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ECPN Interviews: Electronic Media Conservation with Christine Frohnert

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 Electronic Media Conservation (EMG). These conservators work with time-based media, which is characterized by artwork with durational elements, such as slide, film, and video, analog or born-digital materials, performance, light or kinetic art, sound or software-based art. 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.

In the first interviews for this series, we spoke with emerging conservators starting in the early stages of their careers working in time-based media, which included Alexandra Nichols, Nicholas Kaplan, Brian Castriota and Yasmin Desssem. In this interview, we hear from Christine Frohnert, a conservator who graduated in 2003 from the University of Arts in Berne, Switzerland, where she majored in the Conservation of Modern Materials and Media. Prior to establishing a private practice for Time-based Media (TBM) with colleague Reinhard Bek, Christine served as chief conservator at the Museum Ludwig in Cologne, Germany for twelve years and as chair of the AIC Electronic Media Group from 2008-2012. In 2012, she was named the inaugural Judith Praska Distinguished Visiting Professor in Conservation and Technical Studies at the Conservation Center at the Institute of Fine Arts, New York University (CC/IFA/NYU), where she now serves as the Time-based Media Art Conservation Curriculum Development Program Coordinator.

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Christine Frohnert and Reinhard Bek [Photo: Reinhard Bek]

ECPN: Please tell us a little bit about yourself and your current position.

Christine Frohnert (CF): I am a conservator of contemporary art with a specific focus on technology-based art. Reinhard Bek and I founded Bek & Frohnert LLC in NYC in 2012- a conservation studio in private practice specializing in the conservation of time-based media (TBM). We are both German, have been trained in Europe, worked in leading positions in museums, and have been involved in international research projects.

Bek and I focus on the conservation of artworks with a durational element in our practice—such as sound, moving image, performance, light, or movement, that unfolds to the viewer over time via slide, film, video, software, or the internet. Since the studio’s inauguration, we have responded to individual needs for both TBM conservation treatments and consulting requests. However, over the last several years, we have experienced a rising demand to serve as consultants for different U.S. institutions without time-based media conservators on staff, as well as for collectors and artists. As many TBM art collecting institutions are facing rapidly increasing needs to adequately acquire, preserve, exhibit and store TBM works, we are responding to this development and our work is more geared towards long-term collection care and the development of preservation plans, as well as education.

ECPN: How were you first introduced to conservation, what contributed to your decision to specialize in time-based media, and why has been your training pathway?

CF: As with most of my colleagues, I started conservation being exposed to more traditional media such as paintings and sculpture. About 20 years ago, I realized that technology-based artworks can be seriously harmed or lost without a new conservation specialty being established. I became fascinated with TBM, and I learned about the newly established program ‘Conservation of Modern Materials and Media’ at the University of Arts, Berne, Switzerland. I graduated from there in 2003.

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

Christine Frohnert [Photo: Marlies Peller]

CF: A complex range of skill sets are needed, which should be solidly grounded in the conceptual framework of contemporary art conservation as a whole. It requires knowledge in electrics/electronics and programming, and an in-depth understanding of each media category, technology and its preservation, documentation and digital preservation needs. As our profession is highly collaborative by nature, soft skills are equally important to collaborate with all the stakeholders in the institutions involved, as well as with affiliated external professionals such as engineers, computer scientists, and technicians. This is important when defining, communicating, and verifying goals with vendors.

As many museums recently formed or are currently forming ‘Media Teams’ in their respective institutions to tackle their individual TBM collections needs, we have witnessed a rapidly increasing need for skilled labor, dedicated TBM lab space, equipment, and the trustworthy storage and management of huge amounts of born-digital or digitized artworks.

ECPN: What are some of your current projects, research, or interests?

CF: Currently our recent projects include consultation with several institutions to analyze their TBM collections and develop custom-designed conservation strategies according to their individual collections needs and skill sets of staff. These consultations may include surveys, assistance with media acquisitions, exhibitions and artwork documentation, storage, and migration. Bringing in external expertise often provides the bridge that many museums and their TBM stakeholders do not find in-house or do not have the capacity to coordinate. This work helps to identify and structure these needs more clearly and often provides the basis for institutional development and the implementation of larger collection care projects.

Recent and current treatment-based activities range from analyzing the ‘mechanical’ programming of a light-based work, the conservation of a seven channel-video wall from 1998 consisting of 207 Cathode Ray Tube monitors, digitization of analog video, and the reverse engineering of custom-designed large format slide projectors, to name a few.

Cathode Ray Tube monitor [Photo: Marlies Peller]

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

CF: the most pressing need is education. Technology-based art is considered to be very sensitive to damage, loss, misinterpretation, and incorrect installation, due to its very specific and sensitive relationship to time, space, and concept. Damage or loss of a TBM work cannot be seen by simply examining the physical material and may not be immediately apparent unless the individual has received specialized training.

TBM conservation has been identified as a priority by many museums, collectors, and funding agencies. However, the educational opportunities are still limited, and there is currently no U.S. graduate program offering a degree in this specialty (but this will change soon!). As a result, a huge amount of our most recent cultural heritage is at risk, in an unknown condition, and/or not sufficiently integrated into museums’ missions of collecting, exhibition, conservation, research, and education.

However, thanks to the generous funding provided by the Andrew W. Mellon Foundation, the Conservation Center at the Institute of Fine Arts, NYU, started the TBM art conservation curriculum planning project in 2016.The new TBM specialization will be integrated within its current curriculum starting in fall 2018. This will be the first conservation program offering this specialty in the U.S. and the graduates will receive a dual degree: an MS in the Conservation of Historic and Artistic Works and an MA in the History of Art and Archaeology.

ECPN: Have you been involved in any advocacy, outreach, teaching or professional service roles in your specialization?

CF: During my time as EMG (Electronic Media Group) board Chair from 2008-2012, we received numerous request from the membership to offer continuing education opportunities, and in response EMG launched the conference series entitled TechFocus in 2010. The series is designed to provide hands-on guidance and systematic education on different media categories (TechFocus I: Caring for Video Art, Guggenheim Museum, NY, in 2010; TechFocus II: Caring for Film and Slide Art, Hirshhorn Museum and Sculpture Garden, Washington, DC, 2012; TechFocus III: Caring for Software-based Art, Guggenheim Museum, NY, in 2015). In addition, the first periodical worldwide that focuses on TBM art conservation was launched by the EMG in 2012, The Electronic Media Review.

At the (CC/IFA/NYU) I have offered instruction in TBM conservation art in different capacities, including the course Art With A Plug: The Conservation of Artwork Containing Motion, Sound, Light, Moving Images and Interactivity (Fall 2012 and Spring 2015).

Several professional organizations and initiatives have created additional targeted educational opportunities and collaborations. However, despite all these good developments, further training is needed at the graduate level, as well as in continuing education for professionals, to address the fast-increasing demands of TBM conservation.

Under the leadership of Dr. Hannelore Roemich, Professor of Conservation Science and TBM program Director, I have also served as TBM Program Coordinator to assist in identifying skill sets and core competencies of TBM conservators that translate into the educational needs to develop a TBM curriculum. In the fall of 2016 the Conservation Center offered the course and public lecture series Topics in Time-based Media Art Conservation, which included ten lectures by leading art historians, artists, computer scientists, and conservators. These events were an important outreach component of the curriculum development project, and they created the opportunity to promote the field, foster the dialogue between TBM professionals, and build a community.

We are now organizing the upcoming symposium It’s About Time! Building a New Discipline: Time-based Media Art Conservation to be held in May 2018. The two-day symposium will provide a forum for educators, artists, art historians, museum curators and directors, collectors, gallerists, engineers, computer scientists, and conservators to promote TBM art conservation as a discipline on an international level and will conclude the TBM curriculum planning phase.

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

Cathode Ray Tube monitor [Photo: Christine Frohnert]

CF: While I am not comfortable issuing general advice, I can say that I personally appreciate working with students and colleagues in our field, and that this has shaped and enriched my professional life. If you are a strong communicator who is interested in the intersection of art and technology, art conservation, and art history– and maybe you even have a background in one or more of the related media fields–why don’t you join the EMG sessions at the AIC annual meetings and/or attend the upcoming NYU symposium to engage with the TBM community and find out if this specialty may be just the right fit for you?

ECPN: Please share any last thoughts or reflections.

CF: We currently see an extremely high demand for trained TBM conservators. This can be measured by the exponentially increasing job offers worldwide and the challenges many institutions face to find qualified candidates. So, it is safe to say that this is the best moment in time for becoming a TBM conservator in this country. If you are interested in pursuing a career in TBM conservation- check out the new TBM curriculum page at the Conservation Center, Institute of Fine Arts at NYU.

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]

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]

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]

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.

Job Posting: Digest 10/25/2016

JOB – ASSOCIATE CURATOR (LATINO DESIGN), Smithsonian Institution (New York, NY, USA)

Applications are due by November 14, 2016
Job Announcement No. 17A-LG-302166-DEU-CHSDM
Work Schedule is Full Time, Permanent – Federal
Salary range: $66,940.00 to $87,021.00 / Per Year

About the Agency
SUMMARY
An opportunity to serve as an Associate Curator (Latino Design) for Cooper Hewitt, Smithsonian Design Museum, which is the only museum in the country devoted to historic and contemporary design. Candidates must be able to converse in and read Spanish to perform research, writing and other duties associated with the collection and exhibitions.
DUTIES

Identifies, locates, and solicits objects for the collection, in addition to researching, interpreting, preparing catalog records, securing image rights, overseeing new photography, and creating web-based content for both new and existing Latino collection objects.
Collaborates with the Education Department to initiate and develop ways to interpret, expand audiences and optimize opportunities to disseminate knowledge about American Latino design.
Conducts in-depth research and develops a Collections/Acquisitions Plan to guide acquisitions of modern and contemporary American Latino design.
Proposes and develops a Latino-focused exhibition and accompanying publication.
Engages with the Digital and Emerging Media Team to create Latino-based content.
Reaches out to curators, researchers, and educators on Latino initiatives and develops collaborative activities.

KEY JOB REQUIREMENTS

Pass Pre-employment Background Investigation
May need to complete a Probationary Period
Maintain a Bank Account for Direct Deposit/Electronic Transfer
Males born after 12/31/59 must be registered with Selective Service.

QUALIFICATIONS
All applicants must meet these Basic Requirements: (You must submit unofficial school transcripts):
1. Degree in museum work; or in art history or museum studies with a specialization in American Latino design.OR
2. Combination of education and experience – courses equivalent to a major, as shown above, plus appropriate experience or additional education.OR
3. Four years of experience that provided knowledge comparable to that normally acquired through the successful completion of the 4-year course of study as shown above.
In addition to the Basic Requirements listed above, you may qualify for this position if you possess the Selective Factor and Specialized Experience below:
All applicants must meet the Selective Factor Requirements: (You application must show written evidence of this requirement)
Selective Factor:Experience conversing in and reading Spanish in order to perform research, writing and other duties associated with the collection and exhibitions.
In addition to meeting the Selective Factor above, applicants must possess one year of specialized experience equivalent to at least the GS-09 level in the Federal Service or comparable pay band system. For this position Specialized experience is defined as exhibition and curatorial experience with a collection of American Latino design, 1900 to the present, to perform collections management, scholarly research, exhibition planning/production, publishing, public engagement, and administration.
Experience refers to paid and unpaid experience, including volunteer work done through National Service programs (e.g., Peace Corps, AmeriCorps) and other organizations (e.g., professional; philanthropic; religious; spiritual; community, student, social). Volunteer work helps build critical competencies, knowledge, and skills and can provide valuable training and experience that translates directly to paid employment. You will receive credit for all qualifying experience, including volunteer experience.
Part-time and/or unpaid experience related to this position will be considered to determine the total number of years and months of experience. Be sure to note the number of paid or unpaid hours worked each week.
Or Education: Three years of progressively higher level graduate education leading to a Ph.D. degree or equivalent doctoral degree in museum work; or in art history or museum studies with a specialization in American Latino design.
Or a Combination: Education and experience may be combined to meet the basic qualifications. For a full explanation of this option please see the Qualification Standards. Special Instructions for Foreign Education: If you are qualifying by education and/or you have education completed in a foreign college/university described above, it is your responsibility to provide transcripts and proof of U.S. accreditation for foreign study. For instructions on where to fax these documents, see the “Required Documents” section of this announcement.
Qualification requirements must be met within 30 days of the job announcement closing date.
Security Clearance: Public Trust – Background Investigation
For additional information and job-specific application information requirements, visit: https://www.usajobs.gov/GetJob/ViewDetails/453986500/
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JOB – CONSERVATOR TECHNICIAN, National Archives and Records Administration (College Park, MD, USA)

Applications are due by November 15, 2016
Job Announcement No. JD1794184TBD
Work Schedule is Full Time – Permanent
Salary range: $43,057.00 to $55,970.00 / Per Year

Summary: this position is within the Conservation Branch, Preservation Programs Division of Research Services in College Park, MD. The duty location could change to the National Archives Building, located in Washington, DC, as required by workload.
Duties: as a Conservator Technician, your duties will include:

Perform conservation treatment on archival records such as: dry cleaning, mending, guarding, humidification and flattening.
Stabilize records prior to digitization.
Perform preventative conservation activities, such as encapsulation and creating custom housing for archival records in loose and bound formats.
Assume responsibility for the safety of all records assigned for treatment.
Follow established standards and procedures for handling and treatment.
Develop efficient and safe work processes for carrying out projects.
Examine and test archival records to determine stability of media and solubility of adhesives.
Perform laboratory activities such as maintaining stock solutions and supplies, preparing paste and adhesive coated repair papers, and provide general support in lab functions.

Key Job Requirements

U.S. Citizenship
Background Investigation or Security Clearance
More than 1 job may be filled if additional vacancies occur within 90 days
Must be physically able to perform the duties of this position
Will use moderately hazardous chemicals in a lab setting

Qualifications: GS-07: Candidates must have had one (1) year of specialized experience equivalent to at least the next lower grade level. Specialized experience is experience that has equipped the applicant with the particular competencies to perform successfully the duties of the position as described above, and that is typically in or related to the position to be filled.
Examples of specialized experience for this grade level include: carrying out basic conservation treatments on archival records in a laboratory setting and adhering to instructions to ensure documents are handled and treated in conformance with standard, accepted procedures. Treatments include the following: mending paper in various formats (loose, bound, oversized) using long fiber paper and paste, heat-set or remoistenable tissues; humidification and flattening of rolled and folded documents; mold remediation including separation of blocked or fused sheets; separation of adhesive Attachments containing multiple layers; fabrication of custom housings (boxes, folders, polyester L-sleeves); and making stock lab solutions (paste, methylcellulose, heat-set and remoinstenable tissues). Examining records to recognize the fragility and characteristics of paper and other archival media and binding materials; determining vulnerable parts of records that need protection or stabilization.
Qualifications by Closing Date: You must meet all qualification requirements by the closing date of the announcement. Please note that qualification claims will be subject to verification.
For additional information and job-specific application information requirements, visit: https://www.usajobs.gov/GetJob/ViewDetails/449618900/
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JOB – BOOK CONSERVATOR, Northeast Document Conservation Center (Andover, MA, USA)
This position will remain open until filled.
Position Summary: The Northeast Document Conservation Center (NEDCC) is seeking an innovative and creative Conservator to join its Book Conservation Lab. Reporting to the Director of Book Conservation, the Conservator will perform conservation of diverse and unique bound materials held by NEDCC’s institutional and private clients, including printed books and pamphlets, bound manuscripts, scrapbooks, atlases, record books and photograph albums. Responsibilities include performing all conservation activities including examination of objects and development of conservation proposals; documentation; treatment of text blocks and bindings; consulting with clients; and assisting with assessments and educational programs. All work is performed according to the Code of Ethics and Guidelines for Practice of the American Institute for the Conservation of Historic and Artistic Works.
Qualifications
Required qualifications: A knowledge of physical, mechanical and chemical nature of books and paper as evidenced by graduate degree in conservation or related field of study; knowledge of book and paper conservation principles and practices; an understanding of preservation principles and their relation to treatment options; ability to work independently and collaboratively; ability to work in a productive environment; meticulous attention to detail; documentation skills; excellent written and oral communication skills; and creativity and enthusiasm.
Preferred qualifications: Demonstrated ability to contribute to the profession through teaching, research and/or publication.
The successful candidate will be joining a team of experienced and productive book conservators, and will benefit from working alongside imaging specialists and conservators in other specialties dedicated to the care of books and collections of significance and value.
About NEDCC: Founded in 1973, the Northeast Document Conservation Center is the first nonprofit conservation center to specialize in the conservation and reformatting of paper-based materials. NEDCC’s mission is to improve the preservation efforts of libraries, archives, historical organization, museums, and other repositories; to provide the highest quality services to institutions that lack in-house conservation and reformatting facilities, or those that seek specialized expertise; and to provide leadership in the preservation, conservation, and imaging fields. Its services include book, paper, and photograph conservation; digital reformatting; audio preservation; assessments and consultations; disaster assistance; and workshops and conferences. NEDCC is located in Andover, MA, twenty-five miles north of Boston. For more information, please visit www.nedcc.org.
Only persons with the legal right to work in the United States are eligible. Salary will be commensurate with experience.
Application Process: To apply, please send resume, letter of intent, and names and contact information for three references in PDF format to: Mary Patrick Bogan, Director of Book Conservation, at mpbogan@nedcc.org.
For more information, visit: https://www.nedcc.org/assets/media/documents/2015BookConservator.pdf
NEDCC is an equal opportunity employer.
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JOB – MANAGER OF AUDIO PRESERVATION SERVICES, Northeast Document Conservation Center (Andover, MA, USA)
This position will remain open until filled.
Background: The Northeast Document Conservation Center (NEDCC) is in the process of expanding its digital audio preservation service for libraries, archives, and museums. This service will build upon NEDCC’s successful implementation of “IRENE,” the IMLS-funded optical scanning technology developed by the Lawrence Berkeley National Laboratory and the Library of Congress for digitizing grooved audio carriers. NEDCC is now investing in the additional facilities, equipment, and staffing to offer reformatting of audio content on magnetic and other obsolete media using more traditional approaches. NEDCC acknowledges the generous support of The Andrew W. Mellon Foundation for underwriting both the business planning for, and the implementation of, its full audio preservation service.
Position Summary: NEDCC is seeking an experienced audio preservation professional to lead its expanded Audio Preservation Services program. The new Manager of Audio Preservation Services will manage the day-to-day operations of the Audio Preservation Services department, which will use both the IRENE technology and traditional methods for digitally reformatting obsolete audio carriers, such as discs, cylinders, analog tapes, digital audio tapes, and unusual formats (e.g., tin foils, Dictabelts, etc.). NEDCC’s service will help fill a much-needed niche of providing 1:1 transfers with 100% quality control, particularly for those highly-valued collections that deserve a specialized (rather than high-throughput) workflow. Because NEDCC is a conservation center, its service will also place emphasis on the preservation of the carrier as well as its audio contents. In addition to digitization, NEDCC will offer collection- and item-level surveys, cleaning, treatment, and re-housing using vetted and transparent (i.e., non-proprietary) approaches.
Responsibilities:
The Manager of Audio Preservation Services reports directly to the Executive Director, is a member of NEDCC’s senior management team, and is responsible for:

maintaining NEDCC’s reputation for care in handling of client materials and rigorously following best practices for digital audio preservation;
conferring with clients to evaluate their collections and develop appropriate specifications, workflows, and proposals for their projects;
cultivating prospective clients;
working closely with the heads of NEDCC’s conservation and digital imaging laboratories on joint projects;
hiring, training and supervising a staff of audio specialists and engineers;
setting and monitoring high standards for quality control and workflow;
developing new services to meet the evolving needs of clients;
continually upgrading equipment and software to provide the highest levels of quality and productivity; and
staying abreast of emerging technology by attending and actively participating in conferences held by professional and related associations such as IASA, AES, and ARSC.

Qualifications: Applicants should have: 1) detailed knowledge of, and hands-on experience in, all aspects of digitally preserving audio collections; 2) strong communication skills in listening to clients’ needs and clearly articulating proposed specifications; 3) excellent relationship-building skills; 4) strong production, management and supervisory skills to lead the staff in achieving the highest quality results in strict accordance with the best practices for digital audio preservation; and 5) a solid educational and/or experiential foundation related to digital reformatting in general and audio preservation in specific.
It is anticipated that the Audio Preservation Services department will receive an increasingly steady amount of work from large to small institutions as well as private clients whose primary concerns are quality of deliverables and care in handling. The department is projected to grow to full capacity over a three- to five-year timeline and be able to accommodate projects of most sizes and any complexity. In addition to the services referenced above, the new manager will be expected to explore and develop other specialty services to meet the needs of the library, archives, and museum communities.
About NEDCC: Founded in 1973, the Northeast Document Conservation Center is the first nonprofit conservation center to specialize in the conservation and reformatting of paper-based materials. NEDCC’s mission is to improve the preservation efforts of libraries, archives, historical organization, museums, and other repositories; to provide the highest quality services to institutions that lack in-house conservation and reformatting facilities, or those that seek specialized expertise; and to provide leadership in the preservation, conservation, and imaging fields. Its services include book, paper, and photograph conservation; digital reformatting; audio preservation; assessments and consultations; disaster assistance; and workshops and conferences. NEDCC is located in Andover, MA, twenty-five miles north of Boston. For more information, please visit www.nedcc.org.
Only persons with the legal right to work in the United States are eligible. Salary will be commensurate with experience.
Application Process: To apply, please send resume, letter of intent, and names and contact information for three references in PDF format to: Bill Veillette, Executive Director, bveillette@nedcc.org
For more information, visit: https://www.nedcc.org/assets/media/documents/2016AudioManager.pdf
NEDCC is an equal opportunity employer.
____________________________________________
JOB – ARCHITECTURE AND SCULPTURE CONSERVATOR, Kreilick Conservation (Philadelphia area, PA, USA)
Kreilick Conservation, LLC, is a private firm specializing in the conservation of architecture, sculpture, monuments, industrial artifacts,
and objects. We are seeking a qualified candidate with 3-5 years of experience to fill one full time position with our Philadelphia-area based
firm.
Responsibilities may include conducting condition assessments, research, field investigation and testing, treatment design and implementation, and report writing, as well as project management.
Qualifications for this position include a Master of Science degree in Historic Preservation from an accredited graduate program.
Strong analytical skills, flexibility and resourcefulness are necessary, as is proficiency in standard software including Microsoft Office Suite. Strong graphic skills also preferred, including proficiency in design software such as Adobe Photoshop, Sketchup and AutoCAD, or equivalent. Ability to work at heights (i.e. scaffolding and high-reach) is required.
The Conservator is expected to work independently and as a team member; and must display both excellent hand skills and strong communication skills. Travel is required.
Kreilick Conservation, LLC offers a salary/benefits package commensurate with experience and skill level.
Interested candidates should submit a cover letter, resume, writing sample, and contact information for three professional references to Scott Kreilick at skreilick@kreilickconservation.com.
Kreilick Conservation, LLC is an Equal Opportunity Employer.

Job Posting: Curator of Drawings and Prints, Whitney Museum (New York, NY, USA)

Position Level: Manager/Supervisor
Education: Master’s Degree
Position type: Full Time Permanent

The Whitney Museum seeks a curator with an extraordinary record of exhibitions and publications to fill a newly created position overseeing the Museum’s distinguished collection of drawings and prints. The incumbent will report directly to the Nancy and Steve Crown Family Chief Curator and join the museum’s highly collaborative senior curatorial team at a time of great institutional growth and transformation. This position requires strong expertise in 20th- and 21st-century American art; a specialty in early to mid-twentieth-century art is preferred but not required.
Responsibilities
– Oversee the growth of the Whitney’s drawing and print holdings through gifts and purchases by acquisition committees.
– Help to define the Museum’s collection strategy and display methodology in consultation with the Chief Curator and Director of the Collection.
– Collaboratively shape the scholarly program and research functions of the Museum’s recently inaugurated Sondra Gilman Study Center for works on paper.
– Propose and organize collection displays and loan exhibitions (in any medium), including the writing and preparation of related scholarly catalogues, brochures, and didactic texts; development of educational programs; and fundraising.
– Cultivate external relationships with artists; trustees and various patron groups; members of the press; and colleagues at other institutions.
– Work closely with other curatorial staff and departments in the museum, in particular Conservation, Education, Exhibitions and Collections Management, Publications, Advancement, and Research Resources.
– Approve loans; work with artists, scholars, and other interested parties to access the collection; undertake special research projects for the collection and acquisitions as needed; represent the Museum within the scholarly community through participation in panels, symposia, and other forums; supervise administrative matters related to these activities.
Requirements
– M.A. in art history; Ph.D. preferred
– 10+ years of experience, including a distinguished record of exhibitions, publications, and acquisitions in the field.
About the Whitney
As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney’s new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern and contemporary American art
Application Instructions / Public Contact Information
Please send resume, cover letter and salary requirements to: hr@whitney.org and state “Curator of Drawings and Prints” in the subject line.
For more information about this position and to apply, visit: http://www.whitney.org and www.nyfa.org/Jobs/Show/19d7eade-e835-4983-914e-91ac91a606a3

Job Posting: Associate Conservation Scientist, Harvard University (Cambridge, MA, USA)

Job ID 40893BR
This is a 2-year term position
Job Summary: Reporting to the Head of the Analytical Laboratory, the Associate Conservation Scientist carries out technical analysis of museum objects in collaboration with conservators, curators, fellows and academics.
Duties & Responsibilities
Administrative
• Select, supervise, and evaluate analytical components of Fellows’ projects.
• Direct and instruct casual employees, contractors, or students as appropriate.
• Participates in planning for lab activities and special projects.
• Practice and promote the Guidelines for Practice and Code of Ethics as established by the AIC.
Analysis and Research
• Collaborate with conservators and curators in technical study and analysis to support the treatment and preservation of the museums’ collection.
• Consult with art historians, conservators in treatment and preservation of collection.
• Oversee, advise, document, and perform sampling, testing, and analysis, including environmental conditions and materials used in art storage, display, and shipment.
• Actively engage in, initiate, and publish original research relating to artists’ materials and techniques.
• Keep lab resources updated and stay informed of trends and developments in conservation science field.
Teaching
• Instruct in conservation materials analysis.
• Responsible for proper use, maintenance, and instruction of lab equipment, tools, and supplies including hazardous substances.
• Provide instruction in conservation materials analysis to undergraduate and graduate students in Harvard University’s History of Art and Architecture Department as appropriate, including History of Art and Architecture 101 and History of Art and Architecture 206.
Institutional
• Work with and provides outreach and content for Communications, the Division of Academic and Public Programs, Curatorial, and Institutional Advancement, and other departments as needed.
• Present public gallery talks and participates in programming as requested.
• Participate in tours for various interest groups.
• Additional duties as required.
Basic Qualifications : Ph.D. in chemistry or physical science and a minimum of 5 years of experience in conservation science and experimental research.
Additional Qualifications
Techniques: GCMS, and pyGCMS, MALDI-TOF-MS, FTIR, UV-vis microscopy and polarized light microscopy. SEM, XRF, Raman spectroscopy required. Experience in the analysis of polymers is preferred.
Expertise in conservation science and experimental research with emphasis on the study of artists’ materials and techniques. Demonstrated ability to conduct scientific research, and a publication record in conservation-related themes and topics. Teaching experience in higher education or professional setting desired. Excellent communication, writing, interpersonal, project management. Knowledge of one or more foreign languages is preferred. Outstanding written and verbal communication skills; administrative and supervisory skills and experience.
Appointment End Date : December 1, 2018.
For more information and to apply, visit: http://tinyurl.com/jhqohaa
Harvard University is equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.

Job posting: Assistant Paper Conservator, Harvard University (Cambridge, MA, USA)

Auto req ID	40943BR
Business Title	Assistant Paper Conservator
School/Unit	Harvard Art Museums
Location	USA – MA – Cambridge
Job Function	Museum
Time Status	Full-time
Schedule	Full-time
Department	Straus Center for Conservation and Technical Studies
Salary Grade	056
Union	00 – Non Union, Exempt or Temporary
Duties & Responsibilities	Note: This is a two-year term position. • Reports to the Head of Paper Lab, Straus Center for Conservation Collections. • Performs condition reports, surveys, examinations, and treatments on works on paper for the Harvard Art Museums and University Loan. Collections of works on paper span a broad range of cultures and time periods from Medieval to contemporary. • Prepares accompanying written and photographic documentation, estimates, correspondence, and condition reports for exhibitions, loans, and acquisitions. • Performs preventive care for works on paper, including advising on, researching and constructing housing, handling, storage, and environmental needs. • Accompanies artworks as courier as needed. • Assist with hinging works as needed.Administrative • Participates in planning and preparing budgets for lab activities, exhibitions, and projects. • Manages exhibition support and special projects related to conservation and preservation as needed. • Collaborates with and maintains good working relations with conservation scientists, conservators, curators, and other museum staff. • Participates in selection, supervision, and instruction of conservation fellow. • Directs and instructs casual employees, contractors, or students as appropriate. • Assists in the maintenance of the lab and photo studio, including supplies, records, and equipment. • Practices and promotes the Guidelines for Practice and Code of Ethics as established by the AIC. • Works in two-site model, most often at 32 Quincy Street. • Works independently, as appropriate. Teaching • May participate in teaching, including undergraduate and graduate courses on the materials and techniques, and the technical examination of art. • Advises and trains museum staff in the best practices for the care, handling, display, storage, and packing and shipping of objects. Research • Responsible for staying current with professional philosophies, procedures, and practices in the conservation field through membership in professional organizations, publications, and attendance at meetings, workshops, and seminars. • As time permits, conducts technical research relevant to the collection as assigned and is encouraged to publish and present findings at national and international conferences. Institutional • Works with and provides content for Communications, the Division of Academic and Public Programs, Curatorial, and Institutional Advancement, and other departments as needed. • Presents public gallery talks and participates in programming as requested. • Supports Collections Management’s operation of Art Study Centers and Curricular Galleries. • Leads and participates in tours for various interest groups.
Basic Qualifications	• MA, MS, or Certificate in Conservation from a university program. • A minimum of 2 years of relevant museum or other experience with skilled examination and treatment of materials and objects from a broad range of cultures and time periods.
Additional Qualifications	• Specialization in prints and/or experience making prints preferred. • Demonstrated experience with project management of moderate and small-scale projects. • Demonstrated experience with technical study of works of art on paper and familiarity with analytical techniques such as XRF, FT-IR, Raman spectroscopy, and GC-MS. • Demonstrated experience with state-of-the-art imaging tools used for conservation documentation including: digital photography and beta radiography. • Excellent computer skills, including image editing and management; high level of proficiency/expertise using Adobe PhotoShop and other software. • Excellent communication, writing, interpersonal, project management, and leadership skills. • Publications and presentations in professional forums. • Proficiency with The Museum System (TMS). • Ability to lift up to 50 lbs and work while standing, and on occasion in non-studio, on-site locations. • Precise attention to detail and manual dexterity.
Pre-Employment Screening	Criminal Education Identity
Appointment End Date	01-Dec-2018
EEO Statement	Harvard University is an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation or any other characteristic protected by law.

To apply, visit: https://sjobs.brassring.com/TGWEbHost/jobdetails.aspx?jobId=1238048&partnerid=25240&siteid=5341&type=search&JobReqLang=1&codes=IND

Job posting: Chief Conservator – The Field Museum (Chicago, IL, USA)

The Chief Conservator will undertake conservation planning, programming, and implementation. The individual in this position will also be responsible for the management of conservation programs, facilities, and staff, as well as the examination, documentation, and treatment of objects and specimens in the Museum collections. The Chief Conservator will report to and strongly collaborate with the Head of Anthropology Collections and will consult with the appropriate Collections Administrative Teams. The Chief Conservator will initiate and support awareness and fundraising efforts for collection preservation and the Museum mission.
Duties and Responsibilities

Spearheads production and implementation of long range collection conservation planning. Develops and implements collections policies and procedures in collaboration with curators, collection managers, and registrars.
Surveys collections in collaboration with curators and collection managers to assess the condition of objects and specimens and determine preservation and treatment needs
Documents, examines, and performs conservation treatments and procedures on objects and specimens in the collections.
Provides conservation guidance to Collections, Exhibits, and other Museum staff to establish, monitor, and maintain proper environmental conditions in storerooms, exhibits, and work areas as well as to prescribe, review, and upgrade methods and materials used for the storage and packing of objects and specimens
Coordinates exhibition conservation program. May perform conservation work for incoming, outgoing, and in-house exhibits including conditioning and overseeing installation
Assesses, recommends, and provides treatment of objects and specimens for outgoing loans to borrowing institutions for exhibitions and research. Provides guidance on exhibition mounts. May travel as courier to borrowing institutions to condition report and oversee installations and de-installations
Prepares conservation funding proposals
Performs research leading to improved methods, materials, and procedures for conservation, storage, and exhibit of specimens; disseminates results in publications and oral presentations
Participates in professional meetings, workshops, and other activities to keep current in the field of conservation and enhance professional knowledge and skills
Conducts tours and public presentations when needed
Supervises and manages all conservation staff as well as volunteers, interns, and visitors as required
Responsible for managing the daily operation of the conservation laboratories including the organization, maintenance and ordering of equipment and supplies
Performs other conservation and collections-related activities as assigned

Qualifications

Degree in conservation from a recognized training program with a specialization in objects and ethnographic conservation
Demonstrated extensive conservation experience with management and supervisory responsibilities
Demonstrated working knowledge and practice of conservation ethics, theory, method, and literature
Working knowledge of lab equipment and chemicals
Strong manual skills and attention to detail
Demonstrated superb organizational skills
Proven verbal and written communication skills
Conservation grant writing experience
Leadership and interpersonal skills
Demonstrated ability to work independently and as a member of a team, to enlist the cooperation and involvement of others
Demonstrated experience in mentoring conservators, students, and volunteers
Demonstrated experience in collection care policy, planning, and implementation
Demonstrated experience in resource and project management
Skilled in negotiation and resolution of non-routine problems
Proven experience with standard digital conservation photography as well as computer proficiency with museum collections databases, Microsoft Word, and Microsoft Excel. Working knowledge of KE EMu highly desirable
Experience with natural history collections conservation desirable

Candidates without the requisite experience for Chief Conservator may be considered for a conservation position focusing on ethnographic objects.
To apply to this job online and for more information, visit: www.fieldmuseum.org/about/careers
Although applying via our online application system is preferred, you may also mail your resume and cover letter to:
The Field Museum
Attn: Human Resources
1400 South Lake Shore Drive
Chicago, IL 60605
If you are a qualified individual with a disability or a disabled veteran, you have the right to request reasonable accommodation. Please email us at accessibility@fieldmuseum.org if you are unable or limited in your ability to use or access our online application as a result of your disability.
The Field Museum is an Equal Opportunity Employer.

Job Posting: Paper Conservator – ICA Art Conservation (Cleveland, OH, USA)

Position open until filled.
Full time, Exempt Position (Benefits Eligible)
Position Summary
The Intermuseum Conservation Association (ICA), a regional not-for-profit art conservation center established in 1952 located on the near Westside of Cleveland, just minutes from downtown, is seeking a conservator of paper-based materials to carry out examinations and conservation treatments, and to assist in the preservation planning for the paper-based collections of the ICA’s 40 member institutions as well as varied private and corporate clients.
The Paper Conservator has responsibilities which involve the examination and treatment of artwork at the ICA facility and on site. S/he will participate as necessary in the implementation and oversight of conservation projects which involve coordinating staff and subcontractors. S/he interacts professionally with board and committee members, clients and the general public. S/he agrees to abide by the AIC (American Institute for Conservation of Historic and Artistic Works) Code of Ethics and Guidelines for Practice.
This position reports to the Executive Director of the ICA.
Principal Duties and Responsibilities
Conservation

Carry out examinations and conservation treatments on artwork from the collections of private and public institutions, corporations, government agencies and private collectors.
Conduct research to determine appropriate interpretation of the object and to support the recommended treatment.
Prepare cost and time estimates for conservation projects and preservation assessments. Assemble bids for Request for Proposals (RFPs). Coordinate with Registrar to communicate with clients.
Perform on site field work which may involve collections surveys, examination, and treatment.
Participate in interdepartmental projects as needed. Act as lead conservator for such projects when appropriate.
Supervise conservation support staff (assistants, preparators, interns, volunteers). Manage and oversee subcontractors for commercial and industrial processes involved in treatments, shipping, and installations.
Monitor condition of objects in storage and perform appropriate housekeeping of the area.
Stay current with theoretical discourse and best practices in the field through literature review and attending presentations, conferences and mid-career training.

Public Outreach

Interact professionally with a broad range of clients concerning conservation and preservation projects, both in person and over the phone/email.
Prepare documentation for grant applications in which the ICA is included, and review grant applications if requested by the client.
Actively participate in the ICA’s educational programs, including teaching classes, giving lectures and leading tours.
Participate in board and staff committee work.
Assist in interviewing and hiring new staff.
Represent the ICA in meetings with potential clients, donors and other professionals.

Qualifications

Master’s degree from a recognized training program in conservation or equivalent experience. Experience in treating Asian Art would be desirable.
Experience working in the field of conservation either in an institutional or private practice setting. Title and salary will be commensurate with experience.
Proficiency in Microsoft Office Suite (Word, Excel, PowerPoint), Adobe Photoshop desirable.
Travel to onsite projects in surrounding region required.

Send letter of interest and CV to:
Attn: Andrea Chevalier, Senior Conservator
ICA – Art Conservation
2915 Detroit Avenue
Cleveland, OH 44113, USA
E-mail: achevalier@ica-artconservation.org
For more information, contact Dottie Cooper at ica @ica-artconservation.org.

Job posting: Conservation Scientist – Canadian Conservation Institute (Ottawa, ON, Canada)

Closing date: 14 October 2016 – 23:59, Pacific Time (more on closing date)
The Canadian Heritage – Canadian Conservation Institute, Ottawa (Ontario)
PC-02
$65,551 to $78,522
Reference number: PCH16J-016678-000153
Selection process number: 16-PCH-EA-CHR-1386
Positions to be filled: 1
Who can apply: Persons residing in Canada and Canadian citizens residing abroad.

APPLY ONLINE

Duties
This position provides research and scientific services to study the chemical and physical properties of historic and artistic objects, with a focus on synthetic polymeric materials, and to ensure the proper care and conservation treatment of such objects. This position develops new, or modifies existing techniques, methodologies or instrumentation pertaining to the conservation, study, scientific examination, and physical and chemical analysis of cultural property through scientific research. This position communicates concepts, ideas and research results through written reports and publications or oral communications.
Intent of the process
A pool of fully or partially qualified candidates resulting from this selection process will be created and may be used to fill the same or similar positions with various linguistic profiles and language requirements (such as English or French essential, bilingual imperative level – BBB/BBB, CBC/CBC or CCC/CCC), various security requirements (reliability, secret) as well as tenures (term, indeterminate) within the department of Canadian Heritage.
Information you must provide: Your résumé.
You must meet all essential qualifications in order to be appointed to the position. Other qualifications may be a deciding factor in choosing the person to be appointed. Some essential and other qualifications will be assessed through your application. It is your responsibility to provide appropriate examples that illustrate how you meet each qualification. Failing to do so could result in your application being rejected.
In order to be considered, your application must clearly explain how you meet the following (essential qualifications):
Education
A master of science or doctorate from a recognized post-secondary institution with specialization in polymer chemistry or another science discipline relevant to the position OR an acceptable combination of education, training and experience. A degree from a post-secondary institution in a science discipline relevant to the position is mandatory.
For more information on degree requeriments, visit Degree Equivalency
Experience

Extensive and recent* experience with instrumental methods used to characterize polymers (e.g. Fourier transform infrared spectroscopy (FTIR), pyrolysis-gas chromatography-mass spectrometry, etc.)
Extensive and recent* experience in experimental methodology and in instrumental methods of analysis or testing applied to synthetic polymers
Extensive and recent experience* in applying scientific procedures, in scientific research and in carrying out bibliographic research

*Extensive and recent experience is defined as follows: at least two years of carrying out the activity as a principal function during the last five years.
If you possess any of the following, your application must also clearly explain how you meet it (other qualifications):
Asset Qualifications
Experience with science as applied to the study of cultural heritage objects or conservation materials.
The following will be applied / assessed at a later date (essential for the job):
Bilingual – Imperative (BBB/BBB)
Please note that unilingual candidates are encouraged to apply as we will be creating a pool of candidates for unilingual positions.
Information on language requirements
Knowledge

Knowledge of chemical and physical properties of synthetic polymers
Knowledge of industrial manufacturing of synthetic polymers

Abilities and Skills

Ability to interpret FTIR spectra
Ability to plan, set goals and establish priorities
Ability to analyze, synthesize and evaluate information to address complex problems
Ability to work as part of a team
Ability to communicate effectively in writing
Ability to communicate effectively orally

Personal Suitability

Client service orientation
Focus on results
Initiative
Innovation

The following may be applied / assessed at a later date (may be needed for the job):

Knowledge of the mission and services of the Canadian Conservation Institute
Ability to work with a stereo microscope to remove samples or manipulate samples
Operational requirements
Willingness and ability to work overtime and to adopt flexible work hours as per operational requirements
Willingness and ability to work off site nationally and internationally

Conditions of employment
Reliability Status security clearance
Other information
Only jobs.gc.ca online applications will be considered. If accessibility to jobs.gc.ca is unavailable, please email your Cover letter and résumé to Rana Cheaitani by email at rana.cheaitani@canada.ca and indicate the reason why you cannot apply online. Verification/validation of your request will be required before your application is accepted.

Reference checks may be sought.
A written exam may be administered.
An interview may be administered.
Please note that asset qualifications may be invoked at any time of the selection process, including the screening stage.
Persons are entitled to participate in the appointment process in the official language of their choice.
Candidates may be required to meet the asset qualifications or the organizational needs, depending on the requirements of the specific position being staffed.
Acknowledgment of receipt of applications will not be sent.
You must be prepared to provide the original, or a certified copy, of your educational credentials.

For this selection process, our intention is to communicate with the candidates by email. Candidates who apply to this selection process must include in their application a valid email address and make sure that this address is functional at all times and accepts messages from unknown users (some email systems block these types of email). If you do not wish to receive information by email, it is your responsibility to inform us.
All information obtained throughout the selection process, from the time of application to close of process, will be used to evaluate the candidates.
The Public Service of Canada is committed to building a skilled, diverse workforce reflective of Canadian society. As a result, it promotes employment equity and encourages candidates to indicate voluntarily on their application if they are a woman, an Aboriginal person, a person with a disability or a member of a visible minority group.
The Public Service of Canada is also committed to developing inclusive, barrier-free selection processes and work environments. If contacted in relation to a job opportunity or testing, you should advise the Public Service Commission or the departmental official in a timely fashion of the accommodation measures which must be taken to enable you to be assessed in a fair and equitable manner. Information received relating to accommodation measures will be addressed confidentially.
Preference
Preference will be given to veterans and to Canadian citizens, in that order.
Information on the preference to veterans
Contact information:
Rana Cheaitani, Staffing Assistant, at rana.cheaitani@canada.ca
Natacha Tremblay-Marcoux, Staffing Advisor, at natacha.tremblay-marcoux@canada.ca
For more information visit: Conservation Scientist

Job posting: Textiles Conservator – British Museum (London, UK)

Closing date: Friday 14th October 2016 at 12:00 Noon
Reference: 1589219
Location: London
Salary: £25,872 per annum pro-rata
Contract: Fixed Term: 11 weeks from 9 January 2017 (Full time)

The British Museum has an exciting opportunity for an early-career textile conservator to join the Organic Artefacts Conservation Section for 11 weeks, in a role supported by the Queen Elizabeth Scholarship Trust (QEST). The post holder will work closely with a senior textile conservator to investigate and conserve a rare 8th Century silk embroidery from the Chinese Tang dynasty.
As the Conservator: Textiles (QEST Associated Liveries Apprentice) you will carry out practical conservation treatment on the embroidery, whilst keeping an accurate record of the work undertaken. The successful candidate will also collaborate with staff in the Asia department and with external specialists on the treatment, display and storage of the embroidery and assist with expanding the profile of the Department by participating in Museum outreach programmes.
With a recognised professional qualification in textile conservation, the successful candidate will be IT literate, have a sound understanding of conservation theory and relevant knowledge of Health & Safety. You must also be able to pass a colour vision test.
We are looking for someone who is able to work independently and demonstrate excellent communication skills. In addition to this, the ideal candidate will have an excellent team working ability.
About the British Museum
Founded in 1753, the British Museum’s remarkable collection spans over two million years of human history and culture. With over 6.8 million visitors in 2015, the Museum is the top visitor attraction in the UK, and its world-famous collection includes the Rosetta Stone, the Parthenon sculptures, Egyptian mummies, the Admonitions Scroll, and the Amaravati sculptures.
The Museum adheres to the HMG Baseline Personnel Security Standard (BPSS) requirements for all staff at the British Museum.
The Museum is an equal opportunity employer, supports a diverse workplace and offers a competitive benefits package including:

Membership of the civil service pension scheme
Free entry to a wide range of museums and exhibitions
Participate in private and public Museum activities, including talks by leading curators from around the world and behind-the-scenes opportunities to learn how museums care for and manage their extraordinary collections
Generous annual leave allowance
Interest-free season ticket loan
Child care voucher scheme
Professional and personal development opportunities
Employee Assistance Program
Discounts on food and gift shop purchases
If you are a positive individual, passionate about the Museum and would like to know more about this exciting opportunity, please follow the “Apply now” link below where you will be directed to complete your application.
Interviews will be held on either 28 October or 1 November 2016.
For more information visit: Conservator: Textiles (QEST Associated Liveries Apprentice)

If you have any queries regarding this role, email us at bm@penna.comor call +44 0845 601 1124. Please quote the job reference number in the subject line of any email and at the beginning of a call.