Visual Resources Association's Emerging Professionals and Students Group
Job announcements
Posts with this tag should be announcements for open positions in the areas of visual resources management, digital image production, digital humanities, and archives.
Cataloging Folk Art – Howard Finster and Sam McMillan by Kendra Moyer
This lightening talk serves to cover some of the basics of American Folk Arts and the system of cataloging items according the the American Folk Art Museum. In a prior life I was an art gallery owner. I have approximately 50 items of art by Reverend Howard Finster and Sam McMillan, and will demonstrate some of the cataloging standards provided by this museum.
These artists have both been prominently featured in this museum, and their colorful and original works have not yet been shared with the public. Finster’s works have been featured as the cover art of the Talking Heads AND REM albums. Finster’s southern style had taken his works across the world, and his Coke bottles are most famous. He is also known as a visionary artist, divinely inspires. McMillan is an African American folk artist whose works depict his life as a sharecropper in North Carolina working for the Hanes family. Both artists capture the innovation and spirit of Southern life.
We will briefly cover the American Folk Art museum cataloging standards for 2-4 items, including a McMillan cedar trunk featuring a horse and buggy, and an Finster piece of Henry Ford as a child.
The Interdisciplinary Creative Researcher: Visual Studies Engagement of Creative Writers by Emilie Menzel
The fields of visual arts and creative writing hold a long history of lively engagement and exchange. Accordingly, this poster reports the results of an experimental study on intersections between visual studies and creative writers’ information seeking behavior. The study was conducted through exploratory interviews with creative writers, following methodology as developed for examining visual artists’ information seeking behavior. Qualitative, open coding analysis of the interviews demonstrates that writers repeatedly engage with visual studies materials during their creative research processes, particularly during experiential forms of inquiry. Up to this point, there have been under 20 studies into creative writer information seeking behavior, and, as such, the creative writer’s information needs and behavior within the context of the library have to this point been folded into those of humanities scholars. The results of this research highlight: 1) how creative writers’ information needs and behaviors in fact overlay more closely with those of visual artists, 2) an experiential-inquiry spectrum model for creative research behavior, and 3) possibilities for art library outreach to the active library user group of creative writers.
Conserving a Conservators Work: The Susan Barger Collection at the Center for Creative Photography by Elias Larralde
As a student archival assistant at the Center for Creative Photography (CCP) I was lucky to process the Center’s first collection dedicated to the work of a photo conservator Susan Barger. This is unique as the Center collection is focused on photographers and prominent galleries which showed photography. Through this presentation I aim to discuss the unique challenges and opportunities in processing a conservator’s work in an art archive. Specifically, a discussion will be had on how the physical materials donated by Barger, which were various daguerreotypes at different stages of testing in relation to the best cleaning methods, challenge how the CCP will approach the use of said collection for future researchers. How can objects that were in a process of experimentation survive and thrive in an environment known to be static and locked away?
An Interconnected Approach to Resources: Developing a Library Zine by Amy Mackens
PLUME is a publication by the College for Creative Studies (CCS) Library that aims to disrupt linear research models by offering a uniquely interconnected approach to resources. Each issue contains content stemming from a single conceptual theme. The publication is formatted in a way that encourages interconnected modes of research, providing readers with a curation of library resources in both print and digital formats alongside articles and imagery featuring voices from the local community of artists. Our goals for PLUME are three-fold: help foster a community of academic research, build partnerships with a network of stakeholders outside of the college, and showcase the depth of the library’s resources.
Earning Your Green Thumb: Weeding fine arts collections for new professionals by Gavin Goodwin
Deselection of library materials, or weeding, is something rarely addressed in detail during LIS programs, or sometimes not at all. In general, weeding can be seen as dauting or tedious, and weeding fine arts collections can be particularly challenging when accounting for unique formats, lack of digital replacements, and other idiosyncrasies of fine arts collections. This lightning talk will discuss my preparations for a large-scale weeding project as a new professional without a fine arts background working at a small undergraduate liberal arts university. This project is being undertaken in preparation for a library building renovation while attempting to reduce the size of our existing fine arts collection, approximately 18,000 volumes. Through this presentation, I will discuss developing a philosophy for approaching the weeding project, tools and considerations for making evidence-based deselection decisions, and ways of addressing impostor syndrome or lack of subject expertise when embarking on weeding projects.
Art Library Students and New ARLIS/NA Professionals (ArLiSNAP) and Visual Resources Association’s Emerging Professionals And Students Group (VREPS) invite you to save the date for our 2022 Fall Virtual Conference.
This conference is open to all, but focuses on the needs of students and new professionals. Attendees interested in art librarianship or visual resource management will have the opportunity to learn from peers and celebrate each other’s work through virtual posters and presentations. Via this conference, we’re seeking to foster a sense of belonging and growth in our community, and we invite all interested students and new professionals to participate.
Our calls for students and new professionals to present in different sessions are outlined below. If you have any questions in the meantime, please send an email to ArLiSNAP: arlisnap.na@gmail.com.
SAVE THE DATE
The virtual conference will take place on Saturday, November 5th. The full program and registration information will be released on the ArLiSNAP blog and VREPS blog. To stay up-to-date, subscribe to the ArLiSNAP listserv, follow ArLiSNAP on Instagram, and check the VREPS blog.
TIMELINE
Wednesday, 10/19: Deadline for submissions Please submit a form for each session category in which you are interested.
Rolling basis: All applicants will be informed of the conference team’s decision for each submission
Friday, 10/23: Deadline for selected submissions to accept participation in the conference
Week of10/31: Technology Check Session
Tuesday, 11/01: Deadline for materials (virtual posters and presentation slides)
Saturday, 11/05: Conference date
SUBMISSION FORM
You are welcome to submit for more than one of the categories below. Please submit a form for each session category in which you are interested. https://forms.gle/rKyqaPSeaoitwcFV8
CALL FOR VIRTUAL POSTER PRESENTATIONS:
ArLiSNAP and VREPS welcome proposals from students and new professionals with an interest in art librarianship or visual resources management to share newly completed or in-progress projects, be they research or outcomes from an internship/practicum, at the virtual poster presentation at our 2022 Virtual Conference. This is an opportunity for emerging professionals to share their work in a supportive and engaging space while connecting with other students and early career information professionals. Proposals are open to individual presenters and co-presenters. Virtual posters will be available for asynchronous browsing by attendees, with a live Q&A for all presenters during the conference followed by a social hour. Formatting details will be sent if selected.
CALL FOR PRESENTATIONS:
Fresh Eyes 2.0
Following the success of the inaugural Fresh Eyes session during our last virtual conference, we are bringing the Fresh Eyes session back.
Are you a student or emerging professional who solved a problem for your school or institution? Did you complete a project during an internship, suggest a new workflow that helped speed up digitization or researcher requests, or start an amazing new program for community members? We want to hear from you!
Students and emerging professionals have the opportunity to bring “fresh eyes” to an institution. These “fresh eyes” can often add valuable perspectives, allowing for opportunities to ask questions, make suggestions, and create new approaches to work that’s been done “the way we’ve always done it.” In the session, speakers will present via lightning talks case studies detailing how they experienced a workflow or problem, and how their suggestions and perspectives as students and emerging professionals helped create a better process or environment. This is a space for us to celebrate the valuable contributions students and emerging professionals can bring to an institution.
This session will feature virtual lightning talks of five to seven minutes from five to six presenters, followed by live Q&A.
CALL FOR STUDENT RESEARCH COLLOQUY:
Do you have an ongoing research project? Are you currently working on a thesis, dissertation, or paper for your program? If so, we’d love to hear about it and provide an opportunity for you to get feedback from other students and professionals in the field while it’s still in progress.
ArLiSNAP and VREPS invite you to share your current research initiatives in the field of art information and visual resource management.
Proposals can encompass ongoing or in-progress research and writing. This prompt is purposefully open-ended to encourage a variety of topics. Presentations from students and new professionals can be solo or collaborative if you are working with a larger team.
Presenters will provide an overview of their current project, share where they are at in their process, and where they feel they would like support, or share any questions that have come up throughout their research or writing process.
Following the presentations, the session will break out into virtual rooms organized around each presenter for a smaller group discussion. Participants can ask questions, offer feedback, and connect with one another to build a group of support for research and writing.
Please note we will confer with selected presenters if they wish to be recorded.
VREPS is excited to announce Allie Scholten as our new VREPS co-chair serving the 2022-2024 term. Allie Scholten is the Digital Collections Manager at the University of Chicago and is very excited to be joining the VREPS team!
Art Library Students and New ARLIS/NA Professionals (ArLiSNAP) and Visual Resources Association’s Emerging Professionals And Students Group (VREPS) invite you to join our 2020 Virtual Conference: Visualizing Your Future Art Information Career.
This conference is free and open to all, but focuses on the needs of students and new professionals. It will provide attendees interested in art librarianship or visual resources management the opportunity to learn about pursuing a career in art information and discover research in the field.
After registering, you will receive an email in the days before the conference with links to join via Zoom. If you have any questions, please send an email copying arlisnap.na@gmail.com, vreps@vraweb.org.
Full-time, contract position for a duration of 12 months. Assisting with all aspects of the digitization of rare and unique photographic images held in the Les Leverett Photograph Collection. Duties include rehousing a variety of analog formats such as medium format and 35mm film negatives, transparencies, 35mm slides and photographic prints; preparing materials for digitization, digital reformatting, digital file management inclusive of creating structured descriptive metadata records for digitized materials, performing quality control on images and metadata, communicating with archives staff. Other duties as assigned.
Required Skills Experience with digital ingest (DSLR copy stand photography and/or flatbed scanning of cultural heritage materials; proficient with Adobe Creative Suite and Excel; ability to pay close attention to detail, comfortable working with large Excel spreadsheets, and ability work both collaboratively and independently with fragile materials. This position requires the ability to work with fragile materials, and where dust or other allergens may be present. Must have excellent communication skills.
Preferred Experience, Skills, Training/Education Understanding of archival collections and country music history and history of photography; previous archival or special collections library digital project experience. Candidates that are currently enrolled or recently graduated with master’s level education in Library Science, Public History, or Design are highly preferred.
Must be available to start by April 15, 2020. Applicants must be local to Nashville or within commuting distance. If this position is of interest, please send their email and cover letter to: jlarson@opry.com
Apply for the Samuel H. Kress Foundation Scholarships to attend the 2020 Summer Educational Institute for Digital Stewardship of Visual Information (SEI), to be held June 23-26, 2020 at Northwestern University in Evanston, IL!
The Samuel H. Kress Foundation is once again generously funding six scholarships for SEI 2020. This intensive workshop is designed to serve a wide range of information professionals eager to learn about best practices and new technologies and/or update job skills in the realm of digital collections management, as well as to provide significant networking and professional development opportunities. The comprehensive curriculum seeks to address the requirements of today’s cultural heritage information professional, including hands-on and lecture modules presented by expert instructors. SEI provides new professionals, current library school students, and mid-career professionals from a wide range of related fields the opportunity to stay current in an ever-evolving digital landscape. Museum professionals, archivists, visual resources professionals, digital librarians, art and architecture librarians, digital project managers, current and recent graduate students, and others in related fields are all encouraged to attend.
Details:
The six Kress Scholarship recipients will each receive $1000 towards the cost of SEI.
Kress Scholarship applications are due by Monday, March 9, 2020.
Recipients will be notified no later than Monday, March 30, 2020.
Each Kress Scholarship recipient will be required to write a report detailing how they benefitted from SEI and the scholarship upon completion of SEI 2020.
Instructions:
Submit a resume or curriculum vitae and a cover letter (no longer than two pages) describing the effect attending SEI would have on your studies and/or your career.
All applications will be evaluated by three SEI co-chairs based on the criteria established for the award (including current or future career goals as well as financial need) and any additional directions from the Kress Foundation staff.
Submit your application materials via e-mail in a single document (PDF preferred), using the following file naming convention: LAST NAME_FIRST NAME_KRESS2020 to SEI 2020 Senior Co-Chair Courtney Baron at courtney.baron@louisville.edu.
The Visual Resources Association Foundation (VRAF) is pleased to announce that Can We Do That? Intellectual Property Rights and Visual Mediawill be held on March 13, 2020 at Occidental College in Los Angeles, CA. Can We Do That? Intellectual Property Rights and Visual Media is one of the four workshops being offered in the fifth year of the VRAF Regional Workshop Program. The VRA Foundation is grateful to the Samuel H. Kress Foundation for their continued support of this exciting opportunity to partner with cultural heritage and educational institutions.
How do I know whether something is protected by copyright? What is fair use and how can I apply it? What copyright exceptions are available for library or archival use? How can I clear a copyright? How do I navigate and negotiate licensing agreements? If you’ve asked yourself these questions, this workshop is for you! Aimed at providing real-world applications within the academic, archival, library, gallery and museum environments, we will use relevant case studies to explore issues such as educational and scholarly usage, securing academic publication rights (including for online use), creative reuse, fair use guidelines, VARA and moral rights, licensing from vendors and rights holders, and the public domain. Participants will also be introduced to tools and resources to help them and their constituents in making decisions regarding appropriate use and dissemination of visual media.
Can We Do That? Intellectual Property Rights and Visual Media will be taught by Cara Hirsch, Deputy General Counsel at The Virtual Reality Company, a studio focused on the creation of content for virtual reality film and other experiences. At VRC, Cara oversees all intellectual property matters relating to the company’s business. She is the former Associate General Counsel at the Solomon R. Guggenheim Foundation, where she supported Guggenheim’s legal affairs in a wide variety of areas including intellectual property.
Prior to the Guggenheim, Cara was Deputy General Counsel for Artstor, a nonprofit organization whose mission is to use digital technology to enhance scholarship, teaching, and learning in the arts, humanities and other fields. Among her duties at Artstor, Cara collaborated in refining Artstor’s intellectual property and other legal strategies for the organization. She also supervised the rights review and clearance process for media collections in the Artstor Digital Library, a digital image resource that makes available to nonprofit institutions over 1.7 million digital images in the arts, architecture, humanities, and sciences. Cara also worked as an Associate at the law firms of Weil, Gotshal & Manges LLP and Andrews Kurth LLP, where she practiced in the field of intellectual property. She served as Co-Chair of the Intellectual Property Rights Committee of the Visual Resources Association from 2011-2014. Cara received her J.D. from Fordham University School of Law and her B.A., with distinction, from the University of Michigan at Ann Arbor.
If you have any questions about registration, please feel free to contact Beth Haas, VRAF Director, bwodnick@princeton.edu. For questions about the venue, please contact Anne Mar, Assistant College Archivist/Metadata Specialist, amar@oxy.edu.
Register for the Winter School webinars on January 14, 15 and 16
The Winter School for Audiovisual Archiving guest talks are freely available in webinar form. Three guest speakers will share insights on how their organisations – with a variety of audiovisual materials – deal with digital preservation challenges.
Guest speakers for this edition are Lucy Wales, Jonáš Svatoš and Marjolein Steeman.
Lucy Wales (British Film Institute, UK) Lucy Wales is the Digital Preservation and Data Manager at the BFI. She is responsible for managing the Digital Operations team, the BFI Filmography Diversity Researcher and the planning and implementation of data creation and media management workflows for the Heritage 2022 video digitisation and diversity data research projects.
Jonáš Svatoš (Národní filmový archiv, CZ) Jonáš Svatoš is the Head of Digital Laboratory at the Národní filmový archiv (Czech Republic). This department looks after digital film collections, as well as services related to digitization of film and other media. He is originally a software engineer who focuses mainly on implementing solutions based on open standards and formats into the field of digital preservation.
Marjolein Steeman (Sound and Vision, NL) Marjolein Steeman is working on various projects in the area of preservation and metadata. She develops and implements preservation plans for new formats and archive services. Marjolein has been working at Sound and Vision for over 10 years. She studied information science at VU University Amsterdam and worked for years as an expert in data analysis and data management.
VREPS 