Preservation officer (Wake County, NC, USA)

  • Job class title: Archivist supervisor
  • Position number: 60083389
  • Department: Dept. of Natural and Cultural Resources
  • Division/section: Archives & Records / Collections Services/Collections Management
  • Salary range: $48,051.00 – $81,686.00 annually
  • Recruitment range: $48,051 – $58,033
  • Salary grade / salary grade equivalent: GN13
  • Competency level: Not applicable
  • Appointment type: Permanent full-time
  • Work location: Wake County
  • Opening date: 07/23/18
  • Closing date: 08/10/18 5:00 p.m. Eastern Time

The State of North Carolina invites applications for the position of: Preservation officer

“This is a repost and previous applicants must reapply to be considered”

  • Salary Grade:  GN13
  • Recruitment Range:  $48,051 – $58,033
  • Position location:  Downtown Raleigh, E. Jones Street

Department Information: The Department of Natural and Cultural Resources’ (DNCR) vision is to be the leader in using the state’s natural and cultural resources to build the social, cultural, educational and economic future of North Carolina. Our mission is to improve quality of life by creating opportunities to experience excellence in the arts, history, libraries and nature throughout North Carolina.  The Department works to stimulate learning, inspire creativity, preserve the state’s history, conserve the state’s natural heritage, encourage recreation and cultural tourism, and promote economic development.  Our goal is to promote equity and inclusion among our employees and our programming to reflect and celebrate our state’s diverse population, culture, and history by expanding engagement with diverse individuals and communities. We encourage you to apply to become a part of our team.

Division InformationThe vision of the Division of Archives and Records is to be a national leader in providing quality guidance on information stewardship in North Carolina and in creating simplified and integrated access to authentic information. The State Archives of North Carolina’s mission is to collect, preserve, manage and provide access to information that protects citizen rights, documents North Carolina history and culture, promotes transparency, and encourages stewardship of government records.

The Collections Management Branch of the Division of Archives and Records is responsible for a wide variety of conservation, preservation, imaging, micrographic, and photographic functions. Among its responsibilities are creation of security images of public records for state, local and municipal agencies; protection of the State Archives’ security microfilm holdings in its vaults; photographic and microfilm duplication services; conservation treatment of documentary material; preservation reformatting of collections; photography services; and preparation of original collections for exhibits.

Description of Work: Work will involve some travel, as well as occasional nights, weekends and Saturday work in the Search Room on a rotating basis. Duties may include but are not limited to:

  • Oversight of all activities of the branch, including the conservation lab, photography lab, and imaging unit.
  • Supervises branch employees, manages branch orders for supplies, equipment, and maintenance contracts.
  • Oversees all preservation programming within the division, including disaster response plan, environmental monitoring and policies regarding care, handling, and storage of records.
  • Works closely with division management on issues such as records management, electronic records preservation, and outreach, including division tours.
  • Works with other units of department and state government to protect cultural assets of state before and after a disaster.
  • Serves on division management team and provides input on development of policies, workflows and programs for records management, digitization of collections, preservation needs and outreach programming.

 KNOWLEDGE, SKILLS AND ABILITIES / COMPETENCIES: To receive credit for your work history and credentials, you must provide the information on the application form. Any information omitted from the application form, listed as general statements, listed under the text resume section, or on an attachment will not be considered for qualifying credit.

  1. Demonstrated experience in preservation and conservation of paper and non-textual media and must have knowledge of current developments and practices in archival preservation.
  2. Required knowledge of archival and records management principles.
  3. Knowledge of digital imaging, micrographics, and traditional photography including knowledge of records and information management principles as they relate to micrographic and digital reformatting, preservation and conservation, and application and use of imaging systems.
  4. Demonstrated experience in planning, developing, implementing, and evaluating projects; developing and administering budgets; and overseeing programs across division lines.
  5. Demonstrated experience in overseeing preservation projects, collection inventories, and collection surveys to determine conservation or preservation needs for collections.
  6. Demonstrated experience in using software packages, such as MS Word, Access, and Excel, and specialized preservation software for environmental monitoring.
  7. Must be able to lift at least 40 lbs. and can unpack, shelve, and shift large quantities of archival materials, unassisted. May be required to stand for long periods of time.
  8. Must be able to work in an environment in which exposure to chemicals, dust, and mold is possible.

Management preferences:

  1. Preferred previous experience conducting treatment of special collections, including rare or valuable book and paper materials in a library/ archives setting or in a private conservation lab.
  2. Preferred coursework in library and archival studies specializing in preservation and care of historical materials

Master s degree in history, public history, public administration, library science, or a related social science from an appropriately accredited institution and four years of progressive experience in archives and records work; or an equivalent combination of education and experience.

Contact Information:
The Department of Natural and Cultural Resources (DNCR) selects applicants for employment based on required education and experience and job-related knowledge, skills, and abilities without regard to race, religion, color, national origin, sex, age, disability, genetic information, political affiliation or political influence.

Please be sure to complete the application in full. Resumes may be uploaded with your application but will not be accepted in lieu of a fully completed application and will not be considered for qualifying credit.  “See Resume” or “See Attachment” will NOT be accepted.

Degrees must be received from appropriately accredited institutions.  Transcripts, and degree evaluations may be uploaded with your application. To obtain veterans preference, you must scan and upload a copy of your DD-214 or discharge orders.

Technical issues submitting your application, please call the NeoGov Help Line at 855-524-5627.

Applicants requesting and receiving an accommodation under the Americans with Disabilities Act (ADA) are eligible to submit paper applications via mail or by fax.  Please call the human resources office for assistance.

Please refrain from submitting multiple applications, however; If multiple applications are submitted to an individual posting, only the most recent application received prior to the closing date will be accepted. Applications must be submitted by 5:00 PM on the closing date.

Due to the volume of applications received, we are unable to provide information regarding the status of your application over the phone. To check the status of your application, please log in to your account.  Upon the closing date, applications are “Under Review” and will be screened by Human Resources for the qualified applicants. The hiring process may take an average of 6 – 8 weeks.

It is the policy of the State of North Carolina and the N.C. Department of Natural and Cultural Resources that all employees provide proof of employment eligibility (immigration and naturalization) on the first day of employment.   We participate in E-Verify (Employment Eligibility Verification System).

N.C. Department of Natural and Cultural Resources
Division of Human Resources
4603 Mail Service Center
Raleigh, NC 27699-4603
Phone:  919-807-7373


NOTE: Apply to the department listed on posting An Equal Opportunity Employer, NC State Government

  • Position #18-08367 AH60083389
  • TG

ECPN Interviews: Wooden Artifacts Conservation with Caite Sofield

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) has been conducting a series of interviews with conservation professionals in various specialties. We began the series with Chinese and Japanese painting conservation and continued the series by focusing on practitioners working with Electronic Media. Now, we are interviewing conservation professionals working in AIC’s Wooden Artifact Group (WAG). These conservators work with various wooden objects, which can range from furniture, musical instruments, waterlogged wood, frames, and more! We’ve asked our interviewees to share some thoughts about their career paths, hoping to inspire new conservation professionals and provide valuable insight into these areas of our professional field.

In our first interview from the WAG series, we spoke with Caite Sofield, a third year fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). Caite is specializing in Furniture Conservation, and she is also a graduate intern in Furniture Conservation at The Philadelphia Museum of Art (PMA). She received a Bachelor of Art in Italian Studies from Ithaca College, with a double minor in Art History and Classical Studies.

ECPN: Please tell us a little bit about yourself.

Caite Sofield (CS):  I am a third year graduate fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), specializing in Furniture Conservation. I am completing my internship year in Furniture Conservation at The Philadelphia Museum of Art (PMA).  I graduated from Ithaca with a B.A. in Italian Studies, and a double minor in Art History and Classical Studies. I grew up in New Hampshire and did much of my pre-program work in the New England area.

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

CS: My first introduction to conservation was during an undergraduate internship in London at the Leighton House Museum. Organized through the Art History Department of Ithaca College, my internship was divided between assisting the Curator of Collections and Research and working with a Conservation Cleaner in the Linley Sanbourne House, a historic property also managed by LHM.  I found this work dynamic and compelling, and was surprised to discover that I learned as much (if not more) about history from working in the house and on the objects than I did in my associated art history course. I was so excited to connect with history in this tangible way, and I knew that I wanted to seek similar experiences in the future.

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

CS: Furniture conservation appealed to me because furniture, as a subsection of decorative arts, can include a wide variety of materials, and there is a wonderful overlap between architecture, textiles, and objects. I love seeing the way the intended function of an object affects its design and how that changes over time. I am particularly fond of the forms that are highly specific and representative of a small window in time, like the voyeuse of the 18th century and the telephone table of the 20th century.

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

CS: After my introduction to conservation in my junior year at Ithaca College, I began researching conservation programs and the prerequisites. I was only one course away from completing my degree requirements in Italian Studies at the time, so I used my available electives to start checking off the required courses I hadn’t taken yet, including the studio art and chemistry courses.  In my senior year, the heads of the Chemistry and Art History departments teamed up to teach a course called Chemistry and Art. This was a great overview of how much science affects art and gave me great perspective on why I needed to take chemistry courses to continue in the conservation field.

I continued working through the pre-reqs by completing non-degree coursework at St. Anselm College and the University of New Hampshire, near my hometown, while working as a veterinary assistant part-full time. Because I knew I was interested in furniture conservation, I sought out woodworking courses to fill the 3-dimensional design requirements. I did weekend and evening workshops, and a 10-week Furniture Making Intensive at the Homestead Woodworking School in Newmarket, NH.  Later in my pre-program path, I took the 12-week Furniture Intensive at the Center for Furniture Craftsmanship in Rockport, ME.

My first pre-program internship was in the furniture lab at the Museum of Fine Arts, Boston. After that, I worked on an Asian lacquer project and outdoor sculpture at the Preservation Society of Newport County.  I volunteered at the New Hampshire Historical Society for a few months, documenting and re-housing embroidery samplers.  I returned to Newport for another six months to continue work on the outdoor sculpture project. My final pre-program internship was at the Collections Conservation Branch of the National Park Service.

While in the WUDPAC program, I have interned at the Furniture/Wooden Artifacts Lab of the Colonial Williamsburg Foundation and worked on archaeological documentation of furniture and architectural fragments of the Swedish battleship, Vasa, at the Vasa Museum in Stockholm.

ECPN: Are there any particular skills that you feel are important or unique to your discipline? Can one solely be a ‘wooden artifact conservator,’ or is knowledge of composites and how to treat other materials inherent to the work?

CS: Knowledge of wood science and woodworking skills are hugely important to furniture conservation, as wood is the predominant material you will come across on a day-to-day basis.  I suppose one could solely be a ‘wooden artifact conservator’ if the collection needs supported it, but I am really interested in furniture more broadly, and for that, you need to have a working knowledge of other materials and surface techniques (ie: gilding, metals, leather and other organics, and stone). Because of the diverse materials a furniture conservator can encounter, I have actively sought out institutions with encyclopedic collections or projects that may indirectly relate to furniture to broaden my exposure.

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

CS: I am working on two painted architectural panels from a period room at the PMA, which comprises painted wall paneling from a 17th century Parisian house.  They were removed from exhibition so that we could replace degrading 1950’s era silk wall coverings. Upon deinstallation, we discovered that one panel had structural damage from weakened wood around an undocumented repair. In addition to the treatment, the curator would also like to have some technical analysis completed to begin the process of researching all of the painted paneling in the room.  One of my favorite parts of working in an active lab in a very busy museum is that there are always new and interesting projects coming through or unexpectedly popping up!

One wall of the gallery with the degrading silk (left). The same wall with the new fabric and trim. (right). [Photos: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]
One wall of the gallery with the degrading silk (left). The same wall with the new fabric and trim. (right). [Photos: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]

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

CS: As I mentioned before, I am fascinated by the way that function affects design in the furniture field but also how changes in technology influenced changes in design.  I love how the use of tubular steel in the Bauhaus movement revolutionized furniture production and how the development of foam technologies all but eliminated tradition horsehair and sprung upholstery. There has been plenty of research into the care and treatment of these materials, but it’s an area that I personally would like to explore further.

One of the small panels taken down for treatment and technical examination. [Photo: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]
One of the small panels taken down for treatment and technical examination. [Photo: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]
ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

CS: That is a tough question. In most regards furniture conservation is like any other specialty, but I think one thing I’ve learned is the value of trying other things and all specialties.  As I reflect on my pre-program experience and approach the end of my graduate program, I am struck by how each of my classmates thrive in their respective specialties; what seems routine for them is awe-inspiring for me, and vice versa.  By exploring other specialties (and other career paths) I have found an area that fits.  I love historic costumes, but thread counts and invisible stitches make my head hurt. I had a blast working on outdoor sculpture, but the science of stone is really confusing to me.  When I talk about a structural repair, or I am dealing with tented veneers, my classmates are overwhelmed.  But, by working in different specialties and learning as much as I can within the field, I can appreciate the skill and knowledge of others and know where to look, or to whom to turn, when I run into a material with which I am less familiar.

ECPN: Please share any last thoughts or reflections.

CS: I found it very useful to have woodworking experience before I started the WUDPAC program.  It is no longer a requirement of admission as a furniture major, nor do you have to declare a major at the time of admission; however, if it something you are drawn to, having some of those skills in hand will be advantageous down the line. One doesn’t have to be a master craftsman to conserve objects, but a working knowledge of techniques and troubleshooting will only help in care and treatment decisions.


*Featured image: Caite during the installation of new fabric in the gallery. [Photo: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]




Studentship in Preservation of Geological Collections, UCL/Oxford/Cardiff (UK)

A four-year SEAHA studentship investigating the preservation of geological collections in museums is currently open for applications.

Mineral specimens, despite their apparent stability, are prone to deterioration in museum environments. Currently available methodologies are not suitable for routine collection monitoring, as results are not necessarily replicable, and, in the absence of guidance on suitable storage conditions, triggers for, and the suitability of, conservation actions are difficult to determine. We need a more robust approach to the delivery of preventative conservation of geological collections.

This studentship, based at the University of Oxford and in partnership with Amgueddfa Cymru – National Museum Wales and BSRIA Ltd, addresses these issues. The student will define what kind of material change in minerals constitutes damage; develop a protocol for routine monitoring of museum geological collections for potential damage; establish optimum environmental and minimum air quality standards for different types of minerals; and test rigorously the suitability of conservation treatments that are presently available.


  • Academic supervisor: Professor Heather Viles, University of Oxford
  • Heritage supervisors: Dr Christian Baars and Dr Jana Horak, Amgueddfa Cymru, National Museum Wales
  • Industrial supervisor: Ian Wallis, BSRIA Ltd

The first year of this four-year studentship constitutes an MRes degree at University College London. Following successful completion of the MRes, students will be registered for doctoral research at the University of Oxford for years 2-4 of the SEAHA scholarship. The SEAHA studentship will cover home fees plus an enhanced stipend of up to GBP18,172 per year (to be confirmed at point of offer) for eligible applicants (, and a substantial budget for research, travel, and cohort activities.

Full information about the project can be found at:

Application deadline: midday (GMT) on Friday, January 12, 2018.


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.


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ECPN Interviews: Electronic Media Conservation with Alexandra Nichols

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.

In our first EMG interview, we spoke with Nick Kaplan. Now for our second interview from the EMG series, we turn to with Alexandra Nichols, currently a Sherman Fairchild Foundation Fellow in the conservation of time-based media and installation art at The Metropolitan Museum of Art. From 2016-2017, she was a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum. She earned her Master’s of Art Conservation from the Winterthur/University of Delaware Program in Art Conservation (2016) where she concentrated on the conservation of modern and contemporary objects.

ECPN: Please tell us a little bit about yourself.

Alexandra Nichols (AN): I received my Master’s of Conservation from Winterthur/University of Delaware Program in Art Conservation in 2016, where I concentrated on the conservation of modern and contemporary objects. I recently completed a one-year fellowship as a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum, where I was working under Joanna Phillips, the Guggenheim’s Senior Conservator of Time-based Media. Just a few weeks ago, I joined the Metropolitan Museum of Art as a Sherman Fairchild Foundation Conservation Fellow, where I’ll be working with the Met’s collection of time-based media and installation art.  

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

AN: After obtaining my undergraduate degree in art history, I moved to London and landed a job as an executive assistant at the British Museum. While there, I visited the Hirayama Studio, the British Museum’s conservation lab dedicated to the care and treatment of East Asian paintings and works on paper. It’s a beautiful, peaceful room, with tatami mats and walls lined with brushes and different types of paper. I loved how the conservators could develop such a close, tactile relationship with the artworks, and how the treatments were carried out with respect for the cultures that created the works. This led me to seek out internships where I could gain experience in conservation.

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

AN: I’m really fascinated by the wide range of materials and methods utilized by contemporary artists. Something I love about time-based media art is its complexity and variability. An artwork may have multiple channels of video, require a very specific placement in the gallery, or be shown differently based on the size or shape of the room.

My training is in objects conservation, focusing on the conservation of contemporary art. During the course of my graduate studies, none of the North American programs offered coursework in time-based media*. Thus, I was able to explore working with time-based media during my graduate internships at the Hirshhorn and the Museum of Modern Art. I’ve been pleasantly surprised that many of the time-based media pieces I’ve worked on incorporate sculptural elements, so my graduate training has been helpful in ways I didn’t expect. Learning how these objects should be placed in an installation and their relationship to electronic and audiovisual elements is really intriguing.

*The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this this year for Fall 2018 matriculation.

Alexandra and Contract Video Engineer Maurice Schechter conduct a quality check (QC) on a video file. [Photo: Joanna Phillips]
Alexandra and Contract Video Engineer Maurice Schechter conduct a quality check (QC) on a video file. [Photo: Joanna Phillips]
ECPN: What has been your training pathway?  Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

AN: I’ve always had an interest in computers and electronics. In middle school and high school, I learned the programming language C, built computers as a hobby, and took courses in video editing and digital photography as part of my undergraduate degree.

I’m originally from the Washington, DC area, and after deciding to pursue conservation, I completed pre-program internships and contracts at various museums in the Smithsonian system, including the Freer and Sackler Galleries, the Museum Conservation Institute, and the National Museum of African-American History and Culture.

In 2013, I began my graduate studies at the Winterthur/University of Delaware Program in Art Conservation, where I specialized in the conservation of modern and contemporary objects. As a graduate student, I completed a summer internship at the Hirshhorn Museum and Sculpture Garden, preparing time-based media works in their collection for the 2014 exhibition Days of Endless Time. During my third-year internship at the Museum of Modern Art in New York, I collaborated with Kate Lewis and Amy Brost to treat a pearlescent bead-adorned cathode ray tube television set by Nam June Paik and Otto Piene.

Additionally, the chance to work with Joanna Phillips at the Guggenheim has been thrilling—there aren’t many opportunities to learn about time-based media conservation in the American graduate conservation programs, so emerging conservators must gain expertise through internships and fellowships. However, this is changing soon — The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this year for Fall 2018 matriculation (link: I’ll be utilizing the skills I’ve developed over the past year at my current fellowship working with the time-based media art collection at The Metropolitan Museum of Art.

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

AN: Strong documentation skills are important in any specialization, but this is especially true for time-based media. The inherent variability of time-based media requires extensive research and documentation to ensure that it can be installed correctly in the future. It’s also important to know about the history of video production, including film history and the development of various formats. Foundational knowledge of video and other technologies is also crucial and has to be updated continuously, since technology is always evolving. Without this knowledge, media conservators cannot seek out and engage external specialists and vendors who can provide specific technical expertise

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

AN: I am just getting started at The Met, but I am currently working with Nora Kennedy and Meredith Reiss to help document the 250 time-based media artworks in The Met’s collection. This includes updating questionnaires that are sent to artists during the acquisition process, which help us learn more about the production history and intended exhibition of the artwork, and researching past exhibitions to create retroactive iteration reports. The Met has had a Time-based Media Working Group for many years now, and I am looking forward to collaborating with its members as I conduct my research.

Image of a Skype interview with an artist, in which Alexandra and Contract Video Engineer Maurice Schechter discuss the audio channels of an artist-provided video file. [Photo: Alexandra Nichols]
Image of a Skype interview with an artist, in which Alexandra and Contract Video Engineer Maurice Schechter discuss the audio channels of an artist-provided video file. [Photo: Alexandra Nichols]
ECPN: In your opinion, what is an important research area or need in your specialization?

AN: I think the acquisition and display of virtual reality (VR) will pose a number of challenges for conservators in the coming years. Artists are increasingly experimenting with these types of works—Jordan Wolfson exhibited a VR work in the Whitney Biennial this year, for example—but as far as I know, no museums have acquired a VR piece yet. This technology is so new and is still being developed, and as a result, there’s so much potential for the obsolescence of file formats and hardware.

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

AN: Try playing around with how to shoot and edit your own video in Final Cut Pro or Premiere! It will teach you about digital video formats and give you some insight into the artist’s process. And, don’t be afraid to reach out to conservators you admire to learn more about what they do!

ECPN: Please share any last thoughts or reflections.

AN: Supervised training under established media conservators is essential to the development of one’s skills as an emerging time-based media conservator. Fellowships and internships provide practical experience with real-life museum scenarios that is not possible to gain through readings or coursework. I am extremely grateful to the Samuel H. Kress Foundation and the Sherman Fairchild Foundation for providing me with opportunities to hone my expertise at the Guggenheim and The Met.


*Featured photograph: Alexandra examines a MiniDV tape containing an artwork while working at the Solomon R. Guggenheim Museum. [Photo: Kris Mckay]


Job Postings: Digest 10/24/2016

JOB – ABORIGINAL AND TORRES STRAIT ISLANDER CURATOR, Western Australian Museum (Perth, Australia)

The New Museum for Western Australia was developed with a People First approach, and it aims to be at the heart of our State and to reflect the spirit of its people. Visit for further information.
We are seeking a committed team player who is passionate about Aboriginal and Torres Strait Islander content. You will have good knowledge of how to create outstanding and meaningful visitor experiences and be committed to working with Western Australian Aboriginal and Torres Strait Islander communities to achieve this.
Conditions: This is a full time, fixed term vacancy until 30 June 2020. There will also be a Pool running for a period of 18 months from the initial appointment. Applicants deemed suitable will be placed into a pool from which full-time, part-time, fixed term appointments may be made. A current C class Drivers License or equivalent will be required for this position.
You must also have a relevant tertiary qualification to be considered for this position. All overseas qualifications must have been assessed for Australian equivalency.
Special Requirements: The Department recognizes Aboriginality as a genuine qualification for this position under 50D of the Equal Opportunity Act 1984. To apply you must be of Aboriginal or Torres Strait Islander (ATSI) descent, identify as ATSI and be recognized as such by the ATSI community.
Location: This position is based in Perth however employees may be required to travel to and work from any of the Museum’s sites on a short-term basis as well as undertake travel to regional and remote communities.
For further job related information, contact Bill Seager, by email or by telephone +61 (08) 6552 7766 (note: he is not to be contacted for an Applicant Information Package).
How to Apply: visit You will need to key in the Position Number (Pool Ref 13228 into the ‘Web Search No. Position Number or Keywords’ box on the website to access the advertisement.
To see this announcement, go to:

JOB – CRAWFORD COLLECTIONS MANAGER, Western Reserve Historical Society (Macedonia, OH, USA)

  • Deadline to apply is November 11, 2016.

Responsible to the Frederick C. and Kathleen S. Crawford Curator of Transportation History for the long-term care, maintenance, and preservation of collections vehicles and objects. Primary location of work will be at WRHS offsite storage facility in Macedonia, Ohio with one (1) to two (2) days of work per week at the Cleveland History Center.
This position is classified as full time professional and non-exempt from overtime compensation.
Works closely with WRHS curatorial, registrar, education, and exhibit team.
• Aid in the implementation of the overall care, maintenance, and preservation of collection vehicles and objects.
• Perform maintenance and preservation treatments as assigned.
• Maintain accurate documentation of any preservation or restoration work undertaken on collection vehicles and objects.
• Utilize museum database software for data entry, object cataloging, and collections tracking purposes.
• Assist in the supervision of the volunteer staff working on the care, maintenance, and preservation of collection vehicles and objects.
• Report on the progress of any preservation or restoration projects undertaken.
• Maintain contact with, and assist in managing, outside contractors hired to do any preservation or restoration work on collection vehicles or objects.
• Assist with the evaluation of vehicles considered for acquisition.
• Assist in the transport and installation of collection vehicles, onsite, offsite, and in transit.
• Maintain preservation shop appearance and function, including tracking equipment, parts, and supply needs.
• Participate in educational and public programming involving or pertaining to the Crawford Collection.
• Manage special projects and tasks as assigned.
• Undertake other specific duties as assigned.
• Bachelor’s Degree in Automotive Technology field, Museums Studies, History, or related field of study preferred.
• Must have museum (or equivalent) experience in handling historic vehicles and objects appropriately, and be able to work as part of a professional team.
• Knowledge of museum methods, technologies, standards, practices, procedures, and ethics, and a desire to adhere to current museum policies and best practices.
• Organizational skills and attention to detail, ability to communicate ideas effectively, ability to prioritize work and meet deadlines, ability to work independently and in a team, and the ability to manage several projects simultaneously.
• Minimum five years of experience in hands on maintenance and care of vehicles from 1890 to present.
• Minimum three years of experience supervising staff and volunteers in a shop environment.
• Must be able to lift 75lbs, work at heights, and able to work in environments where paint, solvents, cleaners, dust, molds, and other materials generally associated with a shop are present.
• Excellent oral, written, and computer skills (Excel, Outlook, Word, etc.).
Please submit a cover letter and resume to Janet Waterman, HR Associate via email at or mail them to:
Western Reserve Historical Society
Attn: Human Resources, 10825 East
Blvd, Cleveland, OH 44106 USA

JOB – COLLECTIONS MANAGER, Wake Forest University (Winston-Salem, NC, USA)

  • Position Closing Date: December 1, 2016 at 4:00 p.m. EST
  • Tracking Code 2402-141
  • A cover letter is required with application
  • Position Type: Full-Time/Regular
  • Employment Type: Full-Time Exempt Staff
  • Benefits Eligibility: Available at full-time University sponsored rates
  • Grant funded: No
  • Scheduled Hours: 8:30 a.m. – 5:00 p.m.
  • Number of months per year: 12
  • Department: Museum of Anthropology
  • Hiring Range: $47,500.00 – Commensurate with education and experience.
  • A cover letter is required with application

The Collections Manager implements and directs collections management activities for the Museum of Anthropology. The Museum of Anthropology holds more than 30,000 ethnographic and archaeological objects from the around the world. These objects are used in exhibits at the Museum of Anthropology, in teaching demonstrations in Wake Forest University classrooms, and in research projects of students, faculty, and visiting scholars. The Collections Manager handles, stores, houses, organizes, inventories, and photographs objects in the collections.
Essential Functions
• Implements the Museum of Anthropology Collections Plan by ensuring the collections are held and used in compliance with the research, storage, conservation, accession, deaccession, and loan policies.
• Maintains storage conditions for the Museum of Anthropology collections through preventative conservation methods, and suggests improvements to storage conditions. Houses, organizes, inventories, moves, tracks, and photographs the collections as appropriate.
• Identifies and implements preventative conservation measures for objects in the collections, coordinates access to the collections, processes accessioning and deaccessioning, and oversees the maintenance of collections facilities.
• Partners with the Academic Director to identify objects for exhibits, educational programs, and loans, and ensures their proper care while in use.
• Supervises Wake Forest University student projects and provides support to visiting researchers when appropriate.
• Monitors movement of collections at all stages of storage and use. Maintains Museum of Anthropology database and ensures it is up-to-date. Consults with the Academic Director regarding the database and the accuracy of its information. Identifies and solves cataloging errors in order to improve the veracity of collections records and the database.
• Responds to requests and inquiries about collections use from Wake Forest University student and faculty researchers, as well as other academic institutions, interest groups, heritage/descendant communities, and the public.
• Plans, coordinates, and supervises scholarly and public use of the collections, including for research, tours, and special events.
• Attends special events, which may occur offsite and during non-regular work hours.
• Acts as courier for loan objects when required.
• Consults with the Academic Director regarding deaccessioning objects outside the scope of the Collections Plan and accession policy.
• Suggests improvements to the Collections Plan and consults with the Academic Director to update Museum of Anthropology policies that impact the collections.
Required Education, Knowledge, Skills, Abilities
• Master’s Degree in Anthropology, plus three or more years’ experience handling and caring for museum collections.
• In-depth knowledge of collections management practices and procedures, including the legal and ethical requirements of museum collections.
• Demonstrated skill in organization, attention to detail, effective communication, and ability to work in diverse cultural settings.
• Demonstrated computer proficiency with museum collections databases (including Re:Discovery and PastPerfect) and Microsoft Office Suite (including Word and Excel).
• Ability to work some evening and/or weekend hours as required.
• Ability to meet the requirements of the University’s automobile insurance.
• Travel may be required to support out of area events.
• Ability to bend, kneel, and lift up to 50 pounds frequently.
Preferred Education, Knowledge, Skills, Abilities
• Degree or certification in Museum Studies.
• Museum collections conservation experience.
• Experience with artifact photography and object mount construction.
• Experience with NAGPRA.
• Demonstrated success in grant writing.
• Responsible for own work.
• Supervises volunteers, interns, and student employees working on collections-related projects as required.
Note: This position profile identifies the key responsibilities and expectations for performance. It cannot encompass all specific job tasks that an employee may be required to perform. Employees are required to follow any other job-related instructions and perform job-related duties as may be reasonably assigned by his/her supervisor.
In order to provide a safe and productive learning and living community, Wake Forest University conducts background investigations and drug screens for all final staff candidates being considered for employment. Wake Forest seeks to recruit and retain a diverse workforce, and encourages qualified candidates across all group demographics to apply.
For more information and to apply, go to:


  • This position remains open until filled

Position Purpose
The Archaeological Collections and Lab Manager will experience the inner workings of an archaeological laboratory by performing various collections-based duties and working on a variety of projects that require different skills. Under the general direction of University Operations and direct supervision by the Director of Cultural Resources Management, the Archaeological Collections and Lab Manager will be responsible for all aspects of management and stewardship of the permanent collections. Essential responsibilities include managing activities related to the permanent collection, exhibition coordination; registration of objects, cataloging, and inventory control; packing, crating and shipping of collections; management of outgoing loans; evaluation of collection conservation needs and implementation of long-range collections care plan; maintaining storage facilities and serving on collections/exhibitions project teams.
The successful applicant will also be responsible for cataloguing backlogged collections and will be directly responsible for managing the physical care and storage environment of the archaeological collections. This colleague must work cooperatively and creatively with staff, students and volunteers at the CRM facility and with university partners and contractors, ensuring that the overall institutional goals are maintained and programs are effectively promoted. This is term position of one year, renewable upon review and needs assessment.
Care of Collections (Primary duty)
• Work closely with the Director of Cultural Resources Management to oversee stewardship of the archaeological collections including policy and procedure creation and enforcement.
• Organize the collections rooms and assign barcodes to each box; maintain associated database and inventory.
• Direct and supervise volunteers and students with the reconstruction and/or cross mending of catalogued objects.
• Direct and supervise volunteers and students with the labeling of artifacts and packaging materials.
• Rehouse old collections that are incorrectly packaged (non-acid free boxes, etc.) into archivally stable materials.
• Monitor environmental condition of objects (desiccants andHOBOsensors).
• Administer Integrated Pest Management (IPM) Program – coordinate with IPMcontractor and pest traps to ensure there are no infestations, if there are, be able to treat the infestation/work with IPM Contractor to treat.
• Coordinate conservation efforts.
Manage object and accession records, both paper and computer.
• Track object locations and condition within the facility, e.g. display areas, using a database.
• Track project collections temporarily housed at CRM facilities for analysis.
• Coordinate and perform inventories of objects on display and storage areas both on and off site.
• Coordinate and implement rotation schedules for objects on display.
Collections Catalog Backlog Reduction (Primary duty)
• Reduce project backlog: catalog archaeological collections from previous projects using an electronic collections database (including digital images). Assign accession and catalogue numbers to collections and individual artifacts.
• Recommend individual artifacts and collections for deaccession in accordance to the written deaccession policy (actual deaccession of items will be approved by theCRM director prior to implementation).
Public Outreach (collaborative programs, loans, exhibits, etc.)
• Assist theCRMdirector with the creation of a strategic plan for exhibitions.
• Manage the volunteer corps and student workers/interns.
• Prepare loan agreements with museums and other SCU departments.
• Manage transfer arrangements for exhibitions, including receiving and releasing all incoming/outgoing exhibition loans.
• Respond to various requests and inquiries from staff and the public about the collections.
• Create appropriate database records for exhibition loans including generating lists as well as incoming and outgoing receipts.
• Manage outgoing loans, both internal to SCU and regional institutions, particularly those temporarily housed offsite to CRM contractors.
Cultural Resources Management (CRM) Support
• Act as field liaison betweenCRMdirector and CRM consultants; providing logistical support as needed.
• Assist CRM contractors with field projects by providing help with artifact identification, particularly during the screening process.
• Coordinate, with CRM field lab, the packaging, recordation and transfer of artifacts during field recovery efforts.
• Other duties as assigned.
Provides Work Direction
• Supervise volunteers and student workers on various laboratory and curation tasks by providing training, work direction, and problem solving assistance.
• Act as liaison and coordinator for field laboratory organization and logistics betweenCRMcontractors and SCU.
To perform this job successfully, an individual must be able to perform each essential duty satisfactorily. The items below are representative of the knowledge, skills, abilities, education, and experience required or preferred.
This position requires the ability to effectively establish and maintain cooperative working relationships within a diverse multicultural environment.
• Must be proficient working with and maintaining large databases;
• Must be committed to education and excellence; discretion, confidentiality, professionalism, and enthusiasm for collaboration;
• Must demonstrate experience including the ability to exercise sound judgment and decision-making.
• Must demonstrate the ability to be an effective team member who can work in a dynamic and collaborative environment;
• Must be able to work independently;
• Must be detail oriented;
• Exhibit ability to plan, organize, and implement complex filing and research systems;
• Exhibit ability to multi-task and problem solve;
• Exhibit ability to work in a team-oriented environment;
• Exhibit ability to communicate effectively, verbally and in writing; ability to establish and maintain effective working relationships with volunteers, assistants, supervisor, other agencies, and the public.
Physical Demands
The physical demands described below are representative of those that must be met by an employee to successfully perform the essential functions of this job. In accordance with the Americans with Disabilities Act, as amended, the California Fair Employment & Housing Act, and all other applicable laws, SCU provides reasonable accommodations for qualified persons with disabilities. A qualified individual is a person who meets skill, experience, education, or other requirements of the position, and who can perform the essential functions of the position with or without reasonable accommodation.
Frequently required to walk, sit, talk, and hear; frequently required to use hands to handle, feel, or operate objects, tools, or controls and to reach with hands and arms; occasionally required to climb or balance, stoop, kneel, or crouch; occasionally lifts and/or moves up to 25 pounds. Specific vision abilities include close vision, distance vision, color vision, peripheral vision, depth perception, and ability to adjust focus. Reasonable accommodations may be made to enable individuals with disabilities to perform essential functions.
• Considerable time will be spent at a desk using a computer terminal.
• May be required to travel to other buildings and/or construction job sites on the campus.
• Will be required to climb stairs on a semi-frequent basis.
• Will be required to lift “bankers style” boxes with an average weight of 10-15 pounds.
• Will be required to reach or bend down to put boxes away or take them off of shelves.
• Will be required to move, load and unload carts.
• Must have physical coordination/skills to handle and move fragile collection objects.
Work Environment
The work environment characteristics described below are representative of those an employee encounters while performing the essential functions of this job.
• Typical office environment.
• Typical laboratory environment.
• Mostly indoor office environment with windows (no A/C).
• Offices with equipment noise.
• Offices with frequent interruptions.
• Construction sites with noise, dirt, moving distractions, uneven ground (minimal).
Tools and equipment used
Collections databases; computer including word processing and other database programs; document/image scanner; digital camera; general office equipment; digital/mechanical scales, carts, stairs.
• Demonstrated experience in archaeological collections management;
• Demonstrated experience in managing, creating, and maintaining large databases;
• Basic knowledge of English colonial artifact types;
• Knowledge of artifact handling procedures for three-dimensional artifacts in a variety of materials, sizes, and weights;
• Knowledge of standard museum collections management practices and procedures.
• Knowledge and experience with museum database systems and standards and proficiency, preferably with collections databases.
• Working knowledge of Access, Excel and Re:Discovery Proficio database software required; must possess an aptitude to learn new computer programs/platforms as needed.
• Experience with digital photography;
• High degree of sophistication in verbal and written communication skills, including the ability to communicate complex concepts about archaeology and cultural practice;
• Experience with the application of Harris Matrix software.
• Preference may be given to candidates with specialized skills beyond the preferred requirements that contribute significantly to program needs.
• Excellent computer and database management skills;
• Working understanding ofHOBOsensors and environmental control databases.
• Experience with cataloging, collections documentation, and determinations of cultural affiliations for archaeological objects.
• Must be able to meet the physical demands of the position on a continual basis with or without reasonable accommodations including climbing ladders, lifting heavy objects, pushing and pulling heavily loaded carts;
• Experience conducting inventory, housing and re-housing collections;
• Applicant must have a working understanding of archaeological methods, stratigraphy, and inventory procedures. Although not required, previous excavation experience is a plus.
• Demonstrated experience identifying artifacts, particularly European and American ceramics, glass and metal, as they pertain to the historical record of California.
Education and/or Experience
• Minimum of three years of consecutive collections management experience in an archaeological curation facility or museum setting required; 5+ years preferred.
Special Instructions to Applicants
This is a fixed-term position ending 12/1/2017 with the possibility of extension or conversion to regular status dependent on funding and/or business need.
About Santa Clara University
Santa Clara University is a comprehensive Jesuit, Catholic university located in California’s Silicon Valley, offering its 8,800 students rigorous undergraduate curricula in arts and sciences, business, and engineering, plus master’s, Ph.D., and law degrees.
Santa Clara University does not sponsor work visas for staff positions. If hired, individuals must independently provide proof of their eligibility to work in the United States.
Santa Clara University is an Equal Opportunity/Affirmative Action employer, committed to excellence through diversity and inclusion, and, in this spirit, particularly welcomes applications from women, persons of color, and members of historically underrepresented groups. All qualified applicants will receive consideration for employment without regard to race, religion, color, national origin, sex, sexual orientation, gender identity or expression, age, status as a protected veteran, status as a qualified individual with a disability, or other protected category in accordance with applicable law. The University will provide reasonable accommodations to individuals with a disability.
Santa Clara University annually collects information about campus crimes and other reportable incidents in accordance with the federal Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act. To view the Santa Clara University report, please go to the Campus Safety Services website. To request a paper copy please call Campus Safety at (408) 554-4441. The report includes the type of crime, venue, and number of occurrences.
For more details about this job opportunity, and to apply visit:

JOB – COLLECTIONS CARE, Denver Museum of Nature & Science, (Denver, CO, USA)

  • Close Date: Cover letter and resume by November 20, 2016 at 5:00 p.m. (MST)
  • Job Code No. 702
  • Pay Range: $38,590- $50,168

The Denver Museum of Nature & Science (DMNS) is seeking a Collections Manager to join our amazing institution.  This is an exciting opportunity to play an integral part in the continued success of the Museum, with 450+ full-time and part-time employees and more than 1,800 volunteers.  We are building on our already solid foundation with a strong vision and solid strategy to recreate and redefine how we engage our community that loves, understands, and protects our natural world.
The Denver Museum of Nature & Science is the Rocky Mountain region’s leading resource for informal science education. Located in the heart of Denver City Park, and neighbor to the Denver Zoo, the Museum offers a variety of exhibitions, programs, and activities that help Museum visitors experience the natural wonders of Colorado, Earth, and the universe. More than 300,000 students and teachers are served by Museum each year. The Museum houses nearly 1.5 million artifacts and specimens in its collections from around the world.
Job Description
The Department of Earth Science is an outwardly focused and collegial team that engages in international fieldwork but has strong emphasis on the geology and paleontology of the American West. The current staff has expertise in invertebrate and vertebrate paleontology and paleobotany, and each curator has at least one scholarly project in Colorado. The Department’s collections are sizeable and are growing; their composition and history are described at In addition to one full-time collections manager (this position), the Department has five curators, two fossil preparators who run a preparation laboratory that operates 364 days per year, and nearly 400 volunteers who engage in science, collections, and outreach.
Essential Duties
• Practices professional collections management for department collections, including knowledge and application of laws and regulations pertaining to collections.
• Facilitates the accession, deaccession, documentation, registration, and preparation of collections.
• Organizes and systematically stores specimens for ease of access, and for long-term preservation.
• Facilitates internal and external access and use of collections for purposes of research, education, loan, and exhibit.
• Oversees the work of volunteers (approximately 75), provides trainings as required and mentors/supervises volunteers, students, and interns.
• Provides information and expertise on collections to internal and external audiences.
• Coordinates with Museum departments to support and deliver 5 – 10 (or more) internal and external educational programs per year
• Master’s Degree in Museum Studies, earth sciences or a related field required. Collection management experience can be substituted for education.
• 3 years’ experience handling museum collections required.
• 3 years’ experience with relational databases required.
• Intermediate proficiency in Microsoft Office suite required.
Ideal Candidate will
• Be a great team player.
• Extremely organized, highly motivated, proactive.
• Have supervisory experience.
• Be able to positively connect with a wide range of people.
• Be able to work across diverse communities.
• Desire to learn international, federal, state and local laws and protocols for specimen care, and understand the goals and needs of natural history collections.
Application Instructions
Please submit your cover letter and resume by 5:00 PM MST on November 20, 2016. Resumes will not be accepted after this time.
Applications may only be accepted electronically via the Museum’s website
No phone calls please.
For more information about this announcement and to apply, visit:
The Denver Museum of Nature & Science is an equal opportunity employer. The Museum is dedicated to the goal of building a culturally diverse staff committed to serving the needs of all our visitors and we encourage applications from individuals of all backgrounds.

JOB – DIRECTOR OF COLLECTIONS, Natural History Museum of Los Angeles County (Los Angeles, CA, USA)

  • Application deadline is December 15, 2016.  

The Natural History Museum of Los Angeles County (NHM) seeks a Director of Collections, an individual with a Ph.D. degree or equivalent experience, and the ability to provide a vision for the development, growth, enhancement, direction, and management of the Museum’s vast and diverse natural and cultural collections.
NHM is the largest natural history museum in the western United States and home to one of the world’s most extensive and valuable collections of natural and cultural history.  These collections are world-class in size, quality, and research importance, and they sustain award-winning research, education, and exhibit programs.  Included in the collections are more than 35 million specimens and objects, some as old as 4.5 billion years.  These collections encompass those at the main Natural History Museum in Exposition Park, the world-famous La Brea Tar Pits and Museum in the mid-Wilshire area of Los Angeles, and the historic William S. Hart Museum in Newhall, as well as collections maintained at several off-site facilities.
Reporting directly to the Vice President of Research & Collections, the Director of Collections will assist and advise the leadership of Research & Collections on policy development and implementation.  He or she will guide collections plans, funding initiatives, strategic growth, digitization efforts, inventories, space allocation, and performance metrics.  The Director of Collections will work closely with (but not directly supervise) the curatorial and collections staff, the registrars, conservators, and database managers to oversee a wide-range of collections activities and programs aimed toward making the Museum’s collections more relevant to research and education while increasing their accessibility and use.  The successful applicant will have excellent communication skills, a talent for collaboration across disciplines, and the ability to engage and excite both our colleagues and public audience through the relevance of our collections.  This position will also be responsible for maintaining and strengthening NHM’s presence in key professional and governmental networks, and for establishing active internal NHM collaborations and cross-departmental initiatives.
The qualified candidate will have a strong background in collections care, management, digitization, and records documentation.  He or she will have experience in generating external funding via competitive grants and/or other external sources to support collections. Experience in conducting collections-based research would be an advantage, as would an interest in creative ways of engaging the public in collection support initiatives (e.g., citizen science collections-based activities).
How to Submit
Application deadline is December 15, 2016.  Applicants should send (1) a cover letter of no more than three pages, (2) curriculum vitae, (3) statement of vision for natural history collections, (4) statement of prior experience with natural history collections, and (5) the full contact information of at least three professional references to Tyler Hayden ( as a single document.
The mission of the Natural History Museum is to inspire wonder, discovery, and responsibility for our natural and cultural worlds. The Museum’s vision is to inspire the widest possible audience to enjoy, value, and become stewards of the Earth.
To apply for this position, go to:
The Natural History Museum of Los Angeles County is an Equal Opportunity Employer.  Women and minorities are encouraged to apply. Please, no phone calls or fax

JOB – CURATOR – REGISTRAR/COLLECTIONS MANAGER, Disney Parks & Resorts (Lake Buena Vista, FL, USA)

  • Job ID:391986BR

Curator duties include research for exhibit topics and working with an exhibit team to develop and implement exhibitions. One is responsible for procuring artifacts and installing exhibits.
Registrar duties include implementing policies and procedures for loan contracts, facility reports, shipping, insurance for and documentation of artifacts. Oversee database management of owned and borrowed objects.
Collections Manager duties include the care and inspection of artifacts and objects of historical significance in storage, on loan to and owned by the Walt Disney Company for display at the Walt Disney Parks and Resorts.
Exhibit Team Duties
• Must work with a team to develop an exhibit concept. Provide input to WDI design disciplines: show designers, show lighting, show producers, graphics, interior designers, character finishing, props, and architectural and facilities engineering with respect to special requirements of objects on display.
• Researches, identifies, and recommends objects to support specific temporary exhibition requirements
• Maintains the coordination, planning, installation, and maintenance of assigned galleries and exhibits locations on Disney property
• Works with the WDI project team on all aspects of the exhibit planning, design and fabrication. This includes financial management, strategic planning, implementation of development plans, administration and management of gallery facilities including environmental, security, and maintenance
• Anticipates major project milestones and communicates issues to management and project teams
• Works with WDI project management on identifying, coordinating and scheduling outside vendors including packers, shippers, decorators, and conservators to accommodate artifacts special needs
• Makes independent decisions to resolve collections issues at the base level. Independently prioritizes deliverables to meet project needs
• Builds and maintains lender relationships, both internal (TWDC) and external
• Works with Corporate Legal and Risk Management to formulate loan agreements and insurance requirements
Collections Care Duties
• Responsible for the acquisition, conservation, registration, storage, care and preservation, and management of collection assets.
• Responsible for proper object handling and instructing others on proper procedures.
• Register and assign accession and catalog objects according to established registration system. Maintain records of storage, exhibit, and loan location of all objects. Document all object movement.
• Design and prepare exhibit mounts for delicate objects on display and in storage
• Organizes and maintains secure storage locations
• Responsible for collections care, periodic review of exhibit locations and routine maintenance, and disaster planning for assigned exhibit locations on Disney property
• Establishes partnerships with park partners to maintain gallery spaces and level of care for borrowed assets
• Works with WDW disciplines including Security, Alarm Systems, Pest Management, Operations, Decorating, Custodial and Engineering Services to achieve a safe and appropriate environment for the display and storage of objects
• Responsible for monitoring environmental controls, rotating sensitive objects off exhibit as needed, establishing and maintaining anintegrated pest management system, coordinating a housekeeping routine, and ensuring the security of all objects within the building
• Remains on call 24/7 for any emergency that may arise
• Perform spot inventories of the collections annually and facilitate and full inventory of the complete collections every 5 years
Basic Qualifications
• Minimum of 3 years’ experience in the field of Collections Management
• Skilled in object handling
• Knowledge of preventative conservation methods and procedures
• Educated about the organization, arrangement, and nomenclature of objects and artifacts
• Knowledge of a collection management software for cataloging and record keeping
• Strong verbal and written communication skills
• Ability to work in a fast paced environment with multiple responsibilities
• Ongoing education in Collections care and art preservation practices and methodology
• Able to communicate effectively and positively represent WDI to outside entities
• Ability to successfully lead project teams including consultants, staff extensions, vendors etc.
• Ability to resolve conflict and negotiate
• Demonstrated knowledge of cataloging, contracting, displaying, storing, handling and shipping of art and objects on loan or special exhibits
Preferred Qualifications
• 5-10 years’ experience in the field of Collections Management
• Knowledge of Walt Disney World and Disney history
• Must fully understand Walt Disney Imagineering creative process and work within project timeframe
• Knowledge of EMU, Electronic Museum Database – a collection management software for cataloging and record keeping – that is currently being used
Required Education
• Bachelor’s degree in Fine Arts, Art History, Museum Studies or equivalent experience
Preferred Education
• Master’s degree preferred but not necessary
• Additional Information
For more information about this announcement and to apply, visit:
Disney is an equal opportunity employer.


  • Job No:492646
  • Full time/Part time:Full-time
  • Exempt/Non-Exempt: Exempt
  • Salary Grade: Administrative – AD 150

The position will help plan and implement the shift of the University’s Museum of Anthropology and Archaeology Collection to the Libraries (transfer, housing, arrangement, description, web exposure), and be the core support for this collection as well as the Libraries’ permanent collections of art and material culture (archives, manuscripts, rare books, art and artifacts): care, safety, documentation, compliance with professional art, archival and museum standards.
The Seton Hall University Museum Collection is an important archive of Native American artifacts and some print items to be rehoused in the Libraries’ Special Collections and expansively exposed to scholars on the web.  The Collections Manager will utilize the Libraries’ relevant databases for art and artifacts (PastPerfect) and Special Collections (Archivists Toolkit/ASpace) as appropriate, as well as arrange loans and monitor environmental conditions for the Museum and other collections.  The Collections Manager will report to the Director of the Gallery, and will very closely coordinate with the Head of Special Collections along with the faculty associated with the Museum Collections.
Duties and Responsibilities
• Plan and implement the shift of the University’s Museum of Anthropology and Archaeology Collection to the Libraries (transfer, housing, arrangement, description, web exposure). Initially, this will be 100% of the job, but will move to the % indicated after 24-36 months.
• Support the Libraries’ permanent collections of art and material culture (archives, manuscripts, rare books, are and artifacts): care, safety, documentation, compliance with professional art, archival and museum standards. Utilize the Libraries’ relevant databases for art and artifacts (PastPerfect) and Special Collections (Archivists Toolkit/ASpace) as appropriate, as well as arrange loans and monitor environmental conditions for the Museum and other collections.
• Coordinate packing, handling, movement, and shipping arrangements for objects, including loaned objects (oversee handling, packing, movement) and inspection of all objects entering or leaving the Libraries for the Museum and other collections as needed, and overseeing the inspection of objects generally, and the execution of incoming/outgoing condition reports and loan forms, general object condition reporting. Participate with the faculty associated with the Museum Collections in the formulation of policy guiding the use and availability of those collections, and enact those policies. Process new acquisitions to the Libraries’ collections, and apply established Collections Management procedures for their safekeeping, storage and movement, solve cataloging problems in order to improve the veracity of data in the collections records and database. Follow established procedures for maintaining records of accession, condition, and location of objects in collection, both permanent and loaned, and for overseeing movement, packing, and shipping of objects to conform to insurance regulations and best practices Monitor storage and exhibition spaces for temperature/humidity, environmental hazards, safety, cleanliness, and ongoing maintenance concerns with an eye to preventative maintenance.
• Additional Duties: Assisting with planning and implementation of exhibition programming and special events; Ability to work alone or in a team situation required with all relevant staff; Scheduling classes and groups usage of the museum classroom; Opening and closing the Gallery in the Director’s absence; Assisting with general administration and other tasks as assigned.
• Essential interface with internal and external constituents (scholars, museums, universities) in representing the Museum Collection and Special Collections.
• Will assist in formulating policy and is the essential interface with internal and external constituents as above.
• Will assist if needed in raising funds and obtaining grants.
• Will develop equipment needs and budget with Gallery Director. Will contract with outside vendors/contractors/consultants for specialized equipment and services.
• Will manage budgets and do purchasing and procurement with Gallery Director for the Museum Collections.
• Will have a strong hand in defining guidelines and how to accomplish goals with the Gallery Director and in close coordination with the Special Collections dept.
Required Qualifications
• Bachelor’s degree – field of study: Archival Science, Museum Studies or related field such as Anthropology or Archaeology.
• Minimum of 2-3 years directly relevant experience in a museum, a special collection, or similar non-profit center required.
• Excellent organizational, interpersonal, and communication skills (both written and verbal) required.
• Demonstrated ability to prioritize tasks and to meet competing deadlines in a fast-paced, deadline-driven environment required.
• Ability to be equally effective when working independently or as a part of a team required.
• Ability to manage multiple complex projects in a fast-paced work environment required. Experience with provenance research and research use of these Museum and other Special Collections objects required.
• Experience with at least one of the databases previously noted (PastPerfect and Archivists Toolkit/ASpace) required.
• Strong computer skills: expert facility with MS Office, including Word, PowerPoint, and Excel and Adobe PhotoShop and Acrobat required.
• Ability to lift, move, and pack items/groups of items of up to 50 pounds.
• Previous experience shipping loans and/or exhibitions domestically and internationally required.
• Excellent communication required – drafting and interpreting policies, working with scholars, etc.
• Excellent attention to detail with ability to do repetitive tasks required.
• Strong commitment to quality control and collaboration required.
• Familiarity with current best practices and metadata standards in the field of collections management (including handling, packing, movement and shipping) required.
Desired Qualifications
• Master’s degree – field of study: Archival Science, Museum Studies or related field such as Anthropology or Archaeology.
• Experience with both databases previously noted (PastPerfect and Archivists Toolkit/ASpace) preferred.
• Good photographic skills preferred.
Physical Demands
• Ability to lift, move, and pack items/groups of items of up to 50 pounds.
For more information about this announcement and to apply, visit:

JOB – CURATORIAL ASSISTANT, Harvard University (Cambridge, MA, USA)
Schedule: Full-time
Grade: F
The Visual Resources Center (VRC) of Stanford’s Art and Architecture Library is used heavily by members of the art history faculty, as well as graduate and undergraduate students preparing for coursework and lectures. The VRC provides a vital source of teaching materials and the infrastructure necessary for the department to continue its teaching mission. Reporting to the VRC Curator, and operating as member of the Art & Architecture Library under the supervision of the Head Librarian, the Curatorial Assistant is an important source of reference and research services for faculty, students and visitors, and performs all services related to the VRC including: cataloging, copystand photography, scanning, maintenance, and training.  The Curatorial Assistant performs a wide range of complex and/or interrelated duties involving a high level of decision making within one or more functional areas of a library.  Applies knowledge of overall system and works mostly independently with a high degree of initiative.  May supervise employees and manage a unit by overseeing daily operations and updating and maintaining facilities and equipment.
Organization and Classification of Materials (35%)
• Original cataloging and classification of art and architectural images using the VRC’s content management system software, EmbARK Cataloger, while adhering to our local cataloging standards and guides such as VRA Core, CCO, Library of Congress, and Getty Institute authority files (AAT, ULAN, TGN). Developing and maintaining authority files for use by VRC workers in EmbARK Cataloger (10%).
• Creating web-based image study sets for instructors including organization of records, maintenance of portfolios and quality checks of online EmbARK Web Kiosk display and CourseWork/Canvas display (25%).
Administration (30%)
• Managing student staff schedules and reviewing/approving bimonthly timecards in Oracle. Working with the Curator to hire, train, evaluate, and supervise VRC staff in all aspects of daily VRC activities. Participating in setting up procedures and assist with overseeing materials processing work. Using on a daily basis common computer programs such as word processing, spreadsheets, Web browsers, and email. In Curator’s absence, managing daily operations. (10%).
• Working with Curator to determine VRC budget by monitoring student worker hours/pay and updating internal budget documents bimonthly. In Curator’s absence, verify Departmental Purchasing card transactions and order/maintain work supplies for unit. Participate in the development, implementation and interpretation of policies concerning the organization, circulation and care of the collection (15%).
• Instructing users in the use of the library catalog, databases, the VRC’s ImageBase, ARTstor, and other information resources. Answering directional and informational questions and assisting others with ready and basic reference questions. Applying public service skills to resolve problems and promote patron satisfaction. Interacting with management and colleagues within and outside the functional area as needed. Performing general VRC administrative tasks and special projects as assigned, including answering in-depth reference questions, technical & image support, helping with equipment/software upgrades & swaps, assisting with 4D Server & EmbARK database upgrades, assisting with data migration projects, and leading orientation tours (5%).
Collection Development (35%)
• Creating images on demand for courses via digital copy stand photography and/or slide scanning. Contributing to image post-processing work using Adobe Photoshop. Performing quality control checks for student post-processing work. Contributing to all other aspects of image production, post-processing, archiving, and image delivery. Participating with planning and supervising work associated with collection shifts and transfer of materials. Coordinate and perform a wide range of activities throughout a variety of digitization workflows for library materials. Maintain or assist in the development of organized research tools (30%).
• Maintaining the collection by performing quality control checks, modifying metadata as needed, and working with faculty to facilitate ease of use (5%).
Minimum Education and Experience Required
Bachelor’s degree plus three or more years of experience in an academic library, or equivalent combination of education and relevant experience.
Minimum Knowledge, Skills and Abilities Required
• Experience with direct interaction with patrons.
• Demonstrated interpersonal and organizational skills.
• Ability to work independently in a standards-based environment that requires high quality in production and output may be required.
• A Bachelor’s degree in Art History or equivalent experience in a visual resources field may be required.
• Familiarity with terms, periods, and styles of art and architectural history may be required.
• Able to apply judgment in choosing procedures and evaluating alternatives.
• Demonstrated ability to perform detailed tasks accurately and efficiently.
• Demonstrated ability to be flexible and work well under pressure.
• Record of excellent attendance.
• Experience using or ability to learn one or more library automated systems.
• Knowledge of or ability to learn Library of Congress call number systems.
• Proven track record with handling complex procedures from beginning to end.
• Experience in library acquisitions or copy cataloging.
• Familiarity with concepts of cataloging, name authority, and controlled vocabularies may be required.
• Experience in searching online catalogs/databases.
• Experience working in an academic or large public library system.
• Demonstrated supervisory experience in complex environments.
• Proven experience in day-to-day oversight of a highly variable workplace.
• Exhibit strong analytical skills.
• Proven ability to apply sound judgment and seek constructive solutions to problems.
• Skilled in dealing with financial systems and managing budgets for materials and personnel.
• Background in managing projects with help from individuals and as part of a team.
• Ability to take initiative, plan and prioritize work, and meet deadlines.
• High degree of comfort in the use of computers in a networked environment for word processing, spreadsheets, database management, financial systems, and communication.
• Familiarity with image databases, scanning, and image manipulation software may be required.
• Demonstrated ability to learn and synthesize new information quickly.
• Ability to communicate effectively in oral and written English.
• Working knowledge of cataloging tools such as VRA Core, CCO, AACR2r, Library of Congress and Getty Institute Authority files (AAT, ULAN, TGN) may be preferred.
• Reading knowledge of one of more of the following languages may be preferred: French, German, Italian, Spanish, Chinese, or Japanese
• Experience with copy stand photographic techniques may be preferred.
Physical Requirements
• Ability to push a cart weighing up to 650 lbs. that requires an initial push force up to 70 lbs
• Ability to work in an environment that is dusty and or moldy
• Ability to lift books that are up to 10 pounds
• Ability to kneel and reach
• Must be able to stand for many hours
Work Standards
• Interpersonal Skills: Demonstrates the ability to work well with Stanford colleagues and clients and with external organizations.
• Promote Culture of Safety: Demonstrates commitment to personal responsibility and value for safety; communicates safety concerns; uses and promotes safe behaviors based on training and lessons learned.
• Subject to and expected to comply with all applicable University policies and procedures, including but not limited to the personnel policies and other policies found in the University’s Administrative Guide,
For more information and to apply, visit:

Job posting: Conservation Research Specialist 4, Yale University (West Haven, CT, USA)

STARS Requisition No. 40392BR

    • Supervisory Organization: Institute for Preservation of Cultural Heritage – Lens Media lab
    • University Job Title: Conservation Research Specialist 4, Lens Media
    • Time Type: Full-time
    • Duration Type: Fixed

Position Focus: Yale’s Institute for the Preservation of Cultural Heritage (IPCH), is dedicated to advancing innovative and sustainable practices in the field of heritage preservation. At the crossroads of science and art, the Institute is comprised of leading-edge conservation, research, and imaging laboratories.
A position is open in the IPCH Lens Media Lab, reporting to the Head of the Lens Media Lab (LML). The research goals of the LML are focused on the preservation and characterization of photographic materials with an emphasis on creating and interpreting large datasets gleaned from reference, archival, and museum collections. Building on this base, collaborations across disciplines in the humanities and sciences will be fostered to assemble and interpret datasets derived from a broad spectrum of cultural heritage materials. Through the development of data visualization methods, tools, and interfaces, meaning and impact of these data will be communicated to broad constituencies including scientists, conservators, art historians, and curators.
Working under the direction of the Head of the LML, the primary duty and responsibility is the pursuit of data-driven approaches for understanding art and cultural material. As envisioned, these approaches will be achieved through image and signal processing techniques used in combination with machine learning methods. The principal dataset will be derived from quantitative and qualitative measurements made from the LML’s reference collection of photographic papers combined with data from prints made by important 20th century photographers held by leading collecting institutions. Other datasets, including those derived from art/artifact storage and display environments (made using low power sensors and other IoT methods) will also be contemplated.
Essential Duties

  • Assemble, specify, design, and construct hardware for measuring the physical and chemical properties of works of art and artifacts.
  • Perform image processing, algorithm development, data visualization, and the application of data science principles (statistics, clustering, and pattern recognition) to structured and unstructured datasets.
  • Assist in the creation of software interfaces and computing platforms to promote humanities-based research.
  • May manage projects and/or serve as a team leader; may supervise or mentor fellows, interns and/or students.
  • Coordinates the involvement of Yale or external specialists in select projects and utilizes on-campus user facilities as necessary.
  • May organize workshops, prepare and deliver professional presentations, write papers for submission to peer-reviewed journals.
  • Performs some instrument and laboratory maintenance.
  • May perform other duties as assigned.

Required Education and Experience
Master’s Degree in a related and four years’ experience or an equivalent combination of education and experience.
1. Ability to specify, design, and develop hardware for measuring physical and mechanical properties of works of art and artifacts, with an emphasis on imaging techniques and low power sensor networks.
2. Knowledge of the theory and practice of areas such as: image processing, algorithm interpretation and design, machine learning techniques, signal processing, and data science.
3. Demonstrated ability to assess large datasets using statistical and visualization tools. Demonstrated computer coding and software development capabilities.
4. Excellent written and verbal skills, including English language fluency. Demonstrated knowledge of/interest in working with art and artifacts, including photographs. Demonstrated ability to work collegially with a wide range of staff, faculty, and student from the sciences and the humanities.
5. Demonstrated project management skills with a proven track record of completion on time. Well-developed organizational, research and analytical skills.
Preferred Education, Experience and Skills: MS in computer science or a related field (e.g. signal and image processing, data science).
Ph.D. preferred.
Check Requirements: All candidates for employment will be subject to pre-employment background screening for this position, which may include motor vehicle, DOT certification, drug testing and credit checks based on the position description and job requirements. All offers are contingent upon the successful completion of the background check. Click here for additional information on the background check requirements and process.
For more employment details and to apply, visit:
Yale University considers applicants for employment without regard to, and does not discriminate on the basis of, an individual’s sex, race, color, religion, age, disability, status as a veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Title IX of the Education Amendments of 1972 protects people from sex discrimination in educational programs and activities at institutions that receive federal financial assistance. Questions regarding Title IX may be referred to the University’s Title IX Coordinator, at, or to the U.S. Department of Education, Office for Civil Rights, 8th Floor, Five Post Office Square, Boston MA 02109-3921. Telephone: 617.289.0111, Fax: 617.289.0150, TDD: 800.877.8339, or Email:

Fellowship: Samuel H. Kress Mid-Career Fellow

Applications for 2017 funding are now being accepted. Applications must be submitted by October 26, 2016, 11:00 p.m. EST. 
Research grants of up to $15,000 will be awarded to one mid-career professional whose research project relates to the appreciation, interpretation, preservation, study and teaching of European art, architecture and related disciplines from antiquity to the early 19th century, in the context of historic preservation in the United States. Potential Kress Fellow projects could include the exploration of shared European and American influences in style, design, materials, construction techniques, building types, conservation and interpretation methodologies, philosophical and theoretical attitudes, and other factors applicable to preservation in both Europe and America.
Funding for the Kress Fellowship is made possible through the generous support of the
Criteria for Evaluation
Applications are reviewed by the Fitch Trustees. Projects will be evaluated on the following criteria:

  • The project will make a meaningful contribution to the academic and/or professional field of historic preservation in the United States
  • The applicant has a realistic plan for the dissemination of research and/or final work product
  • The project has a clear and realistic goals, timeframe, work plan, and budget
  • The project demonstrates innovative thinking, original research and creative problem solving and/or design


  • Grants are awarded only to individuals, not organizations. The Foundation does not fund university-sponsored research projects or dissertation research.
  • Applicants must be mid-career professionals with at least 10 years experience in historic preservation or related fields, including architecture, landscape architecture, architectural conservation, urban design, environmental planning, archaeology, architectural history, and the decorative arts.
  • Applicants must be legal residents or citizens of the United States.

Please email with any questions concerning criteria for evaluation or project eligibility.
How to Apply
Applicants are required to submit the following materials:

  1. Cover page, including Project Title; Name of Applicant(s), including primary contact person; Applicant Address; Phone; Email. Also, please specify whether you are applying for the Fitch Mid-Career Grant or the Richard L. Blinder Award; and specify the amount of grant money requested.
  2. Brief description of project, including how the final work product will be disseminated. Applicants are encouraged to be succinct and the description is not to exceed three (3) pages.
  3. Detailed work schedule and project budget, showing the grant amount requested from the Fitch Foundation and how this money will be spent.
  4. Curriculum Vita, including professional and academic background, and past and present grants received.
  5. Two (2) letters of support for the project to be included with the application.

Applications must be submitted electronically, in PDF format.
Selection Process & Completion of Grant
Grants are awarded at the discretion of the Foundation. Recipients will be notified by email in the Spring of 2016. Projects must be completed within twelve (12) months of the grant award. All grantees will be assigned a Trustee advisor who will provide feedback and guidance throughout the project.
Typically, grant awards are divided into equal payments, the first being presented upon the award of the grant. Substantial written progress reports are required for all subsequent payments. The final payment is awarded only upon completion of the project.
The Foundation shall be acknowledged in all publications. The Trustees reserve the right to publish the results if the recipient does not. The grant recipient must sign a release to the Foundation permitting such publication. Proper credit will be given to the grant recipient.
For more information visit:

Job posting: Team Leader, Preservation Services – Historic New England (Waltham, MA, USA)

*Location: Lyman Estate, Waltham, Massachusetts
*Classification: Full-time
Description: Historic New England, the nation’s oldest and largest regional heritage organization, seeks a dynamic and public-focused preservation professional to serve as Team Leader for Preservation Services. As a member of senior management, the team leader is responsible for programs and services that facilitate the preservation and rehabilitation of private properties that are significant to New England history. Lead our regional team in directing and growing the Preservation Easement Program, a national model for protection of privately-owned historic properties, and in delivering programs and services to historic homeowners. Work with colleagues and partner organizations to develop innovative programs to educate the next generation of preservation professionals.
Qualifications: Master’s degree in historic preservation, architectural history, or related field. Minimum of six years job-related experience, including easement development and management.
Applications: Please send resume and cover letter to or mail to Historic New England, 151 Essex Street, Haverhill, MA 01832 Attn: Human Resources
Historic New England is an equal opportunity, affirmative action employer with a strong commitment to supporting equality of opportunity and respect for diversity. We are committed to providing equal opportunity in employment to all qualified persons without regard to non-work-related factors such as race, color, religion, sex, age, disability, national origin, or sexual orientation.
Historic New England offers generous and comprehensive vacation, holiday, and health and wellness benefit packages.
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