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.

Job Posting / Teaching & Research Librarian Fine Arts / Concordia University / Montreal, Quebec

Teaching & Research Librarian Fine Arts – Concordia University, Montreal, Quebec

Concordia University Library seeks a dynamic and innovative librarian for a tenure-track position as Teaching & Research Librarian – Fine Arts.

Concordia University is one of Canada’s most dynamic universities in one of North America’s most livable cities. It reflects a unique blend of commitments to diversity, accessibility, social responsibility, and innovation. With over 45,000 students (7,439 international) and over 2,000 full-time and part-time professors, Concordia is recognized for offering a rich academic experience combined with strong community engagement.

Concordia University Library provides collections and services fundamental to academic success, creation, the advancement of knowledge, and lifelong learning. With a team of 120 librarians, professionals and support staff who put student and faculty success at the centre of their practice, the Library collaborates to achieve the goals outlined in our strategic plan and in the University’s strategic framework and directions. For more information about the services and operations of the Library, see http://library.concordia.ca/.

The Teaching & Research Librarian – Fine Arts is a member of the Library’s professional team, reporting to the Associate University Librarian, Research & Graduate Studies. The incumbent provides support for teaching, learning and research activities in the visual and fine arts to enable and facilitate exploration, knowledge creation and learning. The incumbent develops and implements initiatives to support the use of digital tools for research and teaching and contributes substantively to a variety of Library and University strategic initiatives and projects, through committees, working groups, and project teams. Responsibilities also include research, publication and service to meet requirements for tenure and promotion.

Librarians are members of the Concordia University Faculty Association (CUFA).

RESPONSIBILITIES

Continually develops knowledge of information and media resources within the visual and fine arts and acts as a resource person for librarians, staff, faculty and students.

Provides research help and consultations regarding the discovery and use of information and media resources within the visual and fine arts.

Continually develops knowledge of teaching and learning practices in higher education generally, and in the disciplinary context of the visual and fine arts.

Prepares and delivers curricular and co-curricular instruction for classroom, library and online learning environments.

Develops a thorough familiarity with all aspects of the research and research-creation lifecycle within the visual and fine arts including research methods, research-creation, digital tools, scholarly communication and research data management.

Advises and collaborates with faculty, students and colleagues to facilitate research and, research-creation activities, digital scholarship, data management and scholarly outputs in the visual and fine arts.

Develops and manages digital and print collections in assigned visual and fine arts subject areas.

Participates in collection evaluation, development and management, in consultation with faculty, librarians, and the Associate University Librarian, Collection Services.

Coordinates and contributes to the Library’s exhibits.

Participates on committees, working groups and project teams to contribute to the development of Library and University strategic initiatives and projects.

Contributes to local, regional and national initiatives and projects

QUALIFICATIONS

Professional expertise

A graduate degree from a library school accredited by the American Library Association, or approved equivalent education and training acceptable for membership in the Corporation of Professional Librarians of Québec.

An undergraduate degree and/or graduate degree in the visual or fine arts or in a related discipline is an asset.

Extensive and authoritative knowledge of information resources and sources in a variety of media available to subject areas within the visual and fine arts.

Knowledge of the research and research-creation lifecycles within the visual and fine arts.

Demonstrated ability to develop and deliver effective instructional activities.

Knowledge of scholarly communication models and practices including open access, institutional repositories, and research data management.

Knowledge of research communication and collaboration tools as well as digital scholarship tools (such as data visualization, timeline, mapping, online exhibits, text mining) and the ability to advise on their value and use.

Knowledge of collections development and management issues, concepts and methods in academic libraries.

General Competencies

Demonstrated ability to develop successful partnerships and relationships with faculty and researchers.

Demonstrated project management skills and ability to handle multiple priorities and tasks as well as projects.

Strong motivation, aptitude and interest to establish student and faculty success as the centre of their professional practice.

Ability to work both independently and collaboratively, share expertise, work in teams and negotiate solutions with diverse groups.

Excellent communication skills. Strong analytical and creative problem-solving skills.

Curiosity, drive and flexibility so as to discover and try new things, in support of Library and University strategic directions.

Oral and written fluency in English is essential. Oral fluency in French and basic written French are assets.

Salary and Benefits

Compensation and rank are commensurate with qualifications and experience. The position includes a competitive and comprehensive benefit package.

Concordia University is committed to employment equity.

Application Procedure

Interested candidates must supply the following in one (1) single PDF attachment

·         a letter of interest;

·         curriculum vitae, which must include a statement of your citizenship;

·         the names, email addresses and telephone numbers of three professional references.

 All qualified candidates are encouraged to apply; however, Canadian citizens and permanent residents of Canada will be given priority. Only selected candidates will be contacted. Interviews are planned for the week of February 5, 2018. The anticipated position start date will be June 1, 2018.

Candidates should apply in confidence by email to Ms. Sandra Biron, Library Personnel Assistant, at lib-admin@concordia.ca

Applications must be received by no later than 5:00 p.m. on Monday January 15, 2018.

The Aspiring Academic Art Librarian: Decoding the Mystery of Tenure-Track Job Postings

If you are an art librarian or aspiring art librarian on the hunt for a job, you may have encountered a tenure-track job posting at some point in your search. When speaking to colleagues, friends, and peers in the field of art librarianship I have found that many emerging professionals find themselves unprepared to understand, or to market themselves as candidates for, these faculty status library jobs. For those librarians interested in pursuing academic work, a broad understanding of faculty librarianship can be beneficial in a multitude of ways. For these reasons, I have compiled a brief “beginner’s introduction” to faculty librarianship and applying for tenure-track library jobs, accompanied by a short bibliography of web resources for the job-hunting academic art librarian.

Firstly, if you are unfamiliar with the academic process of tenure, a description of this process is available through the Association of College & Research Libraries (ACRL). This can be found in the accompanying bibliography. You may also find the ACRL’s Joint Statement on on Faculty Status of College and University Librarians to be helpful. According to the latter, librarians who are hired into a tenure-track positions are afforded the opportunity to gain all the benefits of faculty status, including “corresponding entitlement to rank, promotion, tenure, compensation, leaves, and research funds” (“A Guideline for the Appointment, Promotion and Tenure of Academic Librarians,” 2006). This means that if seeking tenure-track library work, one should be prepared to engage in professional development activities and conduct research in their field of library expertise in exchange for the opportunity to achieve tenure status.

Secondly, if you are interested in applying to a tenure-track library position but want to know more about the responsibilities inherent in such a position, you should understand that the qualifications for rank, compensation, and promotion of tenure-track librarians vary widely from institution to institution. I took this opportunity to speak to three librarians at different stages in their careers (two in art librarianship and one in academic librarianship, but not the arts) in order to acquire a variety of examples of experiences with different institutions’ tenure policies. For the sake of privacy I have chosen to keep the names of my interviewees anonymous. All three of these librarians have found that each institution seems to have its own timeline for evaluations of tenure-track librarians. For example, one school might evaluate tenure-track librarians for promotion to tenure every three years while another might evaluate them every five years. During this review process the librarian hopes to be approved for tenure, but if not approved, risks termination. Research and professional development budgets, publishing requirements, and time allotted to conduct research also vary.

Thirdly, one must realize that within the field of librarianship there are many varying opinions on what faculty status means for librarians. Librarians who are interested in conducting research and publishing scholarly literature within the field are better suited to tenure-track positions than those who prefer not to be responsible for this type of work. Anyone can apply for these jobs, but there is no guarantee of achieving tenure status. Perhaps one of the most beneficial steps one can take before submitting an application to a tenure-track position is to seek out the tenure requirements and policies of the institution to which they are applying. These policies are frequently available on the institution’s website (though be sure to verify that you are reading the tenure requirements for librarians, and not for other faculty). These outlines can provide invaluable insight into whether the position in question is right for you.

General Resources

Academic Librarianship. (n.d.). Retrieved December 12, 2017, from https://www.kent.edu/iSchool/academic-librarianship

“A Guideline for the Appointment, Promotion and Tenure of Academic Librarians”, American Library Association, September 6, 2006.

“Association of College and Research Libraries Joint Statement on Faculty Status of College and University Librarians”, American Library Association, September 6, 2006.

Johnson, H. (2016, May 3). A Tip of the Hat to Tenure: Realizations in my First Year [Web log post]. Retrieved December 12, 2017, from http://acrlog.org/2016/05/03/a-tip-of-the-hat-to-tenure-realizations-in-my-first-year/

Romanowski, C. A. (2015). First-time faculty librarian, first year experience: Overcoming tenure fears. College & Research Libraries News, 76(11). Retrieved December 12, 2017, from http://crln.acrl.org/index.php/crlnews/article/view/9414/10616

“Securing an Academic Librarian Position”, American Library Association, November 10, 2009.

Sample Institutional Tenure Policies
 

Indiana University Bloomington

Penn State University Libraries

University at Albany, State Universities of New York

University of Georgia

University Librarian at University of North Carolina School of the Arts, Winston-Salem NC

The University Library provides materials and services which support the University of North Carolina School of the Arts’ educational, 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. The University Librarian provides leadership for the library with the following:

– Responsible for hiring, performance management and professional development of library personnel. Directly and indirectly supervises 7 professional librarians and 8 support staff, providing leadership that fosters a positive rapport and a collaborative spirit among all library employees.

– Oversees Access Services, University Archives, Benjamin F. Ward Music Library, Reference, Systems, and Technical Services.

– Directs the exploration, development, and implementation of innovative services and tools that provide high quality, user‐focused learning experiences and foster student success.

– Promotes assessment strategies and data‐informed decision making, enhancing support for future choices and changes in library service.

– Leads processes by which the library is integrated into the campus community, working to support the curricula, student learning outcomes and the goals of the university.

– Collaborates with library colleagues and the Provost in long‐range planning and budgeting for the library.

– Enhances financial support for the library through the pursuit of proposals and grants.

Minimum Qualifications

aster’s degree in Library/Information Science from an ALA-accredited institution with a demonstrated record of at least 5 years of successful, progressively responsible library leadership at the academic/university level.

Preferred Qualifications 

– Arts background

– Experience developing capacity for new and emerging areas of library focus – e.g. user experience, digital preservation, data collection, assessment, and digital scholarship.

– Experience acquiring funding through a diverse array of sources, including institutional funds, grant-writing, and fundraising

Project Archivist at the Center for Creative Photography at The University of Arizona

The Library Information Associate, Senior (Project Archivist) will support the archives staff with surveying, processing, and describing two large, complex, keystone archival collections: the W. Eugene Smith archive and the Witkin Gallery archive. By completing this project, there will be improved intellectual and physical control, increased visibility and access to these collections, and ensured collection longevity. Essential functions will include: surveying the collections to identify processing and preservation issues; improving under-processed collections; refining finding aids to meet archival standards; rehousing and preservation; and authoring and publishing EADfinding aids online. This is an Extended Temporary Employment position.

The Center for Creative Photography (CCP) is the premiere research collection of American photographic fine art and archives, promoting creative inquiry, dialogue, and appreciation of photography’s enduring cultural influence. The Center for Creative Photography is a world-renowned leader in preservation, teaching, learning, scholarship, and the appreciation of archival material and works of art by North America’s greatest photographers.

With more than $606 million in research and development dollars from federal, state, and private sources, The University of Arizona currently ranks #21 among public universities in the US in overall research expenditures and #2 in physical science research. With world class faculty in fields as diverse as astronomy and space exploration, plant science, biomedical science and biotechnology, anthropology, Native peoples, business, law, philosophy, music, and dance, the UA is one of only 62 members in the Association of American Universities. The University’s main campus is situated in the heart of Tucson. Surrounded by mountains and the high Sonoran Desert, Tucson boasts a distinctive southwestern feel and enjoys more than 300 days of sunshine each year.

Duties & Responsibilities:

  • Complete collection-level surveys on the W. Eugene Smith and Witkin Gallery archives
  • Advance intellectual and physical control over the materials by improving the arrangement, organization, and description of collection materials
  • Discuss proposed changes with archives staff
  • Rehouse materials as necessary
  • Improve finding aids to follow archival best practices and standards (DACS)
  • Author EAD finding aids using Oxygen XML editor and publish online
  • Link collections to subject guides available on the CCP website
  • Additional duties may be assigned

Knowledge, Skills, & Abilities:

  • Thorough knowledge of Encoded Archival Description
  • Strong organizational skills, attention to detail, and ability to follow complex guidelines
  • Demonstrated excellent verbal and written communication skills
  • Ability to demonstrate proper care and handling of materials
  • Ability to work independently with self-initiative and minimal supervision

Minimum Qualifications:

In addition to ABOR Minimum Qualifications listed below:

  • Previous processing experience in an archives repository
    (EAD), DACS guidelines, and other archival standards and best practices
  • Excellent computer proficiency (Microsoft Office, XML editors, collection management systems)

Preferred Qualifications:

  • ALA-accredited Master’s degree in Library/ Information Science
  • Grant proposal writing experience
  • Knowledge of the history of photography, including the identification of photographic processes
  • Experience working in an academic research library, scholarly special collection, or large research organization

For more information & to apply please look here. Applicants are encourage to apply until November 12, 2017 with reviews beginning November 3, 2017.

Assistant Director, Visual Resources Center, University of Chicago, Chicago, IL

Summary of Unit Job Duties:

Under the general supervision of the Associate Director of Visual Resources Center, provide professional, relevant, and effective outreach and support for scholarship to faculty, students, and other members of the University community. Work closely with faculty and students to integrate digital images and relevant technologies into the research and pedagogical activities of the Art History Department and Humanities Division. Collaborate effectively with the Associate Director to develop and implement policies and workflows and to assist in all aspects of the daily operation and development of the Visual Resources Center. Catalog, develop, maintain, and administer digital collections. Oversee the work of part-time student and other temporary employees.

Detail of Unit Job Duties:

Metadata Creation and Maintenance. With a user-oriented perspective, create authority-based, original, image catalog records in relational database. Implement and maintain metadata and content standards in image catalog and image archive. Perform quality-control for all records in multiple image databases. In collaboration with Associate Director, develop appropriate metadata display templates. Research and acquire material to fill image orders and develop the VRC’s collections to support current curricular needs and research interests. Assist in training and supervising part-time student cataloging staff.

Digital Collection Management. In collaboration with Associate Director, maintain digital archive and digital collections in the LUNA database. Assist with digital collection management workflows for scanners and digital copy stand photography to ensure efficient processes and timely delivery of images to faculty and students. Participate in ongoing dialogue with patrons to maintain high usability standards for all VRC collections. Maintain, troubleshoot, and perform quality-control, including color fidelity testing, for digital files, delivery systems, and imaging technology. Keep accurate administrative records. Assist in training and supervising part-time student scanning staff.

Instruction and Outreach. Serve as a primary point of contact for patrons of the Visual Resources Center. Develop and deliver specialized training for digital media and related technology to faculty, students, and staff, in groups and individually, including student employee training sessions, classroom instruction sessions, online tutorials, and reference guides. Promote awareness of Visual Resources Center services, digitization equipment, projects, and resources via social media outlets and Center website.

For more information visit the UChicago Jobs Employment Site at https://jobopportunities.uchicago.edu/applicants/jsp/shared/position/JobDetails_css.jsp?postingId=682568.