conservation professor co-supervise the students’ Master’s projects.

The guest lecturer will have full access to a purpose-built paper conservation suite, with a dedicated area for book treatment, a comprehensive library, and the support of the faculty, including two scientists and an imaging specialist. We have the ability to augment our equipment, tools, and supplies for book conservation as reasonable needs arise.

Buffalo has a congenial faculty that shares a commitment to providing the best instruction possible to our students, and we want to continue our success in graduating respected book conservators. We welcome letters of interest in this important position from conservators who have a passion for books and book conservation, experience in lecturing or teaching, and an easy manner with students. Applicants must have a Master’s level degree in conservation, library science, a related field, or equivalent experience.

To apply, please send a cover letter, resume, and three references to Theresa J. Smith, smithtj@buffalostate.edu by April 23, 2018.

Applicants should be prepared to provide a draft outline of lecture and studio topics upon request.

Theresa J. Smith
Assistant Professor of Paper Conservation Garman Art Conservation Department SUNY Buffalo State
1300 Elmwood Ave., RH 230
Buffalo, NY 14222
716-878-5025
smithtj@buffalostate.edu

Collections Care Assistant (San Francisco, CA, USA)

*** APPLICATION DEADLINE HAS PASSED ***

PLEASE SUBMIT YOUR APPLICATION THROUGH: http://famsf.snaphire.com/jobdetails?ajid=6G9M7

The Fine Arts Museums of San Francisco are seeking a Collections Care Assistant to perform skilled work related to the conservation of works of art spanning a wide range of materials and cultures. The primary responsibility of this full-time position is the preventive care of artworks in the permanent collections of the Fine Arts Museums of San Francisco at both the deYoung Museum and the Legion of Honor. The Collections Care Assistant will also have duties related to temporary exhibitions and the lending of objects to other institutions.

Typical duties and responsibilities:

Assists conservators with monitoring and maintaining art work being displayed in the galleries.
Works with objects and textile conservators and technicians to prepare objects for storage, display, and travel. This may include assisting with written and photographic condition documentation.
Assists objects conservators in the regular maintenance and cleaning of outdoor sculptures
Performs pest control duties, including placement, documentation, and monitoring of traps, and preparing artworks for freezing and anoxic treatment.
With direction from Conservators, collects and tracks information on environmental conditions throughout the museums. Maintains monitoring equipment and instructions for use.
Works with conservators to calculate and provide conditioning materials for display cases.
Carries out testing (Oddy Tests) for materials to be considered in display cases or in direct contact with artworks, and provides results and information to conservators for interpretation.

Minimum qualifications:

Education, Training and Experience

High School Diploma; Bachelor’s Degree preferred.
Minimum of 2 years of museum or related experience working with art objects; or an equivalent combination of education, training and experience

Knowledge, Abilities and Skills

Ability to handle valuable objects, delicate instruments and hazardous materials with extreme care.
Basic knowledge of the equipment, materials and techniques used in the conservation and mounting of textiles, costumes and three-dimensional artworks.
Familiarity with or ability to acquire the knowledge and techniques used in preventive conservation
Computer literate, with an aptitude for learning new software programs. Familiarity with Microsoft Excel, Adobe Photoshop, Filemaker Pro, and collections management software preferred.
Ability to use hand tools and artist’s materials.
Excellent interpersonal and organizational skills
Willingness to work in a fast-paced, team-oriented environment
Must be able to lift and/or move up to 50 lbs and to work comfortably and safely on ladders or lift equipment.

Step 1 of the pay range is $20.75 per hour.

This Union position is full-time, and has a full benefits package including medical, dental, vision and generous vacation, sick, and holiday policy.

Application Deadline: April 6, 2018

MUST APPLY AT: http://famsf.snaphire.com/jobdetails?ajid=6G9M7.

The Fine Arts Museums of San Francisco, which comprises the de Young and Legion of Honor Museums, is experiencing an exciting renaissance with the arrival in 2016 of Director Max Hollein. As the largest public arts institution in San Francisco, the Museums welcome more than 1.5 million visitors annually, present an ambitious schedule of exhibitions and education programs throughout the year, house a world-class collection of 151,000 important artworks, and are supported by more than 100,000 members and donors. Under the leadership of Mr. Hollein, the staff is building on these successes to take the Museums to new heights with an exciting new array of innovative and groundbreaking projects.

COFAM is the Corporation of Fine Arts Museums and is the privately funded non-profit corporation which supports the Fine Arts Museums of San Francisco, a department of the City and County of San Francisco.

COFAM is proud to be an equal opportunity employer and is committed to a policy of nondiscrimination in all phases of employment in accordance with all federal, state, and local laws.

Grant opportunity: NEH Preservation and Access Education and Training Grant Program

Grant announcement
U.S. National Endowment for the Humanities’ Preservation and Access Education and Training Grant Program

Submission deadline
Tuesday, May 1, 2018

Grant information page
https://www.neh.gov/grants/preservation/preservation-and-access-education-and-training

Description of program
The Preservation and Access Education and Training program supports the development of knowledge and skills among professionals responsible for preserving and establishing access to humanities collections. Thousands of libraries, archives, museums, and historical organizations across the country maintain important collections of books and manuscripts, photographs, sound recordings and moving images, archaeological and ethnographic artifacts, art and material culture collections, electronic records, and digital objects. The challenge of preserving and making accessible such large and diverse holdings is enormous, and the need for knowledgeable staff is significant and ongoing.

Preservation and Access Education and Training grants are awarded to organizations that offer national or regional education and training programs that reach audiences in more than one state. Grants aim to help the staff of cultural institutions, large and small, obtain the knowledge and skills needed to serve as effective stewards of humanities collections. Grants also support educational programs that prepare the next generation of preservation professionals, as well as projects that introduce the staff of cultural institutions to new information and advances in preservation and access practices.

This year, we have a new special encouragement for applicants in federally declared disaster areas: Mindful of the importance of preserving cultural heritage in regions affected by Hurricanes Harvey, Irma, and Maria, as well as wildfires and mudslides in California, and recognizing the importance of planning, mitigation, and long-term recovery efforts, NEH encourages applications from-and projects that support-cultural institutions in federally designated disaster areas. Project activities can include training sessions related to recovery efforts, the development of regional mutual aid consortia, and workshops focused on emergency planning and response.

Eligibility
Any U.S. nonprofit organization with 501(c)(3) tax-exempt status is eligible (including institutions of higher education), as are state and local governmental agencies, and federally recognized Native American tribal governments. To be eligible to apply, applicants must offer national or regional education and training programs that reach audiences in more than one state.

Questions?
You may direct questions to Senior Program Officer Joshua Sternfeld. jsternfeld@neh.gov.

Archiving 2018: Digitization Preservation, and Access Conference

Archiving 2018: Digitization Preservation, and Access
April 17-20, 2018
National Archives, Washington, DC

The IS&T Archiving 2018 conference will explore the digitization, preservation, and access to 2D, 3D, and AV materials through a blend of short courses, invited focal papers, keynote talks, and peer-reviewed oral and interactive display presentations, behind-the-scenes tours – all to provide participants with a unique opportunity to gain and exchange knowledge and build networks among professionals.

Program topics: Spectral Imaging • Imaging Performance • Digital Archiving • RTI • 3D Photogrammetry • Quality Assurance Workflows • Color Measurement • Metadata and Workflows • Multispectral • Cultural Image Capture

Registration includes the technical program April 18-20 and the conference proceedings
Can’t attend the full week of #Archiving 2018? Select the day that best accommodates your interests.
Discounts for registering for 3+ Short Course
Group rates available for 5+ registrants from the same institution. Contact IS&T directly.
Early access to Behind-the-scenes tours. Details released first to participants registered by March 18
Not a member? Include IS&T membership (new or renewal) with your registration along with an online subscription to the Journal of Imaging Science and Technology (JIST) or Journal of Electronic Imaging (JEI) — all for the same price as the non-member registration rate.

Questions: registration@imaging.org