Job posting: Learning Commons Coordinator, Maine College of Art, Portland, ME

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.

POSITION SUMMARY

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.

RESPONSIBILITIES

  • 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

QUALIFICATIONS

  • 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

Preferred Qualifications

  • 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.

APPLICATION PROCEDURE

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 employment@meca.edu. 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.

INSTITUTION

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.

Job posting: University Archivist, University of North Carolina School of the Arts, Winston-Salem, NC

Posting Details
Position Information
Working Title University Archivist
Position Type EHRA Tier II
Position Number 060112
Full/Part Time Full-time
School/Department Information
The Library and Learning Commons provides materials and services which support the University of North Carolina School of the Arts’ education, artistic, and performance objectives, and which serve the intellectual, informational, and cultural needs of the students, faculty, and staff of the school, as well as other members of the local community. As a unit of the Library, the Archives exists as the institutional memory of the University of North Carolina School of the Arts, documenting the school’s history from its extraordinary beginning to its present day standing as one of the world’s premiere arts schools.

Work Schedule and hours
Description of Responsibilities and Duties
The Library and Learning Commons provides materials and services which support the University of North Carolina School of the Arts’ education, artistic, and performance objectives, and which serve the intellectual, informational, and cultural needs of the students, faculty, and staff of the school, as well as other members of the local community. As a unit of the Library, the Archives exists as the institutional memory of the University of North Carolina School of the Arts, documenting the school’s history from its extraordinary beginning to its present day standing as one of the world’s premiere arts schools.

The University Archivist:
– Oversees cataloging, discovery, preservation, and promotion of the collection that documents the student, faculty, and institutional experience of the University using best practices and professional standards.

– Manages relationships with campus shareholders for the continual intake of institutional records and archival materials, both electronic and physical and in a range of types and formats. Administers University Records in compliance with the NC Public Records Act, and as liaison with the State Records Management Office.

– Supervises one part-time employee and Archives volunteers.

– Conducts continued outreach to campus shareholders, including faculty, staff, students, alumni, and donors, to nourish creative teaching and learning on campus and to promote knowledge and understanding of the origins and development of the programs and goals of the University of North Carolina School of the Arts. Is an active part of the archives life cycle at UNCSA by promoting campus documentation of performance and the creative process.

– Integrates archival collections with course curricula by working closely with faculty, providing instructional sessions around primary sources, and exposing library users to UNCSA history through exhibitions, displays, social media, and other forms of outreach.

– Creates digital access points to all collections through current cataloging and description standards; articulates, manages, and trains staff on cataloging workflows.

– Supports researchers at UNCSA and external to the institution with an ability to adapt to new research paradigms in the arts and humanities.

– Serves on campus-wide committees as needed and remains professionally active to stay current with trends and changes in the profession.

– Coordinates with the University Librarian and the Office of Advancement on fundraising and grant writing efforts.

Minimum Qualifications
Master’s degree in Library/Information Science/Archives & Records Management from an ALA-accredited institution with 2 years of professional experience as a librarian or archivist.

Preferred Qualifications
– Arts and/or humanities background

– Demonstrated experience working with diverse collections and shareholders

– Experience with curation and/or collection development

– Proven ability and enthusiasm for bringing innovation and creative thinking to the workplace

Terms of Employment E2
Knowledge, Skills and Abilities
– Command of archival theory and best practices, both for physical and electronic collections.

– A strong knowledge of digitization and cataloging workflows as well as the born-digital archival lifecycle. Experience with archival content management systems as well as digital file formats, electronic records management, and digital persistence practice and theory.

– Ensures long-term retention of physical materials (non-electronic) with knowledge of preservation practice and storage.

– Knowledge of current copyright and privacy laws, donor restrictions, and permissions related to public access of paper and born digital records.

– Ability to supervise as well as work independently on projects. Ability to collaborate with the Library team and campus shareholders, as well as to identify and develop new partnerships that enhance the reputation and use of the UNCSA Archives.

Special Conditions for Eligibility
Posting Detail Information
Posting Number AS171P
Open Date 06/01/2018
Close Date
Open Until Filled Yes
Salary Range
Recruitment Range, if applicable
Special Instructions to Applicants
This is an EHRA position.

PLEASE NOTE: A criminal background check will be conducted on candidate finalist prior to the offer of employment.

Resumes WILL NOT be accepted in lieu of completing an electronic application. The application must be competed in full detail (including work history) for your qualifications to be considered.

Failure to complete the application process as required by state regulations WILL result in your application being rejected for the vacancy and you will not be considered for the position.

Other materials may be requested at a later time.

Applications will be treated confidentially until the final stages of the search process. Salary will be commensurate with experience.

Original job posting

A Success Story: An Interview with Kate Lambaria, Visiting Music & Performing Arts Librarian at the University of Illinois

In this Success Story, Kate describes her experience in the field of music and performing arts librarianship, wherein she has evolved from music researcher to graduate library assistant to branch librarian supporting the School of Music and the Departments of Dance and Theatre at the University of Illinois at Urbana-Champaign.

Can you tell us a little bit about your background, your current position, and how you got into the field of librarianship?

I have an undergraduate degree in music, with a concentration in ethnomusicology. I didn’t grow up using libraries and when I started college and was introduced to them, they were this mysterious space that I didn’t understand how to navigate. I learned eventually because having an ethnomusicology focus meant that I did a lot more research than some of my peers in the music program. After finishing my undergraduate degree, I spent some time stringing together multiple part-time jobs teaching marching bands and private lessons and working in retail. My patience for this didn’t last very long and that’s when I started to think about a career that would fit with what I knew I enjoyed: music, teaching (but not full-time), the research process, and working with people. Eventually, I realized that librarianship had the potential to offer all of those things, so I applied for and was accepted to the MSLIS program at the University of Illinois at Urbana-Champaign. I worked as a graduate assistant in two of the libraries on campus, including the Music & Performing Arts Library where I now work, and that experience really cemented my interest in academic music librarianship.

I’m currently the Visiting Music & Performing Arts Librarian at Illinois and I work in a branch library that is one of many on campus. My library supports the School of Music and the Departments of Dance and Theatre. We’re located in the Music Building and the School of Music is the largest of the three departments, so I get to put my background in music to use on a regular basis.

What is your favorite aspect of your job? What is unique or special about your role as a performing arts librarian?

I enjoy going into classrooms for instruction sessions and then seeing the same students later in the library, either using our resources or asking for help at our desk. I’ve heard some students mention how they don’t need to do research as performers, so it’s pretty rewarding to see them realize the benefit of research on their performance, in addition to the many other ways the library can support them as performers. I also try to make it to some student performances every year and it’s really neat to see students I’ve worked with performing on stage. I guess the students are really my favorite aspect of my job!

One of the ways that performing arts librarianship is unique is the collections and the many formats that are needed. For example, if I buy a book about a specific piece of music, that leads to many questions…. do we have a score for that piece in our collection? What kind of score is it (score and parts for each instrument, just the score, a vocal score)? Who published the score? Do we have a recording (audio or video)? Who was the conductor/ensemble/soloist/choreographer… the list goes on. This impacts public services as well as collection development. There’s a lot to take into consideration when helping performing arts patrons find the information they’re seeking, and it does help to have a background in the performing arts.

What does a typical day at work look like for you?

Like many librarians, each day is different for me, but it usually consists of some combination of the following: collection development, reference and research support (I staff our reference desk 4 hours a week and each shift at the desk is always a surprise), instruction (both in class and through developing online materials), supervising our graduate assistants, and participating in programming and outreach. Right now, we’re moving to a new system for room and loanable technology reservations so I’m spending a lot of time working on that documentation for our library, developing staff training, and adjusting our policies accordingly. I’m also lucky to be at an institution that supports librarians conducting research, so depending on the day, I might be coding interviews or working on a literature review for a new project. Oh, and meetings, there’s always meetings.

Do you have any words of wisdom for students who are interested in the arts and may be considering a career in performing arts librarianship?

I don’t think I’m qualified to be dealing out words of wisdom yet, but I think it’s important to remind current LIS students that you’re probably never going to feel ready going into your first position, you just have to be prepared for that and willing to learn. My first position was as a liaison librarian to the architecture, art, dance, film, music, and theatre departments and while I felt comfortable with some of those subject areas, I knew nothing about architecture and art. So, I joined ARLIS, started reading the literature in the art librarianship field, and tried to build a network of peers. While I only work with the performing arts now, I still keep up with what’s happening in art librarianship. It can be easy to stay in your own specialized world, but there’s a lot to learn from librarians working in other subject areas. There are also many types of careers in performing arts librarianship, but I only have experience in an academic setting.

What were/are some challenges for you as a librarian?

Being early career, I have a tendency to say yes to every opportunity that comes my way. There’s a lot about librarianship that interests me, but this can also make it challenging to focus and prioritize my time. Sure, saying yes to opportunities allows me to explore new things and determine if it’s an interest worth pursuing further, but saying yes to everything is completely unrealistic, so now I’m working on learning to say no. Or, at the very least, to take more time considering how new commitments will fit into my schedule and existing long-term projects before saying yes.

Job posting: Library Information Specialist IV (Fine Arts Night Supervisor) – Baylor University, Waco, TX

Job Title Library Information Specialist IV (Part Time Nights)
Position Type Technical/Paraprofessional
City Waco
State TX
Zip 76798
Purpose
The purpose of this position is to serve as the Fine Arts Night Supervisor. This position provides reference and research services, supervising night student staff, assisting with circulation, reserves, and collection processing during evening and late night hours up to 1am.

Job Duties
Required Education Bachelor’s
Field of Study
Required Experience Less than 1 year of relevant work
Other Required Qualifications
-Strong user-service commitment
-Excellent organizational skills
-Attentive to detail and accuracy
-Effective written and oral communication skills -Strong interpersonal skills
-Demonstrated ability to work both independently and in a team setting
-Proficient with personal computing and a variety of technologies
-All employees are expected to fully support Baylor’s mission to educate men and women for worldwide leadership and service by integrating academic excellence and Christian commitment within a caring community.

Preferred Education Bachelor’s
Preferred Field of Study
Preferred Experience 2 years of relevant work
Other Preferred Qualifications
-Ability to read music beyond an elementary level
-Creative
-Flexible
-Forward-thinking
-Self-initiated
-Prior supervisory experience

Part time/Full time Part Time
Avg Hours per Week 25
Work Hours Sunday – Thursday 8:00 PM- 1:00 AM
Physical Demands
See Job Description

About Baylor
Working at Baylor is so much more than simply having a job! As part of the Baylor family, employees not only receive a comprehensive benefits package that includes medical and dental insurance, generous time off, and fantastic automatic retirement contributions, they also get to experience Baylor.

-Experience the culture of working for an institution consistently ranked as a “Great College to Work For” by The Chronicle of Higher Education
-Experience a mission driven organization based on a strong Christian commitment (www.baylor.edu/about)
-Experience Baylor academics with outstanding tuition remission for eligible staff and qualified dependents
-Experience our beautiful campus with access to libraries, museums, and recreational facilities such as our fitness center, athletic courts, an indoor swimming pool, and the Baylor marina to name a few
-Experience our great dining facilities and enjoy an employee discount
-Experience Baylor athletics with reduced admission or free access to athletic events
-Experience Baylor through many more wonderful events and programs that take place on campus each year
-Conveniently located in Waco, Texas, Baylor University is approximately 90 miles from both the Dallas-Fort Worth and Austin areas. To learn more about life in Waco, visit http://wacochamber.com/community/about-waco.

EEO Statement
Baylor University is a private not-for-profit university affiliated with the Baptist General Convention of Texas. As an Affirmative Action/Equal Opportunity employer, Baylor is committed to compliance with all applicable anti-discrimination laws, including those regarding age, race, color, sex, national origin, marital status, pregnancy status, military service, genetic information, and disability. As a religious educational institution, Baylor is lawfully permitted to consider an applicant’s religion among its selection criteria. Baylor encourages women, minorities, veterans and individuals with disabilities to apply.

Pay Rate Commensurate with education and experience

Link to original job posting

Job Posting: Metadata and Cataloging Librarian for Special Formats – The University of Texas at Austin

Professional Librarian – Metadata and Cataloging Librarian for Special Formats
Hiring department Humanities Rsch Ctr
Monthly salary $3,750
Hours per week 40.00 Variable
Posting number 18-05-18-01-0080
Job Status Open
FLSA status Exempt
Earliest Start Date Immediately
Position Duration Funding expected to continue
Position open to all applicants
Location Austin (main campus)
Number of vacancies 1
General Notes
None provided

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 enhance access and discovery for a variety of Ransom Center collections, while contributing to cross-departmental metadata initiatives and shaping new cataloging approaches compatible with current and emerging initiatives.

Essential Functions
Performs original and complex copy cataloging in MARC according to established national guidelines and standards appropriate for printed, published, and visual materials,including but not limited to pre-1821 monographs, maps,playbills, ephemera, photo albums and portfolios, musical scores, and selected works of art. Maintains workflows and communication within the unit on issues requiring expertise and guidance in rare books and special formats cataloging. Collaborates with other Description and Access units and with UT Libraries in support of cross-departmental metadata transformation and catalog management and maintenance activities; contributes name authority records to PCC NACO. Trains Federal Work Study students and interns to advance the initiatives of the department and provides quality assurance to ensure integrity of the unit output.

Marginal/Incidental functions
Liaises with curators and other staff to acquire and track printed and published media; participates in weekly and occasional weekend public service or reference work; may participate in Center and campus committees and initiatives.

Required qualifications
Master’s degree in library and information science from an ALA-accredited program, or international equivalent; Experience cataloging library materials, preferably rare books and special formats; Evidence of knowledge of MARC and non-MARC bibliographic exchange formats, metadata content standards, controlled vocabularies; Evidence of knowledge of the role and function of authority control; Demonstrated ability to manage time effectively, balance multiple responsibilities, and adjust accordingly to changing priorities, needs, and deadlines; High level of initiative, self-motivation and self-development skills; Excellent oral and written communication and interpersonal skills, to effectively work with internal and external audiences in fostering an atmosphere of positive participation and communication. Equivalent combination of relevant education and experience may be substituted as appropriate.

Preferred Qualifications
At least 2 years of experience post-MLIS managing workflows on a library setting and coordinating cataloging projects; Experience creating authority records, and contributing to PCC NACO; Experience cataloging serials or non-printed and published formats; Experience working with metadata transformation and mapping; Supervisory or training experience; Demonstrated awareness of new and emerging bibliographic standards and technologies, and a commitment to their effective application; Knowledge of rare material handling and preservation; Reading knowledge in one or more languages other than English; A record of professional engagement and service or willingness to develop one; Demonstrated commitment to diversity and inclusion.

Working conditions
May work around standard office conditions Repetitive use of a keyboard at a workstation Use of manual dexterity Climbing of stairs Lifting and moving

Original job posting

A Success Story: An Interview with Chantal Sulkow, Acquisitions Librarian at the Bard Graduate Center

Chantal’s New York City-centered journey took her from a BFA program in Illustration to a career in commercial art before deciding to become an art librarian. In this Success Story, Chantal tells us a little bit about what drove her to become a librarian and what she loves most about the profession.

Can you tell us a little bit about your background, your current position, and how you got into the field of (art) librarianship?
Before I became an art librarian, I earned my BFA in Illustration at The School of Visual Arts in New York City, concentrating on oil painting and portraiture. While at SVA, I participated in the copyist program at the Metropolitan Museum of Art and copied old master works on-site in the galleries. The teacher I worked with made me research each painting I worked on; I had to find historical information about the materials and methods the painters used, and this process gave me my first experience with art historical research. After art school I was looking for a way to earn a living with my skills and I transitioned to a commercial art form, painting three-dimensional prototype figures for the toy industry. I started as an apprentice but eventually turned it into a business, and for a number of years I had my own studio. I painted models for toys in development, and my clients included Marvel, Fisher-Price and Hasbro. When technology in 3D printing and outsourcing to China began to change the landscape of the industry, I decided to go to graduate school. I started by looking at programs for art history, but I wanted to set myself on a path to a new career sooner than later. I was considering Pratt, and by chance I learned about their Library Science program. In my first year I took an intensive summer course on Museums and Library Research with Ken Soehner, the director of the Watson Library at the Metropolitan Museum. After spending all day, every day for 2 weeks at the Met Library, I was certain that I wanted to be an art librarian.

What does a typical day at work look like for you?

As Acquisitions Librarian at the Bard Graduate Center, I am in charge of purchasing for the library; I handle book requests from faculty and students and serve on our staff Collection Development Committee. I’m always looking for new materials to add to the collection; to keep on top of new publications I look at catalogs and email lists, and I follow the social media accounts of museums, academic institutions and publishers so I can track what exhibition or scholarly materials are coming up. In addition to acquisitions, I also do a good deal of reference; our staff shares reference desk responsibilities, and I work with our Reader Services Librarian to meet with students for research appointments, as well as to give research workshops, handle some of the ILL responsibilities, and, when necessary, accommodate requests from outside researchers. I also oversee our library’s rare materials collection.

Do you have any advice for current students and/or those on the job market?

Get involved with ARLIS! My involvement with this organization has been so valuable and rewarding. Join your local Chapter! If you can, go to local Chapter events or meetings- volunteer for a position on your Chapter board. Join an ARLIS/NA committee, or serve on an award committee. Go to the annual conferences; apply for scholarship money to get yourself there, and even if you don’t get funding, it’s worth paying for it yourself if you can make it happen, though of course that’s not always possible. Doing these things will help you network and meet people, and the work you do as a volunteer will help showcase your professional skills to others in the community who might hire you. More directly, reach out to other professionals for advice and mentorship. In my first semester in library school I told one of my professors that I was thinking of pursuing art librarianship and she gave me the names and contact info for two of her colleagues who were art librarians. When I followed up and reached out they both invited me to come in to chat. The early help and encouragement that they gave me was invaluable.


What accomplishments in the field of art librarianship are you most proud of?

Before I was hired to a full time position, I was appointed as ARLIS/NA’s New York Chapter Social Media Coordinator. I run the Chapter’s social accounts, which include Facebook, Instagram and Twitter. This is a board position I’ve held for nearly 2 ½ years, and it’s been great fun- I launched the chapter’s Instagram account, and I’ve been able to boost our followers and overall engagement across the board. Running the Chapter’s social platforms has enabled me to establish connections with and gain deeper knowledge of other cultural institutions, while promoting awareness of the value that art libraries have to offer. My work as the NY Chapter Social Media Coordinator also led me to run a survey on the use of social media in art libraries, and I organized and participated in a session on the topic at the most recent ARLIS conference. I am currently working with some of my session teammates on an article for Art Documentation based on our presentation, and I’m excited about where further research and exploration on this project will lead.

If you could go back and time and do part of your career or education over again, is there something you would have changed? A class you would have taken? A project you would have started?

If I had a do-over for any part of my professional life, I would have gone to graduate school years earlier, before I had kids. This is not to say you can’t get your degree while being a parent! It is absolutely 100 % doable, but presents challenges one wouldn’t otherwise have. When I began graduate school my daughter was starting kindergarten, and midway through the program I took a semester off when my son was born. (He was a perfect academic baby- born in between semesters!) Of course, finishing graduate school with 2 kids was no easy task, especially with a sleepless infant! I started the program at Pratt as a dual Library Science and Art History major; however, after my son arrived I decided to drop the Art History component and concentrate on the MLS, in an attempt to fast-track getting a degree, and getting a full time job- which, fortunately, I was able to do. When my kids are a little older I would still like to return to school and finish my subject Masters; in an ideal world, I’d like to get a PhD! You never know what might happen.

Collection Strategy Librarian, Art & Art History and Design Emphasis, San Jose State University (Reposted)

Location
San Jose, CA
Open Date
Feb 16, 2018

Description
Subject to Budgetary Approval
University Library

Specialization: Collection Strategy Librarian, Art & Art History and Design Emphasis

Job Opening ID (JOID): 24466

Rank: Senior Assistant Librarian (Tenure-track)

The Dr. Martin Luther King, Jr. Library seeks an innovative and creative librarian to provide leadership in the area of collection strategy. Under the direction of the Director of Academic Services, the Collection Strategy Librarian will collaborate with faculty, library staff, and students to provide guidance in the development, management, delivery, assessment, and planning of the library’s digital and print collections. As a faculty member, the candidate participates in the library liaison program and engages in library and university governance and scholarship, which includes research, scholarly, and creative activities required for tenure and promotion. The Collection Strategy Librarian will serve as the liaison to the Departments of Art & Art History and Design.

Responsibilities:

Under the direction of the Director of Academic Services, leads collection development activities including assessment, selection, and deselection of print, non-print, electronic resources, and gifts in all subject areas.
As part of the Academic Services team, develops the collection management, preservation, and deselection strategy.
Coordinates collection development and selection activities of liaison librarians.
Work with relevant stakeholders in developing collection development policies, evaluating print and electronic material purchases, and providing disciplinary collection assessment and statistical analysis and reports.
Establishes and maintains a strong collaborative relationship with all library units that build and maintain digital and physical collections.
Represents and participates in cooperative collection development programs with other libraries and library consortia.
Develops and maintains an awareness of the trends and issues affecting collection management and development.
Builds a record of progressive scholarly and professional achievement to fulfill the University requirement of retention, tenure and promotion.
Participates in the library liaison program, providing services to the departments of Art & Art History and Design.
Candidate must address the needs of a student population of great diversity – in age, cultural background, ethnicity, primary language and academic preparation

Required Qualifications:

Minimum 2 years of experience in selecting library materials
Experience serving as a liaison to academic programs/departments
Master’s degree from an ALA accredited program or equivalent is required at time of appointment.
Knowledge of planning, designing, and implementing innovative practices or tools to improve collection development and maintenance.
Experience with collection analysis and assessment of print and electronic resources.
Familiarity with a collections budget and collection-related projects.
Excellent analytical, interpersonal, time management, organizational and problem-solving skills.
Applicants should demonstrate awareness of and sensitivity to educational goals of a multicultural population as might have been gained in cross-cultural study, training, teaching and other comparable experience

Preferred Qualifications:

Demonstrated ability to apply metrics and other evaluation criteria to support data-driven collection development decisions.
Demonstrated ability to work collaboratively on collection building and management in a rapidly changing information environment.
Experience or coursework with library resources relevant to the research, teaching, and learning of art, art history, or design.
Undergraduate or graduate degree or equivalent training/work experience in art, art history, or design.
Proficiency with an ILS system and analytics.
Proficiency with Excel or other spreadsheet/reporting platforms.

Salary Range: Commensurate with qualifications and experience.

Starting Date: Summer 2018.

Eligibility: Employment is contingent upon proof of eligibility to work in the United States.

Please include Job Opening ID (JOID) on all correspondence.

Application Instructions
Application Procedures: For full consideration, submit: (1) a letter of interest; (2) curriculum vitae; (3) statement of teaching interests/philosophy; (4) research plan; and (5) names of three professional references with contact information by April 6, 2018 via apply.interfolio.com/49032. This position will remain open until filled.

Important: This item will be required of finalists at the time of on-campus visit: (1) Original, sealed, graduate school transcripts. Mailing address: SJSU, King Library; Attention: Evelia Sanchez; One Washington Square, San Jose, CA 95192-0028.

Tracy Elliott, Dean, University Library, invites you to contact us with your questions at (408) 808-2080 or via email at library-jobs@sjsu.edu. Please visit our websites at http://www.sjsu.edu and library.sjsu.edu. For information on faculty retention, tenure and promotion, see the SJSU Academic Senate policies S15-7 & S15-8 at http://www.sjsu.edu/senate/policies/pol_chron/

The Dr. Martin Luther King, Jr. Library at San José State University is recognized as an innovative shared facility combining a large academic library (with a collection of over one million items) and a major downtown public library. This facility uses a merged service model to support the lifelong learning needs of academic and public library users. The University Library’s strategic plan is to build a digital library which will “aggressively increase access, creation, and use of digital collections,” and “will creatively utilize innovative technologies to provide the University and the broader community with a 21st century library environment, both physical and digital.”

San José State University is California’s oldest public institution of higher learning. The campus is located on the southern end of San Francisco Bay in downtown San José (Pop. 1,000,000), hub of the world-famous Silicon Valley high-technology research and development center. Many of California’s most popular national, recreational, and cultural attractions are nearby. A member of the 23-campus California State University (CSU) system, San José State University enrolls approximately 35,000 students, a significant percentage of whom are members of ethno-cultural minority groups. The Library – and the University of which it is a part – is committed to increasing the diversity of its faculty so our community can benefit from multiple perspectives.

 

Original posting: https://apply.interfolio.com/49032

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

Harnessing Data Visualization to Teach Emerging Art Scholars: Methods and Ideas for Instruction

As art librarians and students, we are especially aware of how digital resources and the Internet have changed art scholarship. I find myself recommending academic streaming music databases to performing arts students who, ten years ago, would have had access only to CD recordings; For a close-up look at The Scream painted by Edvard Munch, I send students to Artstor before digging out a print catalog; When developing library instruction sessions, I nearly always use a digital presentation component like Google Slides or a video tutorial hosted by Vimeo or YouTube. But, one of the emerging digital trends in academia that I find most engrossing is data visualization or information visualization.

As Autumn Wetli discussed in her ArLiSNAP article The Practice and Problems of Digital Art History, several digital programs exist that allow art historians to analyze research text, data, or image collections and then present visual representations of that information or findings therein (Wetli, 2017). This is data visualization. Elegantly explained by data visualization specialist Alberto Cairo, a visualization is “a graphical representation designed to enable exploration, analysis, and communication” (Cairo, 2017).

 

For art researchers, the application of data visualization in a digital environment offers infinite possibilities. Graphs, charts, data maps, and other visualizations, when incorporated into research, can make an article more appealing or make an argument more persuasive (Cairo, 2017). And, in the age of interactive and socially engaging digital media, scholars who study art are at a unique advantage to produce colorful, media-rich, graphically stunning visualizations. (Glassman & Dyki, 2017).

 

Apart from the potential of art scholars to integrate images of art into their visualizations, the changing nature of scholarly publishing in the fine arts signals an era of change for how data is represented in art scholarship and how art researchers can move forward in an informed way. In a 2017 article entitled “Beyond the monograph? Transformations in scholarly communication and their impact on art librarianship,” Patrick Tomlin details many of these changes. Digital models of publication present an advantage due to the potential for institutions to take greater control of internal publishing, the benefit of open access, the increasing cost of full-color print monographs, and the growing importance of search engine discovery (Tomlin, 2017). From the perspectives of emerging art librarians who will take an active role in research and instruction, having a basic understanding of data visualization and its increasing presence in the world of digital art history is crucial.

 

To facilitate a basic understanding of how one might introduce data visualization to new art scholars, I have compiled this guide. These ideas serve as an introduction to data visualization for both the librarian and the researcher, who together can learn to apply existing knowledge of art scholarship towards this goal.

 

First: It is advantageous for the instruction librarian to introduce (or re-introduce) students to the principles of visual literacy. To create one’s own visualizations, scholars should be well-versed in visual communication. Online tools like Image Atlas may serve to prepare students to understand bias and perspective in images (Bailey & Pregill, 2014, p. 183). I will link below to a 2012 article by Tammy Ravas and Megan Stark which provides an informative case study in teaching “the ethics of seeing” (Ravas & Stark, 2012, p. 41). Instructors may find that integrating visual literacy lessons into existing information literacy lesson plans bolsters students’ understanding of visual literacy when applied to the eventual creation of their own data visualizations (Ravas & Stark, 2012, p. 35).

 

Second: Just as digital art history scholars should be visually literate, they should also be data literate. In his 2017 lecture at the Cornell University Library, Alberto Cairo details a study from the Pew Research Center, which concludes that many people who read articles that contain data visualizations do not know how to correctly read scatter plots, bar graphs, and line charts (Cairo, 2017). Though this study focuses upon popular media, the importance of an understanding of the interpretation of data can not be understated for scholarly communities. In a 2012 article in Art Documentation, Victoria Szabo emphasizes the value of data literate art historians who know how to use and organize data. She states that “Faculty and staff technical advisors sometimes unfamiliar with the research domain, even if experienced in humanities collaborations more generally, may not realize the extent to which their biases and assumptions for how to clean and standardize data could compromise the intellectual integrity of a project. Variant spellings, for example, could be important in tracing the provenance of a particular art object” (Szabo, 2012, p. 171). Interdepartmental collaborations with information technology staff may allow librarians and art faculty to learn more about data management programs, software, methods, and training.

 

Third: Creating one’s own data visualizations does not mean learning how to program Java or code HTML. For art historians who are just learning how to create visualizations, there are a number of free programs which exist to assist them. It may be beneficial to design instructional lesson plans around visualization software with which students are already familiar. I would suggest choosing a sample research topic within a class curriculum to be plotted in Google Maps. Topics like “locations of art auction houses in Paris” or “art galleries in New York during the Harlem Renaissance” may serve to develop simple exercises that illicit broader understandings of in-class research. Paul Glassman and Judy Dyki’s Handbook of Art and Design Librarianship, 2nd edition, contains several resources on using map plotting in art history research.

 

Once students have outgrown this more familiar tool, they can move on to greater objectives, like creating visualizations using the immense capabilities of Google Charts. They can practice embedding these visualizations into Wikis, LibGuides, or social media. And, they can explore increasingly sophisticated tools like ImagePlot while developing their comfort level with visualization technology.

 

Data visualization may seem like a daunting undertaking for researchers who have been educated mostly in text-based scholarship. But, the implications of having an understanding of visualizations in digital art history are immense. For art librarians who are increasingly tasked with the education of scholars in a digital field, I hope that the tools and ideas I have outlined may provide a basis of knowledge for teaching this emerging technology. I truly believe that, if introduced to the field of data visualization within the parameters of their understanding of visual literacy, data, and art scholarship, researchers will learn to be excited about the potential of data visualization to enhance and embellish their research work.

 

Bibliography/Further Reading

 

Bailey, J., & Pregill, L. (2014). Speak to the Eyes: The History and Practice of Information Visualization. Art Documentation: Journal of the Art Libraries Society of North America, 33(2), 168-191. doi:10.1086/678525

 

Cairo, A. (2017, October 13). Visual Trumpery. Lecture presented at Cornell University Library, Ithaca, New York. Retrieved January 2, 2018, from https://www.youtube.com/watch?v=EnzNfPAzCSc

 

Glassman, P., & Dyki, J. (Eds.). (2017). The Handbook of Art and Design Librarianship (2nd ed.). Chicago, IL: ALA Neal-Schuman.

 

Ravas, T., & Stark, M. (2012). Pulitzer Prize Winning Photographs and Visual Literacy at The University of Montana. Art Documentation: Journal of the Art Libraries Society of North America, 31(1), 34-44. doi:10.1086/665334

 

Szabo, V. (2012). Transforming Art History Research with Database Analytics: Visualizing Art Markets. Art Documentation: Journal of the Art Libraries Society of North America, 31(2), 158-175. doi:10.1086/668109

 

Tomlin, P. (2017). Beyond the monograph? Transformations in scholarly communication and their impact on art librarianship. In The Handbook of Art and Design Librarianship (2nd ed., pp. 213-224). Chicago, IL: ALA Neal-Schuman.

 

Wetli, A. (2017, December 22). The Practice and Problems of Digital Art History [Web log post]. Retrieved January 4, 2018, from http://arlisnap.arlisna.org/2017/12/the-practice-and-problems-of-digital-art-history/

A Success Story: An Interview with Coral Salomón, NDSR Fellow at The University of Pennsylvania Fisher Fine Arts Library

Can you tell us a little bit about your background, your current position, and how you got into the field of art librarianship?
Hello ARLIS/NA!,

I’m from Puerto Rico, but I moved to Boston when I was 18 to obtain my BA in International Relations. After that, I worked for a few years as a project manager in New York City’s translation industry.

I loved NYC’s wealth of cultural heritage institutions and as the years passed, I realized that I wanted to work within that sector. I stumbled upon Pratt Institute’s MLIS curriculum and decided that library school was the right fit for me.

I entered the field of art librarianship thanks to one of the cultural heritage institutions I admired from afar. I was fortunate to obtain a fellowship through Pratt at the Frick Art Reference Library where I was part of NYARC’s web archiving program. It was an incredible experience and I learned a lot from my supervisors, colleagues, and by working within the walls of The Frick Collection. Even though I’ve moved on to a different role, I feel a lot of gratitude towards The Frick. They made me feel like family since day 1 and gave me the confidence to pursue this specialty, even though I don’t have a formal background in the arts.

I’m currently the National Digital Stewardship Resident at the University of Pennsylvania Fisher Fine Arts Library. My yearlong IMLS-funded residency focuses on tackling issues pertaining to the preservation of digital artwork and art information.

You can read more about my project and my cohorts’ projects here.

What does a typical day at work look like for you? What work are you doing as an NDSR art resident?
My project has three components:
• Creating guidelines for a web archiving program focused on the arts.
• Providing repository recommendations for born-digital artworks and art resources produced at Penn.
• Writing a white paper on the acquisition and preservation of publications hosted on apps, YouTube, podcasts, and other untraditional digital platforms.

I’ve been interviewing a lot of people here at Penn to get a better sense of what are the needs of the community. A typical day might include interviewing professors in the fine arts department, curators, museum library directors or artists working on projects affiliated with Penn. I type my notes and then create a small summary of the conversations in a spreadsheet.

I’ve also been meeting with fellow Penn librarians and digital archivists to gather their recommendations and avoid siloing my work. Librarians, archivists, and new media scholars at other institutions have also generously offered me advice and discussed best practices in relation to my project.

So, my typical day involves a lot of listening and typing! Next semester, I’ll begin implementing some of the lessons I’ve learned during the past 4.5 months.

One achievement that I’m proud of is the mapathon for Puerto Rico disaster relief Penn Libraries hosted. I helped organize it, and while it doesn’t fall neatly within art librarianship, it’s an example of how libraries can rise to action in times of need. I was blown away by the student participation and the institution’s support.

Do you have any advice for current students and/or those on the job market?
My advice for current students is to seek out internships or part/full-time jobs in the field while they’re still in school. Internships make life financially difficult, so try to apply to ones that pay or to funds like the ARLIS/NA Wolfgang M. Freitag Internship Award which provide financial support to students seeking out unpaid opportunities.

For those on the job market: apply to your dream jobs, even if you think you’re not qualified. Keep on blogging, going to events, get coffee with people working in the profession, all those things your professors told you to do. Also, networking is not evil. I thought networking was terrible when I was younger, but now I’ve realized it’s just about reaching out to people that are cool and are doing admirable things within this line of work.

I know this is easier said than done, but don’t take job rejections personally. I’ve been surprised that I’ve connected with people (in a positive way!) who’ve turned down my job application. Always thank people and, if you get a human-generated rejection, ask what factors influenced the hiring decision. Sometimes people reply and you get really good advice–I got better at writing cover letters thanks to a kind rejection.

Remember, you are an awesome person and the market does not determine your worth! If anyone wants more specific advice, feel free to tweet me at @csalinphilly!

What were/are some challenges for you as an art librarian? Are these related to larger challenges in art librarianship?
The attack against net neutrality is a huge challenge. Art libraries are boundary-pushers in the effort to preserve and provide access to our digital cultural heritage, as demonstrated by our web archiving programs. This measure, which endangers the openness of the internet and threatens to increase the digital divide, imperils our work and the ability of the public to access our collections and materials. As librarians and archivists, an open and democratic web is vital to ensure we can provide information to all.

Tell us something fun about yourself! What do you do in your spare time? If you could take a trip to visit any library in the world, which would it be?
I really like to bike and luckily Philly is a great biking city.

I also enjoy exploring museums. This year I saw some really great exhibits, including the Whitney’s survey of Hélio Oiticica’s work and the Guggenheim’s Agnes Martin retrospective. I also enjoyed Philadelphia’s public art project, Monument Lab. The pieces were really thoughtful and offered a fun way of getting to know the city.

Someday, I would like to visit the Biblioteca Nacional José Martí, Cuba’s national library. Cuba and Puerto Rico were the last outposts of the Spanish empire in the Caribbean, and I wonder what tales of our combined history are safeguarded there.