The Midstates Chapter of the Art Libraries Society of North America (ARLIS/NA) invites those engaged in work related to visual arts and information science to submit a proposal for a presentation at the annual Fall meeting on Friday, October 19th, 2018 in Indianapolis. Submissions are welcomed in the following formats:
Presentations – a talk of 20 minutes, given by one or more presenter, with or without the use of visual aids
Lightening-round talks – a talk of 3-5 minutes, given by one presenter, with or without the use of visual aids; particularly suited for emerging trends
Poster presentations – a visual presentation in poster format about ongoing or completed projects; presenters may provide handouts and/or speak with viewers in an informal setting
Prospective presenters are encouraged to submit proposals on a variety of issues related to art, design, and visual culture, including:
collaboration and partnerships across institutions
copyright and open access related to visual materials
diversity and inclusion in the art library
information literacy for artists and art historians
outreach to users
challenges in special collections
Submit an abstract of 300 words to Sarah Carter at saccarte at indiana dot edu. Specify your preferred presentation format (presentation, lightening round talk, poster presentation).
Submission deadline: Tuesday, September 18th
Fall meeting information:
Dates: Friday, October 19th, and Saturday, October 20th, 2018
Venue: Herron Art Library and IUPUI University Library
Indiana University – Purdue University Indianapolis
About ARLIS/NA Midstates:
The Midstates Chapter of the Art Libraries Society of North America is a dynamic group of library and information professionals dedicated to art, architecture, design and visual resources. The chapter serves the region including Michigan, Indiana, Illinois, Wisconsin and Iowa. Our members are art and architecture librarians, visual resources curators, museum professionals, archivists and special collections librarians, collectors and appreciators, book publishers and dealers, content providers, educators, artists, and students. The chapter meets twice a year, supporting our professional network, sharing information and visiting member institutions. We welcome all interested members of ARLIS/NA and all students enrolled in regional library and information science programs to become members of the Midstates Chapter. Participation in our meetings is open to all.
REPORTS TO: Head, Architecture & Fine Arts Library
SALARY: Minimum Salary as Assistant University Librarian $54,035
Minimum Salary as Associate University Librarian $62,500
Actual salary will reflect selected professional’s experience and credentials
The University of Florida George A. Smathers Libraries seeks a creative and service-oriented Design Librarian. The Design Librarian is a year round (12-month) tenure-track library faculty position which will provide reference assistance, instruction, outreach and collection management to support faculty and student populations and the academic programs and research centers associated with the UF College of Design, Construction & Planning. The Design Librarian will work collaboratively with other members of the Architecture & Fine Arts Library faculty and staff to plan and deliver services to the wider audience served by that library, and to the University community. The Design Librarian will work collaboratively with faculty and staff associated with the Architecture Archives/Department of Special Collections & Area Studies to build collections, provide services, and plan events related to those materials.
The library encourages staff participation in reaching management decisions and consequently the Design Librarian will serve on various committees and teams. To support all students and faculty and foster excellence in a diverse and global society, the Design Librarian will be expected to include individuals of diverse backgrounds, experiences, races, ethnicities, gender identities, sexual orientation, and perspectives in work activities and decision making. The Design Librarian will pursue professional development opportunities, including research, publication, and professional service activities in order to meet library-wide criteria for tenure and promotion.
Serves as primary liaison between the Libraries and the College of Design, Construction & Planning administration, faculty and students, taking initiative to identify and meet their resource and service expectations and to facilitate ongoing communication regarding library resources and services.
Develops collections in a systematic and balanced manner, selecting both current and retrospective materials in appropriate formats to support the curricular and research needs of the university community.
Provides both general and specialized reference and instructional services.
Creates instructional materials, including online research guides and tutorials.
Contributes to the efficient management of the Architecture & Fine Arts Library’s facilities, public service programs, and technical functions. May be assigned to coordinate or manage activities or personnel in one or more areas.
Works collaboratively with faculty and staff associated with the Architecture Archives/Department of Special Collections & Area Studies to build collections, provide services, and plan events related to archival collections.
Contributes to the Libraries, the University, and the profession through substantive scholarship and professional service activities.
Performs scholarly research and provides service at the institutional and professional levels as related to assignment and in accordance with tenure and promotion criteria
Participates in Libraries’ fundraising and grant-seeking efforts.
To apply, submit 1) a cover letter detailing your interest in and qualifications for this position; 2) a written statement regarding strategies for outreach to faculty and students in the design disciplines (250 words); 3) your current resume or CV; and 4) a list of three references including their contact information (address, telephone number, and email). Apply by September 17, 2018 (applications will be reviewed as received). Submit all application materials through the Jobs at UF online application system at Requisition 508409. Failure to submit the required documents may result in the application not being considered. If you have any questions or concerns about this process please contact Bonnie Smith, George A. Smathers Libraries Human Resources Office, at firstname.lastname@example.org.
Master’s degree in Library or Information Science; or, advanced degree in a discipline related to design, art, or art/architectural history plus 2 years academic library work experience.
Appointment at the Assistant University Librarian rank requires two years of academic library, post graduate degree, experience
Broad knowledge of art and design literature and research methods
Excellent verbal and written communication skills
Strong outreach commitment
Ability to work both independently and collaboratively with faculty, students, administrators, and the general public
Degree in a design discipline, art, art/architectural history, or related field
Experience working in a research, academic, or design firm library
Experience managing collections in an academic or research library
Experience or expertise in the development and delivery of research instruction
Experience working with architectural archives collections
Competence with information technologies
Experience or interest in marketing services and collections via social media
Record of including individuals of diverse backgrounds, experiences, races, ethnicities, gender, gender identities, sexual orientation, and perspectives in research, teaching, service or other initiatives
As part of a long-standing agreement between two committed institutions, the Worcester Art Museum Library serves as the Fine Arts branch of the College of the Holy Cross Libraries. The Worcester Art Museum Library serves not only Museum and Holy Cross constituents, but also the public, including families and community members from the broader Worcester area.
The College of the Holy Cross is seeking an energetic, poised, assertive Head Librarian for the Worcester Art Museum’s next phase in strategic planning. S/he manages all aspects of the library, and reports directly to two division managers: Head of Research, Teaching & Learning at the Holy Cross Libraries, and Director of Museum Services at Worcester Art Museum. The Museum is currently planning a master redesign, and the Library will be a key part of that planning, involving a physical move of the collection within the Museum campus. Our next Head Librarian should have knowledge or experience in issues concerning library facilities, as well as the confidence to promote best practices and advocate for new ideas and programming as the Library moves to its next phase within the Museum. The Head Librarian should be able to work independently, maintain the physical collection with an eye toward preservation, and foster a robust relationship with Holy Cross students and faculty, and the Holy Cross Libraries staff. The Head Librarian will be a part of Research, Teaching & Learning, and will participate in regular meetings on the HC campus as well as strategic planning for the RTL team and for the library as a whole. Equally, s/he will participate in division meetings, programming, collaboration, and strategic planning for the Worcester Art Museum. This position supervises a half-time Assistant Librarian as well as a dedicated team of volunteers and students. The Head Librarian works independently on select days of the week, and must be self-motivated and able to set achievable goals for the growth and success of the Library.
Required: Bachelor’s degree in Art History; ALA-accredited MLIS
Preferred: MA in Art History
Required: Excellent communication skills, not only for prepared presentations but also for unplanned meetings with faculty, administration and donors
Preferred: Experience working in an academic research setting or equivalent, providing research expertise to students and faculty
Preferred: 3-5 years demonstrated experience as a leader and manager
Preferred: Experience working with advancement or development offices toward fundraising and grant development
Required: Basic knowledge of image discovery/access system management
Required: Intermediate knowledge of library systems and current practices
Required: Basic understanding of copyright law, intellectual freedom, and ethical use of information
Engagement in the museum library profession, including participation in appropriate professional organizations.
Excellent administrative skills, and ability to work well with colleagues.
The successful candidate will be engaged in the museum library profession, possessing excellent administrative skills, and ability to work well with colleagues. Will demonstrate commitment to librarianship in general, and museum education and librarianship specifically. Possess a demonstrated knowledge of relevant curriculum and resources in academia, with a high comfort level in presenting to a group. Willing to work on a team toward a common goal, easily collaborating with colleagues. Ability to mentor student workers, staff and volunteers. Commitment to professional development and scholarship; participation in the broader professional community. Understands, values and respects diversity as an individual, in a team and within groups while fostering an inclusive and supportive environment.
This post is in the vein of the Hack Your Art Librarianship Program series from awhile back, but has been tailored to reflect what some people may be experiencing professionally–working in a library but not an art library or as an art librarian.
My ultimate career goal is to work as an art librarian. Even though I have this fancy new volunteer position as a feature post writer for ArLiSNAP, I’m not there yet. Currently, I work as the Collection Development & Assessment Librarian at a medium sized liberal arts college in the southeast. I’ve worked at a public library, and now two academic libraries, both in “paraprofessional” and “professional” positions, but never has it been my J O B to liaise with art faculty, perform collection development specifically for a fine arts collection, do instruction primarily for fine arts or art history courses, or any of the other number of things art librarians do.
However, I have forced myself my way in to some of these roles, and I’m going to offer tips based on my experience on how to do that now. Before I get started, I will say that I had the advantage of teaching art history at the community college where I worked, so I had a bit of a foot in the door, but I think these tips will help anyone who is interested in the visual arts get involved on their own campus.
In my last position, I started as a reference specialist. Later, I worked as an instruction librarian at the same place, but I started before I finished library school. This meant that I was not a L I B R A R I A N, but I was allowed to staff the reference desk, assist students with their research needs, and get to know the campus staff and faculty as much or as little as I wanted to. I’m a gregarious sort of person, so I found myself on a number of committees and BAM I was “liaising” whether I meant to or not.
Here are a few personal tips I have for those who are gaining experience working in an academic (community college) library, but are not officially getting the experience they want to develop the skills necessary to become an art librarian.
1. Roam Around! All too often, we academic library professionals (and I use this term broadly, because I believe that staff members are professionals) are siloed in the library. Stuck there. Like, “Oh! You’re out of the library” style confusion when you’re not there. If [you’re able to] take a break and walk around, you get to know people, which helps you form connections that you can use later when you get a great idea for programming or the collection that relates to the visual arts, even if that isn’t technically your job (but don’t do SO MUCH that you are working outside of your pay grade…that is important. I will repeat it later).
This one can be difficult. Maybe you’re an introvert or the culture at your place of work doesn’t invite casual conversation or even allow leaving the library during work hours. I get that. But if you’re able to, I say take a break and maybe a little walk.
I would also like to add on here: if you find a librarian or faculty member who is friendly, turn to them with questions when you have them. One of my colleagues helped mentor me through library school and is now one of my closest friends. She’s not an art librarian, but she is an excellent librarian and was supportive of my goals. You just never know who is going to make an impact for you.
2. Get to the know the collection. In my position as reference specialist at a community college, I spent over two years getting to know the collection generally. But I also took the time to specifically get to know the art section. Because I walked around it regularly, touching the books, tidying up, and helping students find materials for their research, I often had ideas to share with the collection development librarian about how to improve upon what we already owned (she was very supportive of this, again, I was lucky). Through getting to know the area of the collection I loved the most, I straight up inserted myself in the collection development process. When a faculty member came to her to ask for some reinvigoration in the art history print collection, our CD librarian came to me to help. I was able to gain experience doing collection development as well as collection development in the art section. This also gave me knowledge of publishers of art books and helped me to get a feel for what is being published in our field right now. I realize not everyone will have this opportunity. But either way, the more you know about your collection, the more expertise you will have fine arts print collections when you go for an interview at an art library or as a subject specialist in an academic library.
3. Join some committees. This connects to the Tip #1 ^. Maybe this one is just an extension of #1, but I think it’s important. Here’s where I remind you though – if you feel joining committees is above your pay grade, do not do it. Don’t let them exploit you. Don’t let someone tell you it is your job to serve on some planning committee just because they don’t want to do it if it is not actually in your job description. Especially if you’re not being paid as a “professional” librarian.
THAT BEING SAID…
If you, like me, are looking for a convenient way to make yourself known on campus and get the library involved in event programming related to fine arts, joining a committee might be a good starting place. First of all, it is an excellent way to get to know other staff and instructional faculty on campus. When you work together with people for weeks, they’re more likely to say hello when you pass them later. They might even answer your email when you ask if they want to combine forces on the next gallery exhibition and have the library be involved.
For me, Tip #3 is all about how I can insert my own agenda into what is already happening on campus. Having some events to celebrate Multicultural Awareness Week? Why not exhibit some artwork made by students in the library? Etc. It’s a good way to get connected.
4. Make friends with the Fine Arts and Art History faculty. Even if they aren’t on that committee you just joined, THESE ARE YOUR PEOPLE! They are the people who went through programs like you in undergrad/grad school, or saw the same Cezanne show you did last weekend. It will not only make your job more pleasant, but also making connections with them comes in handy when you have plans for art in the library. They can collaborate on exhibitions and programs with you, and they definitely want to be involved with the collection. They know it too, because they are the ones that use it.
In my case, I got to know our printmaking professor by asking him to lend the library display pedestals for an art show of biology inspired raku fired pottery during a special event week at the college. Later, I used the same pedestals to promote his printmaking courses which are often under enrolled. He saw the value of the library as a mutually beneficial relationship, and I did too. Hence, a professional relationship was born!
At that point in my time in that position, I was unable to teach library instruction (not enough master’s credits) or do “real librarian” work, so what I felt I could do is enhance our library through partnerships with art faculty. It help me feel unstuck to work on projects like this.
5. Continue to go see art. This one is so important. Actually, I’ve gotten away from it a little too much. So this one is also a reminder for myself. REMINDER: If you love art, GO SEE ART. It will lift you up when you are down, and it will remind you when you have your head in the academic sand that there is a purpose to your professional trajectory. When I was writing my thesis for my first master’s degree, we had a workshop where a former student came by and told us this same thing. She said something like “Stop writing sometimes, and go see some art. That’s why you’re here.”
Likewise, dear reader, that’s why you’re HERE. That’s why I started reading the ArLiSNAP blog in the first place, and now why I’m volunteering as a feature post writer. I love art. I love the messy process of artmaking (by other people, not me personally, though I do love a darkroom and also to fling paint at things when I’m feeling frisky). I also love the messy conversations we have ABOUT art and the various elements/social conditions that inform it. I love researching art and facilitating that research for other people. But all too often, I get caught up in the “what are the steps to become an art librarian” professional to-do list and forget what is most important, which to take it in.
So there you are! I hope that these are helpful for you, or lead you to think of other new ways you might be able to get involved on campus in different arts initiatives or with the art department. Good luck on your journey!
ArLiSNAP and VREPS welcome proposals from students and new professionals with an interest in art librarianship or visual resources management to present their work at our 2018 Virtual Conference:
New Media Challenges and Solutions for Art Information Professionals
New media art, objects, and scholarly projects in the digital realm are challenging our traditional definitions and methodologies for collection, preservation, and research as information professionals. As the scope for new media continues to expand, how are we defining, describing, and cataloging new media objects? How are we preparing for and anticipating storage and conservation needs? How do we respect artist intent and support scholarly research around these born-digital objects?
We invite proposals that share research and projects featuring new media in art librarianship and visual resources management for our annual virtual conference, an opportunity for emerging professionals to present in a supportive and engaging space while connecting with other students and early career librarians across North America.
The webinar will take place on Saturday, November 10th at 1PM CST. Submit your proposal via our Google Form to apply.
Proposals are due by Friday, September 14th. You must also be available to participate in a short practice session with the webinar software in the evening on Thursday, October 4. If you have any questions, please email the ArLiSNAP Conference Planning Liaison, Michelle Wilson at email@example.com.
Hello! I’m so happy to volunteer for ArLiSNAP and write for the blog as a Feature Post Writer. I graduated in 2017 from the University of Tennessee at Knoxville with my M.S.I.S. and also hold an M.A. in the History of Art and Architecture from Hunter College/CUNY.
I currently work as Collection Development & Assessment Librarian at the College of Charleston Libraries in Charleston, SC. I’m from Charleston, and I just moved back for this position (and to be closer to family), so I’m taking my time to get to know the campus and reacquaint myself with all that Charleston has to offer. Prior to this position, I worked as an instruction librarian at a community college in Virginia, where I also taught art history as an adjunct instructor.
My research interests are wide, but center around intersectional feminism and art making, specifically looking at women artists from the late 19th and early 20th centuries in Europe. My library research interests include the intersection of critical librarianship and collection development, visual resources, and the ways in which fine arts collections are used.
In my spare time I love to travel and experience art/music/food in new places with my partner and our 14 month old son.
I am very excited to be here and to contribute to ArLiSNAP, which is full of inspiration and information for all of us new professionals in the field! Thanks for having me.
ARLIS/NA Multimedia & Technology Reviews Co-editors are seeking volunteers to author reviews for the October 2018 issue. To volunteer, choose a resource from the list below and complete our Reviewer Interest form (https://goo.gl/forms/mpOOJZaCBb6wIXpA2) by Tuesday, July 31.
Initial draft submissions are due Monday, September 3.
Hugh Edwards was one of the most influential, yet least known, photography curators in America. During his time at the Art Institute, he worked with remarkable enthusiasm and prescience to build the museum’s photography collection and expand its exhibition program, acquiring some three thousand works and organizing seventy-five shows. In a field that was still young, Edwards helped to shape institutional practices and the public’s understanding of photography in Chicago as well as across the country.
A new free online resource which explores the Library’s extensive holdings of landscape imagery. The British Library’s huge collection of historic prints and drawings is a treasure trove waiting to be discovered. Picturing Places showcases works of art by well-known artists such as Thomas Gainsborough and J.M.W. Turner alongside images by a multitude of lesser-known figures. Only a few have ever been seen or published before.
For many art lovers and museum visitors, Johannes Vermeer stands out as the mysterious genius of Dutch seventeenth-century genre painting. However, as this website reveals, he was not working in isolation. …Through a series of interactive visualisations, this website allows users to discover the network of connections between Vermeer and his sixteen contemporaries. Users can discover the strength and likelihood of relationships between the seventeen artists, the impact of an individual artist’s paintings on the work of his contemporaries, as well as how artists adopted, adapted and disguised elements, from their peers’ work, in their own paintings.
The Parker Library’s holdings of Old English texts account for a substantial proportion of all extant manuscripts in Anglo-Saxon, including the earliest copy of the Anglo-Saxon Chronicle (c. 890), unique copies of Old English poems and other texts, and King Alfred’s translation of Gregory the Great’s Pastoral Care. The Parker Library also contains key Anglo-Norman and Middle English texts ranging from the Ancrene Wisse and the Brut Chronicle to one of the finest copies of Chaucer’s Troilus and Criseyde. Other subjects represented in the collection are theology, music, medieval travelogues and maps, apocalypses, bestiaries, royal ceremonies, historical chronicles and Bibles. The Parker Library holds a magnificent collection of English illuminated manuscripts, such as the Bury and Dover Bibles (c. 1135 and c. 1150) and the Chronica maiora by Matthew Paris (c. 1230-50). Scholars in a variety of disciplines – including historians of art, music, science, literature, politics and religion – find invaluable resources in the Library’s collection.
Clyfford Still (1904–1980) may have explored the potential of drawing more than any other artist of his time. The sheer volume (more than 2,300) and variety of Still’s works on paper reveal the centrality of drawing within his lifelong creative process. Over six decades, Still explored (and showed considerable mastery of) the entire range of drawing media—graphite, charcoal, pastel, crayon, pen and ink, oil paint, gouache, and tempera on paper—as well as the printmaking techniques of lithography, etching, woodcut, and silkscreen. Examined together, these works on paper tell the story of an artist who never lost an experimental and curious approach to his art, even as his mature work became quintessentially deliberate and monumental.
All the surviving letters written and received by Vincent van Gogh (1853-1890) are contained in this edition of his correspondence. Excepting only the digital form in which they are now being published, this is the continuation of a long tradition.
Faces of Frida is a collaboration between the tech giant and a worldwide network of experts and 33 partner museums in seven countries. Accessible via the Google Arts & Culture app and website, Faces of Frida is the largest collection of artworks and objects related to Kahlo ever compiled.
In this 21st century, war in Syria has irrevocably changed the ancient caravan city of Palmyra, famed as a meeting place of civilizations since its apogee in the mid-2nd to 3rd century CE. The Romans and Parthians knew Palmyra as a wealthy oasis metropolis, a center of culture and trade on the edge of their empires. Stretching some three kilometers across the Tadmurean desert, the ruins of Palmyra, like all ruins, stand as bearers of meaning marking their place in history. For centuries, traveling artists and explorers have documented the site in former states of preservation. Created as a tribute to Palmyra, this online exhibition captures the site as it was photographed for the first time by Louis Vignes in 1864 and illustrated in the 18th century by the architect Louis-François Cassas. Their works contribute to Palmyra’s legacy, one that goes far beyond the stones of its once great buildings.
Summary: This 15 week internship is funded by a private donor. Working in the Department of Maps and Modern Manuscripts under the supervision of Newberry archivists, the Midwest Dance and Theater Collections Intern will participate in preserving, arranging, re-housing, and describing Chicago dance and theater archives and manuscript collections. This position is ideal for an individual intending to work with primary sources as part of an academic career, or exploring the possibilities of archival work.
Under the supervision of Newberry archivists, the intern will participate in the following archival activities:
Arrange and re-house materials in Chicago dance and theater collections according to archival practice.
Apply appropriate preservation treatments to collection materials. Treatments include, but are not limited to, surface cleaning, flattening, removal of fasteners, and photocopying.
Prepare detailed descriptive inventories for collections in a format compatible with the archival professional standard, Encoded Archival Description (EAD).
Participate in identifying analog audio-visual formats in the collections, preparing them for digitization, and creating metadata.
Graduate student in a master’s program in library and information sciences and/or public history with coursework in archival processing required;
Effective oral and written communication skills;
Experience working with primary sources;
Ability to work independently and in group settings;
Ability to shelve and lift archival boxes;
Familiarity with computer applications;
Academic focus on dance and theater history of Chicago and the Midwest preferred.
Schedule: 150 hours (typically 10 hours/per week for 15 weeks).
Dates: Fall semester, with start date in mid-September.
This is a paid internship.
See original job posting here: https://www.newberry.org/internships#mdi
Maine College of Art (MECA) seeks a Learning Commons Coordinator. This is a full-time position with duties commencing on or about September 1, 2018.
The Learning Commons Coordinator at Maine College of Art is a newly designed position tasked with developing and implementing the vision for a learning commons that will bring together the library and tutorial services. In an effort to bridge the College’s academic services and supports, the Learning Commons Coordinator will oversee MECA’s Learning Studio, manage tutoring and research support, oversee the day-to-day maintenance of the library collection, and will teach two courses each year. As an integral component of the research and support services provided by the College, the position will interface closely with faculty, students, staff, and the larger MECA community to help meet the academic goals and mission of the library as well as the institution at large.
The Learning Commons Coordinator’s duties include the hiring, supervising, and training of tutors and student workers, student tutoring, research support as needed, collection maintenance, and administrative tasks. The Learning Commons Coordinator collaborates with the Dean’s Office and reports to the START team on occasion to assist with early intervention of students experiencing academic challenges. As a faculty position, the Learning Commons Coordinator will also teach two courses each year based on educational background and subject specialties.
The position reports to the Library Director.
Provides research support to students, faculty, and staff as needed
Facilitates workshops for students covering library resources, research, and study skills
Participates actively in the planning and decision-making of both tutorial services and the library
Works to actively carry out the values of the College’s Diversity Statement and Compact both within the library and at the College at large
Supervises, hires, trains, and evaluates tutors and library student workers
Tutors students on occasion
Oversees the maintenance of the library’s physical collections
Maintains circulation and other statistics to document library and tutoring activities
Manages office and library supplies, including inventories and ordering
Will teach two courses per year
Works with the Library Director on special projects as required
Serves on MECA committees as appropriate
Master’s degree in Library Science, Information Science, Education, Rhetoric / Composition, English, Art History, Art Theory, or a related field from an accredited institution
At least two years of related work experience
Knowledge of library circulation, acquisitions, and cataloging procedures
Familiarity with the learning commons model and/or tutoring services in higher education
Demonstrated commitment to diversity, inclusion, and equity
Comprehensive understanding of how libraries and higher education can serve the needs of users from diverse backgrounds
Strong background in art and design curriculum
Strong customer service orientation and demonstrated management skills, such as interpersonal skills, aptitude for one-on-one and classroom teaching, and experience working with diverse learning styles
Evidence of ability to maintain effective and collegial working relations with staff, students, faculty, and administration
Highly adaptable and responds well to change
Demonstrated knowledge of best practices and trends in emerging technologies
Ability to communicate effectively both verbally and in writing, and the ability to facilitate communication with the library and with key constituencies
Demonstrated creativity and innovation in library services in higher education
Demonstrated commitment to student success/achievement
Evidence of continued professional development
BA/BFA in art or art-related field
COMPENSATION + BENEFITS
Salary range $44,000 — $48,000 depending on experience; health, dental, vacation, sick and retirement benefits.
Applications will be reviewed beginning immediately and will be accepted until a hire is made, with a targeted start date of September 1, 2018. Application materials must be sent digitally in a single PDF, not to exceed a 25MB file size. Please email the document to firstname.lastname@example.org. Place “Learning Commons Coordinator [LastName FirstName]” in the subject line. The PDF must include (1) an application letter which describes how the candidate’s experience, accomplishments and qualifications intersect with the listed position description; (2) a curriculum vitae; (3) a diversity statement; (4) a teaching philosophy; (5) relevant scholarly publications (if available); (6) a list of five references with contact information, one of which should be a student. Finalists must submit all college transcripts and agree to a background check.
Maine College of Art recognizes that diversity is integral to the academic experience and strives to foster an inclusive culture defined by respect, equity and social responsibility. Successful candidates will have demonstrated experience in working with diverse populations, and supporting an inclusive and equitable community. Maine College of Art does not discriminate on the basis of gender, gender identity, gender expression, sexual orientation, disability, genetic information, HIV status, race, age, religion, national or ethnic origin, or military/veteran’s status in its educational programs, admissions policies, employment policies, financial aid, or other College administered programs. Candidates from historically underrepresented backgrounds are encouraged to apply.
Maine College of Art is an independent college of art and design located in the center of the thriving arts district of Portland, Maine. Established in 1882, the College currently enrolls approximately 500 students, the majority of whom are in the undergraduate program. About 1,200 students take classes through MECA’s Continuing Studies Program annually. MECA’s Joanne Waxman Library is an important resource of art and design oriented books and periodicals for the region. The Institute of Contemporary Art at MECA is a vibrant site for the exhibition of contemporary art.
MECA is characterized by its intimate learning community, its interdisciplinary nature and the breadth of its programs. It confers the degrees of Bachelor of Fine Arts in eleven majors, Master of Fine Arts in Studio Art, Master of Arts in Teaching, and the Salt Graduate Certificate in Documentary Studies. Our goal at MECA is to teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals.
Maine College of Art is accredited by the New England Association of Schools and Colleges (NEASC) and the National Association of Schools of Art and Design (NASAD). The College’s accreditation status with both agencies was renewed in 2016.
The Thomas J. Watson Library in The Metropolitan Museum of Art is pleased to announce an opening for the position of Library Associate, Circulation and Technical Services. This full-time position is a special opportunity to contribute to the success of an innovative and productive art library at a world-class museum while learning and applying new skills.
The Library Associate is a key member of both the technical services and circulation departments, responsible for ensuring accurate access and inventory control of the library’s collection. Core tasks include receiving, processing, barcoding, and cataloging physical and digital collections in both MARC and non-MARC formats to international standards; performing quality control and resolving discrepancies for bibliographic records, utilizing Sierra software; sending and receiving orders and invoices in accordance with international EDIFACT protocols from all major book vendors; loading bibliographic records via FTP from bibliographic cataloging vendors and communicating with them for proper quality control; processing materials for offsite, withdrawals, and Wert commercial bookbinding; departmental library management and maintenance; managing cataloging of the reference collection in the Drawings and Prints; processing books for departmental libraries; managing daily recalls (average of 120 per month) between curatorial staff; and conducting a detailed inventory of library materials checked out to Museum staff. Provides outstanding service to all library patrons at the Circulation and Registration Desks on a daily basis.
This position reports to the Associate Manager of Circulation and Reader Services. The schedule is Monday–Friday.
Please submit a cover letter stating your interest and your CV, addressed to the search committee to email@example.com.
PRIMARY RESPONSIBILIES & DUTIES:
Utilizes knowledge of RDA/AACR2 and the LC Classification system to create high quality descriptive and technical metadata in both MARC and non-MARC formats for both physical and digital collections; catalogs research materials in all formats according to national standards
Assists with data loads of bibliographic and authority records and financial data from vendors using EDIFACT, systems maintenance, and Sierra library software
Assists in processing and cataloging of gifts for Watson and departmental libraries
Assists with collection management including offsite processing, withdrawals, and departmental library maintenance
Collaborates with library staff to maximize the functionality of our integrated library software, Sierra, to assess best practices and streamline workflow for inventory, collections management, recall procedures, and cataloging
Manages the daily recall process of library materials between curatorial staff and the circulation of departmental library materials for Museum staff
Coordinates with departing Museum staff to ensure all library materials are returned
Maintains an ongoing and accurate inventory of materials checked out to Museum fellows
Processes overdue notices for departmental library books
Assists with the maintenance of the circulation database in Sierra, including creating and updating item and patron records
Responsible for cataloging the reference collection in the Drawings and Prints departmental library
Assists in departmental book retrieval and circulation for library patrons
Coordinates with curatorial departments to conduct a detailed inventory of library materials checked out to Museum staff
Provides outstanding customer service in daily Circulation and Registration Desk shifts
Occasional weekend work required
Other duties as assigned
REQUIREMENTS & QUALIFICATIONS:
Experience and Skills:
Library experience required
Excellent customer service skills required
Excellent communication and interpersonal skills required
Ability to do detailed work accurately and independently required
While performing duties of this job, the employee must frequently lift and/or move up to 25 pounds and occasionally lift and/or move up to 50 pounds and also push or pull objects weighing 30-400 pounds on wheels (book trucks).
Knowledge and Education:
Work toward or completion of an MLS preferred
Experience using an automated integrated library system and preferred
Knowledge of RDA/AACR2, LC Classification and MARC21 preferred
The Thomas J. Watson Library is the central research library of The Metropolitan Museum of Art. Reflecting the depth and scope of the Museum’s collection, the library collects scholarly material from the art of early antiquity to contemporary art. Like the Museum, the library’s holdings are encyclopedic and global in nature and provide a broad range of research materials on Ancient Near Eastern, Egyptian, Greek and Roman, Asian, Islamic, European and American art. In addition to its extensive collection of monographs, exhibition catalogs and rare books, the library includes 150,000 auction and sale catalogs dating from the eighteenth century to the present day. Watson Library’s staff of thirty eight adds nearly 20,000 volumes a year, manages a large collection of electronic resources, and continues to build its digital collections, now comprising over one million pages of online content.
The Museum’s library system includes The Robert Goldwater Library, covering the art of Africa, Oceania and the Americas; Nolen Library, providing materials for all ages on the history of art and also curriculum related material for teachers; The Lehman Collection Library, a collection on European painting and decorative arts; The Joyce F. Menschel Library in the Department of Photographs; The Onassis Library in the Department of Greek and Roman Art; The Irene Lewisohn Costume Reference Library; and the Cloisters Library for medieval art and related topics. The Museum’s departmental libraries contribute to combined holdings of more than one million volumes, a collection unrivaled in depth and coverage for the history of art on a global scale.