Thinking about “Folk Art”

This post was sparked by an essay that caught my eye while reading Radical cataloging: Essays at the front, edited by K. R. Roberto (I highly recommend it if cataloging, description, and/or metadata is your thing). The article that intrigued me was a chapter by Joan M. Benedetti, a re-edit of an article that originally appeared in a 2000 issue of Art Documentation, entitled “Words, words, words: Folk art terminology- Why it (still) matters.” Benedetti talks about the mess of issues surrounding terminology like folk art and outsider art. It reminded me of the work of Sanford Berman and Hope Olson. Both Berman and Olson’s seminal works, Prejudices and antipathies: A tract on the LC subject heads concerning people and The power to name: Representation in library catalogs, discuss the biases, and with this power, in the language of the Library of Congress controlled vocabularies. While some time has passed since these works were initially published, 1971 and 1996, librarians are still challenging problems in the language of controlled vocabularies (see Emily Drabinski’s 2013 article “Queering the catalog: Queer theory and the politics of correction”).

Matthew Arient’s Angel by Howard Finster, 1987

 

Before digging into Benedetti’s essay and issues surrounding folk art terminology, I want to present brief definitions of terms that are helpful to think of in the context of this discussion. Definitions have been taken from The Getty Thesaurus for Art and Architecture.

Folk art: Art and crafts that are produced in culturally cohesive communities or contexts, and guided by traditional rules or procedures. It includes paintings, ceramics, textiles, sculpture, and other art forms. It is generally distinct from “naive art,” which is created by those without formal training, but not necessarily within a cohesive cultural community. It is also distinct from “outsider art,” which usually refers specifically to art created or collected according to a philosophy of avoidance of traditional training.

Outsider art: Refers to art created or collected according to a philosophy of avoidance of the conventional fine art tradition. The concept generally refers to art that fits the ideal described by Jean Dubuffet, who posited that art should be inventive, non-conformist, unprocessed, spontaneous, insulated from all social and cultural influences, “brut,” created without thought of financial gain or public recognition, and based upon autonomous inspiration, in direct contrast to the stereotypes of the traditional or official artistic culture. Dubuffet sought such art in the work of psychiatric patients and other insulated individuals. It is generally distinct from “naive art,” which is created by those without formal training, but not necessarily in accordance with the principles described above. It is also typically distinct from “folk art,” which is made according to the rules and traditions of a particular culture.

Naive art: Refers to art created by non-professional artists or artisans who have not had formal training and are often self-taught. It typically displays the artist’s poor grasp of anatomy and lacks mastery of conventional perspective and other hallmarks of trained artists. It includes painting, sculpture, embroidery, quilts, toys, ships’ figureheads, decoys, painted targets, and other objects, and often refers to such objects created specifically in 19th- and 20th-century Europe and North America. It is generally distinguished from “outsider art,” which includes the more extravagant psychotic drawings and other art created or collected according to a philosophy of the avoidance of, rather than simply a lack of, traditional training. It is also usually distinct from “folk art,” which is created according to specific cultural traditions.

Fine art: Genre including physical objects that are that are meant to be perceived primarily through the sense of sight, are of high quality, requiring refined skill in creation, and typically using the media of painting, drawing, or sculpture. It may also refer to architecture and design. Although there is overlap, fine art is generally distinguished from other art forms based on the media, extent of skill, and the level of formal training required. It is distinct from “decorative art” in that the fine arts are art in which the aesthetic or intellectual expression is more prominent than the utilitarian purpose. It is distinct from “crafts,” which are handiworks of media such as ceramics, glass, needlework, or any medium other than painting, drawing, sculpture, or architecture. It is also distinct from “commercial art,” which is created to serve commerce such as in advertisements or illustration.

The Getty Thesaurus of Art and Architecture gives distinct definitions for folk, outsider, and naive art, clearly delineating them as not synonyms to one another. However, these words are still often used interchangeably. This is also not an exhaustive list of terms that are used to describe art of this similar, yet variant nature, but just three I chose to highlight.

Man with a Plow by Bill Traylor, 1939-1942

Folk art, outsider art, and naive art are terms used by individuals in a position of privilege within the institution of fine art to describe the work created by individuals outside of this institution. A dichotomy between those with the power to name and those without, between those who point out this “other” and those who are this “other,” is always problematic. General acceptance of what constitutes fine art is rooted in Western, Eurocentric practice and thought. The land of outsider art, as posited by museum professional Kenneth L. Ames, is largely populated by “minority, marginalized, and unempowered people. (Ames, 1994, p. 255).

Navajo Rug, 1890-1900

Benedetti discusses problems with the overuse of “folk” as a designator for such a wide variety of works. She draws a distinction between items that are created by “culturally cohesive communities” with utilitarian value, such as a Navajo rug, and items created from a “personal consciousness,” which are often idiosyncratic and often “functioning in opposition to any community context,” such as the works of artist Howard Finster (Benedetti, 1987, p. 4). Oftentimes though, both of these types of works would fall under the same category of “folk art.”

The concepts behind folk art terminology is not so simple and further evaluation for nuances, biases, and clarification would be beneficial. Both Benedetti and Ames present issues with the terminology that garners future consideration, thought, and study by scholars, librarians, and anyone with an interest in the power of language.

References

Ames, K.L. (1994). Outside outsider art. In M. D. Hall & E. W. Metcalf, Jr. (Eds.) The Artist outsider: creativity and boundaries of culture (p. 253-271). Washington: Smithsonian Institution Press.

Benedetti, J.M. (2000). Words, words, words: Folk art terminology- Why it (still) matters. Art Documentation, 19(1), 14-21.

Benedetti, J. M. (2003). Folk art terminology revisited: Why it (still) matters. In K. R. Robert (Ed.), Radical cataloging: Essays at the front (p. 112-125). Jefferson, NC: McFarland & Company.

NDSR Art Residency Call for Applications

National Digital Stewardship Residency Art (NDSR Art) is now accepting applications for its second and final cohort. Four candidates will be selected to work on projects related digital stewardship of new media and arts information. Each resident will be assigned to one of the four available projects and corresponding host institutions. The 2018-19 hosts are the Art Institute of Chicago, Solomon R. Guggenheim Museum of Art, Maryland Institute College of Art, and Small Data Industries. See the Project Description page for qualification requirements and information about each of the four projects.

Applicants should specify their top two institutional choices in their application form. Application review will begin immediately and will continue until the positions are filled.

The deadline for applications is March 16, 2018. Selected residents will be announced in May.

This NDSR Art residency runs for 12 months, from July 16, 2018 to July 12, 2019, starting with a week-long training session in Philadelphia. Residents will work full-time, on-site in fully funded positions at their host institutions with opportunities for travel and professional development throughout.

This program aims to bridge the gap between existing, welldeveloped classroom education and the need for more direct professional experience in the field. The mission of the National Digital Stewardship Residency (NDSR) is to build a dedicated community of professionals who will advance our nation’s capabilities in managing, preserving, and making accessible the digital record of human achievement. We encourage students interested in digital stewardship and cultural heritage to apply.

Who May Apply

Anyone who has received or will be receiving a master’s degree (or higher) between Spring 2016 and Summer 2018 in a field related to digital stewardship will be eligible to apply for the 2018 resident class. If you are receiving your degree after the application deadline, and are selected as a NDSR Art resident, you will need to sign an agreement confirming you will receive your degree prior to the residency start in July 2018 or will relinquish your place in the program.

 Applicants should be prepared and willing to move to the geographic location of their host institution for a twelve-month period beginning in July 2018.

 Applicants must be eligible to work in the United States; NDSR Art will not be able to sponsor employment visas

For detailed information about the residency and application instructions, please see the NDSR Art website: http://ndsr-pma.arlisna.org/

NDSR Art is a partnership of the Philadelphia Museum of Art and ARLIS/NA, made possible with generous funding from the Institute of Museum and Library Services.

Why You Should Attend the Summer Educational Institute (SEI) for Visual Resources and Image Management

Are you a student or new professional interested in art librarianship, visual resources, or digital humanities? If so, you should consider attending the Summer Educational Institute (SEI) for Visual Resources and Image Management in Albuquerque, NM on June 5-8, 2018. This annual workshop, a joint project of the Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF), provides information professionals with the latest technologies and tools to be successful in the rapidly changing field of visual resources. This year the curriculum includes intellectual property rights, digitization standards and process monitoring, metadata, digital preservation, digital curation, and digital humanities. The skills you gain from attending a workshop like SEI will supplement your library school coursework and can help you land a job in this field.

Here’s what two former attendees have to say about their experience:

“SEI was an invaluable experience for me, particularly as a newcomer to the Visual/Digital Resources field. I attended SEI in 2017, having just recently been hired as the Visual Resources Librarian at the University of New Hampshire. The curriculum was just what I needed. In my day-to-day work, I now find myself constantly referring back to things I learned at SEI, from best practices in digitization, to copyright issues, to implementing and managing Digital Humanities projects. In addition to the practical knowledge I gained at SEI, I also met an amazing group of colleagues from across the country. It was comforting to know that others in my position are dealing with the same challenges I face, especially as the Visual Resources and Digital Resources fields continue to evolve and change at such a rapid pace. I was also deeply impressed by everyone’s enthusiasm and commitment to their profession, from the instructors and participants, to the organizers. I recommend SEI to anyone wishing to enhance their skills and connect with dedicated colleagues. My belief in SEI’s core mission and values is such, that I volunteered to take on the role of webmaster for SEI 2018. Take a look at the website for detailed information on the curriculum, instructors, and our new venue at the University of New Mexico in Albuquerque. And feel free to contact me (otto.luna@unh.edu) should you have any questions about attending SEI.”

Otto Luna, University of New Hampshire

“Many of my goals and expectations were met or exceeded. The professionals brought in to instruct us were great at imparting their expertise and experience to us through presentations, activities and Q&A. While I was not able to connect with everyone at SEI, there was a community atmosphere developed between attendees, organizers and instructors. It was especially helpful for me, as someone new to the VR sector of librarianship. The most surprising aspect of SEI, for me, was the reassurance that I felt building during my time there. I went in with imposter syndrome, feeling like I was inexperienced and that was the cause of how overwhelmed I felt. I learned a lot about the challenges of my specific position, such as its broad scope. I realized that the breadth of the knowledge that I needed to do my job was a benefit and a challenge. I found that I should be more confident, because I know more have a better understanding of my work than I give myself credit for. While there is no replacement for practical experience, there is a lot to be said for having confidence in the work you do and in decisions you make. SEI provided me with an invaluable experience and one that I will recall often when I am presented with challenges throughout my career. Additionally, because of connections that I made at SEI, I was offered the opportunity to become the Publicity Specialist with the SEI Implementation team.”

Chelsea Stone, Sacred Heart University

Library & Archives Intern (paid) at Toledo Museum of Art

Toledo, OH
POSITION: LIBRARY & ARCHIVES INTERN (Paid)
AVAILABILITY: SUMMER 2018

WHO WE ARE: Since our founding in 1901, the Toledo Museum of Art has earned a global reputation for the quality of our collection, our innovative and extensive education programs, and our architecturally significant campus. More than 30,000 works of art represent American and European painting, the history of art in glass, ancient Greek, Roman, and Egyptian works, Asian and African art, medieval art, sculpture, decorative arts, graphic arts, and modern and contemporary art.

To accommodate the ever growing collection and demand for art education, the Museum campus has grown exponentially since its founding. From its humble first exhibition space in two rented rooms, the Museum has grown to cover approximately 36 acres with six buildings.

Thanks to the benevolence of its founders, as well as the continued support of its members, the Toledo Museum of Art remains a privately-endowed, non-profit institution and opens its collection to the public—free of charge—six days a week, 309 days a year. We are closed on Mondays and major holidays.

AREAS OF INTERESTS: Library & Information Studies, Archives

SUMMARY: This internship provides students with direct experience processing museum archival material. The internship will focus on our Facilities Plans inventory project. The student will assist with processing and inventorying of blueprints and other physical plans in this archival collection. Responsibilities will include arranging records, data entry and assisting with the creation of catalog records and a finding aid for the collection. Other responsibilities may include assisting with other archival request or projects at they may arise or the intern may have interest in.

RELATIONSHIPS: Mentorship from the Head Librarian and other library and archives staff; participation in library & archives staff meetings.

EDUCATION, EXPERIENCE & COMPETENCIES: Active college enrollment status at the graduate level preferred; library and information science, archives, or related concentration/major; coursework or experience in archival processing or description preferred; comfort working independently; computer savvy and proficient in Microsoft Office and related software; extreme attention to detail; innovative and self-motivated.

WORK ENVIRONMENT: Standard office work environment with related phone, computer and printer noise; position requires ability to lift boxes and retrieve material as needed and the ability to leverage technology including computer, printer and phone systems; the person in this position may be required to communicate with public and staff who have inquiries and must be able to exchange accurate information in these situations.

The Toledo Museum of Art provides equal opportunity for employment and promotion to all qualified employees and applicants. No person shall be discriminated against in employment on the basis of race, color, religion, gender, age, national origin, marital status, disability, sexual orientation, veteran status or any other status or condition protected by applicable federal or state statutes. The Museum is committed to maintaining an environment in which all employees are treated equitably and given the opportunity to achieve their full potential in the workplace.

Apply through link: http://www.toledomuseum.org/about/jobs-volunteer/employment/

Paid Internship Opportunity – Metadata Specialist Intern, Crutchfield, Charlottesville VA

Are you looking for more than just a summer job? Crutchfield’s summer experience is structured, but far from stuffy. This paid internship program will help you develop new skills, make connections, and strengthen your resume by learning directly from company leaders. Our interns work on real projects that matter and we’ll count on your skills and experience to solve problems in a relaxed and fun environment.

Help us find the right photos faster. You’ll work with our photography team, print and web designers, and digital asset manager to help us organize our photo storage, and optimize our naming and metadata to get better search results.

This position is 40 hours/week and pays $15/hour.  Duties include, but are not limited to:

  • Interviewing stakeholders
  • Planning and implementing a new file structure for digital assets
  • Reviewing existing assets and recommending a list of keywords to optimize searches using image librarian program
  • Recommending and implementing improvements to the process of tagging new/existing image
  • Working with IT to implement improvements to the image librarian program
  • Developing and managing a process to tag images and file assets from in-house photo studio

Apply: https://workforcenow.adp.com/jobs/apply/posting.html?client=crutchfiel&jobId=78293&source=IN

Banff Centre for Arts and Creativity Library Practicum

Program Overview

The Library Practicum program is designed for new library professionals with a background in the arts. This hands-on experience allows individuals an opportunity to work with the Librarian to receive direct mentorship on collection management, cataloging, outreach, public program development, and public service. Candidates will receive a general overview of the activities of the library with introductions to all aspects of the library.

What does the program offer?

This role complements studies in outreach and embedded librarianship and will primarily focus on the Paul D. Fleck Library and Archives‘ collection of artists’ books. Practical experience includes the cataloguing and assessment of items in that collection and the creation of public programs for the library.

Learning opportunities will arise through attendance at lectures, workshops, and events related to arts programming at Banff Centre. Benefits to participants include enhanced practical librarianship skills, as well as opportunities for critical thinking, problem-solving, and learning from an experienced library team. Participants will also have the opportunity to do personal research activities as outlined in their learning objectives and project proposal.

Who should apply?

Practicum placements are appropriate for recent graduates of Master in Library and Information Science programs who also possess a degree or have experience in the arts and an interest in artists’ books, cataloguing, and public program development. This is an opportunity for a new professional to gain experience and expand and develop their careers and capabilities. This program requires a full-time commitment.

See the website for more information! An Archives Practicum position is also available.

Application deadline for both positions is February 14, 2018.

Library Technical Associate – Digital Imaging Technician and Photographer – The University of Texas at Austin

Hiring department:  Humanities Rsch Ctr
Monthly salary:  $3,083+ depending on qualifications
Hours per week:  40.00 Standard from 800AM to 500PM
Posting number: 18-01-25-02-8083
Job Status: Open
FLSA status: Non-exempt
Earliest Start Date: 03/01/2018
Position Duration: Funding expected to continue
Position open to all applicants
Location: Austin (main campus)
Number of vacancies: 1

General Notes

The Harry Ransom Center welcomes qualified candidates who can demonstrate a commitment to diversity.

Required Application Materials

  • A Resume is required in order to apply
  • A Letter of Interest is required in order to apply.
  • A List of 3 References is required in order to apply.

Additional Information

Purpose

To manage all aspects of image creation in the Center’s photography studio, including reformatting of analog materials to digital format, operation and maintenance of software and hardware, creation of digital imaging workflows, and record keeping and documentation.

Essential Functions

Assesses reformatting needs and performs reformatting of two-and three-dimensional library, archival, and museum materials such as books, manuscripts, works of art on paper, and costumes using digital cameras and other document capture equipment, including the BC100 and RGC180. Advises on best arrangement of materials to be photographed or angle of shots to produce desired results. Handles fragile and rare collection materials under established best practices. Ensures quality control of digital images. Performs color correction and image enhancement for digital images; monitors, calibrates, and adjusts settings on hardware and software tools as needed; processes and prepares digital files for archiving, printing, and access. Works with the Digital Projects Librarian and/or other staff to create, revise, and align production workflows; creates and maintains documentation. Maintains hardware and software; troubleshoots hardware and software; provides technical support. Provides photography support for the Center’s internal activities, including public affairs, publications, and exhibitions programs. Trains, supervises, and reviews work of student staff in the Studio. Consults and serves as a resource for staff on issues of digitization and the use of imaging hardware and software, as needed. Other duties as assigned.

Marginal/Incidental functions

Other related functions as assigned.

Required qualifications

High school graduation or GED and three years of work experience. Demonstrated experience with digital photography and digital reformatting. Good organizational, communication, and interpersonal skills. Ability to work independently and as a team member. Equivalent combination of relevant education and experience may be substituted as appropriate. Equivalent combination of relevant education and experience may be substituted as appropriate.

Preferred Qualifications

Bachelor’s degree. Experience working in, or management of, a professional photography studio or digitization lab. Advanced knowledge of digital imaging software and hardware. Familiarity with Macintosh operating system. Familiarity with Capture One and Adobe Photoshop. Familiarity with handling fragile library, archival, and museum materials. Excellent attention to detail and problem-solving skills.

Working conditions

May work around standard office conditions May work around electrical and mechanical hazards Repetitive use of a keyboard at a workstation Use of manual dexterity Lifting and moving

View original job posting: https://utdirect.utexas.edu/apps/hr/jobs/nlogon/180125028083

Diversifying Art Museum Leadership Home Grown Curatorial Fellowship

National Museum of Mexican Art/DuSable Museum of African American History – Chicago, IL
$38,000 a year – Full-time, Temporary
Job Summary

Through a generous three year grant awarded by the Ford and Walton Family Foundations the National Museum of Mexican Art (NMMA) and the DuSable Museum for African American History (DuSable), two museums that have successfully trained and provided sustained employment for curators and arts administrators, will implement its inaugural Home Grown Curatorial Fellowship program for graduate students of color or whom identify as ALAANA (African, Latino(a), Asian, Arab, Native American). Fellowships will provide candidates with an opportunity to learn, engage, and be mentored by curatorial and museum professionals who are leaders in first voice organizations.

The National Museum of Mexican Art (NMMA) and the DuSable Museum of African American History (DuSable) seeks two enthusiastic and capable graduate or post-graduate students to gain intensive training and mentorship in the field of curatorial and archiving studies by working alongside Visual Arts and Permanent Collections curators at NMMA and Archivist & Special Collections Librarians at DuSable. Each institution will host one fellow per year, over a 12 month period. Qualified applicants will be invited to indicate their preference for fellowship assignment.

The Home Grown Fellows will participate in their respective institutions’ special projects, including external workshops and artistic programs that advance the missions of the National Museum of Mexican Art (NMMA) and DuSable Museum of African American History (DuSable), promote and support creative leadership and support the joint mission to build a foundation for students of color to gain access to leadership positions in all museums. Fellows may have the opportunity to study, research and examine collections, organize thematic exhibitions related to African American and Mexican history, culture or particular genres and assist in the preparation, documentation and organization of past, present and future exhibitions.

Each Home Grown Fellow will have the opportunity to select a mentor, who may be different from their supervisor. Fellows will also undertake an independent capstone project in consultation with their supervising curator, archivist librarian and institution mentor.

Each fellow will have the opportunity to interact with one another, NMMA and DuSable through exhibition openings, staff/departmental meetings, networking events, workshops and internal discussions that build relationships and foster a community of intellectual scholarly engagement.

Fellowship Period

Fellowships are 12 months in length, May 2018 through May 2019 . All fellowships must take place and capstone project completed within this 12 month period.

Fellowship Eligibility

All applicants must meet the following requirements to be considered for a Home Grown Fellowship, in addition to NMMA and DuSable institutional requirements.

Be currently enrolled in the last year of graduate school and/or hold a recent (earned in the last 2-3 years) graduate degree in library science (MLS, MLIS, MIS, MS), art history or museum studies from an ALA accredited school
Successful candidates must be able to provide proof of eligibility to work in the United States
Have a demonstrated interest in museum and exhibition administration and/or archives administration and management, museum studies, art history, anthropology, Latin American and/or African American studies, or archaeology
Located within a 400 mile radius of Chicago, IL
APPLICATION PROCEDURES

All applicants applying for the Home Grown Fellowship at National Museum of Mexican Art must submit the following:

Cover letter stating their interest in the fellowship. Applicants must indicate their choice of host institution
Full curriculum vitae of education, professional experience, honors, awards and publications
Official copy of graduate transcript, with graduation date or anticipated date of graduation and copy of classes currently enrolled in if applicable
A statement, not to exceed 1,500 characters, specifying your areas of research/interests.
If candidates are applying to National Museum of Mexican Art as host institution, please include the following in your statement:

Your relationship to NMMA, Mexican Art or culture
Relevant experience related to your curatorial and/or archival proposed project
The importance of this fellowship to their future career and what they hope to learn from the experience.
If candidates are applying to DuSable as host institution, please include the following in your statement:

their interest in African American history and archival collections
what they can contribute to the host repositories
their experience with electronic media and social networking tools
their view on the importance of increasing diversity in the archival profession
what they hope to learn from the experience
the importance of this fellowship to their future career
Contact information for three people who will provide recommendation letters (at least one academic and one professional), none of whom are current NMMA or DuSable employees. Once you have submitted your recommenders’ names, titles and email addresses, they will receive emailed instructions for uploading their recommendation letters online.
To be considered for the Home Grown Fellowship, all candidates must complete the application and follow all application procedures.

The 2018/2019 Home Grown Application can be found here https://goo.gl/forms/Oflj4CcfA3mPX8El2

The deadline for all application materials, including letters of recommendation, is February 19, 2018, by 11:59 pm CST . Fellowship decisions will be announced by April 2, 2018.

Responsibilities and Duties

Fellows should apply to the institution whose job description best suits your career path.

NATIONAL MUSEUM OF MEXICAN ART

JOB DESCRIPTION

POSITION TITLE: Home Grown Fellow

REPORTS TO: Director of Visual Art’s/Chief Curator, Registrar, Permanent Collection Curator or Associate Curator

POSITION FUNCTION: To aid the Visual Arts Director, Registrar, Permanent Collection Curator and Associate Curator in tasks related to the care, preservation, documentation and presentation of artworks at NMMA. There will be light maintenance tasks pertaining to art installation or gallery preparation.Fellows will take field trips throughout and beyond the Chicago-area to conferences and to visit other first-voice museums. Finally, Fellows will be required to keep a log of their experiences and progress throughout the fellowship.

RESPONSIBILITIES:

Assists in cataloguing preparing and packing of Permanent Collection
Assists in the preparation, documentation and/or organization of past, present and future exhibitions
Assists in creating/updating exhibition and artist files
Assists in conducting research to label and interpret artwork as well as catalogs objects and updates computerized museum records
Assists in the care and presentation of artwork in the Museum’s collection, both in storage and on display within as well as outside of the Museum and throughout the Museum’s website
Complete program Capstone Project within the 12 month Fellowship appointment
MANDATORY JOB QUALIFICATIONS:

Have a demonstrated interest in museum and exhibition administration and/or archives administration and management, museum studies, art history, anthropology, Latin American studies, or archaeology
Have interest in documenting and caring for art and historical artifacts
Strong knowledge of Mexican or Mexican American history/culture and command of the Spanish language both written and spoken
Excellent verbal and written communication skills and public speaking
Must be highly organized, detail-oriented, and able to multi-task
Ability to work well in a fast-paced team environment, as well as independently, and adapt to flexible hours as necessary
Ability to handle art objects carefully
Ability to accurately capture images of artwork on a large bed scanner, easel and backdrop
Lift 40 lbs and climb ladders
Excellent computer skills (Mac preferred)
Experienced in Filemaker Pro and Photoshop
DuSable Museum of African American History

Job Description

POSITION TITLE: Home Grown Fellow

REPORTS TO: Archivist and Special Collections Librarian and Manager of Education

POSITION FUNCTION: To aid the Archivist and Special Collections Librarian and Manager of Education in tasks related to the care, documentation and presentation of art works, artifacts and archival materials at the DuSable Museum of African American History.

FELLOWSHIP DESCRIPTION

During the immersion training program, fellows will receive training in arrangement, description, preservation, reference, and outreach for collections of African American artwork, artifact and archival materials. Fellows may have the opportunity to process collections and create EAD and EAC-CPF finding aids and will learn to appropriately utilize Library of Congress Subject Headings to provide access points to African American materials in print, video, and electronic resources. Fellows will attend lectures presented by Mexican American and African American scholars and representatives from other Mexican American and African American museums and archival repositories. The purpose of these lectures is for fellows to gain a deeper understanding of African American history. Fellows will also take field trips throughout and beyond the Chicago-area.

Fellowship Responsibilities:

Fellows will be required to organize a public program/community outreach event(s) (lecture, exhibit, etc.), and implement social media or other online resources while in residency at their host institution. They will also be expected to give presentations on their education and career choice to other students at the high school (and undergraduate levels) and will be required to submit for panel participation, papers, and posters at professional conferences such as Black Caucus of the American Library Association/American Library Association (BCALA/ALA), Society of American Archivists (SAA), Midwest Archives Council (MAC), and other related conferences. Finally, Fellows will be required to keep a log of their experiences and progress throughout the fellowship.

MANDATORY JOB QUALIFICATIONS:

Have a demonstrated ability and relevant coursework in museum and exhibition administration and/or archives administration and management, museum studies, art history, anthropology, or archaeology with a focus on African American/Black/Afro Caribbean studies
Have interest in documenting and caring for art and historical artifacts
Strong knowledge of African American history/culture
Excellent verbal and written communication skills
Must be highly organized, detail-oriented, and able to multi-task
Ability to work well in a fast-paced team environment, as well as independently, and adapt to flexible hours as necessary
Ability to handle art objects, artifacts and archives carefully
Ability to accurately capture images of artwork on a large bed scanner, easel and backdrop
Excellent computer skills
Benefits

Each fellow will receive an annual salary of $38,000, plus fringe benefits and an allocated fellowship research allowance to be used solely for travel related to fellowship assignments, conferences and museum visits arranged after acceptance into fellowship program.

Fellows should be prepared to relocate to the Chicago area at the time of Fellowship, without additional financial compensation, and are required to live in the Chicago area for the tenure of the Fellowship.

Job Types: Full-time, Temporary

Salary: $38,000.00 /year

Required education:

Master’s

Required language:

Spanish

Systems Librarian – Canadian Centre for Architecture, Montreal, Quebec

Job Identification

Job title: Systems Librarian
Division: Collection
Immediate superior: Head, Collection Access
Status: Permanent, full time (35hrs/week)
Posting period: January 26 to February 18, 2018
Job entry: As soon as possible

Job Summary

The responsibilities of this job are to provide technical expertise, day-to-day administration, and broad support for traditional and emerging software solutions and standards necessary for optimal management and access of the CCA Collection (library, archives, prints & drawings, and photography).

The incumbent will work closely with the IT department, the Web team, Collection staff, and vendor technical support to manage Collection and related systems with a primary focus on the integrated library system (SirsiDynix Horizon). The Systems Librarian is also expected to contribute to activities related to the development and implementation of search tools for the website and to collaborate in the management of the system used for other parts of the Collection, including the archives (Gallery Systems TMS).

For full details, visit the CCA website

Librarian/Archivist – Museum of International Folk Art, Santa Fe, NM

General Job Description
The Bartlett Librarian & Archivist will collaborate to develop collections to meet the needs of patrons, catalog and process collections/acquisitions using standard library and archival accessioning techniques; provide services to researchers; develop and maintain finding aids; identify library or archival materials needing repair and conservation; ensure use of proper preservation techniques; manage circulation and shelve materials; expand online access and prepare collections for web-based use; handle library budget; write reports; serve on Museum committees, and perform any other functions necessary to the operation of a special collections library.

Responsibilities
Work collaboratively and proactively to acquire and organize materials to support the mission of the Museum of International Folk Art and the Bartlett Library, the work of Museum staff, and the interests of researchers in folk art.

Process incoming and backlogged materials by accessioning them into the main collection. Processing includes organizing, cataloging or indexing the materials (including analytic cataloging of periodical or archival sources), and conducting necessary conservation practices; re-housing materials in as necessary; creating an inventory; and preparing collection guides.

Assist researchers by explaining library and archival policy, conducting reference interviews, identifying and retrieving research materials (including interlibrary loans), training patrons in specialized research procedures (including using online databases), photocopying documents, and monitoring researchers.

Answer online and e-mail requests by searching for the materials, producing required reproductions, corresponding with researchers, collecting authorizations, managing contracts and payments as necessary, and mailing materials.

Provide collaborative support to the museum curators in museum exhibit research and preparation. Work with the museum staff in developing library exhibits that highlight the archival collection, and to provide special library programs to enhance Museum exhibits and events.

Maintain online catalogs and databases, and expand digitization projects.

Handle budgeting, ordering, and fund-raising to support library functions; work with financial staff and Director to adhere to financial requirements.

Collaborate with staff in setting policy determining library resource preservation practices, reproduction and usage fees, research use of the collections, and copyright issues.

Process gift books by identifying those relevant to the collection and cataloging them; encourage appropriate donations through correspondence with donors and potential donors.

Supervise student interns, part-time employees, and volunteers in various library and archival tasks.

Handle daily library duties including circulation, answering visitor’s reference questions, shelving books, maintaining stack and archival areas, and ordering supplies.

Update Library policy and procedure documents in collaboration with Museum and Department of Cultural Affairs staff.

Requirements

§  Experience managing a library with hands-on skill in collection development, cataloging and processing materials, organizing materials for finding and use (including circulating, shelving, and cleaning), maintaining an ILS or CMS, sustaining library functions on a limited budget (including grant-writing)

§  Demonstrated expertise in research skills and reference services

§  Experience working in archives, including collection organization, preservation, online migration, maintenance and digitization of collections; use of nationally accepted standards, tools, and best practices for archival description and processing

§  MLS from an ALA-accredited institution

§  Demonstrated ability to manage budgets, and follow institutional ethics and guidelines

§  Familiarity with copyright issues relevant to museums, libraries, and archives

§  Strong written, verbal, and interpersonal communication skills

§  Evidence of effective, collaborative work with professional colleagues.

 Preferred

§  Evidence of learning new skills and technologies quickly and effectively

§  Prior experience in library marketing, programming, and training

§  Experience supervising interns and volunteers, and working with docents and donors

§  Proficiency in multiple foreign languages

§  Coursework in archival management

§  Coursework in folklore, ethnography, anthropology, and/or sociology

§  Demonstrated interest in world cultures, and/or folk art

For consideration, please submit a cover letter and electronic resume to Aurelia Gomez, Deputy Director of the Museum of International Folk Art, Santa Fe, New Mexico, aurelia.gomez@state.nm.us.

All interested parties are required to apply online with the State of New Mexico Personnel NEOGOV website, to be considered for the position:
https://www.governmentjobs.com/careers/newmexico/jobs/1955213/librarian-archivist-dca-4513?keywords=librarian&pagetype=jobOpportunitiesJobs